Listing State VIC
Ararat Gallery TAMATown Hall, Vincent Street, Ararat, 3377
19 October 2018 – 20 January 2019
Animalia Australis is an Art Gallery of Ballarat touring exhibition that tells a remarkable story of art in the service of science during a period when Australia was opening up its secrets to the scientific fraternity and to a general public with a marvellous appetite for the weird and wonderful.
These images of the exotic and wildly beautiful things from the upside-down world of the Antipodes reflect the first encounters between white explorers, scientists and settlers with the animals of the Southern Continent, highlighting the prevailing perceptions and depictions of native fauna of the period.
While Indigenous Australians had at least 50,000 years to adapt to and familiarise themselves with the unique flora and fauna of this continent, for Europeans the process took place over little more than 250 years. The name Australia derives from the Latin Terra Australis (the Land of the South) which until the end of the Middle Ages was also ‘incognita’ – unknown and unseen by Europeans and therefore a place where the imagination ran wild.
Australian plants and animals were often shockingly different to anything they had seen before. Black swans were conceived in the imagination of European philosophers before they had ever been seen. The existence of a black as opposed to a white swan was proposed on the grounds that anything coming from the Antipodes — the opposite to the ‘normal’ and ‘known’ world — would be an antithesis to the normal and predictable.
Many of these ‘new’ animals, such as egg-laying mammals, were also simply terrifying. But there was also an exotic and intriguing beauty to be encountered, documented and published. The European settlement of Australia occurred at exactly the time when advances in science meant that people had both the means to describe these new discoveries, and the inspiration and interest to do so.
Australian birds attracted attention from both the scientific world and amateur ornithologists. There were many spectacular Australian birds, of which the parrots are probably the most beautiful, but there were also species which were bizarre either in appearance or behaviour, such as the lyrebird, the cassowary and the emu. It is not surprising that lavishly illustrated publications were produced during the nineteenth century, of which John Gould’s The Birds of Australia is probably the best known.
While many of the works come from the time of first contact by Europeans, others reflect a more systematic approach which prevailed as the scientific community in Australia became more familiar with the continent’s natural history — scientific publications proliferated after the middle of the nineteenth century, as Australian museums competed with each other to publish and describe newly found species.
Victoria, the wealthiest colony, published a set of descriptions of the fauna that could be found within its borders. In compiling it, Frederick McCoy, the Director of Victoria’s Museum of Natural and Applied Sciences, had access to some of the colony’s most talented natural artists, including the German Ludwig Becker and the Swiss Friedrich Schoenfeld. At the Australian Museum in Sydney, the Keepers of Natural History brought out monographs devoted to insects, snakes and mammals, with most of the illustrations being undertaken by the talented sisters Helena and Harriet Scott.
This Art Gallery of Ballarat Exhibition was first seen in Cairns in 2017 and went on show at the Art Gallery of Ballarat in 2018. It draws from the Art Gallery of Ballarat’s extensive collection of images of flora and fauna, and follows the successful exhibition Capturing Flora: 300 years of Australian botanical art, which went on show in Ballarat in 2012 and toured to Cairns, New England and Sydney.
PAUL E MASON: LOOKING FOR BAUDIN – 21st Century Reliquaries Encounter c.1800 Terra Australis – 19 October 2018 – 20 January 2019
“Baudin saw no justification for dispossessing the Tasmanians of their land. His observations of their life and customs had not led him to believe that they would benefit from the çivilizing’influence of the Europeans, as Peron believed the Aborigines of Port Jackson had done.” ‘Encountering Terra Australis’, J Fornasiero and J West-Sooby, 2004
An art exhibition that references the Baudin expedition might lead one to expect realist work influenced by the Enlightenment tradition of the artist scientist. Paul E Mason, however, references another artistic tradition, that of the reliquary. While he eschews the directly religious and spiritual connections of the reliquary, Mason preserves the relic’s symbolic density and concern with veneration and celebration of the object and its link to larger themes. Thus Mason uses gold and gold leaf from Imperial France and diorite from Aboriginal Australia as materials that confer sacred value on otherwise ordinary objects. Mason’s representations of human beings, whether European or Indigenous also eschews the Enlightenment humanism of the Baudin expedition artists. He adopts an archetypal mode of representation that allows us to see a differently patterned colonial encounter. – Gerald Gill, Sociologist, LaTrobe University, 2018
Testament: Robert Salzer Foundation Acquisitions
5 November 2018 – 3 March 2019
The Ararat Gallery collection’s renewal has been significantly supported by the Robert Salzer Foundation. The exhibition presents a decade of acquisitions that reveal the dynamic uptake of textiles in Australia’s contemporary art practise. Building on the gallery’s comprehensive collection of post-minimalist and craft-based textile fibre art from the 1970s and 1980s, these recent acquisitions showcase new and unexpected approaches to the use of textiles as part of a challenging of the hierarchy of materials by contemporary artists.
