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As the winner of the McClelland Achievement Prize in 2014, Sonia Payes has been planning her future and her new exhibition Parallel Futures. This exhibition will provide an insight into the evolution Payes' work from photography through to sculpture, and how she has made the 2D image a 3D reality. Payes' new work includes the Woman Series, a new body of sculptural works that extends the imagery of the four-faced goddess and incarnates her into a metallic warrior. A strong environmental narrative permeates the exhibition, and the cycle of recreation in a wildly imagined dystopian landscape is thoroughly explored.
Payes has held 12 solo exhibitions and been included in over 50 group shows and many prestigious art prizes in Australia and overseas including Shanghai, London, Auckland and Los Angeles. Her works are held in numerous public, corporate and private collections. Sonia Payes is represented by Fehily Contemporary, Melbourne.
As one of Australia's prominent public sculptors, Canberra-based David Jensz is well known for his inventive and sophisticated forms that are shaped by unexpected ready-made materials. Ranging from industrial plastic pipes, inflatable rubber tyre tubes through to 44 gallon drums and corrugated iron, Jensz handles and weaves these materials in ways that defy their original purpose.
For McClelland, Jensz has created an installation of new work that unites in intriguing ways various visual sensations of movement. These sculptures balance, burst and ripple in the gallery space and draw upon the artist's interest in the laws of nature and physics to explore the interconnecting nature of energy, matter and life in the world.
McClelland's permanent collection consists of over 2,000 works of art encompassing sculpture, paintings, photography, works-on-paper and more. Following on from the 2006 exhibition Highlights from the McClelland Collection which presented works dating from the late 1800s to the 1950s, this exhibition brings together a selection of key contemporary works from McClelland's collection. Both old favourites and recent acquisitions by many of Australia's acclaimed contemporary artists working across a range of mediums and styles, will be presented in celebration of the continuing growth and significance of McClelland's permanent collection.
Featured artists include Rick Amor, Stephen Bush, Paul Davies, Jennifer Goodman, Richard Giblett, Cherry Hood, Robert Jacks, Rosemary Laing, Christopher Langton, Ron Mueck, Jan Nelson, Jim Paterson, Patricia Piccinini, Alex Seton, Kate Spencer, Colin Suggett, Simon Terrill and Stephen Wickham.
In the late 1980s, on the day that they decided to spend the rest of their lives together, Gordon and Marilyn Darling agreed to pursue a project: the creation of a place that would testify, through portraits, to the ingenuity, intelligence, inquisitiveness and perseverance of individuals who had made a lasting difference to Australia.
In the early 1990s they expressed their vision with an exhibition of portraits they called Uncommon Australians. Over years, their combination of idealism, practical support and persuasive lobbying for an Australian National Portrait Gallery played a crucial part in bringing the institution into being. Now, the National Portrait Gallery’s collection resides in a superb building, its spaces abounding with portraits the Darlings and subsequent benefactors have funded. Uncommon Australians: The Vision of Gordon and Marilyn Darling reveals the National Portrait Gallery’s Founding Patrons as uncommon Australians of the kind they set out to celebrate from the very beginning.
Established in 1998, the Mary and Lou Senini annual $3,000 Student Art Award alternates between the disciplines of Sculpture, Painting/Printmaking, Textiles, and this year McClelland is pleased to present the award for Ceramics.
The $3,000 award is presented to a Victorian tertiary art student who, in the opinion of the selection panel, is of outstanding ability and promise. Join us on Sunday 13 December for the official announcement of the 2015 Mary and Lou Senini Student Art Award and celebrate the new voices in contemporary Victorian ceramics.
The lure of the enchanted isle is the focus of this exciting survey exhibition that focuses on the response of Australian artists to Bali from the 1930s through to the present day.
The exhibition includes the work of significant historical, recent and contemporary Australian artists who have lived and worked in Bali, European artists who visited there prior to coming to Australia and bringing with them a range of new motifs and ideas, and selected examples of modern and contemporary Balinese art that provide a ‘right of reply’.
Australian Artists in Bali: 1930s to Now critically examines the romantic idea of a tropical island paradise along with the antithetical notion of Bali as a gateway to the East. It includes the work of artists who celebrate the beauty of Bali and the complexities of Balinese culture as well as those who willingly engage with the negative impact of the West on the Balinese way of life. In this way the exhibition addresses the changing nature of Australia’s relationship with Bali and Indonesia over the past 80 years.
Australian Artists in Bali includes paintings, drawings, photographs, prints, sculptures and video drawn from major public and private collections from throughout Australia and overseas. Featured artists include Ian Fairweather, Tina Wentcher, Adrian Feint, Vincent Brown, Arthur Fleischmann, Guelda Pyke, Donald Friend, Brett Whiteley, Affandi, Matthew Sleeth, Deborah Williams, James Smeaton, Toni Wilkinson, I Wayan Bendi, Mary Lou Pavlovic and Ketut Suaka, Adam Rish, Lisa Roet, Rodney Glick, Ben Quilty and Laith McGregor.
Elemental features a series of significant works that explore the patterns, forces and systems of nature, and humanity's impact upon these. This collection of works draws inspiration from and represents the natural world in contemplative, confronting and insightful ways. Some draw from the shapes and formations of which nature is comprised, offering intuitive interpretations of the environment. Others provide abstract perspectives of expansive landscapes from viewpoints unattainable by the human eye. Many seek to alter our perceptions of our natural surrounds through documentary, scientific or surreal approaches, revealing the unsustainable impacts of contemporary societies on our ecosystems. Elemental highlights the beauty, force and fragility of the earth’s systems, encouraging a reverence of our intrinsic relationship to the environment.
This exhibition is drawn principally from the McClelland permanent collection, with the addition of several key works on private loan. Significantly, a number of works are being presented for the first time since their acquisition, each expanding upon McClelland’s core focus of art and nature.
Featured artists include Narelle Autio, Mike Brown, Andrew Browne, Augustine Dall'Ava, Peter Datjin Burarrwanga, John Davis, Juan Ford, Angelina George, John Gollings, Janet Laurence, Akio Makigawa, John Mawurndjul, Anton McMurray, Dorothy Napangardi, Jasmine Targett, Neil Taylor, Wukun Wanambi, Pedro Wonaeamirri, Timothy Wulanjbirr, Gulumbu Yunupingu.
Andrew Rogers has systematically developed the main themes of his full scale bronze sculptures through an extensive series of maquettes which on a similar scale present the variety and inventiveness of his practice. This retrospective exhibition will present these maquettes and allied small works to demonstrate the evolution of his various ideas and sculptural forms.
For Rogers his quest is to create and encode sculpture with spiritual meaning - to create a metaphor for the eternal cycle of life, growth and all the attendant emotions that colour and inform the human existence. Accordingly the main philosophical concept around which these works are gathered is the idea of the rhythm of life. Formalistically this abstract theme is conveyed through a matrix of energetic lines, evolving sequence of shapes and organically styled elements - they are a coda for time, change and existence.
In 1983 Geoffrey Bartlett was honoured a prestigious Harkness Fellowship and within two years graduated from Columbia University, New York with a Masters of Fine Arts (Hons). This brief but significant period was instrumental in defining the future direction of Bartlett’s sculpture. His experimental and explorative nature coupled with the maturing effects of new experiences resulted in a significant and lasting shift in his work and was the foundation of a renewed and pure independent vision.
Working predominately within the language of abstraction Bartlett’s sculptures are spatially complex; they engage with the physical qualities of tension and balance and conceptually with the interaction of opposites from the inorganic and organic, external and internal through to ideas of the physical and emotional.
Unfolding the intriguing and unique correlations that have interwoven throughout the artists 40 years of making sculpture, this exhibition and accompanying major publication reassess works created by Geoffrey Bartlett during his time in New York in light of works produced prior to his departure in 1983 through to the present.
Established in 1998, the Mary and Lou Senini annual $3,000 Student Art Award alternates between the disciplines of Sculpture, Ceramics and Textiles, and this year McClelland is pleased to present the award for Painting / Printmaking.
The $3,000 award is presented to a Victorian tertiary art student who, in the opinion of the selection panel, is of outstanding ability and promise. The selected finalists are included in an exhibition at the McClelland Sculpture Park+Gallery from 6 December 2014 to 18 January 2015.
Since its inception in 2003, the McClelland Sculpture Survey & Award has emerged as the most important biennial outdoor sculpture exhibition in Australia. The exhibition presents 33 works in an outdoor exhibition that highlights the diversity and invention of contemporary sculpture. The 2014 McClelland Sculpture Survey & Award will be open to the public from Sunday 23 November 2014 until Sunday 19 July 2015 at McClelland Sculpture Park+Gallery.
Alex Seton's interest in contemporary subjects from the personal to the political continues to have a profound influence on his work. For his most recent exhibition Last Resort Seton explores notions of the utopian paradise represented through inflatable palm trees carved in Wombeyan marble that precariously rest upon their shore of remanent rubble. The association to island life, leisure and water-recreation, surfaces by extension through the rendering of a solitary oar and discarded inflatable lifeboats in suggested states of inflation and deflation.
While undeniably these works seduce and optically engage, it is the latent sense of menace that lurks beneath the surface of Last Resort’s idyllic sanctuary that unsettles. The idyll of strewn inflatable playtime objects, absent of human presence, are carved from stone, a material that is chosen for its dense and resilient virtues, rather than the buoyant qualities associated to the objects in which they refer. These objects of the ‘now’ stand as haunting reminders of the tremendous risks others face in the attempt to find solace and safety within brighter horizons.
In 2012 the McClelland Achievement Prize (MAP) was introduced as a third award of the McClelland Sculpture Survey, entitling the recipient to an exhibition and associated publication during the next McClelland Survey & Award. The inaugural MAP exhibition will focus on the work of Melbourne artist, Christopher Langton.
Langton is Australia’s master of plastic Pop. His metier of glitz, gloss and colour combined with humour that includes over-sized toys and cartoon icons embody the playfulness of the Pop Art aesthetic of the 20th century. His recent works however, have an unsettling edginess and sense of world-weariness that portends to a darker humour in the Post-Pop, Post-Human movements of the 21st century.
This survey exhibition includes installations of spinning gargantuan ersatz flowers, floating PVC inflatable toys and psychedelic wall bubbles that amass into exuberant colourful environments. The evolution of Langton’s art as featured in the exhibition also includes his menagerie of pixilated anime figures, and recent ‘action’ figures which have morphed through three dimensional printing from his earlier pop icons into menacing sci-fi clones, appearing as emissaries from the future.
We don’t need a map: a Martu experience of the Western Desert is a groundbreaking exhibition that brings the remote WA desert to regional Australia. First shown at Fremantle Arts Centre in 2012, this critically acclaimed and popular show melds the traditional culture of the Martu people with cutting edge new media artists from across Australia. Featuring stunning paintings, digital animation, immersive video installations, aerial desert photography, handmade Martu objects and a public program featuring key Martu participants, We don’t need a map invites visitors to interact with the lively and enduring culture of the Western Desert.
The original We don’t need a map exhibition was the result of a partnership between Fremantle Arts Centre, Martumili Artists and Kanyirninpa Jukurrpa and BHP Billiton. This national tour is made possible with the support of The Australia Council for the Arts, Martu People Limited, Western Australia’s Department of Culture and the Arts and Lotterywest.
“It is like stepping into another world. Through paint, drawing, moving image, installation and photography, audiences are teleported to and enveloped by the dusty red, demanding and mesmerising environment that is Martu country.”
Laetitia Wilson, The West Australian, January 2013
Iconic photographs capture Australian beach culture from the 1930s to today. Sunbathers, swimmers, surfers and surf life savers are depicted in this collection of photographs from the Australian National Maritime Museum.
The exhibition includes Max Dupain’s iconic image, the Sunbaker, Ray Leighton’s surfers posed with their longboards, images from Jeff Carter’s 1960s surfing safari, and Roger Scott’s “critical moment” photographs, taken as an individual catches a wave or dives into the ocean.
Anne Zahalka explores ideas of Australian cultural identity and stereotypes by reworking familiar images from the media and the history of art in the series Bondi: playground of the Pacific. Narelle Autio provides a different view of the ocean swimmer from beneath the surface of the waves, and Ian Lever renders the beauty and moods of Sydney’s ocean pools at dawn and dusk.
Cream: Four Decades of Australian Art chronicles the development of modernism in Australia from 1940 to 1980. Grace Cossington Smith’s Drapery in the studio 1940 demonstrates the predominance of post-impressionism and European influences in Australian art at that time. The painting also indicates an end point for euro-centric influences and a new era of a truly ‘Australian’ style. In a post-Second World War environment themes that emerged include universal mythologies in an Australian context, a revised representation of the Australian landscape, portraiture, and social realist depictions of marginalised Australians. Artists including John Perceval, Arthur Boyd, Charles Blackman, Sidney Nolan, Russell Drysdale, John Brack, Clifton Pugh, Sam Fulbrook, Margaret Olley, and Fred Williams, are represented by paintings completed as mature artists and are synonymous with their practice.
