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

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.

Most Viewed in Culture


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

‘The photos say they can’t breathe’: Barbara McGrady at Campbelltown

A heavy yet upbeat heart pounds from the core of Campbelltown Arts Centre, host to Western Sydney’s iteration of ‘NIRIN: 22nd Biennale of Sydney’, where Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching) (2020) is fated to dislocate the dominant white gaze. In this work (created with John Janson-Moore), artist and proud Gomeroi/Murri/Yinah woman Barbara McGrady exposes her 30-year-strong photography practice in a jolting, symphonic, archival assemblage of text, photography and music, full of eye-opening contradictions and realities.

McGrady is ready to perform and to tell us how it is – how Indigenous Australia views the world – through her black lens. An immersive 360-degree kaleidoscopic multi-screen installation fuses imagery and text that pulsate in unison with Tasman Keith’s captivating and Indigenous reality-check hip-hop track, ‘My Pelopolees’ (2018). While McGrady’s powerful images do most of the talking, her byte-size texts, lifted from her regular social media posts and projected one word at a time to the beat of the music, sometimes rapid-fire, convey a feeling of being present at a protest rally, surrounded by placards, calling the audience to action. Each word. Each image. Each imbued with the reality of the human condition …

McGrady’s images conflate past and present events – both adverse and triumphant – deserving of commiseration or celebration. She shows Indigenous Australians at sporting events as well as Mardi Gras, traditional and contemporary performing arts, with family members and at protest events, drawing attention to issues of land rights, racism, connection to Country, Aboriginal pride, traditional customs and oppression …

Ngiyaningy can be likened to a shattered mirror or cubist painting, where shards of contemporary Indigenous Australian history, disjointed yet connected, project a singular subject from multiple angles. The design of the space reinforces this effect, as snippets of the same image slice the viewer’s peripheral vision, complementing an inescapable immersion of imagery, text and sound. McGrady’s black box within a predominantly white cube institution, highlights the intention for Ngiyaningy to disrupt audiences’ perspectives and preconceived belief systems …

Halfway through the work, Ngiyaningy re-routes into a less activist and more intimate personal journey. Witnessing a heartfelt conversation with her passed mother, to the tune of Electric Fields’s soulful song ‘Pukulpa’ (2016), the audience is reminded to remain strong and proud … As well as speaking intimately with her mother, McGrady communicates with former AFL star Adam Goodes, one powerful word at a time. The artist comforts Goodes with her declaration that she was there, supporting him during the darkest days of the controversial booing campaign, directed at Goodes for speaking out against racism …

Ngiyaningy needs to be experienced multiple times to appreciate its intricate web of stories, events, messages and emotions. McGrady’s images were not photographed with the intention of displaying them in the context of a contemporary art exhibition. Each image was destined for a newspaper, magazine, website, social media post or personal photo album. However, the power of their collective re-presentation in Ngiyaningy provides a forceful and creative narrative …

On entering Ngiyaningy I was stopped in my tracks. McGrady captured the first #BlackLivesMatter campaign in 2015 and declares that ‘THE PHOTOS SAY THEY CAN’T BREATHE’. Five years on and the photographs are alarmingly current. Selected as one of four images to be presented on a massive scale at the Art Gallery of New South Wales during ‘NIRIN’ (until 27 September), and incorporated into Ngiyaningy, the contemporaneity of McGrady’s Black Lives Matter, Martin Place (2015) is both uncanny and intolerable, given the recent death of George Floyd. As I reflect on the work, the unsettling realisation occurs to me that the loop of many unresolved issues, including Aboriginal deaths in custody, is on repeat. Again and again, they keep on happening: ‘OH YES JUST ANOTHER DAY IN THE COLONY.’

Nicole Fiedler Wallace, Sydney

This is an edited excerpt of an essay written in partial fulfilment of a Master of Curating and Cultural Leadership at the University of New South Wales, Sydney, responding to Barbara McGrady’s Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching) (2020), at Campbelltown Arts Centre for ‘NIRIN: 22nd Biennale of Sydney’ until 11 October 2020.

Takani Clark, Selena de Carvalho and Georgia Morgan: re-member

Do you know about the Australian Holey Dollar and the Dump? – Evenings – ABC Local

What can you see at the Tasmanian Museum and Art Gallery?

Visitor Services Officer at TMAG, Luke Leitch talks us through the more than 2500 years of history on display in the Medals and Money Exhibition.

He can’t say how much the Australian Holey Dollar is worth, but recommends you check out local markets, garage sales, and even the taps at home as you might just find one!

Closer than they appear

Q&A: Motorcycles as art with Falco and Guilfoyle – Practical Motoring


We talk to the curators of a ground-breaking exhibition of motorcycles – past, present and future – that’s coming in Brisbane this year.

