issue 96 November 2012

LISTINGS NSW / ACT

(58)

TASMANIA

[60]

MELBOURNE

(61)

BAY & PENINSULA

(68]

CENTRAL VICTORIA

(69)

EASTERN VICTORIA

(77)

MURRAY RIVER

(77)

NORTHERN VICTORIA

(79)

WESTERN VICTORIA

(80)

Issue 96 November 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 - art@troublemag.com | listings - listings@troublemag.com CONTRIBUTORS: Mandy Ord (comic left), Ive Sorocuk, Neil Craver, Inga Walton, Courtney Symes, Neil Boyack, Emmi Scherlies, Robyn Gibson, Ben Laycock, Jase Harper, Darby Hudson.

Find us on Facebook: www.facebook.com/Troublemag Subscribe to our website: www.troublemag.com READER ADVICE: Trouble magazine contains artistic content that may include nudity, adult concepts, coarse language, and the names, images or artworks of deceased Aboriginal or Torres Strait Islander people. Treat Trouble intelligently, as you expect to be treated by others. Collect or dispose of thoughtfully.

FEATURES

trouble

nov 2012

(04) COMICS FACE

(50) GREENWISH #11

Ive Sorocuk

(10)

OMNI PHANTASMIC

(54) GREETINGS FROM

THE DEATH ROAD

Neil Craver

(16) JOSHUA YELDHAM

Inga Walton

(26) ACTEASE

Robyn Gibson

Ben Laycock

(63) WALK THE EARTH

Darby Hudson

Courtney Symes

(32) MELBURNIN’

Courtney Symes

(36) NOVEMBER SALON

not nasty

(44) STRALIAN STORIES

Neil Boyack (47) BUTTERLAND

Emmi Scherlies

COVER: Margarita SAMPSON, Anemone Incursions II 2012, textiles and recycled chair. The Waterhouse Natural History Art Prize 2012, Category C: Sculpture & Objects 1st Prize. National Archives of Australia, Queen Victoria Terrace, Parkes (ACT) until 11 November 2012.

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!

BARE WITNESS

by Mari Lourey Directed by Nadja Kostich

HELEN MACPHERSON SMITH THEATRE University of Ballarat Arts Academy, Camp Street

THURSDAY 15 NOVEMBER, 8PM TICKETS FROM & HERMAJ.COM

presented by 2012

Open daily until 2 December 2012 Adult $12, Conc $8, Child/Gallery Member Free An Art Gallery of Ballarat exhibition

capturingflora.com.au

Sarah Maund Telopea speciosissima (detail) 1838 engraving on paper, hand coloured. Collection: Art Gallery of Ballarat.

Purchased with funds from the Joe White Bequest, 2010

DEAKIN UNIVERSITY CONTEMPORARY SMALL SCULPTURE AWARD 2012 Exhibition of finalists: Wednesday 31 October to Saturday 15 December 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 artgallery@deakin.edu.au Hours Tuesday–Friday 10 am–4 pm, Saturday 1–5 pm, free entry.

Gallery closed on public holidays. Please visit deakin.edu.au/art-collection for exhibition details.

Deakin University CRICOS Provider Code: 00113B

WANGARATTA CONTEMPORARY TEXTILE AWARD 2013

call for entries

The Wangaratta Art Gallery invites professional artists working in textile media to submit entries for the biennial Wangaratta Contemporary Textile Award 2013 For more information and an entry form contact: Wangaratta Art Gallery p: 03 57220761 e: exhibitionsofficer@wangaratta.vic.gov.au or go to www.wangaratta.vic.gov.au to download an entry form Entries close: 22 March 2013

Wangaratta Contemporary Textile Award Exhibition Dates: 1 June - 14 July 2013 @ Wangaratta Art Gallery

OctOber 19 - December 2 2012

Jason PARMINGTON Threshold 1 2012 mixed media 400.0 x 503.0 x 453.0cm

Bundoora Homestead Art Centre historic house • gallery • café 7-27 Snake Gully Drive Bundoora • ph 9496 1060 Wed-Fri 11am-4pm Sat-Sun 12noon-5pm www.bundoorahomestead.com

Neil CRAVER Omni Phantasmic >>

“Late summer is the best, the sun barely skims the mountain around the pit. ...�

Neil Craver / Omni Phantasmic

“The [Omni Phantasmic] series has been a long project of mine; spanning about three years now. I photographed the series using a Cannon mark 2 1Ds. All the images are shot at the same abandoned rock quarry in North Carolina; it’s a secret spot only known to the couple of people who are adventurous enough to find it.

exhausted. Free diving repeatedly under the submerged tree line is taxing and can be very dangerous with the sharp loose boulders and broken tree branches surrounding you. Due to this risky environment, many people each year drown just playing about rock quarries in the United States.

“I first started the project shooting with my camera in a fish-tank because I didn’t have the money to buy an underwater housing. It gave me the split-level look that I wanted, but really lacked the control I needed. [...] I had too many close calls floating around in the rock quarry; so I found the cheapest underwater bag that I could get.

“As long as I can remember, I have been fascinated with transformations. As a young kid I remember one of my first sculptures was a melted canyon bottle. I wanted the surface to be liquid, but also frozen. I loved that the liquid was so out of control. Later I started a series of poured paintings. I poured about 8 gallons of paint over a 2 month period into a 4 feet “I had to really study the light that would enter by 6 feet container. This resulted in some very the mouth of the quarry because it’s literally a interesting effects. I could slowly move the paint around for that two month period by big hole in the ground; I can only get about 3 or 4 hours of good light in a day. Each season I raising and lowering different sides. I was most get better and better; really understanding the interested in the ocean-like ripples, and the light and the time of the year to start shooting. pigments mixing themselves. Around the same time I was also making sculpture from melted Late summer is the best; the sun barely skims metal (lead). I would melt the metal down and the mountain around the pit. Water clarity pour it into a water bath, creating tube-like is the biggest problem of all, and the water clarity is better if the water is very cold. In the melted structures. middle of the summer I can’t shoot. I need to “No matter what medium I’m using it always wait about five days of no rain because the is driven by my interest in the formlessness run off from soil around the pit makes the of water. I like the innate power of water water too dirty for shooting. to create and destroy in the same wave of “It’s very physically demanding also; usually energy. It’s only from a human’s point of view about three hours of shooting time and, that we label one bad and one good; one by the end, both me and the model are helpful, harmful or useless.”

Neil Craver is seeking gallery representation for his Omni Phantasmic series of photographs: - www.Omni-Phantasmic.com IMAGES: Brilliantly Despairing, Residual Traces & Abandon Time, all 2011, photograph, 60x96in.

Neil Craver / Omni Phantasmic

Joshua Yeldham Painter-Poet of the Hawkesbury

by Inga Walton

The face of the water, in time, became a wonderful book- a book that was a dead language to the uneducated passenger, but which told its mind to me without reserve, delivering its most cherished secrets as clearly as if it uttered them with a voice. And it was not a book to be read once and thrown aside, for it had a new story to tell every day.

- Mark Twain [pseu. Samuel Langhorne Clemens] (1835-1910) JOSHUA YELDHAM has had many occasions over the years to ponder the veracity of Twain’s observation from his memoir, Life on the Mississippi (1883). The Hawkesbury River has wound its circuitous way through Yeldham’s life-story: first as a child, when his parents bought a hobby farm at historic Ebenezer, and years later when he returned to live in the area in 2004 with his wife Jo and six month-old daughter Indigo. The river, its adjoining islands, estuaries, bays and creeks, the surrounding Ku-ring-gai Chase National Park and Berowra Valley Regional Park in New South Wales has formed the backdrop to his last eleven exhibitions.

Yeldham’s abiding interest in Eastern mysticism, primitive cultures, notions of communion, devotional offerings and fertility rites also makes its presence felt throughout his practice. Asian influences permeate many works: the soft drifting cadence of daubed patterns on silkscreen, the firmer calligraphic flourish on lacquer-ware inform Yeldham’s vision of dreamy tributaries and shimmering water. More recently, this wanderlust has taken Yeldham further afield to the Yulong River in the South-eastern Guangxi Zhuang region of China. This somewhat nomadic existence, disappearing into the anonymous vastness of the landscape, continued >>

Joshua Yeldham / Inga Walton

represents a form of cleansing and surrender to the intuitive aspect of making. “You need to create a place where you are not stretched to the point where there is no environment for you to dive into this devotional work, you have to create a lifestyle that can permit that, and I believe it’s a dying lifestyle because a lot of us have less and less time to lose ourselves”, he contends.

as a result. It is a ‘natural canvas’ that both informs and expresses his emotional state, and reflects his acute sensitivity to human frailties within the vast, impersonal, and often pitiless surroundings.

Yeldham has always had an innate gift for framing a story. He first gained widespread attention as an emerging filmmaker; writing, directing, and producing the hour-long feature “Frailejόn” (1993), Since his first solo exhibition in 1996, shot on Mount Humboldt in the Yeldham has pursued a highly personalised Venezuelan Andes. The extraordinary and eloquent path within the tradition venture garnered much critical praise, of interpreting the Australian landscape: collecting several local and international one that encompasses both figuration and distinctions, including an Emmy Award abstraction, with forays into sculpture and (Best Student Film), and an Academy the embellishment of found objects. It is Award nomination in the same category. In one that has only grown in resonance and retrospect, it seems evident that Yeldham’s intensity over the intervening years, and methods and approach to the medium is now widely recognised as articulating were too far ahead of their time to thrive a distinctive visual narrative within the in the prevailing, more corporatised, genre. Among his accolades, Yeldham circumstances. “I felt quite overwhelmed has been a finalist in the Sir John Sulman in Hollywood... I knew it was fake and Prize for the best subject painting or genre I knew that their interest in me was not painting (1998, 2007) and the Wynne Prize solid enough, I could feel it. And I have for landscape painting (2009, 2011-12) at enough connections to the film industry the Art Gallery of New South Wales. He to know often the paths associated with has habitually resisted the more dogmatic that process. The filmmaking I was used to observation of time and place so prevalent was kind of a guerrilla filmmaking where within the en plein air and landscape I borrowed from sixty people, money painting canon. In asserting this freedom and equipment, and everyone worked in the way he explores and chronicles the for free, and I was able to work quickly potency of the environment, Yeldham’s work and spontaneously on this mountain”, he >> becomes ever more timeless and expansive recounts.

