Artel #11 ~ MRAG Members' Magazine (Summer/Autumn 2024) by Maitland Regional Art Gallery

ARTEL ARTEL ARTEL ARTEL RTEL Maitland Regional Art Gallery

Members’ Magazine

Summer/Autumn 2024

Biannual #11

ARTEL ARTEL

Biannual #11 Summer/Autumn 2024

MAITLAND REGIONAL ART GALLERY AND ITS MEMBERS ACKNOWLEDGE THE WONNARUA PEOPLE AS THE TRADITIONAL OWNERS AND CUSTODIANS OF THE L A ND UP ON W HICH T HE G A LLERY S TA NDS.

MRAG

MRAGM

ARTEL

Located on Wonnarua Country at the gateway to the Hunter Valley in Maitland New South Wales, Maitland Regional Art Gallery presents awardwinning exhibitions and events alongside engaging and varied public programs, educational offerings, and an in-depth Arts Health program.

Maitland Regional Art Gallery Members. The vibrant community of MRAG supporters who, through their membership and fundraising, help sustain the Gallery’s creative learning programs.

‘Artel’ is of Russian origin and refers to an arts or crafts co-operative. The ‘Artel of Artists’ (1863) was formed by a group of St Petersburg Academy of Arts students who’d rebelled against the rules of its annual art competition. Artel has been the name of the MRAGM newsletter, now magazine, since 2007.

230 High Street, Maitland, NSW 2320 Open: Tues–Sun 9am–4pm Ph: 02 4934 9859

Represented by volunteers, on the Friends of MRAG committee, elected annually.

E: artgallery@maitland.nsw.gov.au W: mrag.org.au

COVER IMAGE Ron Mueck, Pregnant woman, 2002, fibreglass, silicone, polyester resin, oil paint, fibres National Gallery of Australia, Kamberri/Canberra, purchased with the assistance of Tony and Carol Berg 2003. © Ron Mueck courtesy the artist and Thaddaeus Ropac Gallery, London.

CONTENTS 04

Welcome

Elisa Jane (Leecee) Carmichael

Ron Mueck Acquisitions Prudence De Marchi

Settled / Unsettled Creative kids

Robert Klippel Simone Rosenbauer

Terry Smith

News for members Social Gallery

Exhibitions

ARTEL 04 W E LC O M E We invite you to dive into MRAG through these pages and discover more about the Gallery’s wonderfully diverse exhibitions and programs, and the people who enjoy and support it. Welcome to our first issue of Artel for 2024. We wanted to share with our members some of the great projects and programs this season with insights into the creative world of artists like Robert Klippel as we showcase his significant contribution to the Australian cultural landscape. We also aim to spark conversation around immigration and displacement through the exhibition Settled/Unsettled welcoming artists to Maitland including Kathrin Longhurst, Mehwish Iqbal, Angus McDonald and Penny Byrne. We’re also next level excited about sharing a monumental work of art by Ron Mueck into the Gallery this April. Pregnant woman will fill our Gallery One space with all the wonder and physicality of a woman at full term. This is a work of art that speaks to all the feats of the natural world and will allow us to explore, through our own collection and other artists, ideas of family, birth, humanity and the body. Sharing the National Collection is an exciting initiative from the National Gallery of Australia and we welcome it wholeheartedly. This season we also bring you the wonderful work of photographic artist Simone Rosenbauer who embarked on a mission to document the small, interesting and curious museum collections around Australia. We are also excited to announce we were successful in getting a Dobell Exhibition Grant from Museums and Galleries NSW to contribute to this project with four artists commissioned to explore local collections in new ways.

