WALL | PAPER
- Anderson, Kim, Button, Loris, Glover, Tarli, Harley, Trudi, Hill, Debbie, Joy, Cody
- Authors: Anderson, Kim , Button, Loris , Glover, Tarli , Harley, Trudi , Hill, Debbie , Joy, Cody
- Date: 2015
- Type: Text , Visual art work
- Full Text: false
- Description: Curated by Kim Anderson. 2nd December 2015 - 30th January 2016 WALL | PAPER brings together six artists working on and with paper and encompasses drawing, printmaking and sculptural works. A meticulous and methodical approach to art-making is shared by all, along with repeated forms, marks and motifs surrounding an individual singular focus. Each artist takes inspiration from different aspects of the external world that trigger a personal emotional response, and in translating these onto paper evoke themes of landscape, fate, memory and loss. Image: top row L- R: Cody Joy, Untitled, 2015 ink on paper (detail) Kim Anderson, Joy, 2015 Copic pen on paper (detail) Loris Button, Springtime in Renkum, 2015 linoprint on paper (detail) bottom row L-R: Tarli Glover, Conglomerate, 2012 recycled paper (detail) Debbie Hill, The Clotho,Lachesis and Atropos Series, 2015 graphite & coloured pencil on paper (detail) Trudi Harley, Transition, 2015 carbon pencil on paper (detail)
- Authors: Anderson, Kim , Button, Loris , Glover, Tarli , Harley, Trudi , Hill, Debbie , Joy, Cody
- Date: 2015
- Type: Text , Visual art work
- Full Text: false
- Description: Curated by Kim Anderson. 2nd December 2015 - 30th January 2016 WALL | PAPER brings together six artists working on and with paper and encompasses drawing, printmaking and sculptural works. A meticulous and methodical approach to art-making is shared by all, along with repeated forms, marks and motifs surrounding an individual singular focus. Each artist takes inspiration from different aspects of the external world that trigger a personal emotional response, and in translating these onto paper evoke themes of landscape, fate, memory and loss. Image: top row L- R: Cody Joy, Untitled, 2015 ink on paper (detail) Kim Anderson, Joy, 2015 Copic pen on paper (detail) Loris Button, Springtime in Renkum, 2015 linoprint on paper (detail) bottom row L-R: Tarli Glover, Conglomerate, 2012 recycled paper (detail) Debbie Hill, The Clotho,Lachesis and Atropos Series, 2015 graphite & coloured pencil on paper (detail) Trudi Harley, Transition, 2015 carbon pencil on paper (detail)
Scope 16 Exhibition
- Anderson, Lisa, Button, Loris, Hill, Debbie, Lofts, Debbie, Mah, Paul, Mangan, Ben, Orr, Jill, Pasakos, James, Pilven, Peter, Smith, Chrissy, Wilson, Carole
- Authors: Anderson, Lisa , Button, Loris , Hill, Debbie , Lofts, Debbie , Mah, Paul , Mangan, Ben , Orr, Jill , Pasakos, James , Pilven, Peter , Smith, Chrissy , Wilson, Carole
- Date: 2016
- Type: Text
- Full Text: false
- Description: 3rd February - 5th March 2016 SCOPE, FedUni's Arts Academy important annual exhibition showcases an inspired and rich mix of accomplished work by visual arts staff, research associates and associate and adjunct professors. The exhibition highlights the staff's ongoing commitment to a sustained, rigorous art practice across a broad range of approaches and media including ceramics, painting, photography, design, drawing and printmaking. While the exhibition offers a great opportunity for staff to present their more recent works, which extend notions of contemporary art, new and returning visual arts students are able to view work created by key visual arts lecturers. Image: Peter Pilven Psycho Santa, 2015 digital print on paper 600 x 700mm Courtesy the artist
- Authors: Anderson, Lisa , Button, Loris , Hill, Debbie , Lofts, Debbie , Mah, Paul , Mangan, Ben , Orr, Jill , Pasakos, James , Pilven, Peter , Smith, Chrissy , Wilson, Carole
- Date: 2016
- Type: Text
- Full Text: false
- Description: 3rd February - 5th March 2016 SCOPE, FedUni's Arts Academy important annual exhibition showcases an inspired and rich mix of accomplished work by visual arts staff, research associates and associate and adjunct professors. The exhibition highlights the staff's ongoing commitment to a sustained, rigorous art practice across a broad range of approaches and media including ceramics, painting, photography, design, drawing and printmaking. While the exhibition offers a great opportunity for staff to present their more recent works, which extend notions of contemporary art, new and returning visual arts students are able to view work created by key visual arts lecturers. Image: Peter Pilven Psycho Santa, 2015 digital print on paper 600 x 700mm Courtesy the artist
The revolution is us
- Authors: Beuys, Joseph
- Date: 2019
- Type: Text , Visual art work
- Full Text: false