PREVIOUS SPREAD: White Owl-Morning Bay 2012, carved resin with cane and wire, 55 x 30 x 30 cm.

Private Collection. THIS SPREAD: Fertility Owl-Black Moon 2012, oil and instrument on carved board, 203 x 153 cm.

Waiting For Spring - Yeoman’s Bay 2012, shellac on carved french paper, 120 x 100 cm.

Private Collection.

Joshua Yeldham / Inga Walton

> A rising level of discomfort with the hype and expectation following his breakthrough project led Yeldham to spend two years scouting locations and planning his followup, an outback love story. It foundered when his funding proposal was eventually rejected, “When I started making the bigger film here in Australia the bureaucracy, and the costings involved to make the movie were so large everyone was wanting security that this was going to be a winner.

The part for me that was being eroded was this alchemy, this magic of the circus, the community of the crew and the actors in an environment going through a process. And the closest film I can tell you is like [Rolf de Heer’s] “Ten Canoes” [2006] when you have a running script but there’s an organic instinctual alchemy that the director and the cast are vibrating off ”. However, the elaborate storyboards Yeldham produced for the film so clearly demonstrated his gift for transferring those detailed visual concepts to the painted medium he has never looked back.

Out of disappointment and thwarted intention sprang a new and deeply fulfilling direction; a reoccurring circumstance in the trajectory of Yeldham’s work and personal life. “I don’t know what is tomorrow, and that keeps me alive as an artist because I’m not pegging it into a box. It’s alive, it’s organic, it comes with sorrow, it comes with failure, but ultimately I’m aware that I have the ‘Mother’ to protect me, and that’s really what many of us try to say with nature, trying to have Mother Nature to allow us to do wondrous things, to know that we are protected...”, he asserts. “For me this show is a by-product of trying to embrace the landscape as a healing source, aware of the chaos, aware that it can take life, aware that it can make my life very difficult up there, but also aware that from

that difficulty, from the mud, where the lotus grows and where my anchor is trying to dig in, I’m trying to find life, true life, life with energy, life with positivity.”

The blistering starkness and unremitting silence of the Sturt Stony Desert near Cameron Corner, where the boundary lines of New South Wales, Queensland, and South Australia meet, was Yeldham’s initial theatre of artistic engagement with the bush. There, he occupied the role of shaman-in-residence within a 1952 silver Leyland double-decker bus abandoned at Wild Dog Flat which became his makeshift studio. Subject to isolation and the vicissitudes of nature, Yeldham came across the grave of Eliza, marking her lonely death in 1886, aged only thirty-two. He set about reclaiming her as his outback siren and muse, obsessively paying homage to her spirit as a feminine guide to the landscape.

These works became the series and artist monograph Solitude’s Bride (2002). Yeldham last worked at his sweltering desert site in 1997, and says of that immersive and experimental period, “My greatest challenge was to build a bridge between myself and the landscape”.

Having changed his artistic ‘mode of transport’ from bus to boat, Yeldham’s latest body of work “The Tongue Has No Bone” (until 17th November, 2012), continues his search for the sacred quietude within the secular clamour. “I just had this hunch that the next chapter for me after leaving the desert could be water and river, and I had never been one for river travel, I’ve always been a mountaineer and a climber, and then a desert wanderer...It kind of connected with me that there was something going on up that river that I didn’t know a lot about, the river is very haunting and mysterious...”, >> he relates.

Joshua Yeldham / Inga Walton

“I’m not really able to tell anyone what I’ve done or seen, but what I am able to do is make things.”

devotion, your ability to see someone and instinctively read them, not only their words, but their eyes, their hands, their energy. And in a world where we’re doing so much interacting through technology, I was curious about this sentence ‘the tongue has no bone’ having more and more place in my life because more and more I hear people’s dialogue, I don’t see the backbone behind it”.

In 2004 Yeldham introduced photomontage techniques, pigment printing and mixed media into his works for the first time. More recently he bought a paper mill to make the heavy hand-made paper he wanted to use within his works like “Waiting For Spring- Yeoman’s Bay” and “Headland- Smith’s Creek” (both 2012). Situated on a large boat trailer with a boiler, cotton and guillotine at his studio, currently Yeldham is building a press so he can make his first large papers. “I find carving very sensual The exhibition’s portentous title dates where I get to explore my calligraphy from an earlier period Yeldham and Jo with the aggression of a belt sander or spent in Bali in 1998. There they met and a carving tool, but I explore it in a way befriended a priest, Pa, with whom they that is non-mechanical, I explore it as if spent three months in contemplation I’m wandering through the bush...”. Jo and discussion about union, prayer, and Yeldham’s profession as a practitioner of what marriage would mean for them. “Pa Chinese medicine also has its influence would kind of laugh and say, ‘Ha, ha, but on her husband’s work. “We talk a lot the tongue has no bone’, and he would say about energy lines...I also use stickthis in sentences to me about different work like Jo does meridian lines. Once I subjects. And I came back to Australia make calligraphy, and then I paint it, I’m with these words in my diary, and some looking then for energy lines within my ten years later making this show I heard landscape, and then I hit it with a drill his voice... I remember him saying that and put cane in it, just as Jo starts placing we can use words, but there’s no backing the needles. So I’m trying to energise behind them, there’s no structure, there’s line-work, same with the carved paper, in no physicality any more in this era that we the voids. That’s my training at this point, live in”, Yeldham recalls. “Words are being I’m like a student, learning about energy, kind of counterfeited and morphed, and colour and vibration for over a decade, used for gain. Ultimately, what matters and really storytelling is just coming to is your actions and what matters is your me now about larger stories.”

Yeldham builds his own mythology in order to exist within an eerie landscape in which his presence goes unnoticed, “I’m going out up-river for periods of time, and I’m coming back, and I’m not really able to tell anyone what I’ve done or seen, but what I am able to do is make things. Through that making process, that ritual of giving thanks to the experiences I have there, I’m able to share with people a very intimate, sensual world that I feel connected to”.

The same concerns govern the development of his unique photographic works, “When these [images] come out of my printer, they really have no life-force to them, they don’t even have a great importance to me. What is important is that I want to dive into them, and some images don’t have that, so I’ll look through a series of images, nothing happens, and then and ‘bang!’ it hits you in the gut and you understand that process, and it says ‘print me, I want to take you somewhere’”, Yeldham explains. These fruitful diversions within his practice serve to amplify his private dialogue with the ceaseless ebb and flow of natural processes and life cycles: death, rebirth, attachment, abandonment, loneliness and succour. “I have stopped actually inquiring about my process... I no longer ask questions intellectually...because I’ve now reached a point where I trust my fingerprint and I don’t need to worry about ‘good’ or ‘bad’. I’m learning more and more that there is no ‘creativity’, it’s a game of backgammon really, it’s just a concept, and it shouldn’t have the power that a lot of us give it”, Yeldham believes.

All the paintings in the exhibition “are devotionals”, according to the artist. “In all of my work there are these bridges and links, so everything for me is organically grown, not intellectually conceived, it’s grown by effort, it’s grown by wandering and walking. So to me, in order to open yourself right up to your life, your holy life, your life of potential and energy, you must lock into the earth. This show is very much about that process, and releasing a lot of the mind-words, a lot of the weights, that come with words that can sometimes hinder us from that process”. Ever-present is the owl, in the mutable role of observer,

“I’m learning that there is no ‘creativity’, it’s a game of backgammon really ...” destroyer, protector, and intercessor. “I feel the owls can fly down at any point, swoop down and you can’t hear them and they can take you”, Yeldham muses. “I don’t feel a great spiritual connection to the owl, but the works do, I’m quite separate from that cross-over, and that’s what interests me...I have my dreaming element which is, ‘Oh here comes owl, owl is coming’, and I will nurture [that]...as a bridge to the audience.

All of us have a process of empowering something and using it in our storytelling.

I’m really just using the owl as a way for me to get closer to the landscape”.

As writer Roberto Calasso has observed, “Stories never live alone: they are branches of a family that we have to trace back, and forward”. As he participates in that enduring process, Yeldham deftly mingles the language of the bush with his own rumination on the grief, resilience, memory, and humility tempered by acceptance which governs so much of the human condition. And so he beckons to us with these evocative, tender offerings.

Scott Livesey Galleries, 909A High Street, Armadale (VIC) - www.scottliveseygalleries.com Joshua Yeldham is also represented by: Arthouse Gallery, Rushcutters Bay, NSW - www.arthousegallery.com.au and The Cat Street Gallery, Sheung Wan, Hong Kong - www.thecatstreetgallery.com Artist site: www.joshuayeldham.com

NEXT SPREAD: Mangrove Bay- Hawkesbury River 2012 (inset & detail), oil and cane on carved board, 152 x 102 cm. Private Collection.

ACTease

< Joanna ROBERTS, Coleoptera (detail) 2012, paper, card and vellum reenprint on kozo paper. Category B: Works on paper - First Prize, The Waterhouse Natural History Art Prize - www.naa.gov.au

DATELINE: NOVEMBER 2012

by Courtney Symes

Gastro. It’s a word that strikes fear into the heart of any parent or traveller.

Recovering from a recent outbreak in our household, I’m relishing days of good health and recalling all the things I’d promised myself (usually in the early hours of the morning as I was gripping my stomach or nursing a sick child) I’d do as soon as I felt better. Illness of any kind always offers a reality check. Mundane household tasks such as knocking down those cobwebs around the windows or even mowing the lawn pale in comparison to spending quality time (in good health) with family. Suddenly, sunny spring days when you can get out and enjoy your city by taking in an exhibition or two become even more precious, and we’re certainly spoilt for choice in Canberra this month…

Nature is a constant source of inspiration for artists and is a key theme amongst several of this month’s exhibitions at the National Archives and Canberra Glassworks. The Waterhouse Natural History Art Prize recognises the value of art inspired by nature. Now in its tenth year, the award will showcase the top 30 winning and highly commended artworks at the National Archives in Canberra until 11 November.

“the distor tive and reflective qualities of thick blown glass to encapsulate a pattern of microscopic symmetry on an internal floating bubble” in her piece, Microcosm 1. Woods explains that “This piece represents an investigation into the ability for the material object to elicit the same feeling of wonder that is experienced when looking through a microscope lens”.