Alongside the ‘Melbourne moderns’ Cream also emphasises the development of modernism in other Australian centres. Donald Friend, Frank Hinder, John Coburn, James Gleeson, Lloyd Rees, and David Aspden each represent a particularly Sydney alternative to modernism, through the varying pursuits of expressionism, futurism, abstraction, and surrealism. Equally, the inclusion of Brisbane artists such as Vida Lahey and Jon Molvig; and Ray Crooke and Kenneth Macqueen – effectively Queensland artists – will challenge the predominate view that the centres of Australian modernism belonged to Sydney and Melbourne. Women artists, including Judy Cassab and Constance Stokes, who have previously received less recognition for their place in Australian modern art, are also represented. The exhibition ends at 1980 with William Robinson’s Four cows, one bulling, which surmises a new direction in Australian painting; the beginning of 'post-modernism'.
Cream also recognises the contribution of the Australia Council and the people Rockhampton in the development of the Gallery's remarkable collection.
This project was made in association with Phillipa Jones with the generous support of the Kenneth Myer Alpine Artist and Writers Retreat Programme 2012 and the Martyn and Louise Myer Foundation.
Watershed comprises a new body of photographic work by Martin Hill that explore man’s place within the natural environment. These sweeping alpine landscapes investigate the relationship between culture and nature, man and the environment through a series of captivating sculptural interventions. This exhibition poses the question of how man might learn and live in harmony with the laws of nature in the face of catastrophic climate change and ecological destruction.
Sensory Overload features the work of four contemporary new media artists who create immersive spaces using hypnotic soundscapes and pulsing imagery to explore the invisible data that permeate our environment. Offering an alternate perspective of sculptural installations and spatial engagement this exhibition of light and sound works stimulate and mesmerise through an overload of bodily and meditative engagements.
Sensory Overload will bring together the work of Karen Casey, George Khut, Ross Manning and Kit Webster. The meditative qualities of Karen Casey's installation are inspired by the interplay between mind and matter, a theme also explored by George Khut who invites participants to regulate their stress levels by visually displaying their heartbeat in an onscreen display. Ross Manning and Kit Webster explore the dynamic movement of light through suspended sculptures that are charged with projected patterns of colour and form.
This exhibition is curated by McClelland's former Balnaves Curatorial Intern, Charlotte Carter and has been supported by NETS Victoria's Exhibition Development Fund.
The act of reconstructing a full-sized eucalyptus tree within a gallery is an expression of both hope and futility; the tree looks and feels like a tree, but it cannot and will not ever grow again. To constrain it to the limited dimensions of a gallery space is a further attempt to subjugate a natural phenomenon to the confines of an artistic practice. But life is larger than art. It will always burst forth beyond us.
Incorporating an anamorphic possum ring and a large wall painting, visitors can look to see what the ring reflects, and ponder Ford’s amalgam of rational and irrational references to ecology, subjugation of nature, absurdist metaphysics, and art history.
Established in 1998, the Mary and Lou Senini annual $3000 Award alternates between the disciplines of Painting / Printmaking, Ceramics and textiles and this year McClelland Gallery is pleased to present the award for Sculpture.
Selected finalists are included in an exhibition at the McClelland Sculpture Park+Gallery and recipient of the award will be announced at the exhibition opening on 1 December 2013.
A NETS Victoria exhibition in partnership with the Centre for Cultural Materials Conservation at the University of Melbourne and supported by Latrobe Regional Gallery.
The conservation of art is commonly associated with the restoration of seventeenth century paintings or marble sculptures from antiquity. The use of materials in contemporary art has challenged this perception and enabled a shift in the way conservators interact with artists.
The artists in Made to Last pose questions to future conservators; they have been interviewed by curator Sherryn Vardy about their intent, materials, processes and views on conservation. The exhibition also provides a behind-the-scenes look at conservation with demonstrations of how materials can behave over time and under different environments.
Works include neon and master woodblock prints by Brook Andrew, altered ceramics by Penny Byrne, paintings and anamorphic works by Juan Ford, ink on paper and unique objects such as plants on shelves by Ghostpatrol, and video work and installation using unconventional materials including strawberries and cream and raspberry lollies by Claire Anna Watson.
Shaun Gladwell’s war art focuses on ordinary soldiers in harsh landscapes, on their physique, their inner world, and the training and rituals that shape them. The subjects depicted here, whether on military bases in Afghanistan, the Middle East or Australia, lie at the centre of the artist’s meditations on the role of technology in modern war and the nature of sacrifice and death. Gladwell’s work is a significant contribution to a tradition of official war art that began during the First World War. His use of the video medium is the first in the history of the Australian War Memorial’s official war art scheme.
AIR BORN brings together a vibrant collection of 19 contemporary artists' work who through their varying artistic disciplines are inspired by birds, either as subject or who emulate through their work aspects of avian habitats and rituals.
Birds have played a vivid role in the conceptual and spiritual life of many cultures. AIR BORN inspires an exploration of these cultural traditions and symbology by unravelling varying ideas surrounding the bird and our interaction with them. The themes presented in these works traverse art and cultural history as well as ideas of adornment, volatility, migration, environment, place and identity.
This exhibition accompanies NEST: The Art of Birds to celebrate the importance of birds and revere the often overlooked marvels of their intricate and beautiful existence.
Maria Fernanda Cardoso and Ross Rudesh Harely, Marian Drew, Anne Ferran, Ricardo Idagi, Rahel Kngwarriya Ungwanaka, Martin King, Noel McKenna, Jan Nelson, Lindy Panangka Rontji, Judith Pungarta Inkamala, Ben Quilty, Nusra Latif Qureshi, Kate Rohde, Kylie Stillman, Louise Weaver, Christine Wrest-Smith, John Wolseley and Gali Yalkarriwuy Gurruwiwi.
What are nests if not art created by nature? Guest curator Dr Janine Burke has devised an exhibition which explores the beauty, ingenuity and originality of birds' nests - from magpies to honeyeaters, from chaffinches to parrots, from hummingbirds to African weavers.
Presenting over 70 nests sourced from the collection of Museum Victoria and fro the private collection of Gay Bilson, these exquisite constructions reveal the lives and habits of our closest wild neighbours. They tell the story of birds' survival and adaptation to our ecologically fragile planet.
NEST displays the architectural skill of birds, their consummate ability to make work that is both delicate and durable, as well as the astonishing array of materials they use. This exhibition invites audiences to connect with nature in a new way - observe nests in all their resourcefulness, diversity and elegance.
A Salamanca Arts Centre and CAST touring exhibition
Presenting the work of 16 Chinese Australian artists, Made in China, Australia brings into discussion ideas that surround the meeting of these different cultures and how these experiences have impacted and shaped the work of each artist.
Made in China, Australia considers the work of contemporary artists across a range of mediums and disciplines, genders and generations. Some of the artists in the exhibition were born in Australia, others have travelled here in the past and some are recent arrivals. This exhibition highlights the subtle differences that arise in each artist's work due to their unique relationship with both cultures.
The exhibition includes the work of Tony Ayres, Shuxia Chen, Clara Chow, Lindy Lee, Kevin Leong, Owen Leong, Pamela Mei-Leng See, Chen Ping, Jane Quon, Aaron Seeto, Jason Wing, Liu Xiao Xian, Zhou Xiaoping, William Yang, John Young, TianliZu.
Curated by Greg Leong.
This exhibition is supported by the Contemporary Touring initiative, an Australian Government program, and the Visual Arts and Craft Strategy, an initiative of the Australian Government and the state and territory governments. The project is also supported by the Australia Council and through Arts Tasmania by the Minister for the Arts.
This exhibition explores the body in various states of action and transition. Caught between real and imagined worlds, figures are held aloft in a moment of time and space while others are captured in curious states of motion and play.
In the work of artists such as Rosemary Laing, surreal images of suspended figures in the landscape are photographed through dramatic site specific interventions and performance. The mysterious movement of light and shadow captivates in the imagery of Sonia Payes while Deborah Paauwe’s figures at play suggest the ambiguous world that exists between childhood and adolescence. The swarm of mass crowds in Simon Terrill and Anne Zahalka’s photographs break down the boundaries that exist between individual identities, revealing the transitory patterns of movement that take place in shared social spaces.
This exhibition is inspired by McClelland’s permanent collection and highlights some of its recent acquisitions of work by contemporary Australian artists who harness the agency of in-situ performance, photography, soundscapes and sculpture to explore the body in motion.
Artists include: Rosemary Laing, Callum Morton, Jan Nelson, Deborah Paauwe, Sonia Payes, Patricia Piccinini, Simon Terrill and Anne Zahalka
Janet Laurence’s art is a synthesis of nature, science and architecture and transverses between the disciplines of installation, photography, painting and sculpture. She often uses specific environmental sites as subject to explore ideas of the tangible - of nature in decline and renewal and the intangible - the inherent memories of these sites and the plants and animals that inhabit them.
In her most recent body of work, Laurence considers the process of tracing the ‘memory of nature’ through elaborate constructs of glass leaves and vitrines that contain and screen a collection of botanical images, specimens and natural curios. These works stand as a comment upon the volatility of nature whilst performing as a Museum, to protect and memorialise a plant’s history.
For her McClelland installation Laurence merges past and present, juxtaposing collected botanical curious with living samples gleaned from the 'turn of the century', Langwarrin garden ‘Cruden Farm’. In this installation Laurence expresses both the existence of plants and the idea of a garden as protective haven for the botanic.
Janet Laurence is a Sydney-based artist who is recognised internationally for her public commissions and installations.
The Black Saturday bushfires burnt across Victoria on and around Saturday, 7 February 2009. These fires, as many as 400 individual fires, resulted in Australia's highest ever loss of life from a bushfire when 173 people died and 414 were injured. The fires were mainly centred around Kinglake, Marysville, Narbethong, Strathewen and Flowerdale regions which were all but completely destroyed.
This exhibition features the work of John Gollings, a prominent Melbourne based photographer. His aerial photographs of the devastated blackened forests of the Kinglake Marysville region reveal the raw abstract patterns of the land. Stripped of vegetation there is a curious play of black and colour, of patterns and textures, that is only revealed in the destruction of the bush. His images capture and merge the ambiguous patterns of cast shadows and blackened tree trunks, while other images reveal the rolling topography of the denuded landscape, where roads and tracks and the marks of man add to the extensive geometry of the land.
Congratulations goes to this year's Award recipient Andrew Treloar for his textile work Hnagma.
Established in 1998, the Mary and Lou Senini annual $3000 Award alternates between the disciplines of Painting / Printmaking, Sculpture, Ceramics and this year McClelland Gallery is pleased to present the award for Textiles.
The 2012 Mary & Lou Senini Art Award for Textiles features the work of distinguished Victorian tertiary students who have been selected for their outstanding ability within the field of textiles.
The finalist works on display encompass a diverse range of styles and subject matter that explore the creative potential of textiles in its many forms.
McClelland is pleased to announce the 2012 Finalists:Hannah Bertram
Melbourne born artist Clive Stephen (1889 - 1957) is considered one of the pioneers in Australia’s modernist art movement. Stephen’s stone carvings of figures and animals are typified by their intimate stylized forms and simplified beauty. Stephen would carve according to the modernist mantra of ‘truth to materials’ so that the qualities of wood and stone would dictate a sculpture’s final form and shape.
Clive Stephen’s position as a volunteer doctor during World War I, meant he travelled to Europe at a time when modernism had fallen under the sway of major artists such as Jacob Epstein and Pablo Picasso. Like these artists Stephen was also profoundly influenced by tribal art and in particular the cultures of the Pacific Islands and Africa.
Clive Stephen Sculptor will include major sculptural works from both private and public collections augmented by works on paper. Alongside these distinctive works will be an ensemble of Pacific Island sculptures that Stephen collected, now in the collection of the National Gallery of Victoria.
Curated by Ken Scarlett.
Penumbra an atmospheric installation of work by Rick Amor creates a Romantic otherworld of the imagination where enigmatic creatures and out-of-scale figures are both strangely familiar but curiously different. Surrounded by dramatic mural scale black and white drawings a tableau of Rick Amor’s mysterious and exotic bronze figures emerge into the moody half-light of the exhibition space. Through this exhibition the emotional aura that underpins Rick Amor’s art is created, the sense of disquiet and intrigue underlies the ambiguous narrative of the observer and the observed.
As an emblematic observer on contemporary anxiety and isolation, Rick Amor works within a Romantic tradition of dramatic sublime. His tonal paintings of landscapes and ominous awe-inspiring urban cityscapes are instilled with a sense of unease. Penumbra aims to evoke the atmosphere of his paintings, where figures lurk in shadows, peer from darkened corners or are dwarfed by massive architectural settings. Penumbra echoes the artist’s interest in film noir and the darkness and shadows used to suggest a sense of menace, unease and apprehension of the unknown.