- Description: 25th-16th November 2019, Post Office Gallery, Federation University, Ballarat. ‘The Revolution is Us’ (La rivoluzione siamo Noi) showcases select films, works on paper and sculptures by internationally acclaimed German artist Joseph Beuys (1921 – 1986), one of the most influential Conceptual and performance artists of the second half of the 20th century. Known for his highly original and controversial ideas, themes and practices, including large editions of the same or similar works in “Multiples”, Beuys attempted to make art more democratic, collapsing the space between life and art through public discourse, performance and actions, believing “…everyone is an artist”. A sculptor, performance artist, printmaker, political activist, and teacher, Beuys was also an important contributor to the avant-garde FLUXUS movement alongside George Maciunas, John Cage, Alison Knowles, Nam June Paik and Yoko Ono, among others. Beuys championed the possibilities of artistic creation to enact positive social and political change and activate the intellectual and creative capacity in all of us. Through his notion of “social sculpture”, Beuys believed in the power of art to be able to activate and transform society. His “Multiples”, series were created in opposition to market forces and in response to making art accessible to all. As a teacher Beuys touched many and continues to do so today. Studying at the Kunstakademie Düsseldorf in 1947, Beuys was appointed professor of monumental sculpture at the Akademie in 1961 but was dismissed in 1972 after accepting students who had been previously rejected. Major works include How to Explain Pictures to a Dead Hare (1965), I Like America and America Likes Me (1974), 7000 Oak Trees (1982). Joseph Beuys’s work is held in collections worldwide including the Art Institute of Chicago, Museum of Modern Art, New York, The Tate, London; Hamburger Bahnhof, Berlin, and the Kunstmuseum Basel. Image: La rivoluzione siamo Noi (The Revolution is Us), 1972 © Copyright: Edition Staeck, Heidelberg
- Authors: Beuys, Joseph
- Date: 2019
- Type: Text , Visual art work
- Full Text: false
- Description: 25th-16th November 2019, Post Office Gallery, Federation University, Ballarat. ‘The Revolution is Us’ (La rivoluzione siamo Noi) showcases select films, works on paper and sculptures by internationally acclaimed German artist Joseph Beuys (1921 – 1986), one of the most influential Conceptual and performance artists of the second half of the 20th century. Known for his highly original and controversial ideas, themes and practices, including large editions of the same or similar works in “Multiples”, Beuys attempted to make art more democratic, collapsing the space between life and art through public discourse, performance and actions, believing “…everyone is an artist”. A sculptor, performance artist, printmaker, political activist, and teacher, Beuys was also an important contributor to the avant-garde FLUXUS movement alongside George Maciunas, John Cage, Alison Knowles, Nam June Paik and Yoko Ono, among others. Beuys championed the possibilities of artistic creation to enact positive social and political change and activate the intellectual and creative capacity in all of us. Through his notion of “social sculpture”, Beuys believed in the power of art to be able to activate and transform society. His “Multiples”, series were created in opposition to market forces and in response to making art accessible to all. As a teacher Beuys touched many and continues to do so today. Studying at the Kunstakademie Düsseldorf in 1947, Beuys was appointed professor of monumental sculpture at the Akademie in 1961 but was dismissed in 1972 after accepting students who had been previously rejected. Major works include How to Explain Pictures to a Dead Hare (1965), I Like America and America Likes Me (1974), 7000 Oak Trees (1982). Joseph Beuys’s work is held in collections worldwide including the Art Institute of Chicago, Museum of Modern Art, New York, The Tate, London; Hamburger Bahnhof, Berlin, and the Kunstmuseum Basel. Image: La rivoluzione siamo Noi (The Revolution is Us), 1972 © Copyright: Edition Staeck, Heidelberg
Journeying Along Fence Lines
- Authors: Bolger, Wendy
- Date: 2015
- Type: Text , Visual art work
- Full Text: false
- Description: Federation University Australia hosts Wendy Bolger's exhibition 'Journeying along fence lines' at the Post Office Gallery, 30th September - 24th October 2015. Image: Wendy Bolger Piakonui Rd. Waikato, New Zealand, 2013 type C print 535(h) x 655(w)mm (framed).
- Authors: Bolger, Wendy
- Date: 2015
- Type: Text , Visual art work
- Full Text: false
- Description: Federation University Australia hosts Wendy Bolger's exhibition 'Journeying along fence lines' at the Post Office Gallery, 30th September - 24th October 2015. Image: Wendy Bolger Piakonui Rd. Waikato, New Zealand, 2013 type C print 535(h) x 655(w)mm (framed).
In a Mughal garden, Vanitas series
- Authors: Button, Loris
- Date: 2012
- Type: Text , Visual art work
- Full Text:
- Authors: Button, Loris
- Date: 2012
- Type: Text , Visual art work
- Full Text:
From the Bower : Patterns of collecting
- Button, Loris, Klein, Deborah, Saxton, Louise, Wilson, Carole
- Authors: Button, Loris , Klein, Deborah , Saxton, Louise , Wilson, Carole
- Date: 2017
- Type: Text , Visual art work
- Full Text: false
- Description: Exhibition at Art Gallery of Ballarat, 29th July-19th September 2017. This exhibition presenting 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, domestic textiles, carpet and linoleum, and old tools of trade.
- Authors: Button, Loris , Klein, Deborah , Saxton, Louise , Wilson, Carole
- Date: 2017
- Type: Text , Visual art work
- Full Text: false
- Description: Exhibition at Art Gallery of Ballarat, 29th July-19th September 2017. This exhibition presenting 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, domestic textiles, carpet and linoleum, and old tools of trade.
