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Issue 102: JUNE 2013 trouble is an independent monthly mag for promotion of arts and culture Published by Trouble magazine Pty Ltd, ISSN 1449-3926 STAFF: administration Vanessa Boyack - admin@ troublemag.com | editorial Steve Proposch - art@ troublemag.com | listings - listings@troublemag.com CONTRIBUTORS: Mandy Ord, Ive Sorocuk, Robyn Gibson, Inga Walton, Dmetri Kakmi, Courtney Symes, Cassandra Scalzi, Neil Boyack, Ben Laycock, Dave O’Donohue, Jase Harper, Greenwish designs by Horse. Find us on Facebook: www.facebook.com/Troublemag Subscribe to our website: www.troublemag.com READER ADVICE: Trouble magazine contains artistic content that may include nudity, adult concepts, coarse language, and the names, images or artworks of deceased Aboriginal or Torres Strait Islander people. Treat Trouble intelligently, as you expect to be treated by others. Collect or dispose of thoughtfully.



june 2013




(46) GREENWISH #15

Ive Sorocuk

Inga Walton



Dmetri Kakmi


Courtney Symes



Robyn Gibson + Horse


Ben Laycock

Inga Walton


Cassandra Scalzi

COVER: Joseph MCGLENNON, Thylacine Study Number 6 (detail) 2013, giclee print on archival Hahnemuhle Fine Art Paper.,100.0 x 120.0 cm. Edition of 8 & 2 Artist Proofs. Photographed on location in Van Diemans Land. Thylacine 1936, Michael Reid Sydney, 44 Roslyn Gardens Elizabeth Bay (NSW), 1 to 29 June 2013 & Michael Reid Berlin, Ackerstraße 163, D-10115 Berlin (GERMANY), 6 June to 21 July 2013. - www.michaelreid.com.au DIS IS DE DISCLAIMER! The views and opinions expressed herein are not necessarily those of the publisher. To the best of our knowledge all details in this magazine were correct at the time of publication. The publisher does not accept responsibility for errors or omissions. All content in this publication is copyright and may not be reproduced in whole or in part in any form without prior permission of the publisher. Trouble is distributed online from the first of every month of publication but accepts no responsibility for any inconvenience or financial loss in the event of delays. Phew!

Profiling Indigenous art practice focussed on South-eastern Australia. A range of category prizes with a prize pool of over $40,000 Presented at Art Gallery of Ballarat Sat 2 Nov - Sun 8 Dec

Call for entries Applications close Wednesday 14 August 2013 No entry fee Category Sponsors:

For information and entry forms visit the website:

indigenousartawards.com.au or for further enquires phone the Gallery on 03 5320 5858


Season 2013

Henri Szeps in


It’s My Party (And I’ll Die If I Want To)


by Elizabeth Coleman

Sat 2 March 8pm

Subscriptions on sale now

Wed 12 June 8pm

Stiletto Sisters Sat 20 July 8pm

Brew Duo

The Australian Ballet presents

Fri 15 March 8pm

The Dancers Company

ACO2 VIC Tour Sun 21 April 8pm

Fri 26 July 7.30pm Sat 27 July 7.30pm A version 1.0 and Merrigong Theatre Company Co-Production


The Table of Knowledge

Produced by Expressions Dance Company & Queensland Performing Arts Centre

Wed 7 August 8pm Thu 8 August 8pm

Natalie Weir

Tue 7 May 8pm More Than Opera

The Ring. Wagner. Animated. Fri 17 May 8pm An Ensemble Theatre Production

Melbourne Symphony Orchestra Tue 20 August 8pm Goldthorpe Creative presents

Chet Baker: Like Someone in Love Tue 10 September 8pm

Frankenstein by Nick Dear

John Buchan and Alfred Hitchcock’s

Fri 24 May 8pm Sat 25 May 8pm

The 39 Steps

Flinders Quartet

Fri 18 October 8pm Sat 19 October 8pm

with Dmitry Onishchenko (piano) 50 View Street, Bendigo Victoria 3550 Tel: 03 5434 6100 thecapital.com.au

Fri 7 June 8pm

Adapted by Patrick Barlow From an original concept by Simon Corble and Nobby Dimon

David Helfgott Sat 26 October 8pm

Box Office Hours: 9.15am to 5.15pm weekdays. 10am to 1pm Saturdays. One hour before each show. Details are correct at the time of publication. The Manager reserves the right to add, withdraw or substitute artists and vary the program should the necessity arise.

The Capital is proudly owned and operated by The City of Greater Bendigo



< Breakfast At Tiffany’s (1961) worn by Audrey Hepburn. Costume design by Count Hubert de Givenchy. (Paramount/The Kobal Collection/Bud Fraker).

by Inga Walton

In another coup for the Melbourne Winter Masterpieces program, Hollywood Costume is at the Australian Centre for the Moving Image (ACMI) until 18 August, 2013. An initiative of the Victoria & Albert Museum (V&A), London, its season there (20 October, 2012-27 January, 2013) was the culmination of five years of planning. The exhibition was Guest Curated by cultural historian, broadcaster, and critic Professor Sir Christopher Frayling, and the incumbent David C. Copley Chair for the Study of Costume Design at the University of California, Los Angeles (UCLA), Professor Deborah Nadoolman Landis, assisted by the Curator of the V&A Theatre and Performance Department, Keith Lodwick. Featuring 100 costumes by over fifty designers, it ranks as the most comprehensive exhibition about costume design ever mounted, with many items never previously shown in public.

and Marilyn Monroe’s iconic billowing white dress from The Seven Year Itch (1955), designed by (William Jack) Travilla (1920-1990) are key features of the exhibition. There were curatorial headaches aplenty when both items were sold at auction between the exhibition stagings, but fortunately their respective new owners agreed to continue with the loans.

Senior curator Deborah Nadoolman Landis travelled to Melbourne for the exhibition launch in April. She has served as the costume designer for some twenty-one films, including Nonetheless, the current exhibition Steven Spielberg’s 1941 (1979) did not come as a ‘package’ and certain and Raiders of the Lost Ark (1981), items in the London show did not Louis Malle’s Crackers (1984), Dan make it to Melbourne for various Aykroyd’s directorial début Nothing reasons, including loan agreements, But Trouble (1991) and Costa-Gavras’ insurance fees, and availability Mad City (1997). Nadoolman Landis issues, which ACMI had to negotiate worked with her husband, director separately with institutions and private John Landis, on sixteen of his films lenders. For example, the V&A were including The Blues Brothers (1980), only granted a short-term loan by An American Werewolf In London the Smithsonian Institution for the (1981), Trading Places (1983), Three original ruby slippers from The Wizard Amigos! (1986), and Coming To America of Oz (1939) during the first weeks of (1988), for which she was nominated their run, after which they resorted to for the Academy Award for Costume replicas made by Mauricio Osorio at Design. Nadoolman Landis worked Western Costume in North Hollywood, closely with the late ‘King of Pop’ which are the pair seen here. Judy Michael Jackson for the costuming Garland’s gingham check pinafore of his ground-breaking music videos from that film, designed by Adrian Thriller (1983) and Black or White (Adrian Adolph Greenberg, 1903-59), (1991), also directed by her husband. >>

Dressing the Movies / Inga Walton

â&#x20AC;&#x153;It is about the creation of a new person in a story, everything about them must resonate true, including their clothes.â&#x20AC;?

< Atonement (2007) worn by Keira Knightley. Jacqueline Durran, Academy Award nominee for Costume Design, 2007. (Courtesy of NBC/Universal Archives & Collections).

> “Costume design is not about the clothes... the real truth about costume design is that all it needs to be is appropriate for the story, and in fact the best costumes disappear and you’re not aware of them at all”, Nadoolman Landis asserts. “What we aspire to do as costume designers is to help the actor transform into a completely other person. A costume designer has to know who that person is before we ever even think about trying to coordinate the clothes for that individual. It is about the creation of a new person in a story, everything about them must resonate true, including their clothes”. Two case-studies, featuring the renowned actors Robert De Niro and Meryl Streep, illustrate this point through a series of specially commissioned interviews, supported by five costumes each from some of their most famous roles. Examples of the costume designer’s research process are explored in relation to Theoni V. Aldrege’s work on the highly theatrical and prescribed aesthetic of Addams Family Values (1993), and Michael Kaplan’s take on the more contemporary urban look of Fight Club (1999). ACMI curator Sarah Tutton has secured content exclusive to Australia, and which has been displayed separately in the public areas, accompanied by screened interview footage. Located on the Galleries level is a dark pink coloured overcoat, dress, and hat worn by Abbie Cornish in Bright Star (2009), for which Australian costume and production designer Janet Patterson received her fourth Academy Award nomination for Costume Design. Recently unveiled (on level one) ahead of the national première, are three outfits from Baz Luhrmann’s much-hyped new version of The Great Gatsby (2013), worn by stars Carey Mulligan, Leonardo DiCaprio and Toby Maguire. Designed by Catherine

Martin and Miuccia Prada, they join Martin’s gold embroidered shell-pink corset costume with an ostrich feather train from Moulin Rouge! (2001), for which she and Angus Strathie won the Oscar. Positioned at the entrance to the exhibition, the glittering ensemble hangs high in the air from a trapeze-like seat, referencing its appearance during the song Diamonds Are A Girl’s Best Friend performed by Satine (Nicole Kidman) at the start of the film. Indeed, it was not until 1948 that the film industry’s peak body, the Academy of Motion Picture Arts and Sciences (AMPAS), recognised the contribution of costume designers with its highest accolade, the Academy Award. Initially, separate award categories were established for black-andwhite films and for colour films, until the categories were merged for the last time in 1967. Across the pond, the British Academy of Film and Television Arts (BAFTA) was even slower to acknowledge these dedicated artists whose work is so integral to a film’s success. The first BAFTA for Costume Design was not presented until 1965, and a single award combining both colour and black-andwhite films was not formalised until 1969. The exhibition includes an impressive nineteen Academy Award winning costume designs, and a further sixteen nominees. A dress from Anna Karenina (2012) by the most recent Oscar winner, Jacqueline Durran, is on view, along with her (now iconic) green silk dress from Atonement (2007), both of which were worn by Keira Knightley. James Acheson, a three time Academy Award recipient, is represented by his winning costumes for The Last Emperor (1987) and Dangerous Liaisons (1988). >>

> Lady In the Dark (1944) worn by Ginger Rogers. Costume by Edith Head. (Courtesy of BFI National Archive, London).

> Eiko Ishioka (1938-2012), one of Japan’s most acclaimed creative talents, is best remembered for her flamboyant and unsettling work in Bram Stoker’s Dracula (1992), taking home the Oscar for only her second job as a film costume designer. Two sword-andsandal Best Picture winners also picked up the award for their respective costumes: Elizabeth Haffenden (1906-76) for Ben-Hur (1959), and Janty Yates for Gladiator (2000). Other Australians to have won the Academy Award for their costume designs are also featured, including Melbourne’s own John Truscott, AO (1936-93) for his work on Camelot (1967), and Orry (George) Kelly (1897-1964) for Some Like It Hot (1959). Born in Kiama, Orry-Kelly, as he became known, went to Hollywood in 1932 where he worked for all the major studios. His prolific output saw Orry-Kelly’s credits swell to over 300 films, many of them now considered to be ‘classics’, such as Gold Diggers of 1937 (1936), The Maltese Falcon (1941), Casablanca (1942), and Oklahoma! (1955). He was sought by many of the leading actresses of the day, including Bette Davis, Merle Oberon, Olivia de Havilland, and Kay Francis, whose wardrobes he often designed exclusively for a film. Orry-Kelly was a three-time Oscar honouree, winning also for An American In Paris (1951), shared with Walter Plunkett and Irene Sharaff (1910-93), Les Girls (1957), and nominated for Gypsy (1952). His last completed film was Irma la Douce (1963) starring Shirley MacLaine.

in Academy history. Head started out as a sketch artist at Paramount Pictures in 1924, and progressed to costuming the following year. She worked under Paramount’s head designers Howard Greer (1896-1974) and then Travis Banton, before achieving success in her own right after Banton’s resignation in 1938. Head remained at the studio for forty-three years until she went to Universal Pictures in 1967. With credits on over 500 film and television titles, Head is often referred to as ‘Hollywood’s Greatest Costume Designer’. At the peak of her profession, Head was able to define her role in the film process succinctly, “What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen he’s become a different person”.

