Monday, 19 June 2017

DAVID MUTCH @ Bundoora Homestead Art Centre




Bundoora Homestead Art Centre

Technician’s Choice

Technician’s Choice honours the important yet often overlooked role of the technician in exhibition-making. It interrogates the role of the curator and notions of authorship within the development of exhibitions and presentation of artists’ works. It also calls into question the nature of authority within the gallery system.
Victoria, Australia
Technician’s Choice image

Thursday, 8 June 2017

BEEAC PRIMARY with PETER DAY - JUNE 2017



THE BROLGA PROJECT 2017




‘The Brolga is a large grey crane, with a featherless red head and grey crown’ according to one source – not exactly a promising vision, so where does the Brolga’s magic lie? With the dance? With the female-led trumpeting song? With aboriginal story? What is indisputable is the fact that there are a number of brogla ‘homelands’ around Beeac.

The Brolga, which mates for life and shares the care of young between mother and father, likes a wetland to build its nest of twigs and raise its one or two young. The volcanic plains of Kanawinka have an abundance of salty lakes and associated wetlands.

During Term 2, sculptor Peter Day, artist-in-residence at Beeac Primary School and the PS students are focused on the big grey bird that dances. They have requested local postie Dave collect news of sightings on his rounds. Elderly citizens are sharing their tales, the children are listening and putting together a map of brolga activities in the area, spreading awareness of the bird’s presence far and wide. This gathering of resources, information and images will culminate on 21 June when the project meets the public with an extensive display in the hall, engaging local brolga dancer Jamie Marloo Thomas, research experts and others.

The focus of the students’ project with Day is to create artworks with a brolga theme that can be displayed around the town and raise awareness of the bird’s local presence. It’s all hands on toward this goal: feeling the dimensions of the bird, tracing its shadow, examining its outline, form and space, the weight of the body, the thrust of legs and neck, how the bird moves, how it stands and twists.
Day is encouraging students to investigate a variety of materials in the creation of their brolgas – two dimensional and three.


Teacher, Karen Cherry, who prepared the funding application to engage Day, speaks of the excitement the project is generating as the students work beside a practicing artist on work designed for public display.




Chimeric, like the bird, BPS students' brolga on the PO wall

Friday, 26 May 2017

MIREAM SALAMEH at MORELAND



Miream Salameh is speaking, with others, about artists and action
FRIDAY 23 JUNE, 2017


Where Have We Come To? Refugee Week 2017 Tickets, Fri, 23/06 ...

https://www.eventbrite.com.au › Things to do in Brunswick › Party › Community
Eventbrite - Moreland City Council and Asylum Seeker Welcome Centre ... Refugee Week 2017 - Friday, 23 June 2017 at Brunswick Town Hall, Brunswick, VIC.


Friday, 5 May 2017

SHARNA OSBORNE - MAY 2017

SHARNA OSBORNE – ‘an intimate sense of threat’

Flummox of Equilibria – FAMILY TREE  (c.2007)

Sharna Osborne is out there – definitely – NZ-born via Australia to London and the world. Her tool the moving image for the moving world. Yet the work showing at WINDOWSPACE-BEEAC is anchored, quite literally, by an umbilical cord(?)  Something to do with where we come from – a cabbage patch? And where we want to reach out to? What we want to wash away? Who would have thought the wild cosmopolitan world of Osborne would find a window on Beeac, Australia 3251.

Impossible is nothing as the Chinese say (especially about the time of the 2008 Chinese Olympic Games). 

Osborne’s work has reminded this writer of Glenn Romanis’ Blue Sheep, (1999). http://www.abc.net.au/arts/fertile/essay_7.htm
Like Osborne Romanis defies pigeon-holing – his work ranges across media and the landscape in what is now a very competitive ‘area’, a commissioned life – public sculpture: concept design production installation. He mashed sheep and blue – way before The Avatar ever thought Blue.

The provocative design, art direction and fashion styling of Briton Judy Blame, way earlier, might also offer context for Osborne. Blame’s early work, a generation ahead of hers, deep in the counterculture of the 70s, 'stirred the pot' and pulled together unlikely tangents to make a provocative object. 

The artist is indeed a many splendid thing. Find more about Sharna Osborne's work at: http://sharnaosborne.com

Maybe a Greek might offer a ‘final word’: ‘In the past two decades, as the world has become more polarized, there has been a radical explosion in activist, dialogical, interventionist and tactical media art practices in almost every corner of the world.’ (Nikos Papastergiadis, Cosmopolitanism and Culture, [2012]. Osborne’s work, to this writer’s mind, seems to encapsulate what Papastergiadis terms ‘an intimate sense of threat’.


Flummox of Equilibria – FAMILY TREE  (c.2007) [still, on a screen, in a room]



















































Thursday, 27 April 2017

ARTIST OPPS

OPPORTUNITIES


ST JOHNS SOUTHGATE ART PRIZE 2017



In celebration of the 500th anniversary of the Reformation and 20 years of the Bach Cantata Program at St Johns Southgate visual artists are invited to submit original artworks for the 2017 Art Prize and exhibition to be held from October to December. Total prize money of $4500 (Children’s Art Prize totaling $500). A non-acquisitive art award.
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MELBOURNE ART TRAMS EOI 2017
https://www.festival.melbourne/melbourne-art-trams-eoi/

The project is a revival and reimagining of the much loved Transporting Art program which ran from 1978 to 1993 and resulted in 36 painted trams being rolled out across the Melbourne network. Artists such as Howard Arkley, Mirka Mora, Michael Leunig, Elizabeth Gower and Trevor Nichols participated in this program.
2016 brought together a collection of works from Damiano Bertoli, Eddie Botha, Jon Cattapan, Joceline Lee, Mimi Leung, Reko Rennie, emerging artist Eliza Dyball and the re-imagining of the iconic Smith Street Women’s mural by Megan Evans and Eve Glenn
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OLIVE COTTON AWARD

The Award is open to artists living and working in Australia who are Australian citizens or have been Australian residents for 12 months or more. 
The entry must be: a new portrait completed since 1 April 2015, owned and created by the artist; not previously exhibited (including online but excluding the entrant’s personal webpage or social media platform), shown in competitions or awarded a prize; photographic, archivally sound, still and two-dimensional; within the size limits and able to be hung on or pinned to Gallery walls. 
The Judge will be looking for excellence in photographic technique, creativity and originality to the standards prescribed by the Director, Tweed Regional Gallery.

Entry is limited to one per person and the entry fee is $33.00 (incl. GST). Entry form, fee and image must be received by 5.00pm Friday 12 May 2017. Entry Fee can be paid online via PayPal and entry emailed or posted to the Gallery.


To find out more please download the entry conditions and entry form (620kB PDF) or contact the Gallery on 02 6670 2790 or via email OliveCotton@tweed.nsw.gov.au