THE IAN POTTER CULTURAL TRUST DISTRIBUTION REPORT 05/06
The Ian Potter Cultural Trust ABN: 65 807 851 867
Level 3, 111 Collins Street Melbourne VIC 3000 Telephone 03 9650 3188 Fax 03 9650 7986 Email culturaltrust@ianpotter.org.au www.ianpotter.org.au/culturaltrust Founder Sir Ian Potter The Ian Potter Cultural Trust is governed by a Board of thirteen Trustees
Mr John B Gough AO OBE Professor Thomas W Healy AO Dr Thomas H Hurley AO OBE Mr Allan J Myers QC Mr Frank L Nelson Lady Potter AC Dr P John Rose AO Professor Graeme B Ryan AC Chief Executive Officer Janet Hirst Program Manager Ms Maria Roberts
Chairman Mr Charles B Goode AC
Finance Manager Ms Therese Reidy
Trustees Professor Geoffrey N Blainey AC Mr Neil R Clark AO The Hon Sir Daryl Dawson AC KBE CB The Hon Sir James Gobbo AC CVO
Reception and Personal Assistant to the CEO Ms Kay Roworth Ms Josephine Berthelemy
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FROM THE CHAIRMAN The Ian Potter Cultural Trust is proud to be one of Australia’s few independent philanthropic trusts that provide support for talented emerging artists to travel overseas to undertake professional development. The Trust also supports Australian composers through its biennial Music Commissions Program. The stories in this report show not only the diversity in the artistic work undertaken by the young artists, but the critical role the travel grant has played in progressing each of their careers. The opportunity to gain specialised knowledge and make professional contacts with mentors and peers at an international level is often essential to building a lifelong career in the arts. The Music Commissions Program began in 1999 and this year saw two exceptionally talented composers at crucial points in their careers being awarded Fellowships.
Dr Richard Mills is an established and well-know composer and conductor who has made a significant contribution to Australian culture and music. The Fellowship will enable him to focus on the creation of a new body of work based on Australian verse, which we hope will make a lasting contribution to Australian music. Damian Barbeler is a talented emerging composer whose Fellowship is supporting his artistic growth through the process of creating new music, working with mentors and undertaking research overseas. Damian is composing an opera and a piece to be performed by a symphony orchestra. These two recipients were selected from a field of exceptionally talented Australian composers working in Australian and overseas. I would like to thank our judging panel of four eminent reviewers who assisted the Trustees, Jonathan Mills, Richard Divall, Nicolette Fraillon and Genevieve Lacy. In December 2005, Janet Hirst joined the Trust as Chief Executive Officer, taking over from our interim Acting CEO John Kellaway. On behalf of my fellow Trustees, I wish to express our thanks to Mr Kellaway and Mrs Hirst, and to the staff of the Trust, for their work during the year.
Charles Goode, AC Chairman
FROM THE CEO The report that follows provides a picture of The Ian Potter Cultural Trust’s grantmaking for the financial year 2005-2006. It also profiles some of the artists supported through the year and the projects they have undertaken with assistance from the Trust. The Trust makes grants to outstandingly talented artists who are usually in the early stages of their careers. Nearly all recipients report that they come back with a wealth of knowledge and new ideas, and feel a sense of obligation to contribute to the arts in Australia with even more passion. Many meet fellow artists from around the world, promote Australian art and foster collaborations that may continue for many years. The majority of grants support artists to travel overseas, however a small number of grants are made to final year or post-graduate film students at film schools around Australia to enable them to complete their graduation film. The Cultural Trust also supports Australian Composers through
the biennial Music Commissions Program. The Program, which commenced in 1999, is unique and plays a vital role in the professional development of composers, both established and emerging. All requests to the Trust undergo a rigorous reviewing process to enable the Trustees to make informed decisions on applications. I would like to take this opportunity to thank the many talented and dedicated reviewers who assist the staff and Trustees. The Trust supports artists of all disciplines and this year 59 grants were awarded to a total of $237,524 for projects taking place into 2007 and in addition the Music Commission fellowships were awarded to a total of $100,000. Actual payments for the year were $205,990, and $215,286 is committed for payment in the 2006/2007 financial year. I would like to thank the Trustees for their invaluable support and advice, and the Trust’s Program Manager Ms Maria Roberts and our staff for their efforts during the year. We are all committed to ensuring that Australian cultural life is enriched through both the support of young artists and the commissioning of new Australian music.
Janet Hirst Chief Executive Officer
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OVERVIEW Sir Ian Potter (1902 – 1994), founder and benefactor of The Ian Potter Foundation, was a visionary and internationally-minded leader in the period after World War II. He played a leading part in financing the development of industry and the semi-government authorities in the 1950s and 60s. Sir Ian was engaged in stockbroking and investment banking and on the boards of many leading Australian companies, and on those of the Australian subsidiaries of international companies.
