Rosemary laing tolarno

Rosemary laing bulletproof glass
Rosemary laing groundspeed
Rosemary laing flight research

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Estate of Rosemary Laing 1959-2024

Laing has participated in several international biennials including the Biennale of Sydney, Australia (2008); Venice Biennale, Italy (2007); Busan Biennale, South Korea (2004); and Istanbul Biennial, Turkey (1995). Solo exhibitions of Laing's work have been held at numerous museums, including Domus Artium 2002, Spain; Frist Center for the Visual Arts, Tennessee; Kunsthallen Brandts Klædefabrik, Denmark; Museum of Contemporary Art Australia; National Museum of Art Osaka, Japan; and TarraWarra Museum of Art, Australia. Her work can also be found in many public collections worldwide, including the Art Gallery of New South Wales, Australia; 21st Century Museum of Contemporary Art, Japan; Art Gallery of New South Wales, Australia; Kunstmuseum Luzern, Lucerne, Switzerland; Art Institute of Chicago, Illinois; Harvard Art Museum, Massachusetts; Modern Art Museum of Fort Worth, Texas; Museo Nacional Centro de Arte Reina Sofía, Spain; Museum of Contemporary Art Australia; National Gallery of Australia; National Museum of Women

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Brisbane-born Rosemary Laing is one of Australia’s leading contemporary artists, working primarily in photography. Originally trained as a painter, Laing is known for her painstaking ‘making’, rather than ‘taking’, of photographs. Her works frequently begin as physical installations in the landscape as opposed to digital manipulations, and the sites she chooses are often culturally and historically resonant.

Laing’s intention is to disrupt the landscape creating somewhat surreal works by juxtaposing objects and people with specific environments. These images disturb our sense of reality and expectation. Her earlier works have even included brides somersaulting in mid-air!

groundspeed (Rose Petal) #17 initially appears to be a bushland scene bathed in dappled light. On closer inspection, we notice the English rose-petal carpet which seamlessly forms the rainforest floor. The installation of this English-designed carpet in the Australian bush can be seen as a metaphor for the European colonisation of Australia and its impact on the natural landscape and its Indigenous people.

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Photographer and art teacher, was born in Brisbane but has lived and worked in Sydney for years. She originally trained as a painter; she has a Dip Art Education, Brisbane CAE 1976-79; Dip Art, TU School of Art 1982; Postgraduate diploma SCA 1990-91, MFA Hons I, UNSW CoFA 1992-96. Since about 1988, however, she has been producing enormous photographs 'at the interface of nature and technology’ (Alexander 2001). She exhibits at Gitte Weise Galleries, Paddington, and teaches at UNSW CoFA. Natural Disasters (1988) 'saw the idea of the Australian landscape as a kind of media construction, existing only as point of transit’, Alexander states, while from paradise work (1990-91) 'explored the hyperral effects on plexiglass and cibachrome: a second nature where nature is swallowed up by artifice’. Blow-out was at Annandale Gallery in 1993. Her series greenwork (1995) and b rownwork (1996-97) began her explorations of the interface of nature and technology. In greenwork she digitally reworked four panoramic landscapes of trees by photographer Peter Elliston by