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NAS 2012

CONTENTS Director’s Foreword 4 Year in Review 6 Master of Fine Art 8 Master of Fine Art Graduate Works 10 Bachelor of Fine Art (Honours) 15 Bachelor of Fine Art (Honours) Graduate Works 18 Bachelor of Fine Art 38 Bachelor of Fine Art Graduate Works Ceramics 40 Painting 50 Photography 76 Printmaking 82 Sculpture 88 NATIONAL ART SCHOoL FELLOWSHIP 2012 Artists in Residence The Study Centre for Drawing Internships and Residencies Art Forum Student Representative Council National Art School Gallery National Art School Collections & Archives National Art School Staff 2012 Guest Lecturers & Visiting Artists A brief history of the National Art School Thank you to sponsors, donors and supporters Give a future to the next generation of artists

98 100 102 104 107 108 110 112 114 115 116 118 119


NAS 2012

Director’s ForEwOrd Welcome to the National Art School Year Book, which documents the achievements of each of our students graduating from the Bachelor of Fine Art, Bachelor of Fine Art Honours, and Master of Fine Art degree programs in 2012. The Year Book also records the highest honour of the National Art School, the National Art School Fellowship, awarded annually. In 2012 two awards were made to the highly illustrious recipients, Fiona Hall and John Kaldor AM. The Year Book reflects on the many activities essential to the vibrant, dynamic, creative culture, and context for the distinctive atelier model and exemplarled learning deployed at the National Art School. Our distinctive teaching and learning methods, underpinned by specialist resources and an expert Faculty, continue to provide a high quality education and training for the next generation of artists. This is palpably evidenced by the diversity and quality of work on exhibition in the annual degree shows – the postgraduate exhibition held in November and graduate exhibition held in December – which we hope you will visit and experience firsthand. During 2012 we achieved many of our strategic goals, most significantly the approval of the National Art School as a Higher Education Provider under the Higher Education Support Act (2003), which means that for the first time we will be able to offer FEE-HELP to eligible students enrolling in 2013. We also welcomed a number of significant sponsors and donors in support of the National Art School, whose influential support reflects the high value and commitment our many external stakeholders have for the School. This includes major support from

The Ian Potter Foundation for the new Collections and Archives Centre, which will augment the $6million grant for capital upgrade from Arts NSW, and ensure the appropriate standards of storage and access to our collections in the future. We are extremely delighted to welcome Emporio Armani as the sponsor of the 2012 Postgraduate Exhibition. This innovative partnership will also include a satellite exhibition of work, travelling to the Melbourne, Perth and Sydney Armani stores, and also a commission. The commission will provide an outstanding opportunity for a recent graduate to travel to Milan and to develop new work. We very much hope this will be a longstanding and fruitful collaboration between Emporio Armani and the National Art School. The year began with a breathtaking exhibition by Mike Parr in the National Art School Gallery, followed by the first year of a three-year partnership with Redlands School to deliver the annual Redlands Westpac Art Prize. Windlab demonstrated the scope and scale of British artist Tim Knowles’ fascination with the wind and was an element of the City of Sydney commission for the Taylor Square Temporary Public Art Program, an important initiative, which takes the National Art School Gallery beyond our precinct walls. In July the School hosted the International Association of Independent Art & Design Schools (AIAS) Annual General Assembly and Symposium supported by the Copyright Agency Cultural Fund with participants from Canada, China, Japan, Korea, The Netherlands, Turkey and USA. As an organising partner of the Art Association of Australia and New Zealand (AAANZ)

Annual Conference, the National Art School hosted the AAANZ master classes and organised I AM WHAT I PLAY as the closing event for both international gatherings. Our students, graduates and staff undertook residencies, exchanges and internships through our institutional partnerships, including the Titjikala and Ikuntji Art Centres, the Storrier Onslow Studio at the Cité Internationale des Arts Paris (administered by the Friends of the National Art School) and the National Art School Residency at the British School at Rome. The Mark Henry Cain Scholarship took students to the Royal College of Art and Wimbledon College of Art in London. Staff participated in numerous exhibitions, conferences, and publications throughout the world and Australia-wide, returning their rich experiences back to the National Art School through talks, exhibitions and publications. And finally, through our engagement with our extensive visiting artists and academics programs, a whole range of artistic, curatorial and theoretical expertise and perspectives were brought to the National Art School community from the regions, interstate and overseas, including guests from Montreal, Beijing, Prague, Berlin, Amsterdam, London and Boston. At the end of May, we bade farewell to Peter Watts AM, inaugural Chair of the Board of Directors and his colleagues, Carol Mills, Peter Riordan and Sandra Yates AO, as the first term of office for the Board came to a conclusion. We thank them, and the continuing Board members, for their immense endeavour and support during this first phase of the National Art School as an independent entity. The Hon. John Aquilina was appointed as the new Chairman, and we welcomed The Hon. Mrs Ashley Dawson-Damer, Sally Herman and

Director of the National Art School, Professor Anita Taylor, and Armani Australia Managing Director, Mary Chiew sign the partnership agreement, August 2012 Photo © Ingelise Pedersen

Michael Le Grand as new members of the Board of Directors for this unique and venerable institution. Each year an extraordinary number of National Art School graduates go on to make a considerable contribution to the art and culture of Australia in local, regional, national and global contexts. The National Art School is proud to be part of the development of these, and future artists through its mission to provide a distinctive educational model that values its traditions, understands its artistic and pedagogical legacies and ensures choice and excellence in higher education in the visual arts. We are grateful to our considerable and numerous supporters, who help make the National Art School experience so exceptional. 2012 has been another remarkable, exhilarating and successful year for the School. On behalf of the National Art School, I proudly congratulate each and every one of our graduating students on their achievements and wish them every success into the future. Professor Anita Taylor Director


NAS 2012

YEAR IN REVIEW Since its earliest inception the National Art School has maintained a steadfast commitment to developing in each and every student the capacity for meaningful practice as an artist. Students engage in intensive studio practice in conjunction with the study of Art History & Theory and Drawing under the guidance of staff distinguished in their respective fields of practice. 2012 has seen a range of continuing achievement and innovation that reflects those original ideals and continues to define the academic experience of the National Art School. This year saw the expansion of a range of academic initiatives designed to engage and enrich our staff, students and extended professional community. The continued integration of the National Art School Gallery, Study Centre for Drawing and Artist in Residence programs with that of our degree programs, saw students of all levels provided with opportunities to engage with a range of leading Australian and international artists, art institutions and events in a unique and immersive experience, reflective of the comprehensive and rigorous enquiry into the nature of studio practice for which the School is well known. Among many of these important initiatives throughout the year the hosting by the National Art School, for the first time in Australia, of the International Association of Independent Art & Design Schools Annual General Assembly and Workshops, typifies the School’s commitment to such enquiry and engagement in an international context. In conjunction with complementary events, including the Art Association of Australia and New Zealand annual conference and the 18th Biennale of Sydney, National Art School staff and students were

given a unique opportunity to engage in exhibitions, seminars and collaborative studio workshops, investigating the role of drawing in contemporary practice alongside artists, academics and students from across the world. Initiatives such as Drawing Week, the traditional start to our academic year held on Cockatoo Island; the weekly National Art School Art Forum lecture program that continues to bring a diverse range of visiting artists and thinkers in to our community; and the dynamic student exhibition program in our Library Stairwell Gallery continue to enrich our academic environment. The development of our Independent Study Program at undergraduate level, and continually evolving critique week program at postgraduate level, support this unique and dynamic experience. At the core of this artistic and academic community are the staff and students of the National Art School, whose commitment to learning and teaching drives the creative enterprise and innovation of the School, resulting in an outstanding level of academic achievement that we celebrate through our annual graduate exhibitions. Our students, including many of those presented in this year’s show, have already begun to achieve professional recognition through their endeavours. In 2012 our students have been represented in group and solo exhibitions in both commercial and artist run galleries. They have been included in significant exhibitions in the public gallery sector throughout Australia, and have been included in major public art events such as the Sydney Student’s Speak program held at the Art Gallery of New South Wales in conjunction with the this year’s

18th Biennale of Sydney. Our academic staff continued to demonstrate the School’s commitment to teaching by professional example with achievement and recognition evidenced through a broad range of artistic activity and scholarship. In 2012 this included representation as finalists in major Australian art prize exhibitions such as: the Josephine Ulrick and Win Schubert Photography Award; Adelaide Perry Prize for Drawing; 2012 Archibald Prize; the 2012 Redlands Westpac Art Prize; with Sessional Lecturer in Painting Leslie Rice awarded the prestigious Doug Moran National Portrait Prize. Throughout the year, National Art School staff have been engaged as visiting speakers with a range of national institutions including the Art Gallery of New South Wales, the National Gallery of Australia and the Art Association of Australia and New Zealand. Staff have been successful in receiving significant

public support through Australia Council Studio Residencies and residencies with the prestigious British School at Rome. The continued delivery of our highly successful Summer School, Winter School and short courses delivered through National Art School Public Programs, and our courses aimed at providing learning opportunities for talented high school students such as the HSC Studio Intensive program and the Dobell School for Drawing means our dynamic and dedicated artistic community will continue to grow and develop well into the future. The outstanding dedication of our staff and the commitment of this year’s graduating students evidenced by their individual and collective achievements suggest that this future is secure.