Through the work of artists from India, Indonesia, Malaysia, Pakistan, the Philippines and Thailand,Beyond the Self: Contemporary Portraiture from Asia examines recent directions in contemporary self portraiture in Asia. The various regions of Asia have rich and complex histories of representation to draw on. Accompanying local influences there are broader international conventions that impact on the artists’ work. The use and manipulation of the self image has afforded an avenue for many artists to interrogate their locations and aspirations in recent years. The artists in this exhibition use their objective selves – personal faces and bodies, or those of close family – to speak not only about themselves but also of larger issues and ideas.
Participating artists are interested in re-describing individual and collective viewpoints within their specific historical and cultural landscapes. Interests in redefining the local and questioning the self run parallel to changes in contemporary society and the inexorable shifts in cultures in this age of instantaneous electronic communication and a converging world economy. The contemporary worlds of the artists involve global awareness and mobility along with altered economic and technological possibilities. These redefinitions of the “personalised local” manifest in sophisticated responses to this homogenising moment in history.
The works in the exhibition do not simply mirror the artists’ contemporary worlds. Presenting enquiries that are personally significant, some artists also delve into historical complexity, nationally and internationally. The exhibition presents individually distinct projects that flow into comparable and related themes. Some artists look at different forms of representation exploring transnational histories or modes of contemporary being, while others anchor their positions in the local. Articulations of political and social concerns stand alongside metaphysical expressions of the self within larger cultural settings and adventures into expanded notions of selfhood, explored as part of familial, societal and cultural frameworks.
The artists in Beyond the Self largely operate in spaces of imaginative invention and intervention. Through their personal perspectives and redefinitions of various cultural and historical landscapes the artists attempt to alter the audiences’ customary parameters - probing, pushing and extending imaginations. They offer alternative ways of operating in and imaging our world and suggest a future of undefined possibilities. Writer Homi Bhabha, describing internationalism, suggests that ‘the ... space ‘beyond’ becomes a space of intervention in the here and now’. The artists in this exhibition create work that reflects that intervention into the here and now, to explore beyond the self.
This award was established in 1998 with the intention to provide support to Victorian art students at a tertiary level. The Award is presented by McClelland to an applicant who fulfils the required conditions and who, in the opinion of the selection panel, is of outstanding ability and promise.
Selected finalists were included in an exhibition at McClelland Gallery+Sculpture Park from November 2011 to January 2012.
Double Vision exuberantly explores contemporary art with ideas of portraiture and the body as the focus. Representing through a myriad of mediums what it is to be human, the exhibition charts its ways through encounters of the unexpected, psychological and humorous.
This exhibition also looks at the captivating art of Realism and the intriguing exchanges that occur between painting, photography, digital image and sculpture. Including key works from McClelland’s permanent collection augmented by private and public collection loans Double Vision includes the work of Stephen Birch, Lyndell Brown & Charles Green, Juan Ford, Petrina Hicks, Cherry Hood, Sam Jinks, Justine Khamara, Rosemary Laing, Ron Mueck, Jan Nelson, Evan Penny, Patricia Piccinini, Caroline Rothwell, Julie Rrap, Alexander Seton, Ricky Swallow, Colin Suggett, Christian Thompson and Ronnie van Hout.
Simon Gilby is a Western Australian sculptor whose work centres around the figurative form. This exhibition of ten life-size figures explores the inner and outer worlds of the human mind and body; its vulnerabilities, strengths and various adaptations.
Gilby’s subjects are armoured with various surface patterning that speak to the emotive state of each figure. These figures take shape in characters drawn from classical mythology, religious iconography through to political protagonists which are encountered in various dramatic bodily poses.
The title of this exhibition is derived from the support of seven sponsors who formed a syndicate allowing Gilby one year to develop ten different figurative works. The result is the touring exhibition The Syndicatemade possible by Art On The Move.
This exhibition is drawn from McClelland’s extensive collection of John Farmer prints. These evocative landscapes and studies are unusual for their consistently small scale and act as a testament to the skillful hand of an artist who was able to render each scene with such subtle detail.
John Farmer first enrolled as a student at the Melbourne National Gallery School before studying under the influential tonal artist Max Meldrum in 1917. There he met fellow artists Harry McClelland, Colin Colahan, Clarice Beckett and his future wife Polly Hurry. It was during this period that Farmer adopted the Meldrum school’s appreciation of the formal qualities of tone and careful observation of light and shade.
Farmer had been a practicing artist for over 20 years before being encouraged by the renowned Melbourne printmaker Victor E. Cobb to delve into the world of printmaking in 1943; it became a passion that would consume much of his later career. Many of the prints in this exhibition present a variety of detailed scenes and vignettes surrounding the Frankston area where Farmer moved with his wife in 1957. While Farmer’s poetic depiction of the landscape are drawn from European artists such as Rembrant, Constable and Corot they are unique in their own intimate evocation of the Mornington Peninsula.
This exhibition is presented in association with the Print Council of Australia’s IMPACT 7, Month of Printexhibitions featured throughout Victoria from 12 September to 10 October 2011.
Dreamweavers plots a strange and enchanting course through the world of dreams, nightmares and the imagination. It imagines a world with the lights turned off, where monsters come out to play and reality becomes a flickering memory.
The exhibition explores the contemporary preoccupation for the Fantastic through a range of national and international art practices, that are united by an enduring fascination with darkness and dark places.
Dreamweavers is a multi-sensory experience that is more like entering another world than an art exhibition. It combines sculpture, digital media, photography and painting, in an intoxicating visual feast.
Dreamweavers features the work of six artists. James Gleeson (1915-2008) was Australia’s pre-eminent Surrealist, and one of the country’s most acclaimed twentieth century artists. In his work massive, heaving and largely unidentifiable forms meld with apocalyptic skies and earth in twisted biomorphic shapes.
Contemporary Australian artists Aly Aitken, Adam Laerkesen and Joel Zika extend Gleeson’s vision into the present century. Aitken fathoms bizarre hybrid creatures from everyday materials, while Laerkesen produces extraordinary creations that combine animal, mineral and chemical. They are less simple equations of aesthetics and form, than a total rupture of logic as we know it. New media artist Joel Zika, meanwhile, similarly mines the imagination, using imagery drawn from theme parks and ghost rides to facilitate our encounter with the uncanny.
Two British artists – Sam Spenser and Eloise Calandre – demonstrate that the contemporary preoccupation with the Fantastic is not limited to Australian shores. Spenser’s work Trophy wall is a single, large scale immersive work that simulates the exalted claustrophobia of dreams, and is to be experienced rather than explained. Calandre pitches us into an opaque darkness; her liminal photographs and videos are cloaked in a haunting stillness, where the imagination of the viewer is allowed to incubate.
Best known as a sculptor, Mike Nicholls creates powerful, expressively carved forms in wood that share characteristics with Tribal art and reductive, semi abstract figuration. The hand and shield have been dominant and reoccurring motifs within Nicholls’ sculpture, this exhibition aims to uncover the genesis of these motifs and the personal significance they continue to play in his work.
Mike Nicholls commenced his exhibition career with the Melbourne based collective ROAR Studios, a student artist run studio and exhibition space active from the early 1980s. The ROAR group of young artists were committed to breaking with the conventions of the art establishment of their time, while uniting as an artistic force by experimenting with spontaneous new ways of visual expression. Their work, mainly painting, has been categorised by their approach to the application of thickly applied, highly coloured paints such as the methods employed by the American Abstract Expressionists.
Nicholls has continued to work with immediacy in the chosen medium of wood; the resultant work is often determined by the inherent form, grain and line within the timber with the surface of the sculptures revealing the path of chisel and chainsaw. These textured surfaces are often heighted by the application of muted blacks and white pigments. Nicholls has developed his work into a highly personal vocabulary that speaks with a resounding authority and strength.
Since the early 1980s, Nicholls has continued to exhibit regularly, including an exhibition on his sculpture and paintings, Stripped Bare at Gippsland Art Gallery in 2009. He has completed commissions for public and private collections and is held in public and private collections throughout Australia and in the United States of America.
In 2007, McClelland was generously gifted a major outdoor carving of Mike Nicholls entitled Primitive soul 2004 which is located within the grounds as a signifier to the entry of the north section of the park.
Inspired by the international exhibition The Art of Chess, Bendigo Art Gallery has commissioned 13 of Australia’s leading artists to respond to the notion of the game of chess. The resulting exhibition Your Move: Australian artists play chess brings together an intriguing range of works which highlight the exceptional skills and dynamism inherent to Australia’s contemporary art scene.
This playful and thought provoking exhibition engages with multiple concepts – from climate change, environmental degradation, the impacts of colonisation, to explorations of icons of Australiana – all reacting to the tactical parameters of chess.
Your Move includes the artistic gamesmanship of: Benjamin Armstrong, Lionel Bawden, Sebastian Di Mauro, Michael Doolan, Emily Floyd, Claire Healy & Sean Cordeiro, Robert Jacks, Danie Mellor, Kate Rohde, Caroline Rothwell, Sally Smart and Ken Yonetani.
This is the first survey of photography by this Singapore-born artist, who currently works in both Australia and Malaysia.
Simryn Gill: Inland broadly draws upon works created over the past two decades. While photography forms a significant part of her practice, the artist does not consider herself to be a photographer. Simryn Gill embraces this conundrum as a way of considering her artistic practice, and how photography might function more broadly as a way of engaging with the world.
This exhibition features selections from Gill's series Forest (1996-1998), Rampant (1999) andVegetation (1999) as well as the iconic Dalam (2001). Further works include the highly personal Power station (2004) and Distance (2003-2008).
This expansive survey includes the presentation of Gill's most recent work Inland (2009), commissioned specifically for this project with support from the Australia Council for the Arts. The work is an intimate series of hand processed Cibachromes which emerged out of a journey from northern New South Wales across to Western Australia, surveying interior images of homes she visited, while eschewing the predictable tropes of representing rural Australia.
Gill has exhibited extensively in Australia and internationally including solo projects presented at Tate Modern, London, UK; Smithsonian Institution, Washington DC, USA; CCA Kitakyushu, Japan; Kiasma Museum of Contemporary Art, Helsinki, Finland; Museum of Contemporary Art, Sydney; and Australian Centre for Contemporary Art, Melbourne.
Developed by Centre for Contemporary Photography (CCP) and Melbourne International Arts Festival,Simryn Gill: Inland has been curated by CCP Director, Naomi Cass.
David Wadelton’s vibrant Techno-Pop inspired paintings use contemporary cultural icons drawn from everyday life and mass media. He is fascinated with creating playful visual puns using a variety of images amassed into dramatic tableaux which are encapsulated by his comment ‘I went out of the museum and down to the news stand’.
Parallel with the evolution of his paintings, David Wadelton has conscientiously photo-documented the changing world of inner suburban Melbourne. His photographs, which have been a source of inspiration for his paintings, range from black and white images of the 1970s and 1980s to contemporary digital suburban snapshots. They record the ephemeral culture of everyday life, from visual anomalies and puns to cultural incongruities and consumer clichés. Over 300 photographs, initially published online under the banner of the Northcote Hysterical Society, will be exhibited on-masse for the first time in a gallery context, and will complement a selection of paintings from the 1980s to the present.
The Mary and Lou Senini Student Art Award was established in 1998 with the intention to provide support to Victorian art students at a tertiary level.
The Award is presented by McClelland to an applicant who fulfils the required conditions and who, in the opinion of the selection panel, are of outstanding ability and promise. The 2010 Award is for excellence in the fields of Painting / Printmaking.
On Sunday the 12th of December 2010, The Mary and Lou Senini Student Art Award 2010 for Painting / Printmaking went to Kathryn Gribbin for her work Through a glass darkly 2010.
Announcing the 2010 selected finalists:
Tristan Da Roza
Jewel Ruby Ricardo
The landscape has been an enduring subject in the history of Australia art and vital to the on-going formation of images of a national identity. Within this tradition Spirit in the Land explores the connection between eleven Australian artists, historical and contemporary, indigenous and non-indigenous, and their special appreciation and engagement to the spiritual ethos and power of the land.
Unearthing shared themes and cultural exchanges this exhibition brings together key paintings and sculptures by some of Australia’s most influential artists, Lorraine Connelly-Northey, John Davis, Russell Drysdale, Rosalie Gascoigne, Emily Kame Kngwarreye, Dorothy Napangardi , Sidney Nolan, John Olsen, Lin Onus, Rover Thomas and Fred Williams. Over 40 works will be drawn from private, state and public gallery collections throughout Australia.
Spirit in the Land will be accompanied by a fully-illustrated comprehensive catalogue.
A national tour managed by NETS Victoria and supported by Visions of Australia commenced in mid 2011 and concluded in 2012.
Outside In presents a selection of photography, paintings and sculptures by an array of contemporary artists which explore the relationship between interior and exterior, the expected and the unforseen.
