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PHOTO OPPORTUNITY
Friday, 9 May 2008
For the first time, Hazel Dooney's work in a medium other than painting will be the focus of a solo exhibition at Melbourne Art Rooms (MARS) from 29th July to 24th August, this year, coinciding with the Melbourne Art Fair. Entitled Innocents And Demons, it will feature her intimate photographic studies of young women.
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WHO'S WHO AGAIN
Thursday, 10 April 2008
For the third year in a row, Hazel Dooney has been included in Who's Who Of Australian Women, to be published next month by Crown Content. This new edition will be based on the theme of 'Leadership And Beyond'.
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BEYOND ESTIMATE
Thursday, 20 March 2008
Hazel Dooney's smallest-ever enamel-on-board work, Sports Babe: Tennis (Resized for Easy Consumption), just 40cm x 50 cm, exceeded the pre-sale estimate by $1,600 when it was auctioned for $6,600 at Lawson Menzies in Sydney, last night. This represents an increase of over 400 per cent on the price for which it was first sold by a Melbourne gallery in 2002.
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NEW HIGH FOR OLD WORK
Thursday, 13 December 2007
Both enamel on board works from Hazel Dooney's Sports Babes series sold at auction yesterday at Christie's, in London, for the sterling equivalent of $23,185, a record for her early work. This was the first time that any of her works have gone under the hammer in a foreign sales room – and the first time her work has been seen anywhere in Europe.
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Hazel sleeping, Sydney, 2005
2005 Hand-printed on resin-coated glossy paper from colour negative, 20.32 x 27.94 cm |
"Hazel Dooney found considerable commercial success early in her career with self-portraits rendered in tight graphic lines and highly charged colours. With a strong nod to pop art, these works were very much about surface... With her current show, however, Dooney has ripped the surface asunder, revealing a troubled and troubling potpourri of psychological self-investigation and an obsessive fascination with arcane ritual."
- Ashley Crawford, The Sunday Age Preview, 17th July, 2006
"Hazel Dooney walks the razor's edge between respect and celebrity in today's artworld."
– Australian Financial Review, 15th September, 2006
"Hazel Dooney's work carries the subversive and slick trademarks of contemporary consumer culture. Like Warhol and Lichtenstein, Dooney understands that, in contemporary society, the media can communicate more effectively to a great number of people than an art object can. The comic book reality of her amazonian überbabes is instantly recogniseable. Dooney's girls invite the viewer to aspire to their perfect dimensions, and prominent charms... Dooney's work exploits the values of a consumer culture and the myths of post feminist girl power and in doing so exposes them. Like the culture they parody, they are superficial, but glamorously, sinfully irresistible."
– Jenny Hansen Read, 2001
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