National Art School painting studios Photo © Fiora Sacco

Simon Cooper Head of Academic Studies


MFA 2012

MASTER of Fine Art

Hidemi Tokutake

Christopher Preussmann

Sarah O’Sullivan

presentations that provide candidates with an additional critical context for the development of their studio practice. The Critical Reading seminar provides a vital forum for the interrogation of current and historical topics relevant to contemporary practice, and the Research Methodology seminar assists students in the organisation of the written component of their final thesis. The MFA at the National Art School exemplifies the School’s central belief in the studio model of learning, with each graduate exploring and developing their own specific and specialised dialogue between practice and theory. The integration of lectures, seminar groups, discussions and candidate presentations in the symposium program synthesises theory and practice appropriate to the development of each graduate’s individual MFA project. The outcome is a highly developed and resolved body of work, supported by a written document that provides an important and valuable context for studio practice. The deep commitment to a studiobased learning environment that has historically underpinned the National Art School is evidently manifest here in the work of Master of Fine Art graduates. As we move into the future, we do so with great confidence in our ability to engage with the discourses of the contemporary art world in a unique and valuable way. This is affirmed by the work of our graduates, who have experienced our distinctive model for the education of artists and the value this places on the studio traditions and our artistic and educational legacies, as they progress into the next stage of their professional careers. . Dr John Di Stefano Postgraduate Coordinator

Andrew Luttrull

In keeping with the National Art School’s mission to provide excellence in tertiary level education for those with exceptional talent who wish to progress their careers as professional artists, the Master of Fine Art (MFA) is a specialised course of study specifically designed for practising artists, enabling them to develop and focus specific research interests in their studio practice. The high quality of work produced by our graduates embodies the professional expertise each has developed through rigorous critical inquiry over two (or more) years of highly individualised study. Studio-based research has led them towards evermore sophisticated articulations of their own unique artistic vision within their specialist fields. Over their course of study, each graduate has undertaken self-directed studio research in consultation with individually assigned supervisors whose own practices and experiences have been relevant to their candidates’ projects. The research undertaken by each student has involved autonomous studio investigation along with rigorous theoretical reflection and inquiry, with support, guidance and critical comment through individual tutorials, intensive studio critiques, peer discussions and formal reviews. The MFA at the National Art School is a Research by Project degree whereby a candidate proposes and undertakes the development of a focused studio research project. The MFA program consists of two integrated streams: the Studio Research program and the Symposium program. In the Studio Research program, each student has developed their studio project based on an individual research proposal. The Symposium program complements the Studio Research program with regular lectures, seminars and candidate


MFA 2012

ANDREW LUTTRULL Around the World stickers, tape, basketball, hoop installation dimensions variable

SARAH O’SULLIVAN Exposed Range stained and carved porcelain, found objects dimensions variable


Drawing Festivity: Exploring relational connection through the artistic act My MFA research project explores relational concerns by considering the deficiencies of present culture. I seek to explore the ways art engages with social change by focusing on local narrative in my art practice. I propose that the festival has historically been an important form for the regeneration of cultural identity, and I consider ways in my work that engages with communities experience as a means of renewal. Through my studio research I have created drawings, paintings, installations and collaborative performances that explore relational space within this

context of festive renewal. Drawing upon personal and familial experience, I intend to establish a dialogue with the viewer. By appropriating the structures and codes of games into visual language, the art objects and projects I have produced create a field of play, which allows for the contemplation of these ideas. My work thus acts as a catalyst for viewer action through participation. Through this exploration I have come to understand my art practice as a means of instigating dialogue with audiences, and as a vehicle for the possible fostering of imagining future narratives.


The Australian image: Collecting images of a cultural landscape while exploring decorative Australian ceramics This MFA project is concerned with the value that is placed on domestic ceramic objects and how these objects can hold the past, represent our present and help navigate our future relationships with ourselves and our environment. Focusing on function, decoration and value, the project finds that objects are able to carry significant cultural reflections. It is human nature to collect things and these gathered objects become a way to gain understanding. The project examined the intersections between the collection of elements of nature as either ornament, specimen or artefact.

The ceramic objects produced appropriate a diverse variety of concepts, images, techniques and forms, and when displayed together construct a personal investigation and reflection on the Australian environment. The dominant motifs utilised are unique native flora and fauna and are symbolic of the environment that is common to every Australian. This layering of images and objects, each carrying their own narrative, becomes a metaphorical representation of Australia’s cultural and environmental growth.


MFA 2012

CHRISTOPH PREUSSMANN untitled (face) watercolour and coloured pencil on paper 29 x 43 cm

Hidemi Tokutake Gregarious terracotta 31 x 46 x 37 cm

CHRISTOPH PREUSSMANN Differential Seeing, Representation, Photography and Drawing The main objective in my MFA research project is to explore and analyse Marshall McLuhans’s observation that the outer layer of a medium hides or even disguises the real medium at hand. In my research I investigate the interplay between photography, representation, seeing and drawing. I interrogate the historical and contemporary relationships between these elements, in particular when photography and drawing are combined to form what I have termed differential seeing. My research has entailed exploring the impact of photography on the

visual arts in the 1960s as a means of discussing a new approach to the psychology of seeing. Drawing, the key outcome of my studio research, is a means of synthesising seeing and I consider this a technical dissection of the drawing process and its various apparatuses such as the camera lucida. This examination has required considering the working process of drawing itself. Differential seeing proposes that from the photographic, different vantage points and moments can coalesce through an intensive process of drawing.


Exploring the similarities between a Japanese functional aesthetic and formal sculptural styles My MFA research project explores the evolution of traditional Japanese ceramics towards a more global contemporary art aesthetic. I focus on the traditional relationship between materiality and form inherent in the Japanese tradition, paying particular attention to how the occupational notion of ‘tradesmen’ has been elevated to the title of ‘artist’. This cross-cultural shift, which underpins my practice and influences my conceptual and affective understanding, results in a body of work that responds to the

Australian natural environment, the current context of my studio practice. The delicate and brittle nature of my ceramics draws from both the fragility and strength of the Australian flora, with organic forms that attempt to embody the theme of the continuum of life. I have developed forms that evoke birth and aim to bring to light the beauty, curiosity and unity between both plant and human as a means of capturing and representing notions of the contemporary sublime.


BACHELOR OF FINE ART (HONOURS) The National Art School’s Bachelor of Fine Art (Honours) degree is a specialised course of study for select students who wish to develop their ability and autonomy as emerging professional practitioners in the visual arts. Our graduates have completed a vitally important year of study that has provided them with the opportunity to hone their particular studio interests through the development of a cohesive body of work that builds on the fundamentals acquired through the Bachelor of Fine Art degree. Their individual ability and autonomy as emerging artists has evolved through directed and rigorous studio-based investigation and research within the context of contemporary art discourse. The full-time studio-based program, delivered by coursework over one academic year, comprises inter-related subject streams: the Studio Major, nominated from the disciplines of Ceramics, Drawing, Painting, Photography, Printmaking or Sculpture, the Studio Seminar, and the Art History & Theory lecture series, which together provide a rigorous and comprehensive framework for focused exploration and study. Each student in the course has extended their technical and conceptual skills, along with their aesthetic and critical judgment, and historical, contemporary and theoretical understanding of their individual evolving art practice. The Studio Major

provides students with the opportunity to investigate and develop the required technical and conceptual skills to produce a major body of work and to position their practice in the contemporary field. Specialist staff members have guided students as they planned, investigated and resolved this body of work. The Studio Seminar provides a lively forum for students to consider their activity within a professional and cultural framework, and to locate it within field of practice and discourse in relation to the concerns addressed in the Studio Major and the Art History & Theory subjects. The Art History & Theory lecture series provides students with the theoretical and historical knowledge and critical skills to better understand the role of professional artists in society, as well as serving to demonstrate the necessity and the possibilities of dialogue between art theory and art practice. The National Art School’s mission is to provide excellence in tertiary level education and training for those with exceptional talent who wish to develop careers as professional artists. The work presented this year by the Bachelor of Fine Art (Honours) graduates is a testament to the great potential of this group of students. Dr John Di Stefano Postgraduate Coordinator


Jenni Eleutheriades

Melanie Jayne Hearn

Mary Soumaher

Alana Wilson


Merryn Hull

Gihee H. Lee

Hong An James Nguyen

Amanda Burgess

Rachelle Down

Renuka Fernando

Gabriella Hirst

Elliott Nimmo

Nadia Odlum

June Sartracom

Amanda Seddon

Kiata Mason

Celina Mira Stang

William Ackerman

Kate Alstergren

Brandon Trakman


Federico Vivarelli Colonna

Jordan Beenken


Michelle Bagby

Lucas Baynes

Georgia Brown

Caitlin Casey

Cecilia Jackson

Aidan Jansen

Jacqueline Maureira

Matthew Busteed

Christopher Connell

Jenny Cuthbert

Susan Foster

Mirra Whale

Rhys Davis

Simon Hodgson

BFA(HONs) 16/17

HONS 2012

ceramics Jenni Eleutheriades Mineralia stoneware with crystalline glaze dimensions variable

ceramics Melanie Jayne Hearn tea pot and tea cups porcelain dimensions variable

ceramics Mary Soumaher The Three Graces earthenware glaze, silver nitrate and copper pigment dimensions variable

ceramics Alana Wilson Composure II porcelain paperclay with various glazes 10 x 9 x 9 cm


HONS 2012

DRAWING Amanda Burgess Days and Distance recycled newsprint 90 x 240 x 15 cm

DRAWING Rachelle Down Untitled ink on paper 21 x 30 cm

DRAWING Renuka Fernando Disturbing the Surface charcoal, ochre on paper 280 x 250 cm

DRAWING Gabriella Hirst Fragile Narratives salt crystal magic trees, steel, silk, timber 200 x 200 x 200 cm


HONS 2012

DRAWING Kiata Mason Immersion ink and spraypaint on paper 200 x 142 cm

DRAWING Celina Mira Stang The Ruins latex, palm coir and soil 40 x 40 x 40 cm

PAINTING William Ackerman Wall Street used tyres dimensions variable

PAINTING Kate Alstergren bl책 jenter, kvinne onanert, delikat oil on board 75 x 50 cm each


HONS 2012

PAINTING Saif ALMURAYATI BQ185 mixed media on wood 120 x 240 cm

PAINTING Michelle Bagby Fertile Crescent oil and pigment on polyester 150 x 300 cm

PAINTING Lucas Baynes Suggestion Box, Suggestion No. 02574 oil, acrylic, paper, ink, pen, nylon cord, screw, pad lock, safety hasp and staple on board, mounted onto four besa blocks and ink on paper 60 x 30 x 30 cm and 15 x 10.5 cm