- www.naa.gov.au

The colourful exhibition consists of a variety of works ranging from paintings to works on paper and sculpture. Keep an eye out for Joanna Rober ts’ colourful Coleoptera, which received first prize for the works on paper category. Margarita Sampson was awarded first prize in the Sculpture and Object category for her amazing Anemone Incursions II, where “underwater tentacle-forms creep over a chair into our domestic, disenfranchised interior worlds in order to colonise our collective consciousness”. Zoe Woods uses

Occidental means “from the west” and is an appropriate title for the latest exhibition from Western Australian artists, David Hay and Kevin Gordon at Canberra Glassworks this month. Inspired by landscapes and the natural world, the exhibition consists of blown and carved glass pieces. Hay and Gordon have been working together for over ten years. Hay is the Studio Manager and artist in residence at Hyaline Studio at Edith Cowan University. He also produces commission and production work as well as sculpture and exhibitions. continued

ACTease / Courtney Symes

The Art Gallery of Western Australia and National Gallery of Australia, Canberra both hold some of Hay’s works. You could almost say that glass runs through Gordon’s veins as he hails from a family of glass artists. Gordon received the renowned Tom Malone Prize from the Art Gallery of Western Australia in 2008 and he also regularly exhibits internationally.

Canadian born artist Chris Boha looks to the sky for inspiration in his latest exhibition at the Glassworks this month. Boha’s installation, Home Sky is located in the Smokestack Gallery and explores themes of “displacement, relocation and the notion of home”.

Boha “sees the sky as a globally unifying feature that does not discriminate against an individual’s location, nationality or cultural background whilst at the same time it represents a medium of movement and travel”. Both exhibitions run until 8 November at Canberra Glassworks. www.canberraglassworks.com

eerie tension” that Drysdale felt throughout this period is conveyed through the “agitated application of ink and coloured washes” in works such as Study of ‘Exercise new Hume Camp NSW’. Iconic works, such as Soldier appear alongside the less known works that Drysdale was commissioned to create for wartime publications. Runs until Feb 2013. www.awm.gov.au A visit to the National Portrait Gallery is well worth while this month with three diverse and captivating exhibitions: Glorious: A Diamond Jubilee portrait of Her Majesty Queen Elizabeth II, Go Figure! Contemporary Chinese Portraiture and Ingvar Kenne’s Citizen.

Painting a portrait of The Queen is a task that most of us will never have the privilege (or pressure) of experiencing, but Australian-born artist Ralph Heimans turned his dream into reality when he took a chance and proposed a portrait of The Queen on his own initiative.

It’s been one hundred years since the birth The project commenced in February this year, of renowned Australia artist, Russell Drysdale. when Heimans travelled to London to develop The Australia War Memorial is marking the ideas for his portrait. Although Buckingham centenary of Drysdale’s birth by showcasing Palace had not confirmed that Heimans fifteen of his wartime artworks in an exhibition, could proceed with his proposed portrait, he Russell Drysdale at war. attended the Commonwealth Day Service at Westminster Abbey on 12 March where he Many of Drysdale’s works were created first saw the Queen in person. during his time in Albury, New South Wales throughout the Second World War. Although From that moment he was captivated and was Drysdale was not an official war artist, his understandably ecstatic when he was allocated works provide an insight into the lonely, an hour’s ‘sitting’ with The Queen on 21 March. isolated life many experienced on the home The sitting was productive and left Heimans front. Breaking from tradition and the formal “really wanting to produce my best work”. approach he’d been taught at art school, Heimans’ portrait depicts The Queen standing Drysdale pushed the boundaries of his art alone in the Abbey, in the ‘Coronation Theatre’, practice, experimenting with new mediums on the spot that every British monarch since and techniques. The “sense of restlessness and 1066 has been crowned. >> > David HAY Land of Plenty, 2011. Occidental, Canberra Glassworks until 8 November 2012.

ACTease / Courtney Symes

Heimans says he chose to paint The Queen on her own because “even when she is surrounded by people she cuts something of a solitary figure. She has had such a unique and singular experience on this earth”. The exhibition represents the Queen at various stages throughout her sixty-year reign, as well as portraits of Australians that the Queen presented with knighthoods or other special honours between 1953 and 1992. Heimans’ portrait is on show for the first time and is a key piece in this exhibition.

The National Portrait Gallery describes their current exhibition Go Figure!

Contemporary Chinese Portraiture as “a vibrant expression of Chinese culture and contemporary portraiture”. Working with Sherman Contemporary Art Foundation, Go Figure! is comprised of works from the Sigg Collection, Switzerland and the M+ Sigg Collection, Hong Kong, which has been presented simultaneously across these two locations in Canberra and Sydney. The two collections showcase “one of the world’s most important collections of experimental Chinese art”. The exhibition also explores several themes that are prevalent within Chinese culture, including: About Face, Skin Deep, Body Politic and Self Reflex. Runs until 17 Feb 2013.

Comprised of portraits taken in Australia, China, Laos, Papua New Guinea and the United States of America, Ingvar Kenne’s latest exhibition, Citizen “has captured individuality and shared human experience”.

The Swedish-born Australian photographer “strikingly reminds us that our unique experience of life is something that we all share”. Runs from 2 November 2012 - 27 January 2013. - www.portrait.gov.au image Ralph HEIMANS, The Coronation Theatre, Westminster Abbey: A Portrait of Her Majesty Queen Elizabeth II, (detail) 2012. On loan from the artist. Photo: Max Communications/Colin White © Ralph Heimans

< Kirstin FINLAYSON, The Long Journey Home 2012, porcelain, found objects, resin and glass.

DATELINE: NOVEMBER 2012

by Courtney Symes

No matter how many toys I had at any one time when I was a child, it was always the forbidden ones I wanted the most, such as my mum’s childhood dolls.

Lovingly wrapped in tissue paper and stored in shoeboxes in the top of her wardrobe, I relished the times she would get them down so I could have a look.

I can still recall the sharp vinegar-like aroma of the brittle plastic that her 1950s dolls were made from. After cleaning out the garage recently, mum proudly presented me with one of her beloved dolls for my daughter, which I will in turn pass on. Kirsten Finlayson’s latest exhibition, Childhood and other Disasters offers a nostalgic reminder of the importance of our childhood memories and dreams.

Finlayson’s fascination with toys from the 50s and 60s is something that will resonate with many of us. “I have always loved portraying the seeming innocence of the 50s and 60s through children’s attire and toys of that era. A lot of the toys which belonged to my mother I was still able to grow up with and discover,” says Finlayson of the influences behind her latest exhibition, at Fortyfivedownstairs this November. Childhood is a chapter of life that we can all relate to, regardless of the country we’re from or how we’re brought up. It’s this shared experience that Finlayson aims to capture in her works.

“I use mostly acrylic paints and a shellac sealant as I find oils don’t go with my chaotic brain,” explains Finlayson. Her works have an Alice-in-Wonderland-quality about them, so it’s not surprising to learn that this is her favourite story. The rabbit is also a recurring character in Finlayson’s work. “The rabbit suggests a strong sexuality in my work and a loss of innocence suggesting a sexual maturity. The rabbit in popular culture is used as a symbol of confusing innocence and perhaps bewilderment, for example as in the story of Alice in Wonderland,” Finlayson

explains. Finlayson masterfully brings childhood back to life for those of us who have temporarily forgotten.

Jan Learmonth leaves viewers wondering if her intriguing sculptures are boats, carts or another unique type of vessel in her latest exhibition, Voyages, also at fortyfivedownstairs. Natural elements, such as melaleuca sticks, metal, cotton and clay form the foundation for Learmonth’s unique pieces that demonstrate an ephemeral fragility. Both exhibitions run until 7-17 November - www.fortyfivedownstairs.com Janet Laurence also looks to nature for inspiration in her latest exhibition, Janet Laurence: the Alchemical Garden of Desire at McClelland Gallery and Sculpture Park this month. Laurence combines the themes of nature, science and architecture through the disciplines of installation, sculpture, painting and photography to trace the “memory of nature”. Botanical images and specimens are displayed in vitrines like museum pieces.

Laurence’s latest installation also includes living samples from the historic Langwarrin garden ‘Cruden Farm’. Runs from 3 November until 3 March 2013.

continued >>

Melburnin’ / Courtney Symes

John Gollings’ photographic exhibition, Aftermath: landscape photographs by John Gollings from Black Saturday highlights nature’s harsher side. The Black Saturday bushfires destroyed vast areas around the Kinglake, Marysville, Narbethong, Strathewen and Flowerdale regions in Victoria, resulting in the death of 173 people – the highest loss of life from a bushfire in Australia, as well as the injury of 414 people. Gollings’ aerial images reveal the devastation to the land and vegetation of the bushfire-ravaged regions of Kinglake and Marysville. There is striking contrast between blackened areas versus patches of colour, as well as the texture and pattern of these raw landscapes. Runs from 11 November until 3 March 2013.

Finalists for the McClelland Sculpture Survey and Award 2012 have been announced and the winner of the award will be revealed on 18 November when the exhibition opens.

The McClelland Sculpture Survey is an outdoor exhibition, set throughout 16 hectares of bush and landscaped gardens. Running since 2003, the McClelland Sculpture Survey is now the most important outdoor sculpture exhibition in Australia, combining the works of established and emerging artists. The 2012 Award will be judged by Deborah Edwards, the Senior Curator of Australian Art at the Art Gallery of New South Wales. There is also a People’s Choice Award worth $20,000 sponsored by Frankston City Council, so be sure to check out the exhibition and cast your vote this summer. Runs until 14 July 2013. www.mcclellandgallery.com What does it mean to be connected and able to communicate with each other - anywhere and anytime? RMIT’s latest exhibition, Experimenta Speak to Me, the 5th International Biennial of Media Art encourages viewers to consider these questions, as well as the role that technology plays in our lives today.

Eighteen works will be on display in the RMIT Gallery (fourteen of these works will be on display for the first time here in Australia).

In addition to RMIT’s Gallery space, the exhibition will also utilize parts of Swanston Street and other key venues across Melbourne City, such as Federation Square’s big screen.

Exhibition highlights include work from internationally renowned Taiwanese artist Shih Chieh Huang. Runs until 17 November.

- www.rmit.edu.au < image: Trouble Goes to Experimenta 2012, video still. Watch exclusive content on our TouTube channel: http://www.youtube.com/ user/troublestudios/featured ] The humble ‘circle’ is the star of the show at this year’s inaugural Moreland Summer Show at Counihan Gallery, Brunswick this November.

