A fresh look at Cook – Mirage News

In a compelling new exhibition, Flinders University Museum of Art (FUMA) puts the complex and contested legacy of Captain Cook (1728-1779) under the lens – 250 years since his landing on Dharawal Country, on the southern headland of what is also now known as Botany Bay.

Co-curated by Flinders University colleagues Dr Ali Gumillya Baker, multi-disciplinary Mirning artist and Senior Lecturer in Indigenous and Australian Studies, and FUMA Director Fiona Salmon, the exhibition features works by Indigenous and non-Indigenous contemporary Australian artists that challenge Eurocentric representations of Cook and the nation’s recent past.

“Armed with secret orders to seek the ‘Great South Land’ and take possession of it in the name of the King of Great Britain, Cook is celebrated and mythologised in the grand narrative of white Australia as a founding father,” Dr Baker says.

Chips Mackinolty, The first pandemic, 2020, digital print on archival paper, 40 x 36 cm, © Chips Mackinolty 2020

“However this version of the nation’s genesis – and dominant representations of Australian history that follow – have come under intense scrutiny in public discourses since the late 20th century.”

“In the hold pays tribute to many of the artists who have been at the forefront of these discussions and debates, who have enabled us to see Cook in an alternate light by deconstructing and disrupting representations that venerate his achievement, and by exposing the devasting effects of his legacy.” Dr Baker says.

Comprising prints, photography, moving image and sculpture the exhibition draws on FUMA’s expansive collection of art, one of the largest and most diverse of any university in Australia, to include acclaimed artists Christian Thompson, Julie Gough, Danie Mellor, Leah King-Smith, Queenie McKenzie, Darren Siwes, Fiona Foley, Judy Watson, and the late Gordon Bennett.

In addition, the show contains a number of generous loans, among them the Art Gallery of South Australia’s Close Contact (2018) by Western Aranda artist Vincent Namatjira, which was recipient of the prestigious Ramsay Art Prize in 2019.

Ali Gumillya Baker,

Sovereign Fleet (black),2013, featuring Alexis West (performer),

photographic print

on archival paper,

157.5 x 107 cm, © Ali Gumillya Baker 2020

Other works brought into the frame are Dr Baker’s majestic photographic print Sovereign Fleet (2013); the frank and vibrant ‘Cook’ paintings by Sandra Saunders (2002-2011); and the recently released graphic works by Chips Mackinloty, The first pandemic (2020), and Therese Ritchie, They all look the same to me (2020) – both of which will be showing in Adelaide for the first time.

“Exquisite and unsettling in equal measure, In the hold contemplates our collective responsibility to our histories,” Ms Salmon says.

“Viewers cannot help but question the memorialisation of Cook’s landing and grapple with what it means in the present day,” Ms Salmon says.

In the hold | Decolonising Cook in contemporary Australian art will be open to the public from Tuesday 2 June to Wednesday 30 September 2020, at FUMA Gallery, Flinders University, Bedford Park.

In accordance with Government advice, physical distancing and hygiene measures will be in place.

Online exhibition and education resources

www.flinders.edu.au/museum-of-art/exhibitions/in-the-hold

Visit Flinders University Museum of Art

Flinders University, Sturt Road Bedford Park

Located ground floor Social Sciences North building

Humanities Road adjacent carpark 5

Monday to Friday | 10am – 5pm or by appointment

Thursdays | Until 7pm

Closed weekends and public holidays

/Public Release. View in full here.

First Nations Arts Awards at News Aboriginal Art Directory. View information about First Nations Arts Awards – Aboriginal Art Directory News

Red Ochre winner, Alison Carroll on country

Posted by Jeremy Eccles | 27.05.20

The annual recognition of cultural heroes in the Indigenous world took place online tonight as COVID denied the event its usual physical form in the Sydney Opera House. It also took on board the new normal in nomenclature for the first time – ‘First Nations’ rather than Indigenous, or Aboriginal & Torres Strait Islander – though that term crops up in individual awards.

