Art galleries a picture of caution as lockdown restrictions ease – Sydney Morning Herald

An NGV spokeswoman would only say their date of reopening would be announced “in due course” – in the meantime they are “working closely with Creative Victoria to ensure appropriate public health and physical distancing measures are put in place to ensure the safety of our staff and visitors upon reopening”.

It is more than simply opening the doors: galleries have to work out how they will manage queues, how to move visitors through the building so distancing rules are not breached, and how they can ensure staff are protected.

On the weekend, Premier Daniel Andrews announced that from one minute before midnight on May 31, public galleries will be allowed to reopen. They would have to apply physical distancing of one person per four square metres, have a limit of 20 patrons per “space”, and record contact details for all visitors.

From June 22, the limit lifts to 50 people – however physical distancing would remain.

Jessica Bridgfoot, director of the Bendigo Art Gallery, said they were working towards reopening on the June 6 long weekend – anticipating that as hotels and motels reopen, regional tourism will start to pick up. Their two exhibitions on show have barely been seen – one opened just a day before lockdown, and the other has only been viewed online.

“Bendigo is a weekend destination, and we are as always keen to support the region’s tourism economy,” Ms Bridgfoot said.

They are deploying additional cleaning, social distancing signage and markers, and will closely monitor visitor numbers.

“Technically, a gallery is an extremely safe place to be, because there’s actually no reason to touch anything,” Ms Bridgfoot said. “You’re not static, you’re on the move, and you can walk the whole length of the building and experience all our exhibitions without touching anything with your hands – it’s really just your feet on the ground.”

ACCA, however, currently sits empty and its next exhibition, a sound-and-performance installation by Frances Barrett called Meatus, is not due to open until September.

Artistic director Max Delany said the gallery had, once lockdown hit, planned a six month closure so they didn’t commit to exhibitions that would then be cancelled. Instead they focused on a suite of digital projects.

“We will of course review what we have planned in the gallery space, but feel confident that reopening in September is still the best way forward,” Delany said.

Several commercial galleries in Melbourne have already reopened, with reduced hours and limited visitor numbers, including This Is No Fantasy in Fitzroy, Station Gallery in South Yarra and MARS in Windsor.

However, Tolarno Gallery in Exhibition Street, which is on the fourth floor, is affected by government guidelines allowing only two people in a lift – and is not yet open.

Director Jan Minchin said: “we’re still thinking about how to manage the practical side of things, we don’t want visitors queueing and having to wait in the cold”.

Most Viewed in Culture


Defining Moments: Australian Exhibition Histories 1968–1999 – Announcements – E-Flux
Instagram / Facebook / #accamelbourne / #definingmomentsacca

ACCA’s two-year lecture series Defining Moments: Australian Exhibition Histories 1968–1999 will this year be presented as illustrated video lectures online.  

Designed to shed light on markers of change in Australian art from the last three decades of the twentieth century, Defining Moments focused last year on key exhibitions and projects from the late 1960s and ’70s. This year the series will explore new institutional models and contemporary modes of exhibition-making that emerged in the 1980s and 90s—including the Asia Pacific Triennial and 4A Centre for Contemporary Asian Art, as well as exhibitions and projects led by First Nations artists and curators in Australia and internationally, among others.

In 2020, the series will be presented online as podcasts and video lectures to expand the national and international reach of this ambitious and rich historical project, beginning with an exploration of the National Gallery of Victoria’s 1982 exhibition Popism, by independent writer and researcher Judy Annear. Curated by a then 24-year-old Paul Taylor, editor and publisher of the influential contemporary art publication Art & Text, the exhibition was a provocative and rhetorical manifesto for a new generation, including Howard Arkley, David Chesworth, Juan Davila, Maria Kozic and Jenny Watson, among others. 

Judy Annear’s lecture will be available on May 25, and will be followed in July with Recession art and other strategies, a lecture by artist and former director of Brisbane’s Institute of Modern Art Peter Cripps, based on the IMA exhibition of the same name that he curated in 1985, in response to the social, political and cultural contexts of the times.

“The series takes a deeper look at exhibitions and projects that have shaped Australian art since 1968—ambitious, contested, polemical, genre-defining and genre-defying projects that have informed and transformed the cultural landscape, along with our understanding of what constitutes art itself,” said ACCA’s Artistic Director/CEO Max Delany. “Presented by some of Australia’s leading artists, curators and academics, we are pleased to launch the series as digital lectures, more widely accessible to national and international audiences.” 

