Basil Sellers Art Prize finalists announced – About Regional

Wollongong artist Anh Nguyen’s Jamboree Morning won the 2019 Basil Sellers Art Prize. Photo: Supplied.

Finalists for the biennial Basil Sellers Art Prize have been announced, with the winner to be revealed on Friday, 9 October. The works of the selected finalists will be exhibited at the Basil Sellers Exhibition Centre in Moruya from Saturday, 10 October to Monday, 9 November.

The Basil Sellers Art Prize is named after Australian businessman and philanthropist Basil Sellers, who is a keen patron and art collector. Founded in 2004 for Eurobodalla artists, the competition was expanded in 2018 to include entries by artists throughout NSW and ACT, with the major prize increased to $20,000 and the winning work to be acquired by Mr Sellers.

The Basil Sellers Art Prize was funded solely by Mr Sellers until 2018, when Eurobodalla Shire Council introduced the Eurobodalla Award of $5000 for a local entry, which is acquired for council’s permanent collection.

Despite the current closure of the Basil Sellers Exhibition Centre due to COVID-19, Eurobodalla Shire Council Mayor Liz Innes said she is looking forward to the event, which is a highlight on the region’s calendar.

“This has been such a tough year for our local artists, and I’m so pleased that with the generous support of philanthropist and art lover, Mr Basil Sellers, we can help enliven the creative arts industry in the southeast,” she said.

“Once again, the finalists’ works are world class and I can’t wait to see who takes out the major prize.”

The 2019 winner of the Eurobodalla Art Prize, Some Days Are Rough, by Stephanie McClory. Photo: Supplied.

Local Eurobodalla artists are eligible for council’s $5000 prize and the opportunity for a solo exhibition in the Basil Sellers Exhibition Centre in 2021, while the People’s Choice Award offers $500 prize money.

Eurobodalla Shire Council’s coordinator of creative arts development Indira Carmichael said there are double the number of competition entries in 2020 compared to previous years.

“We are able to showcase a great variety of techniques and mediums in the finalist selection,” she said.

“It was really pleasing to see so many Eurobodalla entries and see so many locals selected as finalists. We always knew our artists could perform on a wider stage and we are very excited to see the exhibition in the gallery.”

Despite the exhibition centre’s current closure, council’s art team remains committed to the program and is putting current and upcoming exhibitions online.

“In the coming weeks, our current and upcoming exhibitions will shift to an online format with the introduction of online exhibition tours and exhibiting artist profiles on our website and social media channels,” said Ms Carmichael.

“We hope to still host exhibitions in our beautiful art space, however moving online will enable the community to get their art fix at any time from the comfort of their own home, no matter what the future brings.”

The 2020 Basil Sellers Art Prize finalists are Jane Louise Aliendi, Robert Berry, Yvonne Boag, Kristone Capistrano, Tristan Chant, Lorna Crane, Nicolette Eisdell, Mirabel Fitzgerald, Steve Fox, Anna Glynn, Victoria Hempstead, Julie Mia Holmes, Janece Huntley, Yvonne Langshaw, Raewyn Lawrence, Libby Moore, Susan Nader, James Needham, Catherine O’Donnell, Veronica O’Leary, Steven Thomas, Karyn Thompson, Mark Ward, Simon Welsh, Stuart Whitelaw and Peter Yates.

For further information, visit the Basil Sellers Exhibition Centre online, or follow it on Facebook or Instagram.

2020 North Queensland Ceramic Awards winners

Art Education Victoria | Creative Currency Conference

Arty Facts: Margaret Preston, pioneer of Australian modernist art – Prestige Online

Born in Adelaide as Margaret Rose McPherson in 1875, the painter and printmaker Margaret Preston is regarded as one of Australia’s pioneering modernist artists. She saw her work as a quest to develop an Australian “national art” and was one of the first non-indigenous Australian artists to use Aboriginal motifs in her work.

After her family moved to Sydney in 1885, Preston attended Fort Street Girl’s High School, a selective government institution for gifted students where her interest in art was kindled. In the following years she received one the best art educations to be had in the country, including the National Gallery of Victoria Art School under Frederick McCubbin from 1889 to 1894 then later the Adelaide School of Design in the city of her birth. Preston supported herself through scholarships and tutoring, with some of her students becoming notable artists in their own right.