As has been the case in the past two years, the Red Ochre supreme recognition for Lifetime Achievement comes gender-defined – one male, one female. And the heroes for 2020 are Alison Milyika Carroll, cultural leader and, increasingly ceramicist from Ernabella Arts in the APY Lands, and Djon Mundine, the ubiquitous curator and essayist of so much First Nations culture.

At the less stratospheric level, Maree Clarke, curator, artist and maker of installations received the Aboriginal and Torres Strait Islander Arts Fellowship; and fellow-Melburnian theatre and film producer, Lydia Fairhall was the recipient of the Aboriginal and Torres Strait Islander Arts & Cultural Development Fellowship. Thea Anamara Perkins – in line of descent from grandfather Charlie and mother Hetti – takes home the Dreaming Award for an emergent artist, having already appeared last year in South Australia’s Tarnanthi Festival and NSW’s Archibald Portrait Prize with her urban works. And finally, Wiradjuri non-binary trans person, SJ Norman, who has a terrifying practice that spans installation, sculpture, fiction, essays, poetry, video, sound and performance, including significant pieces of durational work quite naturally took home the Emerging and Experimental Arts Fellowship.

Alison Milyika Carroll is a senior Pitjantjatjara Yankunytjatjara woman with four decades of work and 200 exhibitions to her credit. Amazingly, she also has a political life and is the current Chair of Ernabella Arts in her Pukatja Community while also working with the South Australian uber-body, Ku Arts the NPY Women’s Council. She has held advisory roles on projects such as ‘Songlines‘ at the National Museum of Australia. Whether making paintings or pottery, her stated belief is, “Our stories are from a long time ago and they will live in the future with our children. When they grow up they will be working here. They will be the owners of our art centre and will keep our culture strong”.

Djon Mundine, OAM, is one of the most familiar names in the industry, having entered it in the 70s to work for Peter Brokensha when he opened the first ‘primitive art’ gallery in Sydney’s The Rocks. By the end of that decade he’d be art and craft adviser at Milingimbi, then curator at Bula-Bula Arts in Ramingining, remaining for sixteen years. During that time he curated the ‘Aboriginal Memorial’ of 200 Dupun poles from Arnhemland to commemorate the 200 years of First Nations repression in 1988 – now housed at the National Gallery. Of late he’s given much curatorial support to a new generation of fellow-NSW artists.

Lee-Ann Tjunypa Buckskin, Deputy Chair of the Australia Council and event co-host took a glass-half-full attitude to the event’s enforced COVID status: “For the first time, everyone in Australia and globally had the opportunity to join the celebration of these outstanding First Nations artists. It was incredibly powerful to be able to come together online in this way to recognise and celebrate the centrality of First Nations artists to Australian culture and share that with a global audience.”

And, in case you missed the Zoomed event, the 2020 First Nations Arts Awards will be re-broadcast on NITV on Sunday 31 May from 6:30pm, also available on SBS OnDemand.

URL: https://www.australiacouncil.gov.au/aboriginal-and-torres-strait-islander-arts/national-indigenous-arts-awards/

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The ‘Aboriginal Memorial’ Dupun with Djon Mundine, NGA senior curator Franchesca Cubillo and artist Richard Birrinbirrin when they were given a permanent place in the National Gallery

Maree Clarke’s installation in glass which will appear in her upcoming survey show at the National Gallery of Victoria

 

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Sunshine Coast Art Prize 2020 judge announced – Mirage News

High profile and experienced gallery director Tracy Cooper-Lavery will judge the Sunshine Coast Art Prize 2020 when it opens to the public in October.

Community Portfolio Councillor Rick Baberowski said having Tracy, now the Director, Gallery and Visual Arts at HOTA, Gold Coast, as the judge for the Sunshine Coast Art Prize brought her impressive skill set and experience to this year’s prize.

“Each year the Sunshine Coast Art Prize attracts entries from some of Australia’s best contemporary and emerging artists,” Cr Baberowski said.