Defining Moments: Australian Exhibition Histories 1968–1999 is presented in association with Abercrombie & Kent, and Research Partner Centre of Visual Art (CoVA) at the University of Melbourne; and supported by Media Partners Art Guide Australia, The Saturday Paper and Triple R; and Event Partners the Melbourne Gin Company, Capi and City of Melbourne. Each lecture will be accompanied by a bespoke cocktail recipe, created by the Melbourne Gin Company.

Monday, May 25
Popism, National Gallery of Victoria, Melbourne, 1982
Speaker: Judy Annear, independent writer and researcher

Monday, July 13
Recession art and other strategies, Institute of Modern Art, Brisbane, 1985
Speaker: Peter Cripps, artist and a former Director of the Institute of Modern Art, Brisbane (1984–86)
Respondent: Channon Goodwin, Director of Bus Projects and Composite: Moving Image Agency, Melbourne, and founding Co-Convener of All Conference

Monday, July 27
The Aboriginal Memorial, Biennale of Sydney, 1988
Speaker: Djon Mundine, OAM, curator, writer, artist and activist

Monday, August 24
First Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 1993
Speaker: Doug Hall, AM, writer, critic and a former Director of Queensland Art Gallery | Gallery of Modern Art (1987–2007)

Monday, September 21
Aratjara: art of the first Australians, Kunstsammlung Nordrhein-Westfalen, Dusseldorf, 1993 and Fluent: Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson, Australian Pavilion, Venice Biennale, 1997
Speaker: Stephen Gilchrist, writer, curator and Associate Lecturer of Indigenous Art at the University of Sydney

Monday, October 5
Don’t Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra, 1994
Speaker: Dr Ted Gott, Senior Curator of International Art, National Gallery of Victoria, Melbourne; and curator of Don’t Leave Me This Way: Art in the Age of AIDS

Monday, October 26
Founding of “Gallery 4A” and the inaugural exhibition in 1997
Speaker: Mikala Tai, Director 4A Centre for Contemporary Asian Art

For further information and podcasts from the 2019 series, visit

Tai Snaith | A World of One’s Own


Tai Snaith | A World of One’s Own

Artist Tai Snaith has conducted a series of conversations with mid-career and emerging women and non-binary artists whom she admires. These relaxed, colloquial exchanges explore shifts and similarities that artists face in their lives and artistic practices. Together, they attempt to break down the how and why of making art. They look at physical processes and how they relate, not only to outcomes but also connect to the unconscious or non-visual parallels and needs in our lives.

Outset Partners Announce Support For Cultural Infrastructure Beyond Pandemic – ArtLyst

The Royal Botanic Garden Edinburgh and the Serpentine Galleries, have been jointly awarded a transformational Grant of £150,000 for their collaborative work on ecology. 32° East (Ugandan Arts Trust), Beit Ha’Gefen, the International Curator’s Forum, Liverpool Biennial, Nottingham Contemporary and The Power Plant Contemporary Art Gallery, Toronto have also been awarded Impact Grants totalling £125,000 in the Outset Partners’ 2020 round of grant-giving.

In the face of extraordinary uncertainty, artists, galleries, and museums have reached out and offered moments of connection – Candida Gertler

Now in their second year of grants, the Outset Partners award £275,000 annually, with a fundraising aim of over £1 million from private philanthropists, allocated over a five-year funding programme to support transformational projects led by public institutions. Funds directed by ten individual Outset Partners, through a consensus-driven process. Up to five additional Partners are welcome for future rounds.

Outset Contemporary Art Fund, the leading international philanthropic enterprise, has announced the recipients of seven grants in a significant arts funding programme from its accelerator unit, Outset Partners. The initiative is in its second year, awarding grants totalling £275,000 across a range of agenda-setting museums, galleries and organizations – both within the UK and internationally – to support challenging new art projects with a demonstrable transformative aspect for the creative ecosystem. Drawing on Outset’s seventeen years of expertise in catalytic arts philanthropy, Outset Partners recognizes that public art institutions are in a position of responsibility to address changes in society yet often face a gap in funding to realize their most ambitious visions for the future.