Within the gallery space the outside world emerges through the restrained grey tones of the works, and the profusion of approaches to surface. Janet Laurence’s Forensic sublime: crimes against the landscape (Styx Forest) 2008 explores the ecological devastation wrought on our natural environment, while Michael Parekowhai’s glossy Rainbow servant dreaming 2005 questions reality through referencing Rene Magritte’s hatted figures in his Surrealist painting Golconde 1953. Playing with the nuances of interior and exterior, Robert Hunter’s reductive 3 (09) 2009 requires an extended gaze to reveal the subtle shifting variations of line and tone, whilst Richard Giblett’s Light export 2007 investigates the constructed modern world through the diminished scale of his illuminated shipping container.
Drawn primarily from McClelland’s contemporary collection, this exhibition highlights some of the Gallery’s recent acquisitions.
Sally Smart adopted the 1960s term ‘femmage’ to cover both the feminist issues addressed in her work and her increasing use of collage. Evolving from her traditional use of paint on canvas, in which she adopted the technique of stencilling painted areas to give the illusion of collage, her collages eventually evolved as independent elements applied directly to the wall. Cut from pigmented felt, these femmagesquickly developed into complete panoramic room installations, where themes such as the Family Treeexpanded into intricate mural narratives.
Sally Smart has always been concerned with both cultural and personal histories; born in rural South Australia she was very aware of her own pioneering heritage and the family’s artistic history. Her first series of paintings were developed around the theme of pioneering women. The theme of the Family Tree House is an extension of this sensibility along with her artistic journey through a sea of memory, myths and dreams which are transformed by an acknowledgement of the mechanisms of the subconscious which fragments reality into a series of images and events. Shadows and symptoms are but evidence, details and fragments from this illusory world, details which coalesce to hint at the mechanisms and the content that form our sense of identity.
illusion/illusion is a group exhibition developed around the theme of visual perception and deception. Through the work of four young contemporary artists, Briele Hansen, Justine Khamara, Dorota Mytych and Kit Webster, the exhibition exploits a full range of multi-media disciplines, ranging from photography and drawing, to video display systems and digital video projections. The exhibition explores contemporary themes ranging from social commentary to the enjoyment of pure abstraction.
Briele Hansen uses video projections to create a series of installations in which the illusion is hypnotically real such as the effect of water drip patterns ripping across the surface of a bath and an installation of writhing figures under bed sheets on a mattress. In her multiple video display work she investigates the subtle light changes of bush that gradually morph and reverse from two dimensional to three dimensional readings of the forest of gumtrees.
Dorota Mytych creates drawings composed of minute tea leaves which through video time-lapse sequences slowly form and suddenly disintegrate as if blown by the wind. Solitary figures gradually merge into faces and disappear; portraits slowly morph into firing squads, all part of a series of poignant monochromatic images that evoke powerful social messages. When her set of apparent traditional charcoal portrait and landscapes drawings are examined closely, it becomes evident that the dark tonal areas composed of minutely drawn figures, are amassed in an open field to form the various graphic details.
Justine Khamara uses multiple photographic portraits which she then collages together over a spherical shape into one larger single face, or through computer printing morphs images of herself and her brother onto the laser-cut contoured ridges of various dome-like forms.
Of the four, Kit Webster is the only artist who works with entirely within abstraction. In his video environment he projects syncopated patterns of coloured lines and shapes which form and dissolve over geometric forms, at times reinforcing the three dimensionality of the objects before running counter to the geometry and destroying our spatial readings. His video projection installation is an intricately composed synesthetic environment which plays with the coupling of light, sound and space.
As if emulating a scientific method as a way of investigating our perception of the materiality of the world, from basic units such as atomic particles to observable structures, the illusion/illusion artists use micro details or fractals that built to patterns, which viewed on a macro level form and build images and installations. A significant quantum in the panoply of ideas in illusion/illusion is the manipulation of the cross-over, the boundary between the simultaneous coexistence of different levels of perception as the key to their illusions.
Lumen explores the relationship of coloured shadow to the sculptural object in the work of Geoffrey Bartlett. While shadow is usually considered a by-product of the object, the exhibition explores the chromatic possibilities cast by three dimensional works. Using colour to emphasise the spatial aspects of shadow, Bartlett in collaboration with Steve Wright of Lightwell Design uses the potential of both to create a dynamic and chromatic environment.
László Moholy-Nagy’s Light-Space Modulator of 1930, a kinetic sculpture with shining glass and metal surfaces is influential to Bartlett’s work. Moholy-Nagy’s modernist sculpture incorporated light and shadow to create dynamic displays for theatre and dance, while Bartlett creates layered compositions of colour, shadows and objects to produce an optically vibrant installation.
McClelland Gallery has invited Geoffrey Bartlett to exhibit new and recent work in this exhibition, progressing from his recent series of tableau wall sculptures. Colour and shadows take on new volumetric qualities in this exhibition, developing a sense of space and form and engaging the viewer in a rich spatial harmony. Additive colour and shadow become part of the sculpture, surrounding it with an aura of crisply delineated light.
An ambience of darkness and light structures both Andrew Browne’s photographs and paintings. Using photography as a lens to isolate and focus on strange yet recognisable fragments of the landscape Browne draws together imagery of dark and mysterious settings that evoke a sense of wonderment and speculation. The primary theme within Browne’s work is the uninhabited and shadowy world of nature which exists on the suburban fringe. Browne uses photography as a tonal filtering and stylising device, and as a consequence achieves powerful and emotive images that are transformed into his highly detailed paintings.
Inspired by Browne’s recent series of nocturnal scenes, McClelland invited this Melbourne artist to create a body of work inspired by the Gallery’s surrounding landscape. This is the first solo exhibition to respond directly to the McClelland landscape and in particular to the vegetation of the recently acquired land.
The First World War was an industrial war of global proportions that looms large in the Australian national psyche. It was into this world conflict that two young brothers from Central Victoria, Jack and Bert Grinton, found themselves serving in the trenches of France and Belgium.
Ninety years later an extraordinary find came to light. Inside a biscuit tin stored for decades in a shed on the Grinton farm - and headed for the rubbish - was a large collection of negatives and photographs; images taken by Jack and Bert Grinton between 1916 and 1919 with the cameras they carried with them during the war.
This collection is a unique addition to the historical record, capturing people and places often overlooked by official war photographs whilst also highlighting the development and artistry of amateur photography. McClelland Gallery+Sculpture Park will showcase this Bendigo Art Gallery touring exhibition of hugely personal and important photographic records in A Camera on the Somme.
As the first comprehensive overview of the career of John Ford Paterson, this exhibition will showcase Paterson’s twilight landscapes and coastal scenes including major paintings of Sorrento, Half Moon Bay, Berwick and Fernshaw. Paterson was much admired by his contemporaries in Melbourne during the 1880s and early 1900s, for his continued commitment to translating the beauty of nature into his landscapes, which captured ‘something evanescent’ within the poetic twilight.
Many of the works in the exhibition are held in the descendant’s collections and have not been seen in public since 1932.Additional artworks of the talented extended Paterson family will also be included: Charles and Hugh’s designs for their decorating firm created some of the most iconic interiors of the late 1880s, and artworks by Esther and Betty Paterson who were highly successful modernist artists in the fields of society portraits and illustration.
John Ford Paterson: A Family Tradition will be accompanied by a fully-illustrated comprehensive catalogue.
The figure, through its many invocations, has been the muse to the imagination of many artists across periods and styles. Figures in an Exhibition draws together sculptures, paintings and photography from Australian art, ranging from the Colonial era, through early Modernism to the inspiring examples of the present. These various representations of the human figure reflect a variety of concepts of beauty and style as well as portraying various ideas of personal and national identity.
Within the exhibition, amongst others, the poetic feminine figures of sculptors such as Bertram Mackennal and C.D. Richardson stand in elegant contrast to the masculine hyper-real detail of Ron Mueck and Sam Jinks figures. Figures in an Exhibition encapsulates the changing ethos of Australian art.
Tracing thirty-three years of sculpture by one of Australia’s most important and inspirational artists, the exhibition Journey: The sculpture of Augustine Dall’Ava, ranges from Dall’Ava’s early organic assemblages, large architectural screens and box frames of the 1970s and 1980s to his most recent colourful lyrical assemblages and precisely engineered marble landscape tableaux.
Journey shows Dall’Ava’s ability to draw creative inspiration from the natural world. As a collector of nature’s detritus - discarded wood, branches, shells and stones - he sorts and assembles unlikely materials into intricate and dynamic sculptures that magically coalesce into a harmonious equilibrium of material and form, whilst alluding, in a personal and intriguing way, to concepts of continual change and flux within the dynamic cycles of nature.
Unlike most of his contemporaries who moved towards abstraction, Teisutis Zikaras remained constantly faithful to the human figure, depictions of which he used again and again to express his deeply felt convictions about religion and life, happiness and sorrow.
Originally trained in Lithuania, Zikaras arrived in Melbourne in 1949, where he exhibited his sculpture and drawings, winning prizes and gaining commissions.
In 1960 he was an inaugural member of the celebrated Centre Five Group working with a variety of materials: plaster, terracotta, stone, ciment fondu, wood and works cast in aluminium and bronze.
With over 50 sculptures and drawings this exhibition will be the biggest survey of this artist’s work since his solo exhibition in 1955.
Curated by Ken Scarlett.
In the biblical story of the Ark, Noah is charged with the task of rescuing wild beasts, domestic animals, birds and reptiles from forty days and forty nights of flood. Retold through the Judaic, Christian, and Islamic faiths, the story of Noah’s ark reminds us of the importance of animals to people. Indeed throughout history human societies have interacted and relied on the animals around them, and the animal world has been a resounding source of artistic inspiration.
Drawing on both the International and Australian collections of the National Gallery of Victoria, The Gallery Ark includes a breadth of styles, schools, movements and cultures from throughout the centuries.
Like the story of Noah and the Ark, the exhibition presents the animals 'two by two', allowing for an exploration of similarities and differences in the works of artists as diverse as Charles Conder, Treahna Hamm, Jeff Koons, Frederick McCubbin, Pablo Picasso, Tom Roberts, Auguste Rodin, and Wu Zuoren.
Students and Teachers
Sydney Ball is one of Australia’s most acclaimed masters of abstraction. Sydney Ball: The Colour Paintings provides a timely opportunity, with Ball turning seventy-five in October this year, to review his remarkable oeuvre. Drawing from public and private collections, the exhibition examines the interests that have consumed this prolific and committed artist: abstraction and colour. Curator Anne Loxley’s selection brings together the finest examples of work from all of Ball’s colour periods - from his flat colour beginnings to gestural abstraction and his eventual return to flat colour.
Jacob Epstein: Portraits & Flowers is the first major exhibition in Australia to focus on the work of American born, British artist Jacob Epstein (1880 – 1959).
Epstein was one of the most radical artists of the early Twentieth Century who through his controversial public commissions challenged the conventions of public sculpture. Featuring painting, sculpture and photograpy this exhibition of 59 works demonstrates Epstein’s extraordinary range of styles and in particular his mastery in the medium of portrait sculpture.
Many of the works featured in this exhibition have been drawn from the Carrick Hill Trust Collection, Adelaide and the National Gallery of Victoria, Melbourne and will be accompanied by loans from the Art Gallery of South Australia, Adelaide, Mildura Arts Centre, Mildura, Walsall Art Gallery, Walsall, and private collections throughout Australia.
This major exhibition travelling from the Art Gallery of South Australia focuses on the Australian tonalist painter, Max Meldrum and his school. Despite being regarded as one of the most authorative teachers and theorists of the interwar period, the breadth of Meldrum’s influence is yet to be fully assessed. With this in mind, in addition to the inclusion of works by his best-known followers such as Clarice Beckett, Percy Leason and Colin Colahan, this exhibition will also demonstrate the lesser-known influence of Meldrum’s ideas on the formative work of Australian modernists, such as Roy de Maistre, Roland Wakelin, Lloyd Rees, Arnold Shore and William Frater.
This exhibition includes the work of 17 artists and provides a long awaited and unprecedented opportunity to re-evaluate Meldrum’s effect on the wider development of Australian modernism, and evaluate its bearing on successive generations of Australian painters.
Misty Moderns: Australian Tonalists 1915 - 1950 will be accompanied by a fully-illustrated comprehensive catalogue.
Curated by Tracey Lock-Weir, Curator of Australian Paintings & Sculpture.
Fulcrum continues the McClelland tradition of initiating major outdoor exhibitions in the Sculpture Park. This exhibition features some of the most ambitious works of outdoor kinetic sculptures, created by the New Zealand sculptor Phil Price over a two-year period.
Since 2005, he has focused on large-scale wind-activated kinetic sculptures. His forms are derived from, as his title alludes, to biological and cellular structures. The complex interconnected balanced and counterbalanced movements of the various components draw upon the patterns and physical laws of nature while utilising high tech aerodynamics and multi-directional hinges and universal joints, ‘to create a wind-powered ballet in the sky’.
Price’s first kinetic work dates from 1995, as the logical development from the playful aerodynamic styled plastic forms of the late 1980’s that only implied movement. On occasion these funky colourful early works were installed with motors, however after further refinement of his kinetic ideas Price focused on wind activated movement created by the disturbance and interplay of air currents with elaborately balanced aerofoil components within the work.