SCOPE 20 Exhibition
- Button, Loris, Horrocks, Lucinda, Nemo, Jary, Wind & Sky Productions, Mah, Paul, Orr, Jill, Pasakos, Jimmy, Percy, Kim, Pilven, Peter, Fellas, Pitcha Makin, Laxton, Ted, Edgeley, Trudy, Rigney, Adrian, Varga, Elke, Williams, Morgan, Wilson, Carole
- Authors: Button, Loris , Horrocks, Lucinda , Nemo, Jary , Wind & Sky Productions , Mah, Paul , Orr, Jill , Pasakos, Jimmy , Percy, Kim , Pilven, Peter , Fellas, Pitcha Makin , Laxton, Ted , Edgeley, Trudy , Rigney, Adrian , Varga, Elke , Williams, Morgan , Wilson, Carole
- Date: 2020
- Type: Text , Visual art work
- Full Text: false
- Description: SCOPE20: ARTS ACADEMY VISUAL ARTS LECTURERS, TEACHERS AND HONORARIES FRI 21 FEB – SAT 7 MAR 2020 Please join us for the exhibition opening, with remarks by Associate Professor Rick Chew, Director, Arts Academy, Federation University Australia @ 5:30 for 6pm on Thu 20 Feb 2020. All welcome! Loris BUTTON, Lucinda HORROCKS & Jary NEMO, Paul MAH, Jill ORR, Jimmy PASAKOS, Kim PERCY, Peter PILVEN, PITCHA MAKIN FELLAS, Elke VARGA, Morgan WILLIAMS, Carole WILSON In the Arts Academy’s important annual exhibition, SCOPE presents a diverse selection of works on paper, video, ceramics, printmaking, painting and design, by Visual Arts lecturers, teachers, Research Associates, Associate and Adjunct Professors and Research Fellows who, as artists, also sustain a rigorous artistic research and/or teaching practice at Federation University's School of Arts. Participating artists present work across disciplines including drawing, painting, photography, performance art, video, ceramics, textiles and printmaking. Presenting works of beauty and contemplation alongside the real and unsettling, participating artists express complex ideas related to fact and fiction, identity, empathy, politics and global unrest, as well as climate change, Indigenous art and cultural appropriation. Image: Wind & Sky Productions & Chris Hayward, Collections and Climate Change, 2019 Video: 9.01 mins. Courtesy the artists
- Authors: Button, Loris , Horrocks, Lucinda , Nemo, Jary , Wind & Sky Productions , Mah, Paul , Orr, Jill , Pasakos, Jimmy , Percy, Kim , Pilven, Peter , Fellas, Pitcha Makin , Laxton, Ted , Edgeley, Trudy , Rigney, Adrian , Varga, Elke , Williams, Morgan , Wilson, Carole
- Date: 2020
- Type: Text , Visual art work
- Full Text: false
- Description: SCOPE20: ARTS ACADEMY VISUAL ARTS LECTURERS, TEACHERS AND HONORARIES FRI 21 FEB – SAT 7 MAR 2020 Please join us for the exhibition opening, with remarks by Associate Professor Rick Chew, Director, Arts Academy, Federation University Australia @ 5:30 for 6pm on Thu 20 Feb 2020. All welcome! Loris BUTTON, Lucinda HORROCKS & Jary NEMO, Paul MAH, Jill ORR, Jimmy PASAKOS, Kim PERCY, Peter PILVEN, PITCHA MAKIN FELLAS, Elke VARGA, Morgan WILLIAMS, Carole WILSON In the Arts Academy’s important annual exhibition, SCOPE presents a diverse selection of works on paper, video, ceramics, printmaking, painting and design, by Visual Arts lecturers, teachers, Research Associates, Associate and Adjunct Professors and Research Fellows who, as artists, also sustain a rigorous artistic research and/or teaching practice at Federation University's School of Arts. Participating artists present work across disciplines including drawing, painting, photography, performance art, video, ceramics, textiles and printmaking. Presenting works of beauty and contemplation alongside the real and unsettling, participating artists express complex ideas related to fact and fiction, identity, empathy, politics and global unrest, as well as climate change, Indigenous art and cultural appropriation. Image: Wind & Sky Productions & Chris Hayward, Collections and Climate Change, 2019 Video: 9.01 mins. Courtesy the artists
Harry Treasure
- Centre for Gippsland Studies
- Authors: Centre for Gippsland Studies
- Type: Text , Still Image
- Full Text: false
- Description: 1 photoprint : b&w ; 18 x 24 cm
- Authors: Centre for Gippsland Studies
- Type: Text , Still Image
- Full Text: false
- Description: 1 photoprint : b&w ; 18 x 24 cm
Indwelling : A story in Fresco
- Authors: Chappell, Annette
- Date: 2017
- Type: Text , Visual art work
- Full Text: false
- Description: 24th May-3rd June 2017 Annette Chappell’s work is a contemporary exploration and transgression of the material form and function of traditional fresco. Drawing upon onsite experience as a materials conservator of historic fresco she repurposes that knowledge to create contemporary part and full fresco surfaces and to locate her self-story as an artist. Through a process of indwelling in recurrent and resonant imagery, her storylines are enacted through immersive and spontaneous material and pictorial techniques, and captured in the stone layer veil or ‘velo’ of the fresco lime plaster. The choice of dark and light tonal values in her backgrounds are an evocation of mysterious spaces – the inner and outer worlds of human experience where self-story takes place. Annette’s storylines chronicle the shift from her figurative enactments of story to a focus on form-denying settings where those narratives dissolve into the sensation and emotion of contemplative silence. This exhibition constitutes the visual outcomes emerging from a practice-led research project for a Doctoral Award at the Arts Academy, Faculty of Education and Arts, Federation University Australia. Image: Annette Chappell, Indwelling: The Zebra Pursues, 2015 (detail), lime plaster, pigment and wax on board, 90 x 60cm. Courtesy the artist
- Authors: Chappell, Annette
- Date: 2017
- Type: Text , Visual art work
- Full Text: false
- Description: 24th May-3rd June 2017 Annette Chappell’s work is a contemporary exploration and transgression of the material form and function of traditional fresco. Drawing upon onsite experience as a materials conservator of historic fresco she repurposes that knowledge to create contemporary part and full fresco surfaces and to locate her self-story as an artist. Through a process of indwelling in recurrent and resonant imagery, her storylines are enacted through immersive and spontaneous material and pictorial techniques, and captured in the stone layer veil or ‘velo’ of the fresco lime plaster. The choice of dark and light tonal values in her backgrounds are an evocation of mysterious spaces – the inner and outer worlds of human experience where self-story takes place. Annette’s storylines chronicle the shift from her figurative enactments of story to a focus on form-denying settings where those narratives dissolve into the sensation and emotion of contemplative silence. This exhibition constitutes the visual outcomes emerging from a practice-led research project for a Doctoral Award at the Arts Academy, Faculty of Education and Arts, Federation University Australia. Image: Annette Chappell, Indwelling: The Zebra Pursues, 2015 (detail), lime plaster, pigment and wax on board, 90 x 60cm. Courtesy the artist
Fiona Crawford - When you go looking for me, I am not there
- Authors: Crawford, Fiona
- Date: 2021
- Type: Text , Artwork , Visual art work
- Full Text: false
- Description: Following residencies in Assisi, Italy in 2016 and 2019, inspired by the beauty and intrigue surrounding the medieval embroidery tradition of ‘Punto Assisi’ still practised today, Fiona Crawford’s contemporary textiles subvert and transgress conventions and reinterpret the ubiquitous subject of ‘women’s work’ Derived from the exterior of medieval San Rufino Cathedral, Punto Assisi’s highly stylised pattern and form is unique - the subject matter empty of detail, with the outlined negative space seeming to echo the absence of information and who the female artisans were. Invisible and indispensable, the names and faces of the female makers were rarely documented, existing within the dominant male hegemonic ideologies of the time, undervalued and seen as only undertaking 'women’s work'. Using vintage linen and thread, the combination of traditional and contemporary imagery, text, and the concept of drawing with thread, Fiona Crawford’s work investigates the notion of absence and at the same time honours the unknown female makers of this now highly prized and ancient art. This exhibition constitutes the visual outcomes emerging from a practice-led Masters research project at the School of Arts, Federation University, Australia. Fiona Crawford is supported by an Australian Research Training Program (RTP) Fee Offset Scholarship through Federation University. 45-minute session times available via Eventbrite. Please wear a mask and comply with 1.5m social distancing rules.
