SEPâ€“ NOV 2019
members newsletter No.78
CAIRNS ART GALLERY
director ’s foreword
IMAGE COVER Patricia Piccinini Eulogy (detail) 2011 silicone, fibreglass, hair, clothing 110 x 65 x 60 cm Courtesy the artist © Patricia Piccinini
IMAGE ABOVE Patricia Piccinini Arcadia (detail) 2005 digital C-type photograph 80 x 160 cm Courtesy the artist © Patricia Piccinini
I am thrilled that the Gallery’s most recent major exhibition, Queen’s Land Blak Portraiture was described in a recent review in Arts Hub as a ‘long awaited exhibition’ that is ‘dense – both in volume and message…It is an exhibition that all Australians not only should – but NEED – to see’. To ensure that everyone has the opportunity to view the exhibition the Gallery has created a virtual tour and an on-line version of the supporting publication, which are now available on the Gallery website. Over the next three months the Gallery will continue to push the envelope with a remarkable exhibition by internationally acclaimed Australian artist, Patricia Piccinini. Life Clings Closest is exclusive to the Cairns Art Gallery and presents an extraordinary series of new works that respond to far north Queensland’s unique tropical bio-diversity and the life-threatening challenges that face
marine and other life forms in our region. The Gallery has partnered with R.E.A.C.H. and other scientific research agencies to produce art and science educational resources and an exciting program of activities during the exhibition. I encourage you to attend the Foundation’s annual gala dinner in October where Patricia will be a guest speaker and explain the findings from the research residency that she undertook in Cairns and how she has used this research to inform her new works. Andrea May Churcher Director
EXCLUSIVE TO CAIRNS ART GALLERY
PATRICIA PICCININI LIFE CLINGS CLOSEST
UNTIL 8 DEC 2019
Life Clings Closest brings together works from the last fifteen years of Patricia Piccinini’s arts practice alongside a number of works created specifically for the exhibition in Cairns. The following is the artist’s explanation of works included in her exhibition at the Cairns Art Gallery:
This exhibition has been an opportunity to continue to explore the themes and issues that have long fascinated me, which are in many ways exemplified by the unique environment and culture of Australia’s tropical north. While I don’t claim to be able to fully understand or represent the complexity of this place, many aspects of what exists here resonate with my practice. Ideas such as evolution, the environment, technology, family and maternity, the artificial and the natural are all at the heart of my practice. These ideas are explored through a focus on relationships, narratives and emotion. Like many people, I struggle with the complexities of being able to represent the challenges that we face as a species without being paralysed by anxiety or led astray by hubris. I am not an expert, but I am a stakeholder and a listener. My works are attempts to start a conversation with the viewer, rather than provide definitive answers. There are layers to my works. Firstly, there is what they look like and then there are the stories that they tell. Finally, there are the points where they intersect with the real world and with us
emotionally. I sometimes describe my works as myths - myths are stories that try to explain the complexities of the world, through engaging narratives with an emotional dimension. They are not the truth, but they are not lies. Some works are more optimistic than others. That is not because I think everything is fine. Far from it. It is because sometimes we have to imagine the world as it should be in order to work towards creating it. Pessimism, while often justifiable, can be petrifying; it can frighten us into immobility, and that is counterproductive. The exhibition begins with one of my most optimistic works, Unfurled. This is a work that imagines a different sort of relationship between people and nature; one that is more equitable. The world of Unfurled is one where people are comfortable to see themselves as one animal amongst many; a collaborator rather than a controller. When we look at Unfurled we see strength in the faces of its protagonists rather than pathos. We see two figures with a shared viewpoint, both strong and vulnerable but not intimidated. Despite everything, these two wonderful beings survive. One of my core beliefs is that there is a continuum of being, where we are just one more kind of animal rather than some sort of radically different and elevated one. This idea of our “animalness” can be seen in the many
chimeras that inhabit the exhibition. A chimera is both a mythic creature (half lion, half goat) and a technical term for a genetically engineered organism that includes DNA taken from more than one source. The whole reason that we can genetically engineer chimeras, which we can and do create now, is because the DNA itself is common to all life on earth. When I first imagined my own chimeras, the idea of human-based chimeras was something from either science fiction or theoretical science. In the intervening years scientific reality has caught up with fiction, and in 2017 the first pig/human chimera embryos were produced in a lab.
