May 13, 2019
ABBEY McCULLOCH FINALIST IN THE SUNSHINE COAST ART PRIZE
Abbey McCulloch's work 'The Forcefield' 2019 has been selected as a finalist in the 2019 Sunshine Coast Art Prize, administered by Caloundra Regional Gallery.
The Sunshine Coast Art Prize 2019 is a national contemporary acquisitive award presented by Sunshine Coast Council. The award is open to any artist who is an Australian resident, working in a 2D medium. Forty finalists have been selected for exhibition at the Caloundra Regional Gallery and the winning work will be added to the Sunshine Coast Art Collection.
The Sunshine Coast Art Prize 2019 offers a prize pool of more than $30,000 in cash and prizes.
Image: The Forcefield 2019, oil on canvas, 66 x 100cm
May 13, 2019
ABBEY McCULLOCH 'HIGHLY COMMENDED' IN THE RAVENSWOOD AUSTRALIAN WOMEN'S ART PRIZE
Abbey McCulloch was awarded 'Highly Commended' in the Ravenswood Australian Women's Art Prize with her work 'Mammoth' 2019.
The annual prize was launched in 2017 to advance art and opportunity for emerging and established female artists in Australia. There are two prize categories, including a $35,000 prize — the richest professional art prize for women in Australia. Artwork judging will be overseen by Ravenswood Australian Women's Art Prize Patron and acclaimed artist, Jennifer Turpin, and announced at the exhibition opening on 31 May, 2019.
Image: 'Mammoth' 2019, oil on canvas 101 x 101cm
May 8, 2019
VIPOO SRIVILASA FINALIST IN THE DEAKIN UNIVERSITY SMALL SCULPTURE AWARD
Deakin University Contemporary Small Sculpture Award 2019
When: 29 May–12 July 2019
Tuesday to Friday 10am–4pm, Open only during exhibitions
Where: Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Hwy, Burwood, VIC 3125
In its tenth anniversary year this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit displaying the work of the 2019 finalists.
Image: VIPOO SRIVILASA Protection 2018, 66 x 37 x 23 cm, ceramic, acrylic paint, glaze ceramic flowers and mix media.
May 6, 2019
Peta Minnici - KEDUMBA DRAWING AWARD
The Kedumba Drawing Collection was started in 1990 and embodies and reflects all the elements of outstanding drawing created in Australia over more than 50 years and has acquired almost two hundred drawings.
Peta Minnici subject of her work depicts Minnici almost as a voyeur peering from outside through glass windows of Bundanon Homestead during my recent residency.
Capturing both inside and surrounding landscape in one frame, as a play on reflections, allows the internal foyer and staircase to fuse seamlessly with the mountains and trees.
Minnici's work 'Looking In, Seeing Out - Bundanon' has been acquired into this collection.
IMAGE:
Peta Minnici
Looking in, Seeing out – Bundanon 2018
ink on paper
May 6, 2019
DAN KYLE FEATURED IN ARTIST PROFILE MAGAZINE
In 2015 Owen Craven wrote about Dan Kyle, his studio and life in the bush near the Blue Mountains —
Soon after graduating from the National Art School, Dan Kyle set up home deep within the Australian bush at the foot of the Blue Mountains, west of Sydney. His paintings are translations of what he sees – the beauty, the unique forms, the colours – but also his way of reducing the density of the bush to a more approachable landscape for him to keep exploring. Back in Issue 32, 2015, Artist Profile chatted to Dan about the formal and conceptual nuances of his landscapes.
May 1, 2019
SALLY NANGALA MULDA FEATURED IN ART/EDIT
Louise Martin-Chew writes about Sally Nangala Mulda's life and painting for Art/Edit magazine. She says:
'WHAT IS MOST DISTINCTIVE about the paintings of Sally M. Nangala Mulda is that they tell us just how it is to live in Abbott’s Town Camp, not far from the mostly dry Todd River bed in Alice Springs (Mparntwe). Many of the paintings produced by Indigenous artists working out of the region use colour and pattern to evoke the romance of their connections to Country. However, Sally’s approach delivers the gritty reality of the place in which she lives, the interactions between police and Aboriginal people, the supermarket as the source of “a feed”, the tension around alcohol consumption and people sleeping rough, all set amongst saltbush, waterholes, homes and shops.'
April 25, 2019
SALLY NANGALA MULDA FEATURED IN RUNNING DOG FOR 'THE NATIONAL' AT THE AGNSW
On Sally Nangala Mulda's work for 'The National' at the Art Gallery of New South Wales, Snack Syndicate for Running Dog writes:
'Sally Mulda’s narrative style mimics the pedantic, forensic language of the state while at the same time showing that such language tends to obfuscate its subjects—people who live and die. Mulda’s frank descriptions of the Town Camp index the countless different ways that black life is both constrained by, and always in excess of, white law.
Together, the paintings in the exhibition are quietly unsettling, staging a series of encounters that produce both minor affects (annoyance, confusion, amusement, affection) and their major implications. Engaging with the paintings, we feel the enormity of living under occupation, as well as the conviction that such enormity can never be total.'
April 17, 2019
SALLY NANGALA MULDA FEATURED IN 'THE NATIONAL - NEW AUSTRALIAN ART' AT THE ART GALLERY OF NEW SOUTH WALES
Curator Isobel Parker Philip talks about Sally Mulda's work for 'The National' at the Art Gallery of New South Wales:
'Sally Nangala Mulda is an artist who lives in Abbott's Town Camp in Alice Springs in the Northern Territory.
She paints scenes from her daily life. She paints people having breakfast. She paints going to the football. She paints people going to sleep. She also paints the routine and intrusive presence of the police amongst the indigenous communities in the Northern Territory.
All of these scenes are painted with the same frank and stark honesty. There is a normalisation of the police presence amongst the Indigenous community that is shocking to see at first and is amplified by the regularity with which Sally paints it and that we see it again and again across the installation.
This reminds us about what life looks like for a huge portion of our Indigenous people. In this work we see the lived effects of the 2007 Northern Territory intervention. It's a brutal reminder about what reality can really look like.
Sally paints her figurative scenes and then applies text on top of them to tether each work to a particular time and place. These are diaristic documents. They're paintings that do the job of photographs or snapshots. There's a kind of direct relationship between these scenes and the real world. We read them as snapshots. We read them as kind of episodes from life as it is lived.'
March 28, 2019
CHRIS ZANKO REVIEWED IN COAL COAST MAGAZINE
Christopher Zanko’s depictions of classic Australian suburbia and architecture – created through carving and painting – feel happy and nostalgic, as though cementing a time in local history, while also celebrating the beauty of an everyday normal.
“These days a lot of homes and buildings are being knocked down, so the area is not going to look like this for much longer,” Chris says. “It's great to be able to capture these beautiful buildings while they’re still here.”