Connections – Brazil and Australia
5 May until 19 June Gallery of Australian Design opening event 5pm Wednesday 5 May 2010. To be officially opened by His Excellency Michael Bryce
From 5 May to 19 June, the Gallery of Australian Design (GAD) will highlight connections between Brazil and Australia. From ancient Gondwana to the future, the exhibition covers environmental sustainability, conservation research, science and technology, urban design and sustainable development.
Brazil and Australia have strong connections in geology, flora, fauna and design. The exhibition also looks at the context of current scientific research and industry-based joint ventures while promoting the discussion of environmental issues with a historical viewpoint.
Supported by the Australian Government through the Council on Australia Latin America Relations, which is part of the Department of Foreign Affairs and Trade. Curated by Services for Art
Opening Hours Wednesday to Saturday, 10am -4pm For more information, please contact Jas Hugonnet, Manager, Gallery of Australian Design, 44 Parkes Pl PARKES
image: John Hunter (1737-1821) Emu of New South Wales 1788-90 watercolour 22.3 x18.3 cm Collection: National Library of Australia
It’s a British thing, we figure…
This first from Nige…
and then this from Graham…
Stop! in the name of love…
Craft Australia recently posted Megsie’s Tour de Force catalogue essay on their website, prompting the following email from Stephen Skillitzi…
Hi Megan and the ‘glass diaspora’,
I really appreciated your article, especially these 2 excerpts below, for this show “tour de force: in case of emergency break glass”. It reflects my reservations about the current narrowing of accepted or ‘politically correct’ Studio Glass into largely a vacuous chasing after Venetian-inspired maestros. Despite enlightened exceptions, the old 1960’s spontaneity that I keenly remember seems to many newcomers to be ‘outdated’ at best and despised at worst. Sadly in that ‘group think’ process innovative idiosyncrasies are unwittingly suppressed.
It is good to see Neil Roberts has not been forgotten…. what a great ‘go-it-alone’ talent!
…from Tour de Force: in case of emergency break glass
Curator Megan Bottari’s catalogue essay from the exhibition Tour de Force: in case of emergency break glass featuring work by contemporary Australian artist’s Timothy Horn , Deb Jones, Nicholas Folland , Neil Roberts, Trish Roan, Ian Mowbray, Jacqueline Gropp and Tom Moore.
“… No matter how proficient the imitators of Dante Marioni or Lino Tagliapietro ultimately become, such patently derivative work will always lack the lustre of the genuine article. Not because any less skill is required, or the degree of difficulty is in question, but because the work doesn’t have any real creative integrity of its own.
It becomes a technical exercise with barely a hint of personal signature. To make a proper mark these days, studio glass needs an indelible stamp of unmistakable individuality – and the reinvention of this well-worn wheel is becoming an increasingly rare achievement. Part of the problem is the lack of risk. When artists opt for the safety of the shallow, commercial end of the pool there’s not likely to be much splash.
It’s time to redress the balance and re-introduce the development of strong conceptual practices that engage on a broader, humanist level – in a way that pushes the boundaries and intelligently interrogates the art-craft dichotomy. In other words, it’s time to encourage the upcoming generation of glass artists to spread their wings and start considering their work in terms of a serious contemporary art practice. They need to get out and get funky with it. Perhaps this is where things have gone awry. A culture of accelerated maturity has been allowed to develop – resulting in a whole generation of glass artistsstarting out as ponderous sophisticates. It’s all too artificial. Too stilted. You are what you make – and artists have an obligation to be faithful to their own true nature…..”
Thanks for the feedback Stephen, we’re definitely on the same page in this regard (and have been for some time, without doubt.) Glass peeps have to stop, re-examine their practices, and get back in touch with the genuine passion. Rediscover the love, people, that’s what we’re talkin’ about.
‘The Glass Delusion’ was the name given in the late Middle Ages and Baroque times to a form of depression. Sufferers were obsessive, compulsive, driven by irrational fears, and imagined themselves to be made of glass, hence brittle and fragile…Victims allegedly travelled padded in straw and refused to sit down fearing their body weight would fracture their buttocks.’
Can you not relate? Glass Delusions is an upcoming exhibition at the National Glass Centre, Sunderland. Sounds rather intriguing…and open to all sorts of potential, convoluted developments. We wouldn’t mind having a play with the concept ourselves, though with a rather more tongue in cheek-butt, antipodean twist.
Meanwhile, we rather like Alan Bennet’s bottle – mainly, of course, because it reminds us (notwithstanding that it’s a more sophisticated version) of the Roman uroscopy flasks (aka pisspots) that Wendos used to blow for us as a demo back in first year…
Darlings! It’s been all systems go at the Bega Valley Regional Gallery with Three Sydney Artists: Let Loose in the Landscape.
Featuring the work of Ann Thomson, Euan Macleod and Idris Murphy, it was a contemporary painter’s quasi abstract wet-dream (by all credible accounts.)
[Nothing like a departure from the chocolate box to send a swoon through the daubing cognescenti, eh? n(Ed)]
Anyhoo, it was a damn fine show – augmented by an Artist’s Soiree…
…and a fabulous Artist Camp out at Penders for the lucky 15 participants who scrambled to the phone and signed up immediately the weekend event was announced (as for the waiting list, we gave up counting once it got over 50!)
Highlight of the evening was Patrick’s fabulous solo performance of Paella…
and then Day 2 delivered more of the same…
A great time was had by all – even the chief cook and bottle washer.
Special thanks to Marr Grounds for arranging such perfectly splendid weather.
More snaps here, and more to come (in time…)
Before our trip to Melbourne (and last weekend’s Artist Camp at Penders – all of which is yet to be posted…) we swung by the Merimbula & District Arts Group show, held every Easter at Twyford Hall. Thought we’d bring you the pick of the pops…
(above) The winning work, Diane Della Vergin’s I told Santa I didn’t want a bike
Kathryn Hede’s Life in Black and White, gouache
Alicia Connolly’s Red Boat II, acrylic
Tom Bosman, West of Mt Tamborine, oil.