PAINTING Georgia Brown Cube Drawing acrylic sheeting dimensions variable


HONS 2012

PAINTING Matthew Busteed S.E.T.I (No.1) street posters 60 x 60 cm

PAINTING Christopher Connell Sphere oil on canvas 100 x 100 cm

PAINTING Jenny Cuthbert Cleanliness is Next to Godliness oil on canvas 200 x 110 cm

PAINTING Susan Foster Self Portrait alupanel, vinyl and acrylic 90 x 120 x 5 cm


HONS 2012

PAINTING RYAN HOFFMANN Alaska, Palm, Mortuary oil on linen, oil on polyester, oil on linen 35 x 42, 36 x 30, and 40 x 48 cm PAINTING Gihee H. Lee Building 25, Critique Session, 2011 oil on canvas 100 x 152 cm

PAINTING Merryn Hull Untitled acrylic, paint on canvas with aluminium, fluoro and foil-backed acrylic with LED and neon reflections 107 x 100 cm

PAINTING Hong An James Nguyen Caution acrylic and glitter on canvas 200 x 140 cm


HONS 2012

PAINTING Elliott Nimmo Editorial for Vogue China oil on canvas 150 x 120 cm

PAINTING Nadia Odlum moirĂŠ II wood, paper and pigment 31 x 31 cm

PAINTING June Sartracom Trans acrylic on canvas 120 x 120 cm

PAINTING Amanda Seddon Untitled oil on board 80 x 60 cm


HONS 2012

PAINTING Brandon Trakman Untitled ink, paper and wood dimensions variable

PAINTING EVA TROYEUR-GIBSON Steenbok oil, acrylic and charcoal on canvas 110 x 110 cm

PAINTING Federico Vivarelli Colonna I’d rather be a hammer than a nail hammer, nails dimensions variable

PHOTOGRAPHY Jordan Beenken Lick it, Dip it, Shake it (detail) glitter cardstock dimensions variable


HONS 2012

PHOTOGRAPHY Caitlin Casey Photographic Document C type photograph 84.1 x 118.9 cm

printmaking Cecilia Jackson Angle Grinder Experiment #1 angle grinder drypoint etching on paper 78 x 78 cm

printmaking Aidan Jansen Untitled (Pat) handprinted woodblock on mulberry paper 80 x 61 cm

printmaking Jacqueline Maureira Rhythm etching on paper 80 x 80 cm


HONS 2012

printmaking Mirra Whale Lawn Specimen: Shephards Purse (Capsella Bursa Pastoris) archival digital print on paper 120 x 80 cm

SCULPTURE Simon Hodgson Cage 6mm round bar 207 x 166 x 51 cm

SCULPTURE Rhys Davis Greek Satyr mixed media 174 x 72 x 40 cm 36/37

BFA 2012


Mevagh Clarke

Anika Craney

Edward Hobbs

Anne-Marie Jackson

Charlotte Le Brocque


Gabrielle Mason

Rachael McCallum

Aviva Pinkus

Meaghan Potter

Thomas Quayle

Laura Torrebianca

John Bloomfield Undergraduate Coordinator

Melanie Jane Howard

Professional Practice lectures provide the core relational studies that inform practice and prepare for a professional career in the Arts. The course is enhanced through its exceptional series of Guest Lectures, Artist-in-Residence program, Studio and Drawing workshops, BFA students are exceptionally well prepared to realise their potential to engage in individual practice and its relationship to contemporary paradigms. The skills, depth of knowledge and cultural values gained during this time establish a lifelong understanding of the visual arts. These attributes will encourage some to move on to highly successful careers as artists, while others will continue on an academic pathway that takes their practice and knowledge to higher levels of achievement through the Bachelor of Fine Art Honours and Master of Fine Art programs. We look forward to sharing with our students their successes and the contributions they will make to the community, and we offer our congratulations for all that they have already achieved.

Chee Yong Ang

The National Art School’s Bachelor of Fine Art (BFA) degree recognises a tradition of creative learning that has helped to define the history of Australian art, as witnessed through the successes and recognition of its distinguished alumni. The current generation of graduates demonstrate, through their exceptional understanding of process and creative thinking, an outstanding virtuosity forged from three years intensive study. They affirm with overwhelming enthusiasm the continuing success of the studio environment at the core of the BFA program. By design, the BFA program develops the creative independence, knowledge and experience of each student to establish a career as an emerging visual artist, and to develop the academic rigour for further education and research at postgraduate level. In the first year of the program students experience each of the studio disciplines of Ceramics, Painting, Photography, Printmaking and Sculpture, providing a basis for the development of individual specialisation in second and third year. An intensive Drawing and Art History & Theory program provides the core subjects that underpin the rigour introduced through studio-based study throughout all three years of the course. Studio Seminar, Professional Studies and



BFA 2012

Chee Yong Ang Teabowl stoneware and tenmoku glaze 7 x 13 x 13 cm

Mevagh Clarke Calf earthenware, terra sigillata, oil paint 31 x 63 x 32 cm

Anika Craney Moss Pocket ceramic 30 x 35 x 28 cm

Edward Hobbs Bottles copper red stoneware 17 x 17 x 17 cm


BFA 2012

Melanie Jane Howard Movement stoneware clay, peach bloom and copper glazes 20 x 15 x 15 cm

Anne-Marie Jackson Negative Space engobe on stoneware clay 25 x diameter 17 cm

Charlotte Le Brocque Crazy Koala ceramic 19 x 18 x 13 cm

RUTH JU-SHIH LI Haru no Hanabi (May Day Fireworks) stoneware, crystalline glaze 26.5 x 10.5 x 10.5 cm CERAMICS 42/43

BFA 2012

Gabrielle Mason R.I.P stoneware 21 x 9 x 4 cm

Rachael McCallum Ceramic Painting #3 ceramic 29 x 25 x 13 cm

Aviva Pinkus Untitled earthenware, copper glazes dimensions variable

Meaghan Potter TL;DR Pit and Saggar fired clay 16.5 x 11 x 12 cm, 39 x 12 x 13 cm CERAMICS 44/45

BFA 2012

Thomas Quayle Lateo, ere reduction fired BRT 18.5 x 14 x 20 cm

Laura Torrebianca Blue Honey carved stoneware with rutile glaze 16 x 10 x 14 cm CERAMICS 47/47

Gemma Avery

Charles Bamford

Clementine Barnes

Rosemarie Bilyk

Penelope Bobbin

Susan Krieg

Joanne Makas

Sarah Elizabeth Martin

Guy Francis Martin

David Matthews

Jason Cheng

Kit Christian

Kaya Clarkson

Sinead Condell

Michael Cooke

Michael McIntyre

Catie McLean

Eve Meagher

Annette Miles

Montana Miller

Tim Corne

Noni Cragg

Christopher Dewar

Anthony Di Nuzzo

Kirsten Drewes

Tetsuya Mori

Kyle Murrell

Viola Nazario

Andréa Newton

Conor O’Shea

Mikaela Fitzgerald



Adam Gottlieb

Ceinwen Hall

Elizabeth Rankin

Toby Ratchawong

Nicole Sacks

Jemima Saw

Cosima Scales

Sophie Hopmeier

Adrienne Howe-Piening

Gillian Hughes

Elizabeth Kenway

Paul Kirk

Hannah Lee Smith

Roger Tuckwell

Bligh Twyford-Moore

Humphrey Westgarth


BFA 2012

Gemma Avery Untitled canvas book covers 31 x 22 x 5 cm

Charles Bamford Stem oil on canvas 76 x 76 cm

Clementine Barnes Painted Matter (Red) acrylic paint dimensions variable

Rosemarie Bilyk Nerves vertebrae, silicon, found objects and charcoal 115 x 10 x 8 cm


BFA 2012

Penelope Bobbin Moon Magic acrylic and oil on canvas 75 x 75 cm

Jason Cheng 21-Jue oil on canvas 300 x 200 cm

Kit Christian Smell of a Female mixed media 80 x 80 cm

Kaya Clarkson Silicone Baby oil on canvas 152 x 101 cm PAINTING 52/53

BFA 2012

Sinead Condell Untitled acrylic, chalk pastel and newspaper 102 x 66 cm

Michael Cooke Kin of acrylic on canvas 147 x 148 cm

Tim Corne a niche synthetic polymer on plywood and linen 240 x 240 x 250 cm

Noni Cragg Cameron oil on linen 160 x 104 cm PAINTING 54/55

BFA 2012

Christopher Dewar Holding it together oil on panel 120 x 120 cm

Anthony Di Nuzzo Untitled (Tuesday 31st July around 2:30pm) modelling clay on paper, mounted on board 28.8 x 26.5 cm

Kirsten Drewes Inside mixed media 86 x 61 cm

Mikaela Fitzgerald Nocturne oil on canvas 50 x 50 cm PAINTING 56/57

BFA 2012

Janette Gay Untitled 2012 Digital single channel video Duration: 1m 30secs

Olivia Godbee Beyond the veil silk, cotton thread, hair and metal dimensions variable

Adam Gottlieb Descent oil on board 50 x 84 cm

Ceinwen Hall At Arms’ Length oil on canvas 183 x 122 cm PAINTING 58/59

BFA 2012

Sophie Hopmeier The Peaks and The Sheets ink, papier collĂŠ on tin and board 91 x 160 cm

Gillian Hughes Animal Attraction vs Digital Distraction oil on board 92 x 146 cm overall

Adrienne Howe-Piening Untitled oil on canvas 76 x 101 cm

Elizabeth Kenway Peabike peas, bike and glue 104 x 148 x 41 cm


BFA 2012

Paul Kirk Olivia oil on board 54 x 44 x 14 cm

Joanne Makas Untitled (Fold) oil on canvas 86 x 70 x 20 cm

Sarah Elizabeth Martin obsequium mixed media on board 9 x 18 cm Susan Krieg Untitled #1 mixed media on panel 60 x 60 cm


BFA 2012

Guy Francis Martin no love, no god oil on canvas 68 x 158 cm Michael McIntyre Kings Cross, Arabia, Swamp Coral acrylic on board 165 x 120 cm

