LISTINGS NSW / ACT
BAY & PENINSULA
Issue 92 July 2012 trouble is an independent monthly mag for promotion of arts and culture Published by Newstead Press Pty Ltd, ISSN 1449-3926 STAFF: administration Vanessa Boyack - admin@ troublemag.com | editorial Steve Proposch - email@example.com | listings - firstname.lastname@example.org CONTRIBUTORS: Mandy Ord (comic above), Ive Sorocuk, Inga Walton, Rebecca Fitzgibbon, Courtney Symes, Robyn Gibson, Darby Hudson, Jean-Franรงois Vernay, Ben Laycock, Jase Harper. Find us on Facebook - www.facebook.com/Troublemag Subscribe to our website - www.troublemag.com 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!
FEATURES (4) (15)
ART BITES FROM THE BIG APPLE
(28) THE WORLD UNFOLDING AT MONA Rebecca Fitzgibbon
 GREENWISH #8 Robyn Gibson
(60) TASMANIAN TRAVELOGUE II
(65) GREETINGS FROM DARKEST PERU PART IV Ben Laycock
 MESSAGES FOR ME BUT & THEY CAN BE FOR YOU  TOO IF YOU WANT ALSO Darby Hudson
(44) JULY SALON
(58) STRALIAN BOOKS
COVER: Kelly-Ann DENTON, Ouch On The Couch 2010, type c print, 1200mm x 900mm. Wonderland Gallery, 43 Junction Road Summer Hill (NSW), until 28 July 2012 - www.theothersidephotography.com SPECIAL SPANKS to Emmi Scherlies for her generous editorial support. 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.
21 June – 12 August 2012
Controversy: The power of art
ANDREW • DAVILA • DUCHAMP • DURRANT • GOLDIN • GOYA • HIRST • HUAN • KENTRIDGE • LEFEBVRE • MAPPLETHORPE • PARR • PICCININI • POLLOCK • ROBERTSHAW • ROBERTSON-SWANN • WHITELEY • & OTHERS
Civic Reserve Dunns Rd Mornington VIC 3931 Open Tuesday – Sunday 10am – 5pm T 03 5975 4395 http://mprg.mornpen.vic.gov.au
Image (left) Damien Hirst For the Love of God, Believe 2007 silkscreen on paper with glazes Private collection, Melbourne © Damien Hirst and Science Ltd. All rights reserved, DACS 2012/Licensed by Viscopy, 2012 (right) Jules Lefebvre The Grasshopper (La Cigale) 1872 oil on canvas National Gallery of Victoria, Melbourne Felton Bequest, 2005
$10 000 ACQUISITIVE SCULPTURE PRIZE
DEAKIN UNIVERSITY CONTEMPORARY SMALL SCULPTURE AWARD Now in its fourth year, this annual acquisitive award and exhibition is organised by the Deakin University Art Collection and Galleries Unit. Sculptures can be any medium, but must be under 70 cm in size. One outstanding entry will be awarded $10 000. The award-winning sculpture will become part of the Deakin University Art Collection.
To receive an entry form, register your interest at email@example.com or phone 03 9244 5344. Entries close 17 August 2012.
Deakin University Art Gallery Deakin University, Melbourne Burwood Campus 221 Burwood Highway Burwood 3125 Ref: Map 61 B5 T +61 3 9244 5344 F +61 3 9244 5254 E firstname.lastname@example.org www.deakin.edu.au/art-collection Gallery Hours Tues–Fri 10 am–4 pm, Sat 1 pm–5 pm. Gallery closed on public holidays. Deakin University CRICOS Provider Code 00113B
TAN ONA OD I T L H
HAMILTON ART GALLERY, 13 JUNE - 9 AUGUST AN RMIT SCHOOL OF ART & NETS VICTORIA TOURING EXHIBITION CURATED BY STEPHEN GALLAGHER
Jane SAWYER Collaboration (part 1), 2011 & Collaboration (part 2), 2011
Paul Guest Prize 2012 14 July - 26 august
42 view street bendiGo victoria 3550 bendiGoart Gallery.com.au
July 6 - August 26 2012
Sharon West • Artist-in-Residence
Bundoora Homestead Art C Centre
historic house • gallery • café • free entry to gallery and house 7-27 Snake Gully Drive, Bundoora • ph 9496 1060 Open: Wed-Fri 11am-4pm Sat-Sun 12noon-5pm • www.bundoorahomestead.com Image: Sharon West, Nicolas Baudin and his party encounter a Great Koalarkk 2012 (detail), photographic print, 77.0 x 60.0cm
P R ES En T S :
BOY GIRL WALL
Contains strong coarse language and adult themes. Suitable for audiences over 15 years.
Bendigo 10 July, 8pm
Bookings 5434 6100 or
A production by The Escapists in association with Critical Stages
JADA Jacaranda Acquisitive Drawing Award
First Prize $15,000 with a further $15,000 in acquisitions Promoting contemporary Australian drawing
ENTRIES NOW OPEN On display at Grafton Regional Gallery 26 October - 2 December 2012 Download an entry form at www.graftongallery.nsw.gov.au or contact the Grafton Regional Gallery 02 6642 3177 email@example.com GRAFTON REGIONAL GALLERY
GARETH SANSOM ALTERNATIVE PERSONA 19 MAY - 1 JUL Gareth Sansom Trans-Trains II (detail) 2003 digital photograph, 74 x 122cm, private collection, Image courtesy the artist and John Buckley Gallery, Melbourne, ÂŠ Gareth Sansom, licensed by Viscopy
Art Gallery of Ballarat | 40 Lydiard Street North, Ballarat Vic 3350 03 5320 5858 | artgalleryofballarat.vic.gov.au | Open 9am - 5pm
Art Bites from the Big Apple by Inga Walton
The Art Gallery of Western Australia recently announced an exclusive partnership with New York’s Museum of Modern Art (MoMA) for a series of six exhibitions over the next three years: Picturing New York and Van Gogh to Richter: People, Places and Things (2013), Contemporary Encounters and Counter Space: Design and the Modern Kitchen (2014), concluding with Idyllic Dreams: Paintings by Post-Impressionist Masters (2015). In what appears to be a determined strategy to reclaim some of the initiative from public galleries in the eastern states and their parade of imported ‘blockbuster’ exhibitions, the first MoMA-loaned instalment Picasso to Warhol: Fourteen Modern Masters opened last month (until 3 December, 2012). Recently seen at Atlanta’s High Museum of Art, where it attracted some 368,000 patrons during a seven-month stay, the 120 works in the exhibition highlight some of the most important artistic movements of the 20th Century, including the advent of Cubism, the emergence of Abstraction and the development of Surrealism. Sculpture is refreshingly prominent in a diverse survey which also features mixed media collages from Romare Bearden (1911-88), and important paintings and works on paper by the likes of Pablo Picasso (1881-1973), Fernand Léger (1881-1955), Joan Miró (1893-1983), Giorgio De Chirico (1888-1978), Piet Mondrian (1872-1944), Jackson Pollock (1912-56), and Jasper Johns. >>
“I was very much moved by Mondrian’s studio, large, beautiful and irregular in shape as it was, with the walls painted white and divided by black lines and rectangles of bright colour, like his paintings”
- Alexander Calder, 1930
> Of all the artists featured in the exhibition, it was perhaps Alexander Calder (18981976) who was the most likely to eventually revert to a life devoted to artistic pursuits. In spite of his lineage he was later to claim, “... it was quite accidentally that I became mixed up with modern art”. The son of sculptor Alexander Stirling Calder (18701945) and grandson of sculptor Alexander Milne Calder (1846-1923), he had posed for his father’s work The Man Cub (1901-02) as a child. Calder’s mother, Nanette Lederer, was a professional portrait painter who encouraged her son’s precocious talent. He initially took a degree in mechanical engineering, and held a variety of positions in that field, including as a draughtsman, before moving to New York in 1923 to study at the Art Students’ League. As his parents had both done in the furtherance of their artistic careers, Calder departed for Paris in 1926 falling in with many of the leading artists and intellectuals of the period. There, he was invited to join Abstraction-Création (1931-36), an influential group of nonrepresentational artists including Jean/Hans Arp (1886-1966) and Jean Hélion (1904-87). It was a visit to the studio of the Dutch artist Piet Mondrian in October, 1930 which completely altered Calder’s perception and pushed his work towards total abstraction. “I was very much moved by Mondrian’s studio, large, beautiful and irregular in shape as it was, with the walls painted white and divided by black lines and rectangles of bright colour, like his paintings”, Calder would later recall. “It was very lovely, with a cross-light (there were windows on both sides), and I thought at the time how fine it would be if everything there moved; though Mondrian himself did not approve of this idea at all, I went home and tried to paint. But wire, or something to twist, or tear, or bend, is an easier medium for me to think in. I started with a few simple forms”.