fifty: Celebrating 50 years of collecting textile art
Established in 1968, Ararat Gallery TAMA has a special place amongst Australia’s public galleries through its commitment to supporting and promoting contemporary practices in textile and fibre art. Today the collection is arguably the most significant of its kind in Australia. This exhibition celebrates the Gallery’s 50th birthday by presenting a selection of the collection’s best-loved works alongside some of its rarely-seen gems.
HOURS: Monday to Friday 10am to 4pm, Weekends 10am to 4pm, Closed Good Friday, Christmas Day, Boxing Day and New Year’s Day
Bendigo Art Gallery42 View Street, Bendigo, Victoria 3550
Bendigo Art Gallery
42 View Street, Bendigo
Jessie Boylan: Rupture
22 September 2018 – 10 February 2019
Gothic Beauty: Victorian notions of love, loss and spirituality
6 October 2018 – 10 February 2019
Daughters of the Sun: Christian Waller & Klytie Pate
10 November 2018 to 10 February 2019
Post Office Gallery
61-67 Pall Mall, Bendigo
Bankrolling Bendigo: building a city
11 May – 7 October 2018
Bendigo Living Arts SpaceLiving Arts Space at the Bendigo Visitor Centre, 51-67 Pall Mall Bendigo, 3550
Follow the Thread
August 1 – November 11, 2018
An exquisite exhibition of needlecraft, textiles and artworks by eight of Central Victoria’s arts and crafts practitioners.
Open 9am-5pm daily (closed Christmas day)
Castlemaine PressLot 19, 19 McShanag Drive, Castlemaine 3450
Having opened in September 2015, this artist-run not-for-profit initiative continues to offer courses, workshops, gatherings, exhibitions, print exchanges and print-loving events to its members and the wider community. And all on a volunteer basis by a dedicated group of print-enthusiasts! This year is no exception.
INTERNATIONAL PRINT EXCHANGE 2018: “IN MY BACKYARD”
Join us for the exhibition of our 2nd year of this exchange on theme “in my backyard”.
Exhibition opening August 31 – with JOHN WOLSELEY
Castlemaine Press studio.
WEDNESDAY EVENINGS AT THE PRESS
7 – 9 pm during school terms, starting April 11
Bring your own project to work on and have a social evening of printmaking with other members at the Press.
All members welcome (you need to have had a studio induction). If you haven’t yet had an induction, please make contact and we can arrange for that to happen.
PRINT STUDIO FOR HIRE
Full members with a good knowledge of printmaking techniques, competence to work by themselves and a proven familiarity with printmaking equipment and studio safety procedures are eligible to hire Castlemaine Press facilities. All members must complete a free induction session before they are eligible for unsupervised access, with the option of a session working with an experienced studio member if this is considered necessary (fee applies).
JOIN AS A MEMBER …
If you’re not already a paid member, now is a great time to join!
Members enjoy voting rights, access to community workshop facilities for hire (conditions apply), member discounts and opportunities to participate in collective print practice such as print exchanges and member exhibitions. Not to mention opportunities to collaborate and network with printmakers!
Annual membership fee: Full membership $75, Concession $50, Friends $25. Plus a one-off $20 equipment fee for Full and Concession members. Pro rata fees apply – so contact firstname.lastname@example.org for details.