How often do you see motorcycles in an art gallery? Not very often, but when you want to put on an exhibition that celebrates the motorcycle as a design object, you go straight to two guys: Chares M. Falco and Ultan Guilfoyle.

Falco and Guilfoyle are the curators of ‘The Motorcycle: Design, Art, Desire’ – an exhibition that will open exclusively at Brisbane’s Gallery of Modern Art (GOMA) this November. With more than 100 motorcycles on show, this will be a must-see for motorcyclists, of course, but Falco and Guilfoyle are aiming to attract those without a wired-in love for bikes, too. How often do you see motorcycles in an art gallery? Not very often, but when you want to put on an exhibition that celebrates the motorcycle as a design object, you go straight to two guys: Chares M. Falco and Ultan Guilfoyle.

While the exhibition will have echoes of ‘The Art of the Motorcycle’, the wildly successful exhibition curated by Falco and Guilfoyle that attracted more than 2 million visitors in the USA and Europe, it will be very different.

‘The Motorcycle: Design, Art, Desire’ will not only look back to the origins of the motorcycle, but also forward, showing where motorcycling is heading – and where it must head – to be a viable transport option for the future.

A lot of the motorcycles selected for display come from Australian collections and were chosen because they not only represent the motorcycle as a design object, but also because they have a significant local history.

Ahead of the exhibition, Falco and Guilfoyle, who are keen riders themselves, tell how it came about and what you can expect to see at GOMA this November.

Practical Motoring: Of the 100+ motorcycles that will be exhibited in ‘The Motorcycle: Design, Art, Desire’, will most of them be production models, or will there be oneoffs and concepts, too?

Ultan Guilfoyle: I would say it’s going to be 50:50 between production motorcycles and one-offs. Concept models has a specific meaning in automotive design. We’re not exploring that area, but we are exploring oneoffs – custom bikes – where someone takes a production bike and makes it into something else. Like a chopper, classically, or, in the modern era, where people take an engine and build an entirely new motorcycle around it.

PM: Can you reveal any custom bikes that are confirmed for the exhibition?

UG: The Craig Rodsmith bike. It’s called the ‘Corps Léger’ – a French phrase meaning ‘Light Body’. The Fuller Moto ‘2029’ is another. Max Hazan is a famous customiser and we’ll also have one of his bikes in the show.

PM: Are the major motorcycle brands represented and is there any bias, to American makes for example, in the machines that’ll be on display?

Charles Falco: There will be all the usual suspects – of brands of motorcycles – you will see, but picked for specific reasons, not because of their brand. There’s no bias toward American makes. However, Australia was a big recipient of American motorcycles. The Harley- Davidsons and Indians that we have in the exhibition have Australian stories – they won speedway races in Australia, they did new, and they’ve had lives in Australia – they’ve raced, they’ve held speed records and so on. They’re part of the fabric of Australian automotive history. And so, for us as curators, we obviously wanted to embrace that and tell that story.

PM: How much of ‘The Motorcycle: Design, Art, Desire’ was inspired by ‘The Art of the Motorcycle’ at the Guggenheim Museum? Also, why bring this exhibition to Brisbane and why now?

UG: With great foresight and brilliant perception, the Director and Deputy Director at QAGOMA (Queensland Art Gallery / Gallery of Modern Art), Chris Saines and Simon Elliott, asked us would we re-imagine The Art of the Motorcycle, the Guggenheim exhibition, for Australia. And for the 21st Century – looking forward – instead of what we did at the Guggenheim in 1998, which was simply to look back.

They have 2020 vision. They’re thinking ahead. They’re thinking to big issues of technology, that pivotal moment between the move from internal combustion to electricity.

We show that in the first motorcycle in the exhibition, the Michaux-Perreaux, which was a steam motorcycle. That was a pivotal moment between steam, which was an extraordinary technology that drove the Industrial Revolution, but was dead by the end of the 19th Century when internal combustion took over. We’re showing those pivotal technological moments and that’s something we never did with The Art of the Motorcycle.

PM: In what other ways will this upcoming exhibition differ from ‘The Art of the Motorcycle’?

CF: We’re not just taking The Art of the Motorcycle and adding 20 years of more recent motorcycles to it – it’s starting from scratch. There will be some motorcycles that are the same as The Art of the Motorcycle, because they’re beautiful old machines, but it is not – in any sense – an update of The Art of the Motorcycle.

PM: Since an exhibition of this type was first held more than 20 years ago, electric motorcycles have become much more prominent. Was the representation of electric bikes a particular focus this time around?