Gerry Bobsien, Gallery Director

05 FRIENDS OF MRAG

After a five-year hiatus, and an online sale in between, the MRAG Art Sale re-emerged and was another stellar success. The love of the Art Sale never ceases to amaze us, both in the broad range of artistic talent who provide works for sale and the generosity of our community who help to support one of our most treasured resources, Free Art Sunday, which is funded by memberships and initiatives like this. A key member event this year was the unique opportunity to visit with artists James Drinkwater and Lottie Consalvo, who welcomed us into their home and gave us an exclusive preview of their forthcoming exhibitions in their loft studio. The final year opening celebration for 2023 was a great way to get together and celebrate what has been another incredible year of events and exhibitions at Maitland Regional Art Gallery. We look forward to welcoming you to the gallery soon.

Leah Riches, Chair, Friends of MRAG committee

Friends of MRAG committee Leah Riches Sarah Crawford Catherine Kingsmill Amanda Galbraith David Williams Joey Hespe Penny Lee

Terry Smith Richard Fletcher Council Representative Cr Sally Halliday Gallery Director Gerry Bobsien

All rights reserved. No part of this publication may be reproduced, in whole or in part, without written permission from MRAGM. While every effort has been made to ensure the accuracy of information and to secure copyright permissions, we apologise for any oversights, which we will correct in future issues. All images © the artists.

ARTEL 06 SHARING THE N AT I O N A L C O L L E CT I O N APRIL 2024

Pregnant woman 2002, National Gallery of Australia In 2022, the Federal Minister for the Arts, the Hon Tony Burke, announced a new initiative aimed at sharing significant works of art from the National Gallery of Australia’s collection. This initiative gives funding to the National Gallery of Australia to share its collection in regional institutions throughout the country.

Mueck is one of Australia’s most internationally accomplished artists and Pregnant woman is an important part of the National Gallery of Australia’s collection. We are thrilled to present this work in conversation with our own collection to captivate our audiences and attract visitors to Maitland.

We were very excited to hear that in September 2023, the Minister announced Maitland Regional Art Gallery as one of the early institutions to take part in the program through a long-term loan of Ron Mueck’s monumental sculpture Pregnant woman on display at MRAG for 18 months, commencing April 2024.

This sharing initiative will create opportunities for visitors to experience an internationally acclaimed work of art outside a major metropolitan city – this is an important part of the work we do here at MRAG. Bringing significant works of art to our community and creating accessible and engaging programs alongside these projects.

‘Australia’s national collection belongs to all Australians,’ Minister Tony Burke said. ‘This initiative gets these works out of the storeroom and into galleries around the country for people to enjoy – as they should be.’ RON MUECK

Standing at an impressive height of 2.5 metres, Pregnant woman is nearly double the size of an average person. Mueck himself has explained that the work is a contemporary response to the representations of

motherhood, echoing the long-standing tradition of portraying mothers and children in art. MRAG is well prepared to showcase this remarkable artwork in a dedicated exhibition space, allowing visitors to immerse themselves in its monumental presence. We will be creating great programs with this sculpture bringing families, children, and women together to discuss and participate in programs that range from perinatal VR experiences to prenatal yoga classes. We will bring to life our own collection with two exhibitions in the loan period that relate to the body in art and another exhibition exploring all the many varied aspects of motherhood, family, and humanity. Programs will occur throughout these exhibitions including life drawing, art teacher and educator development programs. We will embrace our arts health initiatives with this project and invite

artists to make new work and exhibit alongside Pregnant woman, 2002. A local artist will also be commissioned to create a new sound piece to be heard throughout the exhibition space. We hope you are excited as we are to welcome this monumental work of art into our space here in Maitland! Ron Mueck’s Pregnant woman is on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.