problem that itself has a human origin: climate change. They have been forcibly evolved to adapt to the changing circumstances of the Anthropocene. For example, ocean-borne plastics are a massive problem for all sea life. Sea turtles often mistake plastic bags for jellyfish, and the animals are severely impacted by eating all the rubbish. Cleaner equips a turtle with a mechanical shell that features two vacuum intakes to suck up plastic waste before it reaches the animalâ€™s mouth.
The world is an extraordinarily complex system, and the changes we make can often have unintended consequences. This is the terrible dilemma we face in all our attempts to fix the world. Is it better to do nothing or to try something that might go wrong? I think of the scientists who introduced the cane toad into Australiaâ€™s sugarcane fields in order to destroy the cane beetles that were decimating the crop. If you focus on the goal of beetle eradication, you could even argue it was successful. In truth it was a massive disaster. Iâ€™m sure everybody involved had the best of intentions but regretted it enormously. That is the problem. Sometimes people do the wrong things for the right reasons.
Shadowbat approaches the problem of increasing numbers of flying foxes succumbing to heat-stroke by genetically engineering an unwieldy skin umbrella to shade the creature. Defender looks at the Bettong, a nocturnal rat-kangaroo that is especially vulnerable to habitat-loss and feral animal attacks. Like most native species, this diminutive herbivore plays a vital role in the lifecycles of the environments it occupies by reducing leaf-litter and thus fire load. Also, like bats, they are important players of the process of seed dispersal, so when they are lost the impact reverberates beyond the sadness of the loss of the species itself. Defender re-engineers this gentle creature into a larger, armoured combatant, capable of fending off the feral animals that prey on it. Gone are its vulnerabilities, but so too is much of its charm.
Defender, Cleaner and Shadowbat come from a new series of works that looks at this conundrum. Each work imagines a creature that has been genetically engineered to solve an ecological
These works explore an area where the possibilities of technological intervention press up against the natural world. This key relationship between the artificial and the natural has long
IMAGE PAGE 4 Patricia PICCININI No fear of depths 2019 silicone, fibreglass, hair, clothing 150 x 150 x 110 cm Courtesy the artist © Patricia Piccinini
IMAGE PAGE 5 Patricia PICCININI Shoeform (sprout) 2019 resin, auto paint 60 x 35 x 37 cm Courtesy the artist © Patricia Piccinini
IMAGE ABOVE Patricia PICCININI Cleaner 2019 silicone, fibreglass, hair, auto paint 30 x 70 x 90 cm Courtesy the artist © Patricia Piccinini
been one of the core dynamics of my practice. The supposed boundary between the artificial and natural, like the border between human and animal, is often called into question in my work. Are these chimeras artificial because they have been engineered, or are they natural because they are perfectly functional organic creatures? Or is this distinction part of the same arbitrary division that puts us above animals? No Fear of Depths, another new work created for this exhibition, brings together many of the key relationships that I am interested in exploring through my practice - the relationship between the artificial and the natural, between humans and the environment, between beings within families and between strangers. The work shows a young girl resting in the arms of some sort of marine mammal. Much as the girl is transitioning
IMAGE LEFT Patricia PICCININI Shoeform (Ovaries) 2019 resin, auto paint 60 x 70 x 35 cm Courtesy the artist ÂŠ Patricia Piccinini
towards adulthood, the creature appears to be caught at an evolutionary point between the land and the sea. It is a gentle scene, and it reminds us that we are nurtured by the nature around us. It is my hope that this exhibition presents its audience with a world. This is a world where things mix and intermingle, where nothing stays in its place. It is a world where animal, plant, machine and human unite and commingle. Ultimately, this world is interested in a question. If it is so hard to figure out where one thing starts and another ends, can we really continue to believe in the barriers that separate us? Patricia Piccinini Professor Patricia Piccinini gratefully acknowledges the support of the Faculty of VCA + MCM, University of Melbourne in her research