Ron Mueck is one of the most successful Australian artists currently in the contemporary art scene. He established a major international reputation, initially showing Dead Dad 1996-97 in the Sensationexhibition held at the Royal Academy, London in 1997, and further consolidated his career by exhibiting, at the 49th Venice Biennale 2001 his 5 meter high sculpture, Boy 1999.
Mueck's sculptures faithfully replicates the micro detail of the human body – skin pours, blemishes and wrinkles – to fool the eye and challenge our perceptions of reality. Mueck also plays with scale, his sculptures are always larger or smaller than life – never life size, a device to emphasise discontinuities between reality and artifice and explore the ambiguous relationship between expectation, perception and knowledge.
Ron Mueck often imbues his figures with feelings of apprehension and pathos. McClelland’s giant Wild man, although 3 metres high is vulnerable; his apprehension, nakedness and hairiness create a sense of a guileless man from another time, another age.
There are two major themes of gender and scale in the exhibition Ron Mueck at McClelland with theWild man complimented by the National Gallery of Australia’s, Pregnant Woman 2002 and the delightfully small tableau of two gossiping old women in the National Gallery of Victoria’s, Two Women 2005.
In 1964 Mike Brown produced a work – known since as “KITE” – that challenged and criticised twelve Sydney artists for their blatant embracing of the commercial art-world and its perceived pitfalls. The octagonal shaped work (which has at its’ centre the cover of Hungry Horse Art Gallery’s annual calendar) is dominated by Brown’s essay criticising these artists.
KITE: Mike Brown and the Sydney Twelve returns to this monumental episode in Australian art history juxtaposing Brown’s work with those whom he criticised including works by leading Australian artists such as John Olsen, Robert Klippel, John Coburn and Frank Hodgkinson. The exhibition also features an early work by the renowned art critic Robert Hughes.
Bringing together images of mystery, intrigue and illusion this exhibition looks at ways contemporary artists are exploring the interior and exterior world through the photographic and digital image. From cinematic and staged tableaux through to provocative and surreal montages, these selected works of altered and constructed worlds play with notions of fantasy, place and the body.
Highlighting recent acquisitions to the McClelland photographic collection complemented by a selection of private loans FX in Contemporary Photography draws together works by twelve Australian artists, including Pat Brassington, Lyndell Brown & Charles Green, Jane Burton, Bill Henson, Rosemary Laing, Polixeni Papapetrou, Patricia Piccinini, Simon Strong, Darren Sylvester, Simon Terrill and Anne Zahalka.
Works that imagined the future, continue to provoke the present. Premonitions includes some of Australia’s best and most iconic works of art that have created our sense of cultural identity.
The Monash University Collection is recognised as one of the nation’s leading collections of contemporary Australian art. Established in 1961, the collection has maintained a focus on new work by emerging and established artists, and now represents a unique overview of cutting edge Australian art since that time.
Held as part of the University’s 50th anniversary celebrations, Premonitions reveals the currency, depth and diversity of the Monash University Collection, with a particular focus upon abstraction, minimalism and conceptual art; pop art, identity and suburbia; and representations of the body.
This survey exhibition features over forty artists and demonstrates insightful and discerning collecting practices through a selection of key works acquired since the 1960s.
James ANGUS | Howard ARKLEY | Lauren BERKOWITZ | Kate BEYNON | Peter BOOTH | John BRACK |
Pat BRASSINGTON | Janet BURCHILL | Ian BURN |
Stephen BUSH | Nadine CHRISTENSEN | Peter CRIPPS | Adam CULLEN | Aleksander DANKO | Juan DAVILA |
Destiny DEACON | Mikala DWYER | Dale FRANK |
Simryn GILL | Peter GRAHAM | Brent HARRIS |
Robert HUNTER | Raafat ISHAK | Roger KEMP |
Nick MANGAN | Linda MARRINON | Tracey MOFFATT |
Callum MORTON | Rose NOLAN | David NOONAN |
Robert OWEN | Ti PARKS | Mike PARR | John PERCEVAL | Rosslynd PIGGOTT | Kerrie POLINESS | Scott REDFORD | Robert ROONEY | Giles RYDER | Kathy TEMIN |
Peter TYNDALL | Louise WEAVER | Anne ZAHALKA | Constanze ZIKOS
Imagining the unimaginable and playing with the rules and conventions of sculpture, the works in this exhibition, with an edge of humour manipulate perceptions and expectations.
Following on from the tradition of A Modelled World 2003 and Random Access 2005 the exhibitionFarside of the Moon will coincide with the opening of the McClelland Sculpture Survey 2007 with the intention of broadening the concept of what can be sculpture. This exhibition experimenting with the full range and variety of contemporary art practice will show an exciting and diverse selection of multi-media works which play with or reverse accepted conventions for displaying ideas and works of art.
Featured artists include: Gabriella Brauer, Glen Clarke, Rose Farrell & George Parkin, Juan Ford, Richard Giblett, Ian Howard, Peter Kennedy, David Lawrey & Jaki Middleton, Sonia Payes and Kate Spencer.
Since its inception, in 2003, the McClelland Sculpture Survey & Award has emerged as the most important biennial outdoor sculpture exhibition in Australia. This is one of the richest sculpture awards in Australia displaying a wide range of works in different media and styles by both established and emerging artists.
35 sculptors have been selected to participate in the McClelland Sculpture Survey 2007, an exhibition highlighting the diversity and invention of contemporary sculptural practice.
Displayed throughout 16 hectares of bush and landscaped gardens, the McClelland Sculpture Surveygives sculptors the opportunity to present their works in an outdoor exhibition context. The exhibition is accompanied by a major comprehensive catalogue.
The selected artists are also eligible for the McClelland Award 2007, an acquisitive award valued at A$100,000. The McClelland Award 2007 will be judged by Chris Saines, Director, Auckland Art Gallery Toi o Tamaki, New Zealand.
Michael Le Grand
Simon Laws & Donna Marcus
Sergio Hernandez Merchan
Matthew Paul Shannon
This exhibition of contemporary Australian silver and metalwork artists are selected from the major exhibition held at Buda Historic Home and Garden, Castlemaine. The Buda Contemporary Australian Silver and Metalwork Award first commenced in 1988 as a biennial event and is one of very few exhibitions in Australia designed to encourage and promote the work of contemporary silver and metalsmiths. As the only award exhibition offered for hollow ware in Australia, it attracts artists from across the nation.
Established to commemorate the contribution of the noted colonial gold and silversmith, Ernest Leviny, this exhibition celebrates the work of metalsmiths, and endeavours to keep alive the traditions of the craft, whilst encouraging original concepts, innovative design and excellence in craftsmanship.
Drawing exclusively from the print collection of the McClelland Gallery this exhibition will explore the resurgence of printmaking in Australia from the late 1940’s onwards. Ranging across a variety of printmaking practices including linocut, etching and the silkscreen the featured prints will include amongst others works by the master lithographer Grahame King, the abstract etchings of Alan Mitelman and Stephen Wickham, contrasted against the Modernist works of Clive Stephen, William Coleman and the vibrant silkscreen prints of Alan Sumner. The exhibition will also feature a selection from the humorous linocut Christmas card series of Eric Thake.
McClelland: The Bohemian Legacy is the first major in-depth examination of the art, life and times of Harry McClelland (1888-1954).
Harry McClelland and his sister Annie May ‘Nan’ moved to Long Island, Frankston with their mother Elizabeth McClelland in 1912. By the 1920s, they had established themselves as the centre for a bohemian group of creative personalities drawn from all strata of Victoria’s social life including Sir Daryl Lindsay, Percy Leason and W B McInnes. Harry (a painter) and his sister (a poet) enjoyed a life full of aesthetic and philosophic pursuits, with Nan hosting the first children’s radio program on the ABC. For Frankston locals, New Years Eve was traditionally announced by Harry marching down the street in full Scottish Drum-Major regalia.
The location that is now McClelland Gallery+Sculpture Park was originally known as Studio Park and is the site of Harry’s ‘country’ painting studio. In 1969, Nan bequeathed this land and the holdings of her Estate in honour of her brother’s memory, which, in turn, led to the establishment of the McClelland Gallery in 1971.
The exhibition McClelland: The Bohemian Legacy will feature paintings, watercolours, drawings, furniture and decorative arts drawn from the archives of the McClelland Estate. These will be augmented by many exciting discoveries uncovered from private and public collections by Guest Curator Andrew Gaynor, including Harry’s ‘lost’ masterwork The Old Mining Town 1917.
The romantic and the picturesque combine in images of pastoral scenes, dramatic seascapes and landscapes of grandeur from the M W Callow Collection, this exhibition is an intriguing cameo of 19th Century England.
The Victorian based collector Maurice Callow, presented a quarter of his collection to McClelland Gallery in 1982, with the remaining works purchased through anonymous funds in the same year. In 1987 Callow added ten more watercolours and etchings to this group, which now comprises over one hundred works on paper.
Included in this exhibition of selected works are prints and watercolours by noted English artists, Thomas Shotter Boys and Thomas Rowlandson and in addition, works by John Constable, John Cotman, Peter De Wint, Samuel Prout and Augustus Pugin.
This touring exhibition from the Royal Botanic Gardens, Melbourne focuses on the almost unseen botanical world at our feet: fungi, lichen, mosses, liverworts and hornworts and their role within Nature’s ecosystems to create both food and shelter for our indigenous animals and insects.
Visually fascinating and unusual, the forgotten flora is presented through exquisitely beautiful watercolour and pen and ink illustrations, in association with the actual herbarium specimens, and their historic books and botanical records as well as three dimensional displays, including items such as Baron Von Mueller’s microscope, (the founding Director of the Botanical Gardens). The exhibition is also supported by interpretive panels and artworks inspired by the flora.
This survey of Anthony Pryor (1951-91) presents both maquette and full-size monumental works of one of Melbourne’s most talented and successful contemporary sculptors. There is within his sculptures a fascination with meticulous wood and metal craft combined with a reverence for natural materials such as bluestone, marble and granite. His elegant and intricate structures play with different colours and surface textures. This variety enhances his dynamic structures that in later works challenge engineering principles with precarious point loadings and zigzagging sequences, which lock into visually exciting works that capture a sense of energy and movement.
The exhibition will range from earlier shrine and box works, mainly constructed out of Huon pine, which reflect Pryor’s appreciation and inspiration from Japanese art and architecture. The cube form characterises many of these works and help focus contemplation on the craft of the materials and direct attention towards the symbolism of the various shapes fabricated within.
These works will be complimented by a suite of works on paper which also link with and illustrate the graphic inspiration of Pryor’s later works. These works, principally metal and stone maquettes, numbering over 20, show a greater graphic fluidity in their forms and configurations. As maquettes, they range from totem and obelisk shapes, to tripodal configurations to the final shield motifs. Within the exhibition these individual groups will culminate in a larger full-scale work.
John Kelly: Deconstructing Australia is the second in a series of sculpture exhibitions located in the Sculpture Park. This outdoor exhibition consists of a series of monumental abstracted-steel elements which are derived and developed from truncated sections of the Australia Council for the Arts' logo and Sidney Nolan’s Moon boy. This sculpture exhibition plays with icons of Australian art.
John Kelly, in the spirit of Post Modernism, takes various fragments of these icons, which he sections off and abstracts into massive monoliths. These superbly sublime constructions, through their intriguing arrangement form and enigmatic visual landscape contained within the natural landscape.
John Brack (1920 – 1999) during his long artistic career systematically explored the full variety of genre in art, ranging from the still life, portraiture, social comment and history paintings to the art of the nude. Brack approached this subject matter with a strong and detailed knowledge of the tradition of art, often directly interpreting famous works into his own idiom, such as his Boucher Nude of 1957. Brack produced almost 40 paintings on the theme of the nude and 80 major works on paper including watercolours, conte drawings and lithographic prints. Within this oeuvre of the nude are three distinct stylist developments, the first group, painted around 1957, are characterised by artificial high colour and an emphasis on angular figures and strong linear contours. There is a tension between the cool detachment, stylistic treatment and potential sensuality of the subject. In the second stylistic group of nudes, painted in the early 1970s, the figures are more curvaceous and their settings less impersonal. In the last set of nudes, painted in the early 1980s, the furnishings are dominated by elaborate patterned carpet which complements the warmer flesh tones of the figure. Images such as Double Nude 1982–83 typify these late works with its red brown palette and more sensual representation of the figure. This exhibition will show both Brack’s paintings and works on paper, giving an invaluable insight to the processes and development of a major Australian artist.
Helen Maudsley (born Melbourne, 1927) is one of Australia’s most respected artists. However, in spite of solo exhibitions dating back to 1955, this Survey at McClelland Gallery+Sculpture Park will be the first comprehensive overview of her career. Encompassing 28 paintings, watercolours and drawings covering the period 1955 to 2003, Helen Maudsley: A Survey traces the artist’s development of a highly personalised vocabulary of symbolic images and their associations. An avid student of the ‘grammar’ of painting, her work is often grouped in themes. Some analyse the compositional devices contained within iconic works by artists such as Vermeer whilst others draw their inspiration from her domestic and social environment.