The central tenet of Outset Partners is one of the responsive philanthropy that adapts to the ever-changing needs of the cultural ecosystem. As the disruptive effects of the Covid-19 pandemic on the arts became increasingly clear, Partners made a conscious decision not to divert grant funding into short-term crisis relief, but to continue the process set in motion in early January to secure the future of these innovative projects. Outset is working to offer crisis support for the cultural ecosystem through the Studiomakers initiative – aiding artists and affordable workspace providers who are struggling with reduced operations. The Partners want to ensure that institutional ambitions for transformation catalyzed by this moment of reflection can be translated into reality, once the immediate Covid-19 crisis has passed.

The one-of-a-kind Transformative Grant is designed to allow a significant project to radically re-think the art institution of the future. £150,000 is awarded jointly to the Royal Botanic Garden Edinburgh and the Serpentine Galleries. 2020 marks the 350th anniversary of The Royal Botanic Garden Edinburgh, and the 50th of the Serpentine Galleries. After an introduction by Outset Partners, these institutions have decided to work together on a series of initiatives founded on the principles of skills exchange and collaboration. This will include the joint convening of a new network and think-tank of organizations, General Ecology Network, dedicated to innovative thinking at the intersections of art and ecology.

A statement from Candida Gertler OBE, Co-founder, Director & Trustee, Outset Contemporary Art Fund, on behalf of the Outset Partners: “In these uncertain times, it is notable that the areas that have really proven supportive, generous, and open across all borders are the sciences and the arts. We have seen artists, institutions, and platforms make content freely available in an unprecedented way. In the face of extraordinary uncertainty, artists, galleries, and museums have reached out and offered moments of connection and of reflection on the future beyond this time of crisis. Outset Partners felt compelled to act in a manner that echoes this spirit of generosity, by offering an injection of support and confidence in the future of the projects that were submitted to our open call. Across the broad span of projects the Outset Partners have chosen to award grants to this year, there is an ongoing consideration of timely and meaningful sensitivities surrounding community support, social welfare, public space, and ecology. Our hope is that through sharing the news of our funding of these projects and inspiring the creative network behind them, we might offer a moment to look forward, and to anticipate the outcome of outstanding projects and work that is still to come. We invite you to celebrate the start of these journeys this week, together at the Outset.”

Royal Botanic Garden Edinburgh

The Transformative Grant was jointly awarded to Royal Botanic Garden Edinburgh in support of ‘Climate House’, and the Serpentine Galleries, London, in support of ‘Back to Earth’.A message from each of the institutions regarding their project: – ‘CLIMATE HOUSE’, Royal Botanic Garden Edinburgh, UK. This new award has played a role in allowing Royal Botanic Garden Edinburgh to reimagine Inverleith House as a gallery for the 21st century, ignite a new arts strategy across the Garden and to highlight RBGE as a visionary institution within the Climate Crisis. ‘Climate House’ will highlight the global risk to biodiversity through an immersive installation, activated as a space for conversation and action created in collaboration with Australian artist Keg de Souza, who has previously had significant exhibitions in Melbourne, New York, Vancouver and London. Keg de Souza is known for her socially engaged art practice, using mediums such as inflatable and temporary architecture, food, video, text, illustration, mapping and dialogical projects to explore the politics of space.

Collaboration is central to de Souza’s practice and the new vision for Inverleith House which has hosted exhibitions from artists including Andy Warhol, Louise Bourgeois, Andy Goldsworthy, and Karla Black. ‘Climate House’ will inspire connections between artists, scientists, horticulturalists, scholars, activists, entrepreneurs, policymakers and visitors and local communities. Inverleith House, Royal Botanic Garden Edinburgh

Emma Nicolson, Head of Creative Programmes, Royal Botanic Garden Edinburgh, said: “To receive the Outset Partners’ Transformative Grant, in partnership with the Serpentine Galleries, presents a momentous opportunity to focus on the desperate nature of our planet’s plight. Working with artists, scientists and horticulturists, the Outset Partners and Serpentine colleagues will help us reimagine our approach, provide visibility and advocacy to our new ambitions, and enable us to think and work differently, reflecting upon one of the most urgent concerns of our age.”

‘BACK TO EARTH’, Serpentine Galleries, London, UK Back to Earth, a new, multidisciplinary and multi-year initiative, is the Serpentine Galleries’ 50th-anniversary project. Launching in 2020, Back to Earth invites over sixty-five artists and creative practitioners to respond to the current climate emergency with forward-thinking and strategic artworks that are simultaneously environmental campaigns.