The outrageous pink sequined creation with mink trim Head created for Ginger Rogers in Lady in the Dark (1944) was considered the most expensive costume in Hollywood history for its time, and gained some notoriety for being counter to the subdued mood of wartime austerity. Also on view is Hedy Lamarr’s ‘Peacock dress’ from Cecil B. DeMille’s Samson and Delilah (1949), which received some personal input from the director. “Why not use real peacock feathers?’ asked Mr. DeMille. A few days later, a station wagon arrived with Mr. DeMille at the wheel. “I have a ranch, we raise peacocks. I spent the weekend picking up feathers’”, Head was to recall. She was, however, Among the most heavily represented ambivalent about her work on DeMille’s epics designers is Edith Head (1897-1981) including The Greatest Show On Earth (1952) who holds the record for the most Oscar and The Ten Commandments (1956), later nominations in the category with thirty-five making the caustic remark, “I always had to do (1948-77). She would win eight awards (1949- what that conceited old goat wanted, whether 73), making her the most honoured woman it was correct or not”. >>

Dressing the Movies / Inga Walton

â&#x20AC;&#x153;I always had to do what the conceited old goat wanted, whether it was correct or not.â&#x20AC;?

> Head worked more amicably with Sir Alfred Hitchcock on eleven of his films beginning with Notorious (1946), where she did the costumes for Ingrid Bergman; they reconvened for Rear Window (1954). One of Kim Novak’s outfits from Vertigo (1958), and Tippi Hedren’s wool suit and hat from The Birds (1963) are included. Of the latter, Head commented, “We established the girl [Melanie Daniels] as well dressed with taste and money. Later, Hitchcock preferred that the audience not notice her clothes. He didn’t want any distractions from the terror and virtually

restricted me to two colours, blue and green ... I was aware that he didn’t like anything bright unless it made a story point”. Edith Head’s former supervisor at Paramount Pictures, Travis Banton (1894-1958), created daring and sophisticated designs for many of the studio’s biggest stars during his tenure (1924-38), often coaching them on posture and demeanour in order to carry off ‘the look’. Banton formed a creative unit with director Josef von Sternberg, cinematographer Lee Garmes, and art director Hans Dreier,


My Man Godfrey (1936) worn by Carole Lombard. Costume by Travis Banton. (Courtesy of the Collection of Motion Picture Costume Design/Larry McQueen, Los Angeles & Morning Glory Antiques & Jewellery, New Mexico). Installation images by Inga Walton.

Dressing the Movies / Inga Walton

credited with advancing a distinctive visual style which became known as ‘Hollywood baroque’. Following her arrival in America as von Sternberg’s protégée and muse, Banton worked with Marlene Dietrich on six of her Paramount films beginning with her Englishlanguage début “Morocco” (1930). Dietrich portrays disillusioned cabaret singer, Amy Jolly, who works at Lo Tinto’s nightclub in Marrakesh and falls in love with Légionnaire Tom Brown (Gary Cooper). For a pivotal performance scene, Banton dressed Dietrich in a man’s black tailcoat and top hat, reinforcing the idea of her as a mysterious, seductive, and somewhat louche ‘European’. This somewhat shocking spectacle was designed to leave American audiences

stole, which Banton intended should look “like a piece of woven jewellery”, is heavily embroidered in a ‘Persian’-inspired pattern. It took the studio’s in-house team two and a half weeks to complete, and was the most expensive costume Banton had ever designed, costing $8,000 (over $126,000 today). One of the big box-office hits of 1936, receiving six Oscar nominations, was the ‘screwball’ comedy My Man Godfrey starring Carole Lombard as dizzy socialite Irene Bullock. Banton’s shimmering gold beaded gown and matching evening coat are seen at the start of the film when Irene first encounters Godfrey Park (William Powell), someone she erroneously thinks is a ‘forgotten man’ and hires to be the family’s butler. Cleopatra (1934),

“It is about the creation of a new person in a story, everything about them must resonate true, including their clothes.” agreeably titillated, “I planned to have her dress like a man, sing in French and, circulating among the audience, favour another woman with a kiss”, von Sternberg declared. Banton would repeat this look in white tie for Blonde Venus (1932), and Dietrich toyed with the erotic possibilities of such androgynous forays throughout her career. The exhibition also contains one of Banton’s last costumes for Dietrich in Angel (1937) where she plays Lady Maria Barker, the neglected and adulterous wife a top-level British diplomat. The beaded yellow silk dress and wide sable-trimmed

another extravagant DeMille production, received the ‘Banton treatment’ when its star Claudette Colbert refused to wear the original wardrobe. Despite the short notice, Banton produced one of his most lavish selections, including a vivid green draped and pleated décolleté gown, the impact of which is rather muted on camera since the film was black-and-white. Banton also worked for Twentieth Century Fox (1939-41) and Universal Studios (1945-48), becoming one of Hollywood’s most significant talents never to be nominated for the Oscar.

Dressing the Movies continues in next month’s issue of Trouble. Hollywood Costumes is showing at Australian Centre for the Moving Image (ACMI), Federation Square, Melbourne,(VIC) until 18 August 2013 - www.acmi.net.au

with Dmetri Kakmi

Dear Dreamboat The dream centres on a woman. I’ve known her for decades. She is married and has children, lives somewhere between London, Somalia and the coast of Taiwan. She is an eccentric, maternalistic blonde with the body of a Paleolithic fertility goddess. It’s dark. She appears in a ruined landscape, broken nature, fallen buildings, shattered furniture ... she is very clear to me, her blue eyes very intense, like there is light on her. She speaks vigorously, earnestly, almost hysterical: ‘You must have children, Hugh ... you must have children ... you must have children ... you must have children …’ That’s it. — Hugh Dear Hugh The first thing that comes to mind when you describe the woman is The Venus of Willendorf, a statuette of a female figure estimated to have been made about 24,000 BCE. With her large breasts and abdomen and the detailed vulva, she was believed to be a fertility goddess. It is interesting that you describe the woman in a similar fashion. A woman in a dream is the appearance of the anima, the feminine part of a man’s personality; the part that is in touch with the subconscious. From an older perspective Woman is the beginning point, the source of life. That is why in agrarian societies the fertility deity was a woman. The child is a symbol of the future, but it can also be a symbol of that stage of life when the old man acquires a new simplicity. In essence the child can be the divine spark, the reawakening of the mystic centre. Jung saw the child as representing the formative forces of the unconscious, of a protective and beneficent kind. One dreams of a child when a great change is about to occur.

to clean out your house, look within and find the spark of regeneration that will pull you out of malaise and into greener pastures. Dear Dreamboat I dreamt I was in an empty tower. There were no windows yet it was filled with sunlight. The tower was circular. I stood at the base of the tower and had a sense of spaciousness above my head. Then the tower filed with water and I was caught in it. I was floating around underwater. It woke me. — Mishy Dear Mishy Because it reaches from earth to heaven, the tower is a potent symbol. It speaks about willpower, aspiration and transcending limitations. It is about striving and aiming for greater things. Your description of floating inside the tower puts me in mind of placental interiority, awaiting rebirth. The tower connotes both phallic exteriority and feminine interiority. The fluid body is interpreted as intuitive wisdom. Immersion in water sybolises a return to the preformal state, with a sense of symbolic death on the one hand and regeneration on the other. Because the immersion takes place inside a tower, and since immersion intensifies the life force, it means that your journey is filled with possibility. It appears that you are currently in the process of change. It may be daunting but keep going. When you are inside a tower, you can only ascend and go deeper inside. The greater the height the deeper the foundation.

Dmetri Kakmi learned to tell fortunes and interprets dreams by observing his grandmother Your dream may be telling you that you are when he was growing up in Turkey. Nowadays encouraged to get in touch with what you need he combines that fledgling knowledge with to achieve in the next phase of life. Cast off the Jungian, ancient and traditional symbolism. If old and step into the new. It may be that some you have a dream you would like interpreted form of chaos pervades your life. Now is time email: dreamboat@troublemag.com

The talk of the town in Canberra this month has been Patricia Piccinini’s Skywhale hot-air balloon. This unidentifiable half bird/half beast has Canberrans divided. Ian Warden of the Canberra Times eloquently summaries Canberra’s bewilderment: “Now whole classes of Canberrans (like, say, the Summernats classes, and their children) who know and care nothing about art and who don’t want to have anything to do with the centenary or any deep analysis, have a right to be disappointed by Skywhale … Perhaps in thinking of the best balloon for the centenary messrs Archer and Piccinini should have done the demanding work of imagining something that had mass appeal, that gave delight rather than a challenge.” FM104.7’s Scotty and Nige recently questioned if it would be such a bad thing if the world’s biggest set of airborne boobs put Canberra on the map. If Piccinini’s intention was to prompt a reaction (good or bad), I’d say she’s succeeded with all the flying colours of her Skywhale. We’d love your thoughts – ‘love’ or ‘hate’? I’ve been counting down the months until National Gallery of Australia exhibition, Turner from the Tate: The Making of a Master commences this month. Britain’s Tate has an extensive and diverse collection of J.M.W Turner’s work, highlighting this Romantic artist’s mastery. Turner (1775-1851) is renowned for his distinctive watercolours with “experimental character”. The exhibition features 40 oils and 70 works on paper – from intimate sketches through to large, iconic watercolours. Highlights include Buttermere Lake, with part of Cromackwater 1798 - an impressive early work featuring a moody scene from the Lake District, broken by a nearly colourless rainbow. The fall of an avalanche in the Grisons 1810 features the dramatic scene of a powerful avalanche, decimating an alpine landscape. Other notable works include Venice, the Bridge of Sighs 1840, the tragic A disaster at sea c.1835, Peace –

Burial at sea 1842 and War. The exile and the rock limpet 1842. Canberra – you’re in for a treat this June. Runs from 1 June – 8 September. “When things move, I get interested,” photographer Garry Winogrand once remarked. This is one of the reasons why the dynamic landscape of cities offers photographers a world of possibility and inspiration. Progress in technology e.g. improved plate sensitivity to low light levels combined with shorter exposure time meant that the

streets became the new ‘studios’ of the twentieth century. Certain aspects of consumer culture, such as highways, billboards and other forms of advertising became popular themes. People, parking lots, signs, and shops are just some of the scenes of popular culture featured in NGA’s fascinating exhibition, American Street: seventy years of a photographic tradition. Viewers will be drawn into the lives of the subjects featured in these images. Don’t miss this one before it finishes up on 23 June. www.nga.gov.au Beaver Galleries welcomes four talented artists throughout June, with exhibitions from Sophia Szilagyi, Dean Bowen, Marc Rambeau and Nicole Ayliffe. Szilagyi’s Water studies consists of pieces created from photography and digital manipulation. Specialising in digital printmaking, Szilagyi’s work explores “the relationship between fiction and non-fiction in our perceptions of reality and recollection of our past”. Frequently drawing inspiration from the coast and the sea, as well as light and dark, Szilagyi “seamlessly combines and layers the collected imagery and manipulates her work >>


DATELINE: JUNE 2013 by Courtney Symes

Patricia Piccinniniâ&#x20AC;&#x2122;s Skywhale - love it or hate it? Let us know - email: actease@troublemag.com

> through the use of computer technology”. Szilagyi hales from Melbourne, and after graduating with First Class Honours from RMIT’s School of Art and Culture in 2000, she has been involved in numerous solo and group shows throughout Australia. Szilagyi’s works have been acquired by Burnie Regional Art Museum, La Trobe Regional Art Gallery, Wagga Wagga Art Gallery, Queensland University of Technology, and State Library of Victoria. Cluster, Dean Bowen’s latest exhibition, features a collection of sculptures and paintings which “are characterised by vibrant colour, environmental symbolism and dynamic composition”. Pieces included in this exhibition reflect Bowen’s “quirky and infectious sense of humour whilst also reminding us of our common struggles and triumphs” through his interpretations of people, animals, insects and objects. Bowen’s work can currently be found in the National Gallery of Australia, Australian War Memorial, Bibliothèque Nationale (Paris) and Contemporary Art and Culture Centre (Japan). A trip to the Flinders Ranges in South Australia was the inspiration behind Marc Rambeau’s latest exhibition, Encounters. Encounters consists of paintings and works on paper that explore “the dramatic changes of light and the different perspectives of the landscape forms”.