Ron Mueck, Pregnant woman 2002 fibreglass, silicone, polyester resin, oil paint, fibres, National Gallery of Australia, Kamberri/Canberra, purchased with the assistance of Tony and Carol Berg 2003 © Ron Mueck courtesy the artist and Thaddaeus Ropac Gallery, London

ARTEL 08 NEW ACQUISITIONS

Last year, MRAG presented Upriver Downriver, a mammoth award winning exhibition curated by Kim Blunt, that showcased the work of fifty-two artists who have either lived or worked along the banks of the Hunter River. From this exhibition, MRAG was fortunate to acquire two works for the MRAG Collection. 1

MRAG Collection Search: https://collections.maitland.nsw.gov.au/ objects/6386/the-shroud

See examples of Mary Jane Hannaford’s quilts from the NGA Collection here: https://searchthecollection.nga.gov.au/ artist/20396/mary-jane-hannaford Shonah Trescott and Osvaldo Budet Dusk, 2022, (video still) 8K video Lucas Grogan, The Xanadu Quilt, 2023, hand quilted cotton on cotton, 285 × 213 cm

MRAG COLLECTION

The first work was the video, Dusk, 2022, donated to MRAG by the artists Shonah Trescott and Osvaldo Budet. After living and working overseas in Germany, the Arctic, Puerto Rico, the USA for many years, Trescott (b. Maitland) and Budet (b. Puerto Rico) are now based in Maitland. Together and individually, they work across many mediums creating work with a social conscious, that interrogate and comment upon environmental issues and the climate crisis.

In Dusk, which Trescott and Budet describe as a scene from a ‘radical future’, a quiet, moody, purple dusk, enhanced by the song of crickets and birds, is overtaken by a horn and lights, the clinks and clangs and engine hum of a coal train as it rolls along the tracks and around the bend. Once the train is out of view the scene becomes still and the crickets and birds can be heard again singing

over the empty tracks. This video was selected for #ARTSPEAKSOUT as part of the 2022 United Nations Climate Change Conference (COP27) in Egypt and depicts a future, when the last ever coal train rumbles through the Hunter region. The second work MRAG acquired from Upriver Downriver was The Xanadu Quilt, 2023, by Lucas Grogan. This work joins

Grogan’s, The Shroud, 2016,1 acquired by MRAG in 2020. Lucas Grogan was raised in Maitland, where his family are still based, but he has lived, worked and exhibited across Australia and internationally. Prompted by the brief for UpriverDownriver exhibition, The Xanadu Quilt evolved when he began thinking about his relationship with his hometown, Maitland:

‘A large number of my friends had moved home just prior or during the pandemic. The cost of living overseas or in big cities – away from our families had sort of hit us all at once. Some were reluctant but understood the benefits – others insisted it was only a temporary move. I thought this was pretty fertile ground to make a work about the complex relationship both geographically and psychologically of returning home.’ As a starting point for this work, Grogan researched quilts created by artist Mary Jane Hannaford who lived in Blandford [near Murrurundi] in the 1920s, which are now held in the collections of the NGA and NGV.2 Like Grogan’s, Hannaford’s quilts are autobiographical and comprised of appliqued pieces of fabric, with hand embroidered imagery and text. Grogan describes The Xanadu Quilt in his artist statement for the exhibition: ‘We circle back home because we map the rest of the world from our home. What we couldn’t get away quick enough from becomes a warm and familiar hug. Pieced together from scraps of fabric gifted to me from friends and family – laid out on my brother’s bedsheet. This quilt tells the story of the prodigal son. Facing hometown real, imagined and long dead monsters as an adult who has seen it all, tail between his legs and humbled. The Xanadu Quilt gave me the opportunity to return that hug.’ Grogan describes himself as a ‘a diarist in one form or another’ and sees his work as ‘pages in a larger personal narrative.’ His quilts are highly detailed, personal, handmade textile pieces onto which he has embedded his experiences and reflections.

Cheryl Farrell, Collection Management Curator

ARTEL 12

Prudence De Marchi, Bonnie-Lee Mooney

PRUDENCE DE MARCHI

13 PRUDENCE DE MARCHI Maitland Regional Art Gallery Store 02 MAR 2024 — 09 JUN 2024

Have you ever wanted to take home something you’ve seen on our walls? This Autumn, you will have the opportunity to do just that as we welcome the work of Prudence De Marchi to the Gallery and in Store. These paintings celebrate the change in season - think crunchy golden leaves and burgundy hues. The return of lush greens after the harsh summer sun. A bouquet of freshly cut blooms drenched in afternoon light. Located here in the Hunter, Prudence’s work is underpinned by nature and driven by the desire to create something beautiful. There is a certain energy within her artworks; friendly, happy, relatable. Just like the artist herself.