Forty Melbourne artists will explore and present works based on “the symbolic and literal qualities of the circle”, such as spheres, loops and curves in relation to shape, pattern, geometry, time, music and even space exploration. Works from local emerging artists, as well as established artists such as Magda Cebokli, Angela Cavalieri, Helga Groves and Sam Leach will be included in the show.

“The neighbourhood of Brunswick, and the greater area of Moreland, has a high concentration of creative people – artists as well as people involved in the arts – and the Moreland Summer Show presents a snapshot of this diverse and experimental artistic community,” says Gallery Curator Mellissa Kavenagh. Visitors can also enjoy a documentary video of interviews with artists who live in warehouses that are going to be redeveloped, as well as works that have been upcycled from re-purposed goods. Both of these exhibition highlights demonstrate the ‘lifecycle’ of products and neighbourhoods.

Runs from 8 November until 8 December.

- www.moreland.vic.gov.au

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1. Pete JOHNSON, Get - Morayfield 2004 2004. Polarized: Political Photomedia in Queensland presented by QCP, Colour Factory Gallery, 409 - 429 Gore Street Fitzroy (VIC), 2 November â&#x20AC;&#x201C; 1 December 2012 - www.colourfactory.com.au 2. Stephen COREY, The Passion fruit loops, archival pigment print. alpha waves, beta waves, PhotoAccess Huw Davies Gallery, Manuka Arts Centre, Manuka Circle Griffith (ACT), 8 to 25 November - www.photoaccess.org.au

NOVEMBER SALON

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NOVEMBER SALON

3. V.R. MORRISON, Judith and the Little Black Dress Gang 2008. Oil on Belgian linen, 161 x 260cm. Courtesy Michael Reid at Elizabeth Bay. Prue Gibson’s The Rapture of Death, Gippsland Art Gallery, 68-70 Foster Street, Sale (VIC), 10 November 2012 – 20 January 2013. Officially opened by Author, Prue Gibson on Friday 30 November at 6pm. 4. Miles HALL, Eyes closed … Feeling for Noon and Night 2012. Winner of the $15,000 Jacaranda Acquisitive Drawing Award (JADA) 2012, Grafton Regional Gallery, 158 Fitzroy Street, Grafton (NSW), until 2 December 2012.

5. Weng FEN, On the wall - Guangzhou (II) 2002, chromogenic print.

M+Sigg Collection. Go Figure! Contemporary Chinese Portraiture, National Portrait Gallery, King Edward Terrace, Parkes (ACT), 13 September 2012 - 17 February 2013 - http://www.portrait.gov.au

NOVEMBER SALON

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stralian stories with Neil Boyack

W

e are all only hanging by a thread, one disaster away from

ruin, disability, poverty. One classic Australian short story is a simple reminder of this, and a watershed for Australian literature in that it remains today as strong an allegory for male-female relationships and the romance of the bush, mixed with grief and loss, as ever it was. Squeaker’s Mate is also a strong and intriguing exploration of gender roles and virtues.

Barbara Baynton was born in 1857 at Scone, in the Hunter River district of New South Wales, the daughter of Irish bounty immigrants. [1] She contributed short stories to the very popular Bulletin, alongside Henry Lawson’ contributions, and six of these were published in 1902 in London by Gerald Duckworth and Company Ltd under the title of Bush Studies, including Squeaker’s Mate.

Initially Baynton could not find an Australian publisher for her Bush Studies collection, but she had literary friends and supporters who assisted her in this later.

Baynton’s husband died on 10 June 1904 and left his entire estate to her. She invested in the stock market, bought and sold antiques, and collected black opals from Lightning Ridge. [2] In 1907, her only novel, Human Toll, was published, and in 1917 Cobbers, a reprint of Bush Studies with two additional stories, appeared. During World War 1 Mrs Baynton was living in England and in 1921 she married her third husband, Baron Headley.

Squeaker’s Mate is arguably Baynton’s signature story and up until today has for decades found itself in Australian school

curriculums, a testament to the power of the piece, and the acumen of the writer.

The beauty and the horror of this story is cast with the same spell. When Squeaker (a bush hack, hobo-like, lazy-arse bloke) and his “long haired” female mate are out felling a tree, a thick branch silently falls on the woman and she is paralysed. Squeaker brings her back to the shack where they live and, from the bed in a compact bark apartment out back of their shed, the woman watches Squeaker start a separate life around her. The setup is simple, yet Baynton’s timing, imagery and emotional pitch is breathtaking at times. The female character, Squeaker’s mate, is in a position where she contemplates all that is lost. She does this and in the process becomes an almost godlike figure, a female deity, imbued with the most noble of virtues. Her altruism, selflessness, the concern she suggests for her sheep, her dog – the only one who stands by her, loyal and understanding of her pain – is a metaphor for the mythical ability of the female to absorb pain and abuse and forgive, or at least compartmentalise to a point of being sure that life is more than what it seems. This, for the character, may also

Squeaker’s Mate

by Barbara Baynton

“… with the frugality that hard graft begets, his mate limited both his and her tobacco, so he must not smoke all afternoon.” be a mental trick to avoid the pain of her injuries. Whatever this man, Squeaker, can do to her, she can drink in and see beyond, for she knows that men are the worst kind of imperfect beings, whose curse is their greediness, their selfishness, their obsessive individualism. Maybe she can also see Squeaker’s pain in what he is doing. His confusion, his anxiety at the loss of his “long haired” mate.

Doubtless, the woman of the story is the brains of their partnership, their operation.

She is the stronger of the two physically, mentally, emotionally. She lifts the heavy end of the logs and carries the tools, whilst Squeaker carries the tucker. The woman manages their teamwork, their relationship, their finances, their future: “… with the frugality that hard graft begets, his mate limited both his and her tobacco, so he must not smoke all afternoon.”

They sell honey for extra money to make ends meet, whilst enjoying the earthly delights of booze, tobacco and the joys of their relationships with the world (their town, their animals). The accident ends all of this and Squeaker becomes vindictive and angry. It would be easy to assume

that he is simply taking advantage of the situation, even wanting to in some way fur ther hur t his old mate. But this assumption discounts the subtext of grief and loss throughout the whole story. To Squeaker, his old mate is unmoved, and it takes a while for him to realise she cannot move. He is waiting for her to move.

He cannot believe that this tragedy has befallen them. She has ruined their future, their little patch of life, their routine, their culture, their way. He is lost without her almost motherly management. Their life together is finished, and he is not equipped to deal with the situation. >>

Stralian Stories / Neil Boyack

> The old mate is barren, and maybe Squeaker filled that void for her which is why she can absorb, like a caring mother, so much of his poor behaviour, never creating a dialogue around his change, and instead at some level romanticising his sneaky and cheeky ways. Maybe the old mate had planned the same future for them.

Just because they don’t tell each other they love one another, there is a world where the feelings of these characters write themselves. The old mate was upset herself at the loss and grief of their arrangement, she was upset for him and his loss and grief. She is of course, also upset at the pain for her animals, “her supplies of billy tea and scraps of salt beef and damper (her dog got the beef) gave out the first day, though that was nothing to her compared with the bleat of the sheep, for it was summer and droughty and her dig could not unpen them.”

Although his old mate lies paralysed in the back shed, Squeaker’s acts are despicable.

They can be heard, seen, and smelt. Squeaker sells their sheep from under his old mate, “and though he did not try to display the dandy meerschaum*, she saw it, and heard the squeak of new boots” but there was “no word of complaint passed her lips.”

mate lay there, “… he had another mate.

She saw her, though he came a roundabout way, trying to keep in front of the new hut.”

Squeaker whispers to his old mate through a crack in the bark promising “many good things to her if she kept quiet, and that he would set the hut afire if she didn’t.”

Through her characters, Baynton meditates on the concerns of men with women, “it is in the ordering of things that by degrees most husbands accept their wives views of other women.” She raises tension through the roof with the silent interactions between the new mate and the old; “the cripple’s silence told on the stranger, especially when alone” … “she would rather have abuse”.

The new mate sympathises with the old mate and lays some food near her, “her red hair hung in an uncurled bang over her forehead” … and when the old mate sees the new mate was pregnant…”the barren woman, noting this, knew by calculation the paternity was not Squeaker’s” but “one circumstance was apparent-ah! Bitterest of all bitterness to women – she was younger.”

I cannot ruin the punch-in-the-throat ending of this story for you. This isn’t some steak knife offer of redirecting you to the Trouble mag site, but you simply must read it yourself.

This story is a treat. I guarantee you will Squeaker continues to spend his new derive great satisfaction from the boneearnings creating “Squeaker’s new aristocracy” chilling ending of this Australian bush tale. as the “rubbish heap was adorned, for the * Meerschaum is a soft white clay or tobacco pipe first time, with jam and fish tins from the with a bowl made from meerschaum clay. table in the new hut.” The story goes a FOOTNOTES: 1 & 2 & image. Source http:// terrible level deeper when Squeaker brings en.wikipedia.org/wiki/Barbara_Baynton#cite_notea new mate back to the hut. While the old Carter13-1 Neil Boyack is a writer, poet, social worker, and director of the Newstead Short Story Tattoo. His new book Self Help and Other Works is out now, Check www.neilboyack.com and www.newsteadtattoo.org

THE HUGE BRICK CHIMNEY of the old Newstead butter factory stands proud over the surrounding township. It seems inconceivable that this small dry town in central Victoria once had a thriving dairy industry.

The factory (established in 1905) once produced 607 tonnes of butter per year and shipped its award-winning produce â&#x20AC;&#x2DC;homeâ&#x20AC;&#x2122; to England.

Bu t terl an d

by Emmi Scherlies

continued >>

â&#x20AC;&#x153;They spent a heap of effort to clear the willows and then just pushed the lot into a pile to burn.

You could take a tiny bit more effort and actually do something with the material ... it seemed common sense to me.â&#x20AC;?

pics by Emmi Scherlies

Butterland / Emmi Scherlies

I walked through the open factory door, above which hung a whimsical green sign labelled ‘Butterland’. I was looking for Greg Hatton – the Willy Wonka of Butterland – who uses the factory as a workshop to make furniture and other creations, using mostly invasive species and recycled materials.

Instead of Greg I found Leila Sanderson, Greg’s talented assistant, fashioning fruit tree clippings into a sphere, which was suspended from the ceiling like a strange and magical moon. Most of the factory was vast empty spaces, but in the workshop Leila was surrounded by a chaos of tools, salvaged materials and half-finished furniture. I wasn’t there long before I was greeted by Greg’s friendly face, and invited to the loft for a cup of tea and a chat.