Rambeau develops his works by collaging rice paper sheets that are adhered to linen. “Marc Rambeau is known for his landscapes that radiate vivid colour with paint thickly and texturally applied,” so viewers can expect movement, vibrancy, and a heightened colour palette throughout this dynamic collection of work. This is a must-see exhibition from a veteran artist who has exhibited extensively nationally and internationally for over twenty years. An exploration of “the reflection and refraction of light between the exterior and interior surfaces” of her glass works forms the basis for Nicole Ayliffe’s latest exhibition, studio glass. Drawing inspiration from the natural world, Ayliffe focuses on the “optical qualities” of the glass she hand-blows and cuts and polishes to create these unique pieces. “The solidity of the glass and the suspension of an internal bubble, create the optical illusion of space, distortion and movement”. It’s like Ayliffe has captured a miniature world or ecosystem within each piece – frozen in time for us to observe. Ayliffe’s work can also be found in the Parliament House Art Collection, National Glass Collection (Wagga Wagga Art Gallery) and the Northeast University College of Fine Arts (Changchun, China).

ACTease / Courtney Symes

Sophia Szilagyi’s and Dean Bowen’s exhibitions run from 23 May - 10 June. Marc Rambeau’s and Nicole Ayliffe’s exhibitions follow from 13 June - 2 July 2013. www.beavergalleries.com.au Ralph Tikerpae is proof that every artist works in different ways and draws inspiration from different things. Whilst some artists thrive on the hustle and bustle of the bright lights and loud noises of a big city, Tikerpae removed himself from the city early in his career. A desire to “develop his art away from the tyranny of other influences and the stresses of the urban environment” attracted Tikerpae to the fringe of the Mallee country in regional NSW. Here he has space (headspace and physical space) to create his sculptures and paintings in large studios. Tikerpae’s latest exhibition, Drawing in Metal – Ralph Tikerpae is on at Belconnen Arts Centre until 16 June. Meet Tikerpae in person on Saturday 1 June from 11am. www. belconnenartscentre.com.au

Inhabit – Living in design and Re-forestation: how to make a tree from a chair are Craft ACT’s latest exhibitions from the Designing a Capital: Crafting a Nation program. The exhibition, Inhabit explores how “objects that inhabit our homes shape the spaces we live in” through an exhibition that features pieces from Australian craft practitioners and designers. Runs until 6 June. Re-forestation artist, Ashley Eriksmoen is an internationally renowned future designer who aims to help form relationships between people and their personal spaces. Eriksmoen “describes her practice as domesticating wood into objects; taking wood from its wild, natural state to one that will behave indoors without losing its living spirit”. The exhibition introduces viewers to the fun side of furniture, whilst raising the issue of deforestation. What would we use as an alternative if a medium as beautiful and versatile as wood wasn’t available? Runs until 22 June. www.craftact.org.au

Dean BOWEN, Bird Lover 2012, bronze, edition of 9, 19.5 x 70.5 x 6.5cm.

DATELINE: JUNE 2013 by Inga Walton

The tenth anniversary instalment of the National Gallery of Victoria’s immensely popular Melbourne Winter Masterpieces initiative, Monet’s Garden: The Musée Marmottan Monet, Paris (until 8 September, 2013), includes fifty-four paintings, photographs and selected artifacts from the Musée Marmottan, with an additional nine works loaned by international and local museums and private collections. This represents the largest group of works by (Oscar-) Claude Monet (1840-1926), the father of Impressionism, to ever travel to Australia. Portraits of Monet and his first wife Camille Doncieux (1847-79) by their friend Pierre Auguste Renoir (1841-1919) in 1873, and of their two children by Monet in 1880, introduce a close-knit family whose lives revolved around the artist’s studio schedule, his exhibition and travel obligations, and managing their often strained financial situation. Upon his death, Claude Monet’s second son Michel (1878-1966), who had no children, bequeathed his property in Giverny to the French Academy of Fine Arts, and the collection of paintings and ephemera he inherited from his father to the Musée Marmottan. Michel’s immense generosity endowed the Musée with the largest Claude Monet collection in the world, which has since been supplemented by further private donations, the scope of which is amply demonstrated in this superb and coherent exhibition. What is immediately apparent is how poorly Monet’s paintings reproduce in published books and catalogues; the subtlety of his brushstrokes and the tonal depth of his palette tend to get flattened out by >>

Melburnin’ / Inga Walton

> photography, and can look somewhat monotonous. In person, these enthralling works are stunning in their sheer vibrancy and potency. This exhibition will dispel many preconceptions audiences may have built up over years of exposure to ubiquitous reproductions of Monet’s work, but without much recourse to seeing the originals. The bulk of the paintings focus on Monet’s private world at Le Pressoir, an old farmhouse and former cider press at Giverny, which he set about transforming after renting it in 1883; he would purchase it in 1890, and acquire an adjacent plot in 1893. In contrast, there are also works which show Monet’s travels: around the Normandy coast and along the Seine valley, numerous trips to London between 1870 and 1901, and a brief trip to Norway in 1895 to visit his eldest stepson, Jacques Hoschedé. In an inspired move, the exhibition concludes with a viewing suite screening The Last Day at Giverny (2012), six minutes of specially commissioned on-site footage from Monet’s garden and property, filmed from sunrise to sunset on the last day of the season in early November. This immersive panoramic experience was the concept of NGV Director Tony Ellwood, and was shot by the Seville-based event company General de Producciones y Diseño (GPD). Monet’s obsessive documentation of his garden and its many moods, the clos normand (flower garden), the Japanese footbridge over the waterlily pond, the weeping willows, and beds of irises, agapanthus, wisteria, and alleys of roses, all come sparkling to life. “This curved display will surround and embrace visitors leaving a powerful parting impression of Monet’s garden”, Ellwood believes. On the contrary, having spent some time in the filmic garden, captivated patrons are just as likely to retrace their steps back to the main gallery space to look upon the paintings afresh. • National Gallery of Victoria (International), 180 St Kilda Road, Melbourne, 3004 - www.ngv.vic.gov.au • Musée Marmottan Monet, 2, Rue Louis Boilly, Paris XVIe - www.marmottan.fr/uk

Sculptor Robert Hague’s survey exhibition, Deca: 2003-2013, at Deakin University Art Gallery (until 13 July, 2013) brings together over thirty sculptural works and lithographic prints selected in conjunction with gallery manager Leanne Willis. A four-time finalist in the Deakin University Contemporary Small Sculpture Award, Hague won the prize in 2010 with one of his now signature Trojan Hammer works, which led to preparations towards the present show. The diversity of his output in bronze, stainless and corten steel, aluminium, and even carrara marble shows an artist of great facility grappling with the rigors and challenges of studio practice, the progression and development of which can be traced through his maquettes. Of particular delight are the mid-size Kandinsky-inspired coloured works in painted steel, which Hague rarely produces these days, as he says they are too impractical and prone to damage; he has also moved away from ferrous metal. Born in Rotorua, Hague arrived in Australia in 1985. A capable photographer, painter, and draughtsman, Hague’s interest in sculpture was one nurtured by childhood exposure to his father’s hobbyist endeavours. While honing his practise in Sydney, Hague shared the studio of Ron Robertson-Swann, OAM, from late 1999 until 2003, and also acted as his workshop assistant. As Hague’s work grew in ambition and scale, he started to accrue significant commissions, and was short-listed for numerous awards, winning the Director’s Prize at Sculpture by the Sea (1999), which led to a twenty piece patron commission, Ocean Series (2001). At the Lorne Sculpture Biennale (2011) Hague picked up the Indoor Sculpture Prize just as his four metre high sculpture trail work Monument (2011), with its full-scale excavator bucket, seemed poised to gouge a chunk out of the beachfront. Now based in Newport, Victoria, Hague remains a dedicated practitioner of abstract sculpture, but has returned to drawing in recent years with a particular interest in the power of pattern as a subtle indicator of meaning and ethic. The project currently gestating in his >>

PREVIOUS SPREAD: Claude MONET, Waterlilies (Nymphéas) 1914–17, oil on canvas, 200 x 200 cm, Musée Marmottan Monet, Paris, Gift of Michel Monet, 1966, © Musée Marmottan Monet, Paris,© Bridgeman-Giraudon/Presse. > Robert HAGUE, Trojan Hammer (Pistol) 2010, aluminium, 40.5 x 27.5 x 7 cm. Private Collection, Melbourne.

Melburnin’ / Inga Walton

> studio will encompass sculpture, print and drawing, and consider installation strategies such as sound. “I see this body of work as a critical innovation at this time of a developerdriven economy that privileges growth without substance”, Hague remarks. “These economies of construction force a kind of pandering that reveals and widens a social fracture founded on exploitation that I believe re-opens the potential to broaden artistic dialogue with the wider community, from within the very framework of these developments” • Deakin University Art Gallery, 221 Burwood Highway, Burwood, 3125 - www.deakin.edu.au/art-collection • Artist site: www.roberthague.com In 2008, Deborah Klein turned her attention to the visual and narrative appeal of fairy tales, bringing together thirteen stories she had written into a small illustrated book. “The first stories in that book evolved from my pictures, but then they took on a life of their own”, she says. “For several years I had been researching fairy tales and folk tales. Although my fascination with the tradition of woodland myth and allegory dates from childhood, it became the primary focus of my visual work at that time, beginning with the Moth Women, a suite of small-scale paintings of women whose faces are partly concealed by elaborate mothlike masks”. Klein founded a boutique imprint, Moth Woman Press, producing limited edition books and zines, “Although it was suggested I approach a publisher with my stories, I had the opportunity to publish them myself. The experience was not without its trials, but I learned a lot and was able to retain creative control. As an artist with metamorphosis at the core of my work, its unforeseen evolution from image to text to book now seems uncannily appropriate”. Since then, she has completed eleven of these delightful volumes, all of which have been acquired for the State Library of Victoria’s permanent collection; they also hold Klein’s earlier artist book Tattooed Faces (1996). The new exhibition Tall Tales at Hand Held Gallery (until 6 July, 2013) represents

something of a milestone, as it is the first to focus primarily on Klein’s ‘bookworks’. Enormously labour-intensive, the bound concertina titles open vertically, and are produced on handmade Khadi paper. These are complemented by a selection of over twenty miniature paintings. The primary inspiration for the imagery was the exquisite stop-motion silhouettes created by animation pioneer Lotte Reiniger (1899-1981). “Her fairy tale films, which I first saw as a child in the days of black-and-white television, were my introduction to silhouettes. At the time, I thought I had never seen anything quite so magical. I still do”, Klein admits. Sadly, this will be the final exhibition at this unique gallery space, which opened in 2008. • Hand Held Gallery, Suite 18, Level 1, Paramount Arcade,
108 Bourke St,
Melbourne VIC 3000 www.handheldgallery.blogspot.com.au • Artist sites: www.deborahklein.net & www.mothwomanpress.blogspot.com Painter Andrew Browne is the latest recipient of the Collie Print Trust Printmaking Fellowship at the Australian Print Workshop, which is granted to an established artist, generally from outside of the printmaking community, to allow them to extend their practise by developing a body of work in the print medium. The resulting Six Intaglios (until 22 June, 2013), reflect Browne’s ambitious work schedule across February and March – both for the scale of the series and the timeline for completion – in collaboration with APW’s senior printer Martin King and printer Simon White. “I have made prints sporadically over thirty years, but more recently they have been photographically based, rather than the handworked techniques that the APW specialises in”, Browne notes. “It was an interesting and demanding challenge to re-engage with the copper plate and the etching/intaglio process, building the images with laborious and specific techniques such as aquatint, dry-point, sugarlift and hard and soft grounds. The bare copper plate is both beautiful and initially intimidating, but once you are involved in the incising of the plate, and the image slowly emerges, it is a wonderful process...”