Over the coming years, Back to Earth will collaborate with partner organizations to realize an ambitious artist-led programme, that will include exhibitions, live events, publications, broadcasts, off-site and infrastructural projects, as well as public-awareness campaigns. In addition, Back to Earth is conceived as the catalyst for a series of internal transformations within the entire Serpentine organization, to embed ecological principles within the very fabric of the Galleries. The Serpentine is artist-led to its core. To that end, Back to Earth encourages these transformations also to be driven by the imagination that artists bring to our everyday life and to the way we work.

Karrabing Film Collective, The Mermaids, or Aiden in Wonderland (still) Five additional Impact Grants of £20,000 each are awarded to public institutions for a range of projects that demonstrate crucial areas of support for the public, artists and curators. In line with the Outset ethos these can be through enabling innovative exhibitions and artistic productions with an international reach; empowering educational initiatives or providing professional development opportunities; institutions enriching public collections; or projects that enhance the creative infrastructure through providing workspaces and strengthening communities.

The 2020 Impact Grants are awarded to the following projects: – ‘A NEW HOME FOR 32 DEGREES EAST’, 32* East (Ugandan Arts Trust), Kampala, Uganda ‘Outset has a tremendous legacy of championing ambitious projects, and being truly incisive with its impact; for those reasons and more, we are thrilled to collaborate with Outset Partners on our journey to realize Uganda’s first purpose-built, non-profit contemporary art centre. Outset Partners’ energy and commitment to this campaign has been palpable from the moment we first connected, and we have a shared belief in the transformative impact this centre will have on the region. We are so honoured to be a part of their new chapter of supporting work on the African continent.’

Concept image for the new 32 Degrees East, design by Periscope Studio  – ‘THE THIRD SPACE’, Beit Ha’Gefen Gallery, Haifa, Israel  The Third Space is an art and education lab of Beit Ha’Gefen – Arab-Jewish Cultural Center in Haifa. (Curators: Yael Messer and Hadas Zemer Ben-Ari). Aiming to provide tools for addressing complexities in today’s intercultural society, The Third Space offers experiential activities that integrate artworks and discursive elements into a layered learning scenario. ‘The innovative, independent, and empowerment-focused ethos of the Outset Partners Impact Grant resonates with our vision and our goals with The Third Space. Thanks to the Grant, we will be able to develop educational workshops for both Hebrew and Arab speaking groups.’


Broken Fingaz at the Third Space, Haifa. Credit: Yona Preminger – ‘DIASPORA PAVILION II’ International Curator’s Forum, International As part of the 2018 Outset Partners Grants, the International Curators Forum (ICF) was awarded £25,000 per annum for three years towards the development and execution of the Diaspora Pavilion 2 project. After a year of research and development, including two artists’ trips to the openings of the 2019 Venice and Istanbul Biennials, ICF has curated the first Diaspora Pavilion 2 exhibition in partnership with 4A Centre for Contemporary Asian Art in Sydney, Australia titled I am a heart beating in the world: Diaspora Pavilion 2, Sydney. The exhibition presents the navigations, imaginings and lived experiences of diasporic subjectivities through the works of six artists based in Australia, the UK and Caribbean: Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes.

‘STEPHEN’, Liverpool Biennial, Liverpool, UK
Liverpool Biennial is delighted to receive an Outset Partners Impact Grant for Melanie Manchot’s first feature film STEPHEN. The commission is a hybrid drama-documentary, presenting alternative and nuanced perspectives to re-think urgent social issues of addictions, loneliness and mental health, challenging many societies around the world. This headline film commission brings together the life of its Liverpudlian protagonist and recovering addict, Stephen Giddings, and the life of a historic gambling addict Thomas Goudie.

The production will span four years, beginning with a series of workshops held in Liverpool with people in recovery and culminating with pop-up screenings of the final film for vulnerable people exposed to addictions, with a focus on young and hard-to-reach audiences. The commission will unfold as a performative intervention during the 11th edition in 2021, a world premiere

cinematic screening in Liverpool in 2022, and a sculptural installation of the work at the 12th Liverpool Biennial in 2023. STEPHEN is supported by new academic research in partnership with University of Liverpool, presenting critical alternative voices, contesting stereotyped language and vilification of this often- misunderstood social issue. We are thrilled to receive this Outset Partners Impact Grant in the early stages of this commission. Heightened by the radical uncertainty that we are experiencing, the issues of social isolation and addiction gain further significance. We are excited that with the generous support of the Art Fund, the film will join the Walker Art Gallery’s collection, part of the National Museums in Liverpool.