Picasso to Warhol / Inga Walton
Calder ‘translated’ Mondrian’s stark imagery into three dimensions, pareddown constructions of elementary forms and colours, which developed into kinetic sculptures. Marcel Duchamp (1887-1968) coined the name ‘mobiles’ to describe these works, as in French mobile refers to both ‘motion’ and ‘motive’. Initially these works were animated by a system of cranks and motors, but Calder soon abandoned the mechanical aspects when he realized he could fashion ‘mobiles’ that would undulate on their own relying on gravity and currents of air. “As truly serious art must follow the greater laws, and not only appearances, I try to put all the elements in motion in my mobile sculptures. It is a matter of harmonizing these movements, thus arriving at a new possibility of beauty”, Calder believed. In order to differentiate Calder’s non-kinetic works from his kinetic works, Arp referred to Calder’s stationary objects as stabiles. Calder described the distinction thus, “Well, the mobile has actual movement in itself, while the stabile is back at the old painting idea of implied movement. You have to walk around a stabile or through it – a mobile dances in front of you”. Typical of these works, Snow Flurry, I (1948) was inspired by a snowstorm at Calder’s farmhouse in Roxbury, Connecticut where he had moved with his wife Louisa in 1933. Comprised of thirty ovoid and circular white discs suspended on three large branches of steel wire it has a meditative and poetic delicacy. The drifting movement of snowflakes fanned by eddies of air is elegantly conveyed by the gestural nuances Calder achieves within his meticulous construction. As he observed, “Each element able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe. It must not be just a fleeting moment but a physical bond >>
Picasso to Warhol / Inga Walton
> between the varying events in life ... Abstractions that are like nothing in life except in their manner of reacting”. With Spider (1939), a black earthbound stabile, Calder attempts to transcend the static nature of the base of bent steel rods by inferring the whip-fast motion of the insect, with twice as many legs as usual. Like Dalí, Calder’s diverse artistic output included semi-precious and fine jewellery, a logical extension of his work with wire and interest in movement. Jewellery was one of the first aspects Calder tackled as part of his ‘artistic juvenilia’- using scraps of salvaged copper wire he created his first pieces at the age of eight for his older sister Margaret’s dolls. He would go on to produce some 1800 individually hammered, chiseled, and shaped wearable items, combining non-precious material and found objects like glass, leather, ceramic, and wood with brass, silver, and gold. The importance of this aspect of Calder’s practice was acknowledged by the touring exhibition Calder Jewellery (2008-10) featuring nearly 100 works, organised by the Norton Museum of Art, Florida in conjunction with the Calder Foundation, New York. Although some of Calder’s various rings, hair combs, tiaras, earrings, necklaces, bracelets, cuffs and brooches were made for sale in art galleries, many others were made as personal gifts to his wife, their family, the wives of other artists, and clients such as art collector Peggy Guggenheim, actress Jeanne Moreau, socialite Mary Rockefeller and artist Georgia O’Keeffe. If made to recognise a special occasion, often Calder would created a design from the recipient’s monogram, or by shaping the person’s name into a decorative pattern. The interaction of text and design in these objects furthers the playful use of language that was occurring among Surrealist artists of the period. Other pieces clearly reflect his fascination with African and South American culture and tribal arts. The MoMA selection of six brass and four silver pieces demonstrate how Calder conceived these objects as wearable mobiles, each realised in a manner that echoed the linear yet three-dimensional aspect found in his large-scale sculpture. Calder rarely used solder; when he needed to join strips of metal, he linked them with loops, bound them with snippets of wire or fashioned rivets. Some of his intricate cuffs and bracelets, with their wavy lines and zigzags, are little more than single pieces of twisted and flattened wire manipulated by hand. Calder’s endless capacity for invention, whether it be directed at an oversize collar or a monumental public commission, led to him being widely considered as one of the most innovative modern American artists. >>
Picasso to Warhol / Inga Walton
> The undisputed ‘Prince of Pop’, Andy Warhol (1928-87) was no great exponent of sculpture. However, his 1964 exhibition at the Stable Gallery in New York showed the artist transferring his imagery of multiples into three-dimensional forms with the use of wooden boxes, identical in size and shape to the food cartons they were meant to mimic. Fascinated by replication, Walhol and his studio staff at ‘The Factory’ in midtown Manhattan (1962-68) perpetuated the principals of assembly-line mass production. With assistance from Gerard Malanga and Billy Linich, Warhol painted and silk-screened boxes with the logos of such supermarket staples as Kellogg’s Corn Flakes, Mott’s Apple Juice, and Del Monte Peaches. Virtually indistinguishable from their utilitarian cardboard counterparts, the works were displayed as the stock might have looked stored in a warehouse. The works continued Warhol’s rumination on the visual impact of advertising and our passive observation of otherwise unremarkable everyday items. Heinz Tomato Ketchup Box (1963-64) is joined by Campbell’s Tomato Juice Box (1964), which is exhibited along side the artist’s iconic Campbell’s Soup Cans (1962) on canvas. Brillo Boxes (Soap Pads) (1964) was copied from the original graphics by abstract expressionist painter James Harvey (1929-65), who had a ‘day job’ as a successful industrial and packaging designer. (Harvey did not appreciate the reference, calling Pop Art “an anti-art movement”). Earlier in his career Warhol had also been a sought after commercial illustrator working with leading magazines and prestige retailers. Of his transition to ‘serious’ artist he observed, “I didn’t really change. All that happened was I moved my work from a department store window ... to a gallery. I didn’t change my style”. Indeed, Warhol’s camp, tongue-
in-cheek effrontery in elevating mundane subject-matter to iconic status enraged the arts cognoscente and left the wider public nonplussed. His work signaled a definitive change in the way ‘fine art’ was experienced and judged, and challenged the associations which had commonly defined it. By refusing to acknowledge a difference between art and commerce, Warhol elevated the language and imagery of American consumer and media culture – at once impersonal, banal and ubiquitous – into a highly fetishised visual conceit. Warhol’s Screen Test: Marcel Duchamp (1966) is also on view, a charming homage from the artist who became perhaps the greatest heir to Duchamp’s artistic philosophy. In a pleasing piece of symmetry, Warhol used to own the version of Duchamp’s In Advance of the Broken Arm (1964) now in MoMA’s collection. With his concept of the ‘readymade’ Duchamp irrevocably transformed the definition of what could constitute an artwork and the role of the artist in producing it. In selecting commonplace objects, like a snow shovel, a urinal, or a bicycle wheel, signing and displaying them, Duchamp demonstrated what he referred to as the “dehumanisation of a work of art”. By doing so, he subverted both ideas of authorship (or “the worn-out cult of the hand”, as he termed it) and of visual appeal. Duchamp questioned whether artistic value is somehow inherent to a work, or merely conveyed by its context: essentially, when is a shovel not a shovel? He was “the grand master of punning in art”. When Duchamp claimed his artistic choices were “never dictated by aesthetic delectation”, but were “based on a reaction of visual indifference with a total absence of good or bad taste”, he could have been describing one of Warhol’s exhibitions. >>
â€œThe truth is that painting is a thing that disappoints greatly ... I find scant satisfaction in itâ€?
- Henri Matisse, 1913
Picasso to Warhol / Inga Walton
> The only woman to be included in the exhibition, the sculptures of Louise Bourgeois (1911-2010) reflect the psychological, sexual, and corporeal/gender themes and imagery which underpinned her wider body of work. Indeed, the subtext of most of her artistic output was almost wholly autobiographical, an ongoing evaluation of the trauma of her troubled familial situation as a child. Bourgeois once declared, quite matter-of-factly, “The subject of pain is the business I am in”. She was the first woman to receive a retrospective at MoMA (1982), and at the time of her death Bourgeois was acknowledged as having “invented confessional art”. In weighty bronze and suspended from a hook, The Quartered One (1964-65) borrows its title from the butcher’s trade, but otherwise resembles a witch’s hat, or perhaps a castle turret replete with winding passages, trap-doors and dark secrets. The hanging nature of the work undoes a sculpture’s expected properties: weight, mass, and base. Similarly, Bourgeois believed the ‘divided’ loyalties and the emotional instability of her formative years was responsible for her feeling helpless and without the requisite emotional ballast in later life. Figure (1954) comes from a body of work Bourgeois commenced in 1947 of some eighty slender columns roughly carved in wood, which she called Personages. They represent starkly simplified anthropomorphic abstractions of people she knew, or felt she had abandoned, when she immigrated from France to New York in 1938 with her husband, the art historian Robert Goldwater. Reflecting the fragility of Bourgeois’ psychological state, these looming surrogate entities with their layered elements enabled her to “exorcise the homesickness”. They demonstrate her desire to find forms and materials to express her sense of vulnerability and isolation. As
Bourgeois’ career progressed, she made the transition from using carved balsa wood and upright structures to marble, plaster and bronze. Her unceasing narration of anguished biographical themes also incorporated a wider discourse about memory, perception, and the discontinuities of womanhood as Bourgeois perceived them. Her search for spiritual sanctuary within her work, “to envisage processes of artistic conception and fabrication in terms of deep-seated psychic dramas”, remained just as potent and disturbing. The works of Henri-Émile-Benoît Matisse (1869-1954) are commonly regarded, along with those of Picasso and Duchamp, as having helped define the most radical developments in the plastic arts in the opening decades of the 20th Century. Although he is more renowned as a painter, sculpture was a vital outlet for Matisse, as he grappled with the limitations of the painted medium. Writing to fellow ‘Fauvist’ Charles Camoin (1879-1965) in 1913, Matisse opined, “The truth is that painting is a thing that disappoints greatly ... I find scant satisfaction in it, it is the beginning of a very painful effort”. His sculptural output from 1900 to 1950 yielded seventy bronzes which show the artist progressively freeing himself from the stylistic influence of Auguste Rodin (1840-1917) and Edgar Degas (1834-1917). Matisse’s decision to establish a studio in Issy-les-Moulineaux and his travels to Russia, Spain and Morocco propelled his work into new territory, furthering some of his “methods of modern construction”. Focused only on the “essential qualities”, Matisse tended to avoid portraits, especially commissions, as they did not accord with his efforts to progress beyond a literal likeness and visual precision. Nevertheless, he was sensitive to the mood and personality of his sitter or model, and attempted to bring out >>
“There are idiots who define my work as abstract; yet what they call abstract is what is most realistic. What is real is not the appearance, but the idea, the essence of things”.
- Constantin Brâncuși
Picasso to Warhol / Inga Walton
> aspects of their character through exaggeration, and sometimes through association with objects. This process can be clearly traced in the Jeannette I-V series (1910-16), with his neighbour Jeanne Vaderin as model. Here Matisse revisits his earlier practice of exploring a theme serially by developing variations of a given subject. Previously, he had attempted to resolve his recurring problem of relating the human figure to a flat background in a series of lifesize bronze reliefs known as Woman in Back View (0-IV) (1908-c.31). Jeannette I-II (1910) are more recognisably portrait busts, executed from life, but there is a marked decrease in naturalism as Matisse’s work on them progresses. In Jeannette III-V (1910-16) he has dramatically abstracted Vaderin’s features, and moved towards a more geometric structure of simplified chunks. In prioritising the ‘plastic’ values of the medium and allowing the process of making to govern the work, Matisse stresses the form over the subject and completely reconfigures the traditional representation of the human face. In his bold and spontaneous treatment of the figure, Matisse articulated his own response to Cubism’s challenge to form and space by distorting and elongating female anatomy. Working initially in clay, using his fingers, knife-blade, wood and wire tools to produce the curvy, abundant shape, Matisse envisaged the work as a visual dialogue of opposing rhythms and volumes within a defined plain. He attempted to resolve the articulation and balance of mass of the seated and reclining female nude in works like Large Seated Nude (1925-29). Here the figure is caught, as if in motion, between sitting and reclining, suggesting flux and instability. Matisse undermines the ‘monumentality’ expected of a composition this size by tethering it to the living body on which it was based, and
the arduous physical process of realisation on the part of the artist. Speaking in 1919 for an interview with Ragnar Hoppe, art historian and Deputy Director of the Swedish National Museums, Matisse explained both his restlessness and his abiding artistic philosophy, “When you have achieved what you want in a certain area, when you have exploited the possibilities that lie in one direction, you must, when the time comes, change course, search for something new”. For Constantin Brâncuși (1876-1957), often called ‘the patriarch of modern sculpture’, a childhood talent for wood carving allowed him to escape his impoverished rural background. Impressed by his skill, a patron sponsored the teenager to attend the Craiova School of Arts and Crafts, from whence he progressed to the Bucharest School of Fine Arts. After moving to Paris, Brâncuși exhibited at the Salon d’Automne (1904) where his sculptures attracted the attention of Rodin who invited Brâncuși to assist in his workshop. Despite his great admiration for the master, Brâncuși lasted a mere two months, declaring “Nothing grows well in the shadow of a big tree”. Brâncuși’s fidelity to the folk art of his native Romania, informed by traditional stories and local mythology, exerted a strong influence on his sculpture. This has been described by critic Reinhold Hohl as “the pseudo-mythical and quasi-mystical trimming in which his work has been wrapped”, but Brâncuși was also intrigued by the totemic structure of the African and Oceanic tribal works popular in Paris at that time. Brâncuși was constantly reassessing his pieces as he experimented with the best way of displaying them; bases, plinths and supports were tested and measured against the work’s surroundings. Endless Column. Version I (1918) was hewn out of an oak beam with a saw and axe, its serrated motif and uneven grooves reminiscent of >>
> Romanian gate-posts, farmhouse structural elements, and funerary pillars. Scaled to resonate with the viewer’s own body, eventually Brâncuși placed it directly on the ground, showing his spiritual affinity for the tree it once was. He believed that “the sculptor must allow himself to be led by the material... [it] will tell him what he should do”. The Newborn. Version I (1920), with its inscrutable ovoid form of polished bronze, like a modified Pterodactyl egg, solidifies both the potential for life and the hermetic nature of the vessel employed for its realisation. Bird In Space (Pasărea în văzduh) (1928), seven of marble (one white and one black held by the NGA), and nine cast in bronze (including MoMA’s), efface the physical attributes of the bird to concentrate on the sublimity of its movement. The work holds a somewhat more important position in the legal history of art; it was the subject/object of the first court decision to accept that non-representational sculpture could be considered art. When Bird In Space arrived with the rest of the manifest for Brâncuși’s exhibition at New York’s Brummer Gallery in October, 1926 the US Customs Service declared it was not an artwork (and therefore not exempt from custom duties) and imposed the standard tariff for ‘manufactured objects of metal’ (then 40% of the sale price). Renowned American photographer Edward Steichen (1879-1973) who had sponsored the exhibition, and owned Bird In Space, appealed the decision (Brâncuși vs United States). The customs office had provisionally released the work on bond under the classification “kitchen utensil”, and vigorously defended the case, putting abstract art on trial. At issue under the 1922 Tariff Act was whether Brâncuși was a professional sculptor; was Bird In Space a work of art; was it original; and did it have ‘no practical purpose’. To their everlasting credit, Judges George Young
and Byron Waite found in Brâncuși’s favour, and established a new precedent. The 1928 decision (drafted by Waite) declared, “The object now under consideration ... is beautiful and symmetrical in outline, and while some difficulty might be encountered in associating it with a bird, it is nevertheless pleasing to look at and highly ornamental, and as we hold under the evidence that it is the original production of a professional sculptor and is in fact a piece of sculpture and a work of art according to the authorities above referred to, we sustain the protest and find that it is entitled to free entry”. An elated Steichen commented after the trial, “The ‘Bird’ was its own best witness. It was the only clean thing in the courtroom. It shone like a jewel”. Brâncuși had always been more blunt about his critics, “There are idiots who define my work as abstract; yet what they call abstract is what is most realistic. What is real is not the appearance, but the idea, the essence of things”. It has been over eighty years since an American court reaffirmed that Brâncuși’s work was ‘art’, but questions about ‘the essence of things’ still have the capacity to polarise opinion. Are the sculptural works of Duchamp of any real merit, or just trussed-up clutter from the shed? What of his acolyte Warhol: merely an airing of highly contrived and ‘borrowed’ images swaddled in the cosy tones of impenetrable art theory-speak? Should Calder’s jewellery be considered as small-scale sculpture, or just a foray into accessories? And Bourgeois’ Figure? Quite obviously it would work equally well as a CD stand. Does the average gallery patron care about such ambiguities or ideas of artistic ‘provocation’ these days, or is it all about the spectacle? Audiences, and thankfully not Australian Customs, will have the opportunity to judge these matters for themselves. Should there actually be disparate views and resulting tumult, then perhaps art is still doing its ‘job’ ... however ill defined.