- Authors: Crawford, Fiona
- Date: 2021
- Type: Text , Artwork , Visual art work
- Full Text: false
- Description: Following residencies in Assisi, Italy in 2016 and 2019, inspired by the beauty and intrigue surrounding the medieval embroidery tradition of ‘Punto Assisi’ still practised today, Fiona Crawford’s contemporary textiles subvert and transgress conventions and reinterpret the ubiquitous subject of ‘women’s work’ Derived from the exterior of medieval San Rufino Cathedral, Punto Assisi’s highly stylised pattern and form is unique - the subject matter empty of detail, with the outlined negative space seeming to echo the absence of information and who the female artisans were. Invisible and indispensable, the names and faces of the female makers were rarely documented, existing within the dominant male hegemonic ideologies of the time, undervalued and seen as only undertaking 'women’s work'. Using vintage linen and thread, the combination of traditional and contemporary imagery, text, and the concept of drawing with thread, Fiona Crawford’s work investigates the notion of absence and at the same time honours the unknown female makers of this now highly prized and ancient art. This exhibition constitutes the visual outcomes emerging from a practice-led Masters research project at the School of Arts, Federation University, Australia. Fiona Crawford is supported by an Australian Research Training Program (RTP) Fee Offset Scholarship through Federation University. 45-minute session times available via Eventbrite. Please wear a mask and comply with 1.5m social distancing rules.
The Messengers
- Authors: Drendel, Graeme
- Date: 2020
- Type: Text , Visual art work
- Full Text: false
- Description: Please join the artist for the exhibition opening, with remarks by Geoff Wallis, former Federation University lecturer, on Sat 14 Mar @ 6:30pm. All welcome! In Graeme Drendel’s first solo exhibition in Ballarat, Victoria, the renowned Australian artist presents his intriguing vignettes for which he is well known and celebrated – his subjects and characters on the one hand puzzling and perplexing and on the other mystical and surreal. Born in the Mallee, Victoria, Drendel has gained recognition for his highly accomplished hand in drawing and painting and for his particularly intelligent observation and portrayal of life and the human condition. Graeme Drendel is represented by Australian Galleries, Melbourne. australiangalleries.com.au
- Authors: Drendel, Graeme
- Date: 2020
- Type: Text , Visual art work
- Full Text: false
- Description: Please join the artist for the exhibition opening, with remarks by Geoff Wallis, former Federation University lecturer, on Sat 14 Mar @ 6:30pm. All welcome! In Graeme Drendel’s first solo exhibition in Ballarat, Victoria, the renowned Australian artist presents his intriguing vignettes for which he is well known and celebrated – his subjects and characters on the one hand puzzling and perplexing and on the other mystical and surreal. Born in the Mallee, Victoria, Drendel has gained recognition for his highly accomplished hand in drawing and painting and for his particularly intelligent observation and portrayal of life and the human condition. Graeme Drendel is represented by Australian Galleries, Melbourne. australiangalleries.com.au
Garden City Weeded
- Authors: Durban, Kim
- Date: 2017
- Type: Text , Play
- Full Text: false
- Description: Performance of 'Garden City Weeded' at the Helen Macpherson Smith Theatre, Federation University of Australia, 6th-13th April 2017. Directed by Kim Durban.
- Authors: Durban, Kim
- Date: 2017
- Type: Text , Play
- Full Text: false
- Description: Performance of 'Garden City Weeded' at the Helen Macpherson Smith Theatre, Federation University of Australia, 6th-13th April 2017. Directed by Kim Durban.
Caves @ Switchback
- Eller, Naomi, Gatiss, David, Gold, Storm, Goodwin, Sharon, Hughes, Kez, Lloyd, Merryn, Nordin, Nabilah, Tsoulis-Reay, Kristina, Smith, Julien, Stojkovich, Adrian, White, Petra, Williams, Rudi
- Authors: Eller, Naomi , Gatiss, David , Gold, Storm , Goodwin, Sharon , Hughes, Kez , Lloyd, Merryn , Nordin, Nabilah , Tsoulis-Reay, Kristina , Smith, Julien , Stojkovich, Adrian , White, Petra , Williams, Rudi
- Date: 2016
- Type: Text , Visual art work
- Full Text: false
- Description: 12th April-5th May 2016 Curated by Storm Gold and Kez Hughes Image: Sharon Goodwin, Damascus Steel, 2015 (detail), acrylic on shaped plywood, Dimensions variable. Courtesy the artist. Photo: Taryn Ellis
- Authors: Eller, Naomi , Gatiss, David , Gold, Storm , Goodwin, Sharon , Hughes, Kez , Lloyd, Merryn , Nordin, Nabilah , Tsoulis-Reay, Kristina , Smith, Julien , Stojkovich, Adrian , White, Petra , Williams, Rudi
- Date: 2016
- Type: Text , Visual art work
- Full Text: false
- Description: 12th April-5th May 2016 Curated by Storm Gold and Kez Hughes Image: Sharon Goodwin, Damascus Steel, 2015 (detail), acrylic on shaped plywood, Dimensions variable. Courtesy the artist. Photo: Taryn Ellis
Raw Edges
- Authors: Farago, Anna
- Date: 2019
- Type: Text , Visual art work
- Full Text: false
- Description: Friday 14th June - Saturday 29th June 2019. Anna Farago uses various creative methods to explore her identity as daughter, sister, mother, wife, friend, crafter, artist, woman and now widow, and to examine how identity strongly intersects with memory and place. Comprising large-scale textiles, small embroideries, paintings, photographs, video and documented performative works, Farago’s ideas are deeply informed by her personal memories and personal experiences alongside those of others, including Indigenous Elders, Indigenous and non-Indigenous rangers and locals connected to specific sites and places. Anna Farago’s exhibition and recent work constitute the visual outcomes emerging from a practice-led research project for a Masters Award at the Arts Academy, School of Arts, Federation University Australia. Anna Farago is supported by an Australian Government Research Training Program (RTP) Fee-Offset Scholarship through Federation University Australia. Image: Anna Farago Mapped Grief (still), 2019 (detail), Archival pigment print H150 x W100 cm Photo: Siri Hayes. Courtesy the artist.