David Matthews Grosvenor Street, Wahroonga oil on canvas 76 x 100 cm

Catie McLean Nature of love oil on canvas 170 x 133 cm PAINTING 64/65

BFA 2012

Eve Meagher Lady by the beach oil on board 40 x 60 cm

Annette Miles Pathway oil on wooden panel 50 x 50 cm

Montana Miller Dancing on Scales ink on silk dimensions variable

Tetsuya Mori Interior No.11 oil on canvas 102 x 122 cm


BFA 2012

Kyle Murrell Wandering Trail, Hill End oil on canvas 30 x 30 cm

Andréa Newton Play of Light (1) acrylic on canvas 175 x 185 cm

Conor O’Shea The Church oil on linen 30 x 35 and 30 x 26 cm

Viola Nazario Las cosas inexistentes oil on canvas 117.5 x 102 cm


BFA 2012

Elizabeth Rankin The Lesson oil on linen 167 x 122 cm

Nicole Sacks In or Out oil on board 62 x 73 cm

Toby Ratchawong White circles on yellow enamel on canvas 41 x 101.5 cm

Jemima Saw Hot Sauce mixed media 21 x 29 cm PAINTING 70/71

BFA 2012

Roger Tuckwell Kamay Dunes acrylic on canvas 92 x 215 cm Cosima Scales Eastern Holiday watercolour and oil on board 60 x 90 cm overall

Hannah Lee Smith Self Portrait mixed media on board 155 x 62 cm

Bligh TwyfordMoore The Blue Cloud pastel, gouache and charcoal on paper 83 x 58 cm PAINTING 72/73

BFA 2012

Humphrey Westgarth Fire Bucket metal, wood, glue and paper 22 x 22 cm


BFA 2012

Anna Cuthill

Veronica Habib

Nick MacMahon

Louise Morgan

Korynn Morrison

Jacqueline Heldoorn

Amoni Best

Amoni Best Yesterday, Today, and Tomorrow C type photograph 56 x 84 cm

Anna Cuthill Aware, No. 12 C type photograph 56 x 84 cm



BFA 2012

Veronica Habib Diaspora single channel HD DVD, duration 22:02 minutes

Nick MacMahon Woolgatherers, No. 2 silver gelatin photograph 11 x 16 cm

Louise Morgan Purlieu digital pigment print 14.5 x 24 cm

Jacqueline Heldoorn Uninhabited digital pigment print 150 x 100 cm PHOTOGRAPHY 78/79

BFA 2012

Korynn Morrison Instilment silver gelatin photograph 91.5 x 115.5 cm


BFA 2012

Mie Nakazawa

Eric Mahony

Alexander Latham

Madeleine Hudson

Margaret Vickers

Yvette Ten-Bohmer

Lotte Smith

Charlotte Perry


Madeleine Hudson Flaneur monoprint on paper 71 x 89 cm

Alexander Latham Sunk hardground etching 33 x 22 cm PRINTMAKING 82/83

BFA 2012

Eric Mahony The Waiting Room softground etching on paper 5 x 12.5 cm

Charlotte Perry Grief lithograph and ink on paper 49 x 35 cm

Lotte Smith Incandescent linocut and screenprint installation 170 x 300 cm

Mie Nakazawa Moment multi-panel monoprint 52 x 21 cm PRINTMAKING 84/85

BFA 2012

Yvette Ten-Bohmer Places of Interest aquatint and à la poupée etching on paper 44 x 78 cm

Margaret Vickers Joie de Vivre relief print on paper 100.5 x 32.5 cm PRINTMAKING 87/87

Alexander Brattoni

Mia Clendinning

Jack C. Colwell

Shannon Cranko

Juliette Furio

Nicholas Georgiou

Alita Graziano

Maria SoJung Kim

Pamela Leung

Charlotte Lund

Charlotte Murch

Katie Murray

Diana Prowse

Kelley Stapleton

Elyssa Sykes-Smith

Mia Clendinning viola plaster, steel and polystyrene 182 x 63 x 39 cm SCULPTURE 88/89


Alexander Brattoni Tornado steel, tempered glass, perspex and pine wood 450 x 620 x 530 cm

BFA 2012

Jack C. Colwell The Owls are Not What they Seem cardboard, spraypaint, found objects and wood dimensions variable

Shannon Cranko Cry plaster, wood, plastic and fabric 100 x 40 x 55 cm

Juliette Furio Implied Meaning limestone 41 x 81 x 23 cm

Nicholas Georgiou The Moment to Come steel 138 x 53 x 53 cm SCULPTURE 90/91

BFA 2012

Alita Graziano Untitled wire, cloth and mixed media 94 x 104 x 106 cm

Maria SoJung Kim Amphibian’s Arabesque mild steel 30 x 45 x 20 cm

Pamela Leung The Red Journey timber and string 88 x 62 x 17 cm

Charlotte Lund Heads clay dimensions variable


BFA 2012

Charlotte Murch Beak marble and resin 16 x 35 x 32 cm

Diana Prowse Catch the wind perspex and metal 60 x 40 x 45 cm

Katie Murray Fassbender 2 foam core installation dimensions variable Kelley Stapleton Threshold 4 MDF dimensions variable SCULPTURE 94/95

BFA 2012

Elyssa Sykes-Smith A Different Perspective timber 38 x 44 x 35 cm


NAS 2012

National Art School Fellowship 2012

Fiona Hall, self portrait, detail National Art School, 1974 Image courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

The National Art School Fellowship acknowledges the achievements of eminent visual artists, arts administrators, writers, advocates and academics who have made outstanding contributions to the visual arts community in Australia. The Fellowship is an honorary award for exceptional achievement and/or service within the professional domain, awarded annually by the National Art School. Since its inception in 2002, the National Art School Fellowship has been awarded to Colin Lanceley AO (2002), Peter Rushforth AM (2003), John Coburn AM (2004), Geoffrey Bardon AM (posthumous award, 2005), Elisabeth Cummings OAM (2006), Margaret Olley AC (2007), John Olsen AO OBE (2008), Bert Flugelman AM (2009), Thancoupie Gloria Fletcher James AO (2010), William Wright AM (2010), and Guy Warren OAM (2011). In 2012 the significant and lasting achievements of two outstanding individuals have been recognised: Fiona Hall and John Kaldor AM.

Fiona Hall


Fiona Hall is today recognised as one of Australia’s leading contemporary artists. Since first emerging in the 1970s as a photographer, Hall’s practice has evolved over the last 40 years to represent a sophisticated, eclectic and ever-growing repertoire, which includes sculpture, painting, installation, garden design and video works. Having decided upon a career in art early in her life, Hall enrolled as a student at the National Art School (at that time more commonly referred to as East Sydney Tech) in the early 1970s. It was during this period that Hall’s creative attention settled on the practice of photography as a form of artistic expression. Over the ensuing decades Fiona Hall developed her distinctive and delicate environmental aesthetic, slowly bringing to being a practice reflective of her enduring reflection on the relationship between nature and culture, developing extraordinary artworks that would cement her place as a leading Australian and international artist. In 1997 Hall was awarded the prestigious Contempora 5 Art Award at the National Gallery of Victoria, with her eclectic fusion of photography, finely crafted objects and found materials. Today Fiona Hall’s work is represented in major public art collections throughout Australia and internationally. Hall has exhibited in significant curated exhibitions throughout the world, culminating in her selection in 2012 as an exhibiting artist in the Documenta 13 in Kassel, Germany. Hall is recognised as an outstanding graduate of the National Art School and as a leading Australian and international artist.

For well over 40 years, art collector and contemporary art patron John Kaldor has shared his passion for contemporary art with the Australian public through a series of high profile public art projects. His efforts have resulted in ground-breaking international artworks presented for the first time in Australia under the banner of Kaldor Public Art Projects. In 1948, at the age of 13, John Kaldor arrived in Australia from Hungary with his parents as refugees from the upheaval sweeping post-war Europe. After completion of high school in Sydney, Kaldor spent time in both London and Zurich studying textiles and fabric making, before returning to Australia to work in the fabric making industry. In the 1960s, having been intrigued and seduced by the international avant-garde art movement that he had encountered in Europe, John dared to conceive of an audacious venture: to bring the most adventurous of these artists and artworks to Australia’s then relatively isolated shores. This impulse would eventually manifest itself as a significant milestone in the development of contemporary Australian art and culture when in 1969 Kaldor Art Projects began its existence with an ambitious and unlikely idea, the wrapping of Sydney’s Little Bay by seminal New York based conceptual art collaborators, Christo and Jeanne-Claude. This event, which inspired so many, is now indelibly marked as a milestone in Australia’s participation in the world of international art. Kaldor Public Art Projects grew, and continued to bring a diverse and influential range of international art and artists to Australian audiences, including

John Baldessari, Santiago Sierra, Bill Viola, Sol Lewitt, Richard Long, Nam June Paik, Gilbert & George to name only a few. Over recent years John Kaldor has participated on the boards and international councils of numerous influential art institutions including: P.S.1 in New York; the Tate Modern, London; the Biennale of Sydney; and as chair of the Museum of Contemporary Art, Sydney. He was selected as commissioner for the Australian Pavilion at the 51st Venice Biennale in 2005 and again for the 52nd Venice Biennale in 2007. Kaldor was a founding member of the Board of the Power Institute of Contemporary Art, has served as a trustee of the Art Gallery of New South Wales, and is currently on the International Council of the Museum of Modern Art, New York. In 1993 John Kaldor was awarded a Member of the Order of Australia for service to the Arts. This year, the National Art School has awarded the Fellowship in recognition of his continuing contribution to Australian art and culture.

