Listing State VIC
Ararat Gallery TAMATown Hall, Vincent Street, Ararat, 3377
Kylie on Stage
4 August – 7 October 2018
Ararat Gallery presents Kylie on Stage – a touring exhibition by Arts Centre Melbourne and the Australian Music Vault. Kylie on Stage celebrates magical moments from Kylie Minogue’s highly successful concert tours and charts the development of Kylie’s ever-evolving stage persona and goes behind the scenes to explore the creative process behind each tour.
Drawn from Kylie’s spectacular stage wardrobe held at Arts Centre Melbourne’s Australian Performing Arts Collection the exhibition features costumes from tours dating back to 1989 as well as more recent tours such as Kylie Aphrodite les Follies in 2011. Featured designers within the world-first exhibition include Dolce and Gabbana, John Galliano, Julien Macdonald, Karl Lagerfeld and Jean Paul Gaultier as well as local designers including Peter Morrissey and Mark Burnett.
Kylie on Stage also features a selection of designs, working drawings, photographs and footage that explore the creative process behind each costume and provide rare glimpses into the world backstage.
“Touring and live performance has been such a big part of my life and my development as an artist, so I’m thrilled that Arts Centre Melbourne are staging this free national exhibition. I’m excited for fans to get up close and personal with my costumes and to get a glimpse behind the curtain to see some of the design process.” – Kylie Minogue.
Material Constructs: The Home Stretch – Sarah crowEST
3 August – 28 October 2018
Material Constructs: The Home Stretch is presented in association with Craft as part of its Craft Forward series. The exhibition features 21 new works by Sarah crowEST created in response to two of her earlier textile artworks, Red Counter Pain (1995) and Sampler (2013), which are held in the collection of Ararat Gallery TAMA.
A leader and innovator in textile art, crowEST’s work operates in the gaps between geometric abstraction, hand-crafted apparel and the expanded field of ‘painting’. In this exhibition, her new works on both stretched and free-falling cloth are created with reference to, and presented alongside, the two earlier collection works. The resulting exhibition is a return encounter and a distillation and ‘remix’, with the new works providing a version excursion from earlier directions.
Running through all the works is an underlying backbeat influenced by the space and glitch of 1970s dub sounds and an ongoing obsession with some mysterious abstracted architectural plans by modern artist and textile designer, Sophie Taeuber Arp. These elements play on and reverberate across time.
A strong focus on the materiality of flax-derived cloth led the artist to use a variety of linens, both dense painters canvas and lighter dress weights, which are transformed through slight interventions of embroidery, appliqué and paint. The beginnings of a sparser approach to surface applications, discerned in Sampler (2013), is extrapolated and explored in this exhibition with an insouciant approach and lighter touch.
Craft Forward is a touring exhibition program that commissions a leading Victorian maker to partner with a significant regional gallery and develop a new body of work in response to works previously acquired by that gallery. Ararat Gallery TAMA has partnered with sarah crowEST to develop an exhibition to launch a new purpose-built gallery devoted to textile art practice following a substantial redevelopment project. Craft is committed to delivering a meaningful touring program as part of its ongoing commitment to ensuring regional makers and audiences have access to high level craft and design.
Archi-Loom A – Slow Art Collective
3 August – 5 August 2018
Archi-Loom A is a large 3-dimensional installation utilising re-purposed materials including bamboo, recycled rope, various fabrics and other found materials. It is an interactive construction which is constructed by the Slow Art Collective in conjunction with various participants including children and aged people and various interested members of the community. After Slow Art Collective have constructed the giant loom the various participating collaborators fill in the walls of the structure by weaving the various found materials into the loom.
Archi-Loom is a colourful and playful work that is able to respond accordingly to the various sites and needs of the various contexts that it inhabits. The installation will offer a space that invites areas of play, rest, craft and discovery. The project focuses on the value of collaboration and explores concepts of value and sustainable practices. By using very simple technique, the installation invites anyone regardless their skill level or experience to contribute. Regardless of the age group and gender difference, participants enjoyed the idea of weaving the loom inside and outside and having authorship of a large slowly evolving collaborative installation.