- Authors: Farago, Anna
- Date: 2019
- Type: Text , Visual art work
- Full Text: false
- Description: Friday 14th June - Saturday 29th June 2019. Anna Farago uses various creative methods to explore her identity as daughter, sister, mother, wife, friend, crafter, artist, woman and now widow, and to examine how identity strongly intersects with memory and place. Comprising large-scale textiles, small embroideries, paintings, photographs, video and documented performative works, Farago’s ideas are deeply informed by her personal memories and personal experiences alongside those of others, including Indigenous Elders, Indigenous and non-Indigenous rangers and locals connected to specific sites and places. Anna Farago’s exhibition and recent work constitute the visual outcomes emerging from a practice-led research project for a Masters Award at the Arts Academy, School of Arts, Federation University Australia. Anna Farago is supported by an Australian Government Research Training Program (RTP) Fee-Offset Scholarship through Federation University Australia. Image: Anna Farago Mapped Grief (still), 2019 (detail), Archival pigment print H150 x W100 cm Photo: Siri Hayes. Courtesy the artist.
An invader's guide to the British Isles
- Authors: Ferry, David
- Date: 2016
- Type: Text , Visual art work
- Full Text: false
- Description: Lying on the coffee table are picture books that tell us all we need to know about Britain: its history and geography combined. This printed matter supplies the artist David Ferry with both his subject and his raw material. Guides of the nation’s heritage imagine an innocent landscape where the manners and attitudes of the genteel middle classes of England prevail. Into these Ferry has inserted cut out images from neighbouring picture books that demonstrate the practices of the active hobbyist. Woollen garments adorn figures from British history; tropical fish swim through the great halls of stately mansions; rock climbers ascend national monuments; and confectioners bake their own public art works. The consequence of these additions is humorous undermining of an accepted narrative. Providing a survey of David Ferry’s continued visual exploration of guides to British Heritage, this exhibition features work from series that span twenty-five years. The picture books, found in charity shops, are first subjected to simple cut and paste tampering; this is then refined through printmaking processes both traditional and digital. Resultant artist books and prints demonstrate a consistency of address that pokes fun at the polite and confident assertions of the conservative viewpoint. David Ferry RE, is Emeritus Professor of Printmaking at Cardiff Metropolitan University in Wales. He is a Fellow of the Royal Society of Painter-Printmakers, RE, and printmaking consultant for the Sidney Nolan Trust in the UK. He has exhibited extensively in the UK and internationally, with recent solo exhibitions in Berlin, China, London, New York, Poznan and Seoul. His work can be found in public and corporate collections including Museum of Modern Art, New York; Ashmolean, Oxford; Art Institute of Chicago; National Gallery of Australia, Canberra; National Museum of Wales, Cardiff and The Victoria and Albert Museum, London. He is also included in many international university collections, and the libraries of Cambridge, Oxford, Dublin, Edinburgh, and the British Library London. David Ferry is a Pollock/Krasner Grantee from New York. David Ferry is represented by Booklyn, Brooklyn, NY, USA. Booklyn is the premier gallery and protagonists in the USA for the promotion and impact of the genre of the artists Book and very well known on the Australian museum and state library circuit As a gallery and promoters of the genre, Booklyn has been a powerful presence in events such as Photo-Melbourne and Photo-Sydney. A considerable amount of contemporary American/international 'book arts' placed in national institutions in Australia have been sourced originally through Booklyn, and through the presence of one of the senior directors, Marshall Weber, a regular visitor to Australia, particularly Melbourne. Weber was recently artist in residence at the Victorian College of Arts, Melbourne and Creative Consultant for the Australian National Veterans Art Museum. Marshall Weber's works are represented in private and public Australian Collections, including the Australian War Memorial and the State Libraries of Victoria, Queensland and New South Wales. booklyn.org Image: Standing Form No 3, 2015 Public Sculpture in England series 2015/16 digital archive print with stencil & varnish with gold leaf 594 x 841mm Courtesy the artist and Booklyn, Brooklyn, NY. Exhibition held at Post Office Gallery, Ballarat - 26 Oct – Sun 20 Nov 2016
- Description: Lying on the coffee table are picture books that tell us all we need to know about Britain: its history and geography combined. This printed matter supplies the artist David Ferry with both his subject and his raw material. Guides of the nation’s heritage imagine an innocent landscape where the manners and attitudes of the genteel middle classes of England prevail. Into these Ferry has inserted cut out images from neighbouring picture books that demonstrate the practices of the active hobbyist. Woollen garments adorn figures from British history; tropical fish swim through the great halls of stately mansions; rock climbers ascend national monuments; and confectioners bake their own public art works. The consequence of these additions is humorous undermining of an accepted narrative. Providing a survey of David Ferry’s continued visual exploration of guides to British Heritage, this exhibition features work from series that span twenty-five years. The picture books, found in charity shops, are first subjected to simple cut and paste tampering; this is then refined through printmaking processes both traditional and digital. Resultant artist books and prints demonstrate a consistency of address that pokes fun at the polite and confident assertions of the conservative viewpoint. David Ferry RE, is Emeritus Professor of Printmaking at Cardiff Metropolitan University in Wales. He is a Fellow of the Royal Society of Painter-Printmakers, RE, and printmaking consultant for the Sidney Nolan Trust in the UK. He has exhibited extensively in the UK and internationally, with recent solo exhibitions in Berlin, China, London, New York, Poznan and Seoul. His work can be found in public and corporate collections including Museum of Modern Art, New York; Ashmolean, Oxford; Art Institute of Chicago; National Gallery of Australia, Canberra; National Museum of Wales, Cardiff and The Victoria and Albert Museum, London. He is also included in many international university collections, and the libraries of Cambridge, Oxford, Dublin, Edinburgh, and the British Library London. David Ferry is a Pollock/Krasner Grantee from New York. David Ferry is represented by Booklyn, Brooklyn, NY, USA. Booklyn is the premier gallery and protagonists in the USA for the promotion and impact of the genre of the artists Book and very well known on the Australian museum and state library circuit As a gallery and promoters of the genre, Booklyn has been a powerful presence in events such as Photo-Melbourne and Photo-Sydney. A considerable amount of contemporary American/international 'book arts' placed in national institutions in Australia have been sourced originally through Booklyn, and through the presence of one of the senior directors, Marshall Weber, a regular visitor to Australia, particularly Melbourne. Weber was recently artist in residence at the Victorian College of Arts, Melbourne and Creative Consultant for the Australian National Veterans Art Museum. Marshall Weber's works are represented in private and public Australian Collections, including the Australian War Memorial and the State Libraries of Victoria, Queensland and New South Wales. booklyn.org Image: Standing Form No 3, 2015 Public Sculpture in England series 2015/16 digital archive print with stencil & varnish with gold leaf 594 x 841mm Courtesy the artist and Booklyn, Brooklyn, NY.