Sir Ian was committed to development of Australian cultural life and served as Chair of the Boards of the Australian Ballet, The Australian Opera and The Australian Elizabethan Trust. His personal commitment has been reflected in the Foundation’s long history of support for arts organisations across Australia. The Ian Potter Cultural Trust was established in 1993 by The Ian Potter Foundation to enable grants to be made to individual artists. True to Sir Ian Potter’s passion for the arts, and particularly during the 1990s, grants have been predominantly in the performing arts and music sectors, however more recently grants have been made across a number of additional sectors. Visual Artists, Conservators, Designers, Writers, Film-makers and New Media Artists are just some of the talented emerging artists supported by The Ian Potter Cultural Trust grants. Since 1999 the Trust has run a biennial program, The Ian Potter Music Commissions, to support the composition and performance of Australian Music. In 2005 the Music Commissions became a fellowship program to support one emerging composer and one established composer for the creation of a portfolio of work over two years, and the performance of the works.
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FUNDING PRINCIPLES WHEN ASSESSING APPLICATIONS TO THE IAN POTTER CULTURAL TRUST, WE LOOK FOR: zx A commitment to excellence. We support individuals who are passionate about their work, and have the potential to be outstanding in their field, in an international context. zx Evidence of the applicant’s initiative, and ability to convert their ambitions to reality. zx P rojects that have been carefully planned to maximise opportunities for building mentoring relationships and advancing career prospects. zx A n emphasis on education and developing skills, rather than performances or exhibitions. zx S upport from other sources. These might include other trusts and foundations, scholarships and awards, service clubs, family or business. We are very happy to be one of a number of supporters of a project. zx A financial contribution from the applicant themselves. The Trust never supports the entire financial cost of a project, and applicants must contribute personally and/or seek other sources of funding. zx An informed and tight budget. zx An informed and tight schedule for travel projects
Prospective applicants to the Trust should check the website at www.ianpotter.org.au/culturaltrust before submitting an application. Almost all grants are made in support of projects involving overseas travel, and there are stringent requirements regarding the timing of the application and the project. The Trust never supports the entire financial cost of a project, and applicants must contribute personally to the project and/or seek other sources of funding.
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“The Fellowship will enable me to show the treasures of our poetry in a new light – via musical setting, and maybe preserve in a new form, some of our heritage that may have otherwise been forgotten… The Fellowship will free me from the need to undertake “bread and butter” conducting to earn a living so that I can have time, both creative and reflective, to develop and produce a folio of vocal music.”
DR RICHARD MILLS
ESTABLISHED COMPOSER $80,000 (2007 – 2009)
“The Fellowship will enable me to show the treasures of our poetry in a new light – via musical setting, and maybe preserve in a new form, some of our heritage that may have otherwise been forgotten…The Fellowship will free me from the need to undertake “bread and butter” conducting to earn a living so that I can have time, both creative and reflective, to develop and produce a folio of vocal music.” Dr Richard Mills was the recipient of the $80,000 Established Composer Fellowship for The 2005 Ian Potter Music Commissions Fellowships. Richard will start work on the Fellowship over 2007/2008. Currently Richard Mills is the Artistic Director of the West Australian Opera, Artistic Consultant with Orchestra Victoria, and Director of the Australian Music Project for the Tasmanian Symphony Orchestra. He also conducts throughout Australia and overseas. Richard has conducted all the major orchestras in Australia and regularly performs in major Australian Festivals. He made his conducting debut in the USA with the Albany Symphony Orchestra in 1989 and his debut as an opera conductor with The Magic Flute at Opera Queensland. He now has a large repertoire of standard works, as well as a reputation for conducting contemporary opera and his own compositions. His opera of Ray Lawler’s Summer of the Seventeenth Doll premiered at Victorian State Opera in 1996, and received a Sydney season in 1999. His second opera, Batavia, (commissioned by Opera Australia), premiered at the Melbourne Festival in 2001 to great critical acclaim. Batavia consequently received a number of Green Room and Helpmann Awards, including Best Opera and Best New Australian Work. His new opera, The Love of the Nightingale will premiere at the 2007 Perth International Festival, and also be seen in Brisbane and Melbourne.