> Browne and King would sometimes be working on several plates at once, and developed a couple of innovations for the series, specifically the application of hard and sugar-lift grounds with airbrush techniques. “It was a bit of a seat-of-your-pants affair, but one that worked really well, particularly in the largest aquatint intaglio, A Hollow (2013). This depicts an abyss opening up between twigs and branches, yet it is strangely tranquil, the effect almost of a nest with a velvety blackness at its centre, evocative perhaps of a surrender to the inevitable”, he explains. “The plate spent a significant time in the acid, totalling around two and a half hours, and when we pulled the first proof we were amazed at the success of the image and how the airbrush had created great tonal variations”.

The physicality of the etching process suits the subject matter of the sometimes bleak urban environment and sinister landscapes from which the images were derived. “I was determined to work across the range of my recent visual history, incorporating nocturnal anthropomorphic imagery, the friction of the detritus laden landscape, and some somewhat spooky facial characters too”, Browne asserts. “Although they are all sourced initially from photography and direct observation, as they develop the plates move further away from reality, toward a type of collaged surrealism”. • Australian Print Workshop Gallery, 210 Gertrude Street, Fitzroy, Victoria, 3065 - www.australianprintworkshop.com • Artist site - www.andrewbrowne.com.au


Andrew BROWNE, A Hollow, 2013, aquatint (ed. 15 + proofs), 89.5 x 119 cm, paper size: 103 x 132.5 cm, printed by Martin King.

DATELINE: JUNE 2013 by Cassandra Scalzi

I cannot help but wonder if it is only in Adelaide where it is not uncommon for a man to drive down onto the beach with his big pet python, get out and walk up and down attracting a crowd, like in the Garden of Unearthly Delights in the East End during the Adelaide Fringe Festival. Perhaps it was the very unusual hot weather in the middle of May which brought out the Snake Man and his companion of ten years. Of course, being a reptile enthusiast, I couldn’t resist. I asked him if it was a difficult pet to keep. He replied by telling me it is so easy, that he can feed it a large rat and head down to the Gold Coast for three weeks without worrying! So will a small mouse suffice if I was heading to Melbourne for a week, I wondered? I then asked the lanky man if I could pat his snake. Even better, I got to put the lovely mass of reptile muscle around my neck; not what you expect to get out of a day at the beach! But that’s just Adelaide – a permanent Fringe show, I like to call it – full of freaks, free shows and fantastic artistic displays! Take the cheeky puppets from Paddington Markets that have made their way to an inner city coffee bar, where they change naughty positions on the counter daily, both amusing and disgusting passers-by. Funny how a couple of Japanese tourists couldn’t get enough of the puppets with their limbs folded like origami. Oh

my, was I in the middle of some test marketing for porn cafes? I couldn’t help but wonder when I noticed the bare chested 70s style woman on the cover of a paperback lying helplessly on the table, all on its own, with no one in sight. How strange. Let’s Get Laid was its title, by Philip Massinger. ‘’Now an uproarious film starring Fiona Richmond!’’ I managed to read as I got a little closer. Perhaps the perverse patron had taken a trip to the little boy’s room, or maybe it was just part of the café’s décor, taken straight out of a haunt in Amsterdam. Who knows … It could have even been part of some code operation for the singles market. I’ve been told by my widowed grandmother that there is a supermarket in the western suburbs frequented by singles in the Italian seniors’ community, which serves to bring lonely old hearts together with fruit and vegetables. It’s an innovative campaign, probably once again something that Adelaide can claim exclusivity to. My shy grandmother stumbled upon it, and a very hot blooded, faithful supporter of Berlusconi, when she made the mistake of putting a bunch of bananas in her trolley and heading down aisle 6. Apparently, grabbing a cucumber and going down aisle 9 is another big no-no if you’re not after some action and only want to get some groceries!

Lets’s get into something else a little risqué and action packed, but pleasantly more glitzy and glamorous than a trip to the supermarket full of seniors on heat. Not to say that local and international stars won’t be on fire with tantalising delights and unforgettable talent when the biggest and most adventurous cabaret festival in the world takes hold of the City of Churches from the 7 – 22 June. Over 18 days and nights, Adelaide will proudly showcase 350 artists in 160 performances from well-known cabaret stars to edgy debuting acts. The Adelaide Cabaret Festival, headed by home grown Artistic Director Kate Cebrano teamed with Teddy Tau Rhodes, brings together music theatre, opera and rock n roll in Meet Me in the Middle. The Festival has a reputation for showcasing the very best local, national and international cabaret artists, mixing classic and contemporary cabaret performances, memorable nights of music, satire, comedy and story-telling. Not sure about snakes … But you can catch cabaret cat woman Meow Meow’s art exotica performance, which has hypnotized and terrified audiences worldwide. Named ‘’cabaret diva of the highest order’’ (New York Post), the multi-award winning Meow has previously been commissioned by the likes of David Bowie, and is my fave pick for this year’s Festival. >>

image: Purr purr, Meow Meow

ADEloud / Cassandra Scalzi

Another performer who has caught my eye is Hans, ‘the Boy Wonder of Berlin’, who is back in Adelaide with his band, The Ungrateful Bastards and his beautiful dancers, The Lucky Bitches. So for those, who want to warm up and shake off those winter blues, why not kick back with Like a German for a night of hot pants and feathers, with songs from Marlene to Madonna, accompanied his signature accordions, and of course hold on to your boyfriend if you dare to bring one for this one-of-a-kind act! In fact, Hans dares you to sit in the front row … you never know what this international, colourful superstar is going to pull out of his hat next! ‘’Naughty, sexy, a little dirty, a little bit silly but most of all, sheer unadulterated brilliance’’, is how the Sunshine Coast Daily describes foulmouthed femme fatale Virginia Gay’s Songs To Self –Destruct To. If you are after sing-a-longs in colourful language, head down to the Banquet Room from 15 – 16 June for a feast of cheerful upbeat classics! Speaking of classics, the cinematic genius, Charlie Chaplin, is brought to life by award-winning composer/performer, David Pomeranz, who portrays more than forty of the colourful characters in Chaplin’s life, and promises to take you back to a time of timeless artistry of one of cinema’s greatest legends. I wouldn’t mind catching Cassandra Wilson either. A vocalist not afraid to take chances, two-time Grammy Award winning jazz singer and composer, Ms Wilson, will woo audiences with her distinctive and flexible contralto voice and her sensational sextet of musicians from the United States. You can catch Cassandra at the Dunstan Playhouse from 12 – 13 June. How about some popular French songs about love, death and war? Jacques Brel’s brutally and beautifully honest, pop songs about life in post-war Paris, will be sung in both French and English and brought to life by renowned Australian theatre legend, Helene Morse, John O’May and rising star Lucy Maunder. There’s some more matters of the heart to watch out for in My Latin Heart, a celebration of Latin passion and profoundly beautiful music by internationally-acclaimed baritone Jose Carbo and celebrated classical guitarist brothers, Slava

and Leonard Grigoryan. They guarantee a night of passion … passionate tango that is. The rest is up to you. Or why not bring your mother to watch three Mexican wannabees pay homage to their heroes of outlaw rock and soul and Mexican folk music. The Puta Madre Brothers will put their own spin on their favourite songs by the likes of, Ritchie Valens, Nathaniel Mayer, The Bar Kays and Pedro Vargas. Apparently, they will also spit on the floor, attempt to steal cigarettes and your girlfriend from you, but will happily share a bottle of beer and a maraca. Sweet mother of Jesus! I’m starting to think this is all a bit strange for the City of Churches. Can they save us from Christmas also? There seems to be a lot of swearing and naughtiness in this year’s line up! Now I’m not going to ask my girlfriends to get anything out, other than their most wicked sense of humour with this next one… Sugartits by Bourgeois and Maurice, warns us to hold onto our morals as they hijack the Artspace with their critically acclaimed Edinburgh Fringe hit, which is said not to be suitable for children under 16 or Rupert Murdoch supporters. What about supporters of Berlusconi? I bet they would be right into it, as would the Bunga Bunga party goer himself, I am sure! This cult musical duo, defies categorisation with their unique mix of comedy, cabaret and goth-pop content, including very catchy tunes, which have seen them take the international cabaret scene by storm! A Storm in a D Cup is the self-titled fresh new act of 2012 Australian Cabaret Showcase runner-up, Amelia Ryan, who will take you on an uninhibited life journey through song at this year’s Adelaide Cabaret Festival. No doubt many talented new artists will take the city by storm and capture the imagination and hearts of audiences this winter. There are too many amazing artists to write about, lots of choice for lovers of the arts, and this would have to be without a doubt the best event on the arts calendar for Adelaide. It even beats patting a man’s snake on the beach … and that’s a big call for a reptile lover! NEXT MONTH: National Tree Day, Swan Lake at the Adelaide Festival Centre, Elmo’s World Tour at Her Majesty’s Theatre and much more …

image: Hans ‘the Boy Wonder of Berlin’.


1. Elwyn MURRAY, Greta (the inward self) 2012. Etching on mirror and fluorescent light, 40.6 x 50.8cm. Reflecting Surfaces, Counihan Gallery in Brunswick, 233 Sydney Road, Brunswick (VIC), 28 June â&#x20AC;&#x201C; 21 July www.moreland.vic.gov.au/gallery 2. Jeremy BLINCOE, untitled 2013, c-type print, 1500 x 1150mm. Artecycle, Incinerator Gallery, 180 Holmes Road Moonee Ponds (VIC), until 14 July - www.incineratorgallery.com.au




3. Peter DAVERINGTON, The patriot: self-portrait with albino joey 2013, oil and gold leaf on canvas, 203 x 153 cm. Image courtesy of Art Gallery of NSW. Finalist in the Archibald Prize 2013, Mornington Peninsula Regional Gallery, Civic Reserve Dunns Road Mornington (VIC), 8 June – 7 July - http://www. mprg.mornpen.vic.gov.au see also http://www.artgallery.nsw.gov.au/prizes/ archibald/ 4. John MAWURNDJUL, Mardayin Designs 2005, natural earth pigments with PVC fixative on eucalyptus bark, 178.5 x 65.0 cm (irregular). Collection of Carrillo and Ziyin Gantner. Photograph: Andrew Curtis © the artist, licensed by Viscopy, 2013. Speaking in Colour: Works from the Collection of Carrillo and Ziyin Gantner, Shepparton Art Museum, 70 Welsford St Shepparton (VIC), 21 June – 25 August. SAM Out Late! In conversation with Carrillo Gantner Thursday 20 June 2013, 6pm. - www. sheppartonartmuseum.com.au/ 3



5. Helen MAUDSLEY, Buoyancy Within Selves 1991-1992, oil on linen, 185 x 123 cm. Image courtesy of the artist and Niagara Galleries, Melbourne. Helen Maudsley: The Landscape of Being, Fremantle Arts Centre, 1 Finnerty Street Fremantle (WA), 8 June - 21 July - fac.org.au 6. Joung Mee DO, Reflection 2011, fine silver, fine gold, steel, gilding, metal, copper, nickel silver, brass. 2013 Contemporary Australian Silver and Metalwork Award, Post Office Gallery (a satellite space of Bendigo Art Gallery), 51 - 67 Pall Mall Bendigo (VIC), 29 June â&#x20AC;&#x201C; 28 July - www.bendigoartgallery.com.au/Post_Office_Gallery NEXT SPREAD: 4. Xray DOLL, Raw Feast 2013, C1 Lambda photographic print on matt archival. Recently appearing as part of the Head On Photo Festival in Shards of Glitter, China Heights Gallery 16-28 Foster Street Surry Hills (NSW), 23 â&#x20AC;&#x201C; 26 May 2013 - www.chinaheights.com/ or xraydoll.com