John Kaldor AM with Chairman of the Board of Directors, The Hon. John Aquilina Photo © Ella Dreyfus


NAS 2012


Artist in Residence Professor Lyndal Jones, Cell Block Theatre

The National Art School Interstate and International Artists-in-Residence Scheme is designed to facilitate invited and selected scholars and artists-in-residence to undertake projects and residencies at the National Art School for periods of up to three months. The majority of these visiting artists are funded externally, either through their home institutions, research grants, Arts Council, sponsorship or other philanthropic funding. The artists are housed in residential accommodation adjacent to the School and its Annex Studios. The residency program facilitates a unique insight into the culture, heritage, landscape and place of Sydney and Australia from both a national and international perspective. During 2012 internationally acclaimed Australian multi-media artist and academic Professor Lyndal Jones took up an extended period as National Art School Artist in Residence whilst developing and installing her performance based work Rehearsing Catastrophe: The Ark installed on Cockatoo Island as part of the 18th Biennale of Sydney. Well known for her conceptual works incorporating performance and projection, Lyndal has been active in the Australian art scene

since the 1970s, creating work spanning film, performance, music and experimental painting. Her interest in the relationship between humans and the environment has developed to incorporate ideas of catastrophe, and the ways in which people band together during periods of natural disaster. This saw her create a skeleton façade of an ark under construction on Cockatoo Island, adding a new dimension in light of the history of the island as a shipbuilding site. Impromptu performances engaging public volunteers (including many National Art School students) occurred as part of this work throughout the Biennale. During 2012, the National Art School hosted scholars and artists from Germany, USA, China, the Czech Republic, the Netherlands, France, Canada, New Zealand and the UK through a range of partnerships with institutions including the Courtauld Institute of Art, and Middlesex University, both in London; the Art Association of Australia and New Zealand; Arts NSW, the City of Sydney and the Biennale of Sydney. A number of visiting artists were resident while undertaking specific projects with the National Art School, including: Anton Reijnders and Sandy Brown with the Ceramics department; Therese Keogh with the Study Centre for Drawing’s Drawing Season: the internationally renowned Professor Thierry De Duve in conjunction with the AANZ 2012 annual conference Together<>Apart; and art historian Professor Sarah Wilson in conjunction with the Power Institute at the University of Sydney. Canadian academic and new media artist Associate Professor Leila Sujir and her colleague David Seitz of Concordia University, Montreal were in-residence throughout a period that included the

running of their hugely successful 3D Drawing workshop at the National Art School in conjunction with the International Association of Independent Art & Design School’s General Assembly and Workshop program. British artist Tim Knowles undertook work for his major solo commission Windgrid for the City of Sydney Taylor Square Temporary Public Art Program, Windwalk in conjunction with Art & About, Sydney and his exhibition Windlab with the National Art School Gallery. Leading British photographer Professor Richard Billingham was also in residence undertaking a photography project in and around NSW for the development of forthcoming work, and

renowned British painter Professor John Walker took up residency in conjunction with his exhibition with Tim Olsen Gallery and Boston University. Other artists in residence throughout 2012 included Berit Myreboee; Norbert Schwontkowski in conjunction with Dominik Mersch Gallery; Euan MacDonald in conjunction with Darren Knight Gallery; Katrin Anika Strobel; Professor Zhang Geming in conjunction with Arts NSW and Tsinghua University, Beijing; Eva Kot’atkova in conjunction with the 18th Biennale of Sydney; David Thorp, independent British curator; and Professor David Rayson in conjunction with the Royal College of Art, London.

Tim Knowles Windgrid, Installation Taylor Square Photo © Ingelise Pedersen


NAS 2012

THE STUDY CENTRE FOR DRAWING The Study Centre for Drawing at the National Art School represents a vibrant hub of research and scholarship in drawing – a core subject and area of recognised academic expertise at the School. This informal and flexible nucleus engages with drawing in both ways that are questioning and inventive while maintaining a rigorous consideration of formal and historical precedents. Housed at 106 Burton Street, just outside the campus grounds, the Centre interacts with all the National Art School’s activity, from general public access, through undergraduate and postgraduate education to research and scholarly activities. This year The Study Centre has continued to promote and nurture a diverse range of projects and events. In April, coordinator of the Artworks and Artwords online glossary, Joe Frost, curated the second exhibition about art words. Focusing on the language artists use to talk about formal qualities of art making, the exhibition provided a platform for discussion and information. With contributions from around the country, the Artworks and Artwords website is constantly growing and is now available for viewing at The Study Centre presented a second glossary based show at 106 Burton Street in conjunction with the International Association of Independent Art & Design Schools 2012 General Assembly. Artists Associate Professor Leila Seijur, David Seitz, Susan Stamp, Locust Jones and Briony Barr also presented workshops which ranged from cutting edge 3D drawing tools, life drawing for animation and a 20 meter long scroll, to the mapping of complex systems on the floor of the Cell Block Theatre. The 2012 Drawing Season took the new form of a series of exhibitions and

forums, which explored the theme of place. This connected to the UK artist Tim Knowles’ ambitious wind based projects through the National Art School Gallery and Taylor Square. While Knowles engages with the surprises of ‘actual’ space, The Island of Drawing generated a virtual graphic connection between two islands: New York and Australia. This collaborative on-line project between artist Jeanne Verdoux, living in New York, and The Study Centre for Drawing at The National Art School, in Sydney, took place during September. The Study Centre for Drawing’s gallery at 106 Burton Street, Darlinghurst was the venue for two events which explored the role of residencies in drawing practice. The first event drew on Lynne Eastaway’s recent residency at the Cité Internationale des Arts and Charles Cooper’s 2012 residency at the British School at Rome. The second showcased work from Hong Kong, Paris and Wollombi by Rachel Fairfax, Deborah Beck and Ambrose Reisch. Taking the season to Leichhardt, Placed at Articulate Project Space explored relationships between drawing and physical space through installation and site specific drawing. Generating dialogue between two cities, Placed included two Melbourne artists, Andrea Baxter and Therese Keogh as well as a recent graduate and student, Melissa Thompson and Hong An James Nguyen. Throughout the year The Study Centre for Drawing has supported changing exhibitions of sketchbooks in the Library and reception, which have included work by Jocelyn Maughan, Anthony Di Nuzzo, Lynne Eastaway, Su Archer, Ambrose Reisch, Daniel Pata and David Horton.

Workshop in the Cell Block Theatre led by Briony Barr

Drawing Season: Placed at Articulate Project Space in Leichhardt Work by Hong An James Nguyen


NAS 2012


Alexandra Standen and local Tapatjatjaka artists at the end of a long day at the Desert Mob Art Markets at Araluen in Alice Springs Photo © Jane Easton

The National Art School provides opportunities for emerging and established artists to be immersed in the professional arts industries and cultures of other communities through a range of internship and residency programs. The Aboriginal Art Centre Internship Program engages National Art School graduates in training and practical arts management within the indigenous communities of Titjikala and Ikuntji in central Australia; the National Art School British School at Rome Residency in Drawing program provides a unique opportunity for an Australian artist to be immersed in the international scholarly community of this esteemed institution in the heart of Rome; and the Storrier Onslow National Art School Paris Studio residencies at the Cité International des Arts, administered by the Friends of the National Art School, continues to provide opportunities for academic staff and recent graduates to develop their practice alongside artists from different countries in one of the world’s great centres of artistic expression. With the generous support of Arts NSW, the National Art School and Tsinghua University, Beijing completed an ambitious Artist in Residence Exchange to provide artists from Australia and China with a unique opportunity to work within diverse contemporary and traditional art worlds of our respective countries.

National Art School Residency at the British School at Rome In 2012 artist and Lecturer in Drawing, Charles Cooper, undertook the National Art School Residency in Drawing at the British School at Rome. From January to March, Charles lived and worked with a diverse group of artists, historians, archaeologists and architects from around the world

National Art School Aboriginal Art Centre Internship Program Now in its third year, the 2012 Aboriginal Art Centre Internship program, made possible through the generous support of Sharon Tofler and Mark Tedeschi QC, saw BFA Honours Ceramics graduate Alexandra Standen undertake a ten week internship with Tapatjatjaka artists located at Titjikala NT, and BFA painting graduate Meredith Birrell with Ikuntji artists, located near Haasts Bluff NT. These emerging artists acquired practical arts management experience in active Aboriginal community art centres, and were able to develop their own practice through engagement with local indigenous artists. As always this program provided both an extraordinary personal and professional opportunity for these young artists and the communities they worked with.

researching and producing a body of new work, and expanding his interest in the roadway as a visual metaphor and perspective as an allegory for perception. The National Art School Residency in Drawing at the British School at Rome will continue to be offered in 2013 with the generous support of an anonymous donor.

I was immediately impressed with the working structure and atmosphere of the British School. I was provided with a generous space in which to work and live, regular opportunities (particularly in the dining room) to develop friendships with archaeologists, historians and fellow artists from the British Commonwealth, unrestricted access to the School’s highly regarded library, Italian language classes and comprehensive support for the studio program, which included ongoing orchestration of a final exhibition by the eight artists in residence. I found myself collecting and using actual bits of Roman roads, cobblestones (temporarily borrowed), known as sanpietrini, as well as pine cones, painted clay and mirrors, to create arte povera-style dioramas echoing the archaeology, architecture and history of Rome. Now back in my Sydney studio I am enjoying the process of absorbing these experiments into my current work and returning to normal after an extraordinary life experience. Charles Cooper, 2012 Recipient, National Art

Every day I seemed to be attracting more and more children who wanted to learn how to make pots on the wheel. They all seem so earnest and willing to learn. Every afternoon after school I was overrun with young budding artists all wanting to make and decorate their own bowl. The joy on their faces is lovely, and they go happily on their way when their artwork is sitting proudly on the shelf with the others. There are so many stories to tell about the art centre and community and of course the landscape. It has been the people, especially the artists, of Titjikala who have had such a profound effect on me and for that I will be forever grateful.