So how does a formally Melbourne-based business end up in Butterland? Well the story goes something like this. Once upon a time, there was a furniture-maker living in a caravan within his workshop to afford the city rent. He was looking for a new workspace when he stumbled upon an advertisement for a dilapidated old butter factory, which had later been converted into a candle factory.

Butterland was in shambles. And to top it off, every surface was inch-deep in candle wax.

So what was the attraction?

“I have this addiction to old shit’, Greg says.

‘It’s pretty rare that an old historic building like this comes on the market, and it was one that needed a lot of love as well. I never really shy away from a challenge. Yeah it bordered on stupidity, but it was a labour of love.”

thing to do, to think that we are somehow more important. I guess that’s what drove my passion as a kid, and that’s how I like to run my business.”

He was first inspired to make furniture from weed species while working as a Fisheries and Wildlife Officer, when he witnessed willows being cleared in mass volumes from the Barwon River. “They spent a heap of effort to clear the willows and then just pushed the lot into a pile to burn. You could take a tiny bit more effort and actually do something with the material ... it seemed common sense to me.”

Becoming a successful furniture maker wasn’t easy in the beginning. “It took a long time to find my niche. Back in the day, I made things that I thought other people might like to buy, compromising my own aesthetic.” Business was running so slow that Greg had decided to give up on the idea. Of course, as irony would have it, that’s when the phone began to ring with furniture requests.

Now it is aesthetic that inspires his work.

“I work from the material first, and the design comes from that instead of the other way around,” he explains. Greg hasn’t been formally trained in the art of furnituremaking, and this is what he attributes his originality to. He is always trying to come up with something different, and each new project plants a seed for the next one.

His work blurs the line between art and practicality. He makes chairs from invasive species, wall hangings from tree clippings, and bookshelves from old honey-bee boxes.

Greg has a love of everything recycled, from Each of his designs has a stunning organic buildings to willow trees. It is a love that goes quality about it, with the raw beauty of the back to high school at least, when he was on material at the centre of each creation. Each the recycling committee. “My philosophy was work is undoubtedly a piece of art. But Greg always, how can people be fucking up the refuses to call himself an artist. ‘No I’m not world without any consideration of the other an artist ... maybe an artisan’, he laughs. organisms that live here? It’s such a selfish

ROBYN GIBSON

greenwish #11

The Life of a House As a practice constantly exploring the balance of aesthetics, environmental sustainability and financial constraints, we started a conversation at Lifehouse Design several years ago around developing a modular design based on being affordable to a wide range of people, that was beautiful and simple, and that offered a flexible approach to living – that allowed for pushing the boundaries of sustainability if the owner was so inclined, for adding to the design easily at a later stage, and that also supported the local community of tradespeople, consultants and retail businesses.

This social sustainability aspect was a key factor in developing the LiFEHOUSES ‘modular’ concept, rather than pushing into the pre-fabricated sector. We were interested in how a new building can foster relationships and community-strengthening, provide people with local jobs, and keep a town or region vital and connected. So we used the drivers of affordability and social sustainability, together with our experience in designing highly energy-efficient, small homes, to come up with the LiFEHOUSES modules and standard designs. This took us a further two years of design, critical review, costing by builders, and refinement, before arriving at the final design, the prototype of which has just been completed in Campbells Creek, near Castlemaine in Central Victoria.

Through our research, we discovered that most pre-fabricated houses on the market cost as much per square metre as a one-off design, and that the many positive claims made by pre-fab companies, such as material waste, energy efficiency, and time saving, could be achieved simply in a site-built design based on a small overall footprint, standard material sizes, and a standardised complete design and documentation package. The concept allows owners to start small if necessary, add spaces as they need them, and maintain costs at a realistic level. In a society that holds in high esteem a large house (and therefore large mortgage), and the buying of ‘green’ gadgets to address environmental sustainability, the LiFEHOUSES concept offers an alternative: to build a small, highly efficient house that promotes a simpler, less materiallyoriented life. Basically, do more with less, to paraphrase van der Rohe. continued >> < LiFEHOUSE 2.2, Campbells Creek: 29 May 2012 (waffle slab, timber wall frame, trusses on)

Greenwish#11 / Robyn Gibson

The LiFEHOUSE is based on 3.0 metre x 5.2 metre design modules that can be added together in various ways to create a home that suits each occupant, site and budget. The flexible aspects of the design – i.e. a flat wedge roof, or a more traditional pitched roof; various cladding materials, such as timber shiplap boards, corrugated iron, Ecoply, or compressed fibre cement sheeting; double-glazed windows and doors with timber or aluminium frames; timber or concrete floor; flexible joinery options – mean that the house can bend and stretch within its overall design parameters to suit each person and location.

The social, emotional and psychological implications of people living in energyefficient, well-designed and beautiful houses are far-reaching The Campbells Creek house is a two-bedroom model that checks in at 90 square metres in size, and has a FirstRate energy rating of 7.8 Stars, which means running costs will be extremely low. Heating is via a small Metro slow-combustion wood heater; supplementary electric panel heaters are offset by a 2.2kW grid-interactive solar power system. There is no air-conditioning; deep roof eaves, effective cross-flow ventilation, casement-style opening windows, and ceiling fans will keep it cool in summer. Insulation is maximised for year-round comfort: the roof has a total of R8.0 added insulation, the walls R3.9, and the waffle slab increases the overall rating by 1 Star.

Building materials generally have been chosen for their natural (or close to natural) state,

low embodied energy, and low cost: structural plywood ceilings and joinery, timber boards and fibre cement sheet cladding, sealed concrete floors, stone splashback, minimal coatings generally. Utilising standard material sheet sizes keep waste to a minimum.

This project has proved to us, on a practical level, that a well-resolved design based on pragmatic planning, is easily repeatable: Castlemaine builders, Vic Restorations, built the house in 27 weeks (this is including several weeks of delay due to wet weather); the construction process was completed smoothly, without stress, and most importantly, within time and on budget. Aesthetically, the house is textural, raw, light-filled, and well connected to the garden. The narrow pavilion design provides a view to outside from anywhere in the house, and physical movement through the house occurs incrementally from public, to social, to semi-private and private spaces.

The social, emotional and psychological implications of people living in energy-efficient, well-designed and beautiful houses are far-reaching – and important for the future well-being of our species and planet. Buildings that provide stimulus to the senses, our creative spirit and sense of vitality, and awaken a sense of connection to the natural world, give far greater sustenance to communities and families, and therefore the world. We are currently assisting three young families at various stages of the design and construction of their own LiFEHOUSES projects, and it is interesting to note that, while they have very different approaches to, and needs for, their particular house, they all – like us – ultimately desire a place of refuge for their families, that provides this sustenance and well-being.

Watch our website, and facebook page for posts on the life of a new house…. www.lifehousedesign.com.au www.vicrestorations.com.au

LiFEHOUSE 2.2, Campbells Creek: TOP 5 July 2012 (windows in, building wrap, 35mm air-gap battens, insulated blanket over roof trusses) BOTTOM 25 September 2012 (cladding and windows oiled, gutter/downpipes installed, plywood eave lining, Rinnai â&#x20AC;&#x2DC;Infinity 26 Enviroâ&#x20AC;&#x2122; 7.0 Star gas hot water condensing unit)

words & pics: Ben Laycock

THE DEATH ROAD DARKEST PERU PART VIII

Having survived the infamous San Pedro Prison we were up for anything.

The time had come to ride El Camino de la Muerte (The Road of Death).

What for us was scary fun on mountain bikes was an unavoidable journey of dread for the people of the Amazon. This winding track is the one and only road linking the capital La Paz, high in The Andes, surrounded by snow-capped peaks, to the steamy jungles 4000 metres below. continued >>

“... Some say they feed off the bodies of the victims.

Others say they are gods incarnate that ensure a safe journey. Either way, they are well fed.”

> What the locals like to call a road is little more than two wheel ruts, just wide enough for the trucks and buses that must traverse it on a daily basis. Every now and then a so-called Passing Bay is carved out of the rockface. Those going uphill, upon encountering an impassable vehicle coming downhill, must employ all their skill and nerve to back their vehicle into the ‘Passing Bay’. Sitting inside the bus with your nose pressed to the window you can just see the one foot of road between the wheel and the edge of the chasm. No wonder it is known as ‘The Most Dangerous Road in the World.’ This is not hyperbole. In the land of superlatives hyperbole is redundant. Despite the best efforts of the most skillful drivers an average of one vehicle per month goes over the edge and plummets into the abyss.

No one has yet survived.

Somehow it seems a lot safer on a bike. At least we have some control over our fate.

We set off in the rosy dawn, crunching the fresh snow, We grip the handlebars as if our life depends upon it and hurtle down sixty bone-jarring kilometres to the steamy jungle below, squeezing the brakes ‘til they squeal. At times one can’t avoid a refreshing drench from a waterfall cascading over the road. There are a couple of spots where the cliff is actually vertical, the road is just a niche carved out of sheer rock. When there are long sections with nowhere to pass a system of child semaphores is employed to direct the traffic flow, with lollypop ladies at either end. As is usual for a country steeped in ancient superstition, the travellers like to feed the wild dogs that roam the road at will. Some say they feed off the bodies of the victims. Others say they are gods incarnate that ensure a safe journey. Either way they are well fed.

Click to see footage of the road here: http://www.youtube.com/watch?v=_KKaQscc2cE&fe ature=channel&list=UL Next episode: Greetings from La Paz – Highest city in the world.

- www.benlaycock.com.au

Greetings From The Death Road / Ben Laycock

canberra • National Gallery of Australia Now showing – Abstract Expressionism. To mark the 100 year anniversaries of the birth of JACKSON POLLOCK and the secondgeneration Abstract Expressionist MORRIS LOUIS the National Gallery is showcasing its holdings of important paintings, drawings and prints. Carol Jerrems: Photographic Artist; CAROL JERREMs’ gritty, poetic and elusive images show people trying to find a new way of life and action in the 1970s. Her images have come to define a decade in Australia’s history.