Richard describes his intended work: “The collected wisdom of a nation is specifically present in its poetic heritage. The magic of woven words not only provides the specific inspired lyric moment, but also forms part of a larger diary of sensibility, a record of the human journey through our history captured with the incantatory precision of verse. Poets give us words for knowing and understanding the fullness of our humanity; in a sense poetry has the capacity to educate our feelings, to inform us via the unique perceptions of its authors of the possibilities of life, because a poet has the special talent to both tell stories and freeze moments of time in which experience and emotion are unified through inspired language. “Poetry, and particularly Australian poetry, has been my companion since childhood. Judith Wright, David Campbell, James McAuley, Douglas Stewart, Shaw Neilson and many others spoke about the world I knew and led me to appreciate it and, in turn, many other aspects of life; comic, tragic, delightful and mysterious. In fact, one poem of Douglas Stewart’s ‘The Jacaranda’ I remember from my school poetry book, a copy of which I found via an internet search. This poem, as well as the book, is out of print, like the works of many of our major poets. “This Fellowship will give me the opportunity to write songs based, largely, on Australian poetry that will be able to be sung by of our current crop of fine singers and, I hope, add to the heritage of Australian song. Some will be for voice and piano and one of these for baritone, soprano and piano will be programmed by Musica Viva in 2008. I will also make recordings of the orchestral songs with the Tasmania Symphony in 2008 as part of their Australian Music Program. So the songs written during the Fellowship will receive air-play and become known.”
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MR DAMIAN BARBELER
“Through the Fellowship I’ve had the means, time and self-belief (born of being awarded the Fellowship) to dramatically increase my creative endeavour and critical standards”
EMERGING COMPOSER $20,000 (2005 – 2007)
“Through the Fellowship I’ve had the means, time and self-belief (born of being awarded the Fellowship) to dramatically increase my creative endeavour and critical standards.” Mr. Damian Barbeler was the recipient of the $20,000 Emerging Composer Fellowship within The 2005 Ian Potter Music Commissions Fellowships. Born in Brisbane in 1972, Damian Barbeler graduated with honours from the Queensland Conservatorium of Music, where he studied with Gerard Brophy. Damian’s work has been inspired by mathematical studies in natural dynamic systems, and artists from disciplines such as architecture, sculpture, painting, graphic design and medicine. His work has also been influenced by his upbringing in church music, years of vocal training and semi-professional activities as a tenor. In his application for the Fellowship Damian said, “For me the implications of this Fellowship are clear. It’s a scaffolding for artistic growth, expanded vision, and professional opportunity; a potent combination of financial and professional support for building and launching a fully-fledged professional career. I understand this, I’m excited about it, and I’m at the perfect point in my development to make the absolute most out of it.” Damian’s Fellowship has given him the opportunity to compose the following new works: zx Tomorrow, Tomorrow and Tomorrow: an opera zx 300 Confessions: miniatures for recorder and confessional zx Dead Colour: a chamber work for opheicleide, string sextet, metallic percussions and Stuart and Sons Piano zx Exquisite Blood: for piano trio zx Holy Monster: song cycle for countertenor, recorder consort, solo violin and percussion zx Liquid Shade: spectral-harmonic exploration for large orchestra zx String Theory: virtuoso duets for electric guitar
The Fellowship has also given Damien the opportunity for professional development work including a mentorship with Brett Dean and to undertake research in India. Damian reports on his Fellowship so far: “I’m three quarters of the way through the first of two years. So far I’ve worked on a range of pieces in various ways: planning, researching, sketching, composing, rehearsing and recording. I’ve met with mentors and musicians. In January, I go to India to meet some of that country’s most respected musicians. Through the Fellowship, I am leading a rich and productive creative life. “I’ve spent a great deal of time writing my opera “Tomorrow, Tomorrow and Tomorrow”, which is nearing completion. It has taken longer to complete than I expected, and I am delighted. This is because I’m doing more drafts, and the benefits are showing in the final result. Patrick White famously said, the difference between a good novel and a great novel is about four more drafts. During my Fellowship I’ve taken this proposition to heart. I have also been more ambitious. Before now I would have been unlikely to contact a Symphony orchestra to propose a piece. During the Fellowship I’ve done so, and my piece “Liquid Shades” is scheduled to be workshopped by the Queensland Orchestra in May next year, with an undertaking to perform it soon after. “Finally, the mentorship I have received from Brett Dean has been invaluable. His reflections and advice have always been breathtakingly insightful. Once again, let me express my appreciation to The Ian Potter Cultural Trust.”
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Many of the tools and materials used in the manufacture of lacquer objects are the same as those used in their conservation, so this experience was incredibly valuable in giving Suzanna confidence and experience working with these, as well as how to care for the mostly handmade, expensive tools.