- Authors: Ferry, David
- Date: 2016
- Type: Text , Visual art work
- Full Text: false
- Description: Lying on the coffee table are picture books that tell us all we need to know about Britain: its history and geography combined. This printed matter supplies the artist David Ferry with both his subject and his raw material. Guides of the nation’s heritage imagine an innocent landscape where the manners and attitudes of the genteel middle classes of England prevail. Into these Ferry has inserted cut out images from neighbouring picture books that demonstrate the practices of the active hobbyist. Woollen garments adorn figures from British history; tropical fish swim through the great halls of stately mansions; rock climbers ascend national monuments; and confectioners bake their own public art works. The consequence of these additions is humorous undermining of an accepted narrative. Providing a survey of David Ferry’s continued visual exploration of guides to British Heritage, this exhibition features work from series that span twenty-five years. The picture books, found in charity shops, are first subjected to simple cut and paste tampering; this is then refined through printmaking processes both traditional and digital. Resultant artist books and prints demonstrate a consistency of address that pokes fun at the polite and confident assertions of the conservative viewpoint. David Ferry RE, is Emeritus Professor of Printmaking at Cardiff Metropolitan University in Wales. He is a Fellow of the Royal Society of Painter-Printmakers, RE, and printmaking consultant for the Sidney Nolan Trust in the UK. He has exhibited extensively in the UK and internationally, with recent solo exhibitions in Berlin, China, London, New York, Poznan and Seoul. His work can be found in public and corporate collections including Museum of Modern Art, New York; Ashmolean, Oxford; Art Institute of Chicago; National Gallery of Australia, Canberra; National Museum of Wales, Cardiff and The Victoria and Albert Museum, London. He is also included in many international university collections, and the libraries of Cambridge, Oxford, Dublin, Edinburgh, and the British Library London. David Ferry is a Pollock/Krasner Grantee from New York. David Ferry is represented by Booklyn, Brooklyn, NY, USA. Booklyn is the premier gallery and protagonists in the USA for the promotion and impact of the genre of the artists Book and very well known on the Australian museum and state library circuit As a gallery and promoters of the genre, Booklyn has been a powerful presence in events such as Photo-Melbourne and Photo-Sydney. A considerable amount of contemporary American/international 'book arts' placed in national institutions in Australia have been sourced originally through Booklyn, and through the presence of one of the senior directors, Marshall Weber, a regular visitor to Australia, particularly Melbourne. Weber was recently artist in residence at the Victorian College of Arts, Melbourne and Creative Consultant for the Australian National Veterans Art Museum. Marshall Weber's works are represented in private and public Australian Collections, including the Australian War Memorial and the State Libraries of Victoria, Queensland and New South Wales. booklyn.org Image: Standing Form No 3, 2015 Public Sculpture in England series 2015/16 digital archive print with stencil & varnish with gold leaf 594 x 841mm Courtesy the artist and Booklyn, Brooklyn, NY. Exhibition held at Post Office Gallery, Ballarat - 26 Oct – Sun 20 Nov 2016
- Description: Lying on the coffee table are picture books that tell us all we need to know about Britain: its history and geography combined. This printed matter supplies the artist David Ferry with both his subject and his raw material. Guides of the nation’s heritage imagine an innocent landscape where the manners and attitudes of the genteel middle classes of England prevail. Into these Ferry has inserted cut out images from neighbouring picture books that demonstrate the practices of the active hobbyist. Woollen garments adorn figures from British history; tropical fish swim through the great halls of stately mansions; rock climbers ascend national monuments; and confectioners bake their own public art works. The consequence of these additions is humorous undermining of an accepted narrative. Providing a survey of David Ferry’s continued visual exploration of guides to British Heritage, this exhibition features work from series that span twenty-five years. The picture books, found in charity shops, are first subjected to simple cut and paste tampering; this is then refined through printmaking processes both traditional and digital. Resultant artist books and prints demonstrate a consistency of address that pokes fun at the polite and confident assertions of the conservative viewpoint. David Ferry RE, is Emeritus Professor of Printmaking at Cardiff Metropolitan University in Wales. He is a Fellow of the Royal Society of Painter-Printmakers, RE, and printmaking consultant for the Sidney Nolan Trust in the UK. He has exhibited extensively in the UK and internationally, with recent solo exhibitions in Berlin, China, London, New York, Poznan and Seoul. His work can be found in public and corporate collections including Museum of Modern Art, New York; Ashmolean, Oxford; Art Institute of Chicago; National Gallery of Australia, Canberra; National Museum of Wales, Cardiff and The Victoria and Albert Museum, London. He is also included in many international university collections, and the libraries of Cambridge, Oxford, Dublin, Edinburgh, and the British Library London. David Ferry is a Pollock/Krasner Grantee from New York. David Ferry is represented by Booklyn, Brooklyn, NY, USA. Booklyn is the premier gallery and protagonists in the USA for the promotion and impact of the genre of the artists Book and very well known on the Australian museum and state library circuit As a gallery and promoters of the genre, Booklyn has been a powerful presence in events such as Photo-Melbourne and Photo-Sydney. A considerable amount of contemporary American/international 'book arts' placed in national institutions in Australia have been sourced originally through Booklyn, and through the presence of one of the senior directors, Marshall Weber, a regular visitor to Australia, particularly Melbourne. Weber was recently artist in residence at the Victorian College of Arts, Melbourne and Creative Consultant for the Australian National Veterans Art Museum. Marshall Weber's works are represented in private and public Australian Collections, including the Australian War Memorial and the State Libraries of Victoria, Queensland and New South Wales. booklyn.org Image: Standing Form No 3, 2015 Public Sculpture in England series 2015/16 digital archive print with stencil & varnish with gold leaf 594 x 841mm Courtesy the artist and Booklyn, Brooklyn, NY.