School Residency at the British School at Rome

Charles Cooper at the Capitoline Museums in Rome Photo: © Dr Michael Hill

Alexandra Standen, 2012 intern at Titjikala


NAS 2012


Professor Zhang Geming in Sydney

National Art School - Tsinghua University Beijing Residency Exchange With the generous support of Arts NSW, the National Art School and Tsinghua University, Beijing completed an ambitious Artist in Residence Exchange to provide artists from Australia and China with a unique opportunity to work within diverse contemporary and traditional art worlds of our respective countries. Following the successful 2011 placement of National Art School graduate and emerging NSW artist Juz Kitson in Beijing with Tsinghua University, the National Art School hosted Professor Zhang Geming, a faculty member of the Universities’ Academy of Art & Design for a period of three months. The National Art School - Tsinghua University, Beijing Emerging Artist in Residence Exchange program is administered by the National Art School with the support of Arts NSW.

Throughout the year the Art Forum has provided a platform for academic exploration and the sharing of methods of practice and professional experiences across a variety of disciplines and topics. Exhibiting artists involved in the National Art School Gallery exhibitions and projects who presented lectures in this year’s Forum program included renowned Australian artist Mike Parr who, in collaboration with master printmaker and Visiting Lecturer John Loane, presented a rare and candid insight into the nature and development of Parr’s substantial body of print based works developed with Loane over more than twenty years of collaboration, a survey of which was the basis for Parr’s major exhibition Brain Coral held in the National Art School Gallery in 2012. The Art Forum program provides an opportunity for students to be presented with a range of perspectives including those of emerging Australian artists presented in conjunction with our exhibition program. Examples are recent graduates Justine Varga, whose work was included in 2012 exhibition The Lookout at the National Art School Gallery and will be included in this year’s Primavera exhibition with the Museum of Contemporary Art, Australia, and ceramic artist Anne Kwasner who was selected as an emerging artist in the 2012 Redlands Westpac Art Prize. Other graduates included in this year’s program included Sarah Goffman who discussed the development of her extraordinary practice and her exhibition art Artspace, Sydney. Visiting artists and academics who presented lectures in conjunction with the International and Interstate Artist in Residence program and the Study Centre for Drawing included leading Australian multi-media artist Professor Lyndal Jones, who presented not only a lecture surveying

Mike Parr, sheet from Sawtooth portfolio, 2009, silkscreen, drypoint, carborundum, lithograph, charcoal dust and stamps on 19 sheets of Hahnemuhle 350 gsm paper, edition 1/5, 108 x 78 cm © courtesy the artist and Anna Schwartz Gallery

her recent practice, but an engaging induction into audience participation for her ambitious performance piece Rehearsing Catastrophe: the Ark installed on Cockatoo Island as part of this year’s 18th Biennale of Sydney. International Artists associated with the Artist in Residence program to present Forum lectures included UK artist Tim Knowles who in conjunction with his exhibition Windlab at the National Art School Gallery and his major public installation Windgrid commissioned by the City of Sydney for Taylor Square, led a fascinating discussion on the subject of wind with structural and wind engineer Dr Mick Cahy, and sailor Josh Capelin. Other visiting international artists and scholars to present lectures included Berlin-based installation artist Chiharu Shiota, Canadian based artist and writer Sarindar Dhaliwal, 18th Biennale of Sydney Co-Artistic Director, Catherine de Zegher, London based curator David Thorp, renowned British photographer Professor Richard Billingham and ceramicist Anton Reijnders from the Netherlands. Australian artists and scholars presenting lectures this year included Emeritus Professor Elizabeth Ashburn, Nike Savvas, Ruark Lewis, Anne Judell, Jude Rae, Michael Doolan and Art Gallery of New South Wales Curatorial Director Anthony Bond OAM. 106/107

NAS 2012

STUDENT REPRESENTATIVE COUNCIL 2012 has been a year full of events for the Student Representative Council (SRC). The main of objective of the SRC over the past year has been to represent students’ interests and voice within the School and create, through the integration of year groups amongst under-graduate and postgraduate students, one National Art School community. This was achieved through the hosting of on campus events, social gatherings with other art schools and sporting activities. The ‘NAS Music Jamming gigs’ that began last year became an on-going format for students to catch up over live music. Outside the common room, while the SRC set up a bar and BBQ areas, National Art School musicians provided entertainment, letting festivities progress from a chilled lazy Friday afternoon setting, talking about art around a fire, into wild Friday night dancing. We extended our social initiatives to a cross art school event. In April, the National Art School, College of Fine Arts and Sydney College of the Arts organised their first common “Art School Bash”. In partnership with FBI social, the Kings Cross Hotel became, for a night, a place where students of the three arts schools could meet over live music. This was the first time in 15 years such an event had taken place. Who said art kids can’t make things happen? We are hoping for more events next year. In July we had the chance, through the International Association of Independent Art and Design Schools conference, to take part in international art school events. Students participated in the different workshops led by international artists and that week, I AM WHAT I PLAY, organised by students and lecturers, was

a great way to celebrate the occasion with international workshop participants. August saw the annual Fine Art Cup (aka FA cup) take place and the pressure couldn’t have been higher as the National Art School brought the cup home last year! But we were very proud to see our team, after mastering the ball and sweating on the field, keeping the cup in its motherland, our goal! The weekly yoga session held in the Chapel might have had a good impact on the mental and physical preparation of the team. In September it was a real pleasure to welcome visitors into our bubble for Open Day. Lots of students got involved,

working in the studios, organising tours, and sharing their works, as well as insights about life at the National Art School. Finally, on the 22nd of September a 1960s fever took the Cell Block Theatre by storm for the NAS 60s Sci-fi Ball. A Ball committee, led by our lovely Georgia Saxelby, prepared the festivities throughout the year and gave us an absolutely extravagant night. The result was a fantastic mix of galactic handmade costume designs, decorations, and crazy moves. Third years were in charge of the entertainment, with our very own musicians, DJ, singers and dancers giving our crowd of Barbarellas a good shake. Overall the night was a massive success and we can only hope that everyone who attended enjoyed themselves and interacted with company outside their usual studio environment. I would like to extend a massive thank you to out-going Chair, Alex Brattoni, for his huge commitment to the School and Janette Gay, for her incredible contribution to the SRC in a year of change at School. Thank you to the Ball Committee, the musicians always involved in main

events, and my SRC exec. body and loyal committee members who offer on-going support, energy, ideas and share the same passion for making the National Art School the best place it can be. We are absolutely blessed to be able to study in such a protected and special environment in the heart of Sydney. Looking after students’ interests and making the National Art School a close student community is an absolute pleasure and I hope the relationships you built will last for a long time when out in the real art world. To every student graduating this year, I wish you best of luck and a successful career in the arts. Art school is a personal and emotional journey. I hope you enjoyed the ride and will look back on these years with great memories. I know for lots of us, leaving is both exciting and scary, as the art world requires a big leap of faith and determination. Good luck to you all, stay connected to your peers and the School. You will always be welcome in the home of your first years as artists.

Images from the 2012 Student Ball Photos © Peter Morgan 2012 opposite

The NAS team win the Fine Art Cup again

AUDE PARICHOT Chair, Student Representative Council


NAS 2012

NATIONAL ART SCHOOL GALLERY 2012 The mission of the National Art School Gallery is to inspire and encourage critical perspectives of art and its role in society. Through our exhibitions, events and publications the National Art School Gallery presents the vitality of the visual arts within a local and global context. Our role is to engage audiences from the campus, the community and beyond. In 2012 we continued to develop rewarding partnerships; commission new work; and support and profile artists at all stages of their career. This was achieved while providing fertile professional practice opportunities for our students. 2012 began with Mike Parr: Brain Coral, which marked the start of a vibrant year of contemporary art exhibitions. Parr is widely regarded as one of the most important artists working in Australia today. Brain Coral focused on his works on paper from the 1970s to the present and considered the intricate link between drawing and printmaking within the context of Parr’s performance work. Importantly, the exhibition considered the creative relationship between the artist and John Loane, a highly accomplished printmaker. Parr and Loane have both been visiting artists who have taught and led a number of workshops with the students. The exhibition was accompanied by an extensive catalogue supported by Morry Schwarz and by a range of exciting programs and talks. The National Art School was delighted to partner for the first time with Redlands School to deliver the prestigious Redlands Westpac Art Prize (RWAP). A highly respected contemporary art prize, RWAP supports both established and emerging Australian and New Zealand artists in a unique structure that recognises the importance of dialogue and mentoring between generations of artists. The artist

and educator Dr Lindy Lee was appointed as guest curator. Lindy invited a selection of senior artists, and these artists in turn nominated an emerging artist to exhibit with them. This focus on artists and the connections they create provides an excellent and spirited presentation of well-recognised artists and brings to the attention of a wider public lesserknown contemporary artists through this ‘generational’ selection. The second season of I AM WHAT I PLAY took up the challenge to mix artistic platforms and stimulate new networks for exchange by bringing together audiences, national and international art students, artists, lecturers and unexpected DJs for a one night performative event. Curated by Katie Dyer and Dr John Di Stefano, invited participants included Gary Sangster, co-curator of the video program, Briony Barr, Stephen Bird, Associate Professor Merilyn Fairskye, Dr Daniel Mudie-Cunningham and students from the National Art School and Sydney College of the Arts, University of Sydney. Our creative association with the City of Sydney continued, demonstrating our commitment to collaborations and partnerships with artists, the community and local organisations. British artist Tim Knowles undertook a residency at the National Art School as he completed his Taylor Square City Art project. Taking wind as the inspiration and force through which the work is created, Tim accentuates the engagement humans have with the environment, despite our often highly urbanised existence. Windlab was located in the National Art School Gallery, while Windgrid installed in Taylor Square for nine months, consists of a constantly shifting ceiling of windvanes in the form of paper aeroplanes that also animate

the ground through the effect of cast shadows. Windwalks invited members of the public to take part in a walk through the city, guided only by the wind. Wearing a windvane apparatus walkers meandered through the city, their path tracked by a GPS device generating a drawing that maps the pathways of the participants. The group exhibition The Lookout introduced to the Sydney community dynamic and passionately expressed works by international and Australian artists creating local connections to the current global dialogues on contemporary art and ideas. The exhibition considered how contemporary artists might negotiate concepts of connection, connectivity, and communities today. The artists in the exhibition; Locust Jones (Blue Mountains, NSW); Anri Sala (Berlin); Rania Stephan (Beirut); and graduate of the National Art School, Justine Varga (Sydney NSW), interweave a sense of place and belonging in their work, and articulate changing ideas about art, the world and their own social situations as artists. The exemplary technical, aesthetic and intellectually rigorous training of our students is showcased in the much-anticipated end of year student exhibitions. Over 100 undergraduate students and over 40 postgraduate students exhibit their work in a gallery context and in the studio context. These multi-faceted presentations provide students with a deeper understanding of the professional world they will be entering, and provide audiences with a unique opportunity to experience the making of art from a range of perspectives. KATIE DYER Curator/Gallery Manager