MS SUZANNA SHAW CONSERVATOR $5,000 Many of the tools and materials used in the manufacture of lacquer objects are the same as those used in their conservation, so this experience was incredibly valuable in giving Suzanna confidence and experience working with these, as well as how to care for the mostly handmade, expensive tools. Ms Suzanna Shaw was awarded a grant of $5,000 in June 2005 to study Japanese techniques to repair lacquered decorative art objects through undertaking a position as Course Assistant at Urushi. She then undertook three months practical experience. Ms Suzanna Shaw’s study in Japan comprised three distinct phases. The initial phase was acting as Course Assistant at Urushi 2005: International Course on Conservation of Japanese Lacquer, jointly organised by the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICSPRCP) and the National Research Institute for Cultural Properties, Tokyo (NRICPT). The second phase consisted of one month’s study of lacquer manufacturing techniques to familiarise herself with the tools and materials that are also used in their conservation, and visits to lacquer workshops, museums and exhibitions. The final phase was two months of independent study at the NRICPT to learn further techniques to those already taught at Urushi. Suzanna visited one of Japan’s leading contemporary lacquer artists, Tatsuo Kitamura, whose art name is Unryuan (‘dragon among clouds’).
Mr Kitamura’s atelier is located in the small city of Wajima, which is the only lacquer producing city in Japan to be designated an Intangible Cultural Asset by the government. Around half of the population of 30,000 are in some way involved with lacquer. Mr Kitamura’s work is inspired by the shapes and designs of Edo period (1615-1868) and has more recently incorporated contemporary forms and decorations, utilising the technical sophistication characteristic of that period. Edo period materials and techniques are not often used nowadays due to their time consuming nature and expense, so this was truly a rare opportunity to see extraordinarily high quality lacquer objects being created. These four weeks turned out to be the highlight of Suzanna’s entire time in Japan, both professionally and personally. Suzanna learnt both the new and traditional Japanese conservation techniques of urushi gatame, kiwasabi, makiji and the use of mugi urushi and kokuso to relay lifting lacquer and fill losses. Suzanna now feels she has consolidated her understanding of the Japanese methods, however it will be necessary for her to practise the techniques under Australian environmental conditions, as lacquer used as a restoration material requires very specific conditions in order to harden. During her study Suzanna came into contact with many conservators, scientists and curators from institutions around the world. Tatsuo Kitamura, who provided her with such unique experiences of the manufacture of lacquerware, will continue to be a mentor and offered his support for when Suzanna has questions regarding manufacturing techniques. His work as head of the Wajima Traditional Techniques Research group will continue to provide her with useful information that she can disseminate amongst the conservation community.
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MR TIM DARBYSHIRE DANCE PERFORMANCE PRACTITIONER $3,000 Tim was exposed to many different modes of performance and participated in stimulating discussions with other performers on issues related to performance in contemporary society. Mr Tim Darbyshire was awarded a grant of $3,000 in March 2006 to undertake an enhanced Dance WEB-Europe Scholarship Program from July to August 2006. Tim Darbyshire is particularly interested in the geographical isolation of Australia and how this affects the type of work being created, and thinks of himself, particularly after his ImPulsTanz festival experience, not only as an Australian performance maker, but also an international producer and collaborator. Tim received a Dance WEB-Europe Scholarship to participate in the ImPulsTanz festival, which requires the recipient to secure funding from his or her home country. The grant from The Ian Potter Cultural Trust provided that funding. As a result of his participation at ImPulsTanz, Tim feels his depth of understanding of performance practice and contemporary dance has developed considerably. Attending ImPulsTanz gave Tim access to a library of dance film videos, individual coaching, participation in the technique workshops (150 seminars by 50 teachers), opportunities to exchange ideas with international trainers and choreographers, and to attend lecture demonstrations.
Tim began the creation of a new work with a Swedish dance maker and will continue this collaboration with a view to developing it into a work for video. He is also having discussions with dancers from Japan and Iran for possible future collaborations to perform and present work in each others’ countries. This project has enabled Tim to join the international community of dance and performance practitioners and, through the “Dance Web” group, he now receives regular updates through databases, online communities and web sites related to information on residencies, auditions, facilities, funding opportunities and future collaborations.
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MS NUSRA LATIF QUERESHI MINIATURE PAINTER $2,600 The Victoria and Albert Museum is acquiring one of Nusra’s paintings from her exhibition at the Studio Glass Gallery for their collection. Ms Nusra Latif Quereshi was awarded a grant of $2,600 in June 2005 to participate in discussions on contemporary miniature painting, exhibit at the Green Cardamon, and to visit collections of Indian paintings at the Victoria and Albert Museum. Born in Lahore but now based in Australia, Nusra Latif Qureshi is a miniature painter. Her project gave her an opportunity to meet other artists and representatives from visiting institutions and to exhibit her work in London. The exhibition she was a part of was held by Green Cardamon at the Studio Glass Gallery. The exhibition attracted a large number of visitors. Nusra also had the opportunity to visit galleries, museums and art organisations.