Sydney Heads, hand-coloured woodcut, 1925

In 1904, Preston and a former student, Bessie Davidson, set off for Europe where they remained until 1907. They travelled widely, but Preston was particularly taken with Paris where her interest in modernism was influenced by Cezanne, Gauguin and Matisse as well as Japanese art and design she viewed at the Guimet Museum with its notable collection of Asian art. It was Preston’s introduction to the Japanese print tradition of Ukiyo-e that informed much of her own work throughout her career.

Preston returned to France in 1912 with Gladys Reynell, another former student from Adelaide, but when World War I broke out they moved to Britain. In London Preston studied pottery and the principles of Modernist design at the Omega Workshops of Roger Fry, of the Bloomsbury group. Preston, along with Reynell, later taught pottery and basket-weaving as therapy for shell-shocked soldiers at the Seale Hayne Military Hospital in Devonshire. She exhibited her work in both London and Paris during this period.

Fuchsias, 1928

On her way back from a visit to the United States, Preston met her future husband, William Preston, a recently decommissioned Australian Army lieutenant who had served in France. They were married on the last day of 2019, by which time William had returned to a successful business career that allowed Margaret the freedom to continue her work with financial security. They lived mostly in Sydney’s delightful harbourside suburb of Mosman, home to many of the city’s notable artists. They moved for seven-year interlude to the bush suburb of Berowra on the Hawkesbury River during the 1930s – a move that inspired her produce more landscape paintings. They later returned to Mosman.

Preston grew increasingly aware recognition of the connection between country and art in Aboriginal culture, which informed her work prompted to study sites of Aboriginal rock painting around Australia. Preston held her last major exhibition in 1953 and gave her last public lecture at the Art Gallery of NSW in 1958. She died in May 1963.

Margaret Preston, self portrait, 1930

This story first appeared in Prestige Hong Kong.

(Main and featured image:  Prestige Hong Kong)

Two artists share work at Trinidad gallery – Eureka Times-Standard

The reopened Trinidad Art Gallery is featuring the work of two local artists, fabric artist Patty Demant and jeweler Drew Forsell.

The gallery — located at 490 Trinity St. — is regularly disinfected, with all safety compliances in place, including a mask requirement. Open hours are 11 a.m. to 4 p.m. Visitors are greeted by a gallery member, also masked.

Demant’s botanical printing is an ancient Australian fiber art. She creates scarves using natural colors, natural fabrics, replicating the variety leaves she finds in local woods, gardens and farmers markets.

Demant’s traditional process begins by wrapping fiber bundles around leaves, such as eucalyptus, alder, maple, oak and black walnut, and binding them tightly around copper pipes. The next step requires a pot full of elements to serve as mordants, such as iron and vinegar. She simmers these bundles for hours in pots full of mordants, then removes, cools and opens them the next day.

In addition to success in printing with rust, Demant — who offers classes at her home — is starting a dye garden, growing weld, Dyers chamomile and marigolds for a variety of yellows.

Forsell describes himself as an accidental jeweler. When he moved to Seattle in 1990 his only friend in that city worked in a bead store. When the manager encouraged him to take a part-time job, he learned how to make all kinds of jewelry. Forsell was working in photography at the time, making macro-photographs of flowers.

Pictured are Shaman Dream Stones by jeweler Drew Forsell. (Courtesy of the artist)

Then, he joined an art gallery that had a greater need for jewelry than for photographs, so he began to work in fine beads, silver and gold. He now makes a wide array of jewelry, using aura quartz infused with gold vapor, pearls, garnets, peridot, amethyst, citrine, labradorite, moonstone, aquamarine and other precious and semiprecious gems. He made his latest find on a journey to Mexico. Lodolite, or Shaman’s Dream Stone, is now the centerpiece for many of his pendants, wrapped in silver.

For more information about the exhibit or the gallery, call 707-677-3770. To preview gallery artists’ work, visit

Kangaroo Valley Art prize entries to open in August – Goulburn Post

Art Industry News: Loïc Gouzer’s Fair Warning Sold a Basquiat for $10.8 Million, a Record for an In-App Purchase of Anything + Other Stories – artnet News

Art Industry News is a daily digest of the most consequential developments coming out of the art world and art market. Here’s what you need to know on this Friday, July 31.