As an adjunct to Helen Maudsley: A Survey, the McClelland Gallery+Sculpture Park is also presentingIn Focus: Helen Maudsley Buoyancy within Selves. This fascinating display centres around a major painting by Maudsley entitled Buoyancy within Selves 1991-92, which will be augmented by a selection of the artist’s preparatory studies, a full-scale gouache prototype and a ‘cartoon’ transparency all related to the ‘focus’ painting. This provides an absorbing insight into one of the many varied strategies employed by artists when travelling from an original idea through to the final completion.
Helen Maudsley studied painting in the 1940s with James Quinn, attending the Melbourne Technical School (now RMIT) and the National Gallery School. She received her Diploma in Fine Art from the Victorian College of the Arts. In 1948, Helen married fellow artist John Brack (1920-1999).
Helen Maudsley: A Survey and In Focus: Helen Maudsley Buoyancy within Selves will be on display from 17 December 2006 to 25 March 2007, at the same time as the Gallery’s major summer exhibitionThe Nude in the Art of John Brack.
Erwin Fabian was born 1915 in Berlin, son of the painter Max Fabian (1873-1926). Fleeing Nazi persecution he left for England in 1938. He was later interned and deported to Australia in 1940 on the troopship Dunera. After internment, joined the Australian Army, later transferred to the Army Education Unit, to do covers and illustrations for its Current Affairs Bulletin, until demobilisation in 1946. He left Australia for London in 1949 and worked as a graphic designer in London until the 1960s, lecturing in Graphic Design at the London School of Printing and Graphic Arts. Until the mid 1960s his primary focus was works on paper, particularly monotype prints. He returned to Australia in 1962 and held his first exhibition of sculpture at the Hungry Horse Gallery in Sydney in 1965. In a context of Abstract Expressionism Erwin Fabian’s used unusual discarded fragments of farm machinery to create free-formed metal sculptures. In his later sculptures such elements were superseded by free flowing twisted and forged sections created from molten industrial waste and discards. In 2000-2001, a large retrospective exhibition, Max und Erwin Fabian: Berlin London Melbourne, was held in the Stadtmuseum Berlin.
Curated by Ken Scarlett.
Herbert Rose was born in Windsor, Melbourne in 1890 and was the youngest son of George Rose (1861-1942), a pioneer photographer in Melbourne and the founder of the Rose Stereograph Company. It was here that Herbert assisted in the photographic department of the business and during the depression years designed decorative cards. His art training began at the National Gallery of Victoria School in 1914 and continued until 1918.
Following in the path of his father who produced photographs in over 38 countries, Herbert travelled extensively, visiting England, Europe, North Africa, the Middle East, USA and India. Many of his paintings, drawings and etchings are of Eastern subjects that earned him a distinguished place in Australian art of the period 1920 – 37. A draftsman and painter of great skill Herbert Rose was well known by artists of the period including Arthur Streeton, Will Ashton and Charles Bryant who admired his success in the painting of light, Harold Herbert writing in the Sedon Galleries exhibition catalogue of 1937, “His sunlight is warm and glows with that ”inner glow” that is the despair of so many painters.” The subject matter of the Mediterranean appealed to his ideals and subsequently spent much time painting the landscape and architecture of Tunis, Morocco and Spain.
He exhibited successfully in Australia, the USA, London and Paris exhibiting at the Royal Academy, London several times between 1932 and 1936 and the Paris Salon in 1935 and 1936. It was whilst traveling overland from Paris to India, where he intended sketching, that he contracted smallpox in Delhi and died an untimely age of forty-seven.
Godwin Bradbeer – The Metaphysical Body 1970 – 2005 is a touring, survey exhibition of the drawings of Godwin Bradbeer, presented by Shepparton Art Gallery. The drawings in this exhibition show Bradbeer's ongoing exploration of psychoanalytic concepts and the body. Bradbeer's work takes a particular interest in the adolescent phase, recalling the mythology of narcissus while taking an anthropological look into the human psyche and its coming of age. The inflated and sometimes monumental scale of Bradbeer's drawings gives his young subjects a holy presence. Towering above the viewer at cathedral-like scale, their eyes seem to beckon us to worship, like new urban deities and forever young. In this way Bradbeer's work reflects a contemporary spiritualism reminiscent of pagan art; whereby the idea of god becomes so personified in its depiction that it is thought to embody god himself.
Godwin Bradbeer is represented by Blacksphere Gallery.
Curated by Kirsten Lacy.
During the last 35 years the McClelland Gallery has developed a significant collection of over 1800 works encompassing historical paintings and works-on-paper from The McClelland Estate, modern Australian paintings and acquisitions of contemporary painting, sculpture and photography.
Highlighting works from the McClelland’s permanent collection dating from the late 1800’s to the 1950’s this exhibition features watercolours, paintings and sculpture including 19th Century watercolours by John Skinner Prout, Louis Buvelot and sculpture of Bertram MacKennal through to the impressionist works of Emmanuel Phillips Fox, Rupert Bunny and encompassing the modernist paintings of Alan Sumner, Russell Drysdale and sculptor Julius Kane. Also featured in the exhibition are works from The McClelland Estate including the 1930 Archibald prize winning Portrait of Harry McClelland by W B McInnes.
This exhibition is an attempt to show how young Japanese artists have understood and tried to further develop artistic expression in their genre with its long standing tradition in the final decade of the twentieth century, a time of rapid developments in information networks and communications technology.
The artists whose works are included in this exhibition were born in or around the 1960s and were reared in the midst of the advanced consumer society, surrounded by a plethora of semiotics and information. By portraying the realities that actually surround us, they are attempting to open up new horizons in communication between people and painting.
The featured artists include, Takashi Murakami, Takanobu Kobayashi, Yoshimoto Nara, Makoto Aida, Naofumi Maruyama, Yoshitaka Echizenya, Nobuhiko Nukata, Miran Fukuda and Chiezo Taro.
Exquisitely textured, glittering surfaces cover branches, light globes, vessels and animals in the enchanting world of Louise Weaver. The fascinating allure of the objects Weaver embellishes is as intricate and vulnerable as the natural world in which she derives much of her inspiration. This Melbourne based artist transforms familiar objects and animal forms by crocheting and stitching new skins over their existing surfaces. The metamorphosis is spectacular, saturated with colour and perfectly poised for observation; Weaver’s hybrids transcend the imagination.
Encompassing over 15 years of practice this exhibition will present more than 60 works from state, regional and private collection throughout Australiasia, including delicate hand stitched drawings, sparkling embalmed branches and specimens through to the menagerie of bold and beautiful creatures parading their dazzling wares amongst jewelled rocks and designer debris.
Guy Grey-Smith (1916-1981) was one of the most important Western Australian artists of his generation. This major survey explores the innovations of this pioneering modernist through his compelling and robust paintings. With works selected from collections throughout Australia, this exhibition will be augmented with pieces by his wife Helen and by his peers from The Perth Group.
Sampling modern technology and contemporary sculptural practice, this exhibition presents some of the most exciting sculptors from Australasia.
The featured artists include:
James Angus, Lionel Bawden, Janet Burchill & Jennifer McCamley, Emily Floyd, Christian Froelich, Shaun Gladwell, Stephen Haley, Sam Jinks, Shaun Kirby, Michael Parekowhai, Caroline Rothwell and Tim Silver.
Nicholas Folland formerly from Adelaide and now based in Sydney, is an installation artist. He was awarded a 1999 Samstag International Visual Art Scholarship and his work was exhibited in the 2004:Australian Culture Now, at the National Gallery of Victoria.
His work examines the relationship between the domestic or interior spaces of urban environments and the controlled border zones into nature where the human presence imposes order from chaos. In the McClelland installation field 2005, an undulating horizontal wall hovers above the ground, its floral wallpaper although redolent with domestic associations also creates associations with nature, with its dreamlike rolling contours of a green hillside.
field 2005 continues the idea of earlier works which play games with our visual and cultural expectations, such as landscape (Sports Sunday) 1997 where green upholstered footstools of various heights, numbered and grided together, are arranged to form the ordered contour of a hill, the proverbial cricket-viewing hill, while also evoking associations of weekend television sports viewing.
Initially inspired by ancient relics and humble artefacts Bronwyn Oliver creates beautifully crafted metal objects which have the patina of age and veneration. The web of their apparent fragile linear construction often alludes to patterns in nature or the practical dynamics of metal working. In her most recent work the spirals and Fibonacci curves have evolved into geometric fractals echoing fracture lines and stress patterns. These elegant lines, with their cast shadows, complement the formalist geometry of each object which range from flowing spiral and funnel shapes, calligraphic sweeping curves and arcs, to seed and pod-like spheres.
From the late 1970s to the present this survey of Colin Suggett's miniaturised mixed media models and tableaux epitomise and parody contemporary technology and its intrusion into modern culture. Constructed with superb technical competency using robotic elements, lights and sound, his animated figures create grand illusions on a small scale.
In the mid 1970s Les Kossatz produced an extended series of sculptures of sheep, usually on a small scale or as maquettes for future larger works. These bronzes embody familiar archetypal images of rural Australia: shearing shed, pens and ramps while commenting on, by analogy, on the human condition.
Looking at works selected from the McClelland Gallery collection this exhibition will explore sculpture past and present, from the emergence of abstraction through to the stories of figuration and encompassing themes of nature with natural materials and delicate constructions through to the glitz and glamour of technology.
The exhibition will include sculptures by John Davis, Vincas Jomantas, Inge King, Clifford Last, Bertram MacKennal, Clement Meadmore, Ken Reinhard and Norma Redpath.
Drawn from the Banyule Art Collection this exhibition challenges traditional perceptions of what constitutes femininity and explores the politics of self-representation and contemporary depictions of women. Drawing upon popular culture, advertising imagery and traditional art history the works in this exhibition explore positions available for women living in both rural and urban regions.
This playful exhibition melds 32 varying artistic styles into one comprehensive and intriguing vision of the image of the apple. 33 works of art, all 30 centimeters squared explore the iconic imagery as well as the historical connotations of the apple's identity.
This is a University of Ballarat touring exhibition featuring works by prominent Australian artists Margaret Olley, Pat Brassington, Dale Hickey, Jenny Watson, Juan Ford, Lily Hibberd and is accompanied by a full colour catalogue.
This major retrospective exhibition covering paintings and sculptures will explore the mystery and menace of urban symbolism within Rick Amor’s works. His major themes: the disquiet of a solitary observer, the fleeing figure at twilight; the enigmatic cavernous urban spaces and still quite interiors all veiled in half-light and shadows, stand as silent witnesses to one of Australia’s most important urban artists.
This exhibition is a celebration of the artist and his work, as well as his role as a collector and benefactor. John Farmer a graduate of the Gallery School, Melbourne, emerged as a celebrated tonal realist continuing the traditions of the tonal style of Max Meldrum. Farmer’s oeuvre embraces landscape, still life and portrait painting. A virtuoso painter his works have the beauty and mystery of Edwardian painting framed by the influence of his extensive travels in Europe and particularly Asia.
Curator: Peter Perry
Purchased by Shell Australia in the late 1980s and early 1990s, the collection focuses on the work of young Australian artists including: Jon Campbell, Mandy Martin, Stephen Bush, Dale Frank, Philip Hunter, Jan Nelson, Lin Onus, Liz Coates, Stewart Macfarlane, Tim Maguire, Hilarie Mais and Jenny Watson. All of these painters have gone on to have significant careers both within Australia and internationally.
So you wanna be a rock’n’roll star offers a revealing and entertaining glimpse into the artistic and cultural influences that shaped Australian art at the end of the 20th Century. The twenty-one large scale works in the exhibition are, all important and exciting, examples of Australian painting from the period and should not be missed.
This exhibition featuring the sculpture of Brigit Heller will explore the changing process of nature. Through her sculptural interventions and works incorporating natural materials Brigit Heller enlivens our perception and appreciation of Nature and the environment.
This is the first in a series of solo sculpture exhibitions displayed in McClelland's Sculpture Park.
The theme of this exhibition is water as a focus and a life force in an arid land.
Williams observed that unlike European landscapes that naturally compose themselves into picturesque scenes, in Australia ‘you have to invent your focal points’. This he did with water - river banks, shorelines, forest ponds and swamps, waterfalls, eroded creek beds and flowing river gorges- in short, the visual distribution patterns of water.
It is interesting to note, for example, that on Williams’s return for England his first Australian landscape series was based on and at the Nattai River, and later, the series that established his early reputation, the ‘You Yang’ series, was developed around the idea that the water distribution patterns. Thus valleys and water courses which dictate vegetation patterns, can by extension, be decoded to give a topographical reading of the landscape.