At the invitation of the curator of the Asian Department of the Victoria and Albert Museum, Nusra held a slide lecture there. This talk was in response to the growing interest of museums in contemporary miniature painting practice and was attended by invited curators, artists and arts students and focussed on Nusra’s art practice. Access to seventeenth century Mughal paintings in the Victoria and Albert Museum Indian and South East Asian Study Room was particularly exciting for Nusra, as these were paintings she had referred to, but had never seen the originals. After her time in London Nusra feels she has a better understanding of contemporary art, art history and her own practice and its future direction. “It was reassuring to see the growing interest of art of Asian origin in Europe and study the strategies adopted by artists, curators and organisations to market and promote their projects.” As with other Cultural Trust recipients, Nusra found her time overseas gave her an opportunity to promote Australian art to other artists and to open up the possibility of further collaboration in Europe and Australia.
“It was reassuring to see the growing interest of art of Asian origin in Europe and study the strategies adopted by artists, curators and organisations to market and promote their projects.”
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MS LOUISE SAXTON ARTIST $2,000 Louise’s time at Rimbun Dahan allowed her to draw inspiration from her surroundings and produce work unhindered. The tropical surrounds of the residency, along with the myriad of wildlife, provided elemental inspiration for Louise’s work. Louise was awarded a grant of $2,000 in March 2006 to undertake a residency at Rimbun Dahan, Malaysia, June – July 2006. Rimbun Dahan was originally a fruit orchard, but has now become a centre for architecture, the creative arts and nature conservation. It is a 14 acre compound planted with indigenous Southeast Asian species. It features buildings designed by Hijjas Kasturi, as well as a 19th century traditional Malay house. The compound, which can host as many as six guests at a time, offers residencies for artists and writers and educational opportunities for students of architecture and ecology. Louise had the opportunity to visit significant cultural sites in Kuala Lumpur that reflected the three major cultures of Malaysia - Chinese, Indian and Malay. These sites had recurring motifs of the lotus flower, dragonfly and deities, all of which she was exploring at Rimbun Dahan. Louise also spent time at the Museum of Islamic Arts, a National Mosque “Masjid Negara”.
Whilst in Malaysia, she was able to purchase hand-embroidered Nyoya clothing, local hand-cut paper stencils, Indian Henna stencils and wooden shadow puppets, which reflect different elements of Malaysian decorative arts and cultural traditions and have all been used as resource materials for her practice. Towards the end of her residency, Louise began a series of small paintings on material from the garden at Rimbun Dahan and this has inspired her to seek out other palm leaves in Australia to use. The work she created during this time has formed the basis of a more fully developed body of work. Louise says of her experience, “At this time of volatile relationships between Eastern and Western interests in various parts of the world, it was a privilege to undertake an artist’s residency in a largely Muslim county, where many cultures live peacefully together.”
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In Kyoto, Andrew visited Japan’s most significant cultural centre and gained a deeper insight into the Japanese aesthetic and the mastery of the arts and crafts on display.
MR ANDREW BALDWIN GLASS ARTIST $4,000 The travel project has had a profound influence on Andrew, both professionally, and personally and has deepened his understanding of the Japanese aesthetic. As a result, Andrew has begun to develop new works in glass. Mr Andrew Baldwin was awarded a grant of $4000 in December 2005 to enable him to travel to Japan and Singapore in March 2006 to meet with glass artists, and to visit the Kanazawa Museum, the private studios of Hirshi Yaman and Yoshiko Takahashi, the Niijima Glass Art Centre, the Gallery Vee, Gaffer Glass Gallery and B. Jane Cowie’s Studio. The most significant experience for Andrew Baldwin was to meet with glass artists and discuss not only art but their approach to creating glass.
Andrew was able to immerse himself in Japanese arts and crafts through visiting museums in Kanazawa, Niijima and Kyoto and Osaka University, Tama University and Kyoto. He was able to see the glass facilities first hand and gain some insight into Japanese arts education. In Kyoto, Andrew visited Japan’s most significant cultural centre and gained a deeper insight into the Japanese aesthetic and the mastery of the arts and crafts on display. Visiting the studios of Hiroshi Yamano and Yoshihiko Takahashi enabled Andrew to see two different aspects of glass arts in Japan. Mr Takahashi runs his own studio while Mr Yamano is director of two major glass institutions. Andrew found them both to be open and generous with their ideas and methodologies. Contact led to international networking opportunities with artists and to touring their studios. Andrew had the opportunity to visit the island of Niijima, which was particularly special as he had heard about the island many times from colleagues. The island is home to the Niijima Glass Art Museum and Niijima Glass Art Centre. The Glass Art Centre is famous for the production of a special green glass made by melting a rare volcanic rock that is found on the island. Andrew’s time in Japan gave him new confidence and understanding as an artist and he intends to share his experiences through speaking engagements and newly developed work.