Meet the Amateur Art Detective Trying to Prove Gauguins Are Fakes – An amateur sleuth is challenging museums on the authenticity of works attributed to Paul Gauguin. Fabrice Fourmanoir says there’s something fishy about Gauguin’s The Invocation at the National Gallery of Art in Washington, DC, and Women and a White Horse at the Museum of Fine Arts in Boston. Once dismissed as an obsessive loon, Fourmanoir has been taken more seriously after his suspicions eventually compelled the Getty Museum to recognize that what it had thought was a Gauguin sculpture in its collection was actually… not. The art detective goes even further, however, suggesting that nearly all of Gauguin’s assumed final works in museums around the world are fake. (Washington Post)

What Can You Really Do With an Art Degree? – You may have already heard this from your parents, but US News is here to tell you again: pursuing an art or design degree probably may not be particularly lucrative. Data on pay from the US Bureau of Labor Statistics shows that most people working in the creative arts in the US earn less than $60,000 a year, with the median salary for craft and fine artists coming out to just $48,760. But art schools and alumni say there are many ways to make that degree more commercially viable, including pursuing careers in art directing, animation, and fashion design. (US News and World Report)

Burning Man Art Comes to Las Vegas – An outdoor art gallery devoted to sculptures created at desert festivals like Burning Man is opening in Las Vegas in September. The venue is part of Area15, an immersive arts and music entertainment complex. Among the works on view at the 10,000-square-foot open-air gallery is In Every Lifetime I Will Find You, a mirrored 14-foot sculpture of a couple embracing by Belgian artist Michael Benitsky that debuted at Burning Man last year. The display offers a chance to commune with the monumental art in a year when most festivals have been cancelled. (The Art Newspaper)

A Parody Website Calls Out Pay Inequity at the Guggenheim – The group Artists for Workers is taking aim at the Guggenheim after creating a mock New Museum website to criticize its politics. The latest parody site, called the “Guggenheim Transparency Initiative,” presents what the group claims are leaked internal documents that point to “significant wage gaps” across departments. It says that BIPOC workers in the facilities department are paid on average “$8,209.31 less than their white coworkers, despite having been at the Guggenheim an average of seven years longer than them.” (Hyperallergic)


Fair Warning’s Basquiat Sets an App Record – Loïc Gouzer’s Fair Warning app announced yesterday that it sold Jean-Michel Basquiat’s Untitled (1982) for $10.8 million. The price is a world record for an in-app purchase. The oil stick on paper was estimated to sell for between $8 million to $12 million; it had a guarantee near its low estimate. (Instagram)

Paris Internationale Will Go On – Organizers of the FIAC satellite fair for emerging art have announced it will go ahead in October. The sixth edition of the fair will take a scaled-back approach: the roughly 35 participating galleries will not have booths, and instead contribute two to three artworks to a joint exhibition. The gallerists themselves do not have to be present. The fair will also have an online viewing room, participation in which will be included in cost of taking part in the fair. (Journal des Arts)


Baltimore Museum of Art Adds Six Trustees – The Maryland institution has added six new members to its board of trustees, noting that it is “essential that we continue to diversify the BMA’s board leadership.” New trustees include Denise Galambos, vice president of human resources at Baltimore Gas and Electric Company, and Sherrilyn Ifill, president and director-counsel of the NAACP Legal Defense and Educational Fund. (ARTnews)

Grindr Launches… an Art Section? – The gay dating app Grindr has launched a new section for art lovers. Its new “Circle” feature has a chat room function where users can discuss everything from activism to their love of queer art and photography. (TAN)


Sydney’s Cultural Sector Gets $1.4 Million – Sydney’s cultural and creative sector will receive AU$1.4 million ($1 million) in grants from the Australian city. First Nations storytellers, accessible experimental artworks, and a smartphone film festival are among the projects that will be given a boost. (Press release)

Pussy Riot Releases Protest Video – The Russian music and art collective has released a new music video, Riot. The thrashing song has some poignant lyrics: “All this cop cars give me anxiety, all these killers give me anxiety, politicians give me anxiety, all these fascists give me anxiety.” Watch below. (Email)

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‘I miss my brother’: leading Kimberley artist dies – Sydney Morning Herald

Kavanagh said Peters’ palette of traditional red and yellow ochres and black charcoal reflected the style of the East Kimberley school. Intricate curves, mapping of “country”, and dark caves and rivers were particular to Peters’ work.