Rodney Forbes : in my life
- Authors: Forbes, Rodney
- Date: 2021
- Type: Text , Artwork
- Full Text: false
- Description: Exhibition dates: 13 March to 16 May 2021 Gippsland Art Gallery A showcase of Forbes’ colourful and characteristic practice from 1983 to 2020. Celebrating Rodney Forbes’ unique style of storytelling and his highly distinctive painting style. Over four decades, Forbes has developed his figurative narrative painting and use of flattened perspective. Throughout this exhibition visitors can view works that showcase Forbes’ colourful and characteristic practice from 1983 to 2020. Forbes says of the exhibition, “Thanks to Gippsland Art Gallery and Australian Galleries, Melbourne, for collaborating to bring 40 years of my work together. It will be wonderful to see those old friends again.” Rodney Forbes is represented by Australian Galleries, Melbourne. Rodney Forbes is an Adjunct Research Fellow at Federation University Australia.
- Authors: Forbes, Rodney
- Date: 2021
- Type: Text , Artwork
- Full Text: false
- Description: Exhibition dates: 13 March to 16 May 2021 Gippsland Art Gallery A showcase of Forbes’ colourful and characteristic practice from 1983 to 2020. Celebrating Rodney Forbes’ unique style of storytelling and his highly distinctive painting style. Over four decades, Forbes has developed his figurative narrative painting and use of flattened perspective. Throughout this exhibition visitors can view works that showcase Forbes’ colourful and characteristic practice from 1983 to 2020. Forbes says of the exhibition, “Thanks to Gippsland Art Gallery and Australian Galleries, Melbourne, for collaborating to bring 40 years of my work together. It will be wonderful to see those old friends again.” Rodney Forbes is represented by Australian Galleries, Melbourne. Rodney Forbes is an Adjunct Research Fellow at Federation University Australia.
Choice language
- Authors: Forbes, Rodney
- Date: 2019
- Type: Text , Artwork , Visual art work
- Full Text:
- Description: Exhibition dates: 28 May-16 June 2019 Australian Galleries Melbourne, 35 Derby Street, Collingwood In 1977 Rodney Forbes was working as a missile systems technician with the Department of Navy. The Vietnam War had wound out to its inglorious conclusion and, disillusioned, he resigned and set off overland across Asia with his wife Rouvé. Encountering civil war in Afghanistan and worsening anti-Western feeling in Iran, they washed up penniless in punk-era London, where Forbes worked as an electronic game machine technician and haunted its art galleries. After a year in England, the pair set off back to Australia via Sri Lanka and Forbes says he can remember the exact moment, on a bumpy bus ride near Colombo, when Rouvé encouraged him to follow his dream of becoming a painter. Back in Australia Forbes enrolled at the legendary Gippsland School of Art, with 24-hour access, no grades and no crit sessions. Three months after finishing, he exhibited his paintings at the Victorian Ministry of the Arts Foyer Gallery in Melbourne. Stuart Purves, from Melbourne’s oldest commercial art gallery, Australian Galleries, spotted the show and invited Forbes to include some works in the gallery’s stock room. A few years later, the gallery gave him his first solo exhibition. The walls were still hot from Australian icon Sidney Nolan’s show, and Forbes says, “It’s hard to describe the nervousness occasioned by hanging as an emerging artist on the same walls as your artistic hero and the greatest painter Australia has produced.” Rodney Forbes’ debut show was a surprise success and he is now mounting his seventeenth solo show at the gallery, in the same room that he inherited from Nolan 30 years ago, “My paintings honour the ways in which people tell stories and the poetry in everyday life” he says, “and that is something I very much admired about Nolan.” CHOICE LANGUAGE is current until 16 June 2019.
- Authors: Forbes, Rodney
- Date: 2019
- Type: Text , Artwork , Visual art work
- Full Text:
- Description: Exhibition dates: 28 May-16 June 2019 Australian Galleries Melbourne, 35 Derby Street, Collingwood In 1977 Rodney Forbes was working as a missile systems technician with the Department of Navy. The Vietnam War had wound out to its inglorious conclusion and, disillusioned, he resigned and set off overland across Asia with his wife Rouvé. Encountering civil war in Afghanistan and worsening anti-Western feeling in Iran, they washed up penniless in punk-era London, where Forbes worked as an electronic game machine technician and haunted its art galleries. After a year in England, the pair set off back to Australia via Sri Lanka and Forbes says he can remember the exact moment, on a bumpy bus ride near Colombo, when Rouvé encouraged him to follow his dream of becoming a painter. Back in Australia Forbes enrolled at the legendary Gippsland School of Art, with 24-hour access, no grades and no crit sessions. Three months after finishing, he exhibited his paintings at the Victorian Ministry of the Arts Foyer Gallery in Melbourne. Stuart Purves, from Melbourne’s oldest commercial art gallery, Australian Galleries, spotted the show and invited Forbes to include some works in the gallery’s stock room. A few years later, the gallery gave him his first solo exhibition. The walls were still hot from Australian icon Sidney Nolan’s show, and Forbes says, “It’s hard to describe the nervousness occasioned by hanging as an emerging artist on the same walls as your artistic hero and the greatest painter Australia has produced.” Rodney Forbes’ debut show was a surprise success and he is now mounting his seventeenth solo show at the gallery, in the same room that he inherited from Nolan 30 years ago, “My paintings honour the ways in which people tell stories and the poetry in everyday life” he says, “and that is something I very much admired about Nolan.” CHOICE LANGUAGE is current until 16 June 2019.
