Congratulations to Djambawa Murawili AM for being awarded the the prestigious 2019 Telstra National Aboriginal & Torres Strait Islander Art Award! We are excited to be exhibiting the work of Djambawa Marawili AM as part of our TARNANTHI Festival exhibition, ‘Mittji – The Group’. “This masterwork by a senior Yolŋu man manifests tremendous spirit, power and energy. The scale is remarkable, and Djambawa Marawili’s virtuosic use of natural materials and intricate and complex brushwork, honed over decades of dedicated practice, created dynamic flows and movement across the immense bark. the personal narrative within the work articulates his leading role in sharing Yolŋu philosophy with the world.” – Judges’ comments.
We also extend our congratulations to Malaluba Gumana, Winner of the Wandjuk Marika Memorial 3D Award and Nongirrna Marawili, Winner of the Telstra Bark Painting Award; who will also be exhibiting with us during TARNANTHI Festival.
Congratulations to Justine Varga who has been selected as a finalist in the Bowness Photography Prize 2019, presented by Monash Gallery of Art, for her work ‘Overlay’.
“The Bowness Photography Prize has become an important survey of contemporary photographic practice and one of the most prestigious prizes in the country, providing Australian artists with the opportunity to exhibit at one of Australia’s leading public galleries. Since 2017 the prize has been acquisitive and the $30,000 cash prize awarded to the winner ensures that it continues to provide a significant boost to an artist’s career.”
Exhibition runs from October 5 to November 17, with the winner announced October 10.
James Dodd is exhibiting a selection of recent paintings from his ‘Painting Mill Project’ in ‘Motion’ at the Hahndorf Academy as part of SALA Festival. Dodd will also be exhibiting a number of contraptions that encompass multiple roles: sculpture, tool and performance prop.
“James Dodd has a practice that meanders across a range of different outcomes. He has a curiosity for machines, tinkering, backyard adaptation and the way in which these things might be incorporated into a visual arts practice. “
‘Motion’ is showing at the Hahndorf Academy until Sunday September 15.
James Dodd will also be running a kids workshop on ‘Making Machines that Make Art’ on Saturday 17 August, where participants will be able to develop, make and take home their own art machine.
Paul Yore’s ‘IT’S ALL WRONG BUT IT’S ALRIGHT’ installation on display at Black Temple Gallery during Dark Mofo 2019, a technicolour chapel in which to worship Dolly Parton, Justin Bieber and other icons of love, sex and excess.
Images courtesy of Dark Mofo, Hobart, Tasmania.
Hugo Michell Gallery invites you to the opening of Amy Joy Watson’s ‘Super Natural Geologies’ and Grant Parke’s ‘Every Person on the B10 Bus’ on Thursday August 1, 6- 8pm.In ‘Super Natural Geologies’, Amy Joy Watson’s shimmering embroideries and rainbow wire hills reimagine utopic landscapes, moving beyond the natural world as we know it. The geometric quality of these threaded surfaces references the artist’s earlier sculptural works, with spatial planes and strata described by directional lines of thread. During a trip to Arkaroola, Watson was struck by how ancient the landscape was – commonly thought to hold the earliest examples of life on earth. Having grown up believing that the earth was only 6,000 years old, and created in 6 days by a supernatural act of God, Watson investigates this fantastical idea and how it is contradicted by Yura Muda (Adnyamathanha Dreaming), geology and the notion of ‘deep time’. She responds by lovingly and laboriously weaving and stitching – a nod to the possible billion years it took for this landscape to evolve.—‘Every Person on the B10 Bus’ by Grant Parke presents a selection of drawings and animation from a 3 year project anonymously documenting people on their daily commute.“I first started these drawings sometime in 2015. I’d moved to Adelaide not long before and was spending a lot of time on public transport, more specifically the B10 bus. I wanted to make use of this time for something constructive. It was never supposed to be anything more than practice and didn’t look likely to be anything more given the rocky nature of bus travel. I chose drawing for two reasons. One, I didn’t know anyone in Adelaide and was desperate to feel some connection with people and two, I’d become scared of drawing. The first reason has been a theme throughout many years of work and the drive for even making it in the first place, trying to find something human in humans. Something beyond the surface. That is why all my subjects were observed without their knowledge. I was looking for an unguarded moment that revealed something of their nature.”Please join us in celebrating the launch of these two SALA Festival exhibitions!Hugo Michell Gallery acknowledges the Kaurna people as the traditional custodians of the Adelaide region, and that their cultural and heritage beliefs are still as important to the living Kaurna people today.
Image: Amy Joy Watson, Arkaroola 4, 2018, metallic thread and watercolour on paper, 103 x 154 cm
Image: Grant Parke, Passenger 106, 2019, pen on paper, 14.8 x 21 cm
Ildiko Kovacs’ ‘The DNA of Colour’ is now showing at ANU Drill Hall Gallery, Canberra. The exhibition displays a decade of Kovacs’ roller paintings, linking the looped, spiral lines with the double helix structure of genetic material.