“This year, Tracy Cooper-Lavery, who has worked in the regional art museum sector for more than 20 years, will have the challenging task of selecting a winner from what I’m anticipating will be an exceptional list of national finalists.”

To celebrate the Prize during the gallery’s 20th anniversary year, there is no fee to enter the art prize and artists can enter online via the gallery website. Entries close on July 14.

Sunshine Coast Art Prize 2020 finalists will be announced in August and will be showcased in an exhibition at the Caloundra Regional Gallery and online from Friday, October 16 to Sunday, December 6. Winners will be announced on December 3.

The winning work will be acquired for the Sunshine Coast Art Collection.

The Sunshine Coast Art Prize 2020 offers a prize pool of more than $40,000 in cash and prizes.

For more details, including terms and conditions of entry, visit the Caloundra Regional Gallery website.

About the judge

Tracy Cooper-Lavery is Director, Gallery & Visual Arts at HOTA Home of the Arts Gold Coast. She has worked in the regional art museum sector for more than 20 years including Director of Rockhampton Art Gallery where she was responsible for transforming the Gallery’s profile on a local, state and national level. She was appointed President of the Public Galleries Queensland (PGQ) from 2014 to 2016 and continues to serve on the Board.

She has curated numerous exhibitions on Australian and international art and was instrumental in presenting high-profile international exhibitions at Bendigo Art Gallery including The Golden Age of Couture: Paris and London 1947-1957 (Victoria and Albert Museum, London) and Cecil Beaton: Portraits (National Portrait Gallery, London). Her projects at Rockhampton Art Gallery included the national touring exhibition Cream: Four decades of Australian art, The Prince|Michael Zavros, and the development of Queensland’s richest art prize The Gold Award.

Tracy holds a Masters in Creative Arts from James Cook University as well as a post-graduate degree in Museum Studies and a Bachelor of Visual Arts.

/Public Release. View in full here.

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.’

DIASPORA PAVILION II’

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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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 www.brunswickstreetgallery.com.au.

DEADLINE FOR ENTRIES: MIDNIGHT SUNDAY 21 JUNE 2020

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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 lalanta.com. Appointments for private viewing can be made at info@lalanta.com or 02-050-7882.

Fake boomerang artwork scores Wyndham Art Prize win for Indigenous artist Amala Groom – ABC News

A sculpture featuring a fake boomerang balanced on a stack of gold coins, painted with ochre and the words “Come back home”, has won its creator the prestigious Wyndham Art Prize for 2020.

Despite being selected above dozens of entries for the non-acquisitive prize worth $12,000, conceptual artist Amala Groom said it was a “bittersweet” win.

The Wiradyuri woman said she made the piece, titled Copywrong, in response to the lack of copyright entitlements for Indigenous cultural materials.

Ms Groom said the creation of fake Indigenous art, which was often sold as tourist souvenirs, was an enduring problem.

“It’s just a travesty,” Ms Groom said.

Amala Groom’s winning artwork Copywrong is a response to the lack of copyright entitlements for Indigenous cultural materials.(Supplied: Amala Groom)

‘Bittersweet’ win

Ms Groom learned of her win days after proposed legislation to give greater protection for Indigenous cultural expressions was rejected by a Senate committee.

The bill sought to effectively ban the sale of Indigenous-style artworks unless they were produced or licensed by an Aboriginal or Torres Strait Islander person.

“It’s just an ongoing struggle to have Indigenous copyright protected under the Australian legal system,” she said.

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An estimated 80 per cent of Indigenous-style works purported to be made in Australia are made by non-Indigenous people and often manufactured overseas, according to a campaign by Arts Law, the Indigenous Art Code and the Copyright Agency.

Launched in 2016, the Fake Art Harms Culture campaign aimed to raise awareness of the growing presence of inauthentic art and craft products sold in Australia.

Success on country

For the first time in its six year history, the Wyndham Art Prize winner announcement was made via an online video award ceremony.