This projectÂ is supported by the Queensland Government through Arts Queensland, and has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
ANGELICA MESITI RELAY LEAGUE
18 OCT-1 DEC 2019
Calling all. This is our final cry before our eternal silence. This message was sent by Morse code in 1997 and was the poetic starting point for artist Angelica Mesiti’s exciting new work, Relay League. The message was not a desperate transmission sent from a sinking ship, but rather the final message by the French Navy signalling the end of the use of Morse code. In her latest work, Mesiti takes the dots and dashes of Morse code and brings them to life in a three-channel video installation. This year Mesiti represented Australia at the Venice Biennale and is now regarded as one of Australia’s leading contemporary artists. Her work consistently grapples with transition, culture, communication and displacement. Working with the mediums of video and installation,
and incorporating music and performance, her practice expands ideas of collective behaviour, social dynamics and human subjectivity through non-verbal forms of language and communication, exchange and adapted methods of expression. Filmed during a residency at the Centre National de la Danse, Paris, Mesiti’s Relay League explores emotional states such as uncertainty, intimacy and humility through movement, music and language. The videos feature the Morse code message translated into percussion by musician-composer Uriel Barthélémi and movement by Emilia Wibron Vesterlund and Sindri Runudde. In the third video, dancer Filipe Lourenço interprets Barthélémi’s percussive sounds with improvised movement creating a feedback loop. Visitors can anticipate a sensory and contemplative experience as they move through this immersive installation.
Relay League was curated and developed by Artspace and is touring nationally with Museums & Galleries of NSW. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. The development and presentation of Relay League is supported by Commissioning Partner the Keir Foundation.
Relay League was produced with the support of C ND National de la Danse, Paris and University of New South Wales Art & Design. Relay League will be accompanied by a book published by Schwartz City and designed by Formist.
IMAGE OVER PAGE : Angelica MESITI, Relay League (video still) 2017, commissioned by Artspace. Courtesy the artist, Anna Schwartz Gallery, Melbourne and Galerie Allen, Paris
ANGELICA MESITI RELAY LEAGUE 18 OCT-1 DEC 2019
CONCRETE ART DESIGN ARCHITECTURE 22 NOV 2019-12 JAN 2020
CONCRETE: art design architecture explores the innovative ways that concrete is being used by artists, designers and architects in Australia in the 21st century. Curated by JamFactory, the exhibition includes 21 artists, designers and architects from across Australia and brings together products, projects and works of art that reflect many of the current preoccupations with concrete within contemporary art, design and architecture in Australia. Having a history spanning over 3000 years, concrete was first used by Egyptians in the building of the pyramids before the Romans produced what today we call hydraulic cementbased concrete. With the fall of the Roman Empire the secrets of concrete were lost, and it was not until the early nineteenth century that, through the development of Portland Cement, modern concrete was born.
The exhibition presents a broad range of approaches to working with concrete, and the range of work - from fine, hand-crafted jewellery to spectacular buildings. Exhibitors include Pritzker award winning architect Glenn Murcutt, and multiple award-winning architectural firm, Candalepas Associates, both of whom have used concrete to create beautiful places of worship; celebrated designers Adam Goodrum and Alexander Lotersztain have separately designed striking concrete outdoor furniture; while leading visual artists Jamie North, Abdul-Rahman Abdullah and Megan Cope have produced thought-provoking sculptural works; and Inari Kiuru has used the intricate detail of concreteâ€˜s varied surface in her fine jewellery pieces. This exhibition aims to question our preconceptions of concrete and to consider its functional as well as its expressive, poetic and aesthetic dimensions.