Picasso to Warhol / Inga Walton
IMAGE CREDITS 1. Alexander CALDER, Portrait of a Man (c.1929), brass wire, 32.5 x 22.2 x 34.2 cm. The Museum of Modern Art, New York. Gift of the artist, ©2012 Calder Foundation, New York/ Artists Rights Society (ARS), New York. 2. Andy WARHOL, Brillo Boxes (Soap Pads) (1964), synthetic polymer paint and silkscreen ink on wood. Each box: 43.3 x 43.2 x 36.5 cm. The Museum of Modern Art, New York, Gift of Doris and Donald Fisher, © 2012 Andy Warhol Foundation for the Visual Arts/Artists Rights Society (ARS), New York. 3. Henri MATISSE, Large Seated Nude (192529), bronze, 79.4 x 77.5 x 34.9 cm. The Museum of Modern Art, New York, Gift of Mr. and Mrs. Walter Hochschild (by exchange) ©Succession H. Matisse/Licensed by Viscopy. 4. Constantin BRÂNCUȘI, The Newborn, version I (1920), bronze, 14.6 x 21 x 14.6 cm. The Museum of Modern Art, New York, Acquired through the Lillie P. Bliss Bequest, © Constantin Brâncuși. ADAGP/Licensed by Viscopy. 5. Marcel DUCHAMP, In Advance of the Broken Arm (1964), (fourth version, after lost original of 1915), wood and galvanized-iron snow shovel, 132 cm (height). The Museum of Modern Art, New York, Gift of The Jerry and Emily Spiegel Family Foundation. © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris/Estate of Marcel Duchamp. Picasso to Warhol: Fourteen Modern Masters, Art Gallery of Western Australia (AGWA), Perth Cultural Centre, Perth (WA), 16 June – 3 December 2012. www.picassotowarhol.artgallery.wa.gov.au www.momaseries.com.au www.moma.org
THE WORLD unfolding at MONA MONAâ€™s Tasmanian mastermind David Walsh embraces a curatorial attitude that leaves interpretation up to you, and the new exhibition Theatre of the World embodies his attitude eloquently. It is a staggering exploration of human creativity that traverses 4000 years across 17 galleries at the Museum of Old and New Art, featuring 180 works from Walshâ€™s private collection alongside 300 works from the Tasmanian Museum and Art Gallery with special commissions and selected loans from other important Australian international collections. It is a beautiful sensory overload that juxtaposes Egyptian stone carvings with Wassily Kandinsky, World War I trench art alongside hand-made biblical book bombs, comprising a veritable cabinet of curiosities that crosses artistic medium, culture and era.
The centrepiece of the exhibition is a long tomb-like room covered in 70 tapa barkcloths (there is a total of 86 barkcloths in the exhibition) from across the South Pacific with two sentinels: an Egyptian sarcophagus and Alberto Giacometti’s elegant bronze, Grande Femme. Curated by French international curator Jean-Hubert Martin with Dutch curator Tijs Visser, MONA’s Olivier Varenne and Nicole Durling and the TMAG team, Theatre of the World is a visually challenging and provocative exhibition that doesn’t explain much. “It’s about looking,” Jean-Hubert Martin says, “not like you are taught usually in conventional museums where the curators think they have to teach you the history of art, teach you about the historical context, and then you – poor visitor – have a chance to be enlightened and understand the work of art. Here the situation is absolutely reversed.” >>
The World Unfolding at MONA / Rebecca Fitzgibbon
> In breaking free from that rational system that museums have upheld for three centuries – chronologically and categorically presenting an interpretive history of the world to be absorbed and adulated – JeanHubert is a groundbreaking curator embracing a new era. His reputation for abandoning tradition was celebrated at exhibitions including the 2007 Venice Biennale Artempo exhibition inside the Palazzo Fortuny and Magiciens de la Terre at the Centre Pompidou, and now the former director of Paris museums Centre Pompidou, Kunsthalle Bern, and Musee National des Arts d’Afrique et d’Oceanie and Dusseldorf ’s Museum Kunst Palast continues to break the rules in Tasmania. “The philosophy is difficult to describe,” Jean-Hubert admits. “This exhibition is about creation, the diversity of visual expression made by human beings across cultures and different eras. “Each room has a thread, an idea, a theme. It is poetic; the visitor can visually understand. It is all about the works – known or unknown – shown in an unexpected way. It’s all about surprise.” With Theatre of the World, Jean-Hubert is harking back to an era when museum displays were about the visual game and the fun of interpretation, David Walsh says. “Contemporary art in particular has become burdened with academic realisation, this post-modern fiction of narrative, narrative being in a sense the opposite of reality,” Walsh says. “There’s this reality and this reality and this reality and they’re all completely valid. So post-modernism in museums has given up a commitment to reality.” It’s sticking the finger up at academics that have over-complicated the interpretation of art to the point that it has lost its capacity to communicate sensually, intimately, and as an objective unit. This is a democratisation of the process of displaying art, Walsh says. “You make your own decisions. Instead of the standard museum display everything in a neutral matrix so the art does the speaking, we just let everything interact. We try to make everything interact. “We somewhat subvert the purpose of the artist. It’s easy to see why a conventional museum can’t do that as they’re publicly funded. We can play a few games that they can’t play. And Jean-Hubert likes those games.” Theatre of the World is on display at MONA until April 8, 2013 - www.mona.net.au
IMAGE CREDITS: The World Unfolding at MONA / Rebecca Fitzgibbon 1. LEFT: Oleg KULIK (1961, Kiev, Ukraine, USSR; lives and works in Moscow, Russia), Family of the Future, 9 1997, digital print, performance based photograph, 150 x 150 cm. Museum of Old and New Ar t. Centre: Berlinde DE BRUYCKERE (1964, Ghent, Belgium, where she lives and works), P XIII 2008, cast and modelled wax, epoxy, metal, rope, 167 x 51 x 100 cm. Museum of Old and New Ar t. RIGHT: Sidney NOLAN (1917, Melbourne, Australia; died 1992, London, England), Centaur and Angel 1952, oil and enamel paint on hardboard, 122 x 91.5 cm. Museum of Old and New Ar t. Photo Credit: MONA/Remi Chauvin. Image Cour tesy MONA Museum of Old and New Ar t, Hobar t, Tasmania, Australia.
2. LEFT: Jake and Dinos CHAPMAN (1966, Cheltenham, England and 1962, London, England; live and work in London), Great Deeds Against the Dead 1994 (detail), mixed media, 277 x 244 x 152 cm. Museum of Old and New Art. CENTRE: Daniel BOYD (Kudjla/Gangalu people, born 1982, Cairns, QLD, Australia; lives and works in Sydney, Australia), Jesus Christ! 2006, acrylic paint on canvas, 170 x 139 cm. Tasmanian Museum and Ar t Gallery. Purchased with funds from the Ruth Komon Bequest, 2006. WALLPAPER: Robert GOBER (1954, Wallingford, Connecticut, USA), Hanging Man/Sleeping Man 1989, screenprint in colour on wallpaper. Cour tesy of the artist. Photo Credit: MONA/Remi Chauvin. Image Cour tesy MONA Museum of Old and New Ar t, Hobart, Tasmania, Australia. 3. The Memory Theatre of Guilo Camillo, various ar tefacts, objects and ar tworks from the MONA and TMAG collections. Photo Credit: MONA/Remi Chauvin. Image Cour tesy MONA Museum of Old and New Ar t, Hobar t, Tasmania, Australia.
image: Vincent FANTAUZZO, Kimbra (the build up) (detail) 2012, oil on linen. ÂŠVincent Fantauzzo Archibald Finalist 2012.
DATELINE: JULY 2012 by Courtney Symes
It would seem that 2012 is the year of change. Everyone I know is either changing jobs, moving or building houses, starting a new relationship (or ending an old one) and having children. Whilst change is like a Trebor XXX Extra Strong Mint for the soul (refreshing in a blow-the-cob-webs-out kinda way), there is still something to be said about the comfort of tradition and routine. Thank goodness some things remain the same, such as the 91st annual Archibald Prize that Melburnians can check out again this year at TarraWarra Museum of Art. The winner of the 2012 Archibald Prize was Tim Storrier with his self-portrait, The histrionic wayfarer (after Bosch) [see front cover of Trouble June 2012 on ISSUU - http://issuu.com/troublemag ). In an interview for the Sydney Morning Herald after the announcement of winning the award, Storrier described his work as “sort of a mythical self-portrait essentially – it’s got more to do with how one, in a rather silly way, views oneself ”. Storrier has even included his best mate, Smudge the dog in his highly detailed, captivating piece and is proud of his achievement, saying, “The money’s quite welcome of course, but aside from that I suppose it’s a tick of approval from one’s peers to a degree.” This prestigious national award is presented annually after its establishment in 1921 by JF Archibald to celebrate portrait painting of great Australians, by talented Australian artists. TarraWarra Museum of Art (TWMA) is excited to once again be the exclusive Victorian host of the highly anticipated touring Art Gallery of NSW exhibition. Last year the exhibition attracted over 47,000 visitors over the 27 days it was at TWMA and numbers are expected to be even stronger this year. Exhibition visitors will also be encouraged to vote for the Archibald People’s Choice Award. Find out what everyone is talking about and check out this iconic exhibition for yourself. Runs until 8 July. - www.twma.com.au (Storrier interview source: Fulton, Adam, 30 March 2012, ‘Tim Storrier wins Archibald Prize’, Sydney Morning Herald, viewed 29 May 2012 - www.smh.com.au ) continued >>
image: Briwyant. Pictured Henrietta Baird, Mel Tyquin, Raghav Handa and Vicki Van Hout. Photo Garth Oriander.