Mike Parr: Brain Coral National Art School Gallery, Installation View 24 February – 14 April 2012 Photo © Mim Stirling 2012 above

2012 Redlands Westpac Art Prize National Art School Gallery, Installation View 3 May – 2 August 2012 Photo © Mim Stirling 2012


NAS 2012



Douglas Dundas Seated male with waistcoat, c 1940 graphite on paper, 39 x 31.5 cm far right

Euan Macleod A Study for Volcanic Lover, 2002 oil on canvas, 50.7 x 38 cm


The National Art School has a nationally significant art collection and archive dating back to 1760, which includes works of art on paper, paintings, prints, sculptures, archival material as well as artefacts relating to the history of the site as a gaol. The collection performs a major role within the National Art School, both as a teaching resource and historical record. The Exhibitions, Collection and Acquisitions (ECA) Committee met throughout this year to review all proposed acquisitions for National Art School Collections. As our Collections Management Policy (CMP) was finalised in February with International Conservation Services, ECA was able to apply the policies and guidelines for the acquisition of works for the collection, which are outlined in this comprehensive policy. In October 2011 the National Art School received a welcome grant from the Royal Australian Historical Society, which provided financial assistance for the

writing of the CMP, supported by the NSW Heritage Small Grants Program. The significance of the National Art School Collections and Archives has been recognised by two other major funding bodies this year. We have now received our fourth Community Heritage Grant from the National Library in Canberra. This grant of $5,500 will be used to purchase essential archival storage materials and equipment for the collection. The School has also been awarded a grant from The Ian Potter Foundation of $200,000 over two years to establish the National Art School Collections and Archive Centre which will encompass a secure, climatecontrolled storage area with an adjacent study room in Building 11. This grant is a confirmation of the significance of the collection and will provide us with a muchneeded dedicated space on site to house and display our unique collections. This year the Collections have grown once more, with over 150 items acquired

from 17 donors, including work by former staff members Godfrey Miller, Charles Meere, David Rose, John Coburn, Frank Medworth, Earle Backen, Euan Macleod, Douglas Dundas and Dorothy Thornhill. The majority of donations came from the Dundas estate, owned by Matilda Quera, daughter of the photographer Kerry Dundas and granddaughter of artist, Lecturer and Head of School, Douglas Dundas. Many of the works now in our collection were gifts by former staff members to Douglas Dundas, so these works are a wonderful and appropriate addition to the National Art School Collections. In October, the National Art School hosted an exhibition of Kerry Dundas photographs from the Dundas estate, which were shown alongside some of the works and photographs that Matilda Quera has so generously donated. Other additions to the collection this year are works from twelve students in the

drawing department, and twenty-two screen-printed fabric panels completed at the National Art School during the 1960s. Rehousing, documentation and cataloguing has continued during 2012. With the help of volunteer and former student, Sandy Bliim, all paintings in the collection were numbered and entered on the collections database. Our aim is to build and maintain an accessible collection to enable research on the visual arts and to support the teaching programs of the National Art School. It is hoped that with the new National Art School Collections and Archives Centre in Building 11, the Collections will soon be available to our students, staff, alumni, external researchers and curators.

Godfrey Miller Seated Figure No 104, c 1950s, graphite on paper, 25.7 x 19.2 cm middle

Godfrey Miller Standing Female Figure No 229, c 1950s, graphite on paper, 25.7 x 19 cm right

Douglas Dundas Self Portrait c 1925, oil on canvas, 46 x 39 cm

DEBORAH BECK Lecturer and Archivist


NAS 2012

NATIONAL ART SCHOOL STAFF 2012 Photography Rachel Fairfax Director & CEO Subject Leader Terry Hayes Professor Anita Taylor Christopher Stewart Emma Hicks (Semester 1) Paul Higgs Head of Academic Studies Lecturers Pollyxenia Joannou Simon Cooper Rebecca Shanahan (Acting Frank Littler Subject Leader, Semester 2) Deborah Marks Postgraduate Coordinator Izabela Pluta Daniel Pata Dr John Di Stefano Sessional Lecturers Ambrose Reische Donna Brett Jeff Rigby Undergraduate Steven Cavanagh Kim Spooner Coordinator Alex Kershaw Belinda Ward John Bloomfield Stacy Mehfrar Studio Technician Sarah Mosca John Stanfield Ceramics Jennifer Norman Subject Leader Simone Rosenbauer Painting Merran Esson Skye Wagner Subject Leader Lecturers Studio Technician Dr Stephen Little Stephen Bird Damian Dillon Lecturers Tania Rollond Susan Andrews Sessional Lecturers Printmaking Dr Andrew Donaldson Simone Fraser Lecturers David Serisier Bronwyn Kemp Sessional Lecturers Helen Mueller (Acting Sandy Lockwood Co-Subject Leader 2012) Suzanne Archer Sarah O’Sullivan Peter Burgess (Acting Connie Anthes Kwi Rak Choung Co-Subject Leader 2012) Justin Balmain Linda Seiffert Sessional Lecturers Vincente Butron Toni Warburton Maureen Burns Mitch Cairns Studio Technicians Pia Larson Charles Cooper David Stockburn John Loane Roger Crawford Madeline Hayes Ron McBurnie Agatha Gothe-Snape Peter McLean Joanne Handley Drawing Wendy Murray Steven Harvey Subject Leader Brenda Tye Anwen Keeling Dr Maryanne Coutts Studio Technician Chelsea Lehmann Lecturers Scott Clement Francesca Mataraga Charles Cooper Eric Niebuhr Lynette Eastaway Sculpture Nana Ohnesorge Joseph Frost Subject Leader Rodney Pople Dr Margaret Roberts Ron Robertson-Swann OAM Leslie Rice Sessional Lecturers Lecturers Nike Savvas Suzanne Archer James Croke Rolande Souliere Tania Browitt David Horton Kim Spooner Andrew Burrell Sessional Lecturers Agnes Tyson Anthony Cahill Linda Bowden William Wright AM Roger Crawford Gary Deirmendjian Studio Technician Dr Ben Denham Clara Hali Paolo Iarossi Ivor Fabok David Fairbairn

Customer Services Student Services Caz Haswell Officer / Reception and Quality Manager Dale Miles Events Ben Griffin Studio Technician Danielle Neely Student Counsellor Jaroslav Prochavska Customer Services Raji Munro Officer / Alumni and Events Student Services Officer Art History & Theory Julie O’Reilly Coordinator Amie Anthony Courses Administrative Dr Michael Hill Assistant Lecturers GUEST LECTURERS AND Jazmin Velasco Lorraine Kypiotis (HSC VISITING ARTISTS 2012 Coordinator) Tom Arthur Corporate Services: Deborah Beck (Archives and Prof Elizabeth Ashburn Facilities & Operations Collections) Glenn Barkley Manager Dr Ian Greig (Postgraduate Briony Barr Christine Myerscough Research Methods Lecturer) Prof Richard Billingham Facilities Assistant Sessional Lecturers Lisa Blas Craig Niven Dr Georgina Cole Daniel Boetker-Smith Finance Manager Charles Cooper Anthony Bond OAM Alan Shao Dr Christopher Dean Sandy Brown Finance Officer Mark Di Vitis Sarah Bunn Chloe Wong Phoebe Scott Barbara Campbell Human Resources Alex Trompf Sophie Cape Manager Jamie Tsai Josh Capelin Michael Durbin Ben Carter (until July 2012) DIRECTORATE SUPPORT Dr Mick Chay Human Resources Advisor Executive Officer, Prof Thierry de Duve Peter McDermott Corporate Governance Catherine de Zegher (from July 2012) Ellen O’Shaughnessy Sarindar Dhaliwal IT & Communications Executive Officer Michael Doolan Officer Linda Goodman Gina Fairley Nhu Pham Directorate Administration Laura Fisher Security and Services Assistant Adrienne Gaha Officer Monique Arundell Prof Zhang Geming Jean-Claude Imbert (until April 2012) Prue Gibson Campus Assistants IngeLise Pedersen Sarah Goffman Marcel Delgardo Ellen Grieg Samir Ismail Library & Learning Centre LEAD CLEANER Rolisham Ismail aka ISE Library & Learning Centre Stefan Jakob Darwish Khalil Manager Prof Lyndal Jones Elizabeth Little Locust Jones Marketing & Development Librarian Anne Juddell Head of Development Susan Olive Prof Hu Jun Enid Charlton Library Technicians Gallery Manager & Curator Therese Keogh Duncan McColl Tim Knowles Katie Dyer Lana Ryles Eva Kot’atkova Public Programs Coordinator Anne Kwasner Ruark Lewis Ella Dreyfus

John Loane Keiko Matsui Dr Danie Mellor Euan MacDonald Dr Helen Molesworth Catriona Moore Berit Myreboee Daniel Palmer Mike Parr Louis Porter Jude Rae Prof David Rayson Anton Reijnders Prof Wang Ruixue Tina Salama Nike Savvas David Seitz Gillian Serisier Chiharu Shiota Tienne Simons Susan Stamp Katrin Anika Strobel Assoc Prof Leila Sujir Norbert Schwontowski Abdullah Syed Melissa Thompson David Thorp Justine Varga Prof John Walker Toni Warburton Prof Sarah Wilson