CONCRETE: art design architecture is supported by Visions of Australia funding through Australian Governmentâ€™s Department of Communications and Arts and the South Australian Government through the Department for Innovation and Skills
The Principal Sponsor for CONCRETE: art design architecture is Cement Concrete & Aggregates Australia, the peak body for the cement, concrete and quarry industry in Australia. PRESENTING PARTNER
IMAGE PAGE 15-16 Smart Design Studio Indigo Slam 2016 Chippendale, New South Wales Photo: Sharrin Rees
IMAGE RIGHT Edition Office Hawthorn House 2018 Hawthorn, Victoria Photo: Raw Render
EXCLUSIVE TO CAIRNS ART GALLERY
HOME IS WHERE THE HEART IS 30 AUG-13 OCT 2019
HOME IS WHERE THE HEART IS 13 AUG-13 OCT 2019
Home Is Where The Heart Is presents new works by eight regional artists who creatively interrogate concepts of ‘home’ and what it means to them in terms of family, heritage, personal identity, ideologies, and experiences of travel and migration. Two of the artists, Daisy Hamlot and Wanda Gibson of the Gamba Gamba (senior women) cooperative at Hopevale Arts and Cultural Centre explore contemporary life in community. As a young girl, Hamlot’s community was relocated during World War II, from Cape Bedford to Woorabinda, for reasons of national security. Gibson was born at Woorabinda and by the 1950s both of the artists, together with their families and community, were relocated back to their country, to the new township of Hopevale.
displacement informs Gibson’s paintings of her home and her neighbourhood. Bayan 1 represents the township through an aerial view of her neighbourhood with its brightly painted houses bounded by fences made of recycled materials, the gardens full of colourful flowering plants and the streets populated by her neighbours going about their daily business. For Daisy Hamlot, home is expressed through her strong emotional attachment to her dogs named ‘7-0’ and ‘Granny-Boy’ and other community dogs from her neighbourhood. Her whimsical minimalist paintings portray her dogs in various poses on their brightly coloured mats - playing, eating and sleeping.
This history and memory of disruption and
Also included in the exhibition are new works by Fiona Elisala, Walter R. Lui, Tania Major, Michael Marzik, Priscilla Ong and Francesca Rosa.
IMAGE PAGE 19-20 Wanda GIBSON Bayan 1 2019 acrylic on paper 56 x 76 cm Courtesy of Hopevale Arts and Cultural Centre
IMAGE RIGHT Daisy HAMLOT Guuda 2 2019 acrylic on paper 56 x 76 cm Courtesy of Hopevale Arts and Cultural Centre
QUEENâ€™S LAND BLAK PORTRAITURE LATE 19TH CENTURY TO THE PRESENT
VIRTUAL TOUR ONLINE NOW HTTPS://MY.MATTERPORT.COM/SHOW/?M=F1B7QNRHJDP
An exhibition that all Australians not only should – but NEED – to see. ArtsHub, July 2019 24
CAIRNS ART GALLERY COLLECTION EXHIBITION
CONNECTING NARRATIVES 23 AUG-17 NOV 2019
CONNECTING NARRATIVES 23 AUG-17 NOV 2019
A feature of the Connecting Narratives exhibition is a selection of photographs from the Gallery’s Permanent Collection by Charles Page, William Yang and Kerry Trapnell that portray the diverse people and natural and built environments of the region to reveal a fascinating window into its social and cultural history. Charles Page is one of Australia’s most significant documentary photographers, and in 2000 he was commissioned by the Gallery to profile the ‘everyday local’, such as the iconic Indigenous musician David Hudson, and other Cairns personalities, including The Hon. Warren Entsch MP, Ray Crooke and Mr and Mrs Kevin Byrne. Born and raised in Dimbulah, William Yang examines, through his photographs, the influx of Chinese in the north since the 1870s and reveals stories of racism, family traumas and
the language barriers that his family and others faced. Yang’s photographs also document the significant cultural, social and economic impact of Chinese migration and settlement in the north. Kerry Trapnell, a Cairns-based photographer, was commissioned in 1995 by the Cape York Land Council to take a series of portraits of senior Elders on country and in community, discussing business, harvesting food and celebrating cultural rituals. These images are historically significant as they were used to promote the stories and voices of Indigenous peoples to support native title land claims following the landmark Mabo Case in 1992.