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MR RUPERT BOYD GUITARIST $5,000 The second year of study has led to significant improvement in Rupert’s playing and given him a clear understanding of the direction he wants to pursue in his playing and teaching of the guitar. Rupert has been accepted into the Artist Diploma degree at the Yale School of Music on a full-tuition scholarship. Mr Rupert Boyd was awarded a grant of $5,000 in June 2005 to undertake the second year of a Masters of Music Degree (Guitar) from August 2005 to May 2006 at the Manhattan School of Music in New York, studying with David Leisner. Rupert Boyd started his Masters of Music Degree with world-renowned guitarist and pedagogue David Leisner at the Manhattan School of Music in August 2004. Rupert chose to study with David Leisner because of the revolutionary classical guitar technique he created after developing a crippling condition, focal dystonia which prevented him from playing the guitar for 12 years. Central to this technique is the idea of freedom of motion rather than an economy of motion. It also encourages the use of the body’s larger muscles which allows for a greater ease of playing and freedom from injury.
Whilst Rupert was undertaking his undergraduate degree at the Australian National University he had experienced some performance related tension problems, which led him to undertake studies with David Leisner. The second year of study allowed Rupert to capitalise on achievements made in his first year of study and gain further depth of understanding of his technique. Rupert was amongst a handful of students awarded a special prize at the graduation ceremony, being the recipient of the Andrés Segovia award.
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MS GEORGINA DANN NEW MEDIA CURATOR $5,000 Georgina now has a greater knowledge of international new media and moving image artists and galleries, and has come back to Australia with a wealth of knowledge, experience and fresh ideas. Ms Georgina Dann was awarded a grant of $5,000 in December 2005 to undertake a curatorial internship between February and May 2006 at the Foundation for Art and Cultural Technology in Liverpool. Georgina Dann found that the knowledge gained from Foundation for Art and Creative Technology (FACT) was immeasurable - ranging from the practical and technical side of new media and moving image exhibitions, through to the current issues within new media curation. She had an opportunity to learn about international commissioning and the United Kingdom’s funding environment, and increased her knowledge of international new media art from attending conferences, galleries and artist talks.
She visited many new media and contemporary art galleries across the UK, and was thrilled to see the work of leading international artists that would usually not be available in Australia. A highlight was visiting VIVID in Birmingham where she was privileged to attend a talk by VASULKAS - an experimental video artist from the late 1960s. Georgina also attended a performance by New York based artist LoVid at the Art Place Technology conference. She was able to arrange a trip to Berlin to visit the Berlin Biennial for Contemporary Art, themed Of Mice and Men. During the internship, Georgina worked on two main projects. One was to curate a one-hour screening program to be shown at FACT. The screening was for the SEEN program, where experimental films projects are shown in the Box, a 50 seat cinema at FACT. The SEEN program was marketed as an event directly linked with the exhibition. The second project was to work as a curator on the Experimenta: Under the Radar Exhibition. This allowed Georgina to work closely with the New Media curator at FACT and involved choosing works for the exhibition, researching the artists, arranging transport and storage, marketing, education, budgeting, developing sponsorship and offering advice on individual works.
MR SAMUEL EVANS TABLA LEHARD MUSICIAN $2,500 This mentorship has given Sam an opportunity to develop his Tabla playing to a high degree, which he feels can only be of benefit to Australian culture and, in turn, multiculturalism.
Sam has long been involved with community music and studied his Bachelor of Music in Tabla at Monash University. While there, he assisted in establishing a method by which Tabla and other foreign instruments can be studied at Monash at undergraduate level.
Mr. Samuel Evans was awarded a grant of $2,500 in September 2005 to study solo Tabla repertoire with Pandit Anindo Chatterjee in Calcutta, India, December 2005 – June 2006.
As Sam had studied Indian music for many years, he was able to master some of the more advanced stages of Tabla learning, and achieve the level of proficiency required to perform at a professional level in India. He also worked with Pandit Debashish Chakroborty, Shri Shubjit Brahmachari and Dr Lovely Sharma.
Sam Evans travelled to India to study with Pandit Anindo Chatterjee and develop his skills in “Tabla Lehara” a form of solo Tabla repertoire in traditional North Indian music. Skill development was achieved through the close tuition in the traditional manner of ‘Guru-shisha-parampara’ master and student literal translation is master and mirror.
He performed in four concerts in Kolkata (Calcutta), Agra and Shantinikitin, and after the tour made a studio recording, which will be mastered and finished in Melbourne. The professional development provided by the grant will enable Sam to teach and perform to a higher level.