Melburnin’ / Courtney Symes
>> Portraiture is a popular genre this month, with McClelland Gallery and Sculpture Park also hosting National Portrait Gallery touring exhibition, Beyond the Self: Contemporary Portraiture from Asia until 15 July. Curated by Christine Clark, Exhibitions Manager at the National Portrait Gallery, the exhibition consists of works from eighteen established and emerging artists from India, Indonesia, Malaysia, Pakistan, the Philippines and Thailand. Each of the artists have used self-image i.e. their own faces and bodies (or those of close family) to explore their ideas, aspirations, surrounding environment and larger issues. www.mcclellandgallery.com Vicki Van Hout’s Briwyant at Malthouse Theatre is a dance performance that explores “light and shadow, the passing of time, and the slippages between personal and community knowledge”. Van Hout’s inspiration for Briwyant stems from Yolngu Indigenous painting, in which bir’yun “describes the brilliance, shimmer and shine of a pattern that seems to move before the eyes, animated by the essence of ancestral forces”. Van Hout is an independent dancer, teacher and choreographer. She is a Wirradjerri woman, born in Wollongong, NSW, and trained at the National Aboriginal and Islander Skills Development Association. A stint in New York during the early 1990s saw her train with many renowned modern and post-modern dance artists before returning to Australia in 1996. Briwyant is performed by Henrietta Baird, Ian RT Colless, Ghenoa Gela, Raghav Handa, Mel Tyquin and Vicki Van Hout. Runs from 4 –14 July (opening Thurs 5 July) -www.malthousetheatre.com.au What does black mean to you? Is it just a colour, a state of mind, or an ominous omen? Black, for thirteen Arts Project artists represents a dark side in their work, in response to “an increasingly uncertain and turbulent world”. Arts Project Australia’s latest exhibition, Paint it Black has been curated by Brad Rushbridge and features a variety of works on paper, as well as prints, ceramics and other mediums. Julian Martin uses multiple layers of pastel in his series of monochromes, whilst Lai Lai Gong utilises a palette knife >>
>> (or similar implement) to scrape back a heavily-inked plate, resulting in a lively, expressive series of abstract mono types. Featured artists include: Steven Ajzenberg, Dorothy Berry, Kieren Carroll, Leo Cussen, Lai Lai Gong, Kelvin Heffernan, Paul Hodges, Adrian Lazzaro, Julian Martin, Cameron Noble, Daniel Pace, Cathy Staughton and Terry Williams. Runs until 17 July at Arts Project Australia. - www.artsproject.org.au It is fitting that the Incinerator Gallery is the host of the Artecycle Sculpture Prize and Exhibition, observes Arts and Culture Portfolio holder, Cr Jan Chantry. “The Incinerator Gallery is the last remaining Walter Burley Griffin incinerator left in Victoria … Just like the Incinerator was used to turn rubbish into clinker bricks, Artecycle complements this history through its own theme of transforming what is normally considered rubbish, into something visually stimulating and useful as art,” says Cr Chantry. Dominic Kavanagh was the winner of the 2012 Artecycle award with his work, Burn Archetypes 1 & 2, Leaving Monkerai. Now in its fifth year, Artecycle is an annual event that was judged this year by Doug Hall AM (Australian Commissioner, Venice Biennale, 2011 and former director of the Queensland Art Gallery), with a selection committee comprised of Donna Marcus (contemporary artist and Senior Lecturer in Fine Art at the Queensland College of Art, Griffith University); Simon Gregg, (author and curator at Gippsland Art Gallery); and Giacomina Pradolin (former director of the Linden Gallery and now at the Ian Potter Museum of Art at the University of Melbourne). Some of the twenty-seven artists short-listed for this year’s award include: Sebastian DiMauro, Benedict Ernst, Aimee Fairman, Joel Gailer, Mandy Gunn, Lucas Maddock, Natalie Ryan, Louise Saxton, and Jordan Wood.
Melburnin’ / Courtney Symes
Viewers can expect a diverse array of sculpture – from large to small pieces – and works designed for both indoor and outdoor environments. Runs until 8 July at Incinerator Gallery. - www.incineratorgallery.com.au Berlinde De Bruyckere’s “work taps into our human need to experience transformation and transcendence, to experience great depths of feeling transferred from the animal to human. Through experiencing Berlinde’s amazing sculptural works we come closer to the human condition and the tragedy and drama of mortality, out of which something miraculous occurs in metamorphosis,” explains ACCA Artistic Director, Juliana Engberg of De Bruyckere’s latest exhibition, We are all Flesh. Utilising a variety of materials such as wax, horse hair, hair, wood and wool, De Bruyckere creates transfigured sculptures of animals, trees and humans – “torsos morph into branches, trees are captured and displayed inside old museum cabinets and cast horses are crucified upside down”. De Bruyckere’s works “have been described as brutal, challenging, inspiring and both frightening and comforting”. Some of her previous key works have included In Flanders Fields, commissioned by the In Flanders Fields Museum in Ypres (the renowned World War I battlefield) and consisting of five life-sized horses in their death throes. De Bruyckere also presented her subsequent work, Black Horse at the 2003 Venice Biennale. Exhibition highlights include De Bruyckere’s rare and iconic work 019, as well as two new commission pieces for We are all Flesh. Runs until 29 July. www.accaonline.org.au image: Berlinde DE BRUYCKERE, Inside me III 2012, wax, wool, cotton, wood, epoxy, iron armature, 135 x 235 x 115cm. Courtesy the artist, Hauser & Wirth and Galleria Continua.
Forest for the Trees It seems the sustainability world is getting more convoluted and more indecipherable by the day. Just reading a newspaper and a design e-newsletter this week reminded me of the strange paradox at hand. On one side (the newspaper), was the terrible face of what is likely to come in terms of global environmental, cultural and economic disasters in the next century. A recently released UN report slams the world’s governments’ appalling record in environmental outcomes. On the other side was a gorgeous design catalogue, full of environmentally clever and/or friendly things I wanted to own. Our most outstanding current cultural/consumer obsession is with everything ‘green’. How strangely laughable that we have taken such a monumental and catastrophic situation and turned it into a fashion trend! Has our disconnection from wild nature resulted in an intuitive desire to be surrounded by it in our homes (wood, stone, cowhides, stylised trees, birds and deer) or is it merely a material symbol of our apparent caring and ‘doing the right thing’? Somehow though, we can’t see the forest for the trees – we continue to consume, and yet simultaneously we destroy that very thing we need for our survival. “Consumer bulimia” as CSR (corporate social responsibility) and ethical consumption writer, Akhila Vigayaraghavan calls it. 1 Call it what you will – ethical, green, socially or environmentally responsible consumption – consumption it still is! Vigayaraghavan continues, “It is natural to believe that materialism stems from our love of stuff. We earn more, see more, want more, buy more… Of course, advertising, ‘manufactured demand’ etc are all to blame – but at the end of the day, what happened to our collective good sense of [saying], “Wait a minute, do I really need all this stuff?” >> IMAGE: 24H Architecture – Armadillo House, Lake Ovre Gla, Sweden, 2004
Greenwish#8 / Robyn Gibson
> Our decisions made in the name of good environmental choice are also often misdirected. Instead of taking time to inform ourselves adequately, we rely on advertising claims, labels and hearsay or peer beliefs. As one example, bio-fuel is commonly seen as an environmentally responsible alternative to other fuels. But, as evidence shows, many poor countries are displacing their own people and destroying fragile natural landscapes in order to improve their own economic stability. A recent BBC documentary highlights this very situation: the vast Tana Delta in northern Somalia – one of Africa’s most important wildlife conservation areas and home to over 350 species of birds – is being turned over to sugar cane production by the government in order to power foreign cars. In the process, tens of thousands of local Wardei and Orma villagers are being evicted from the area (their home for hundreds of years), and hundreds of thousands of hectares of wetlands habitat will be destroyed. 2 As individuals and as a responsible society, do we actually have the ability to see all these parts of the picture clearly? Do we even make a link between our daily lifestyle choices and the subsequent social effects, climate changes, habitat and biodiversity loss, or deforestation? Even for those of us who consider ourselves fairly well informed and aware of the issues, the enormity of the global environmental situation often seems beyond comprehension. Pertinent to these questions is the Rio+20 Earth summit, happening as I write this, where 120 world leaders and 190-plus countries will converge to create new goals – if the talks don’t collapse under the weight of their own bureaucracy again! As the Guardian Weekly asks “… are all [the Rio] agreements no more than vain promises by cynical governments who only want to wave a piece of paper in front
of gullible electorates? Or is there something else wrong in the system of environmental governance?” So, despite world leaders having signed up to an incredible 500 internationally recognised agreements in the last 50 years – leading some to suggest we now have “treaty congestion” – according to Unep’s (United Nations Environment Programme) recently released Global Environment Outlook: “In the past two decades carbon emissions have increased 40% and biodiversity loss has risen 30%. The world community has missed all but four [my italics] of its 90 most important environmental goals, with prominent failures on climate change, fish stocks and desertification.” Deep behavioural change and a radical transition from our consumerist lifestyles is the real necessity. The nature of our existence is already shifting with current global political and environmental disasters. By all predictions, this is just the start of a radical transformation in our relationship with each other and the planet. As the evicted Somali people in the Tana Delta fight for their land and lifestyle, we need to make a stand against the over-indulging corporates, cow-towing media and narrowminded governments of our time, and demand justice for all natural environments, people and communities. Importantly, we need local food and water security, political will to protect environments, and compassion towards all people. Are we actually up for it? Or do we just see so much blah-blah-blah-de-blah? FOOTNOTES 1. JustMeans website (www.justmeans. com) – ‘The Obsession with stuff ’, Nov. 11, 2010. 2. BBC (www.bbb.co.uk/programmes/p00rdjvn) – Indian Ocean with Simon Reeve ‘Kenya and the Horn of Africa’. 3. Guardian Weekly, 15-21 June 2012 ‘Ecological web is badly tangled’. IMAGE: 24H Architecture – Armadillo House, Lake Ovre Gla, Sweden, 2004.
1. KALIOPY, My Cigarette Love 2011, acrylic on canvas, 750mm x 1000mm. Three Men & A Red Head, 69 Smith Street Gallery, 69 Smith Street Collingwood (VIC), 4 – 22 July - www.threemenredhead.com and www.kaliopy.com.au 2. Steven VELLA. Cruciform 2010, 76 x 76 x 7 cm. Curiouser and Curiouser – Organic Assemblages by Blackwell, Williamson and Vella, Penrith Regional Gallery & The Lewers Bequest, 86 River Road Emu Plains (NSW), 14 July - 16 September 2012
Sharon WEST Self portrait as a colonist in early Melbourne 2012 oil on canvas 183 x 183cms.
Sharon WEST Giant Eel of Watsonâ€™s Bay rescues the Dunbar 2011 oil on canvas 182 x 182cms. Menagerie Merveilleuse: curious beasts of Bundoora and beyond, Bundoora Homestead Art Centre, 7-27 Snake Gully Drive, Bundoora (VIC), 6 July â€“ 26 August 2012 - http://bundoorahomestead.com/
PREVIOUS SPREAD: Jarrod ELVIN, My Favourite Colours 2011/12, ink and digital image. Sunshine Art Spaces, 2 City Place, Sunshine (VIC) www.sunshineartspaces.com.au Image courtesy of MicksMacks - www. mick-macks.com 3. APHIDS, Thrashing Without Looking 2012, performance presented by Performance Space and Mobile States. Bay 19, Carriageworks, 245 Wilson Street Eveleigh (NSW), 1â€“ 4 August 6pm, 8pm, 9:30pm - www. performancespace.com.au 4. Rod MCRAE, Crying Out Loud in the Age of Stupid 2010, mounted polar bear, MDF and polyurethane, 45 x 160 x 180cm. Animal Kingdom, Gippsland Art Gallery, 68-70 Foster Street, Sale (VIC), 28 July to 23 September 2012.
JULY SALON PREVIOUS SPREAD: Anna EPHRAIM, Traces (rarely seen Australian parrots) 2010, ink on paper. Courtesy of the artist. Paul Guest Prize finalist 2010. The Paul Guest Drawing Prize 2012, Bendigo Art Gallery 42 View Street Bendigo (VIC),14 July – 26 August 2012 - www.bendigoartgallery. com.au Prize Annnounced: Friday 13 July 6.30pm. Judge: Cathy Leahy, Senior Curator Prints and Drawings National Gallery of Victoria, Melbourne.
5. Mark HISLOP, Brooks 2011, graphite on mylar, 23.0 x 32.0 cm. The Inbetween, Michael Reid at Elizabeth Bay, 44 Roslyn Gardens, Elizabeth Bay (NSW), 4 – 28 July. 6. APOCALYPSE Theatre Company & BAKEHOUSE Theatre Company present, Metamorphoses (Based on the myths of Ovid) 2012, performance. Written and first directed by Mary Zimmerman (USA); directed in Australia by Dino Dimitriadis, with Jarrod Crellin, Sophie Haylen, Richard Hilliar, Daniel Hunter, Jacqui Livingston, Danielle Maas, Alex Nicholas, Katrina Rautenberg, Katherine Shearer and Tim Warden. PACT Space, 107 Railway Parade, Erskineville (NSW), 4 – 21 July - www.pact.net.au/ Image by Rudi Yap. NEXT SPREAD: Nancy MAURO-FLUDE, Time Machine. The Serial Space collective presents Time Machine, a brand new platform for the development and presentation of time-based art in Sydney. Time Machine will take place in central Sydney at a range of unique and temporary spaces throughout Chippendale: Serial 001 - Serial Space: 33 Wellington Street, Chippendale; Serial 002 - 10 – 14 Kensington Street, Chippendale; Serial 003 - Embassy: 826 George Street, Chippendale; Festival Bar - Freda’s Bar & Canteen: 107 – 109 Regent Street, Chippendale (NSW), 18 – 29 July 2012. Image courtesy Serial Space - www.serialspace.org
with Jean-François Vernay
In May 2012, a review of the translation of my second book prefaced by Nicholas Jose, The Great Australian Novel – A Panorama, came out in Transnational Literature, the third of its kind in Australia for a book that offers a bird’s eye view of Australian fiction. The French edition, Panorama du roman australien des origines à nos jours (Paris: Hermann, 2009), was hailed to critical acclaim by specialists and non specialists alike in New Caledonia, France, Australia and the USA, and is currently out of print. The Australian edition translated by Dr. Marie Ramsland is panned for the second time by mean-spirited writers who have no book to their credit and have left no mark in the field of
to Australian literary studies. […] Vernay’s observations […] are enlivened by enthusiasm, sensitivity and engagement. He participates in the quarrels and triumphs of Australian literature. Whether this panorama is surveyed in its French or English versions, whether in the classroom where it will be useful or elsewhere as a general introduction, we owe Jean-François Vernay a debt of gratitude for his generous intervention.” I have already published ripostes to the two slandering reviews since I was told that “Readers often enjoy spirited exchanges between authors and their reviewers in the interest of the pursuit of truth and academic rigour, especially if they are concise and to the point.”