CURATOR’S TALK SATURDAY 7 SEPTEMBER 2.00PM
IMAGE PAGE 25-26 Charles PAGE Portrait of David Hudson 2001 gelatin silver photograph 34.4 x 51.2 cm Cairns Art Gallery Collection Commissioned Cairns Regional Gallery, 2001
IMAGE TOP LEFT William YANG My family in front of our old home 1990 gelatin silver photograph 66.4 x 76.2 cm Cairns Art Gallery Collection Purchased Cairns Regional Gallery, 2000
IMAGE BOTTOM LEFT Kerry TRAPNELL Aboriginal stockmen, Glen Garland station 1999 ilfochrome photographic print 110 x 65 x 60 cm Cairns Art Gallery Collection Purchased by Cairns Regional Gallery with the assistance of Friends of the Gallery, 2002 28
ANNUAL GALA DINNER 2019 with special guest, Patricia Piccinini.
Saturday 19 October, 6.30pm Pullman Reef Hotel, Cairns Three course dinner and complimentary drink on arrival Tickets $120 RSVP https://www.cairnsartgallery.com.au/whats-on/ programs-events/foundation-gala-dinner-2019#book firstname.lastname@example.org
YOGA IN THE GALLERY WEEKLY - MONDAYS DETAILS PAGE 37
DRAWING SKILLS CLASS WITH OLIVIA AZZOPARDI FOR ADULTS DETAILS PAGE 36
CONNECTING NARRATIVES CURATORâ€™S TALK, 2.00pm DETAILS PAGE 28
23-30 SCHOOL HOLIDAY WORKSHOPS DETAILS PAGE 33-35
SCHOOL HOLIDAY WORKSHOPS DETAILS PAGE 33-35
HOME IS WHERE THE HEART IS FINAL DAY DETAILS PAGE 21
GALLERY KIDS ART CLUB WITH HAYLEY GILLESPIE DETAILS PAGE 37
CREATIVE TODDLERS PROGRAM WITH CRYSTAL TRAETTINO-HAMS DETAILS PAGE 34
ANGELICA MESITI RELAY LEAGUE FIRST DAY DETAILS PAGE 12 PAINTING INTENSIVE CLASS FOR KIDS DETAILS PAGE 35
CAIRNS ART GALLERY FOUNDATION ANNUAL GALA DINNER 2019 6.30PM, PULLMAN HOTEL DETAILS PAGE 30
BUSH MEDICINE AND BOTANICAL ART WITH HEATHER KOOWOOTHA FOR ADULTS DETAILS PAGE 36
CONNECTING NARRATIVES FINAL DAY DETAILS PAGE 28
MEMBERS SHOPPING DAYS 20% DISCOUNT IN THE GALLERY SHOP FOR MEMBERS DETAILS PAGE 31
ADULT WEEKEND WORKSHOP WOVEN CLUTCH WITH MICHELLE TORRENS DETAILS PAGE 36
CONCRETE ART DESIGN 22 ARCHITECTURE FIRST DAY DETAILS PAGE 17
IMAGE FAR LEFT Patricia PICCININI No fear of depths 2019 (detail - full image p4) silicone, fibreglass, hair, clothing 150 x 150 x 110 cm Courtesy the artist Â© Patricia Piccinini IMAGE ABOVE LEFT Charles PAGE Portrait of David Hudson 2001 (detail - full image pp25,26) gelatin silver photograph 34.4 x 51.2 cm Cairns Art Gallery Collection Commissioned Cairns Regional Gallery, 2001 IMAGE RIGHT Smart Design Studio Indigo Slam 2016 (detail - full image pp15,16) Chippendale, New South Wales Photo: Sharrin Rees
CREATIVE LEARNING PROGRAMS BOOKINGS ESSENTIAL
• Children under 6 years of age must be with an adult guardian * • Artists and techniques are correct at time of printing • Cairns Art Gallery may vary program content where necessary
TUESDAY 24 SEPT
FUNKY FRIDGE MAGNET WITH CRYSTAL TRAETTINO-HAMS, TEACHER Ages 4 – 6 years* | 10.00 – 11.30am Cost $14 ($17 non-members) OR
Ages 7 – 10 years | 1.00 – 3.00pm Cost $17 ($19 non-members) Create a funky, recycled, fridge magnet using a re-purposed cassette and imagination.