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MS EMMA WILSON DANCER AND CHOREOGRAPHER $5,000 “Aside from the technical information I have been given over the past year, the most valuable aspect of this project has been the opportunity to meet other students, artists and teachers.” Ms Emma Wilson was awarded a grant of $5,000 in June 2005 to study dance and choreography from August 2005 for one year at the School for New Dance Development (SNDD) in Amsterdam, The Netherlands. After a two-day rigorous audition process in March 2005 involving over 100 applicants, Emma Wilson was accepted with nine other students into “Entering Europe” a professional development project at the School for New Dance Development in Amsterdam. The project was a structured learning program to offer exposure to new and experimental concepts in choreography and training the body, as well as developing choreographic practice through the development of a dance work with a mentor.
After a year of Dance and Choreographic study, viewing performances and discussions with other artists, Emma’s perception of dance has broadened considerably. The study at SNDD not only provided classes and workshops in dance technique, improvisation and choreography but also in technical elements such as lighting and video, and theoretical studies including dance history, aesthetic philosophies and anatomy. “There have been many possibilities to form international networks and build up my list of contacts. I consider this vital in order to further develop my career as an artist.” Emma’s time in Amsterdam also gave her access to future work possibilities and she discovered European based artists that inspire her and with whom she would like to work, both in Australia and Europe.
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GRANTS PAID 2005/06 GRANT RECIPIENT & PROJECT TITLE
$ PAID
Mr Andrew Baldwin To meet with glass artists and to glass collections in Hong Kong and Singapore, March 2006
4,000
Mr Rupert Boyd 2nd year of MA Music degree (Guitar) at the Manhattan School of Music in New York, August 2005 – May 2006.
5,000
Mr Peter Burke For the creation of Planet Shellywood a collaborative art in India, from November 2005 – February 2006
1,890
Mr Rene Christen Second year of MA of Fine Arts, (Electronic Integrated Arts), at Alfred University, New York, USA, September 2005 – May 2006
2,500
Ms Samantha Gallagher-Collins To continue lessons at the Metropolitan Opera & the Manhattan School of Music in New York, February – May 2006
15,000
Ms Dania Cornelius To undertake advanced vocal studies through individual private lessons with Cord Garben and study German at an international school in Hamburg August 2005 – October 2005
4,000
Ms Emma Crofts Internship in Arts Management in New York City, USA, from August – November 2005
2,500
Ms Amy Cutler To study French in Paris at the A’ccord Language School for six weeks from January 2006
4,000
Ms Georgina Dann A curatorial internship at FACT (Foundation for Art and Cultural Technology) in Liverpool, February – May 2006
5,000
Mr Tim Darbyshire To undertake an Enhanced Dance WEB-Europe Scholarship Program, July – August 2006, Vienna, Austria
3,000
Ms Lerida Delbridge To attend the 10th London International String Quartet Competition, Masterclasses with Gabor Tákacs-Nagy, the St Lawrence String Quartet Music Seminar & the Norfolk Chamber Music Festival, April – August 2006
2,284
Ms Tanya Denny To participate in the SITI Company’s 2006 summer workshop at Skidmore College, Saratoga Springs, USA, May 2006
4,700
Mr Marcus Dillion To produce work for and exhibit at Sofa Chicago, and seek out opportunities for gallery representation and future residency opportunities, USA, October 2005 – February 2006
2,500
Ms Melissa Doecke For final year of Postgrade Dip in Flute at the Royal Academy of Music in London to June 2006
5,000
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Mr Samuel Evans To study solo Tabla rep from Pandit Anindo Chatterjee in Calcutta, India, December – May 2006
2,500
Ms Maggie Ferguson To study the Tango Violin in Buenos Aires with Ariel Expandrio and Ramiro Gallo September – October 2005
2,614
Ms Belinda Fox To travel to Tibet to undertake research followed by a residency as a guest artist and printer at the Singapore Tyler Institute, May – June 2006
2,000
Mr Coady Green Intensive piano residency with Madame Yvonne Loriod-Messiaen in Paris, France from December 2005
5,000
Ms Sandy Greenwood A Summer Intensive Program at the Atlantic Theatre Company Acting School, New York City, July – August, 2006
5,000
Mr Martin Grimwood A three-week course in Acting with the Atlantic Theatre Company in Vermont, USA, August 2005
3,000
Mr Martijn van Eijkelenborg To spend six weeks in Buenos Aires in June and July, 2005 for intense bandoneon lessons at two locations
