Emma Fielden has been selected as a finalist for the NSW Visual Arts Emerging Fellowship 2017.
Valued at $30,000, this Fellowship is offered by the NSW Government through Arts NSW to enable a visual artist at the beginning of their career to undertake a self-directed program of professional development.
Emma Fielden has been announced as one of the 46 finalists in the 2017 Woollahra Small Sculpture Prize. The Woollahra Small Sculpture Prize is Australia’s pre-eminent national award for small sculpture and is presented by the Woollahra Council.
Julian Day has been awarded the 2017 APRA Professional Development Award. This biannual award is designed to create opportunities that will further the careers of songwriters and composers from a variety of different genres. Day plans to use the prize money to fund a research trip to New York which will include writing new music, investigating performance projects, meeting with producers and curators.
DMG artists Marion Borgelt, Dani Marti, Nike Savvas and Philip Wolfhagen are currently on display at Orange Regional Gallery as part of their exhibition celebrating 10 years of Artist Profile magazine. Bringing together featured painters who have made a significant contribution to the magazine, this exhibition presents a comprehensive overview of Australasian painting from 2007 to 2017.
Exhibition Dates: 08.07 – 10.09.2017
Philip Wolfhagen has been awarded the Lloyd Rees Art Prize; an independently-judged, acquisitive prize that recognises an Australian landscape painter and their superior handling of light. Wolfhagen’s ‘Transitory Light’ (2017), painted with oil and beeswax on linen, was announced as the winner on July 4 by Tasmanian Governor Kate Warner. The painting is now with the Colville Gallery in Hobart, where the prize is awarded bi-annually.
Jon Cattapan is currently in the group exhibition ‘dot dot dot […]’ at Sydney College of the Arts. Curated by SCA Wingara Mura Fellow Janelle Evans in collaboration with Dr Geraldine LeRoux (University de Bretagne), this exhibition explores the use of dots within the context of contemporary art. Including both indigenous and non-indigenous Australian artists, ‘dot dot dot […]’ looks at this technique as a multi-faceted tool for mapping people, place and memory. Cattapan’s two paintings ‘September Session’ and ‘The Decade Positions’ layer pixel-like dots over a free-flowing background to depict scenes of conflict.
‘dot dot dot […]’ is on display until 29.07.2017
Janet Laurence is currently in the group exhibition ‘Moving Plants’ at Rønnebæksholm in Næstved, Denmark. This exhibition investigates climate change and environmentalism, bringing together artists from Denmark, Sweden, Hong Kong, Japan and Australia. Each artist has created site-specific work that engages directly with Danish plant life. Laurence examines these local ecologies through the cross-section of art, science and history, with a particular focus on medicinal plants.
‘Moving Plants’ is on display until 24.09.2017
Janet Laurence is in group exhibition of Australian and international artists at the Topography of Art gallery space in Paris. A conference running alongside this exhibition was held on July 7, putting the artist in conversation with researcher and author Nathalie Blanc. During this event they discussed how art is able to address the environmental anxiety that embraces all of us today. Laurence combines science, video, natural history, and an alchemy of her own to depict marine species in the process of disappearance.
‘WARNING SHOT’ is on display until 27.07.2017
On June 4, 2017, Locust Jones participated in the ‘Conversation Starters’ weekend program at the Museum of Contemporary Art, Sydney, with ‘Hope in a Dark Age’. Jones worked on a five metre long drawing for four hours, creating raw and powerful imagery in response to a constant feed of current news and world affairs footage.
Through this endurance artwork, Jones explores the different ways of record-keeping and mark-making in a world of media saturation. His performance offers a live translation of this contemporary deluge through the physical act of drawing.
Helen Pynor’s new installation ‘The End is a Distant Memory’ is currently on show at The National Taiwan Museum of Fine Arts in Taichung as part of the group exhibition ‘No Such Thing As Gravity’. Co-curated by Prof Mike Stubbs and Dr Rob La Frenais, this exhibition emphasises trans-disciplinary collaborations between contemporary art and science.
Pynor’s installation subverts what we believe about life and death through an exploration of the living animal cells that survive in the meat we buy for food and the ambiguities of human near-death experiences. She developed her concept during a five-month residency at the Max Planck Institute of Molecular Cell Biology and Genetics in Dresden during 2015.
Exhibition Dates: 22.04 – 25.06.2017