WEDNESDAY 25 SEPT
SCHOOL HOLIDAY WORKSHOPS MONDAY 23 SEPT
DRAWING RAINFOREST CRITTERS WITH DANIELLE MITCHELL, ARTIST & TEACHER Ages 6 – 9 years | 10.00 – 11.30am Cost $14 ($17 non-members) OR
Ages 10 – 15 years | 1.00 – 3.00pm Cost $17 ($19 non-members)
Develop new drawing skills to capture images of unique rainforest bugs using traditional media such as pencil, pen and ink.
CERAMIC SCULPTURE WITH JIM REA, ART TEACHER
Ages 10 – 15 years | 10.00am – 2.30pm (with a 30min break) Cost $25 ($28 non-members)
Inspired by Patricia Piccinini’s exhibition Life Clings Closest, create an imaginary creature using air-dry clay. Bring a drink and lunch to this half-day class.
THURSDAY 26 SEPT
DIGITAL DRAWING WITH DANIELLE MITCHELL, ARTIST & TEACHER Ages 8 – 11 years | 10.00 – 11.30am Cost $14 ($17 non-members) OR Ages 12 – 15 years | 1.00 – 3.00pm Cost $18 ($21 non-members)
Delve into the imagination of Patricia Piccinini and her exhibition Life Clings Closest before using iPads to create imaginative reef and rainforest images. Choose your favourite work to print and take home.
WEDNESDAY 2 OCT PENCIL AND PAPER ’SELFIES’ WITH YIXY RUAN, ARTIST
Ages 8 – 10 years | 10.00 – 11.30am Cost $15 ($18 non-members) OR Ages 11 – 15 years | 1.00 – 3.00pm Cost $18 ($21 non-members)
FRIDAY 27 SEPT
WOODBLOCK PRINTMAKING WITH MEIYIN AHNSUZ, ARTIST & DISABILITY ARTS FACILITATOR Ages 4 – 7 years | 10.00am – 12.00pm Cost $18 ($21 non-members)
Use a simplified carving technique to safely prepare a woodblock for printing a unique picture or pattern that you can take home and frame. OR
Ages 8 – 16 years | 1.00 – 3.30pm Cost $21 ($25 non-members)
In this all-abilities printmaking workshop, learn techniques for safely carving and preparing a wood block with up to four original designs before choosing a favourite to print on archival paper.
MONDAY 30 SEPT
BUSH KNOWLEDGE DRAWING WORKSHOP WITH HEATHER KOOWOOTHA, ARTIST Ages 7 – 14 years | 10.00 – 11.30am Cost $15 ($18 non-members)
Heather Koowootha’s drawing workshop is inspired by her extensive knowledge of bush plants and their traditional uses. Heather is a Wik-Mungkan and Yidinji/Djabugay woman whose works are represented in major public gallery and private collections.
MONDAY 30 SEPT – TUESDAY 1 OCT SKATEBOARD STREET ART WITH PRISCILLA ONG, ARTIST
Ages 11 – 16 years | Monday: 1.00 – 3.00pm Tuesday: 10.00am – 2.30pm (with a 30min break) Cost $38 ($43 non-members)
Transform a skateboard into a one-of-a-kind artwork in this two-day workshop. Priscilla Ong, an experienced mixed media artist, will share painting techniques to create a 3D artwork ready for display. Please bring lunch to Tuesday’s class.
Explore your identity and hone your observation skills. Work with artist Yixy Ruan to sharpen your drawing skills to create a self-portrait using pencil and paper.
THURSDAY 3 OCT
2D FASHION DESIGN WITH YIXY RUAN, ARTIST Ages 8 – 11 years | 10.00 – 11.30am Cost $15 ($18 non-members) OR Ages 11 – 14 years | 1.00 – 3.00pm Cost $18 ($21 non-members)
Use textiles and beads to dress a 2D pre-drawn model and create your own ‘fashion line’.