“Vernay reveals a more vexed, complex, less benign condition in our fiction...” Australian Studies. No matter how challenging it might be to see one’s national heritage being examined by an external observer, literary expert Peter Pierce had the elegance and courage to conclude in his paper for The Sydney Morning Herald that: “Vernay reveals a more vexed, complex, less benign condition in our fiction. Perhaps his remark is best regarded as a graceful gesture from a respectful, inquisitive, penetrating observer of our literature from the outside” while General Editor of The Macquarie PEN Anthology of Australian Literature feels that The Great Australian Novel – A Panorama “is a decolonising project that brings a vitalising perspective
Back in November 2005, Nicholas Jose observed in an essay retracing the genesis of the PEN anthology project that “An earlier generation’s commitment to putting Australian literature on the world map has waned, leaving it pretty well off the world’s map, except for the representative writer or two who fills the slot. Australian literature has been squeezed by globalisation in the marketplace, intellectual fashion in the academy and opposition to cultural intervention in the public sphere.” By touching the raw nerve by joining “the chorus of concern that Australian literature was losing its place” (as Jose has it in his general introduction to The Literature
The Sad Fate of the Australian Novel of Australia), Jose and Rosemary Neill should be given credit for bringing greater awareness to the necessity of globalising Australian literature. On the face of it, the efforts made by American, French, British publishers and journal Editors in this respect are nothing short of commanding admiration. But are similar efforts being made in Australia to promote the ever-jeopardised Australian novel? When I pitched The Great Australian Novel – A Panorama to Australian publishers specialising in Australian fiction and non fiction, most of them rejected the idea, without even asking me to send a portion of the manuscript. Benevolent Bob Sessions at Penguin replied in succinct but striking words: “For a book like this to succeed in Australia, we would need to get significant support from the schools, colleges and universities. We have been canvassing that possibility since you sent me your material, and I’m afraid the result is that support would be at low level – not because of any reflection on the book, but rather because of the amount of choice available, and the lack of educational funding for wide book purchases!” (15/10/2009). And Michael Heyward who is perhaps the most vocal about taking up the cudgels for Australian Fiction and who has published Elif Batuman’s similar passionate venture (but with Russian novels, not Australian ones), also rejected the idea of publishing my potted literary history. It is not difficult to identify the national inconsistency in whinging about the lack of efforts to promote Australian fiction – Rosemary Neill’s article being one of so many statements sounding the alarm bell in recent years – on the one hand and, on the
DO NOT READ
other hand, having to face lack of support from critics, bookshop owners, schools, colleges and universities. In this context, all the stranger are the persistent blows to pan the very book that could help with publicising Australian literature. All the literary monographs that have been published nationally and internationally on this topic should be welcomed as narratives that usefully add up to this Titanic effort of promoting Australian culture. I say Titanic effort, because a ridiculously small fraction of the Australian population seems to care about their literary heritage. So here is a quiz to find out where you fit in the national statistics. 1) Who is Australia’s only Nobel Laureate for literature? 2) What is the most prestigious literary award distributed year in year out to Australian novelists? 3) Can you list five prominent Australian writers? That should do the trick.
Jean-François Vernay is the author of The Great Australian Novel – A Panorama (Melbourne: Brolga, 2010).
Tasmanian Travelogue Part II After three days, I woke up at the sound of Great Oyster Bay’s waves under the impression that the Pied Piper had walked through the Tasmanian East Coast. But I quickly dismissed this thought as a preposterous bad dream. When hanging around in the evening to find out about nightlife, fellow New Caledonian writer Françoise Tromeur and I met a few young people at the local Swansea pub – four youngsters, tops. And when Doria Loigom drove me around Bicheno on the previous day I spotted another three teenagers – surfies packing up their gear as the swell of the sea was gently breaking upon the shore in the sunset shimmering light. And so I came back to my senses: with a seaside culture ingrained in their national consciousness, how could Tasmanians be lured into water and drown? Australians need no spell to embrace water. They swim, surf and sail; sometimes even in the company of the Great White Sharks. How brave, how foolish! But who cares? We are Down Under. It is all very relaxed here … and comfortable, as a former Prime Minister used to say. As far as comfort is concerned, there are some luxury resorts for billionaires to have a spoil and travel in style (but try out the most recent ones because some dated so-called “deluxe” resorts are confident enough to charge twice the price they are actually worth) and, at the other end of the spectrum, in terms of budget accommodation, a cosy spick and span youth hostel in Swansea is available for a song. At mid-price, you probably could afford the homely bed and breakfasts that give >>
Friendly Beaches, Freycinet â€“ photographer: Alan Long
Tasmanian Travelogue / Jean-François Vernay
The Gulch at Bicheno – photographer: Francesco Marena
>> you the same pampering and attention you got from your grandparents in the childhood to which you keep thinking back nostalgically. Regression and indulgence being a great cocktail, I spent some extra relaxing time at Margaret and Alan Morgan’s serene haven sitting by the sea, at the threshold of Freycinet National Park. These two retired academics are real walking Wikipedias who not only attend to their guests’ every need but also passionately inform them about the region. After eating scrumptious locally grown food and savouring ultra fresh mussels from Freycinet Marine Farm (a must-stop attraction!) enhanced by a glass of chilled regional wine in their pleasant company, nature-friendly Margaret drove me back to the Waterloo Inn in the dead of the night. Midway, she suddenly pulled up and made a U-turn to shoo off an owl standing on the opposite lane so that it would not get run over by a car. Roadkills of all sorts – dead Eastern Barred Bandicoots, wombats, wallabies, possums, and other native species – are strewing the East Coast roads. Now and again, crows come and peck away at the
decaying carcasses and meat torn to pieces by the whizzing vehicles. It used to be the job of another carrion eater, the cute little one tamed, glamorised and immortalised by the Looney Tunes creators, but Taz and his kith and kin are all too mortal, depleting fast due to Devil Facial Tumour Disease, “a transmissible cancer spread from one animal to the next through biting,” Margaret explained Wikipedia-like. This is the reason why you are unlikely to spot these jeopardised animals anywhere in Tasmania but at East Coast Natureworld. Something has to be done about this national disaster! Who or what will come to the rescue? Pr. Chris Johnson? Microbiology? Do you realize they are the most Romantic creatures on earth? Taz is indeed capable of fighting Darwinianly to death just to win over Mr. or Mrs. Right. From a French perspective, this is good a reason enough to save these ugly wild mammals which, in captivity, are unglamorously fed a daily diet of crunchy dead mice. [Sigh] Why does rock-hard reality run into the habit of blowing up all these fabricated myths? TO BE CONTINUED…
Spring Beach, Orford – photographer : Gavan Barber
Wine Glass Bay, Freycinet Peninsula – photographer : Garry Richardson
DARKEST PERU PART IV BRAZIL / IGUAZU FALLS
These days everything is awesome, from a new bike to the latest iphone app. Well, Iguazu Falls really is awesome. The Iguazu River falls just before it meets the Parana, the river that drains the half of Brazil not drained by The Amazon. >>
IMAGE: Martin ST-AMANT, Panorama of Iguazu Waterfalls, 23 December 2007 continued >> Source: Wikimedia Commons (S23678) http://commons.wikimedia.org/
Greetings From ... / Ben Laycock
> The Iguazu divides Brazil from Argentina and the Parana divides Brazil from Paraguay. Where do we start with the superlatives? 12,000 cubic metres go over the edge every second. That’s a wall of water I metre thick by 6 metres high and 2 kilometres wide. What more need I say? The falls are actually made up of about 260 separate falls 80 metres high stretched around an arc 2.7 kilometres wide. I think I can honestly say it really is the most awesome thing I have ever experienced. First you get yourself thoroughly drenched in a speedboat full of screaming Argentinean schoolgirls that goes right under the falls. Then you take a train ride full of giggling Argentinean schoolgirls up
to the top of the falls, where you transfer to a flimsy walk-way that goes out over the water for a kilometre, made entirely of shoelaces and icy pole sticks, ‘til you teeter on the very edge of the abyss. Surrounded by the deafening roar of 12,000 tons of water hurtling down into the chasm, matched by the entire mob of Argentinean schoolgirls squealing in unison. After breakfast in Brazil, lunch in Paraguay and dinner in Argentina we took yet another gruelling all-night bus ride through endless jungle that we couldn’t see in the dark, no doubt squashing armadillos and anacondas along the way. We stopped briefly in Curitiba, a place I have dreamed of seeing, but I was asleep so I missed it.
But I feel compelled to tell you all about it anyway. The city is a small city by Brazilian standards, only 3 million people, but the Catholics are working on that. What began in the 1970’s as an experiment has made Curitiba the most sustainable city in the world. It all started with the children. The true believers went out into the schools and taught the kids all about recycling, the kids taught their parents, now Curitiba recycles 70% of its waste. That’s World’s Best Practice. In the last 30 years car traffic has decreased by 30% despite the population trebling. So how the hell did they do it? B.B.B.’s (Bloody Big Buses) that have three carriages that can carry 100 people each at
a squeeze. The city buys recycling and pays for it with bus tickets. Pretty smart eh? The river was freed from its concrete straightjacket and allowed to wend its way through parkland that accommodates the perennial floodwaters. The parks are maintained by sheep that are looked after by a shepherd. The mayor of Curitiba can tell you all about it himself on: http://www.ted.com/talks/ jaime_lerner_sings_of_the_city.html Next episode: The Pantanal, largest wetland in the world. Photo above by roaming-the-planet - www.flickr.com/photos/roaming-the-planet/
the blue mountains • The Blue Mountains Botanic Garden Saturday 30 June – Sunday 12 August: MEL JONES – artist in residence final exhibition, Tomah in Pochoir. The last 12 months of Mel Jones’ artist in residency at the Blue Mountains Botanic Garden, Mount Tomah, culminates with this Pochoir exhibition. View Mel’s unique vibrant landscapes, characterised by crisp lines and brilliant colours using the old world technique of hand cut stencilling. Open 9.30am-5pm. Free entry. T: (02) 4567 3000; E: firstname.lastname@example.org. Find us on Facebook: http://www.facebook.com/pages/ Mount-Tomah-Botanic-Garden/120351291351529 - www.mounttomahbotanicgarden.com.au
canberra • National Gallery of Australia Until 15 July 2012 – EUGENE VON GUÉRARD: Nature revealed. Eugene von Guérard is arguably Australia’s most important colonial landscape painter. The exhibition features over 150 works, including many of von Guérard’s beloved iconic landscapes, as well as beautifully illustrated sketch books, and never-before-seen paintings. Until 22 July 2012 – undisclosed: 2nd National Indigenous Art Triennial. From across the country, 20 Aboriginal and Torres Strait Islander artists have been selected to represent Indigenous arts today. Gallery visitors will have the opportunity to experience the dynamic visual expression of contemporary Aboriginal and Torres Strait Islander art. Open daily 10am - 5pm. Parkes Place, Parkes, Canberra 2600. T: (02) 6240 6411, www.nga.gov.au
NSW / ACT
• PhotoAccess Huw Davies Gallery 5 to 22 July NAIDOC WEEK exhibition JENNI KEMARRE MARTINIELLO: Grandmothers’ Countries. Aerial photographs, portraits of women, glass works. 26 July to 12 August Winter Postcards - a members’ show. PhotoAccess Huw Davies Gallery, Manuka Arts Centre, Manuka Circle Griffith ACT. Tuesday to Friday 10am to 4pm, weekends 12 noon to 4pm. T: (03) 6295 7810; www.photoaccess.org.au Images: Jenni Kemarre Martiniello, Heritage.