7. Zoe AMOR, Flight to the Sun 2012, bronze with gold leaf, Ed. of 3, 56 x 38 x 9cm. Cross Pollination: Life on Earth, Pocket Gallery, RTC Lyons Street Newstead (VIC), until 31 July - www.facebook.com/pages/Pocket-Gallery/ 8. The Addams family, The Wanting Monster, a shadow play to be performed at the Village Winter Festival, Victory Park, Castlemaine (VIC) Saturday 22 June - www.facebook.com/TheVillageWinterFestivalCastlemaine NEXT SPREAD: Deborah KELLY, Beastliness (detail) 2011, video still. Travel Between Thresholds, 24HR Art: NT Centre for Contemporary Art, Vimy Lane, Parap Darwin (NT), 14 June â&#x20AC;&#x201C; 20 July - www.24hrart.org.au


It could be something from a Star Wars movie, the bottom of the sea, a futuristic manifesto, or a hairdresser’s nightmare … But it’s actually a concept for an extension to an existing building in Stockholm, from Belatchew Lab Architecture. They call it the ‘Strawscraper’, and it’s covered in hair that uses Piezoelectric technology to convert movement into electricity that can be stored for later use. The hair-covered kinetic shell harvests the power of wind without the need for a traditional turbine. It also solves the issues of urban wind farming and safety in urban environments for birds and humans, and the normal noise factor associated with turbines. http://inhabitat.com/6-inspiring-examples-of-groundbreaking-green-technology/

with Robyn Gibson

Bamboo, flowers, seedpods and leaves are not the kinds of materials we usually we associate with violence and weaponry. For this January Biannual commissioned work, artist Sonia Rentsch lays these natural elements together on a white canvas to create her emotionally-evocative soft weapons; harmless vegetable matter that nevertheless resonate with a dark energy. Photograph by Albert Comper http://www.soniarentsch.com/

Design excels when it integrates functionality with improvements in technology, and adds beauty to our world. These ‘Solar Ivy’ photovoltaic leaves do just that. Brooklyn-based SMIT (Sustainably Minded Interactive Technology) used paper-thin leaf-shaped PV material over polyethylene and attached a tiny piezoelectric generator to each ‘leaf’. The ‘Solar Ivy’ is integrated decoratively onto a building’s external surface, and generates energy by sparkling in the sunlight. http://www.s-m-i-t.com/

Buildings and architecture may, in the near future, be constructed by 3D printers using bacteria. Many designers are currently exploring ‘bacterial printers’ that will construct human-scale objects, utilising nanoparticle design and biology in their creation. Writer Chris Arkenberg says of Columbia Living Architecture Lab: “Their recent work investigates bacterial manufacturing [i.e.] the genetic modification of bacteria to create durable materials. Envisioning a future where bacterial colonies are designed to print novel materials at scale, they see buildings wrapped in seamless, responsive, bio-electronic envelopes.” Roboticist Enrico Dini is fabricating 3D printers large enough to print houses from sand, with a view to “deploying his D-Shape printer to the moon in hopes of churning lunar soil into a habitable house.” Dutch firm, Universe Architecture, plans on printing the first Landscape House in 2014. They describe the design of the house as: “One surface folded in an endless möbius band. Floors transform into ceilings, inside into outside ... Architecture of continuity with an endless array of applicability.” ”The house will be printed through a D-shaped printer with the materials being sand bonded by a magnesium based glue. The frame is then filled with fibre reinforced concrete.


Growing mushrooms under your bed might not be such a revelation to many uni students, but two clever kids – Eben Bayer and Gavin McIntyre – mixed theirs with water, flour, and minerals, and voila! The foam they created was no hallucination: it resulted in a new, cheap-aschips and highly effective building insulation material. Eben and Gavin have just graduated from Rensselaer Polytechnic Institute in the US, where they developed the product for a class, and are now working full-time on testing and preparing their mushroom insulation, or ‘Greensulate’ for manufacture. Another product, ‘Ecovative’ is made by inoculating agricultural by-products with mycelium (mushroom) fibres and left for about a week at room temperature, without need for light, watering or petrochemical input. Ultimately, around 13km of the minute fibres exist in every cubic 2.5cm block of the resulting foam, which is dehydrated, heat-treated, then bonded directly to materials such as wood, hemp, jute, timber veneer, fibreglass and even carbon fibre. Source: http://inhabitat.com/6-inspiring-examples-of-groundbreaking-green-technology/


QUAD ELECTRIC MOTORS Pholeum transportation is a concept based on the living cell tissue structure of plants, which can carry organic nutrients to any part of the plant when required. Designer Alexei Mikhailov from Montreal, Canada, has taken this idea on board and given it a ride around town, posting a design on Behance for a Volkswagon-branded personal mobility unit. The Pholeum Pod Car is intended as an ideal transportation unit for mega-cities, and is so ecofriendly that a short trip inside it is equivalent to riding a bike down the street. The minimalist interior features â&#x20AC;&#x153;the next generation driving environmentâ&#x20AC;?, with a control steering pod that mimicks video game controls, where brake and gas paddles are embedded close to the steering wheel. The wheels are fully immersible, with rubberized tyres featuring an independent spoke arrangement, which allows the wheels to absorb road bumps without having to use suspension. The out-of-body wheel base also has an innovative look that is enhanced by its clear body shell and green design. http://www.behance.net/AMVdesign








stralian stories with Neil Boyack

Snow Business: the thrills & kills of Squizzy Taylor


y dad said to me once that his dad (a person I never met), was a gangster. He would have been alive and kicking around the time of Squizzy Taylor, and if he was a gangster he definitely would have heard of the Bourke Street Rats. Who knows if they ever met, or were enemies, or handled stolen goods, dealt ‘snow’, or drank sly grog together? One thing is sure, the life of Squizzy Taylor is intermingled with a longstanding Melburnian voyeuristic fascination of crime figures and their journeys. Squizzy Taylor’s life began on 29 June 1888, as Joseph Leslie Theodore Taylor, the second youngest of five children belonging to a Melbourne Coach builder. Originally living in Brighton, the family moved to Richmond as the depression of the 1890’s started to bite, and this neighbourhood was to be the backdrop for many of Squizzy’s antics and crimes. He was small in stature, which naturally lent itself to horseracing, and, as a jockey, Squizzy was influenced by the many shady elements attached to racetracks. Soon he learnt that easy money came through petty crime. At age 20 in 1908, Squizzy was caught pick-pocketing at the Burrumbeet races and charged, and by 1910 Taylor was an entrenched part of the Melbourne underworld. Before long he was linked to blackmail, theft, extortion, then later, jury rigging, race-fixing, sly grog, and prostitution. Ultimately, it was the business of ‘snow’ (cocaine) that finished him. At one point late in his career Squizzy absconded whilst on bail, eluding the entire Victorian police force. Whilst on the run he started sending letters to the newspapers, which they published… “I have not quite fixed up my private business yet, but as soon as I

have I will pop to the C.I.D knowing that I will be quite welcome” he wrote. In 1927, Squizzy’s end came predictably, with a bullet. Allegedly the fatal shots came from the gun of a Sydney based rival, John Daniel “Snowy” Cutmore, whom Squizzy had dealt with earlier, in a chapter known as the “Fitzroy Vendettas”. Despite being bedridden with a bout of influenza, Cutmore shot and killed Squizzy in this exchange, having a gun under his pillow and managing to get a few shots off in the chaos. The incident happened at 50 Barkly Street Carlton, which these days is a block of units. Squizzy’s death was put down to “Snowy” Cutmore’s bullet, although this was only the coroner’s version of events. The bullets recovered from Taylor’s body were matched to an Eiber “Destroyer” revolver. This exact pistol was found a little way away from the Barkly street house under a picket fence, casting doubt on Cutmore actually pulling the trigger on Taylor. At the time of his death Squizzy had made the error of lunging into the cocaine racket without first commanding the required clout or respect from the underworld.

Joseph Leslie Theodore ‘Squizzy’ Taylor, 1907

Other theories, amongst theories, were that John Wren had set the whole meeting up in order to knock Taylor off, or that Henry Stokes, the “two-up king”, had Taylor and Cutmore both eradicated at once to make a clear path for his own ‘snow’ business plan. A popular form of deception and standover favoured by crime gangs of the era was using female decoys to lure cashed up, married, men from racetracks and other events, to motel rooms. Here the kissing and cuddling would start in earnest, then one of Taylor’s henchmen would break in on the canoodling couple. Pretending to be the husband of the woman in-flagrante, the standover began, as the “aggrieved” partner promptly demanded payment from the adulterous man in return for silence around his misconduct. Refusal brought forth the utterance of “Mr Taylor” and this usually made victims offer up cash hand over fist. Terror was an essential element for this blackmail and standover to work. Two decades later a lesser known figure in the annals Australian crime, Jean Lee (the last women to suffer capital punishment in Australia), used an

identical technique to make her ends meet, which ultimately took her to the hangman’s noose (refer Jordie Albiston’s wonderful book The Hanging of Jean Lee). In a climate of Christian temperance and a moralising majority, the business of ‘snow’ infiltrated Melbourne around 1923. ‘Snow’, or cocaine, was a hangover from WWI, where experiments in refining opiates for medical purposes produced the substance which was commonly used in dentistry and medicine of the era. “In 1923 shocked journalists discovered that the ‘snow habit’ had reached the slum areas of Melbourne”. The effects of ‘snow’, a “deleterious” substance, also confused police as they were different from the effects of alcohol and opium, both established abused substances. Deals were sold for 2 shillings a packet, which made 3 lines or “sniffs”. The drugs came from dealers who purchased in bulk from chemists. With an increased thieving of chemist stores, ‘snow’ was even turning up at the racetrack, with horses being doped. >>

John ‘Snowy’ Cutmore, 1907

> Having created solid racketeering and clean profit through the reliable cash flow of illegal liquor trading, established crooks explored the new trade of dealing narcotics. Unlike today where cocaine is synonymous with wealth, stardom and runny noses, ‘snow’ was associated with the worst cases of destitution, poverty and addiction affecting individuals and families within the inner suburbs of Melbourne. The stories and antics of Melbourne crooks are fascinating, as are tales further back in time, of desperate escaped convicts eating each other whilst on the run in a strange land, and bushrangers dressing up in armoured suits. Australia’s crime history contributes unwittingly, yet meaningfully to our culture, demonstrating patterns of innovation and solution from generation to generation, and the breadth of freedom within our society that is akin to the romance of a bum riding freight trains. Examples of this cultural contribution are contained in the volumes of Australian True Crime literature, and the win-win-safe-bet of any TV production on Australian crime. Examples that come to mind are Matlock Police, Homicide,

Cop Shop, Solo One, Bluey, the sensational Blue Murder, or the explosively popular Underbelly. Based on modern day transgressions, starring criminal identities, Underbelly is driven by the desperate thirst of Melburnians, and Australians, to cover themselves in naughty, serious intrigue, whilst fostering secret fantasies of somehow being connected, but not identified, with the tawdry and sorry parameters of crooks. The Australian culture’s mainstream fascination with crime and underworld identities is a longestablished and lucrative industry. High profile modern day cour t cases result in similar outcomes to their counterparts of the roaring twenties. Identical legal tactics used by learned counsel are used in same way Taylor’s “mouthpieces” intended. Modern day miscreant identities stall incarceration and live amongst the people with a sor t of celebrity status. We are their backdrop, our houses, our streets, our communities. Shootings, arrests, assaults, set-ups, racketeering, all take place in our neighbourhoods offering a sense of reality and connection to the Underbelly characters and stories. >>