If you would like to become a member of Castlemaine Press contact us at email@example.com
Geelong GalleryLittle Malop Street, Geelong 3220
Treat yourself by visiting the Geelong Gallery, one of Australia’s leading and oldest regional galleries, right in the heart of the city. From iconic colonial masterpieces to compelling contemporary works of art, the Geelong Gallery is the perfect place to unwind and be inspired.
Cuttings – Elizabeth Gower
Until 25 November 2018
Elizabeth Gower is one of Australia’s most acclaimed contemporary artists with a career spanning forty years, and as a pioneering feminist artist who emerged in the 1970s, her work has had, and continues to have, an important impact on her peers and younger artists. Gower’s ingenious formal manipulation and transformation of materials is conditioned by her work’s exceptional conceptual rigour.
2018 Archibald Prize
Until 18 November 2018
First awarded in 1921, the Art Gallery of New South Wales’ Archibald Prize is Australia’s favourite art award, and one of its most prestigious. Awarded to the best portrait painting, it’s a who’s who of Australian culture, with subjects often including politicians, celebrities, sporting heroes, authors and artists. Since its inception, the Archibald Prize has been engaging art enthusiasts, often stirring up controversy and always challenging the way we see ourselves and our society. The Geelong Gallery is delighted to be the exclusive Victorian venue for the 2018 Archibald Prize.
Free entry. Open daily 10am to 5pm.
Horsham Regional Art Gallery80 Wilson St, Horsham VIC
Del Kathryn Barton: The Nightingale and the Rose
Until 7 October
Showcasing the hauntingly beautiful collaboration between acclaimed artist Del Kathryn Barton, celebrated director Brendan Fletcher and award-winning visual effects house Method Studios, this milestone exhibition traces the interpretation of Oscar Wilde’s 19th century classic through a sophisticated artistic lens.
A shining example of multidisciplinary partnerships across the creative arts, Oscar Wilde’s The Nightingale and the Rose has its genesis in a commission by ArtAnd Foundation (previously Art&Australia), who asked Del Kathryn Barton in 2010 to reimagine a timeless fairytale. Layered with a stirring score by Sarah Blasko and voiced by some of Australia’s most celebrated actors, including Mia Wasikowska, Geoffrey Rush and David Wenham, the film is an intense but remarkably ethereal gesture to the tragic earnestness of Wilde’s tale.
Featuring a selection of Barton’s evocative artworks, including never-before-seen handmade props, alongside material from the production archives and a screening of the short-film, ACMI’s Del Kathryn Barton: The Nightingale and the Rose reveals the extraordinary workings behind this captivating animated picture.
An ACMI touring exhibition
This project has been assisted by the Australian Government’s Visions of Australia program.
Until 7 October
With the invention of photography at the end of the 1830s came the possibility of enhancing public awareness by capturing the realities of war. Since then war and conflict photographers worked and continue to work under difficult conditions, often risking their lives in order to record the story of Australians at war. This exhibition draws on photographs held by the Horsham Regional Art Gallery Collection to consider the documentation of conflict, then and now, and complexities of this visual story-telling.
Shooting Conflict includes work by Frank Hurley, Australia’s second official First World War photographer, John Immig’s images of the Australian relief effort in East Timor in 2000 and artists Lyndell Brown and Charles Green deceptively aesthetic images of Iraq and Afghanistan during 2007 and 2008. Across the room sits a photograph of artist Joy Hester with her son Sweeney holding a newspaper announcing the end of WWll, reflecting the war at home. Each of these photographers portrays intimate tales of Australians in foreign conflicts, while challenging our understanding of the photographic record, the complexities of conflict and the banality of violence.
A HRAG exhibition
Belinda Eckermann: Collaborating with the Ghosts
Until 7 October
Located on a sand ridge on Lake Albacutya a small cylindrical hole inhabited by the Bardi Grub insipired Rainbow based artist Belinda Eckermann.