Divine Worlds: Indian Painting; this exhibition brings together masterpieces of Indian painting from the collection of the National Gallery of Australia. Until 11 November - Sydney Long: the Spirit of the land; SYDNEY LONG is Australia’s foremost Art Nouveau painter, whose work is much loved. The poetic charm Long gave to the Australian landscape saw him emerge as one of Australia’s most popular artists. Opens 14 December – Toulouse Lautrec: Paris & the Moulin Rouge; Toulouse-Lautrec: Paris & the Moulin Rouge is the first major retrospective in Australia of the art of HENRI DE TOULOUSE LAUTREC and will include more than 100 paintings, posters, prints and drawings. Book your time and date now - ticketek.com.au/ toulouse Open daily 10am-5pm. Parkes Place, Parkes, Canberra 2600. T: (02) 6240 6411, www.nga.gov.au

• PhotoAccess Huw Davies Gallery 8 to 25 November GINETTE SNOW: Just Families. STEPHEN COREY: alpha waves, beta waves. Exhibitions by PhotoAccess CIT Graduate awardees for 2011. Image: Ginette Snow (detail).

Manuka Arts Centre, Manuka Circle Griffith ACT Tuesday to Friday 10am to 4pm, weekends 12 noon to 4pm. T: (02) 6295 7810; www. photoaccess.org.au

NSW / ACT

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 EUGÈNE ATGET: Paris 1898–1924, until 4 November. FRANCIS BACON: five decades, 17 November 2012 – 17 February 2013.

Dobell Prize for Drawing: 20th Anniversary, 30 November 2012 – 9 February 2013.

Art Gallery Rd, The Domain, Sydney NSW 2000.

T: (02) 9225 1744, www.artgallery.nsw.gov.au

windsor • Hawkesbury Regional Gallery Oculi: Terra Australis, 19 October 2012 - 2 December 2012. Made It, Make It, 7 December 2012 – 20 January 2013. Image: DEAN SEWELL from Oculi: Terra Australis.

Deerubbin Centre, 1st Floor, 300 George Street Windsor 2756. T: (02) 4560 4441 F: (02) 4560 4442; Mon-Fri 10am-4pm Sat & Sun 10am3pm, (Closed Tues and public holidays). Free admission. www.hawkesbury.nsw.gov.au

devonport • Devonport Regional Gallery 3 November – 25 November Main Gallery: 2012 RACT Insurance Tasmanian Portraiture Prize.

Opening Friday 2 November, 6pm. Emerging Tasmanian artists are invited to create a portrait of a living Tasmanian who is important to them.

The Little Gallery: Afterimage: PAUL SNELL. Opening Friday 2 November, 6pm. This project is an exploration of non-representative forms and examines the possibilities of abstraction and minimalism in new media.

Open Mon - Fri 10am-5pm, Sat 12noon5pm, 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: Pulse # 201207 by Paul Snell.

hobart • MONA, Museum of Old and New Art, Hobart Ancient, modern and contemporary art.

Monanism the permanent collection – evolving over time. 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. Artist in residence exhibition/MONA Library gallery: Yannick Demmerle until Dec 3.

Fees: $20/adult; under 18s are free. Spring/ Summer opening hours: 10am to 6pm, closed Tuesdays. Food, bars, winery, microbrewery, accommodation, bookshop and library. 655 Main Road Berriedale, Tasmania, 7011. T: (03) 6277 9900, www.mona.net.au

TASMANIA

box hill • Box Hill Community Arts Centre 30 October – 11 November, Global Art Project For Peace; 13 – 18 November Box Hill Clayworkers; 20 November – 1 December, ALCOVE ART SHOP - Christmas A’Fair 470 Station Street Box Hill T: (03) 9895 8888 www.bhcac.com.au Image: Global Art Project for Peace exhibition.

• Whitehorse Art Space 14 November – 17 December 2012 One Step Further. This exhibition, organised by Victorian Quilters Inc., showcases the skills and boundless imagination of quilt and textile artists from around Victoria. As the name implies the quilts entered in this exhibition competition go ‘one step further’ in style, technique and presentation. Demonstrations covering different techniques will be held every Saturday at 2pm.

Call 9262 6250 for further details.

Hours: Tues and Fri 10am-3pm, Wed and Thurs 9am-5pm, Saturday noon-4pm. T: (03) 9262 6250, 1022 Whitehorse Road, Box Hill VIC 3128, www.boxhilltownhall.com.au Image: DIJAANE CEVAAL Art Quilt (detail) 2011 Winner people’s choice award One Step Further 2011.

brunswick • Counihan Gallery in Brunswick 28 November – 8 December: Moreland Summer Show. An exhibition of practicing artists who live or work in the City of Moreland and who consider the varied interpretations of the circle.

Opening: Thursday, 8 November 6-8pm. Floor talk: Saturday, 24 November 2.30pm.

233 Sydney Road, Brunswick 3056 T: (03) 9389 8622; www.moreland.vic.gov.au/gallery.

E: counihangallery@moreland.vic.gov.au Image: DAVID MCCALL, Untitled 2012, archival inkjet print on hahnemuhle photo rag. 71 x 76cm.

Courtesy the artist.

MELBOURNE

bundoora • Bundoora Homestead Art Centre 31 August – 2 December 2012 Cloudy Sensoria a site specific interpretation of time shifting experience. 7 – 25 November 2012. Bygones drawings, prints and handmade books by PAUL COMPTON. 7-27 Snake Gully Drive, Bundoora.

(Melways 19 G2) T: (03) 9496 1060; http:// bundoorahomestead.com Image: Paul Compton Eddie Munster Vignette 2011, ink on paper.

burwood • Deakin University Art Gallery Deakin University Contemporary Small Sculpture Award 2012 – Exhibition of Finalists, 31 October to 15 December 2012.

Gallery hours 10am-4pm Tuesday to Friday, 1-5pm Saturday. Closed Public Holidays including Melbourne Cup Day. Free Entry. Deakin University, Building FA, Melbourne Burwood Campus, 221 Burwood Hwy, Burwood 3125. T: (03) 9244 5344; F: (03) 9244 5254, E: artgallery@ deakin.edu.au; www.deakin.edu.au/art-collection

DEAKIN UNIVERSITY CONTEMPORARY SMALL SCULPTURE AWARD 2012 Exhibition of finalists: Wednesday 31 October to Saturday 15 December 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 artgallery@deakin.edu.au Hours Tuesday–Friday 10 am–4 pm, Saturday 1–5 pm, free entry.

Gallery closed on public holidays. Please visit deakin.edu.au/art-collection for exhibition details.

Deakin University CRICOS Provider Code: 00113B

deer park • Hunt Club Community Arts Centre Galleries To 17 November (Foyer Gallery) RAQUEL FURNIER: Imagination: Look twice before you decide; (Main Gallery) DAN BARCLAY & MARIA ARTIGAS: Life in Raku. 24 November – 22 December: Student Showcase – works by participants in arts and crafts short courses run by HCCAC. Centre open Mon-Thurs 9am - 7.30pm, Fri 9am - 4.30pm, Sat 9am -12.30pm. Closed Public Holidays. 775 Ballarat Road, Deer Park (Melway 25, F8) T: (03) 9249 4600 E: huntclub@brimbank. vic.gov.au www.brimbank.vic.gov.au/arts

doncaster • Manningham Art Gallery Relocation Potters Cottage: a tribute, until 10 November.

Pays tribute to the continuing legacy of Potters Cottage in Warrandyte. Features a collection of exemplary and rarely seen works by the founding members of Potters Cottage. Curated

by GRACE COCHRANE. MC² Transfer Project, 28 November – 29 December. Presents a collaborative installation work by students from the Manningham Art Studios and artist-in-residence ALIEY BALL. MC² (Manningham City Square), 687 Doncaster Road, Doncaster 3108. Mel Ref. 47 F1. Open Tuesday to Saturday 11am to 5pm. T: (03) 98409367. E: gallery@manningham.vic.gov.au; www. manningham.vic.gov.au/gallery Free entry.

Image: REG PRESTON and PHYL DUNN, 1960s. Courtesy Potters Cottage archives, private collection. Photographer unknown.

fitzroy • Colour Factory Gallery Polarized: Political Photomedia in Queensland presented by QCP, 2 November – 1 December.

Artists: PAUL ADAIR, KATE BERNAUER, PRISCILLA BRACKS, ERIC BRIDGEMAN, RAY COOK, NATHAN CORUM, GERWYN DAVIES, FIONA FOLEY, PETE JOHNSON, PETER MILNE, HENRI VAN NOORDENBURG, LIAM O’BRIEN, LUKE ROBERTS, SANCINTYA SIMPSON, JAY YOUNGER. Artist talk by Ray Cook, Saturday November 3, 2pm. Image: Pete Johnson, Crazy – Morayfield 2004 2004.

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 www.colourfactory.com.au

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healesville • TarraWarra Museum of Art 5 August – 9 December 2012 TarraWarra Biennial 2012: Sonic Spheres. Curator: VICTORIA LYNN. An assemblage of contemporary Australian artworks engaged with music, sound and voice. The exhibition includes drawings, musical scores, sculptures made from musical instruments, paintings and video by 20 artists and one collaborative group.

Performances by A SCRATCH ENSEMBLE and CHARLES IVES SINGERS on Sunday 4 November at 2pm.

TarraWarra Museum of Art, 311 HealesvilleYarra Glen Road, Healesville. For information and bookings visit twma.com.au Image: Dylan Martorell, Masuk Angin gamelan robot 2012, mixed media, dimensions variable. Photo: Dylan Martorell. Courtesy of the artist and Utopian Slumps, Melbourne.

langwarrin • McClelland Gallery + Sculpture Park Until 14 July 2013: McClelland Sculpture Survey and Award 2012. Until 3 March 2013. JANET LAURENCE: The Alchemical Garden of Desire.

Until 3 March 2013 Aftermath: Landscape photographs by JOHN GOLLINGS from Black Saturday. 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: info@mcclellandgallery. com, www.mcclellandgallery.com

melbourne • BLINDSIDE 7 – 24 November G1 & G2: BRONWYN BAILEY-CHARTERIS, BRIONY GALLIGAN, ELLA HINKLEY, RAFAELLA MCDONALD, AMY TURTON, MELISSA DEERSON, JESSICA CROWE and KATIE SFETKIDIS - The Specialists. 28 November – 15 December G1: VALENTINA PALONEN - Power Things, G2: ERIC DEMETRIOU. BLINDSIDE, Nicholas Building, 714/37 Swanston St (enter via Cathedral Arcade lifts, cnr Flinders Lane), Melbourne. Hours: Tue to Sat 12-6pm. T: (03) 9650 0093; Image: Melissa Deerson, Untitled (detail) 2012.

