Laresa Kosloff is a finalist in the 67th Blake Prize. The Blake Prize is a biennial event that engages local and international contemporary artists in conversations on the broader experience of spirituality, religion, and belief.
The selected finalists will show their work at The 67th Blake Prize exhibition on 12 March – 22 May 2022.
Jane Trengove, in collaboration with Susan Long, is exhibiting at the Australian Catholic University Melbourne Gallery for Midsumma Festival 2022. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ S/He – On November 7, 1800, the prefecture of police for the city of Paris issued an order prohibiting women from wearing men’s clothing in public. … Henceforth, any cross-dressing women without proper documentation risked being arrested. The law remained in effect for 213 years, until it was declared null and void in 2013.
Catherine Bell is included in ‘Art, Death & Disposal’ a group exhibition curated by Elizabeth Hallam, University of Oxford, in collaboration with the DeathTech Research Team from the University of Melbourne.
How might disposal of the deceased be designed in the 21st century?
Imagining beyond burial and cremation – in a world of rapid social, technological and environmental change – seven artists respond to this question, presenting moving and provocative new work.
‘Who’s Afraid of Public Space?’ is a major new project taking place at ACCA and extending across Melbourne through a series of satellite exhibitions and programs in the public realm from 4 December 2021 – 20 March 2022, featuring artists Laresa Kosloff and John Meade.
‘Form & The Universe of Colour’ is a survey exhibition of artist Nick Selenitsch which brings together a collection of recent works and an ambitious new project specifically developed for Benalla Art Gallery.
‘Doing Feminism: Women’s Art and Feminist Criticism in Australia’ by Anne Marsh
Doing Feminism represents over 220 artists and groups including Catherine Bell, Kate Beynon, Vivienne Binns, Anne Ferran, Elizabeth Gower, Sara Hughes, Helen Johnson, Laresa Kosloff, Lindy Lee, Rosslynd Piggott, Nusra Latif Qureshi and Jane Trengove, with 370 colour illustrations punctuated by extracts from artists’ statements, curatorial writing and critique.
Tracking networks of art practice, exhibitions, protest and critical thought over several generations, Marsh demonstrates the innovation and power of women’s art and the ways in which it has influenced and changed the contemporary art landscape in Australia and internationally.
‘Flow: Stories of River, Earth and Sky in the SAM Collection’ explores the narratives we weave through the places we inhabit, and the myriad ways in which nature shapes our lives and culture. Drawn from the Shepparton Art Museum Collection, the exhibition features the artwork of over 60 artists from the 1800s to now, and is on view in the recently completed Denton Corker Marshall building.
This publication assembles three phases of ‘Termite Economies’ a major series of work produced between 2018 – 2020 by artist Nicholas Mangan.
The book presents each phase in the order of the exhibition series. It includes process and research photographs, diagrams, installation and detailed imagery. It includes an essay by Artist Mariana Silva, a fictional text by writer ST.Lore, a conversation between Mangan and cultural theorist Ana Teixeira Pinto, and a republished essay by Dr. Guy Theraulaz Research Director Member of Team CAB: Collective Animal Behaviour Centre for Research on Animal Cognition, CNRS.
Language: English Pages: 152 Illustrations: Colour, b/w Format: Softcover ISBN: 978-3-943514-81-0 ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Editor: Nicholas Mangan and Žiga Testen Texts: Nicholas Mangan, Ana Teixeira Pinto, Guy Theraulaz, Mariana Silva Designer: Žiga Testen
Nusra Latif Qureshi is included in SOUL fury at Bendigo Art Gallery. Bringing together the work of leading Australian and international contemporary artists working across sculpture, photography, painting, installation, video and textiles, the exhibition reflects on the essential nature of female agency in the current social and political climate.
Gian Manik has been awarded a studio position at Gertrude Contemporary in their highly competitive Studio Program.
The application–based program supports 16 artists for a two–year period, with 8 artists invited to join the program each year. Gertrude Contemporary is committed to supporting artists at key moments in the development of their practice, to represent an inter–generational selection of artists, and to support a diverse range of artistic practices. The selection of artists is by a competitive application process led by an advisory committee.
Gian Manik will relocate his studio to the Preston premises in 2022.
Kate Beynon is included in the ‘Archie 100: A Century of the Archibald Prize’. Geelong Gallery Saturday 6 November 2021, to Sunday 20 February 2022.
In celebration of the 100th anniversary of the Archibald Prize, ‘Archie 100’ explores the history of Australia’s most prestigious portrait award. The exhibition presents a diverse selection of Archibald portraits from the last century—the triumphant and the thwarted—and honours the artists who have made the prize the most sought-after accolade in Australian art today.
Monash University Museum of Art presents ‘Helen Johnson: Let the Painter In and Out’, 10 September – 12 November 2022. Curated by Hannah Mathews ‘Helen Johnson: Let the Painter In and Out’ continues MUMA’s much anticipated and celebrated annual survey exhibition series that presents the practices of Australia’s most exciting and innovative mid-career artists.
Helga Groves finalist in the Arthur Guy Memorial Painting Prize 2021
Congratulations to Helga Groves who has been selected by Bendigo Art Gallery for this year’s finalist exhibition. Thirty-four finalists have been selected and the winner of this popular $50,000 acquisitive painting prize will be announced in November. Prize exhibition dates: 20 November 2021 – 13 February 2022, held at Bendigo Art Gallery.
Vivienne Binns at MUMA and the Museum of Contemporary Art in 2022
Since the 1960s, Binns’ ground-breaking work has played an important role in the evolution of feminist, collaborative, community-based and studio practice.
