Kate Smith’s solo exhibition, Form is temporary, class is permanent is now open at Wagga Wagga Art Gallery, and will continue until 17 January 2021. The suite of works in this exhibition are defined by a contrast between control, and lack of it — extroverted brushwork is balanced with hesitant gestures, surfaces oscillate between overworked and underdone, and a series of three-dimensional forms made from readily available materials threaten a decline into formlessness.
Join us at the gallery on the 7th and the 14th of November for a floor talk with Jon Campbell and Stephen Bush. The artists will discuss their recent collaboration and give a short exhibition tour. Talks will commence at 11am. Due to density quotients, places are strictly limited and bookings are essential.
Nicholas Mangan selected as Melbourne Prize for Urban Sculpture 2020 finalist
Congratulations to Nicholas Mangan, who has been named as a finalist in the Melbourne Prize for Urban Sculpture 2020. The prize awards a Victorian sculptor for their existing body of work and takes into consideration their contribution to the practice of sculpture, their works in progress and planned work.
Prize winners will be announced at 6pm on November 11.
Kate Beynon has been selected as a finalist in the Archibald Prize with her painting, With Tudo and the robe, 2020. ⠀ Kindred spirits, protective guardians and shaman figures often feature in Beynon’s work. In this self-portrait, the artist appears with her family’s 13-year old rescue staffy-cross, Tudo. The garment she wears is a painted, soft-sculptural costume work made earlier in 2020 titled ‘Robe for the Blue Shaman Guardian’. Beynon drew inspiration from a range of sources including the botanical and anatomical imagery of 17th century artist Yun Bing from the Qing Dynasty, the surrealist painter Remedios Varo Uranga, as well as the stories and symbols from her Malaysian-Chinese/Welsh ancestry.⠀
Karen Black has been selected as a finalist in the prestigious Archibald Prize for her painting of fellow artist and poet, the late Madonna Staunton, whose practice spanned five decades and included writing, collage, assemblage and painting. ⠀ ⠀ She says, “I’d wanted to paint Madonna since 2014 after seeing her paintings at QAGOMA. I felt she’d been overlooked as one of our great women artists and wanted to put her in the spotlight. When I discovered she was the same age as my mother and also had dementia, it gave me a more personal reason to meet her. I visited her in the nursing home and was inspired to see her still working on various paintings. She was still outspoken, yet I could see a certain introspect in her manner, especially her eyes.⠀ ⠀ She sat on her bed talking, so I situated the painting in her room. When I mixed the paint on the canvas a blob of paint hung over her eye, giving the portrait that feeling of introspection I’d recognised. I used shapes, referencing her assemblages and collages and painted it in the pale colours she was wearing on the day. It reminded me of time fading away.⠀ ⠀ We lost Madonna on 16th December 2019.”⠀ ⠀
Stephen Bush’s exhibition From the Rubber Room is due to open at Darren Knight Gallery, Sydney, on Saturday 29 August 2020. This body of work features new paintings, works on paper and sculptures by Bush, alongside a series of works made in collaboration with the artist’s long-time friend, Jon Campbell.
The exhibition forms part of an artist initiated swap between Sutton Gallery and Darren Knight Gallery. Jon Campbell’s reciprocal exhibition at Sutton Gallery will re-open when restrictions across Victoria are eased.
Matt Hinkley was recently announced as a winner of the McClelland National Small Sculpture Award for his work Untitled, 2014. The prize aims to support sculptors during the initial stages of the impact of COVID-19 on the Australian arts and culture sector. Eugene Carchesio and John Meade are also among the selection of finalists.
Kate Beynon Portia Geach Memorial Award & Darling Portrait Prize Finalist
Kate Beynon is a finalist in both the 2020 Portia Geach Memorial Award with her self portrait The Robe, 2020 (pictured). And the 2020 Darling Portait prize withher work Self-portrait with studio spirits, 2019.
The Portia Geach Memorial Award is an annual prize for Australian female portraitists. The non-acquisitive award established in 1961 with first place valued at $30,000. The exhibition is on show from 14 August – 20 September 2020 at S. H. Ervin Gallery, Sydney.
The Darling Portrait Prize is Australia’s grand new annual prize for painted portraits, joining the iconic National Photographic Portrait Prize at Australia’s National Portrait Gallery. The finalist exhibition continues until Sunday 27 September 2020
Sutton Gallery is committed to supporting its community of artists who have been impacted by the pausing of our physical exhibition program, and by the closure of studio spaces, ARIs and institutions globally.
As part of our response to these new challenges, Sutton Gallery will use its existing Viewing Room platform to present a series of focused online exhibitions. Through solo and group presentations, audiences will be able to discover new works, and to revisit key moments that have shaped our artists’ practices. We are also working with our colleagues in the public sector to enhance digital access to institutional exhibitions by Sutton Gallery artists that have been suspended or cut short due to the COVID-19 response. Stay tuned! More details to be announced shortly.⠀
Kate Beynon at Geelong Gallery
Collection leads – Kate Beynon is a solo presentation of the artist’s work currently on display at Geelong Gallery. The exhibition includes watercolours, paintings and soft sculptures that expand on the story of An-Li and provide greater insights to Beynon’s practice in which she merges diverse pictorial traditions with personal histories to address issues of hybridity, cultural identity and feminism.