Stralian Stories / Neil Boyack

> Melbourne’s fascination and fear was the same in Squizzy’s day, as “sly groggers and armed, mobile robbers both terrified and thrilled Melburnians”.1 Far from the sharply dressed, big spending, ultra-salubrious, Great Gatsby crooks of Chicago, Melbourne crooks stuck to the crumbling, poverty stricken buildings and communities within the inner city. There was no real concern with empire building, but more an operational push to be rich, to maintain status, to squash rivals, and to get even with double-crossers. The crooks of Melbourne walked quietly at night, and walked even more before motor cars became a realistic option. Another, delicious reason Squizzy Taylor’s era is so compelling

are the wonderful mug shots taken by police. Photography was rare in the era of Taylor, which is why many were dressed in suits, or in their “Sunday best”. It was a badge of honour to be photographed, elevating status. We are free to marry the stories to the faces, looking into the eyes of mean men who would never have allowed such a thing to happen whilst they were alive. We pound the same pavements, use the same buildings, drink at the same pubs, meet on the same corners and live in the same addresses. We are still their audience. Neil Boyack is a writer and social worker. He is creator and director of the Newstead Short Story Tattoo. His new book Self Help and Other Works is out now, Check www.neilboyack.com and www.newsteadtattoo.org

FOOTNOTES: 1. Ref: http://adb.anu.edu.au/biography/taylor-joseph-leslie-squizzy-8762 IMAGES: Ref: http://scan.net.au/scan/journal/display.php?journal_id=67

Stralian Stories / Neil Boyack

words & pics: Ben Laycock


Lots of squirrels, most of them squashed, plenty of rain and sleet and mist and fog but no snow. It’s Christmas 2006. This is the first year since 1860 that it hasn’t snowed by Christmas time. The people are a little bemused and disoriented. There is something weird going on out there, but they are doing their best to ignore it. Jump to 2013. The relentless tornados, cyclones, floods and storms are just beginning to open hairline cracks in the edifice of indifference to stark reality, yet still the mention of Climate Change is taboo. Every second yard has the stars and stripes or a blow up Santa or a polar bear or a reindeer, the occasional Mickey Mouse, even a Goofy, but strangely no sign of Little Bubby Jesus or his mum. There are 78 TV stations in New Jersey – they believe in ‘freedom of choice’ – but on Christmas Day by far the favorite show is The Yuletide Log, a continuous loop of an imitation fire, complete with flickering flames. People turn it on in the morning and leave it on all day. Apparently they find it comforting. I am strongly advised not to walk around in bare feet. Some people might think I am pretending to be a run-away slave.

park in the driveway. New Jersey is a maze of crisscrossing freeways. We manage to get lost every time we venture out. Eventually we find the ‘Park & Ride’, queue at the ticket machine, spend 20 minutes figuring out the ticket machine, feed it an inordinate amount of paper money, queue up for the bus, catch the bus through the Lincoln tunnel and emerge into the chaos of Manhattan, get lost trying find our way out of The Port Authority Bus Terminal, queue up for subway tickets, spend 15 minutes figuring out the ticket machine, cram into the subway, get lost on the subway, finally find ‘The Museum of World Plunder’, Queue for entry, queue for a coffee, queue for a hot-dog, queue Christmas morning my brother David for the toilet, queue for the god-damn says “I’ve got some good news and fucking drinking fountain, elbow your way some bad news. The good news is I have through the crowd to get a glimpse of managed, after great effort, to get hold some priceless artifact stolen from some of tickets for the whole family to James poverty stricken 3rd world country, repeat Brown tomorrow night. The bad news is the entire process in reverse, arrive home he died this morning.” Bummer! penniless and exhausted, get up the next A Day in ‘The Big Apple.’ morning, replenish vital supplies from the We borrow David’s car and promptly get A.T.M. and do it all over again. Gee I love lost on the Freeway, or ‘Parkway’ as they New York! call them over there. Doesn’t make sense Next Chapter: Greetings from London Town to me. They drive on the Parkway and - www.benlaycock.com.au



• Art Gallery of New South Wales The fashion of HELMUT NEWTON and BETTINA RHEIMS, until 19 May. Archibald, Wynne and Sulman Prizes 2013 until 2 June. LLOYD REES paintings, drawings and prints, until 7 July. DADANG CHRISTANTO, They give evidence, until 21 July. The space between us, Anne Landa Award for video and new media arts 2013, 16 May – 28 July. BILL HENSON, cloud landscapes, 30 May – 22 September. Art Gallery Rd, The Domain, Sydney NSW 2000. T: (02) 9225 1744, www.artgallery.nsw.gov.au

hobart • MONA, Museum of Old and New Art, Hobart Ancient, modern and contemporary art. Monanism the permanent collection – evolving over time. Our next exhibition opening 19 June, 2013 is The Red Queen curated by DAVID WALSH, OLIVIER VARENNE and NICOLE DURLING asks why homo sapiens have always made art – is it integral to human evolution? Fees: $20/adult; under 18s are free. Autumn/ Winter opening hours: 10am to 5pm, closed Tuesdays. Food, bars, winery, microbrewery, accommodation, bookshop and library. 655 Main Road Berriedale, Tasmania, 7011. T: (03) 6277 9900, www.mona.net.au


box hill • Box Hill Community Arts Centre 28 May – 9 June An exhibition of artworks created by children and families under the guidance of Healesville based indigenous artist UNCLE REX MURRAY. 12 – 23 June Art Without Borders, an exhibition of unique artwork that tells the personal story of newly arrived migrant women who enrich the community within the City of Whitehorse. 25 – 30 June, Box Hill Hand Spinners & Weavers – Unique Textiles. Image: Art Without Borders. 470 Station Street Box Hill T: (03) 9895 8888 www.bhcac.com.au

• Whitehorse Artspace Botanica - (26 April - 22 June 2013). Paintings, works on paper and floral art. Works from the Whitehorse Art Collection, including artwork by Fiona McKinnon. These are displayed together with works by artists from the Box Hill and Whitehorse art groups and local floral artists. Guest exhibitor is Liu Xian Feng. Image: Fiona McKinnon, Western Bushfire Chrysanthemum 2010. © The Artist. Hours: Tues and Fri 10am-3pm, Wed and Thurs 9am-5pm, Saturday noon-4pm. T: (03) 9262 6250, 1022 Whitehorse Road, Box Hill VIC 3128, www.boxhilltownhall.com.au


brunswick • Counihan Gallery in Brunswick Until 16 June Ghost Citizens: Witnessing the Intervention, VERNON AH KEE | ALISON ALDER | BINDI COLE | FIONA FOLEY | DAN JONES | KYLIE KEMARRE | FIONA MACDONALD | CHIPS MACKINOLTY | SALLY M MULDA | AMY NAPURULLA | BRENDAN PENZER | THERESE RITCHIE | DEBORAH VAUGHAN | JASON WING. Curated by JO HOLDER & DJON MUNDINE OAM. 28 June to 21 July Gallery one: Reflecting Surfaces, ELWYN MURRAY. Gallery Two: My River, LUKE BEESLEY | CRAIG BURGESS | KATE HILL | EUGENE LUKE HOWARD | SARAH MOORE| ANNA TOPALIDOU| NICHOLAS UMEK. Opening: Thursday 27 June, 6pm. Please see the website for further details and public programs: www.moreland.vic.gov.au/gallery Image: Chips Mackinolty, National Emergency Next 1,347,525km 2007. Digital print. 49.5 x 49.5cm. Courtesy the artist. 233 Sydney Road, Brunswick 3056 T: (03) 9389 8622; www.moreland.vic.gov.au/gallery. E: counihangallery@moreland.vic.gov.au


• Bundoora Homestead Art Centre Tooth & Nail: Cross Cultural Influences in Contemporary Ceramics until 14 July, 2013. A dynamic exploration of contemporary artistic practice and cultural influences between Asian and Australian ceramicists. Journeys in Cloth and Stitch; textiles by JAN LOWE, 12 June – 7 July, 2013. Image: ROBYN PHELAN, Depleted (detail) 2010, Southern ice paperclay, cobalt glaze. 7-27 Snake Gully Drive, Bundoora. (Melways 19 G2) T: (03) 9496 1060; http:// bundoorahomestead.com

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• Steps Gallery On the Verge, 8 – 20 June. An energised and inspired showing of diverse works in fibre, textile and mixed media. The 14 artists of COLLECTIVE NOTIONS continue to push boundaries of concept and textile art - www. collectivenotions.com M: 0409 850 397 Steps Gallery, 62 Lygon Street, Carlton. Daily 10am - 4pm, Sun 11am - 4pm.

deer park • Hunt Club Community Arts Centre Galleries 18 May – 22 June Friends of Iramoo, Illustrations of Our Environment (Main and Foyer Galleries), drawings and installation exploring the ecological values of grasslands within the local area and the wider Victorian Volcanic Plains. To 11 May AUDREY CARDONA BUTTIGIEG, Eyedeas (Main Gallery) and, BRAD AXIAK, NIGEL GILLIES the Sunshine Line (Foyer Gallery). Centre open Mon-Thurs 9am - 7.30pm, Fri 9am - 4.30pm, Sat 9am -12.30pm. Closed Public Holidays. 775 Ballarat Road, Deer Park (Melway 25, F8) T: (03) 9249 4600 E: huntclubarts@ brimbank.vic.gov.au www.brimbank.vic.gov.au/arts

doncaster • Manningham Art Gallery Bengek nyarrwa Bengoot. Errantherre Yenge eweme (I see you, I hear you), 22 May – 29 June. In celebration of National Reconciliation Week 2013, presents recent works by contemporary Indigenous artists ELIZABETH LIDDLE and DEANNE GILSON. Image: Deanne Gilson, Black and White (Self Vessel) 2013, oil on canvas, 120 x 90cm. Courtesy the artist. MC² (Manningham City Square), 687 Doncaster Road, Doncaster 3108. Mel Ref. 47 F1. Open Tuesday to Saturday 11am to 5pm. T: (03) 98409367. E: gallery@manningham.vic.gov.au; www. manningham.vic.gov.au/gallery Free entry.

east melbourne • The Johnston Collection House Museum & Gallery Fairhall: Barb Brownlow & Alexandra Brownlow Rearrange Mr Johnston’s Collection 12 March – 19 June. Melbourne interior designers Barb Brownlow and Alexandra Brownlow rearrange William Johnston’s collection. Against the backdrop of Johnston’s extraordinary collection, this guided tour explores the idea of 21st century living designed around historic objects. Gallery: Women Making History: Writers, Thinkers, Makers, Icons 1700–1900 12 March – 19 June. Inspired by the bicentenary of the publication of Jane Austen’s Pride and Prejudice, explores the role of women as writers, thinkers, makers, archetypes and artistic subjects from the 18th century to the close of the 19th century. Image: attributed to Derby porcelain factory (est. circa 1748-1848), figure (Minerva), circa 1780-1785. Bookings essential www.johnstoncollection.org

geelong • Geelong Gallery Impressions of Geelong — a portrait of the city and its region, until 25 August. Painted porcelain — decorated British ceramics 1750–1850, until 8 September. 17th VIGEX international photography salon 2013, until 7 July. Geelong region artists program: Seascapes – JON FRANK, until 14 July. Image: Jon Frank, Untitled (Eastern Beach #2) 2012, archival pigment print on fibre rag. Reproduced courtesy of the artist. Geelong Gallery, Little Malop Street, Geelong 3220. T: (03) 5229 3645, www.geelonggallery. org.au Free entry. Open daily 10am to 5pm. Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday.