cowra • Cowra Regional Art Gallery See our website for this month’s exhibitions. 77 Darling Street Cowra NSW 2794. Tues to Sat 10am - 4pm, Sun 2 - 4pm. Free Admission. www.cowraartgallery.com.au Image: G.W. Bot Glyphs: Tree of Life (detail) 2012, watercolour and graphite on colombe paper, 100cm x 100cm. Winner 2012 Calleen Art Award.
sydney • Art Gallery of New South Wales Australian Symbolism: the art of dreams, until 29 July 2012. Contemporary galleries, from 26 May 2012. JACKY REDGATE: the logic of vision 2 Jun – 9 Sep 2012. KAMISAKA SEKKA: master of modern Japanese art and design, 21 Jun – 26 Aug 2012. 18th Biennale of Sydney: All our relations 27 Jun – 16 Sep 2012. Art Gallery Road, The Domain, Sydney NSW 2000. T: (02) 9225 1744, www.artgallery.nsw.gov.au
windsor • Hawkesbury Regional Gallery Till 8 July: Garden of Forking Paths (dLux/ MediaArts Touring Show); 13 July – 26 August: Light Sensitive Material: Works from the Verghis Collection. Deerubbin Centre, 1st Floor, 300 George Street Windsor 2756. T: (02) 4560 4441 F: (02) 4560 4442; MonFri 10am-4pm Sat & Sun 10am-3pm, (Closed Tues and public holidays). Free admission. www.hawkesbury.nsw.gov.au
hobart • INFLIGHT ARI Opening 6pm Friday 13 July, continues until 4 Aug. Mainspace: INFLIGHT Presents - SHAUN MCGOWAN. Paddy Lyn Memorial Space: Diseased Minds by PETER MAARSEVEEN. Hours: Wed-Sat 1-5pm. 100 Goulburn Street, Hobart TAS. www.inflightart.com.au
• Inka Gallery Inc. Not-for-profit, artists’ run, original contemporary art. Exhibitions three-weekly. Salamanca Place, Hobart. Hours 10am-5pm,T: (03) 6223 3663 www.inkagallery.org.au; www.inkagalleryhobart. blogspot.com
• MONA, Museum of Old and New Art, Hobart Ancient, modern and contemporary art. Monanism the permanent collection – evolving over time. Some pieces are moving or going, others are staying. Forever. Like SIDNEY NOLAN’s Snake (1970 – 1972). Current exhibition: Theatre of the World curated by JEAN-HUBERT MARTIN through to 8 April, 2013. More than 350 artworks and objects of curiosity spanning 4,000 years of creativity. 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
devonport • Devonport Regional Gallery 7 July – 19 August Dreamweavers, Curator: SIMON GREGG, A Gippsland Art Gallery exhibition. Opening Friday 6 July, 6pm. ALY AITKIN, ELOISE CALANDRE (UK), JAMES GLEESON, ADAM LAERKESEN, SAM SPENSER (UK), JOEL ZIKA. Open Mon Fri 10am-5pm, Sat 12noon-5pm, Sun and Public Holidays 1pm-5pm. 45 Stewart Street, Devonport,Tasmania 7310. E: artgallery@ devonport.tas.gov.au T: (03) 6424 8296; www. devonportgallery.com Image: John Gleeson, Perhaps les trois sauvages (detail), 1988, oil on canvas 181 x 277cm. Courtesy Charles Nodrum Gallery, Melbourne.
Messages for me but they can be for you too if you want also
box hill • Box Hill Community Arts Centre 3 – 14 July, Alcove Art Shop - Winter Delights. 17 – 21 July, Box Hill Art Group - Mid Year Exhibition. 24 – 29 July, Photographs from the Whitehorse Art Collection by FRANCIS REISS and JUNE ORFORD A Week in the Life of Whitehorse. 470 Station Street Box Hill T: (03) 9895 8888 www.bhcac.com.au
• Whitehorse Art Space To 31 July 2012 All Creatures.... Young students from NEW STAR ART SCHOOL exhibit their creatures alongside sculptural creatures from the Whitehorse Art Collection. The New Star Art School practices a unique teaching technique based on key Eastern and Western art education systems. This technique is designed to rapidly develop artistic skills in children of all ages. 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 Image: TIM SUN (9 years), The Year of the Dragon.
brunswick • Counihan Gallery in Brunswick 5 July – 5 August. Opening event: Thursday 5 July, 6 – 8 pm. Floor talk Saturday 28 July, 2.30 pm. Picture This: VERA COOPER, ARCHIE MOORE, BEN MCKEOWN , CHRIS PEASE, RYAN PRESLEY, YHONNIE SCARCE, DARREN SIWES, CHRISTIAN THOMPSON, NARETHA WILLIAMS and RAYMOND ZADA. An exhibition of contemporary Indigenous portraiture, featuring video, photography, painting and sculpture. Presented in association with NAIDOC week, 1 - 8 July. 233 Sydney Road, Brunswick 3056 T: (03) 9389 8622; www.moreland.vic.gov.au/ gallery. E: email@example.com Image: Christian Thompson, The Devil Made Him Do It (Natives Instinct Series) 2011. C-type print, edition of 10, 100 x 100cm. Courtesy the artist and Gallery Gabrielle Pizzi .
bulleen â€˘ Bolin Bolin Gallery At Bulleen Art & Garden 22 June to 5 August. Daily 9am to 5pm. happy laughing, an exhibition of pottery and mosaics by the participants of the Churinga pottery program of St. John of God. Bulleen Art & Garden 6 Manningham Road West, Bulleen 3105. T: (03) 8850-3030; www.gallery.baag. com.au Like us on Facebook: http://www. facebook.com/BolinBolinGallery
â€˘ Bulleen Art & Garden Art Workshops and Garden Classes 1 or 2 day workshops designed for artists wanting to extend their skills or anyone wanting to try something creative. 21/22 July Mask Making Master Class with puppeteer, painter, theatre director LACHLAN PLAIN www.lachlanplain.com; 7 July Baskets; 14 July Dragons (ceramic sculpture); 28/29 July Mosaics; 19 August Clay Totems; 1 September Limestone Sculpture. Also, School holiday puppets and mosaics <http://baag.cart.net.au/ store/School+Holiday+Program/> Garden classes - 15 July Frog Bogs - Habitat Creation; 22 July Water Gardens - Pond Maintenance; 2 August Soil Health and Management; 4 August Grafting Know-How, Vegies Part 1 - for Absolute Beginners. Bookings and information http://baag.cart. net.au/store/ or http://baag.cart.net.au/store/ Classes/
6 Manningham Road West, Bulleen 3105. T: (03) 8850-3030. www.gallery.baag.com.au; http://www.facebook.com/BolinBolinGallery
Box Hill Community Arts Centre 2013 Exhibitions & Venue Hire Calling for expressions of interest
The Box Hill Community Arts Centre is an artistic & cultural hub within the City of Whitehorse. Home to a wide variety of local arts and community groups, the centre is a meeting place where people from all walks of life can come together to experience and enjoy the arts. .......................................................................................................................................
For more information:
Phone 9895 8888 or visit www.bhcac.com.au
Box Hill Community Arts Centre 470 Station Street Box Hill 3128
bundoora • Bundoora Homestead Art Centre 6 July – 26 August 26 2012 Menagerie Merveilleuse: curious beasts of Bundoora and beyond. A Bundoora Homestead Art Centre exhibition. SHARON WEST presents a selection of unnatural specimens overlooked by zoologists. Marvellous hybrid curios are featured including kangaroosters and budgeroos. Winner of the 2011 Darebin Art Show award, Sharon West is the inaugural Artist in Residence at Bundoora Homestead Art Centre. 7-27 Snake Gully Drive, Bundoora. (Melways 19 G2) T: (03) 9496 1060; http://bundoorahomestead.com
burwood • Deakin University Art Gallery 6 June to 14 July Glassimations An exhibition of contemporary Australian artworks that bridge the materials of glass and animation to produce works with qualities that are unique to these two mediums and yet create a dialogue between them. Gallery hours 10am - 4pm Tuesday to Friday, 1 - 5pm Saturday. Closed Public Holidays, Free Entry. 221 Burwood Hwy, Burwood 3125. T: (03) 9244 5344; F: (03) 9244 5254, E: firstname.lastname@example.org; www. deakin.edu.au/art-collection
deer park • Hunt Club Community Arts Centre Galleries 16 July – 18 August Colour Our World, an exhibition of paintings and drawings by the WESTERN ART GROUP. Centre open MonThurs 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: email@example.com. au www.brimbank.vic.gov.au/arts
Glassimations 6 June to 14 July 2012
Deakin University Art Gallery, Deakin University, Melbourne Burwood Campus, 221 Burwood Highway, Burwood Victoria 3125. Melways Ref 61 B5. T +61 3 9244 5344 F +61 3 9244 5254 E firstname.lastname@example.org Hours Tuesday–Friday 10 am–4 pm, Saturday 1 pm–5 pm, free entry. Gallery closed on public holidays. Please visit deakin.edu.au/art-collection for exhibition details. Deakin University CRICOS Provider Code: 00113B
Lienors Torre and Alastair Boell Vivienne Screaming 2012 Image courtesy of the artists
doncaster • Manningham Art Gallery July – August Manningham Art Gallery Relocation. Manningham Gallery will be closed through July and August whilst it relocates to a new space within Manningham City Square (MC²), 687 Doncaster Rd, Doncaster. Comprising two exhibition spaces and rebranded as Manningham Art Gallery, the new gallery will create opportunities for a diverse mix of exhibitions and be a major focal point for art and cultural activities in Manningham. Manningham Art Gallery will launch in early September with the exhibition Potters Cottage: a tribute, an exhibition celebrating the influential Warrandyte ceramic artist collective which ran from the late 1950s until the early 2000s. For more information visit www.manningham.vic. gov.au/gallery MC² (Manningham City Square), 687 Doncaster Road, Doncaster 3108. Mel Ref. 33 F12. Open Tuesday to Saturday 11am to 5pm. T: (03) 9840-9367. E: email@example.com. au; www.manningham.vic.gov.au/gallery Free entry. Image: Artist’s impression of Manningham Art Gallery from MC² foyer.
east melbourne • The Johnston Collection House Museum and Gallery Fairhall: The Bride, The Ship & The Wardrobe: Romance Was Born Meets William Johnston, with a series of installation works by KATE ROHDE, 2 July – 24 October. LUKE SALES and ANNA PLUNKETT from ROMANCE WAS BORN, one of Australia’s most internationally celebrated fashion houses, will apply their famously quirky design sensibility to William Johnston’s collection for this guided tour. Sales and Plunkett have created themes based on the colours of the rooms and into each theatrically designed space they will introduce examples of their clothing set against the backdrop of Johnston’s extraordinary collection. Gallery: Commanding Splendour: The Duke of Wellington & The Empire Style 2 July – 26 October. Celebrates Wellington and explores the theme of Empire Style as it emerged in England in the early 19th century. This exhibition is to be viewed free of charge in conjunction with all house-museum Tours or Lecture bookings. Bookings essential www. johnstoncollection.org
eltham south • Eltham South Fine Art Studios & Gallery Jenni Mitchell and Mervyn Hannan return from Mongolia in July. Selected works of painting, sculpture and photography by JENNI MITCHELL, MERVYN HANNAN and GRACE MITCHELL feature in gallery. Painting classes and workshop resume 12 July to suit beginners and advanced. Learn to paint traditional and contemporary methodology, all mediums. 6 Mount Pleasant Road, Eltham South 3095. M. 0417 585 102. T: (03) 9439 3458; E: jenni@ jennimitchell.com.au W: www.jennimitchell.com. au and www.ElthamSouthFineArt.com.au
fitzroy • Colour Factory Gallery Be Home Before Dark by JANINA GREEN. Exhibition dates: 6 – 28 July. Opening night: 5 July, 6-8pm. 409 - 429 Gore Street, Fitzroy 3065. T: (03) 9419 8756, F: (03) 9417 5637. Gallery hours: Mon - Fri 10am - 6pm, Sat 1 4pm. E: Gallery@colourfactory.com.au Image: Janina Green, from the series Be Home Before Dark (detail) 2012.