FRIDAY 4 OCT
REEF AND RAINFOREST FLAGS WITH MEIYIN AHNSUZ, ARTIST & DISABILITY ARTS FACILITATOR Ages 4 – 9 years* | 10.00am – 12.00pm Cost $18 ($21 non-members)
Experiment with found objects and natural materials to print and paint a calico flag inspired by the reef and rainforest. OR Ages 8 – 16 years | 1.00 – 3.30pm Cost $21 ($25 non-members)
Create a woven artwork using material while learning traditional knot-making and weaving techniques.
WITH CRYSTAL TRAETTINO-HAMS, TEACHER 2 – 5 years with parent or carer Cost $70 ($80 non-members) Tuesdays 10.00 – 10.45am Term 4: 15, 22, 29 October, 5, 12, 19 November
Creative Toddlers provides an early introduction to art with activities tailored to enable young children to enjoy the Gallery in an age-appropriate and enjoyable way.
PAINTING INTENSIVE CLASS
GALLERY ART SCHOOL VISUAL ARTS ENRICHMENT PROGRAMS
The GALLERY ART SCHOOL offers visual arts enrichment programs for school aged children looking to expand their creative repertoire.
5 – 7 years with parent/carer optional Tuesdays 3.45 – 4.45pm Term 4: 15, 22, 29 October, 5, 12, 19 November Cost $75 ($85 non-members)
A six-week program aimed at introducing primary-level art skills to children. Experienced artist Meiyin Ahnsuz, will present a program based on the Gallery exhibitions to complement and expand on what is learnt in school.
8 – 11 years Cost $110 ($120 non-members) Term four enrolments available for:
Wednesdays 3.30 – 5.00pm 16, 23, 30 October, 6, 13, 20 November Saturdays 10.30am – 12.00pm 19, 26 October, 2, 9, 16, 23 November
11 – 16 years Cost $110 ($120 non-members) Term four enrolments available for: Mondays 3.30 - 5.00pm Term 4: 14, 21, 28 October, 4, 11, 18 November
OR Thursdays 3.30 – 5.00pm Term 4: 17, 24, 31 October, 7, 14, 21 November
Grade 5 – 6 Cost $110 ($120 non-members) Term four enrolments available for: Fridays 3.30 – 5.00pm Term 4: 18, 25 October, 1, 8, 15, 22 November Painting Intensive Class is a twelve-week program focused solely on learning a variety of painting techniques including blending, capturing light and shadow, texture, and combining practices. Whether using acrylic, or water colour, painting is one of the simplest yet most expressive ways to exercise your creativity abilities
DRAWING SKILLS FOR ADULTS WITH OLIVIA AZZOPARDI, ARTIST
MONDAYS: 5.30 – 7.30pm (3–WEEK ART COURSE) 16, 23, 30 September Cost $90 ($110 non-members) Get back to basics and refine your drawing skills with Olivia Azzopardi. Olivia will break down drawing techniques into simple skills which are suitable for use across a range of subjects and mediums. All skill levels are welcome.
BUSH MEDICINE AND BOTANICAL ART FOR ADULTS WITH HEATHER KOOWOOTHA, ARTIST
MONDAYS: 5.30 – 7.30pm (2–WEEK ART COURSE) 4, 11 November Cost $60 ($70 non-members)
Heather Koowootha, a Wik-Mungkan and Yidinji/Djabugay woman is passionate about sharing her knowledge of local plants and their traditional uses. Heather will encourage the development of new botanical art drawing skills. Suitable for all skill levels.
GALLERY KIDS ART CLUB WITH HAYLEY GILLESPIE
AGES 8 – 12 YEARS Saturdays 10.00am – 12.00pm Block 3: 5 October, 2 November, 7 December Cost per block $24 ($30 non-members)
WOVEN CLUTCH WITH MICHELLE TORRENS
MONDAYS: 5.30 – 7.30pm (4–WEEK ART COURSE) 18, 25, November 2, 9 December Cost $80 ($100 non-members)
Weave a small handbag or clutch using recycled plastics. Learn processes involved in preparing single-use plastics for up-cycling to create an object which is practical, durable and beautiful.
