Wednesday, 16 November 2011
2011 Bett Gallery Honours Award announced
Bett Gallery congratulates Lydia Evangelou-Oost, winner of the 2011 Bett Gallery Honours Award in conjunction with the University of Tasmania. Watch this space for more about Lydia and her work....
Tasmanian Aboriginal shell stringing gains international recognition
The Premier, Lara Giddings, today congratulated two respected Tasmanian Aboriginal shell necklace makers whose work has been selected to appear in a prestigious exhibition in the United States.
Aunti Corrie Fullard is a respected elder of the Tasmanian Aboriginal community and the tradition of shell stringing was passed down through many generations of her family, including to her daughter Jeanette.
Ms Giddings said works by Aunti Corrie Fullard and her daughter Jeanette James had been selected for the Forces of Nature exhibition at the Australian Embassy in Washington DC, which opens on 16 November 2011 and continues until February 2012.
“Curated by Melissa Keys, an Australian contemporary art curator currently living and working in the United States, Forces of Nature draws together the work of thirteen of Australia’s most significant artists working in the field of jewellery and small sculpture practice,” Ms Giddings said.
“The exhibition investigates the intricacies of land and sea, flora and fauna, while exploring the complex relationship between contemporary Australia and its unique natural environment.”
Aunti Corrie Fullard is a respected elder of the Tasmanian Aboriginal community and the tradition of shell stringing was passed down through many generations of her family, including to her daughter Jeanette.
The art of shell stringing is a valued Palawa cultural tradition that has remained intact and continued without interruption for many thousands of years.
Ms James said the cultural and artistic aspect Aboriginal shell necklace stringing had been difficult to explain to some overseas countries.
“Exhibitions such as this one help educate international audiences about Tasmania and the Aboriginal culture and practices.
“My mother and I were excited when we were invited by the curator to be a part of this exhibition and we are very honoured to be considered two of Australia’s most significant artist working in the field of jewellery and small sculpture.”
Ms Giddings described the pair as an inspiration to all Tasmanian artists.
“The recognition of Tasmanian Aboriginal shell stringing at an international level is incredibly significant and I commend Aunti Corrie and Jeanette for continuing to preserve this important traditional practice.”
Tuesday, 8 November 2011
Megan Walch at MOP Projects
Lineage of Eccentricity Stage 2
10th November - 27th November 2011
Opening Thursday 10.11.2011 6 - 8 pm
MOP Projects, 2 / 39 Abercrombie Street Chippendale Sydney NSW 2008
By placing pressure on painting’s traditions Megan aims to exploit the extreme plastic conditions of the medium to cross cultural as well as aesthetic boundaries of form.
‘Eccentric art’ has been a recognised category of Japanese art history since the 18th Century. Japanese Art Historian Tsuji Nobuo coined the term ‘Kiso no Keifu’ (The Lineage of Eccentricity) in his 1970 book of the same name.
Nobuo’s definition embraces unconventional notions of beauty in painting emphasizing the grotesque, a love of nature and the use of humour in imagery.
‘The Lineage’ is a new framework for Megan to develop an Australasian vision in art; one that prioritises a pan-Pacific diaspora.
The etymology of ‘eccentricity’ is rooted in the Greek for ‘off centre’ and it is at a distance from Europe and the US that globalisation’s cultural mutants result in new forms of expression.
Megan’s work has been exhibited in the United States and Australia, including Wilderness, curated by Wayne Tunnicliffe at the Art Gallery of New South Wales, Kindle and Swag - The Samstag Effect, curated by Ross Wolfe, University of South Australia Art Museum, and Primavera 2000, Museum of Contemporary Art, Sydney. Megan is a Samstag Scholar and an alumnus of the San Francisco Art Institute USA and Skowhegan School of Painting and Sculpture USA. Megan has had residencies in the Space Program New York, in an Australia Council studio at Taipei National University for the Arts, and with Asialink at Khon Kaen University Thailand. She currently lives and works in Hobart Tasmania.
10th November - 27th November 2011
Opening Thursday 10.11.2011 6 - 8 pm
MOP Projects, 2 / 39 Abercrombie Street Chippendale Sydney NSW 2008
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| What Goes Up’…. (detail) Acrylic, enamel, oil paint, glitter on wood panel 70 cm x 280 cm, |
‘Eccentric art’ has been a recognised category of Japanese art history since the 18th Century. Japanese Art Historian Tsuji Nobuo coined the term ‘Kiso no Keifu’ (The Lineage of Eccentricity) in his 1970 book of the same name.
Nobuo’s definition embraces unconventional notions of beauty in painting emphasizing the grotesque, a love of nature and the use of humour in imagery.
‘The Lineage’ is a new framework for Megan to develop an Australasian vision in art; one that prioritises a pan-Pacific diaspora.
The etymology of ‘eccentricity’ is rooted in the Greek for ‘off centre’ and it is at a distance from Europe and the US that globalisation’s cultural mutants result in new forms of expression.
Megan’s work has been exhibited in the United States and Australia, including Wilderness, curated by Wayne Tunnicliffe at the Art Gallery of New South Wales, Kindle and Swag - The Samstag Effect, curated by Ross Wolfe, University of South Australia Art Museum, and Primavera 2000, Museum of Contemporary Art, Sydney. Megan is a Samstag Scholar and an alumnus of the San Francisco Art Institute USA and Skowhegan School of Painting and Sculpture USA. Megan has had residencies in the Space Program New York, in an Australia Council studio at Taipei National University for the Arts, and with Asialink at Khon Kaen University Thailand. She currently lives and works in Hobart Tasmania.
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