In celebration of their 30th anniversay, MGA commissioned four leading Australian artists – among them David Rosetzky – to create works that engage with key issues within the City of Monash community. Rosetzky’s series Being Ourselves is on display as part of the exhibition Portrait of Monash: the ties that bind.
Ruth Hutchinson is included in The Unquiet Landscape, a group exhibition that forms a conversation between D H Lawrence’s 1922 novel, Kangaroo and a selection of artworks. At the core of the exhibition are paintings from the Castlemaine Art Museum shown along side living artists. Curated by Jenny Long none of the historical or contemporary art included were made with Kangaroo in mind, but by pairing each work with a quotation from the novel, unexpected correspondences between image and text are revealed.
Curated by Dr Catherine Bell and including represented artists Helga Groves and Jane Trengove, FEM-aFFINITY brings together female artists from Arts Project Australia and across the country whose work shares an affinity of subject and process. The Devonport iteration runs until 15 March 2020 and will continue to tour nationally through out 2020-2021.
Laresa Kosloff in Shadow Series at the Art Gallery of New South Wales
Laresa Kosloff’s video work La Perruque, 2018 will be shown at the Art Gallery of New South Wales in conjunction with the forthcoming exhibition Shadow Series. The exhibition investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image. Kosloff’s work will be screened on 22 April.
Karen Black and Virginia Leonard will present The Cook and Her Driver at Gertrude Glasshouse, opening Thursday 30 January at 6pm. The exhibition is an outcome from Black’s time at the Stonehouse / Glasshouse Residency, an invitational international residency opportunity in Chenaud, located in the south west of France.
Kate Beynon in the Doug Moran National Portrait Prize
Kate Beynon is a finalist in the 2019 Doug Moran National Portrait Prize with her work Hybrid-self with kindred spirits, 2019. Founded by Doug & Greta Moran and family in 1988, the DMNPP is an annual portrait painting prize supporting Australian artists. With a first prize of one hundred and fifty thousand dollars ($150,000) it is Australia’s richest art prize.
John Meade’s new sculpture ‘Love Flower’ installed on Peninsula Link
Created for the Southern Way McClelland Commission, this charming work is based on an an Ikebana arrangement with an Agapanthus flower – an uncompromisingly tough perennial (technically classed as a weed in Frankston) that gets it name from the Greek ‘Agape’ meaning ‘Love’ and ‘Anthos’ meaning ‘Flower’. While Agapanthus usually stand around 2 to 3 feet in height, Meade’s ‘Love Flower’ plays with scale and expectation, stretching elegantly over the Cranbourne Road exit at 10 metres tall.
Kate Beynon is a finalist in the Rick Amor Self Portrait Prize with her work Artist-self with Tudo and the studio spirits, 2019. An exhibition of finalists’ work will be held at Montsalvat from 14 November 2019 – 26 January, 2020.
Rick Amor Self Portrait Prize Barn Gallery, Montsalvat 14 November – 26 January, 2019
Nicholas Mangan at NTU Centre for Contemporary Art, Singapore
Nicholas Mangan is included in The Posthuman City, a group exhibition that considers the possibilities of a conscious sharing of resources, and a respectful and mindful coexistence between humans and other species. Through its varied artistic propositions, The Posthuman City intends to open a discussion about the imbalanced relationship between an anthropocentric thinking that puts the human at the centre, and the fact that the urban environment is a habitat for many life forms.
The Posthuman City NTU CCA, Singapore 23 November, 2019 – 23 February, 2020
Jane Trengove and Catherine Bell participate in the Care Project Symposium week
Jane Trengove and Catherine Bell recently participated in the interdisciplinary symposium CARE: transforming values through art, ethics and feminism. Trengove and Bell co-presented the session: Whose Voice: Our Voices/Your Voices – Towards an Ethics of Care in Art Practice, alongside Pie Rankine and Susan Long. The symposium was an initiative of Care Project, a research project that explores how care in its many forms represents an alternative ethics to neo-liberalism. It will connect and explore researchers and artists working with care in a number of ways; Care as Relational, Care as Political Labour, Care as Moral Theory, Caring for earth/Country, Art Practice as Care – Care as Art Practice.
Jane Trengove has contributed to the remarkable new publication Queer Objects. The sixty-three chapters in this book consider what makes an object “queer” in relation to lesbian, gay and transgender communities across time, cultures and space. Queer Objects is co-published by Otago University Press, Rutgers University Press and Manchester University Press. It includes objects from New Zealand, Australia, North America, Thailand, Japan, the UK, France, Germany, Poland, Greece. Italy and Egypt. The book is available at Hares and Hyenas, 43 Johnston Street, Fitzroy.
The Art Gallery of New South Wales have announced Nusra Latif Qureshi as the recipient of the 2019 Bulgari Art Award. Selected by senior curatorial staff and AGNSW Trustees, the $80,000 award supports mid-career Australian painters through an acquisition of paintings for the Gallery’s collection and a residency in Rome, Italy.