YOGA IN THE GALLERY
MONDAYS: 5.30 – 6.30pm 2, 9, 16, 23, 30 September, 14, 21, 28 October, 4, 11, 18, 25 November, 2 December Cost for a five-class pass $56 ($70 non-members) Offering the highest standard of modern yoga practice, experienced instructor Jeany Schall guides the group through a range of postures and breathing techniques to strengthen mind and body. All classes are conducted in the peaceful setting of the Gallery and finish with a meditation. Beginners welcome.
Creative kids will enjoy a program designed by artist Hayley Gillespie in our Kids Art Club. The two-hour Art Club sessions are a great way for kids to meet like-minded creative friends while being introduced to new ways of looking at and talking about art, craft and design with topics including fashion, architecture, theatre and visual arts. Club sessions are held at the Gallery with some sessions taking place at other inner-city locations, parents will be advised of out of Gallery locations and will be required to take kids to and from these locations.
GALLERY YOUNG CREATIVES CLUB WITH HAYLEY GILLESPIE
AGES 13 – 17 YEARS Saturdays 3.30 – 5.30pm 7 September, 5 October, 2 November, 7 December Cost $40 ($50 non-members)
Become a member of the Young Creatives Club and join like-minded young adults to learn artistic skills and share ideas. Combining art and business, the group will work together and use their artistic skills to invent, develop and produce a product suitable to sell at a Christmas pop-up shop. During the year, the Young Creatives Club will be guided by Hayley Gillespie in planning a drop-in workshop for young children. These drop-in workshops are a great way to expand interpersonal skills while working in a team and interacting with younger children, these skills will assist those contemplating making a career in art. Club sessions are primarily held at the Gallery with some sessions taking place at other inner-city locations, parents will be advised of out of Gallery locations and will be required to facilitate transfer to and from these locations.
KATE HUNTER SILVER EARRINGS FROM $49.95
KATER HUNTER HAND-BUILT CERAMICS FROM $11.95
GALLERY SHOP MEMBERS SHOPPING DAYS
15 –17 NOV 13 –15 DEC
MEMBERS SHOPPING DAYS
15 –17 NOV 13 –15 DEC
1. YARRABAH ARTS CENTRE MUG $49.95 YARRABAH ARTS CENTRE HAND PRINTED TEA TOWEL $44.95 2. ROHR REMEDY - AUSTRALIAN BUSH SKINCARE PRODUCTS FROM $17.95 SILK CREPE DE CHINE SCARF $139.95 3. BARBARA GEORGE- HAND BUILT PEAR WITH JAPANESE TISSUE PAPERS $44.95 ELK - MANGO WOOD NECKLACE $20 4. SILK CREPE DE CHINE SCARF $139.95 SUBTROPIC PURSES FROM $10.95 SAMANTHA ROBINSON CERAMIC JUG FROM $35.95 5. BELL ART AROMA BLOQ $13.95 6. AUSTRALIAN CHINOISERIE CERAMICS $17.95 (MUG) | $19.95 (PLATE) 7. OCCULTURE JEWELLERY FROM $54.95
8. RAINFOREST BOUNTY VINEGARS AND SYRUPS $14.95
20% SHOP DISCOUNT FOR MEMBERS
Memberâ€™s receive a 20% discount on all shop purchases. Gift memberships available at a discounted price during members shopping days. 3.
6 MAR-31 MAY 2020
Sidney NOLAN Ned Kelly 1946 enamel on composition board 90.8 x 121.5 cm National Gallery of Australia Collection Gift of Sunday Reed, 1977
We acknowledge the Gimuy Walubarra Yidinji and Yirrganydji as the Traditional Owners of the area today known as Cairns
VISIT US Cnr Abbott & Shields St, Cairns M to F: 9am – 5pm Sat: 10am – 5pm Sun: 10am – 2pm Closed on Public Holidays 07 4046 4800 email@example.com www.cairnsartgallery.com.au Cairns.Art.Gallery @cairnsartgallery @cairnsgallery CairnsArtGallery
VIP PROGRAM PARTNER
MEMBERSHIP PROGRAM PARTNER
The Cairns Art Gallery is a proud supporter of the Indigenous Art Code
CAIRNS ART GALLERY
September – November 2019