UG: Yes, definitely. We are at a pivotal moment in changing automotive technology, from internal combustion to hybrids and electricity. And we reflect that in the exhibition.

PM: What were the challenges in curating The Motorcycle: Design, Art, Desire? Were they any different from what you had to deal with when organising The Art of the Motorcycle?

CF: In general, we had the same difficulties. We select the machines that we want in the exhibition, independent of any other consideration, then we have to go and FIND those machines. Sometimes it’s very difficult – you have to work hard to find those machines. In general, it’s the same process as we had twenty years ago, but in some ways, it’s a little bit easier. 

Twenty years ago, the idea of an art museum holding a motorcycle exhibition was unheard of. The Art of the Motorcycle was amazingly influential. Most motorcyclists have heard of it, so, when Ultan and I approach someone now, and say ‘We’re doing something for QAGOMA in Brisbane, we curated The Art of the Motorcycle,’ it’s a big foot in the door.

In some ways, it’s easier but it doesn’t ever feel easy!

PM: I see a couple of Australian motorcycles in the preview material. How many other motorcycles in the exhibition have been sourced from Australian owners?

UG: I’d say it’s up to 50 per cent almost, but it’s also irrelevant. There is an Australian accent to this show. We deliberately did that, because we knew that, for example, two of the best collections of early American motorcycles are held in Australia. And they’re “Australian” bikes. They were imported to Australia new, and they’ve had lives in Australia – they’ve raced, they’ve held speed records and so on. They’re part of the fabric of Australian automotive history. And so, for us as curators, we obviously wanted to embrace that and tell that story.

CF: Australia was also a big consumer of British motorcycles before World War II, so finding a pre-War Triumph, there’s no reason for us to look elsewhere – we can find that in Australia. But some motorcycles, like French machines and Swiss machines, have to come from overseas because they just don’t exist in this country.

UG: One of the greatest motorcycles of all time is the Britten. It was a world-beating racing motorcycle, but it also happens to be a thing of extraordinary beauty and the colour scheme is lipstick pink and powder blue – who would have thought it! One of the first things Charles and I decided we wanted when we started – what’s the first bike we’re going to put in – was a Britten. We were able to go to John’s widow, Kristeen Britten, who we knew very well, and ask for hers. That was committed to an exhibition that runs concurrently with ours, but we got another one from New Zealand.

PM: Where there any surprises in the motorcycles that were sourced locally, or bikes you were particularly impressed with?

CF: The collections of David Reidie and Peter Arundel, which were Harleys and Indians. We shouldn’t say we were surprised – we were aware ahead of time – but it’s amazing that the best collections of those two brands of early racing motorcycles are by collectors in Australia.

UG: We made a special trip here to go and meet with David Reidie and see his collection of Harleys and Crockers in Melbourne. And we were both completely thrilled, because we saw profoundly important motorcycles that have a deep Australian history. Then, we drove up to Mansfield and saw Peter’s collection of Indians and it was the same thing – extraordinary motorcycles with extraordinary Australian history.

PM: Apart from the bikes themselves, what related material and other attractions will be part of the exhibition?

CF: For the catalogue, we will have ancillary material – maybe a period photograph of somebody racing a bike on a beach or the land speed record attempt. But in the exhibition itself, it’s only about the motorcycles.

UG: Related to that, the gallery has a quite famous cinema programme, so we’re creating a cinematheque of motorcycles. We’re working with Robert Hughes here in GOMA to curate that. And we’re very excited to get involved with their educational side. The education programme here (at QAGOMA) is second to none, worldwide. To engage kids in the act of design and appreciation for designed objects and industrial design is a great opportunity, so we’re excited about that, too.

PM: This exhibition will obviously appeal to motorcycle enthusiasts. But what would you say to inspire people with no particular interest in motorcycles to get them to attend this exhibition?

CF: What we’re trying to do is put ourselves in the picture of the young mother with children, who has a Saturday free to do something. Or somebody who, maybe their Dad or grandfather had a motorcycle, but they’ve never had a motorcycle in their life. We’re creating an exhibition to show those people what motorcycle design is, how motorcycles are design objects, just like a fine pen or a fine watch. A motorcycle has social aspects to it, though, which sometimes clouds people’s way of looking at them. This exhibition will, hopefully, put those other aspects out of people’s minds and they will look at motorcycles in a different way – they’ll see them as beautiful objects by themselves. I’m sure you will hear people coming out of the exhibition say, ‘I had no idea’. Hardcore motorcyclists and people who’ve never seen a motorcycle before – both are going to say, ‘I had no idea’. That’s our task. And we think we’re up to it.

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Phil Suriano

Carriageworks reopens to the public with ‘NIRIN’