Judge Myles Russell-Cook, who is the curator of Indigenous art at the National Gallery of Victoria, described Ms Groom’s work as a “powerful installation”.

“The judges found this work to be provocative, considered and impactful in its simplicity,” Mr Russell-Cook said.

Indigenous artist Amala Groom is drawing inspiration from global events.(Supplied: Amala Groom)

While many of Ms Groom’s projects and exhibitions have been cancelled or postponed, she has scored another success for 2020.

She was recently named as the sole New South Wales finalist for the National Aboriginal and Torres Strait Islander Art Award held annually in Darwin.

After years of working in Sydney and travelling extensively for artist residencies, the 41-year-old said she is enjoying living back on Wiradyuri land in Bathurst, NSW.

“It’s been really nice to be at home and just chill out, and to be in the close proximity of family and to be on country,” she said.

The fake boomerang has since been returned to Ms Groom but now sits inside a mailbag until it can be publicly displayed.

Paul’s political picture places top of Solar Art Prize pack – Victor Harbor Times

Port Elliot artist Paul Whitehead is one of four section winners of the 2020 Solar Art Prize.

Mr Whitehead entered two artworks – ‘Back in the Black’ and ‘Fiji Holiday’ – in this year’s prize, which was environmentally-themed.

‘Back in the Black’ depicts Prime Minister Scott Morrison saying “We’re Back in the Black” while holding a piece of the large pile of coal he is standing in, and in the background there is mining machinery, a ‘surplus coal mine’ sign, and a wagon with ‘political donations’ on the side and a large bag of money sitting inside.

This piece was the winner of the caricature (political satire) category.

The Solar Art Prize

Mr Whitehead opened Gallery 45 in Port Elliot, which houses not only his and other South Australian artists’ works, but it is where his working studio is set up as well.

He enjoys creating both in his studio and outdoors.

While he creates art with various mediums including oil, gouache, watercolour, and charcoal, he is also a photographer.

Very pleased to have taken out the Caricature (Political satire) prize in this years environmentally themed Solar Art Prize. I entered 2 pieces ‘Back in the Black’ and ‘Fiji Holiday’ the former won the prize 🙂 A special thanks to Pip and the organisers for proceeding with the show in these uncertain times.

Wyndham Art Prize Winners Announced – Mirage News

Wiradyuri conceptual artist, Amala Groom took home the prestigious 2020 Wyndham Art Prize for her work Copywrong.

Groom is a prominent artist whose work presents commentary on contemporary socio-political issues.

Copywrong shows the boomerang, an internationally recognised symbol of Australian culture, which has been cheapened by the tourism industry and sold as a souvenir.

Groom’s artwork highlights a lack of entitlements to copyright for Aboriginal cultural materials. The boomerang was made overseas, it has been marked with unidentifiable totems in acrylic paint and it was painted over by ochre to indicate how the Aboriginal culture needs to come back home.

The winner of the Local Emerging Artist Prize winner was wãni LeFrère with his work Final Solution and the Deakin University academic bursary prize went to Melanie Cobham for her work Unheard Voices.

Wyndham City Arts, Culture and Heritage Portfolio Holder, Cr Tony Hooper said the community asked for more creative and vibrant events to attend to make the City more liveable and the Wyndham Art Prize was an opportunity to see quality art right at their doorstep, albeit online on this year.

“Wyndham City is committed to vibrant arts and culture events for the community and that’s why we are dedicated to initiatives like the annual Wyndham Art Prize – and we are continuing our programs through Covid-19 via digital platforms.”

“The Wyndham Art Prize is one of the most prestigious art exhibitions in Victoria and we are delighted to attract such talented artists to Wyndham.”

Cr Hooper congratulated Groom, LeFrère, and Cobham on their winning pieces as the sixth annual Wyndham Arts Prize is taken to an online platform.

“With 77 talented artists selected as finalists, the independent judges had a tough decision to pick the winning pieces.”