• fortyfivedownstairs 23 October – 3 November Vacancy by ANDREA JENKINS, painting, drawing and sculpture; 23 October – 3 November Name Day by VIOLETA CAPOVSKA, print media; 31 October – 11 November 2012 mothersmilk: she is everything no one wants to be, The Other One Productions, written by JOANNE TRENTINI, theatre/fusion; 6 – 17 November Childhood and Other Disasters

by KIRSTIN FINLAYSON, mixed media; 6 – 17 November Voyages by JAN LEARMONTH, sculpture; 13 November – 2 December 2012 Glimpse, THE KIN COLLECTIVE, theatre; 19 – 26 November 2012 R. E. Ross Trust Script Development Awards, play readings, theatre; 20 November – 1 December Coastal Boy by GRAEME ALTMAN, paintings and sculptures.

45 Flinders Lane, Melbourne, 3000. T: (03) 9662 9966 www.fortyfivedownstairs.com Image: The Long Journey Home by Kirstin Finlayson, 2012, porcelain, found objects, resin & glass.

http://www.darbyhudson.com/

moonee ponds • Incinerator Gallery Until 2 December. Sensation and Fabrication.

Featuring KEITH WONG, KRISTIN MCIVER, ANDREW GUTTERIDGE and PAUL YORE. Co-curated by DEB BAIN-KING and DAVEY WARNOCK. Exploring the industrial processes in the production of artworks.

Until 4 Nov. Grotto, DAVINA ADAMSON. The absurd world of plants, 9 Nov – 10 Dec. New installation from BETH ARNOLD. Both part of The Atrium Project.

Opening hours: Tues to Sun, 10am-4pm.

Free Entry. Incinerator Gallery, 180 Holmes Road, Moonee Ponds VIC 3039 T: (03) 8325 1750, E: incinerator@mvcc.vic.gov.au, www. incineratorgallery.com.au Image Kristin McIver, All for One.

southbank • ACCA - Australian Centre for Contemporary Art Until 25 November 2012 OURSELVES, curated

by ACCA’s Artistic Director JULIANA ENGBERG, will include works by leading international artists such as LAURIE ANDERSON, SOPHIE CALLE, BRUCE NAUMAN and GILLIAN WEARING as well as local artists. Highlights include: DAVID ROSETZKY’s stunning video portrait of actor CATE BLANCHETT, OMER FAST’s unnverving film, 5000 feet is the Best, which is based on meetings with a Predator drone sensor operator, RINEKE DIJKSTRA’s I see a Woman Crying (The Weeping Woman) which portrays school groups discussing art works on display at the Tate Liverpool.

9am to 5pm weekdays, 10am to 6pm weekends, Mondays by appt. ACCA, 111 Sturt St, Southbank.

03 9697 9999. www.accaonline.org.au Free.

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. Three artists – weaver LIA PA’APA’A 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 Gallery space, which currently features the exhibition Industrious Sunshine, a Sunshine Memory Spaces project.

Open Weds-Fri, 11am-3pm. 2 City Place, Sunshine (Melway 40, H1) T: (03) 9249 4600 E: artspaces@brimbank.vic.gov.au; www. sunshineartspaces.com.au

upwey • Burrinja Gallery Fashion meets Fiction: The Darnell Collection.

Fashion meets Fiction presents costumes from the internationally renowned Darnell Collection embodying the fashion of such favourite fictional characters as Scarlett O’Hara, Holly Golightly, Phryne Fisher and Carrie Bradshaw.

Celebrating the National Year of Reading, Fashion meets Fiction travels through time and the popular culture and fiction of the periods, drawing together the threads of character, period, fashion and finery. This is a must see exhibition for all lovers of fashion, fiction, design and history, until 17 February 2013. Image: GRANT COWAN, Dreaming of Dior.

Cnr Glenfern Rd and Matson Dr. Tue to Sun 10.30am-4pm. T: 9754 8723. W: burrinja.org.au

wheelers hill • Monash Gallery of Art (MGA) 4 October – 18 November 2012 2012 William and Winifred Bowness Photography Prize. One of Australia’s most coveted photography prizes.

23 November 2012 – 3 February 2013 PAT BRASSINGTON: : It’s just a heartbeat away.

It’s just a heartbeat away treats audiences to a towering encounter with Brassington’s uniquely arresting visual world. 23 November 2012 – 3 February 2013 Ingeborg Tyssen: photographs.

INGEBORG TYSSEN (1945-2002) was one of Australia’s leading photographers of her generation. Her earliest photographs, taken in the city streets, fun parks, and suburbs of ‘70s Australia and America, radiate a gentle surrealism mixed with urban isolation. Curated

by Sandra Byron Ingeborg Tyssen: photographs is a A Hazelhurst Regional Gallery and Arts Centre Travelling Exhibition. Image: Ingeborg TYSSEN, Ryde Pool, Sydney 1981, gelatin silver print, collection of the Estate of Ingeborg Tyssen, courtesy John Williams & Sandra Byron Gallery 860 Ferntree Gully Road, Wheelers Hill 3150.

Tues - Fri 10am to 5pm, Sat - Sun 12 to 5pm, Closed Mon. T: (03) 8544 0500, E: mga@ monash.vic.gov.au, www.mga.org.au

geelong • Geelong Gallery 2012 Geelong Contemporary Art Prize, until 18 November. The Max Bell Gallery (Gallery X series) – Bishop and Reis, until 2 December.

A question of scale – maquettes and small sculpture from the permanent collection, until 24 February. A curious nature – the landscape as theatre in contemporary photography and new media, 24 November to 10 February. Djalkiri – we are standing on their names – Blue Mud Bay, presented by Artback NT: Arts Development and Touring and Nomad Art Productions, 24 November to 10 February.

Geelong Gallery, Little Malop Street, Geelong 3220. T: (03) 5229 3645, www.geelonggallery. org.au Free entry. Open daily 10am to 5pm.

Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday.

Image: POLIXENI PAPAPETROU, The wanderer 2009, pigment ink print, 105.0 x 105.0 cm.

Reproduced courtesy of the artist and Nellie Castan Gallery, Melbourne; Stills Gallery, Sydney; Jenkins Johnson Gallery, New York.

BAY & PENINSULA

ballarat • Art Gallery of Ballarat Capturing Flora: 300 years of Australian Botanical Art, 25 September – 2 December.

T: (03) 5320 5858 Free entry. Open daily 9am to 5pm. E: artgal@ballarat.vic.gov.au; www. artgalleryofballarat.com.au Image: Miss Maund, Telopea speciosissima (detail) 1838, plate 71 from Benjamin Maund’s The Botanist engraving on paper, hand coloured.

Collection: Art Gallery of Ballarat. Purchased with funds from the Joe White Bequest, 2010.

• 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

• 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

CENTRAL VIC

• Her Majesty’s Thursday 1 November 7.30pm, JON ENGLISH in Rock Revolution; Saturday 4 November 1pm, MetHD L’Elisir d’Amore; Wednesday 7 November 7.30pm, RUSSIAN NATIONAL BALLET in Sleeping Beauty; Thursday 15 November 8pm Bare Witness at Helen Macpherson Smith Theatre, UB Arts Academy, Camp Street Ballarat; Thursday 15 November 8pm, TODD MCKENNEY: Songs and Stories of Peter Allen; Sunday 18 November 1pm, MetHD Othello screening at SMB Courthouse Theatre, Lydiard Street South Ballarat; Monday 26 November 7pm, National Theatre Live Timon of Athens by WILLIAM SHAKESPEARE. 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 31 Oct – Sat 24 Nov 2012 ANNE SCOTT WILSON: Inside Out #2. Melbourne-based artist Anne Scott Wilson often site-specific art practice explores the ways in which meaning is made through motion, primarily using video and photography. Her works aim to evoke an emotional response from the viewer, involving a haptic physicality and a somnambulistic body – the intuitive body that houses all memory of movement, voluntary and involuntary in reaction and response to space. Following her recent work using light, colour and pinhole cameras, Wilson will create new architectural interventions at the Post Office Gallery, bringing the outside in and taking the inside out, altering and reconfiguring the space with light and colour.

Post Office Gallery, University of Ballarat. Cnr Sturt and Lydiard St Ballarat. VIC. 3350. Mon/ Tue by appt. Wed-Sat 1-4pm. T: (03) 5327 8615, E: s.hinton@ballarat.edu.au; www.ballarat.edu. au. Image: Anne Scott Wilson, Wet Motion 2012, digital still on canvas. Courtesy the artist.

• Radmac Now Showing at the Radmac Gallery, annual display by VCE students from Ballarat Secondary College, 22 October – 3 November.

Then on display from the 6 – 30 November students from Ballarat Secondary College Junior school.

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 & Studio Space available.

RADMAC

art * graphic * office and school supplies

*we supply service* 104 Armstrong St North, Ballarat 3350 Phone (03) 5333 4617 Fax (03) 5333 4673 Email radmac@ncable.net.au

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: sayer@iinet.net.au; T: (03) 5443 0624

• Bendigo Art Gallery Philanthropy: The art of giving, 8 September – 18 November 2012 42 View Street, Bendigo. T: (03) 5434 6088. www.bendigoartgallery.com.au Image: PETRINA HICKS Emily the Strange (detail) 2011, light jet print. Collection Bendigo Art Gallery. The Gift of Grace and Alec Craig.

Courtesy the artist and Stills Gallery.

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

• La Trobe University Visual Arts Centre VAC Gallery: To 2 December MICHAEL COOK Through My Eyes. Access Gallery: To 4 November NEIL MATTERSON The Female Body: Revealed and Reviled. 7 November – 2 December MAGGIE MacCATHIE-NEVILE and JESSICA RASCHKE Mystified.

121 View St, Bendigo. T: (03) 5441 8724 W: www.latrobe.edu.au/vac Image: Michael Cook, Julia Gillard (detail) 2010, Inkjet print on Archival Hahnemuhle cotton paper, 50 x 40 cm. La Trobe University Art Collection. Purchased 2011. Courtesy the Artist and dianne tanzer gallery + projects & Andrew Baker Art Dealer.

castlemaine • Alexander Nettelbeck Trio Castlemaine Town Hall - Backstage, Saturday 3 November, 8pm. ALEXANDER NETTELBECK - Piano; JONATHAN ZION - Bass; SIMONE WHITE - Drums. “Brilliant, individually and collectively,” Ann Creber, Radio 3MDR Tickets - Pre-sale: $18 full, $14 concession. At the door: $22 full, $16 concession. Bookings : 0405 564 206 or E: usethings@usethings.com.au Also available at usethings store 8 Templeton Street, Castlemaine, Fridays and Saturdays.