healesville • TarraWarra Museum of Art 20 April – 16 June 2013 Vibrant Matter. Drawing predominantly from the TWMA collection with selected loans, Vibrant Matter features Australian abstract paintings and sculptures from the past six decades which resonate with a vital materiality. The selected works incorporate formal invention, experiments in process and use of new materials, highlighting the myriad ways in which abstraction can powerfully convey complex ideas and feelings including: spiritual and metaphysical concepts and experiences; hidden correspondences and rhythms lying beneath outward appearances; elemental structures and forms; numinous experiences; and psychological transformation. Image: JON CATTAPAN, Absence Field III (detail) 2011, oil on canvas, 185 x 250 cm. Acquired 2012, TarraWarra Museum of Art collection. Image courtesy of the artist and Dominik Mersch Gallery, Sydney. Visit website for public programs and events. Admission: $5 (children, students and pensioners free). TarraWarra Museum of Art, 311 Healesville-Yarra Glen Road, Healesville. For information and bookings visit twma.com.au

langwarrin • McClelland Gallery + Sculpture Park Until 14 July 2013: McClelland Sculpture Survey and Award 2012. Until 9 June – Made in China, Australia. Australia’s leading Sculpture Park and Gallery. Until 9 June – Momentum. 390 McClelland Drive, Langwarrin (Mel. Ref. 103 E3 only 45 min from St Kilda!) T: (03) 9789 1671. Gallery Hours: Tues-Sun 10am-5pm (Entry by donation). McClelland Gallery Café, Tues-Sun 10am-4.30pm. Guided Tours: Wed and Thurs 11am and 2pm, and Sat and Sun by appointment only. Prior bookings highly recommended. E: info@mcclellandgallery. com, www.mcclellandgallery.com

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melbourne • BLINDSIDE BEN MILLAR Formwork. The use of formwork as a materiality considers what lies beyond the platform for communication. The works value is concerned with post-object art and deals with both resolution and the single gesture. These two frameworks are placed in dialogue with minimal and constructivist theory. JACQUI SHELTON & HIND HABIB Leverage. Focused on the bodies’ placement and influence on the space it inhabits, gestures are used to experiment with a body’s implications on space. Attempting to affect the physicality of the space, actions, which test the body, are performed – repeatedly running against a wall, squeezing into a tight corner. Often, these efforts produce no effect, the absence of any influence on the space being a reminder of the body that existed, and the failure of its intentions.. Image: Jacqui Shelton & Hind Habib, Leverage 2012, digital video still, dimensions variable. Image courtesy the artists. BLINDSIDE, Nicholas Building, 714/37 Swanston St (enter via Cathedral Arcade lifts, cnr Flinders Lane), Melbourne. Hours: Tue to Sat 12-6pm. T: (03) 9650 0093 • fortyfivedownstairs 21 May – 15 June Uproar, group exhibition, ceramics, drawing, painting; 12-16 June The Seven Ages of Joyce, Bloomsday in Melbourne, theatre readings & seminar; 18-29 Heartlands Refugee Art Prize 2013, presented by AMES and MAV, various media; 20 – 30 June Voyage, A is for Atlas, theatre. Image: Voyage promotional image by Justin Batchelor. 45 Flinders Lane, Melbourne, 3000. T: (03) 9662 9966 www.fortyfivedownstairs.com

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moonee ponds • Incinerator Gallery Artecycle. The Environmental Art Award and Exhibition. Until 14 July. Featuring art around the themes of environmentalism and sustainability from TIM BARRASS, CATHERINE BELL, HANNAH BERTAM, JEREMY BLINCOE, JOANNA BUCKLEY, JOEL GAILER, LISA GILES, CHRISTINE HEALY, GEORGINA HUMPHRIES, ASHLEE LAING, PIPPA MAKGILL, LAILA MARIE COSTA, ANNEE MIRON, MICHAEL PHILLIPS, CANDY STEVENS, JAMES TAPSCOTT, JASMINE TARGETT, HARTMUT VEIT, FRANK VELDZE, LIZ WALKER and DAVID WATERHOUSE. Moonee Valley and Beyond, TED DANSEY. Until 14 July. Featuring 24 watercolours of Moonee Valley and surrounding suburbs. Image: Jeremy Blincoe, untitled 2013, c-type print, 1500 x 1150mm. Artecycle. Opening hours: Tues to Sun, 10am-4pm. Free Entry. Incinerator Gallery, 180 Holmes Road, Moonee Ponds VIC 3039 T: (03) 8325 1750, E: incinerator@mvcc.vic.gov.au, www. incineratorgallery.com.au

mornington peninsula • Mornington Peninsula Regional Gallery 8 June – 7 July: 2013 Archibald Prize, An Art Gallery of New South Wales exhibition toured by Museums and Galleries, NSW. Image: Michael Zavros, Bad dad (detail). Image courtesy of Art Gallery of NSW. Exclusively shown in Victoria at the Mornington Peninsula Regional Gallery, Civic Reserve, Dunns Road, Mornington VIC 3931. T:: (03) 5975 4395; W: mprg.mornpen.vic.gov.au. Open Tuesday – Sunday 10am-5pm.

northcote • Northern Exposure Visual Arts Festival 2013 Expressions of interest are now open to participate in HIGH VIEWS – ART IN WINDOWS and SMALL WORKS SMALL SPACES. Visual art based projects and site specific installations and projections that engage with the High Street Northcote precinct and aim to provoke, surprise and delight the viewer. Entries close Fri June 21st. Victorian artists only. For more information contact event coordinator Stephanie Riddel E: ne@ highstreetnorthcote.com.au or M: 0423 621 611 To download an application form visit: www.highstreetnorthcote.com.au

southbank • ACCA - Australian Centre for Contemporary Art NEW13, supported by the Balnaves Foundation. ACCA’s annual commissions exhibition for rising Australian artists. Curated by CHARLOTTE DAY, with new works by BENJAMIN FORSTER (WA), JESS MACNEIL (NSW), ALEX MARTINIS ROE (VIC), SANNE MESTROM (VIC), SCOTT MITCHELL (VIC), JOSHUA PETHERICK (VIC) and LINDA TEGG (VIC). 25 May – 28 July Daria Martin: One of the Things That Makes Me Doubt Enter the sensorium of DARIA MARTIN’s magical, mystical, mythical film worlds in this first ever survey of works presented in Australia. American, British based artist Daria Martin creates hypnotic works in 16mm film that beguile and fascinate. Working between theatre, design and art and activating the spaces of dream and unconscious, Martin’s works are unique and unmissable. MIKALA DWYER: Goldene Bend’er Three works, including a major sculpture series and performance project, comprise this new exhibition from one of Australia’s most important contemporary artists. Australian Centre for Contemporary Art, 111 Sturt Street, Southbank. Gallery hours: TuesdayFriday 10am–5pm. Weekends 11am-6pm. Mondays by appointment. T: (03) 9697 9999 Admission: Free. www.accaonline.org.au

st andrews • The Baldessin Press and Studio Artists / writers retreats, workshops, studio access etc in tranquil bushland 50 kms from Melbourne. T (03) 97101350, www. baldessinpress.com

sunshine • Sunshine Art Spaces Studio & Gallery Artist studios, gallery and shop front. Four resident artist share the space and host a regular open studio on the second Saturday of each month. Opposite the studio is a Gallery space, which currently hosts the exhibition Landscapes, Seascape and others by PETER CAVE, 3 – 30 June. Opening hours vary, call to confirm. 2 City Place & 11 Sun Crescent, Sunshine (Melway 40, H1) T: (03) 9249 4600 E: artspaces@brimbank.vic. gov.au; www.sunshineartspaces.com.au

upwey • Burrinja Gallery Kati Thanda - Green Desert, 18 May – 11 August. This multimedia exhibition is a journey through time into the ancient world of Australia’s desert interior, featuring low level aerial images by award winning photographer PETER ELFES. Paul Smits: Myths and Fashion: 10 May – 16 June. PAUL SMITS presents three bronze sculptures inspired by themes, old world cultures and mythology from Oceania, Asia and Mesoamerica. BEN PHILLIPS: Something Monocular: 10 May – 16 June. Image: Peter Elfes, Tangerine Sea (detail). Cnr Glenfern Rd and Matson Dr. Tue to Sun 10.30am-4pm. T: 9754 8723. W: burrinja.org.au

wheelers hill • Monash Gallery of Art (MGA) 3 May – 30 June 2013 Make up: painted faces in contemporary photography. Photographs by ERIC BRIDGEMAN, BINDI COLE, RAY COOK, SANDY EDWARDS, SIRI HAYES, OWEN LEONG, DARREN SYLVESTER, NAT THOMAS & CONCETTINA INSERRA, CHRISTIAN THOMPSON and JUSTENE WILLIAMS. 3 May – 30 June 2013 Bruce Postle: image maker. BRUCE POSTLE, one of Australia’s most celebrated photojournalists, has taken thousands of images in over half a century of photojournalism, capturing some of the most iconic images of our times. Image: Bruce Postle, Ali and Newton 1979, gelatin silver print. Monash Gallery of Art, City of Monash Collection. Courtesy of the artist. 860 Ferntree Gully Road, Wheelers Hill 3150. Tues - Fri 10am to 5pm, Sat - Sun 12 to 5pm, Closed Mon. T: (03) 8544 0500, E: mga@ monash.vic.gov.au, www.mga.org.au

ballarat • Art Gallery of Ballarat Exhibitions: Living Traditions: The art of belief, NGV touring exhibition, until 30 June. Goldfields Printmakers: Borders and Crossings, 25 May to 7 July. Events: SERAPHIM TRIO: The Illusionist, 2 May, 7.30pm. SANDI THOM, 5 May, 6.30pm. Last Sunday in May Concert, Arts Academy, 26 May, 2.30pm. T: (03) 5320 5858 Free entry. Open daily except Christmas and Boxing Day. E: artgal@ballarat. vic.gov.au; www.artgalleryofballarat.com.au

• Ballarat Arts Foundation Grants Rounds for emerging artists: 1 – 31 March and 1 – 30 September. Visit Downloads on www.ballaratartsfoundation.org.au or T: (03) 5332 4824 or M: 0409 352 268


• Her Majesty’s Her Majesty’s Theatre, 17 Lydiard Street South, Ballarat. Box Office/Ticket Sales: MajesTix T: (03) 5333 5888 Box Office hours - Monday to Friday, 9.15am - 5pm and one hour prior to performance starting times. Details of current shows http:// www.hermaj.com/

• Post Office Gallery Wed 29 May – Sat 29 Jun JEN MCKNIGHT: Lend up your Ears. Image: Ash Keating, West Park Proposition 2012, video still, three channel synchronised HD digital video, 16:9, PAL colour, stereo sound, 2 minutes 14 seconds. Collection: University of Ballarat. Winner: Guirguis New Art Prize (GNAP) 2013. Post Office Gallery, University of Ballarat. Cnr Sturt and Lydiard St Ballarat. VIC. 3350. Mon/Tue by appt. Wed to Sat 1-4pm. T: (03) 5327 8615, E: s.hinton@ballarat.edu.au; www. ballarat.edu.au

• Radmac Radmac Office Choice has moved to a great new location 110 Armstrong St. South, now offering you more choice than ever before in our bright new showroom. Radmac is the local one stop shop for all your office and school supplies, computer consumables, copy and specialty papers art and craft needs, you can also order online: sales@ radmacofficechoice.com.au or via. T: (03) 5333 4617 or F: (03) 5334673 Hours 8.30am 5.30pm Mon-Fri, 9am to 12pm Sat.

bendigo • Artsonview Framing and Gallery Expert custom framing by GEOFF SAYER. Conservation and exhibition framing also available. Ceramics and etchings by RAY PEARCE, limited edition prints by GEOFF HOCKING now in stock. 75 View Street. E: sayer@iinet.net.au; T: (03) 5443 0624 Opening 14 June at Dudley House Two Points of View (looking from Sandhurst) joint exhibition by Geoff Sayer and Ray Pearce. Hours Sat, Sun, & following Thurs, Fri, Sat, Sun 11-5pm. Runs until 24 June.