‘LINA BO BARDI: AN IMPOSSIBLE REALITY’, Nottingham Contemporary, Nottingham, UK. This ambitious project, a collaboration between Nottingham Contemporary and Turner Prize-winning design collective, Assemble, is to reimagine an unrealized playground across two galleries at Nottingham Contemporary. Inspired by Lina Bo Bardi’s now-famous drawing of an unbuilt 1962 design for a utopian playground, this project will realize two large-scale play sculptures from the original illustration. At a moment when most playgrounds appear to be designed for the kinds of play that adults like to see children do, this project will challenge the confines of the gallery space and its uses. It will try to open up new ways of being in the museum, for children and adults alike.

Power Plant Contemporary Art Gallery, Toronto

Illustration of the Museu de Arte de São Paulo, 1959-1968, Lina Bo Bardi – ‘ARCTIC/AMAZON’, The Power Plant Contemporary Art Gallery, Toronto, Canada The Power Plant Contemporary Art Gallery, Toronto is thrilled that Outset Partners has decided to support our Fall 2020 exhibition, Arctic/Amazon. In these times of uncertainty, such good news is encouraging and deeply appreciated. Drawing upon an ongoing collaborative project, Arctic/Amazon explores how Indigenous contemporary artists address issues of climate change, globalized Indigeneity, and political contact zones in and about the circumpolar Arctic and Amazonia. By addressing Indigenous knowledge, spiritual practices, violence, and ecological concerns in a variety of media, artists confront the global project. They represent a set of diverse realities that are shaped by both human and non-human beings. By negotiating their co-existence in a world marked by the diversity of places and people, they offer insight into the frequently chaotic entanglements that emerge between themselves and the newcomers.

Top Photo: Emma Nicholson’s commission of Keg de Souza © Outset

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The National Art School

Angela Slattery, Reading Figure, 2020, ink, watercolour and charcoal on paper, 100 x 75cm

The National Art School, Library Stairwell Gallery

‘This is my door. That is yours. Over there lives the tall man who lingers on his balcony, cigarette flaring angry orange. And way to his right, the old couple who watch traffic. Trees start to drop leaves. The air smells sweet. And we work. And we wait.’ – Tanya Overson, NAS MFA 1 Drawing student

The National Art School’s Library Stairwell Gallery presents its first fully online exhibition, ‘Decameron: Drawings from home’, featuring work by Masters of Fine Art 1 Drawing students: Lynley George, Stephanie Houghton, Isabella Millner-Cretney, Tanya Overson, Kaye Shumack, Angela Slattery, Luke Thurgate and Olly Watson.

From Lynley George’s hand-sewn and printed fabric small sculptures to Stephanie Houghton’s cool watercolours and Luke Thurgate’s eerie gouache studies, the show explores personal spaces, the web of social connections and where we are now at this particular, pivotal point in time.

View the online exhibition

Tile image: Tanya Overson, Spillover (detail), 2020, acrylic paint, ink, glue, ash on paper, 86 x 61cm

Living With Art: Fiona Lowry

3:33 Art Projects delivers unique exhibition opportunities for leading visual artists in Australia. We believe in the power of art as a motivator, comforter and inspirer, and there is no better time than today to harness this singular capacity of art. Our new series of conversations ‘Living With Art’ brings you closer to artists we have collaborated with for a personal take on their work, creativity and the art world.

Today’s instalment highlights the practice of Fiona Lowry. Using her signature airbrush technique, Lowry partially abstracts our view, evoking the beauty of her subjects laced with a sense of foreboding. The artist was awarded the Archibald Prize for her portrait of Penelope Seidler in 2014, and has been a regular exhibitor in the Archibald, Wynne and Sulman prizes. She won the Fleurieu Prize in 2013, and the Doug Moran National Portrait Prize in 2008. In 2019 her painting The ties that bind – measuring over 5 metres long – was acquired by the National Gallery of Australia. Her work is held in a number of other public collections including the Museum of Contemporary Art, the National Portrait Gallery, Artbank, the University of Queensland Art Museum and the Macquarie Bank Collection.