The Bardi grubs existence goes largely unremarked, until the resultant Ghost moth emerges as a terrifying spectre. Concepts of fear and disconnect with the agricultural environment and nature have been ongoing themes within Eckermanns’ practice. The Ghost moth’s perceived threat is due to its individual size and appearance evoking repulsion. The native Ghost moth poses no threat to our ecosystem or agriculture. This is fear born of ignorance, their actual lack of threat contributing to their anonymity. Eckermann’s collaborative drawings with the ghost moths reveal their hidden beauty in stark contrast to their terrifying appearance.
“The work in this exhibition echoes the transient life cycle of the Bardi grub and transformative concepts within the art making process. Harnessing the grubs’ metamorphosis into a Ghost moth, I utilise this moth as a mark maker within my drawings.” – Belinda Eckermann
Horsham Regional Art Gallery acknowledges the Wotjobaluk, Jaadwa, Jadawadjali, Wergaia and Jupagulk people and their continued relationship to work together as custodians of culture, country, heritage, lore and language. We pay our respect for these lands and waters of traditional owners past and present.
Gallery Hours: Tuesday – Friday 10am – 5pm; Saturday 11am-4.30pm; Sunday 1pm – 4.30pm
lot1919 McShanag Drive , Castlemaine 3450 (off Langslow Street)
lot19 was founded to celebrate life
lot19 is an evolving artspace in the central highlands of Victoria with studio spaces, an outdoor stage, a contemporary art gallery which also presents excellent music, marionette theatre, performance, and film, and an outdoor sculpture park. We are dedicated to promoting undiluted excellence in the full field of human experience, and are not driven by sales.
lot19 highlights include the annual Spring Sculpture Prize:
The lot19 spring sculpture prize has won the hearts of community arts leaders, artists from accomplished to emerging, and many thousands of visitors. There are substantial prizes and the Spring Sculpture Prize attracts an incredibly diverse array of heartfelt and accomplished sculptural works.
Manningham Art GalleryManningham City Square (MC²), 687 Doncaster Road, Doncaster 3108
17 October to 10 November
Nature in Art
A survey of natural history illustrations by members of the Park Orchards Community House and Learning Centre’s Nature in Art group. This exhibition highlights the inherent beauty and magic of nature, combining artistic vision with scientific accuracy in stunningly beautiful images that also serve to spur greater interest in the preservation of the natural world.
17 October to 10 November
In Your Own Plot
Asks a group of emerging printmakers to take a closer look at the flora and fauna within their immediate environment – namely, the land (or space) on which their homes sit.
Featuring new works that engage unique elements of the artists’ homes, the exhibition is about appreciating the beauty as much as the ugliness, the consistencies, patterns and changes that exist within the spaces we spend so much of our lives in.
Mission to Seafarers717 Flinders Street, Docklands VIC 3008
2018 ANL Maritime Art Prize
Open daily from 10am – 8pm, 5 – 26 October, 2018
Now in its sixteenth year, the ANL Maritime Art Awards Exhibition has become Australia’s leading Maritime Art Award. The exhibition is hosted by Mission to Seafarers Victoria in our heritage listed home in Docklands.
This year we received an unprecedented number of high quality entries, and are thrilled by the resulting exhibition of finalist works. The theme -‘the Relationship of Humanity and the Sea’ attracted a diverse response of work ranging from traditional to contemporary mixed media. The winning works resonate with an outstanding level of creativity in response to the Brief. They are evocative, and show a great deal of ideation and originality.
Through the generosity of our sponsors, this year’s ANL Maritime Art Awards offers prize money of over $25,000.
The Maritime Art Prize is the major annual fundraising event for Mission to Seafarers Victoria (MtSV), raising vital funding towards the ongoing services offered to global seafarers whilst they visit the Port of Melbourne.
The MtSV congratulates this year’s prize winners, announced at its gala opening event 4th October 2018.
Joni Dennis, ‘Aye Aye Captain’ – $15,000 – ANL ‘Maritime Art Award’ (Acquisitive)
The judges were impressed with the quality of this work and its interpretation of the theme. “This work celebrates female sea captains of container ships who travel the world. It is a multi-faceted portrayal of these ambitious women.”
Robert J Williams, ‘Rust in Peace’ – $2,000 – Nevile & Co ‘Runners up Award’
The fresh take on this portrayal of the iconic HMAS Cerberus wreck impressed the judges. “A softly nuanced, big impact painting with a restrained colour palette.”