Slow Art Collective (for this project: Dylan Martorell and Chaco Kato) is an artistic collective that focuses on creative practices and ethics relating to environmental sustainability, material ethics, DIY culture and collaboration. As an interdisciplinary group of artists, Slow Art Collective is interested in process-driven practices where the focus is on the act of making. In the past 9 years, Slow Art Collective created various large scale participatory works that often play with ideas of sustainability, improvisation, on site learning and experimentation often incorporating various elements of DIY sound experimentation, weaving, food and plant production and gameplay.
For more about Slow Art Collective visit: http://www.slowartcollective.com
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 marvelous 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.
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
Paul Guest Prize
30 June – 9 September
Myuran Sukumaran: Another Day in Paradise
7 July – 16 September 2018
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.
2018 Geelong contemporary art prize
until 19 August
The 2018 Geelong contemporary art prize is a signature event that assists with the development of the Gallery’s collection while fostering Australian artists and contemporary painting practice in general
Showcasing the best of contemporary Australian painting practice, this $30,000 acquisitive award and biennial exhibition will feature works by Natasha Bieniek, Seth Birchall,Amber Boardman, Andrew Browne, Jon Campbell,Nancy Constandelia, Yvette Coppersmith, Ann Debono, Troy Emery, Emily Ferretti, Patrick Francis,Nyarapayi Giles, Peter Graham, Camille Hannah,Katherine Hattam, Euan Heng, Gregory Hodge, Carissa Karamarko, Madeleine Kelly, Mason Kimber, Anna Kristensen, Darren McDonald, Laith McGregor, Fiona McMonagle, Amanda Marburg, Sam Martin, Tully Moore, Jan Murray, Louise Paramor, Sally Ross,Huseyin Sami, Andrew Taylor, Kate Tucker, Sharon West, Bradd Westmoreland and Alice Wormald.
Brook Andrew — rethinking Antipodes
until 2 September
Brook Andrew is renowned for his work using archival material to expose and re-examine ways in which Indigenous peoples have been represented.
In 2016 Brook Andrew undertook a comprehensive study of the collections of the Cambridge Museums, and the extensive print collection of the British Museum, London, as part of the Australian Print Workshop’s Antipodes project.
In the resulting suite of eight photolithographs—acquired by Geelong Gallery in 2017—he uses reproductions of 18th century satirical prints by British artist James Gillray as his primary source material
My Geelong — Our Gallery
until 9 September
The second biennial exhibition, My Geelong—our Gallery reveals the artistic riches of Geelong Gallery, a collection owned by the people of Geelong. Twenty diverse members of the Greater Geelong community were invited to meet Gallery Director Jason Smith and select a favourite work of art.
2018 participants include Igni restaurant owner and chef, Aaron Turner, Geelong Football Club captain, Joel Selwood, local Indigenous leader, Norm Stanley, primary school student, Alyssa Taylor and City of Greater Geelong Mayor, Bruce Harwood. The participants’ collective choices are exhibited in this revealing and fascinating exhibition and trail through the Gallery.
Free entry. Open daily 10am to 5pm.
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
Karen Standke: Full Circle
Wednesday 11 July – Saturday 11 August
Full Circle is an exhibition of new work by Karen Standke inspired by her recent travels around Australia and her impressions of its landscape gained over the last two decades. Standke’s paintings are informed by thorough research into the changing face of the landscape, the impact of climate change and the introduction of weeds and non-native fauna and flora. The work in this show focuses on visible and rapid changes in the environment and raises questions around how we respond emotionally, but also practically, to these challenges.