We recently caught up with the artist to discuss the ways in which art can be a vehicle to both explore and escape difficult times. Her landscapes and figurative paintings capture profound links between us and the Australian landscape, prompting reflections on how this time of isolation indoors is impacting us individually and culturally.

How has this time of isolation impacted your practice, if at all?

It has definitely impacted the frequency of getting into my studio, at least temporarily while I’m figuring out a new routine. But one of the good things is that it’s slowed the pace of everything, and that feels really interesting.

What do you think the function of art is in these trying times?

I don’t think we could mentally survive this period without the nourishment of all the forms of art. Now, more than ever, we can see how incredibly powerful and transformative it is.

Stories of the Australian bush inform your renditions of the landscape and the human figure. Has your subject or tone shifted at all in light of the recent devastation to the natural landscape?

I’ve always been interested in the cultural history of the landscape in Australia, and how it’s played a part of our national identity through artists as diverse as Heysen, Namatjira, Boyd and Nolan – whose epic Riverbend 1 (1964-65) still exudes for me the tinder dry Summer days when the sun’s heat scents the air with eucalypt oil. The landscape for me is really an external setting for an internal landscape, for an emotional life, and for all the kind of things that one wrestles with psychologically and politically. My new series of paintings is set to explore society’s expression and management of emotion and I think this is something that we are all grappling with at the moment.

Who/what inspires you, personally and professionally?

I have recently discovered the Swedish poet Tomas Transtromer, who gently seeks these intense in-between states, reminding us that life’s thresholds aren’t loud events but severe and silent everyday transitions.

Presented by 3:33 Art Projects
For enquiries contact

Museums, Galleries, Libraries Reopen in Australia – The Epoch Times

As Australia begins to come out of lockdown and conversations shift from ‘Stay Home’ to ‘Stay Safe’ there is is a lot to look forward to. Restaurants are open again and interstate holidays are no longer just a dream.

In addition to food and travel, cultural activities are set for an exciting return as the nation allows the reopening of art galleries, libraries, and museums.

New South Wales (NSW) is the first state to allow cultural institutions such as museums, galleries, and libraries to reopen from June 1, as the government works to restart the economy after its battering by the CCP (Chinese Communist Party) virus, commonly known as novel coronavirus.

NSW Premier Gladys Berejiklian cautiously invited cultural institutions and libraries to reopen with strict new protocols in place.

“NSW is home to some of Australia’s best art galleries and museums and I look forward to them reopening to the public,” Berejiklian said in a statement on May 20.

The Art Gallery of NSW (AGNSW) will be one of the first cultural institutions to open its doors.

Shortly after Berejiklian’s statement, AGNSW wrote on Twitter: “Gallery to re-open on 1 June 2020!”

From Monday, June 1, AGNSW visitors will be able to see a number of exhibitions for free including the 22nd Biennale of Sydney: NIRIN, “Shadow Catchers,” “Under the Stars,” and “Some Mysterious Process,” a new exhibition curated by AGNSW Director, Michael Brand.

Other galleries and museums that will soon open their physical doors include the Museum and Art Gallery of the Northern Territory in Darwin, the Museum of Central Australia, and Megafauna Central in Alice Springs, and Art Gallery of South Australia.


Libraries have also been given the green light in NSW, with the Australian Capital Territory, and Victoria soon to follow.

“Libraries play an important role in our local communities, providing a safe space for learning and reading and I know many will be pleased to see them reopen,” Berejiklian said.

The State Library of NSW is one of the first libraries to open in the nation and will make a slow transition to being a fully functioning library so that it could adequately comply with health guidelines.

“We will be introducing an online booking system, with two x 3.5 hour sessions each day. This system will allow us to best manage our capacity and undertake a full clean between each session,” State Librarian John Vallance said in a statement.

“What has become abundantly clear over these past eight weeks is just how loved and valued libraries are, and this time apart has been tough on all of us,” Vallance said.

“Since the shutdown thousands of people have connected with their State and public libraries online for the first time, with over 20,000 new memberships recorded.”

Timed ticketing, limited visitor capacity, and other hygiene measures are part of the guidelines for reopening cultural institutions in a COVID-19 safe way, not dissimilar to those required in restaurants and other public spaces. In addition, events will be requiring prepaid tickets, and groups and tours are also put on hold.

Performing Arts Venues

Sydney Opera House concert hall on January 29. (Brook Mitchell/Getty Images)

While art museums welcome back the public, performing arts and live music venues must wait longer due to the nature of their spaces.