Twice is lucky, 3 times a charm
- Authors: Forbes, Rodney
- Date: 2021
- Type: Text , Artwork , Visual art work
- Full Text: false
- Description: Exhibition dates: 3 August-13 November 2021 Twice is Lucky, 3 Times a Charm’ is Rodney Forbes’ 20th solo exhibition with Australian Galleries. Created during the COVID-19 pandemic, these vibrant paintings explore fortune, transformation and love. This exhibition features ‘A Submariner Dreams of Home’, winner of the 2020 Maritime Art Prize. Rodney Forbes’ paintings address deeply poignant subject matter through dreamlike and surreal imagery. Figures and objects float against his trademark palette of bright, luminous colours, drawing the viewer in to explore a rich narrative. “Although the subject matter of Forbes’ paintings deals with aspects of the human condition, his paintings contain a degree of humour without which his intensity of vision would degenerate into affected angst. It is his ability to see beneath the surface of human relationships and the domestic environment and then to express that vision with warmth and humour that elevates his work from the drily philosophical or the contrived.” – David Thorp – artist and curator, Director, South London Gallery 1992-2001, Turner Prize Judge This exhibition celebrates Rodney Forbes’ unique style of storytelling and his ability to portray wonder, adventure and the unforeseen through a highly distinctive painting style.
- Authors: Forbes, Rodney
- Date: 2021
- Type: Text , Artwork , Visual art work
- Full Text: false
- Description: Exhibition dates: 3 August-13 November 2021 Twice is Lucky, 3 Times a Charm’ is Rodney Forbes’ 20th solo exhibition with Australian Galleries. Created during the COVID-19 pandemic, these vibrant paintings explore fortune, transformation and love. This exhibition features ‘A Submariner Dreams of Home’, winner of the 2020 Maritime Art Prize. Rodney Forbes’ paintings address deeply poignant subject matter through dreamlike and surreal imagery. Figures and objects float against his trademark palette of bright, luminous colours, drawing the viewer in to explore a rich narrative. “Although the subject matter of Forbes’ paintings deals with aspects of the human condition, his paintings contain a degree of humour without which his intensity of vision would degenerate into affected angst. It is his ability to see beneath the surface of human relationships and the domestic environment and then to express that vision with warmth and humour that elevates his work from the drily philosophical or the contrived.” – David Thorp – artist and curator, Director, South London Gallery 1992-2001, Turner Prize Judge This exhibition celebrates Rodney Forbes’ unique style of storytelling and his ability to portray wonder, adventure and the unforeseen through a highly distinctive painting style.
Australian Contemporary at Collect 2005
- Authors: French, Neville
- Date: 2005
- Type: Text , Visual art work
- Full Text:
- Description: Exhibition: Ceramics Collect was launched in 2004 as the only international art fair in Europe that showcases the work of contemporary craft and design from around the world. It is held annually at the Victoria and Albert Museum in London with visitors exceeding 15,000 and sales in excess of £1.5 Million.
- Description: 2003007104
- Authors: French, Neville
- Date: 2005
- Type: Text , Visual art work
- Full Text:
- Description: Exhibition: Ceramics Collect was launched in 2004 as the only international art fair in Europe that showcases the work of contemporary craft and design from around the world. It is held annually at the Victoria and Albert Museum in London with visitors exceeding 15,000 and sales in excess of £1.5 Million.
- Description: 2003007104
In between the object and the gaze
- Authors: Gilson, Deanne
- Date: 2017
- Type: Text , Visual art work
- Full Text: false
- Description: 23rd June-15th July 2017 Deanne Gilson’s work focuses on reclaiming traditional knowledge, the colonial gaze and challenging Western portrayals of Aboriginal people. Her art practice and current research is concerned with the objectification of Aboriginal women and the impact of the male colonial gaze, and what was known of traditional ‘women’s business’. Examining how contemporary art can heal, disrupt and challenge the male colonial gaze through a reflective process, within Deanne’s research and art, her aim is to highlight and bring back women’s business through art practice as research and link this to the revived practice of ceremony. Deanne Gilson is a proud Wadawurrung woman who currently lives and works in Ballarat, Victoria. Deanne completed a Bachelor of Arts (Visual Art) with Honours at the Arts Academy, Federation University Australia, in 2010 and is currently a PhD candidate at the Institute of Koorie Education, Deakin University, Geelong, Victoria. Image: Deanne Gilson, Decolonising White, 2016, Black Hill white ochre, charcoal from my fire, gold leaf, acrylic paint on linen, 90 x 100 cm. Private Collection.
- Authors: Gilson, Deanne
- Date: 2017
- Type: Text , Visual art work
- Full Text: false
- Description: 23rd June-15th July 2017 Deanne Gilson’s work focuses on reclaiming traditional knowledge, the colonial gaze and challenging Western portrayals of Aboriginal people. Her art practice and current research is concerned with the objectification of Aboriginal women and the impact of the male colonial gaze, and what was known of traditional ‘women’s business’. Examining how contemporary art can heal, disrupt and challenge the male colonial gaze through a reflective process, within Deanne’s research and art, her aim is to highlight and bring back women’s business through art practice as research and link this to the revived practice of ceremony. Deanne Gilson is a proud Wadawurrung woman who currently lives and works in Ballarat, Victoria. Deanne completed a Bachelor of Arts (Visual Art) with Honours at the Arts Academy, Federation University Australia, in 2010 and is currently a PhD candidate at the Institute of Koorie Education, Deakin University, Geelong, Victoria. Image: Deanne Gilson, Decolonising White, 2016, Black Hill white ochre, charcoal from my fire, gold leaf, acrylic paint on linen, 90 x 100 cm. Private Collection.