Peters’ sister is the revered Gija artist Mabel Juli. “They had a customary relationship of avoidance in that they didn’t speak to one another but saw each other every day and worked closely together at the arts centre,” Kavanagh said.

Three nyawana in Yarini country, 2012. Credit:Nancy Sever Gallery

Juli paid tribute to her brother’s role as an educator passing on culture and language to the next generation. “He the main one for this place, look after all the kids, working all day ’til that Art Centre we come. He was the main one, jarrag Gija [speaking Gija] all day, tell ’em ’bout story, you know, all the kids.” She added, “I miss my brother.”

The Sydney Morning Herald‘s art critic John McDonald said Peters, who was never seen without his stockman’s hat, was one of a distinguished generation of Kimberley artists.

“He arrived on the scene as a painter a little later than [other Indigenous] figures,but his work was immediately successful,” McDonald said. “His theme was the perennial one of the land.


“His style of painting bore a family relationship with other artists from the Warmun region, but with a marked individuality and self-confidence. This came through in his willingness to tackle large-scale compositions that exerted a spell on major public and private collectors.”

Peters got together with other Gija elders to found the Warmun Art Centre in 1998 with the aim of promoting, supporting and maintaining Gija art, language and culture. He went by the bush name Dirrji, a reference to dingo pups looking out of a hole at sunrise.

In his youth, Peters worked as a stockman on cattle stations. Following the death of his father in a tragic riding accident, his family moved to Mabel Downs and it was here that Peters came to earn his reputation as a renowned horse breaker.

“He was one of the last senior lawmen in the Kimberley,” Kavanagh said.

Peters’ work appeared in the 3rd National Indigenous Art Triennial at the National Gallery of Australia in 2017, which commemorated the 50th anniversary of the 1967 referendum recognising Aboriginal and Torres Strait Islander people as Australians for the first time.

For that exhibition, Peters had disclosed he had taken up painting after watching his brother and uncle. “That’s when I started to paint my country,” he said. “I didn’t want to paint someone else’s country, I might get sick. I paint for my mother and grandfather’s country.”

A painting started by Peters to assist the campaign to protect sites of cultural significance from mining was half complete at the time of his death. “Mabel would like to see her son-in-law complete the canvas so they can continue the fight to keep their land safe,” Kavanagh said.

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Michael Bell wins Kilgour Prize 2020 with a double self-portrait

Gosford Art Prize returns – Central Coast Community News

Central Coast Council’s Gosford Art Prize will be accepting online entries this year to ensure all COVID-safe processes are followed.

Since the prestigious competition began 50 years ago, this is the first time that the finalists will be selected from online submissions.

The competition prize pool is $25,000, with the winner receiving $15,000.

Council Director Connected Communities, Julie Vaughan, said that more than 500 artists from across Australia are expected to enter the competition.

“The Gosford Art Prize and the exhibition of the finalists’ work is always a highlight, and we are thrilled that we are able to proceed with the competition in what has been a challenging year, to say the least,” Vaughan said.

“We have to do things a little differently this year, and artists competing in the prize will need to submit digital images of their works online.

“Only selected finalists will be asked to deliver their physical work, and we will proceed with the Gosford Art Prize exhibition as in previous years.

“The Gosford Art Prize is a Central Coast institution and supports local artists and artists from across the country.”

Mayor Lisa Matthews said the cultural and economic benefits of the Gosford Art Prize were significant.

“Art brings us together, inspires us and challenges us, and in 2020 the Gosford Art Prize is more important than ever,” Cr Matthews said.

“Approximately 24,000 people will visit the Gosford Art Prize exhibition at the Gosford Regional Gallery, and 40 per cent of visitors will come from outside our region, which represents a great tourism boost for the Coast.”

To be accepted, applications must include a high-quality photo of the art piece.

The entry form can be found on the Central Coast Council website and should be submitted between August 1 and August 30.

Finalists will be announced on September 4, with exhibition of finalists’ work to be on show at Gosford Regional Gallery September 26-November 29.

Media Release Jul 29
Central Coast Council

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