“In thinking about Kovacs’ abstract paintings I was struck by the resemblance of her spiralling lines to the coils of DNA … Her rippling forms seem to twist into a vortex or follow an unravelling double helix pattern. The DNA code is a metaphor for the way these paintings unfold and move with colour, sparked by an excavation of inner feelings and intuition…”
Sioux Garside, curator for Orange Regional Gallery and the Drill Hall Gallery
‘The DNA of Colour’ is on show until August 11.
Janet Laurence explores the Johnston Collection within the context of her own practice – saving, collecting and preserving the natural environment, as written in the Sydney Morning Herald,
Laurence wants her site-specific art installation – the latest instalment in the museum’s “house of ideas” series, opening this Monday – to reflect how gardening “was a big thing in William Johnston’s life and in his mind”. “He had a garden here and another elsewhere. A garden becomes very important to a person. You create it and it grows with your help and, while I was in this house, I thought about that.”
Exhibition runs July 8 – Sept 17 at the Johnston Collection, East Melbourne.
Congratulations to James Dodd who has been announced as a FINALIST in the Sunshine Coast Art Prize! Presented by Sunshine Coast Council, the award is open to any artist who is an Australian resident, working in a 2D medium. The recipient of the $25,000 Art Prize will have their work acquired by Sunshine Coast Art Collection.
Finalist exhibition opens July 25 at Caloundra Regional Gallery, with the winner announced August 29.
To read full details, click here.
Hugo Michell Gallery invites you to the opening of Sally Bourke’s ‘The Quick Brown Fox’ and Narelle Autio’s ‘around a golden sun’.
Sally Bourke is a Newcastle-based artist with a firm footing in painting. An obsessive maker, Bourke has a rigorous approach to her day-to-day studio practice. These habitual processes are evident in her paintings, which often depict an image archive reconciling experiences from the past. Though abstract, Bourke’s paintings are curiously recognisable, a celebration of personal encounter and memory.
Of ‘The Quick Brown Fox’, Bourke states: “Travelling in remote areas as a child taught me to look carefully. The places I went felt isolating and, at times, dangerous. I used to tag along on hunting trips with my dad in order to be closer to him. Experiences in the Australian bush had a profound effect on my visual language and mark-making. The landscape in Western NSW is brutal and beautiful, soaked in deep human cultures that are precariously perched on top, at times not understanding the depth of what they are in.
I wanted to be in my dad’s company, but I knew the deal: It meant being captive to the environment, while simultaneously up against death. It’s one of the places that keeps drawing me back, to blind faith, and the human condition – the dark bargain of intimacy.
The portraits are different versions of the same protagonist. The huntress and her counterparts, a domestic interior, a room of one’s own.”
Narelle Autio’s vibrant and award-winning images of Australian outback and coastal life have won her impressive national and international acclaim and captured the hearts and imaginations of viewers. One beauty of Autio’s work is its ability to speak to so many people about their own experience of being coastal dwellers. Another is the play of colour and light in the photographs, giving them a magic and painterly quality that transcends the usual depictions of the beach. Autio’s images give back to the coastline the complexity, drama, and beauty that are eroded by postcards and clichés.
“I love those hot, windless summer evenings. There is a quiet stillness to the world that seems magnified by the mirrored surface of the sea. The last fingers of sun loiter over the beach, reaching out hanging on to the day.
Warmed by the inferno that was the day, the water is busy. A melting pot of humanity. Families and dog walkers, sun worshippers, teenagers and lovers come to sit and play in this big beautiful pond of water that hugs Adelaide’s coast. The ocean is calm and embracing, restoring us but perhaps it is an illusion. Maybe the magic hour is hiding a truth.
There is an old story I’ve heard, a myth probably… a frog in a pot of cold water. If you turn the temperature up slowly it won’t feel it. The frog will not try and save itself. Sitting quietly, comfortably. Slowly boiling itself to death. The change in temperature so gradual it won’t realise till it is too late.”
Please join us in celebrating the launch of these two incredible exhibitions!
Hugo Michell Gallery acknowledges the Kaurna people as the traditional custodians of the Adelaide region, and that their cultural and heritage beliefs are still as important to the living Kaurna people today.
Image: Sally Bourke, The Stand, 2019, oil and acrylic on canvas, 183 x 153 cm
Image: Narelle Autio, Beyond, 2019, from ‘around a golden sun’, pigment print, 80 x 80 cm, edition of 6
Congratulations to Fiona McMonagle who has been announced as the WINNER of the $3,000 Local Art Prize in the Bayside Acquisitive Art Prize for her painting Toast with jam.
Fiona has strong ties to Bayside having spent her formative years as an artist living in Brighton East. Curator, Joanna Bosse said Toast with jam was imbued with a heavy nostalgia akin to a forgotten family photograph.
“McMonagle’s painterly treatment of the figure is delicate and nuanced and she manages to capture the self-satisfaction of the quiet pleasure of eating toast with jam,”
The 2019 art prize was judged by Jane Devery, Curator, Contemporary Art, National Gallery of Victoria, Anthony Fitzpatrick, Curator, TarraWarra Museum of Art and Joanna Bosse, Curator, Bayside Gallery.
Finalist exhibition at Bayside Gallery will run 24 May–21 July, 2019
Image: Fiona McMonagle, Toast with jam, 2018, oil on linen, 77 x 72.5 cm