A new retrospective of her work titled On And Through The Surface will show at Monash University Museum of Art from February 5 – April 2022, then at the Museum of Contemporary Art from July 15 – September 25, 2022.
The exhibition will encompass over 100 key works and cover six decades of Binns’s practice, spanning painting, drawing, assemblage and collaborative projects, loaned from public and private collections as well as the artist.
Lindy Lee sculpture commission for National Gallery of Australia
Lindy Lee will create her most significant work to date, an immersive public sculpture, the Ouroboros, for the Gallery’s 40th anniversary.
Constructed from mirror-polished stainless steel, the sculpture will be positioned at the entrance to the National Gallery, standing around 4 metres high and weighing approx 13 tonnes. Ouroboros will be one of Australia’s first sustainable works of public art – minimising its carbon impact, incorporating recycled materials and maximising renewable energy.
‘This work will become a beacon for the National Gallery, daytime or night-time, pulsing with light and energy. During the day its highly polished mirror surface will reflect the imagery of the floating world. And at night the Ouroboros will be lit internally, returning its light to the world.’ – Lindy Lee.
Nicholas Mangan at Tai Kwun Contemporary, Hong Kong
Nicholas Mangan is included in trust & confusion at Tai Kwun Contemporary, Hong Kong. Curated by Xue Tan and Raimundas Malašauskas. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Commissioned by Tai Kwun Contemporary, Nicholas Mangan’s Lasting Impressions is a constellation of dental casts made up of a mixture of crushed coral and other compounds. As the Great Barrier Reef transforms from one of the largest living organisms to one of the largest dying organisms on Earth due to global warming, ‘Lasting Impressions’ interrogates the literal and metaphorical relations between the human mouth, consumption, and destruction.
George Egerton-Warburton in ‘Love in Bright Landscapes’ at PICA
George Egerton-Warburton’s Raw Factory / Drugs / Echo no no no me, 2017– 21, mixed-media installation is included in Love in Bright Landscapes, Perth Institute of Contemporary Arts, curated by Annika Kristensen.
Raw Factory / Drugs / Echo no no no me is a mixed-media installation engaging sight, smell and sound. A reprisal of an earlier work, Paddock Addiction (2017), previously shown at Los Angeles gallery Château Shatto, the work centres around a handmade fountain joyously spurting forth pink foam. Despite its alluring bright colour, the substance signifies the highly toxic agricultural crop marker used to demarcate an area where pesticide has been sprayed. A reference to the agricultural histories of both the cities of Perth and Los Angeles, the fountain is also suggestive of the chemical dopamine, issuing ‘hits’ to the brain.
Aleks Danko is included in This is a poem at Buxton Contemporary. Bringing contemporary art and poetry into dialogue, This is a poem is a multi-disciplinary project encompassing new commissions in a diverse mix of media and forms, live performances, a publication and an exhibition. Curated by Melissa Keys, The project draws notable artists and poets into creative discourse. Each participant has been invited to write, perform, read or present in visual form an original work of poetry in response to an artwork held in the University’s Buxton Contemporary collection.
Kate Beynon announced as 2021 Collingwood Yards Resident
Bank of Melbourne and Collingwood Yards have today announced the recipient of the second Bank of Melbourne Collingwood Residency, a program created in partnership between the two organisations. A $30,000 package of support for a start-up creative enterprise consisting of a large studio space in the refurbished Johnston Street building, a $10,000 Bank of Melbourne bank account and professional development opportunities has been awarded to artist and educator, Kate Beynon.
Sophie Travers, Director of Collingwood Yards said “Kate is an artist with so much to offer the Collingwood Yards community. We are delighted to welcome her and support her beautiful work and connections to our creative tenants and Collingwood neighbours.”
Sara Hughes new interactive installation is on show at Whirinaki Whare Taonga New Zealand from 17 April – 27 June 2021. Hughes has created an interactive installation, based on the idea of the building block: it’s an artwork you can build with. Especially popular with families, visitors can build their own cityscape using hundreds of wooden blocks which are modelled on the local architecture and landscape. Focused on experimenting with colour, composition, shape and pattern this is a site specific work celebrating the city of Upper Hutt.
Jane Trengove awarded Australia Council for the Arts Grant
Jane Trengove and Katie Ryan have been awarded an Australia Council for the Arts: Arts and Disability Mentoring Initiative grant of $30,000 for a peer-to-peer collaborative project to develop inclusive practice models in artist-run spaces
Jackson Slattery at Museum of Contemporary Art, Montreal
Jackson Slattery’s major painting Siamese Dream is currently on view at Musée d’art contemporain de Montréal, Montreal, as part of Des horizons d’attente. This exhibition highlights the practices of twenty-one artists whose works, recently acquired by the Musée, are being shown here for the first time. They speak of political, feminist, social, aesthetic, material, conceptual, spiritual, ecological, poetic, linguistic and identity-related concerns specific to our time.
Nicholas Mangan at the Australian Centre for Contemporary Art
Nicholas Mangan’s new work Core-coralations, 2021, will be on view at ACCA from 26 June – 5 September, 2021. A Biography of Daphne is a curatorial project that revisits the Classical myth of Daphne as the starting point for an investigation of trauma and metamorphosis, symbiosis and entanglement in contemporary art. Daphne, the nymph who turned into a tree to evade the assault of the god Apollo, is a figure in, and of, crisis, but also a symbol of resistance and transformation.