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.
Melbourne International Arts Festival launch Nusra Latif Qureshi’s Art Tram
Nusra Latif Qureshi’s Melbourne Art Tram recently launched as part of Melbourne International Arts Fair.
In each of her works, Qureshi enlists a collage-like language to bring together an unlikely constellation of techniques, images and complex appropriations from various art historical traditions. The intricate floral pattern that cover Qureshi’s tram references her artwork ‘Layers of red’, 2005, held in the National Gallery of Victoria’s collection. This intricate, two-panel work features a singular female figure, rendered in the style of a Mughal miniature painting, against a floral pattern adapted from an antique French textile.
Matt Hinkley at Württembergischer Kunstverein Stuttgart, Germany
Matt Hinkley is included in the group show Sleeping with a Vengeance, Dreaming of a Life at Württembergischer Kunstverein Stuttgart. Curated by Ruth Noack, the exhibition invites 40 artists from different cultural contexts to negotiate contemporary politics of sleep and dreaming.
Sleeping with a Vengeance, Dreaming of a Life Württembergischer Kunstverein Stuttgart 19 October, 2019 – 12 January, 2020
Kate Beynon and Helga Groves in the R & M McGivern Prize
Both Kate Beynon and Helga Groves have been selected as finalists in the 2019 R & M McGivern Prize. This year, the theme for the $25,000 acquisitive prize is ‘Anthropocene’, calling for artists across Australia to consider the impact of human habitation on the environment. An exhibition of finalists work will be held across Maroondah City Council’s arts spaces from late November.
R & M McGivern Prize 2019 ArtSpace at Realm/Maroondah Federation Estate Gallery 23 November, 2019 – 1 February, 2020
The national tour of Arlo Mountford’s survey, Deep Revolt, continues at Orange Regional Gallery. The exhibition was developed by Goulburn Regional Art Gallery, with touring support from Museums and Galleries NSW and Australia Council for the Arts.
Arlo Mountford Deep Revolt Orange Regional Gallery 28 September – 1 December, 2019
Nicholas Mangan at the National Centre for Photography
See the latest stages of Nicholas Mangan’s ever evolving project, Limits to Growth, in the exhibition Capital as part of the Ballarat International Foto Biennale. Held in the former Union Bank as the space undergoes its transition to the National Centre of Photography, the exhibition explores the use of photography as a method for reflecting upon systems of value and exchange in contemporary Indigenous and settler cultures.
Capital Curated by Naomi Cass and Gareth Syvret National Centre for Photography, Ballarat 24 August – 20 October, 2019
See new works by Eugene Carchesio in Conscious Intuition. The exhibition brings together new sculptures by Carchesio, with paintings by Diena Georgetti. Often creating imagery within the formalist context of geometry and colour, intuition – the ability to understand something instinctively – plays a large part in each of their working processes.
Eugene Carchesio and Diena Georgetti Conscious Intuition Margaret Lawrence Gallery 6 September – 5 October, 2019
David Rosetzky at Ballarat International Foto Biennale
Rosetzky’s most recent body of work is on view in the exhibition Bauhaus Foto, as part of the Ballarat International Foto Biennale. Inspired by the photography of Laszlo Moholy-Nagy, Florence Henri and Herbert Bayer, this untitled series features double exposure photographs of dance artist, Antonio Rinaldi.
Simon Terrill is included in Civilization: The Way We Live Now, an international photography exhibition at NGV Australia that explores representations of life in cities as its key theme, and presents a journey through the shared aspects of life in the urban environment.
Civilization: The Way We Live Now NGV Australia, Federation Square 13 September – 2 February, 2019
Termite Economies is an ongoing project centred on the CSIRO’s relatively recent proposition to exploit the natural behaviour of termites to facilitate resource extraction. Ruminating on the notion of capitalism putting nature to work, Mangan has built an allegorical framework in which termites embody the dynamics of human social and economic activity.
Nicholas Mangan Termite Economies (Phase One) PICA, Perth 27 July – 6 October, 2019
Catherine Bell is included in Pets are people too. The exhibition is a collaboration between Bayside Gallery and Arts Project Australia, and brings together Australian artists whose work reflects on the intimacy and affection that exists between humans and animals.
Pets are people too Bayside Gallery, Brighton Town Hall 27 July – 6 October, 2019
Combining kinetic sculpture, text and painting, George Egerton-Warburton’s recent work has focused on charting the impact of late capitalist conditioning on society. For his solo exhibition at Heide, Egerton-Warburton explores the symptoms of this influence through apparatuses that question conformity, self-surveillance and self-discipline. Examining conditions such as inequality, exclusion, precarious employment and work stripped of meaning—he considers their effect on collective and individual agency and wellbeing.
George Egerton-Warburton , Heide Museum of Modern Art 29 June – 20 October, 2019