• Bendigo Art Gallery Shadowlife, an Asialink/ Bendigo Art Gallery exhibition, 13 April - 28 July 2013. Image: FIONA FOLEY, The Oyster Fisherman I (detail) 2011, digital print on Hahnemühle paper. Courtesy of the artist, Andrew Baker Art Dealer, Brisbane, and Niagara Galleries, Melbourne. 42 View Street, Bendigo. T: (03) 5434 6088. www.bendigoartgallery.com.au

• The Capital - Bendigo’s Performing Arts Centre Presented in Association with Musica Viva Australia FLINDERS QUARTET with DMITRY ONISHCHENKO (piano), Fri 7 June 8pm. KAGE, Sundowner, Wed 12 June 8pm. Three’s A Crowd Productions, Grey Gardens - The Musical. Book by DOUG WRIGHT, Music by SCOTT FRANKEL and Lyrics by MICHAEL KORIE, 14 – 29 June (see website for session details). Melbourne International Comedy Festival Roadshow, Thurs 20 June 8pm. Tickets: www.thecapital.com.au

• Community & Cultural Development (CCD) www.bendigo.vic.gov.au - for arts, festivals and events info at your fingertips. Select Council Services, then Arts Festivals and Events for Events Calendar and Arts Register. The CCD Unit is an initiative of the City of Greater Bendigo. E: eventscalendar@bendigo.vic.gov. au T: (03) 5434 6464

• La Trobe University Visual Arts Centre VAC Gallery: To 16 June MARTIN KING, JUDY HOLDING and HEATHER SHIMMEN The Wisdom of Birds. 19 June to 28 July ASH KEATING West Park Proposition. Access Gallery: To 16 June MILTON LONG The Wearer as Curator. 19 June to 14 July DENNIS CARTER and PETER WILLIAMS Inhabiting Bendigo. Image: Ash Keating, video still from West Park Proposition, 2012, three channel syncronised HD digital video, 16:9, PAL colour, stereo sound, 2 minutes 14 seconds. Edition of 5 + 1ap. Courtesy of the artist and Fehily Contemporary, Melbourne 121 View St, Bendigo. T: (03) 5441 8724 W: www.latrobe.edu.au/vac

castlemaine • Arts & Culture: Mount Alexander Shire Phee Broadway Theatre – Book tickets, view upcoming shows and subscribe to our e- news www.pheebroadwaytheatre.com.au Arts & Culture Officer, Tegan Lang, Community Activity and Culture Unit, Mount Alexander Shire Council. T: (03) 5471 1793; M: 0428 394 577; E: arts@mountalexander.vic.gov.au

• Castlemaine Art Gallery and Historical Museum 1 June – 28 July Rick Amor: From sketch to finished oil. RICK AMOR is one of Australia’s finest contemporary artists and the Gallery is pleased to present an exhibition showcasing how he composes his finished oils by producing sketches, prints and watercolours that are used for his final oil paintings. A must for anybody interested in how professional artists undertake painting compositions. Image: Rick Amor, The end of Lyall Street, Newport (detail) 2002, watercolour. CAGHM, 14 Lyttleton Street Castlemaine, Vic. For full list of events and exhibitions log onto: www.castlemainegallery.com • Greengraphics: web and print We design anything, in web or print. Call (03) 5472 5300 or visit www.greengraphics.com.au

clunes • Union Bank Arts Centre 1-9 June From Coast to Clunes. An exhibition of photography, sculpture and mixed media by 5 artists from the Fleurieu Peninsula, S. Aust. KATHY FERGUSON, JANE HERON KIRKMOE, SUZANNE LASLETT, DAVID SUMMERHAYES and GREG TANSELL. The work has been inspired by a residency in Clunes in 2012 as well as by the Fleurieu environment. LAUNCH Saturday 1 June at 2pm by MICKEY LISIEUX (musician/singer/writer) with music by RICKETTY BRIDGE. Gallery open 11am to 4pm, 2 – 9 June. 22 Fraser Street, Clunes.

kyneton • Daffodil Prize for Art at Kyneton Kyneton Daffodil and Arts Festival will again award $500 to the winner of its prize for an art work containing daffodils. People 17 and older are invited to enter. Winner announced at Festival Opening 5 September and on exhibition during Festival 5 – 15 September. Entries close 16 August. Entry Guidelines www.kynetondaffodilarts.org.au or from Festival 03 5422 2282.

• New Photography Art Prize at Kyneton Daffodil & Arts Festival Capture any season – nature’s, sporting or any other. Photographers are invited to Capture the Season for the Festival’s new Art Photography Prize an Exhibition. Prize is $250 and works will be displayed during the Festival in Kyneton 5 – 15 September. Entrants to be 17 and older and all invited to Opening when prize announced on 5 September. Entries close 16 August. Entry Guidelines www.kynetondaffodilarts.org.au or from Festival 03 5422 2282.

newstead • Dig Café Closed Monday and Tuesday. Open Wednesday and Thursday 9am-4pm, Friday and Saturday 9am - late, Sunday 9am-4pm. Cnr Lyons and Panmure Streets Newstead. T: (03) 5476 2744; www.digcafe.com.au

• Pocket Gallery Until 31 July 2013 ZOE AMOR Life on Earth: Cross Pollination. The bee is a testimony to the ingenuity, grace and inherently beautiful structures present in the natural world, structures we have been observing and interacting with for thousands of years. Natural forms, such as the tree or the honey-bee, become an analogy for life itself. Imbued with mythic qualities, they generate narratives about life and death and the interplay between humanity and the natural world. Image: Bees Bronze, Ed. of 6, 24 x 12 x 12cm $1100 each. Pocket Gallery is a community-run art space located at Newstead Rural Transaction Centre (RTC) 45 Lyons Street Newstead VIC 3462. Artists are invited to exhibit at Pocket for free. E: pocket@troublemag.com for info or find us on Facebook.

mildura • The Art Vault 5 – 23 June ROD GRAY Hull; 5 – 24 June Sophie Gralton Beside Myself; 26 June – 15 July Jenny Manning SPORANGIA The secret life of Fungi; Claire Primrose & Maxine Price Time Travellers. Artists in Residence: ROD GRAY; SOPHIE GRALTON; DAMON KOWARSKY & KYOKO IMAZU (this project is supported by the Victorian Government through Arts Victoria and the Japan Foundation), JENNY MANNING; CLAIRE PRIMROSE & MAXINE PRICE. Image: Rod Gray, Conflagration (detail) 2013, oil on canvas.


0431710577 www.darbyhudson.com

43 Deakin Avenue, Mildura 3500. T: (03) 5022 0013 E: juliechambers@theartvault.com.au www.theartvault.com.au Gallery Director: Julie Chambers. Wed - Sat 10am to 5pm and Sun Mon 10am to 2pm.

Darby Hudson


• Mildura Arts Centre Until 21 July 2013, 2010-2011 Acquisitions: Mildura Arts Centre Collection. Until 21 July 2013, Lazy days and landscapes: Mildura Arts Centre Collection. Until 28 June 2013, Beyond Reasonable Drought, a Museum on Australian Democracy travelling exhibition in association with the MAPgroup – Many Australian Photographers. Image: SIR RUSSELL DRYSDALE, (1912-1981), Country north from Balranald (detail) 1944, pen, ink and coloured wash on paper, Mildura Arts Centre Collection, 2010 Acquisition. Mildura Arts Centre, 199 Cureton Avenue, Mildura VIC 3500. T: (03) 5018 8330; F: (03) 5021 1462; www.milduraartscentre.com.au

swan hill • Swan Hill Regional Art Gallery Singular Impressions, WAYNE VINEY, Monotypes, 13 June – 28 July. ACO Virtual – Play with the band, 29 June – 11 August. Cutting-edge audio-visual installation ACO Virtual puts you in the middle of an Australian Chamber Orchestra performance.Projections of 13 extraordinary ACO musicians surround you on all sides, with the sound of each player coming from the direction of their projection. Immerse yourself in the music of Bach, Grieg and others, or take charge of the band. Don’t miss this extraordinary new way to experience music. Image: ACO3D image supplied courtesy ACO. Opening hours 10am-5pm Tuesday to Friday, 11am-5pm Saturday and Sunday. Horseshoe Bend, Swan Hill, 3585. T:(03) 5036 2430 E:artgal@ swanhill.vic.gov.au; www.swanhillart.com • Print Council of Australia Inc. Printmakers and print collectors stay in touch with print exhibitions, events and technical issues through IMPRINT magazine. Members receive frequent email updates and information about opportunities (courses, forums, group exhibitions and competitions). Subscriptions $65/year or $45 concessions see website: www.printcouncil.org.au or phone T: (03) 9328 8991 for membership details


benalla • Benalla Art Gallery Opening hours 10am - 5pm. Benalla Art Gallery, Bridge Street, Benalla, Victoria, 3672. T: (03) 5760 2619; E: gallery@benalla.vic.gov.au; www. benallaartgallery.com

shepparton • Shepparton Art Museum Until 2 June: The Golden Age of Colour Prints: Ukiyo-e from the Museum of Fine Arts, Boston. Until 30 June: Occasional Miracles: Contemporary Artists Respond to the SAM Ceramics Collection. Until 19 January 2014: Crawling Through Mud: Australian Ceramics and the Japanese Tradition. 70 Welsford Street, Shepparton VIC 3630; T: (03) 5832 9861; E: art.museum@shepparton. vic.gov.au; www.sheppartonartmuseum.com.au Director: Kirsten Paisley. Open 7 days, 10am to 4pm (public holidays 1pm to 4pm).

LAUNCH PARTY Saturday 18 February 2012

wangaratta • Wangaratta Art Gallery 56 Ovens Street Wangaratta. Director: Dianne Mangan, Hours: Mon-Tues 12-5pm; Wed-Fri 10am-5pm, Sat-Sun 1-4pm. T: (03) 5722 0865, F: (03) 5722 2969, E: d.mangan@wangaratta. vic.gov.au or gallery@wangaratta.vic.gov.au; www.wangaratta.vic.gov.au then follow the links to the gallery. Follow us on Facebook.

• Free arts activities, live music & tours of SAM: 10.00am to 5.00pm • Sir John Longstaff: Portrait of a Lady Exhibition • 2011 Indigenous Ceramic Art Award Exhibition • 6 New Permanent Collection Galleries For more information visit sheppartonartmuseum.com.au 70 Welsford St, Shepparton, 3630 VIC p 03 5832 9861 f 03 58318480 e art.museum@shepparton.vic.gov.au

WESTERN VIC ararat • Ararat Regional Art Gallery Bold Beginnings: Foundational Acquisitions 1975-1979, to 16 June. Big Time: Large scale fibre art, 2 May to 16 June. Making time: The Art of John Corbett 1974-2013, 20 June to 11 August, Image: John Corbett, Fighting for our Love II (detail) 1987-2013. Town Hall, Vincent Street, Ararat. Mon to Fri 10am-4.30pm, w/ends 12-4pm. Free entry. T: (03) 5352 2836; E: gallery@ararat.vic.gov.au; www.facebook.com/araratgallery

horsham • Horsham Regional Art Gallery 21 Roberts Ave, Horsham. Tues-Fri 10am-5pm, Sat-Sun 1-4.30pm. T: (03) 5362 2888; E: hrag@ hrcc.vic.gov.au; www.horshamartgallery.com.au

• Print Council of Australia Inc. Printmakers and print collectors stay in touch with print exhibitions, events and technical issues through IMPRINT magazine. Members receive frequent email updates and information about opportunities (courses, forums, group exhibitions and competitions). Subscriptions $65/year or $45 concessions see website: www.printcouncil.org.au or phone T: (03) 9328 8991 for membership details


Profile for Trouble Magazine

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Australian arts content for a global digital audience. Issue 102 June 2013 Features: Dressing the Movies: Part One by Inga Walton, Dear Drea...

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