footscray • Magnani Papers Australia Beautiful fine art papers for printmaking, painting and drawing. Mention this Trouble ad and get 10% off! 40 Buckley Street Footscray 3011. T: (03) 9689 5660, www.magnani.com.au E: firstname.lastname@example.org
healesville • TarraWarra Museum of Art 9 June – 8 July. Archibald Prize 2012. TarraWarra Museum of Art is proud to be the exclusive Victorian host of the 2012 Archibald Prize, one of Australia’s oldest and most prestigious art awards. TarraWarra Museum of Art, 311 Healesville-Yarra Glen Road, Healesville. For information and bookings visit twma.com.au Image: TIM STORRIER, The histrionic wayfarer (after Bosch) (detail) © Tim Storrier. 2012 Archibald Prize winner.
langwarrin • McClelland Gallery + Sculpture Park 1 April to 15 July, Beyond the Self: Contemporary Portraiture from Asia. A travelling exhibition from the National Portrait Gallery. Australia’s leading Sculpture Park and Gallery. 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: email@example.com, www.mcclellandgallery.com
melbourne • Announcing an exciting new Expression of Interest Program at Signal Signal’s new Expression of Interest (EOI) Program provides an opportunity for artists and arts organisations to propose new projects to undertake at Signal. New ideas and proposals are welcome from artists and organisations of all disciplines for projects that engage young people 13 to 20 years. The Signal EOI Program supports artist fees and material expenses up to $20,000. Expressions of interest are now open. Closing date 29 July 2012. Signal is a creative arts studio dedicated to young people 13 to 20. Further information, guidelines and proposal forms can be found at www.signal.net.au
• Blindside Artist Run Space 20 June – 7 July G1: ELIZABETH PEDLER, Interventions in the Present Moment. G2: STEPH WILSON, Ain’t got no business doing business today. 11 – 28 July G1: ANDREI DAVIDOFF, Negative Space. G2: CHARLES ROBB and COURTNEY PEDERSON, A Natural History of Trees. 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; www.blindside.org.au Image: Charles Robb, Landmark, Helen Lempriere National Sculpture Award and Exhibition, Werribee Parklands, Melbourne 2005.
• fortyfivedownstairs 19 June – 14 July, VICTORIAN ARCHITECTURE AWARDS 2012, Australian Institute of Architects, exhibition of entries; 4 – 29 July, The McNeil Project, WATTLE WE DO NEXT PRODUCTIONS, theatre; 17 – 28 July, UN:SIGHTED, group exhibition; visual arts. 45 Flinders Lane, Melbourne, 3000. T: (03) 9662 9966, www.fortyfivedownstairs.com
• Ours Have Faces The Hidden Faces of the Archibald Unveiling the talent of Victorian Artists in the 2012 Victorian Salon des Refusés. Rival the selection of the ‘Official Prize’. View these exciting and diverse portraits – submitted but unselected – Vote for your choice and WIN. Hilton Melbourne South Wharf, 2 Convention Centre Place South Wharf. 18 June – 16 August, 2012. Open daily, nightly Free Admission. Enquiries: 0418 347 814 E: firstname.lastname@example.org Image: Zoë TuckwellSmith by MARTIN LANG.
• RMIT Gallery 29 June – 25 August: YULYULYU: Lorna Fencer Napurrurla. The first major exhibition of well known Warlpiri artist Yulyulyu LORNA FENCER NAPURRURLA (1924-2006) traces her development as a highly original artist and highlights her importance as a master painter within the Lajamanu region and within the broader framework of central desert art movement. Presented by Mimi Aboriginal Arts and Crafts in association with Artback NT Arts Development and Touring. This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. Public Program 29 June: 12-1 pm Margie West curator talk. 29 June – 25 August: Stars of the Tokyo Stage: Natori Shunsen’s Kabuki actor prints. An inspiration to artists for centuries, kabuki draws on Japan’s rich folklore, literature and history, as well as violent, romantic and scandalous events, to present lavish dramatic performances. This exhibition from the National Gallery of Australia reveals the dynamic world of Japan’s kabuki theatre through superb actor portraits created by artist NATORI SHUNSEN (1886–1960) in the 1920s and 30s. A selection of spectacular kabuki robes further illustrates the extravagance of the theatrical form. Public Program 26 July:12-1 pm Lucie Folan, curator talk. 29 June – 25 August: Kindness/Udarta: AustraliaIndia Cultural Exchange. Celebrating 20 years of the Australia-India Council’s successful program of cultural exchanges between Indian and Australian visual artists, writers and musicians, Kindness/Udarta: Australia-India Cultural Exchange bears witness to the depth of vitality that only the arts can so readily engender.
With more than 117 writers, visual artists and musicians including THOMAS KENEALLY, ALEXIS WRIGHT, LES MURRAY, ROBYN BEECHE, CALLUM MORTON, JENNY WATSON, HAKU SHAH, GIRIRAJ PRASAD, NALINI MALANI, SEEMA KOHLI, BHARTI KHER, SHILPA GUPTA, SUBODH GUPTA, PRADYUMNA KUMAR AND RANBIR SINGH KALEKA. Public Program 2 August: 5.30-7 pm. RMIT Gallery: Indian cultural celebration, with music, food and readings. Special guests Indian author Kiran Nagakar and Australian author CHRISTOPHER KREMMER. RMIT Gallery: 344 Swanston Street, Melbourne 3000. T: (03) 9925 1717; F: (03) 9925 1738; E: email@example.com/ rmitgallery. Free admission. Lift access. Mon-Fri 11am to 5pm, Thurs 11-7. Sat 12 to 5pm, closed Sun and public holidays. RMIT Gallery open on RMIT Open day Sunday 14 August. Become a Fan of the Gallery on Facebook. Follow us on Twitter@RMITGallery. Now open to 7pm Thursday nights.
moonee ponds • Incinerator Gallery Artecycle until 8 July. Environmental and Sustainability Sculpture Prize and Exhibition. In the primordial cave 13 July – 5 August by ANDY HUTSON. As part of The Atrium Project: Filling The Void. Showing the power of art to transform barren spaces. piece-work 13 July – 5 August by SACHIKO MARDON. The Incinerator’s 2012 ceramicist in residence, translates the industrial concept of ‘piece-work’ through contemporary craft-making processes. Life Through the Lens 13 July – 26 August by the ESSENDON CAMERA CLUB. Collection of works from members of Melbourne-based photography. Opening hours: Tues to Sun, 10am-4pm. Free Entry. Incinerator Gallery, 180 Holmes Road, Moonee Ponds VIC 3039 T: (03) 8325 1750, E: firstname.lastname@example.org, www.incineratorgallery.com.au
southbank • ACCA - Australian Centre for Contemporary Art Berlinde De Bruyckere, We are all Flesh, 2 June to 29 July, 2012. Selected works from extraordinary Belgian sculptor BELINDE DE BRUYCKERE, including the rarely seen and iconic 019 and two new commissions for ACCA. De Bruyckere’s haunting sculptures of metamorphosising horses, trees and humans recall the visceral gothic of Flemish tre-cento art, updated to a new consideration of the human condition. Australian Centre for Contemporary Art, 111 Sturt Street, Southbank. Gallery Hours: Tuesday-Friday 10am-5pm, Weekends and Public Holidays 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 Artist studios, gallery and shop front. Four artists – weaver LIA PA’APA’A, community film maker AMIE BATALIBASI, textile designer LUCY HALL and comic book artist JARROD ELVIN – have been successful in obtaining licences on the studio space located in what was previously a chemist shop. Opposite the studios is a space which will be used as a gallery. Open Weds-Sat, 10am-4pm. 2 City Place, Sunshine (Melway 40, H1) T: (03) 9249 4600 E: email@example.com; www.sunshineartspaces.com.au
upwey • Burrinja Gallery Jus’ Drawn: proppaNOW Collective. A touring exhibition of works by eight of Australia’s most important urban Indigenous artists, until 26 August. Ngarrambel (White Ochre): BALUK ARTISTS. Ochre Works on paper by Baluk Artists of the Mornington Peninsula, until 5 August. Cnr Glenfern Rd and Matson Dr. Tue to Sun 10.30am-4pm. T: (03) 9754 8723. W: burrinja.org.au Image: VERNON AH KEE, Unwritten (detail).
wheelers hill • Monash Gallery of Art (MGA) 9 June – 29 July 2012 Hoppé portraits: society, studio & street. 18 July -26 August 2012 Topshots: Photomedia Work by VCE Art, Media and Studio Arts Students of 2011. 860 Ferntree Gully Road, Wheelers Hill 3150. Tues - Fri 10am to 5pm, Sat - Sun 12 to 5pm, Closed Mon. T: (03) 8544 0500, E: firstname.lastname@example.org, www. mga.org.au Image: EMIL OTTO HOPPÉ, Ezra Pound 1918, gelatin-silver print courtesy of the EO Hoppé Estate Collection.
geelong • Geelong Gallery Skater – portraits by NIKKI TOOLE, National Portrait Gallery and Geelong Gallery touring exhibition, until 9 September. Sentinels and showboats – milestones in print collecting until 9 September. Geelong region artists program: House and home - MALCOM BYWATERS until 29 July. 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 and New Year’s Day. Image: Nikki Toole, Daniel Whitechurch and Laura McKellar, Fitzroy, Melbourne, Australia (detail) 2009, inkjet print. Reproduced courtesy of the artist.
mornington peninsula • Mornington Peninsula Regional Gallery Until 11 June: ROY LICHTENSTEIN: Pop remix, a National Gallery of Australia exhibition. 21 June – 12 August: Controversy: The power of art, an exclusive Mornington Peninsula Regional Gallery exhibition. Mornington Peninsula Regional Gallery, Civic Reserve, Dunns Rd, Mornington VIC 3931. T:: (03) 5975 4395; W: mprg.mornpen.vic.gov.au. Open Tuesday – Sunday 10am-5pm.
Messages for me but they can be for you too if you want also
BAY & PENINSULA
ballarat • Art Gallery of Ballarat T: (03) 5320 5858 Free entry. Open daily 9am to 5pm. E: email@example.com; 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 Wednesday 4 July 7pm and Thursday 5 July 11am, Happy Birthday Peter Rabbit; Thursday 5 July 8pm, The Man in Black with TEX PERKINS; Tuesday 10 July 2pm; Stardust the music of Natalie and Nat King Cole; Wednesday 18 July 7.30pm, THE DANCERS COMPANY present Don Quixote; Thursday 26 July to Saturday 28 July 8pm, Boy Girl Wall at Helen Macpherson Smith Theatre, UBAA; from Friday 27 July, Ballart Lyric Theatre present Hairspray. 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.
• Post Office Gallery Wed 11 Jul – Sat 28 Jul 2012 BINDI COLE: Recent Works. An award winning artist of Wathaurung and Australian descent, Bindi Cole explores questions most are afraid to ask, cathartically imbuing her work with a gritty honesty so personal that the viewer’s experience can seem voyeuristic. Post Office Gallery, University of Ballarat. Cnr Sturt & Lydiard Sts Ballarat. VIC. 3350. Mon/Tue by appt. Wed-Sat 1-4pm. T: (03) 5327 8615, E: firstname.lastname@example.org; www. ballarat.edu.au Image: Bindi Cole, Wathaurung Mob 2008, pigment print on rag paper. Courtesy the artist and Nellie Castan Gallery.
• Radmac Now Showing at the Radmac Gallery throughout July 2012 CAROLINE EVERETT from Corindhap with her exhibition titled Birds, Animals & Landcapes, her love of animals andf nature have been created with acrylics on canvas. Local Artist MITCH HORWILL has had many years of experience painting in enamels. This unique craft is very eye catching and colourful, titled Earth, Moon & Fire, it displays very clever use of colour blending. Both are exhibitions not to be missed. Radmac Gallery, 104 Armstrong Street (Nth) Ballarat 3350 T: (03) 5333 4617 Gallery Hours 8.30am to 5.30pm Mon – Fri, 9am to 12pm Sat. Entry Free. Enrol now for Art Classes. Gallery and Studio Space available. Image: Caroline Everett, Kookaburra.
bendigo • Artsonview Framing and Gallery Expert custom framing by GEOFF SAYER. Conservation and exhibition framing also available. Plus a small but interesting range of original artwork and photography. Ceramics and etchings by RAY PEARCE, limited edition prints by GEOFF HOCKING now in stock. 75 View Street. E: email@example.com; T: (03) 5443 0624
• Bendigo Art Gallery The Paul Guest Prize 14 July – 26 August. IAN HILL: The Riverina series 21 July – 2 September. 42 View Street, Bendigo. T: (03) 5434 6088. www.bendigoartgallery.com.au Image: Ian Hill, Leeton (detail) 2000–04, gelatin silver print. Courtesy of the artist.