Wednesday 29 August to Saturday 6 October
An exhibition that attempts to answer one of the big questions in life, “Are banana skins intrinsically slippery?” In all seriousness, though, this is an exhibition that tries to get a grip on slipperiness as a concept. Featuring a range of works that depict or employ slippery materials or surfaces, Slippery When is about slipperiness as a material quality, slipperiness as an experience, an interaction between surfaces, and slipperiness as an adjective that can describe people and personalities as much as physical objects.
National Gallery of Victoria, The Ian Potter Centre: NGV Australia180 St Kilda Road, Melbourne, Victoria 3000
Colony: Frontier Wars
Until 2 September 2018
Colony: Frontier Wars explores the period of colonisation in Australia from 1788 onwards and its often devastating effects on First Peoples. The period, that to many, was the discovery of a ‘wondrous’ southern continent, was to others an invasion of homelands occupied for many millennia. This powerful exhibition reveals some of what Aboriginal people have experienced as a continuing consequence of colonisation, through works of art.
By bringing together different understandings of Australia’s shared history, this exhibition also offers a pathway towards recognition. Australia’s shared history is explored through the works of many Indigenous and non-Indigenous artists of consequence, including William Barak, Tommy McRae, J.W. Lindt, Arthur Boyd, Brook Andrew, Maree Clarke, Christian Thompson, Gordon Bennett, Julie Gough and Yhonnie Scarce. The exhibition features key works from the NGV Collection as well as significant loans.
Presented concurrently with Colony: Frontier Wars, Colony: Australia 1770–1861 offers a parallel experience of the colonisation of Australia.
Swan Hill Regional Art GalleryHorseshoe Bend, Swan Hill 3585
Until July 15
2018 Swan Hill Print & Drawing Awards
The final days of our biennial art prize exhibition featuring the winning entries of Elizabeth Banfield and Jan Davis along with 50 other finalists.
July 22 – August 26
Following an innocent conversation between historic car collector Jeff Brown and the artist Robert Clinch, a 1960’s Australian sports car the Goggomobil Dart has become….Objet D’art. See the Goggomobil Objet D’art up close along with drawing and paintings by Robert Clinch.
From sheds in backyards and esteemed public collections, Flight/Motion sees an eclectic mix of paintings, sculptures, models and photographs from a 1948 motorbike, a 21st century alternative powered vehicle and a traditionally woven hot air balloon by Ngarrindjeri weaver Yvonne Koolmatrie and much, much more.
The Johnston Collection Exhibition-HouseEast Melbourne
PATTERNS OF COLLECTING |
FROM THE BOWER at The Johnston Collection
An installation led by guest curator and artist Carole Wilson, as part of our ongoing ‘house of ideas’ series.
With artists Loris Button, Deborah Klein, Louise Saxton & Carole Wilson
Monday 4 June 2018 – Tuesday 18 September 2018
PATTERNS OF COLLECTING | FROM THE BOWER at The Johnston Collection is a touring exhibition presenting the artwork and items from the unique personal collections of four contemporary Victorian artists, Loris Button, Deborah Klein, Louise Saxton and Carole Wilson.
The artists are linked by their studio practice, their regional locations and connections and their love of gleaning. Their studio collections range from curiosities, natural history specimens, memorabilia, discarded books and china, fabric, carpet and lino, and old tools of trade.
In PATTERNS OF COLLECTING a selection of each artist’s studio collection is installed alongside and responding to items from The Johnston Collection. The exhibition draws together the individual artists along with William Johnston’s collection, into one large ‘bower’ and creates a space in which the private becomes public. It enables the viewer to reflect upon the process of collecting, gathering and making, in the practice of these five artists.
An outstanding collector himself, William Johnston bequeathed his collection along with his residence Fairhall to the people of Victoria after his death. Now comprising more than 1,400 objects mostly from the English Georgian and Regency period The Johnston Collection is now regarded as one of the best collections of its kind in Australasia.
Guided tours weekdays at 10.00 am, 12 noon, 2.00 pm. After Hours tours on the second Saturday of each month at 10.00 am and 12 noon and on the third Thursday evening of each month at 6.00 pm. Bookings www.johnstoncollection.org