David Rowe, ‘The Naval Mechanic’ – $5,000 ASP ‘Best in Traditional Maritime Art Award’ (Acquisitive)
This stoic reflection of life in the engine room won the traditional section with judges praising the execution and theme. “A highly skilled and executed environmental portraiture of a Naval mechanic in the belly of a ship, rich in its tonality and depth.”
Ben Tankard, ‘Unpopular Penguin’ 286 – $2,000 – DP World ‘Emerging Artist Award’
This innovative piece won the emerging artist section. The unique approach to the theme winning the judges over. “This work embodies a layered narrative, with intriguing references to man’s relationship to the sea. We felt it was a highly innovative response to the Brief.”
Highly Commended – Traditional:
Ted Dansey, ‘Unloaded’
Betina Fauval-Ogden, ‘Dangerous Cargo’
Raymond Hewitt, ‘Oil Terminal’
Ben Winspear, ‘Supply & Demand’
Maxwell Wilks, ‘Unloading Coal’
Jenny Laidlaw, ‘The Breaker at the Stern’
Julian Twigg, ‘A View from West St Kilda II’, 2016
Tetyana Khytko, ‘Evening in Seward, Alaska’
Karen Coul, ‘Jumping Ship’
The VIVA Energy ‘People’s Choice Award’ ($2,000) will be announced on the evening of October 25th, after votes have been tallied. All entries are exhibited online through Bluethumb Australia’s website. People’s Choice votes can be registered in person at the exhibition at the Mission to Seafarers, 717 Flinders St, Docklands or online at www.bluethumb.com.au/prize
National Gallery of Victoria, The Ian Potter Centre: NGV Australia180 St Kilda Road, Melbourne, Victoria 3000
Japonisme: Japan and the Birth of Modern Art
Until 28 October
In 1854, after a period of over two hundred years of self-imposed isolation, Japan was forced by the United States to open its borders to international trade. The resulting influx of Japanese artworks into Europe and America, including woodblock prints, ceramics, lacquer and textiles, triggered a veritable revolution in the arts and design.
Progressive artists across Europe adopted elements of the visual language of Japanese art in order to forge a new European art aesthetic in a phenomenon known as Japonisme. At first, practitioners of Japonisme copied exotic motifs and the surface effects of novel materials like lacquer in a literal fashion. But gradually Western artists began to engage more deeply with Japanese art, adopting innovative compositional devices, exploring new subject matter and embracing Japanese art’s profound respect for the decorative arts. Japonisme had an indelible impact on Western art, shaping the Fauvist art movement on the continent and the Aesthetic Movement in England, and the works created during this period would lay the foundations of modernism.
This exhibition draws upon works from across the NGV Collection – including decorative arts, works on paper, paintings, fashion and textiles, photography and Japanese art – to explore the impact of Japanese art and design upon the arts in the West in the nineteenth and early twentieth centuries.
Hit Steyerl: Factory of the Sun
28 September 2018 – 24 March 2019
The NGV presents German-born, Hito Steyerl’s landmark video installation Factory of the Sun. This is the Australian premiere of this immersive work, which was first shown at the 2015 German Pavilion at the 56th Venice Biennale.
Steyerl’s work takes the digital image as a point of departure for explorations of the ethics, politics, economics and aesthetics of our digital present in ways both critical and playful. She is one of the most critically acclaimed artists working in the field of video today. As the New York Times writes, Steyerl ‘represents a new paradigm of the artist not as solitary genius but as networked thinker.’
Factory of the Sun is an immersive video which samples different genres of moving image including documentary film, video games, drone surveillance, advertising, news footage, and YouTube dance videos. The video tells the story of workers whose forced actions in a motion capture studio are turned into artificial sunshine. The light produced serves as a metaphor for the light emitted from digital screens, and the electromagnetic frequencies used to transmit information around the globe. Steyerl uses light to point to the ambiguous relationship between individual agency, economic interests and indiscernible power in our technologically mediated age. Shifting between playful and menacing, Factory of the Sun draws viewers into a game-like world that nevertheless reflects contemporary questions.