NAS 2012

A BRIEF HISTORY OF THE NATIONAL ART SCHOOL The National Art School has been at the centre of Sydney’s art scene at its Darlinghurst location for almost a century, and has nurtured the talents of generations of artists, who have studied and worked in studios within the walls of the old Darlinghurst Gaol. The development of the Art School can be traced back to the Sydney Mechanics’ School of Arts, where the first lecture on the principles of drawing by John Skinner Prout took place in 1843. In 1854, Joseph Fowles was engaged as a drawing teacher, and in 1873 the Department of Art was set up in the School of Arts building in Pitt Street, offering courses in technical and fine art drawing, as well as training in drawing for primary school teachers. The first instructor in the art department was the Frenchman Lucien Henry, who had trained at the Ecole des Beaux-Arts in Paris, and brought many elements of the curriculum of that institution to the Art School in Sydney, where he taught freehand drawing, design and modelling. In 1883, the Technical and Working Men’s College was taken over by the government-appointed Board of Technical Education. It came to be known as the Sydney Technical College and in 1892 the art department moved to the College’s new premises in Ultimo. After the First World War, Sydney Technical College expanded its courses and began to look for another site close to the city. In 1922, the Department of Art of the Technical College was moved from Ultimo to the Darlinghurst Gaol site, occupying five buildings alongside other departments from East Sydney Technical College. With the arrival of the flamboyant and influential English sculptor G Rayner Hoff in 1923, the art department at East Sydney gained a new impetus, and Hoff helped to establish a five year Diploma

course in 1926. It was in this year that the name ‘National Art School’ was first mentioned in the catalogue for an Exhibition of Art by the students of East Sydney Technical College. The 1950s and 1960s saw a period of consolidation at the Art School, with swelling numbers of Diploma students and an enormous influx of evening students. Life-long friendships were formed, and the social life of the School included student revues, group painting trips and the legendary art student balls. The opening of the Cell Block Theatre in 1958 saw students become involved in the music, dance and theatre productions, which were regularly performed there. The survival of the Art School was threatened in 1974, when a proposal to move the School from the East Sydney campus was put forward by the Department of Technical and Further Education (TAFE). An intense and heartfelt fight was put up by students and staff, and marches on Parliament House were organised, but by the beginning of 1975, the National Art School had been decimated, with the Division of Fine Art taken under the umbrella of a new College of Advanced Education called Alexander Mackie College in Paddington (later known as the City Art Institute and now the College of Fine Arts or COFA). Although it appeared that the fight to stay on the site had been lost, the art course continued to run at East Sydney as a very diminished ‘School of Art and Design’, which offered a two year certificate - a far cry from the heady days of the1960s. Due to the determination of the staff who had stayed on at East Sydney, and the forming of Friends of the National Art School, the National Art School was gradually rebuilt, and a three year Diploma was offered in 1988.

After intense lobbying by many well known figures from the art world, separation from TAFE was finally achieved in 1996, when Bob Carr became Labor Premier and honoured his promise of independence for the National Art School. The Bachelor of Fine Art degree was accredited in 1998 and the new three-year course began in 1999. The National Art School was the only state-based institution to offer a degree course and was further accredited for Honours and Master of Fine Art (by Research) degrees in 2001. A form of independence had been achieved, but the School was still managed within the NSW Department of Education and Training (DET). In June 2006, three weeks prior to announcing his retirement, Premier Bob Carr announced that Expressions of Interest to transfer the School to one of Sydney’s existing universities would be sought. This move was vehemently opposed by supporters of the School, with a strong campaign and more marches on Parliament House, which finally resulted in a task force being set up to investigate and report on options for the School’s future. This committee recommended that the National Art School be made a fully independent higher education provider. In 2009, the Hon Verity Firth, the NSW Minister for Education, announced that the School would be released from the management of DET and be registered as a public company limited by guarantee, with two members, the NSW Ministers for Arts and Education, with a Board of Directors and a new Director/CEO of the School. The National Art School was registered as an independent Higher Education Institution, with its own governance, leadership and management. The School continues to offer accredited under graduate and post graduate degrees,

characterised by the intensive studiobased teaching in small group sizes, in the subject specialist areas of Ceramics, Drawing, Painting, Photography, Printmaking and Sculpture, with each subject underpinned by the concentrated study of Drawing and Art History & Theory. The exemplar-led ‘atelier model’ is further enhanced by the excellent National Art School Gallery, first established in 2006, the International and Interstate Artists-in-Residence programs and the Study Centre for Drawing established in 2010. The announcement by Premier Kristina Kenneally, in October 2010, of an additional $6m for capital upgrade provided a significant boost to the development plans of the new National Art School, which will see the enhancement of the postgraduate facilities and improved conditions for its nationally significant archives and collections. This development was further enhanced in 2012 by a major gift of $200,000 from The Ian Potter Foundation to support the National Art School Collections and Archives Centre, which along with the new Postgraduate Centre in Building 11 will open in 2014. In 2012, the National Art School became recognised as a Higher Education Provider under the Higher Education Support Act 2003, thus facilitating the provision of FEE –HELP (Higher Education Loan Program) for eligible students enrolled on the degree programs from 2013. The National Art School continues to produce many successful graduates who contribute to its long lineage as the foremost specialist fine art training institution in Australia. All of these distinctive features ensure that the National Art School continues to contribute significantly to the creative and cultural life of Australia, and beyond. 116/117

NAS 2012



Arlberg Hospiz Hotel Arts NSW Australian Galleries Julian Beaumont BigCi Bird Holcomb Foundation Blackcanvas Company Ceramics Art & Perception Technical Ceramics Technical Enid Charlton Chroma Australia Pty Ltd City of Sydney Clitheroe Foundation Patrick Corrigan AM Copyright Agency Cultural Fund Derivan Pty Ltd Jennifer Dowling Emporio Armani Friends of the National Art School Gadens Lawyers Bruce Garton Hangout Café Paul Hannan Inner City Clayworkers Gallery Kayell Australia Photography Lennox Street Studio Euan Macleod Ricia Mari Mark Henry Cain Scholarship Fund Jocelyn Maughan & Robin Norling Mondo Digital Pty Ltd National Library, Canberra National Association for the Visual Arts

You can play your part in future proofing our unique artist led training by joining the School’s community of donors. Giving to the National Art School will help to ensure artists continue to have access to world leading artists, educators and professional practitioners so they can reach their full potential. The National Art School is a notfor-profit, specialist Higher Education Provider. The School is entered on the

NSW Department of Education and Communities John Olsen AO OBE Ellen O’Shaughnessy Parkers Sydney Fine Art Supplies Daniel and Anne Pata Penfolds Andrew Pethebridge PhotoKing Matilda Quera Reg Richardson AM Robin Gibson Galleries Royal Australian Historical Society Sabbia Gallery Morry Schwartz Shanghai SIIC Marie Painting Material Company Sir William Dobell Art Foundation Ezekiel Solomon St Vincent’s Hospital Stella Downer Fine Art Studio W Sydney Canvas Company Sydney Olympic Park Professor Anita Taylor Sharon Tofler & Mark Tedeschi QC The Ian Potter Foundation The John McCaughey Prize (The Trust Company) The Australian Ceramics Association Steensen Varming Guy Warren OAM William Fletcher Foundation

Register of Cultural Organisations and has Deductible Gift Recipient status. All donations of $2 or more are tax deductible. To make a donation or to remember the National Art School in your will, please contact the Head of Development: (02) 9339 8645, or give online at NationalArtSchool.

‘I was delighted to be awarded the Bird Holcomb Foundation Honours Fine Art Scholarship. The very generous support of Alex Holcomb and Andrew Bird has provided me with encouragement and motivation to undertake a most demanding, rewarding and enjoyable year. I would like to thank them both very much for helping to make my honours year a pivotal one.’ LUCAS BAYNES

‘The Mark Henry Cain Scholarship has given me the opportunity to live and study at the Wimbledon College of Art in London for an extended period of time. It allows me to experience the international world of art - the museums, the exhibitions opening, the people. This has provided me an ideal platform from which I can springboard into my career as an artist.’ ELLIOTT NIMMO

‘The generosity of the Clitheroe Foundation Scholarship has allowed my practice to develop with real confidence and freedom. The privilege of their support has meant that my approach to study, and studio investigations have been energised beyond my own expectations. Having the financial and material capacity to continue with my experimental pursuits, this scholarship has truly had an impact on my artistic practice and development.’ Hong An James Nguyen

Photo © Jordan Beans-Beenken


Published by the National Art School A Company Limited by Guarantee and incorporated in New South Wales ABN 891 401 79111 CRICOS Provider Code 03197B CFN/22380 Board of Directors Peter Watts AM (Chair, until 31 May 2012) The Hon John Aquilina (Chair, from 1 June 2012) The Hon Mrs Ashley Dawson-Damer (from 1 June 2012) Sally Herman (from 1 June 2012) Michael Le Grand (from 1 June 2012) Carol Mills (until 31 May 2102) Adrian Renouf (Company Secretary from 1 June 2012) Peter Riordan (until 31 May 2012) Professor Anita Taylor (Director/CEO) Mark Tedeschi QC Sandra Yates AO (Company Secretary until 31 May 2012) CONTACTS GENERAL ENQUIRIES National Art School Forbes Street Darlinghurst NSW 2010 T: +61 (0) 2 9339 8744 F: +61 (0) 2 9339 8740 E: DIRECTOR, NATIONAL ART SCHOOL T: + 61 (0) 2 9339 8610 E:

Public Programs & Short Courses T: +61 (0) 2 9339 8744 E: ALUMNI T: +61 (0) 2 9339 8658 E: VENUE HIRE T: +61 (0) 2 9339 8658 E: BEQUESTS, DONATIONS & SPONSORSHIPS T: +61 (0) 2 9339 8645 E: Š Copyright National Art School, the authors and artists All rights reserved Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act 1968, no part of this publication may be reproduced by any process without written permission from the publisher. ISBN: 978-0-646-56629-0 Design: i2i Design Editor: Jane Miller Printer: Focus Press Artwork photography: Oliver Strewe Portrait photography: Peter Morgan Studio photography: Fiora Sacco Print No: 1000

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