His famous strip gouaches were developed to accommodate the water/river bank/land and sky horizon lines. He systematically recorded the passage of the Yarra from its source to its mouth, with a number of major series of works such as the ‘Forrest Pond’ series and the ‘Kew Swamp’ series punctuating the completion of the project. In his last major series, the ‘Gorge’ series the falling zig and zag linear course of the river is used to encode the topography of his mountain gorges into his paintings. The aquatic line also acts as an armature to encode a landscape reading into Williams’s fields of textured paintwork, and served as a device which carried him into a contemporary aesthetics which characterised his maturity.
Based on her long-term research project Pri-Mates, which examines the relationship between humans and their primate relatives, this exhibition includes large mural-sized drawings, computer generated photographs, back-lit transparencies, traditional stained glass panels, sculptures and video/sound installations.
The sculptures in the exhibition include the National Gallery of Australia award-winning Political Ape, 2001-2002 and her most recent bronze Chimpanzee's finger 2003. The integral image within the exhibition is the ape finger and hand, which the artist sees echoing a number of scientific theories, a key defining factor in the evolution of man from the primates. It is this relationship that interests the artist.
Lisa Roet graduated from RMIT in 1987 and has had a number of collaborations and artist-in-residencies with major international zoos, primate research institutes, major exhibitions include Primavera, MCA 2000; National Works on Paper Prize, MPRG 2003; National Sculpture Prize and Exhibition, NGA 2003.
Inge King’s exhibition in McClelland’s Elisabeth Murdoch Gallery brings together over 80 of her small sculptures and maquettes, encompassing the development of her work from a period beginning in the 1940’s to her most recent works of 2004. This exhibition examines her working process, often beginning on a small scale; she experiments with a variety of different visual ideas and solutions to her sculptural problems, which are then progressively increased in size, with a number of sculptures realised in monumental proportions.
A complementary exhibition by Grahame King in the French Gallery shows his significant contribution to printmaking; a master printmaker – these 30 prints show the range of his experimentation and expertise in lithography from the 1960’s to present. His innovation and experimentation also extends into painting practice, represented by a small selection of abstract paintings and gouaches.
New works by thirteen outstanding contemporary Aboriginal artists, all short-listed for the prestigious Kate Challis RAKA Award.
Indigenous artists from across Australia have made works that are at the heart of Aboriginal culture and experience. Open from 20th June to the 1st of August 2004, this varied and exciting exhibition includes bark and canvas paintings, photography, prints, drawing and sculpture in a carefully selected cross-section of the very best contemporary Aboriginal art.
The artists included in the show are: Lorraine Connelly-Northey from Victoria; Vernon Ah Kee, Gordon Hookey and Janice Peacock from Queensland; Julie Dowling and Sylvia Huege de Serville from Western Australia; Trevor Nickolls from South Australia; Roy Kennedy from NSW; Ricky Maynard from Tasmania; and Dorothy Galaledba, Ivan Namirrkki, Wingu Tingima and Tommy Watson from the Northern Territory.
Tasmanian documentary photographer Ricky Maynard was the recipient of the 2003 RAKA Award for his large-scale photograph Returning to places that name us/Arthur 2000. The exhibition includes contemporary expressions of traditional culture and ancestral stories from Arnhem Land and the Central Desert. Several works explore the political and social ramifications of displacement, while others give a unique insight into the strength of contemporary Aboriginal culture in the face of anthropological and political stereotyping.
Places that name us. RAKA Award: contemporary Indigenous visual arts #3 will be on display at McClelland Gallery+Sculpture Park from the 20th June to the 1st August, 2004. Entry is by donation. The exhibition is part of a tour to regional Victoria, New South Wales and South Australia.
This touring exhibition is a partnership between National Exhibition Touring Support (NETS) Victoria and The Ian Potter Museum of Art. The tour is supported by the Australia Council for the Arts, Arts Victoria and the Community Support Fund and the National Gallery of Victoria.
This exhibition focuses on a subject that has undergone a contemporary revival in art, and is perennially popular with the general public – flowers. Popular in sacred art, book illustration, and still life from the 17th-century on, flowers have rich symbolic history, which we commonly witness in their role in the rituals of birth, courtship and burial.
Spurred by a renewed interest in the environment and nature, artists today employ a variety of means to explore the myriad meanings associated with the flower.
Several artists avoid the naturalism of botanical drawing to exploit the rich symbolism of flowers – as traditional offerings to the dead and a metaphor for death; as symbols of love or of seasonal changes and the fleeting beauty of life. The sensual and erotic nature of the flower is of powerful importance to a number of artists, whose works highlight the sensual and romantic pleasures that flowers activate. Many explore the historical significance of the flower in art, while some use it for decorative effect. The flower’s importance as a symbol of the transitory nature of life is of continuing interest to artists and writers.
As a well-researched grouping around a popular theme, it will inspire greater understanding and enthusiasm for these public collections, and provide the opportunity to link with related activities in other institutions.
This unique exhibition draws together the work of some of Australia’s leading contemporary artists, including Lauren Berkowitz, Christopher Langton, Tim Maquire, Rosslyn Piggot, Anne Wallace and Louise Weaver, all of whom have explored the myriad of meanings associated with flowers. The exhibition presents the flower as an enduring symbol in arts with connotations ranging from birth, death, sensuality, eroticism and romance. The show affirms the power of the flower as a source of inspiration and fascination for artists.
This retrospective exhibition commemorates the long and distinguished career of Louis Kahan (1905 - 2002). Best known for painting portraits and his natural gifts as a draughtsman, Kahan was an energetic artistic experimenter whose work was, above all, devoted to the celebration of life.
Born in Vienna, Louis Kahan’s career as an artist began in Paris in 1925. After training as a master tailor, he worked with Paul Poiret’s fashion house, but also designed costumes for film and stage, gaining access to an exciting world of art, opera, dance and music. Kahan joined the French Foreign Legion during the Second World War then moved to Perth in 1947. He spent much of his adult life in Australia and like other émigré artists, contributed knowledge, experience and a quintessentially European flavour to the art practice of post-war Melbourne – one where art and life were integrated.
This exhibition is a survey of Kahan’s prodigious oeuvre and explores key periods and his chief interests. Works have been selected from private and public collections throughout Australia, and the artist’s estate.
Louis Kahan won the 1962 Archibald Prize, and was made an Officer of the Order of Australia for Service to the Arts in 1993. His work is represented in the National Gallery of Australia, Australian War Memorial, National Library of Australia and the state galleries of Victoria, New South Wales, Western Australia, South Australia and Queensland.
This exhibition will showcase Arnhem Land Barks selected from the Anita Castan Collection. The exhibition will explore the cultural, religious, spiritual and political significance of the bark paintings, which originate from the Yirrkala and Milingimbi regions.
This superb collection of 75 bark paintings comes from the two important centres in Arnhem Land; Milingimbi on the central coast and Yirrkala on the eastern coast. The Arnhem Land region has had a long tradition of cave and bark painting stretching back over 40,000 years. The images in this collection, typical of the region, record the great creation stories such as those of the Wagilag sisters whose journeys across the sea and land help formed the landscape and its native inhabitants.
Arnhem Land as a reserve was created in 1931. Early in the 1960’s a section of the reserve was annexed for mining, without consultation with the Yolngu people. Their response was the creation of the famous 1963 petition of two bark paintings which was submitted to Parliament House, Canberra. Two of the leading ceremonial men and artists, Mataman and Mawalan#1, represented in this collection, launched a writ in the Northern Territory Supreme Court to restrain the mining company. These two actions with the enlistment of art can be seen as leading to the beginning of the Land Rights Movement. The potency of the close association of the Yolngu people with the land can be seen in these works as well as in their art tradition that stretches back millennia.
This collection of Arnhem Land Barks was assembled by Ken Neybert in 1965 while he was collecting census data on the Yolngu people for the Northern Territory government. This data collection was the beginnings of the referendum of 1967 which gave indigenous Australians full citizenship. Unlike the central desert painters who adopted contemporary materials (acrylic paints and canvas) the Arnhem Land artists have tended to keep using bark and earth pigments. Ochre and red pigments, white clay and powdered charcoal are mixed with native orchid juice and applied using fine twigs directly to the bark surface in their distinctive cross-hatched linear patterns.
Stylistically the works in this collection divide into two groups: the central coastal areas of the Milingimbi region which is frequently characterised by cross-hatching and x-ray patterning confined within the motifs of animals often on a monochrome black background and the Yirrkala region of the east coast. The Yirrkala works are generally characterised by cross-hatching which covers both the background areas of the bark as well as the central animal motifs.
The works in this display of Arnhem Land Barks are arranged into two geographic regions, on the gallery’s eastern wall the works from Milingimbi and on the western wall works from Yirrkala.
The Milingimbi display begins with a representation of the sacred waterhole, then an image of waterlilies which symbolically protect aquatic life. The third work in the initial group represents monsoonal rain, the cross hatching depicting the multitude of rivulets over the landscape.
The next Milingimbi group depicts the creation cycle and the story of the Wagilag sisters who transformed the land giving both names and meaning to all living things. In the creation myth the rainbow serpent Yulungurr resides in the sacred waterhole and devourers any creature that drinks from the sacred water.
The next group of barks portray the theme of knowledge. These images allude to the sacred ceremonies of old men, the initiation ceremonies of young men and the allegory of transmission of sacred knowledge from generation to another.
The two final groups of works in the Milingimbi display are about mortuary rites of the two major language groups of the Arnhem Land area- the first group is the Yupapuyngu , the second the Djanbabingu group. The sacred turtle, the principal character in these rites, is surrounded either side by representations of hollow burial poles.
The Yirrkala group of works depict their strong reliance on sea both as a source of food and the derivation of their mythology. Images of crayfish, stingrays, octopi, turtles, fish and crocodiles dominate the displays at either end of the Gallery, while the connecting wall exhibits depictions of the creation and fertility myth.
Various images such as the snake represents both fertility and existence, while the re-occurring image of the sacred goanna is usually associated with the Djan’kawu creation myth. The goanna was the first animal sighted, in the beginning of time, when Djan’kawu and his sister first visited the Yirrkala region. They observed the parallel lines of the goanna’s tracks in the sand and decreed these patterns to be totemic emblem.
Other images record the creation ancestor Barama, the giver of laws and the creator of freshwater turtles, crayfish, frogs and water weeds. Other Yirrkala images show the story of the sacred dog, goanna, duck, feeding birds, python and crabs.
The final suite of barks from the Yirrkala region tell the story of Gurunja the sacred site of yellow ochre pigments, where Walkuli the bird appeared and endowed the site special sacred significance.
To mark the installation of Ken Reinhard’s Marland House Sculpture in the McClelland Sculpture Park, the Gallery will be holding a retrospective survey of his work that details works from his social commentary and satire paintings of the 60’s, through to his plastic and chrome sculptures of the 70’s and including his recent photographic installations. In Ken Reinhard’s work the theme of the erotic female form competes with chrome and plastic machines, abstract shapes and artificial colours.
In the decade of the 1960s two apparently diametrically opposed art styles emerged. The first under the banner of Colourfield was abstract. It was characterised by precise flat geometric fields of abstract colour and utilised the impersonal application of the spray-gun and the newly introduced high-chroma artificial colours inherent in acrylic paint. The second was figurative, commonly referred to as Pop Art, it used commercial and industrial art techniques with imagery mostly derived from the mass advertising and marketing world of popular culture.
Ken Reinhard’s art combined both abstraction and figuration with images of hi-tech design and machinery and erotic images of female nudes. He first came to prominence in 1964 when he was awarded the Sulman Prize for the painting Public Private Preview, a satirical pop commentary on social pretensions, platitudes and cocktail conversation at an art opening. This early example of Pop Art combined collage, abstract patterning, cartoon images and written commentaries- it was about popular culture as well as incorporating contemporary pop materials. While his Miss Woman 1964 parodied beauty pageants, later works such as Secarg 3 1964 (the title a reverse pun on the 3 graces) and Well I ask you? 1965, mark the focus on the nude and the evolution of his device of tensioning the eroticism of the nude against the hi-tech wizardry of the machine - the tensioning of the hot against the cool.
In the 1970s the hand-drawn quality of Reinhard’s nudes was replaced with photographic images which were often backlit with variable lighting patterns. The cool impersonal photographic quality of his nudes he now used to belie the erotic nature of the imagery. His growing practice of juxtaposing abstract patterns and pseudo machine-like structures with these nudes added to the conceptual and visual enhancement of the work.
Another Pop Art device he utilised was the disjunction between two-dimensional images with three-dimensional objects, with the additional flux between figuration and abstraction (including signs, mathematical and geometric symbols and patterning).. Within this disjunctive schema the two major subject foci were the female nude and the machine. Early in his art career, Reinhard embraced technology, both industrial materials and the ethos of the machine, producing a series of pseudo computer-like sculptural machines in an era before silicon chips. These works incorporated a variety of sounds, flashing lights, projected images, backlit photographic images, kinetic elements and perfume dispensers. Works like Environmental Machine 1968 and Unitary Bi-pole tabulator 1970 are a homage to the machine, their hi-tech wizardry just as sexy, for the artist, as the images of his nudes.