• Buda Historic Home and Garden 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. Nursery open daily 10am-5pm.

• CASPA 10 Months of Water and Ghosts, abstract paintings by POMPEII ORCHID. Fri 2 – Thurs 22 November.

Castlemaine Contemporary Art Space. Above Stoneman’s Bookroom, Hargraves Street. www.castlemainefringe.org.au/caspa Image: Pompeii Orchid.

• The CPI Biennial Art Auction Sun 18 November 2012 – The Chewton Pool Art Auction to raise funds in support of Chewton Pool Inc. Theatre Royal, 30 Hargraves Street, Castlemaine. Entry $5 80+ works featuring JEFF MAKIN, MICHAEL WOLFE, ROBERT MACLAURIN, JAN PALETHORPE, GRAEME GALLOWAY, SARAH GABRIEL, NEIL TATE, ABBY HEATHCOTE and many more. An afternoon of wine, music and art with compére DEREK GUILLE and the UGLY UNCLES performing. Drinks at bar prices. Viewing from 2pm. Auction starts 3pm.

- www.chewtonpool.com Image: Robert Maclaurin, Black Dam near Our Place (detail).

• Castlemaine Art Gallery and Historical Museum RAY STANYER and ELLEN HANSA, Wither shall I wander? Higgins Gallery, 3 November – 9 December. Ceramic sculpture lends itself to beautiful storytelling. Wither shall I wander?

A question we all should ask. Working with the same theme each artist demonstrates a different approach.

CAGHM, 14 Lyttleton Street Castlemaine, Vic. For full list of events and exhibitions log onto: www.castlemainegallery.com Image: Ray Stanyer, A never considered arrival (detail).

• Falkner Gallery 1 Nov – 27 Jan 2013 [Gallery closed 25 Dec – 23 Jan for Summer Break] Adventures into Automatism: GEOFFREY STOCKS, Paintings, linocuts; Connectedness: ANNE TWEED, Paintings, drawings; Typotany: FIONA SINCLAIR, Giclee prints & products.

35 Templeton Street, Castlemaine. Hours: 11am-5pm Thurs-Sun T: (03) 5470 5858; E: falknergallery@tpg.com.au; W: www. falknergallery.com.au Image: Geoffrey Stocks.

• Greengraphics: web and print We design anything, in web or print. Call (03) 5472 5300 or visit www.greengraphics.com.au

daylesford & macedon ranges • The Convent Gallery Upcoming exhibitions: November 2012 DEBORAH JACKSON & STEVE PARKHILL, Occupance - The Inevitable, paintings. Opens 4 Nov, 7:30pm. SUZIE O’SHEA, Frocks out of Clay, ceramics. Opens 4 Nov, 2:30pm.

PETA COLLETT, When art and design meet angels sing, millenary. Opens 4 Nov, 2:30pm.

ANTHONY SCIBELLI, photography. Opens 4 Nov, 2:30pm. STEFAN GRUBER, wooden sculpture. Opens 4 Nov, 2:30pm. Blooming Art Flower Show – floral interpretations of gallery exhibits – opens 2 Nov, 7:30pm (on display for Melbourne Cup Weekend only).

The Convent Gallery, 7 Daly Street, Daylesford VIC 3460. T: 03 5348 3211; E: info@theconvent. com.au; www.theconvent.com.au • Daylesford Macedon Ranges Open Studios Inaugural event. 30 artists across the region open their studios on the weekends of 3 - 4, 5 - 6 and 10 - 11 November 2012, 10am - 5pm. Visit the Program Hub (open the same hours).

DMROS Group Exhibition in the historic St Paul’s Anglican Church Hall behind St Paul’s Park, Piper Street, Kyneton, to preview the artist’s work before meeting them in their studios in Kyneton, Malmsbury, Woodend, Newham, Carlsruhe, Romsey, Gisbourne, Mt Macedon, Trentham, Wheatsheaf, Hepburn Springs, Dry Diggings, Yandoit and Allendale.

Explore, observe, enquire, enjoy their talent, inspiration and discover your inner artist.

Ceramics, textiles, metal, art, sculpture, botanical art, oils, mixed media, book arts, gold & silversmithing, glass art, pintmaking, handcrafted photography, mosaics, Archibald nominees, peaceful studios in rural settings.

E: info@dmropenstudios; M: 0418 389189 W: www.dmropenstudios.com.au Image: Sculptor ASHIKA OSTAPKOWICZ, Embrace Art Studios.

trouble is on twitter too

newstead • Dig Café JULIENNE BEASLEY’s latest exhibition at Dig is watercolour paintings titled PLAY. “Einstein said that ‘Play is the highest form of research’ and I think that sometimes people forget how to play.

This exhibition represents the idea that we are never too old to be a child again and to bring a smile to the faces of those around us. When someone looks at my art and they respond to the essence of joy that I hope my work holds, then I think that I have been successful” - Julienne.

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 • 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

west gippsland

EASTERN VICTORIA

• Open Studios West Gippsland Sunday 11 November, 10am - 5pm. a day to meet with artists to browse, buy and learn more about the creative process. A wonderful opportunity to buy original artwork and to meet the creators themselves. This is a self-guided tour and costs only $5 per person (under 18 free). Visit 18 studios! Maps and flyers can be downloaded from http://www.kerriewarren.com.au/generalinformation/open-studios-west-gippsland/ For further information please email KERRIE WARREN: mail@kerriewarren.com.au

mildura • The Art Vault 6 – 26 November The Art of Holding, Group Exhibition: ILONA LASMANIS, KATE HINE, MAXINE PRICE, SALLY WILSON, ANNE SAWKINS. 28 November – 17 December Stock Show. To 5th November SOPHIE GRALTON Will you remember me Day & Night main gallery; STEPH BOLT here and there small gallery.

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

Artists in Residence: Ilona Lasmanis, Kate Hine, Maxine Price, Sally Wilson, Anne Sawkins, Sophie Gralton, Steph Bolt. Image: Ilona Lasmanis, bird in the hand, collagraph, 45x56cm.

MURRAY RIVER

• Mildura Arts Centre Mildura Arts Centre Regional Gallery will reopen this November after an exciting redevelopment of Mildura’s arts and cultural precinct. For details see our website for more information.

Until 15 November 2012, Kustom Kulture, Venue: LEAP Project Space, 39 Langtree Avenue, Mildura, Open Tues-Fri: 11am-3pm.

17 November 2012 – 24 January 2013, PENNY BYRNE: Commentariat, a Deakin University Art Gallery exhibition, Venue: Mildura Arts Centre Regional Gallery. 17 November 2012 – 29 April 2013, Creatures and Critters and Chic Pics from the Mildura Arts Centre Collection, Venue: Mildura Arts Centre Regional Gallery.

17 November 2012 – 28 February 2013, ALI JAFARI: drawings, Venue: Rio Vista Historic House. 20 November 2012 – 11 January 2012, Colour Me Crazy, Venue: LEAP Project Space, 39 Langtree Avenue, Mildura.

Mildura Arts Centre, 199 Cureton Avenue, Mildura VIC 3500. T: (03) 5018 8330; F: (03) 5021 1462; www.milduraartscentre.com.au Image credit: Jenny Watson (b.1951), Horse Series No. 1: Palomino with Championship Ribbon, 1973, oil and acrylic on canvas © Mildura Arts Centre Collection.

swan hill • Swan Hill Regional Art Gallery Salt and the Dress – LESLEY DICKMAN, To 25 November. Salt is part of our everyday language: salinity, desalination and a rising sea are all part of the tangible and the immediate.

Salt and the Dress weaves two separate themes into one cohesive form. It combines the dress when seen as a sign of feminine identity, with the damaging effect salt has on a fragile environment. This dialogue between salt, dress and the environment is a bitter sweet narrative, providing a platform to explore our relationship to nature and female social constructs.

Matrix, PAUL OSWIN, to 30 November; Cultures Coming Together, ALAA NOURI & PAULINE BENNETTO, 27 November 27 – 6 January; Waradgerie Weaver, LORRAINE CONNELLYNORTHEY, 30 November – 20 January.

Opening hours 10am-5pm Tuesday to Friday, 11am-5pm Saturday and Sunday. Horseshoe Bend, Swan Hill, 3585. T:(03) 5036 2430 E:artgal@ swanhill.vic.gov.au; www.swanhillart.com Image from Salt and the Dress by Lesley Dickman.

NORTHERN VIC

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

shepparton • Shepparton Art Museum Until 18 November: 2012 Sidney Myer Fund Australian Ceramic Award. Until 10 Feb 2013: Smash Hits 80s and 90s ceramics from the collection.

70 Welsford Street, Shepparton VIC 3630; T: (03) 5832 9861; E: art.museum@shepparton. vic.gov.au; www.sheppartonartmuseum.com.au Director: Kirsten Paisley. Open 7 days, Free Entry.

LAUNCH PARTY Saturday 18 February 2012

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

Image: AMANDA HO, Plant, Mineral, Animal 2012, cotton warp, silk stainless seel weft.

Image courtesy of the artist. Petite miniatures entry 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 art.museum@shepparton.vic.gov.au

ararat • Ararat Regional Art Gallery Dreamweavers - ALY AITKEN, ELOISE CALANDRE (UK), JAMES GLEESON, ADAM LAERKESEN, SAM SPENSER (UK), JOEL ZIKA. A Gippsland Art Gallery & NETS Victoria touring exhibition, 2 November 2012 to 20 January 2013. Artist’s talk by Joel Zika on Saturday 3 November at 1pm.

Town Hall, Vincent Street, Ararat. Mon to Fri 10am-4.30pm, w/ends 12-4pm. Free entry. T: (03) 5352 2836; E: gallery@ararat.vic.gov.au; www.facebook.com/araratgallery Image: Aly Aitken, All the comforts of home (detail) 2008.

horsham • Horsham Regional Art Gallery Until 9 December: MELISSA POWELL – Vestige.

Natimuk based photographer, Powell, documents seasonal changes of Wimmera environment through her practice in aerial photography.

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

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

WESTERN VIC

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