Polly Borland

1959 · Australia

Artist biography

Polly Borland is regarded as a well established artist, who was born in Australia, like other prominent artists such as Cameron Rudd, Jacquie Owers-Gayst, Bob Williams, David Green, and Kristian Glynn. Polly Borland was born in 1959.

Galleries and Exhibitions

Polly Borland's work is on display in two galleries, which are Murray White Room in Melbourne, Australia and Nino Mier Gallery in Los Angeles, the United States. Polly Borland's work has most recently been displayed during the exhibition Bedeaux at Carl Freedman Gallery in London, the United Kingdom. The exhibition was open from 27 September 2019 until 14 December 2019. Polly Borland's only other recorded exhibition on Artland is TRANS WORLD, which took place at Nicodim Gallery | Los Angeles in the United States (07 June 2019 - 09 August 2019).

Further Biographical Context for Polly Borland

Born in 1959, Polly Borland's creative work was largely influenced by the 1970s. Conceptualism is often perceived as a reaction to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that ensued were all representative of a strong desire to progress and strengthen the art world, in response to the tensions of the previous 1960s. Process art branched out from Conceptualism, including some of its most crucial aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outdoors, initiating early ideas of environmentalism. In Germany, Expressive figure painting was given another chance for the first time since the weakening of Abstract Expressionism almost two decades, the genre regained its distinction through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The cosmopolitan and refined position that New York city held in the 1960s remained just as influential in the 1970s. With multiple global renowned artists gravitating the galleries and downtown scene, the city once again reinforced its reputation as the artistic hub of the generation. The critically engaged Mono-Ha movement, comprised of Japanese and Korean artists, flourished in Tokyo in the 1970s. Discarding traditional ideas of representation, the artists favoured an interpretation of the world through an engagement with materials and an exploration of their properties. The artworks would often consist of encounters between natural and industrial materials such as stone, glass, cotton, sponge, wood, oil and water, mostly left intact.

Polly Borland