In 1970 Ken Reinhard was awarded the richest sculpture commission in Australia. In competition with 35 other sculptors he was awarded the $25,000 Marland House Sculpture Commission for a work to be located the forecourt of Marland House - new high-rise building in Bourke Street Melbourne. Reinhard’s work, completed and installed in 1972, was acknowledged as one of the best examples of Pop Art sculpture in Australia. It consists of five stainless steel framed boxes with glass and mirrored surfaces, each cube containing an array of brightly coloured plastic, perspex and chrome components which embody modern technology and, with its reflective chrome surfaces and high-gloss artificial colours, the ethos of modernity.
In later works of the 1980s the role of the machine was sublimated in stylish photographic images of prestigious high-tech automobiles, with individual images of Alfas, Mercedes, or Porsches surrounded by an appliqué of road signs, nautical ensigns and nautical fittings as well as geometric diagrams, creating an overlay of a new sign language. By the 1990s the design function of the car was usurped in part by ‘designer furniture’ within configurations of primary red, blue and yellow geometric forms, as evidenced in works such as the Porsche Table 1991.
Reinhard’s admiration for stylish designer products has been matched in recent works by the increasingly stylish eroticism of his nudes; his male gaze although uninhibited, has been sublimated into crafting classical poses such as the odalisque in the ‘Nude in the Louvre Series’. There is a double anomaly in these works with the image of the nude echoing the pose of the figures within the paintings on the walls of the gallery while accentuating the context of the viewer viewing art.
Ken Reinhard has always enjoyed the stylish presentation of two competing elements often formal and sometimes contextual, but above all else his main focus has been reflecting the seduction and style of contemporary popular culture.
Robert Lindsay , February 2004.
Jock Clutterbuck was born in Edenhope, Victoria in 1945. He studied at the Royal Melbourne Institute of Technology from 1965 to 1966 and currently lectures in sculpture at the Victorian College of the Arts.
This selection of Clutterbuck’s prints and sculptures on display at McClelland Gallery+Sculpture park represent his working practice over the last decade. Within the abstract patterns and mathematical sequences often apparent in Islamic art are the representations of the intricate patterns of the universe which fascinate and provide the subject matter for Clutterbuck’s work.
Jock Clutterbuck has held over 14 solo exhibitions and has participated in numerous group exhibitions. His work is represented in many major public and private collections both, within Australia and abroad.
John Davis was born in Ballarat in 1936. He studied at the Royal Melbourne Institute of Technology, Caulfield Institute of Technology and Melbourne Teachers College before becoming a lecturer at Prahran College of Advanced Education. He exhibited extensively throughout Melbourne, Japan and the United States and represented Australia at the Venice Biennale in 1978. His work is represented in many public and private collections both within Australia and abroad.
This exhibition held at McClelland Gallery+Sculpture Park showcases a selection of John Davis' sculptures drawn primarily from his ‘Murray cod’ series. Davis, an internationally renowned Melbourne born sculptor is one of Australia’s most significant ephemeral sculptors. His assemblages of twigs interwoven with cloth, bound by bondcrete and coated with bitumous paint echo the spirit of the Australian land and communicate his deep passion for ecology.
A Modelled World presents a miniaturised interactive world of imagination and technology, integrated into believable worlds through the skills and inspiration of the artist model maker.
An exhibition of small sculptures exhibited in the Murdoch Gallery at the McClelland Gallery+Sculpture Park is presented as an insightful adjunct to the large sculptures exhibited in the Park for theMcClelland Sculpture Survey 2003.
A Modelled World - exhibitors:
Works by Tom Arthur, Eugene Carchesio, Carla Cescon, Peter Cole, Christian Froelich, John Kelly, Megan Keating, Noel McKenna, Aylsa McHugh, Vera Möller, Kevin Mortensen, Glenn Morgan, Rosslynd Piggott, Jessica Russell, Ricky Swallow, Peter Spilsbury, Colin Suggett, Neil Taylor, Ronnie Van Hout, Louise Weaver and Kate Williams.
The exhibition provides a journey into another reality. Twenty one contemporary artists have created imagery worlds in which works range from exquisitely small tableaux and miniaturised architectural interiors which almost defy believability with the microscopic details and optimal accuracy, to works which play with the bizarre and unusual that stretch the imagination. Other more “funky” works invite viewers’ participation with sculptures that incorporate push-button motors and handles that move animated figures and bring scenes to life, while other “Lilliputian" works and installations, incorporate video projections and tiny monitors to create changing images within their miniature world.
A Modelled World presents works that are intricately and exquisitely detailed, works which are both seductive and captivating by their miniature scale. These modelled objects and tableaux often appear immediately comprehensible yet, by their reduced size, they are beyond detailed scrutiny. This exhibition presents a modelled world which although somewhat enigmatic with its shifts in scale and apparently arcane nature of creation presents another dimension, another world which will both fascinate and appeal to the viewer.
There are themes within the arrangement of the exhibition: Tom Arthur’s elongated ethereal bronze skeletons and Carla Cescon’s strange mutant figures and hybrids (waiting at the ‘Gates of Hell’) have a bizarre and enigmatic quality which evokes Gothic drama, these works are in counterpoint to the delicate and feminine work of Rosslynd Piggott’s Maison de l’air and Louise Weaver’s crocheted jewel-like objects and colourful red and pink brocade on the “wall possum”.
In the architectural illusionist’s category are the works by Kate Williams, Peter Spilsbury, Ronnie Van Hout and Ricky Swallow and the interventions of Christian Froelich (he wanted to fill the spaces at the end of installation, and created miniature works in the spaces left over, hence the little streetscapes and electrical power transmission towers and power lines); the next group of works play with technology – DVD’s for Jessica Russell’s drive-in and Aylsa McHugh’s uses a miniature video monitor, visible from one of the windows in the model of Hitchcock’s Psycho house; the theme of the plane connected a disparate groups of styles, thus Megan Keating’s paper aeroplane cut-outs lead the eye towards Glenn Morgan and Kevin Mortensen and Peter Coles’ sculptures of planes.
A counterpoint to the figurative works are the exquisite wire box abstractions by Neil Taylor, the matchbox sculptures by Eugene Carchesio and the abstract gardens of Vera Möller. These works are juxtaposed against the sophisticated folk-art of Noel McKenna and John Kelly. Both of these artists play games with our expectations, McKenna with his simplistic yet poignant images of lonely roads and Kelly with his stacked cows.
A Modelled World is about the ‘willing suspension of disbelief’, as the eye carries the viewer into another enjoyable and entertainment other world, a world which is captivating and haunting, believable and unbelievable yet always stimulating.
As part of the 20th anniversary of the National Gallery of Australia, masterpieces from their collection will be touring Australia. McClelland is fortunate to be showing Arthur Streeton's icon of Australian Impressionism Golden Summer, Eaglemont, 1889 along with his preparatory oil sketch Impression for 'Golden Summer' c1888, on loan from Benalla Art Gallery.
The exhibition was opened by the Hon. Rod Kemp Minister for Art and Sport and presented by Dr Brian Kennedy, Director of the National Gallery of Australia, at 3.00pm on Sunday 7 September.
Arthur Streeton, Tom Roberts, Charles Conder and Frederick McCubbin, as young artists painting in Melbourne at the end of the nineteenth century, left a legacy of paintings that includes many of the most loved works of Australian art and have ensured that landscape painting has been a compelling and enduring focus in this country.
Charles Davies purchased Mount Eagle at Heidelberg, and gave Streeton 'artistic possession' of a dilapidated house where he and Conder 'set up camp' and conducted informal week-end art lessons. Eaglemont became an important focus for the artists to discuss their ideas and to crystallise the motifs which came to characterise their Impressionist plein-air paintings.
Streeton worked for two years at the Eaglemont 'camp' where he painted many of the 40 small paintings he submitted for the 9x5 exhibition, (its title derived from the 9 inch x 5 inch cigar box lid format). Part of this output and included in this exhibition was the superb preparatory oil sketchImpression for 'Golden summer', 1888.
'Oh, the long hot day. Oh, the gift of appreciation', he wrote to Roberts, 'I sit on our hill of gold, on the north side; the wind seems sunburnt and fiery as it runs through my beard…. Yes I sit here in the upper circle surrounded by copper and gold, and smile joy under my fly net as all the light, glory and quivering brightness passes slowly and freely before my eyes'.
Streeton often interpreted the landscape in a highly poetic way and in addition to the full sunlit spectre of blue and gold tones; his vision also encompassed the mellow 'coppery light' of the late afternoon and twilight. In the major work, Golden summer, Eaglemont 1889 the shadows of the late afternoon sun fall across a boy and his sheep winging their way home. The composition has echoes of the rural domesticity of Louis Buvelot, a painter much admired by the Heidelberg artists.
Golden summer, Eaglemont 1889 has come to represent the romance and enjoyment of that summer in 1888/9 when the Heidelberg artists were at the peak of their youthful power and productivity. It was a period that the artists were to reflect on with nostalgia after they had gone their separate ways. In April 1890 Conder departed for Europe taking Golden summer, Eaglemont 1889 with him on behalf of Streeton. Subsequently Conder organized its exhibition at the Paris Salon of 1892 where it was hung 'on the line', awarded a mention honourable, and purchased on the opening day by the English collector and artist Charles Mitchell.
Golden summer, Eaglemont 1889 was acquired by the National Gallery of Australia in 1995.
The Vincas Jomantas: Retrospective surveys the pioneering semi-abstract works of one of Australia’s most important abstract artists. It presents an extended group of Jomantas’ superbly crafted totemic works which fuse his Lithuanian folklore background with a contemporary style. The exhibition culminates with an intriguing group of recent works that, as abstracted sci-fi entities and strange surrealist objects, allude to Jomantas’ themes of the gateway and the journey from the material to the spiritual.
The Vincas Jomantas: Retrospective will be accompanied by a catalogue raisoneé, sponsored by the Gordon Darling Foundation. The catalogue raisoneé visually documents all the sculptures by Jomantas, ranging from his early 1940s works to his most recent works prior to his death in 2001. The Retrospective exhibition is sponsored by the Elisabeth Murdoch Sculpture Foundation and the McClelland Trust.
Vincas Jomantas was the consummate professional bringing to his practice as a sculptor both intellect and craftsmanship. Works presented in the Vincas Jomantas: Retrospective exhibition show a merging of his Lithuanian background with a European tradition of scholarship and craft within the contiguity of mid 20th century contemporary art and the Australian context.
Vincas Jomantas was a member of the prestigious Centre Five group of artists, whom established themselves in Melbourne in 1959 to promote contemporary abstract sculpture. The group consisted of Julius Kane, Inge King, Lenton Parr, Norma Redpath, Teisutis Zikaras and Vincas Jomantas. McClelland Gallery+Sculpture Park have had long affinity with Centre Five group and has many of their major works on permanent display in the grounds.
Centre Five adopted their name from the five points in their manifesto, namely: to bridge the gap between the artist and the public; to better representation in art museums; bring closer relationships with architects (who were seen as the source of potential major sculpture commissions); to promote the concept of a percentage of building costs allocated to art and, to provide scholarships for sculptors.
Curators: Robert Lindsay and Ken Scarlett
Collaged World is the third in a series of exhibitions looking at contemporary art practice. It features paintings by Lyndell Brown and Charles Green, Robert Rooney, David Wadelton, and John Young.
Collaged World revolves around the postmodernist use of "collage" – the combining of images or elements together on the canvas to evoke individual responses in the mind of the viewer, while also providing comment on broader cultural issues. The exhibition demonstrates how deconstruction, quotation, appropriation and the multilayering of images have become pivotal strategies within art practice in the 21st Century.
Curated by Robert Lindsay
Deputy Director and Senior Curator – McClelland Gallery + Sculpture Park
Precious Elements celebrates the generosity of one of McClelland Gallery’s benefactors, Dr Orde Poynton. Presenting exquisite pieces from McClelland’s Asian collection, the exhibition focuses on the art of the Meiji period (1868-1912), when Japanese metalworkers were at the height of their technical expertise and refinement. Sparkling works from cloisonné’s golden age, elaborately decorated censers, and simple, patinated bronzes attest to the craftsmen’s skills. Dragons writhe across the sides of vases. Floral designs, such as the wisteria and the chrysanthemum, decorate others. Birds perch on leafy boughs. Also on display are examples of older, Ching dynasty cloisonné from China and exquisite works of Chinese jade.
Curated by Dr Kate Brittlebank
This exhibition will survey the last two decades of Peter Corlett's work ranging from his early abstracted forms to his later technically precise figurative style.
Corlett has exhibited widely both within Australia and overseas and has been the recipient of many major public commissions including Simpson and his Donkey 1915, 1988 located at the Australian War Memorial, Canberra.
Coinciding with this exhibition was the re-installation of the National Gallery of Victoria's Tarax Play Sculpture now on long-term loan to McClelland. The sculpture was officially unveiled on Sunday 2 March 2003 by Dame Elisabeth Murdoch AC, DBE at 3.00pm.