• The Capital Info and tickets online at www.thecapital.com.au. T: (03) 5441 6100 or visit 50 View Street, Bendigo. Full list of shows at website.
5434 6100 www.thecapital.com.au 50 VIEW STREET BENDIGO
• 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: firstname.lastname@example.org. au T: (03) 5434 6464
• La Trobe University Visual Arts Centre VAC Gallery: 27 June – 29 July MICHAEL NEEDHAM – Long Shadowed Land. Access Gallery: To 15 July FRANCES GUERIN – Longitude of Home: An Exploration of Irish Australian Heritage. 18 July – 12 August TOM PENDER – White Hills. Gallery hours: Tue - Fri 10am-5pm, Sat - Sun 12pm-5pm. 121 View Street, Bendigo. T: (03) 5441 8724; www.latrobe. edu.au/vac Image: Michael Needham, Long Shadowed Land (part 1 of triptych) (detail) 2012, charcoal, ink and pastel on cartridge.
castlemaine • Arts Officer - Jon Harris Community Activity and Culture Unit Mount Alexander Shire Council Jon Harris (Tues, Wed, Thurs, Fri) PO Box 185 Castlemaine 3450. T: (03) 5471 1793, M: 0428 394 577, E: email@example.com
• Buda Historic Home and Garden Cover-ups Exposed Apron Exhibition until 5 July. A property of national significance. Home of the creative Leviny family from 1863 to 1981, featuring their personal belongings, original furnishings and arts and crafts collection. 1.2 hectares of heritage gardens to wander including plant nursery. 42 Hunter Street, Castlemaine 3450. T/F: (03) 5472 1032, W: www.budacastlemaine.org Open Wed - Sat 12-5pm, Sun 10am-5pm. Groups by appointment.
• CASPA Lesley and Miranda – paintings and collage by LESLEY LITTLE and MIRANDA WATTS. Opening Fri 6 July 6pm until Fri 24 July. Above Stoneman’s Bookroom, Hargraves Street. www.castlemainefringe.org.au/caspa Image: Lesley Little, acrylic on canvas.
• Castlemaine Art Gallery and Historical Museum RICHARD CRICHTON: Works from the Studio 1 – 29 July. Born in 1935, Richard Crichton has been known as a lecturer in Fine Art at RMIT but his own paintings deserve greater recognition by the art public. This exhibition highlights his original subjects and techniques. Supported by Eastgate & Holst, Dealers in Fine Art. 14 Lyttleton Street Castlemaine, Vic. For full list of events and exhibitions log onto: www.castlemainegallery. com Image: Richard Crichton.
• Greengraphics: web and print We design anything, in web or print. Call (03) 5472 5300 or visit www.greengraphics.com.au
• Lot19 Studios and Artspace We are currently seeking submissions for the annual spring sculpture prize! see the website for details, and for ongoing exhibitions and arts events. Lot19 Langslow Street (up Mcshannags Road) Castlemaine. www.lot19art.com
• Nunan Gallery New and retrospective art work by BRIAN NUNAN. Be unafraid – come and visit and enjoy. Open Frid. Sat. Sun 10am to 5pm. Nunan Gallery, 40 Campbell Street Castlemaine. T: (03) 5470 6724; E: firstname.lastname@example.org; www.briannunan.com Image: Brian Nunan, Kimberley Man.
• Union Studio Framers and Gallery Custom, exhibition and conservation framing. Contemporary art and design gallery. June-July Winter Stockroom DAVID FRAZER, DAVID RANKIN, ROBERT JACKS, KIM BARTER, KENNETH JACK, MICHAEL WOLFE, WILLY TJUNGURRAYI, GEORGE WARD TJUNGURRAYI, MICHELLE PLEASANCE, MAKINTI NAPANAGKA, HUGH WALLER, CATHERINE PILGRIM. Open 7 days. 74 Mostyn Street (enter via Union St) Castlemaine. www.unionstudio.com.au T: (03) 5470 6446
kyneton • Stockroom Makers, artists and project space. 14 July to 5 August (opening Sat 14 July, 4.30pm) - MICHAEL NEEDHAM, NICHOLAS IVES, SALLY BLENHEIM, TRISTAN JALLEH, JACQUES SODDELL and ADAM JOHN CULLEN, dark matter_dark energy; JOHN BARTER, The Dark Side of the Moon; ROSS TAYLOR, Phatlands. Thurs-Mon 10.30am-5pm. 98 Piper Street, Kyneton 3444. T: (03) 5422 3215. www.stockroomkyneton.com Image: Tristan Jalleh, Verge 2, video still.
newstead • Dig Café Until 25 July Paintings in acrylic on canvas by ALLEX HALL during 2009 and 2012. Featuring reproduction of Japanese Ukiyo-e wood block prints and Chooks of Pound Lane. 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 IMAGE: Allex Hall, untitled 2011, acrylic on canvas, 40x60cm.
• Gathering Gathering is located in Newstead, 15 minutes from Castlemaine, 25 mins from Daylesford. We stock all original, all Australian, all handmade goods. Perfect for shopping for that special gift or for something for yourself. You can find one of a kind pieces for grownups and kids to wear, adorn yourselves with, and place in your home. It is a space in our community to see hand making at its best. Panmure Street Newstead.
• Karen Pierce Painter, Illustrator, Art Teacher, Community Artist. Quality prints and cards. Old Post Office Studio, 22 Panmure Street Newstead. T: (03) 5476 2459, www.karenpierceart.com
mildura • The Art Vault 4 – 23 July TONY SCOTT and JAYNE DYER Latitude 39 : 55 N < > 34 : 13 S, both galleries. 25 July – 13 August DARIA HEALY main gallery; ZANDRINA TACEY small gallery. 43 Deakin Avenue, Mildura 3500. T: (03) 5022 0013 E: email@example.com www.theartvault.com.au Gallery Director: Julie Chambers. Wed - Sat 10am to 5pm and Sun - Mon 10am to 2pm. Artists in Residence: TONY SCOTT, JAYNE DYER. Image: Tony Scott, Geometric 18 2011, acrylic pigment on canvas, 120x100cm.
• Mildura Arts Centre Until 20 July 2012, Out of the Box: Sweatbox art from the Mildura Arts Centre Collection. Venue: Rio Vista Historic House, 199 Cureton Avenue, Mildura. Open Wed - Mon: 11am-4pm. 3 July – 17 August 2012, Spirit of Community: NAIDOC exhibition. Venue: LEAP Project Space, 39 Langtree Ave, Mildura. Open Tues-Fri: 11am3pm. Mildura Arts Centre Regional Gallery is closed while the Centre undertakes an exciting redevelopment of Mildura’s arts and cultural precinct. 199 Cureton Avenue, Mildura VIC 3500. T: (03) 5018 8330; F: (03) 5021 1462; www. milduraartscentre.com.au Image: Bobbi-Jean Sailor and daughter Taniah Hollier, photo LEAP.
• Mildura Writers Festival 19 – 22 July 2012. Four days of food wine and words. Featuring DRUSILLA MODJESKA, LIZ MOORE (US), LES MURRAY, ANNA GOLDSWORTHY, ROBERT GRAY, BARRY HILL, EVELYN JUERS, PETER ROBB, CHRIS WALLACE-CRABBE, JOHN WOLSELEY, MORAG FRASER, JOE DOLCE. Includes awarding of the Philip Hodgins Memorial medal, convivial lunches and dinners, and discussions in a relaxed atmosphere. For info and tickets visit www.artsmildura.com.au or phone (03)5022 9542. Image: Winter by Robert Watson.
swan hill • Swan Hill Regional Art Gallery Swan Hill Print and Drawing Acquisitive Awards and Inside the Line, interactive exhibition to 9 July. Syzygy by HARRY NANKIN, 11 July to 26 August. Chaos Calm by MICHELLE HUNT, 11 July to 5 August. STREETON TRIO, Chamber Music Concert, 28 July at 7.30pm. Tickets: General $34.50 / Art Gallery Associate Member $32.00 / Students $12.00. For bookings phone the Gallery. Opening hours 10am-5pm Tuesday to Friday, 11am-5pm Saturday and Sunday. Horseshoe Bend, Swan Hill, 3585. T:(03) 5036 2430 E:firstname.lastname@example.org; www.swanhillart. com Image: Harry Nankin, Syzygy.
benalla • Benalla Art Gallery Spirit in the Land a McClelland Gallery+Sculpture Park and NETS Victoria Touring Exhibition 22 June to 29 July. Bridge Street, Benalla, Victoria, 3672. Opening hours 10am-5pm. T: (03) 5760 2619. E: email@example.com. au; Please check the website for details: www. benallaartgallery.com
shepparton • Shepparton Art Museum 70 Welsford Street, Shepparton VIC 3630; T: (03) 5832 9861; E: firstname.lastname@example.org. gov.au; www.sheppartonartmuseum.com.au Acting Director: Ryan Johnston. Open 7 days, Free Entry.
wangaratta • Wangaratta Art Gallery 16 June – 22 July 2012 Petite – Contemporary Miniature Textile Art by 119 artists from all over Australia. 23 June 2012 – 8 July 2012 The Gifts of Embroidery – NE Branch of the Embroiderers Guild of Victoria in The Workshop Space. 28 July – 26 August 2012 BILL HENSON: early work from the MGA collection. 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: email@example.com. au or firstname.lastname@example.org; www. wangaratta.vic.gov.au then follow the links to the gallery. Follow us on Facebook. Image: AMANDA HO, Plant, Mineral, Animal 2012, cotton warp, silk stainless seel weft. Image courtesy of the artist. Petite miniatures entry 2012. • 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
LAUNCH PARTY Saturday 18 February 2012 • 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 email@example.com
ararat • Ararat Regional Art Gallery Impressions - contemporary glass by ANNABEL KILPATRICK, 12 July to 12 August 2012. LIONEL LINDSAY: prints from the permanent collection, 6 July to 2 September 2012. Town Hall, Vincent Street, Ararat. Mon to Fri 10am – 4.30pm, w/ ends 12 - 4pm. Free entry. T: (03) 5352 2836; E: firstname.lastname@example.org; www.facebook.com/ araratgallery Image: Annabel Kilpatrick, Girl in the barley field 2010 (detail).
hamilton • Hamilton Art Gallery Tooth and Nail, until 12 August. Organised by RMIT this exhibition features sculptural ceramics from contemporary Australian and Chinese makers and reflects upon the contrasts and similarities of ceramics from recent and ancient traditions. 107 Brown Street, Mon - Fri 10am - 5pm, Sat 10am - 12pm and 2 - 5pm, Sun 2 - 5pm. T: (03) 5573 0460, E: info@ hamiltongallery.org, W: www.hamiltongallery.org Image: ROBYN PHELAN, Depleted 2009, Southern Ice Paperclay, cobalt glaze, 36 x 29 x 24 cm.
horsham • Horsham Regional Art Gallery Until 29 July. Life in Your Hands: art from solastalgia champions visual art, craft and design as an enabling force to combat solastalgia, ‘the homesickness you have when you haven’t left home’. A Lake Macquarie Art Gallery touring exhibition. 21 Roberts Ave, Horsham. TuesFri 10am-5pm, Sat-Sun 1-4.30pm. T: (03) 5362 2888; E: email@example.com; www. horshamartgallery.com.au Image: Melinda YOUNG, Arborescence (detail) 2012, found wood, artificial plant foliage, oxidised 925 silver, ruby, garnet, carnelian, jasper, labradorite, aventurine, jade, smoky quartz, tourmaline, opal, stone, glass, paint and waxed linen thread, 140 x 60 x 10cm, image courtesy of the artist, © the artist.