“Museums and art galleries are better placed to manage social distancing compared to theatres, given that audiences are fluid in the space; as larger venues, they can spread audiences out more effectively,” Gina Fairley said on ArtsHub.

The Sydney Opera House is still playing to an empty house while the halls remain closed, but a newly built virtual stage is broadcasting shows from the inside.

Arts Centre Melbourne remains closed until June 30, and Geelong Arts Centre, Adelaide Town Hall, Canberra Theatre Centre, and other venues are yet to make announcements.

Small Works Art Prize 2020 – Enter Now! – ArtsHub

Brunswick Street Gallery is excited to announce that entries are now open for the Small Works Art Prize 2020, our annual open call art prize with all artworks measuring 35x35x35cm or less. All levels of experience are welcome with ALL ENTRIES EXHIBITED!

Prize show exhibition dates: 21 August – 3 September 2020

Over $6000 in prizes to be awarded:

First Prize – Clifroy Prize: $3000 Cash Prize (non-acquisitive), as awarded by Clifton Hill/North Fitzroy Community Bank® Branch of Bendigo Bank.

Brunswick Street Gallery Prize: Solo Exhibitions in 2021

Honourable Mention: Hound & Bone Prize – $300 services voucher, awarded by Hound & Bone Studio

Honourable Mention: Chapman & Bailey Prize – $400 services voucher, awarded by Chapman & Bailey

People’s Choice Award: $150 voucher, awarded by Art Shed

For details on how to apply and for full T&Cs, please visit our



Circular art reflects on Buddhism – Bangkok Post

Circular art reflects on Buddhism

Courtesy of La Lanta Fine Art

Up-and-coming Thai artist Pannaphan Yodmanee’s latest mixed solo media exhibition titled “Time Lapse” comes at a befitting moment as Thailand’s art scene slowly resurfaces from the easing of the Covid-19 lockdown measures.

Pannaphan, whose work has been showcased in exhibitions in France, Japan, Australia and China, examines here the relevance of Buddhist philosophy in our present day lives in this exhibition, which will be held at the gallery La Lanta Fine Art from June 6 to July 29.

Pannaphan Yodmanee’s latest work is showcased in the exhibition ‘Time Lapse’. Photos Courtesy of La Lanta Fine Art

The 32-year-old goes all out in employing a combination of raw, natural materials and objects of contemporary origins in her work which imbue the painted designs and motifs endemic to traditional Thai art with the universal and persistent themes of loss, suffering, devastation and the karmic cycles of death and rebirth.

Consistent to the theme which she has probed through her artistic practice, “Time Lapse” presents eight circular artworks that combine elements of contemporary and traditional Thai art. She mixes natural raw materials such as rocks, precious stones, and gold leaf with modern science such as cements and paints to create a heavily textured artwork.

“The challenge in creating this series is in the technical aspect of working with natural material,” said Pannaphan. “I use clay and other types of earth materials to symbolise the idea behind the artwork. My previous series focused on using cement. For this series, I revive the technique that I explored while I was studying for a bachelor’s. It reflects the circumstances of the current state of the world with global warming and the pandemic.”

Pannaphan, who currently resides and works in Nakhon Pathom, was born in Nakhon Si Thammarat. Some of her most impressive accolades include winning the 11th Bernesse prize at Singapore’s Biennale (2016), in addition to top prizes in the Thai Traditional Painting Awards (2013), as well as the Young Thai Artist Awards (2006-2007).

In 2015, her work was showcased at the Thailand Eye exhibition presented at the Saatchi Gallery, London, and later at the Bangkok Art and Culture Centre. In 2016, her site specific installation Aftermath at the Singapore Biennale made her only the second Thai artist who captured first place at the Bernesse Art Prize.

In 2018, she was invited to participate in the 9th Asia Pacific Triennial of Contemporary Art (APT9) at QAGOMA in Australia and later her In The Aftermath installation became part of permanent collection of the institution. In the same year, her installation Sediments Of Migration was exhibited in Wat Pho as part of Bangkok Art Biennale.

Courtesy of La Lanta Fine Art

Courtesy of La Lanta Fine Art

Courtesy of La Lanta Fine Art

In light of Covid-19 developments, the gallery will not host any opening reception. The exhibition can be viewed online at Appointments for private viewing can be made at or 02-050-7882.