“While the Wyndham Art Gallery is closed to the public, we invite you to visit our virtual gallery space, listen to recordings with artists and see the full exhibition catalogue.”

The Wyndham Art Prize People’s Choice Award is still up for grabs, and visitors are encouraged to vote for their favourite before Sunday 28th June. The winner will be announced on Tuesday 9th July. (To vote go to ).

Vote

On Thursday, 28th May at 6pm we will have a pre-recorded panel video discussion with local artists Carolyn Warren-Langford, Jonathan Mendez-Baute and Megan Bonnici and Wyndham Art Gallery Curator Megan Evans about artworks the artists have in the show, their creative practice, the experience of being involved in a digital exhibition, their creative practice, and how COVID-19 has impacted that practice.

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On Sunday 31st May at 2pm the Sunday Salon will be held online. This free interactive session will be led by local artist and Wyndham Art Prize finalist, Emmet Davies. During the session, you’ll learn basic techniques and themes needed to construct a realistic portrait, including eyes, nose, mouth, hair and skin texture. Sunday Salon is free, but registrations are essential.

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/Public Release. View in full here.

How Border Art Prize winner stood out from hundreds – Tweed Daily News

DESPITE many art prizes around Australia being postponed or cancelled due to COVID-19, Tweed Regional Gallery’s Border Art Prize 2020 entrants embraced their chance to shine online in an exhibition featuring almost 400 works.

This year’s Border Art Prize winners were announced online and through social media channels last Saturday with guest judge Director of Grafton Regional Gallery Niomi Sands recording her message of congratulations to prize winners and entrants alike.

The $3000 first prize was awarded to Oksana Waterfall for The girl from Kyiv, with second prize going to Megan Puls for a ceramic vessel from her SURGE series.

Jenny Kitchener received third prize for her unique print linocut collage Out of kilter.

 

Megan Puls, 2020 Border Art Prize $1500 winner, “SURGE” series 2018, stoneware recycled clays / Black Scarva clay, 35 x 17cm

 

Ms Sands also awarded Highly Commended to seven artists including Michelle Dawson, John Pitt, Konstantina, Shannon Doyle, Tim Fry, Susan Jacobsen and Trish Tait.

The online ‘opening’ featured a number of videos, including a Welcome to Country sung by Aunty Deidre Currie; a performance by local musician Peter Koro; and video messages from Tweed Shire Deputy Mayor Chris Cherry, Director Sustainable Communities and Environment Tracey Stinson and Tweed Regional Gallery & Margaret Olley Art Centre Director Susi Muddiman OAM.

People can now view all 392 works in the online catalogue on the Gallery’s website.

Many of the artworks are for sale and anyone interested in buying a piece should contact the artist direct via the links in the online catalogue or contact the Gallery.

“The Border Art Prize offers artists of our region a great opportunity to get their artwork out there,” Ms Muddiman said.

“One benefit of the online exhibition is that interested buyers won’t have to wait until the exhibition finishes to receive their purchased artwork, but we do need to remember that social distancing restrictions still apply and it’s important to look out for one another. Artists and buyers should practice safe payment and delivery options.”

The biennial Border Art Prize is open to residents of Tweed, Ballina, Byron, Kyogle, Lismore and Gold Coast City council areas.

 

Jenny Kitchener, Border Art Prize $500 winner , Out of Kilter, 2019 framed linocut, collage, (unique print), 53 x 35cm. Picture: Supplied.

 

Entries this year included textiles, sculpture, ceramics, oils, acrylics, mixed media, watercolour and photography.

The subject matter is varied, but includes landscapes, portraits and self-portraits, as well as themes related to social isolation and the devastation caused by recent bushfires.

The $3000 first prize is funded by Tweed Shire Council, with the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc. funding the second prize of $1500 and third prize of $500.

To find out more about the online exhibition and to view the Border Art Prize 2020 catalogue, visit https://artgallery.tweed.nsw.gov.au/