2,400
Mr Richard Haynes To attend the International Music Competition, the Klangforum Wien, the International Instrumental Competition 2006 and to undertake clarinet lessons Austria, Switzerland and the Netherlands, May 2006
1,750
Ms Rajiv Jayaweera To attend the Banff International Workshop in Jazz and Creative Music (drums) in Canada, May – July 2006
5,000
Ms Helen Johnson To undertake a three month visual arts residency at Nordic Artists centre in Norway, August – December 2005
2,600
Mr Benjamin Kopp To undertake intensive lessons in Violin, and compete in music competitions, Italy, Switzerland, UK, Canada, May – December 2006
5,000
Ms Sophie Lewincamp Internship in Advanced Paper Conservation at the Library at Congress, Washington D.C. USA, September 2005
5,000
Mr Lex Lindsay To travel to Viborg, Denmark for the Danish Children’s Theatre project: La La Land, February – June 2006
2,800
Ms Fiona Malone To undertake a residency at AKM in Germany in developing choreographer skills through the use of inter-active technology, September – October 2005
5,000
Mr Leo McFadden Masters Degree in Contemporary Improvisation (Guitar) New England Conservatory, Boston, August 2005 – March 2006
5,000
PAGE 16
GRANTS PAID 2005/06 Mr Pei-Jee Ng
2,750
To attend the 2006 Prussia Cove Masterclasses in Cello, April 2006 Mr Pei-Sian Ng To attend the 2006 Prussia Cove Masterclasses in Cello, April 2006
2,750
Mr Benjamin Northey To participate in the 2005 Moscow Symphony Orchestra Masterclass for Conductors in Moscow, 22 – 31 August 2005
3,000
Ms Rachel Arianne Ogle To participate in the Dance meets Danse Festival in Lagos, Nigeria, 18 March – 1 April 2006
2,800
Ms Kathleen O’Hagan A one-year Postgraduate Diploma in Performance (Violin) at RAM in London from September 2005
5,000
Mr Benjamin Phelps To direct a 14 minute film “Melting” for Masters of Media Arts and Production, UTS, Sydney, February 2006
5,000
Ms Bagryana Popov Intensive three month study program of Bulgarian traditional singing, August – October 2005
4,000
Ms Nusra Latif Qureshi To participate in a workshop seminar on contemporary miniature painting at the Victoria and Albert Museum, and exhibit with the Green Cardamon Gallery, London, September – October 2005
2,600
Mr Pin Rada To undertake study of the Ney and the Saranghi with master players, Turkey and India, July – November 2006
3,000
Ms Noha Ramadam To undertake a one year placement as a student at the School for New Dance Development in Amsterdam from August 2005
5,000
Dr Cameron Roberts For private piano tuition at RAM and the Royal College of Music and to participate in international piano competitions and the Banff Summer Music Festival, February – August 2006
5,000
Ms Louise Saxton To undertake an artists residency at Rimbun Dahan, Malaysia, June – July 2006
2,000
Ms Suzanna Shaw To study Japanese techniques to repair lacquered decorative art objects at Urushi 2005 and the Tokyo National Research Institute, September 2005 – January 2006
5,000
PAGE 17
Ms Emma Skillington To attend the 10th London International String Quartet Competition, Masterclasses with Gabor Tákacs-Nagy, the St Lawrence String Quartet Music Seminar & the Norfolk Chamber Music Festival, April – August 2006
2,284
Ms Sarah Slater To purchase a baroque trumpet
5,000
Ms Lizzie Thomson To undertake mentorships in choreography in Europe with Rosalind Crisp, Julie Gourgard, Renate Graziadei and Arthur Staldi, May – June 2006 France, Germany
3,000
Ms Lynette Voevodin To participate in the 9th Havana Biennale, Cuba March – April 2006
3,200
Ms Emma Wilson To study Dance and Choreography at the School for New Dance Development, Amsterdam, August 2005 – July 2006
5,000
Mr Justin Williams To attend the 10th London International String Quartet Competition, Masterclasses with Gabor Tákacs-Nagy, the St Lawrence String Quartet Music Seminar & the Norfolk Chamber Music Festival, April – August 2006
2,284
Ms Michelle Wood To attend the 10th London International String Quartet Competition, Masterclasses with Gabor Tákacs-Nagy, the St Lawrence String Quartet Music Seminar & the Norfolk Chamber Music Festival, April – August 2006
2,284
Mr Jethro Woodward To travel to New York and meet with Sound Designers, at Ontological Theatre, The Wooster Group and with Noise Artist Clay Lacefield August – September 2005
4,000
Total The Ian Potter Music Commissions Program - 2003 Ms Elena Kats-Chernin The Maiden and the Well Spirit The Ian Potter Music Commissions Program - 2005 Mr Damian Barbeler - Fellowship for an Emerging Composer
Total Music Commissions Total Cultural Trust
$190,990
5,000 10,000
$15,000 $205,990
The Ian Potter Cultural Trust ABN: 65 807 851 867
Level 3, 111 Collins Street Melbourne VIC 3000 Telephone 03 9650 3188 Fax 03 9650 7986 Email culturaltrust@ianpotter.org.au www.ianpotter.org.au/culturaltrust