She muses that if her work is about anything, it’s about joy: ‘Making someone smile, bringing back a memory, making your house feel like a home, making a space feel special and individual to you. Bringing all the beauty.’ With a multitude of exhibitions, a handful of incredible stockists and many collaborations under her belt, Prudence has certainly had a busy few years. Pivoting from her former role as an Assistant Principal at a Special Education School she has returned to one of her first loves; painting. Drawing upon her fine art training, she picked up the brush again when her firstborn was just a baby. Now, on the cusp of waving that same

little one off to school she is busier than ever creating artworks that are being added to homes and collections all over the world. We cannot wait for her work to grace our walls here at the Gallery, and for you to call one your very own.

Ashley Grant Merchandise Officer

Have you seen our new look Maitland Regional Art Gallery Store? We have a beautiful space that showcases and supports many small-scale artists, and of course the Gallery. Gifting has never been easier with Store Vouchers now available to purchase anywhere, anytime via our website.

ARTEL 14 ROBERT KLIPPEL: VISUAL WEIGHT

Born in 1920, artist Robert Klippel found his way to art following an unconventional path. As a child, Klippel had a love of making model ships, but as he grew older, and with a businessman father, Klippel was under family pressure to work toward a more traditional career. After training to be a wool classer and working briefly in that industry Klippel’s desired for a life full of adventure took hold and, as Australia joined the Second World War, Klippel joined the Royal Australian Navy. ROBERT KLIPPEL

Early on in his navel career, Klippel decided thirty-two days at a time on board a boat was not for him and resolved to leave the Navy and rekindle his childhood love of making model ships. Unsure of his future direction, it was only through a chance meeting in 1944 with poet Pam Broad, and with her encouragement, that Klippel started to look at his models with the eye of an artist. Klippel credits this meeting as a turning point for him.

‘She [Pam] appreciated my ships for what they were but was critical of my lack of interest in art of any kind. That triggered a tirade of criticism of my attitude…the difference between art and craftsmanship was pointed out…I took this very much to heart and determined not [to] copy… I did my first carving. She [Pam] was enthusiastic. There was discussion after discussion about art. Pam introduced me to a world about which I had been oblivious.’ 1

15 16 M A R 2 0 2 4 — 16 J U N 2 0 2 4

By the time Klippel arrived at East Sydney Technical College in 1946 to begin formal training, he was already a formidable craftsperson. As Klippel worked solidly on his newfound understanding of art he thought very deeply and long about the nature and purpose of art, and for him, how art would give his life meaning. Klippel notes in his diary, ‘…I believe that an artist should, when creating, undergo a similar process to that which occurs when nature creates... A thorough understanding and knowledge of the process of nature, the construction of the simplest forms, their structure and growth – to penetrate right to the nucleus of things. I am aware that true art is something spiritual.’ 2 The senses of exploration, curiosity, and play that the twenty-five-year-old Klippel expressed in his journal drove his work throughout his life. Even into the end of the twentieth century when Klippel passed away in 2001, by which time, Klippel had reach the pinnacle of his career and was regarded as Australia’s greatest sculptor. The exhibition Robert Klippel: Visual Weight is being presented at Maitland Regional Art Gallery early in 2024. The work selected for the exhibition will be expertly and sensitively curated by Robert Hirschmann, artist and curator with artworks drawn from the Hassall Collection; a collection which Hirschmann also manages along with the expert eye of Geoffrey Hassall, collector, art patron and long-time friend of Robert Klippel. Klippel was first introduced to art collector Geoffrey Hassall by gallerist Frank Watters of Watters Gallery 3 in 1983. Geoff noted of this initial meeting. Robert Klippel, No. 363, 1980, ninety-three cardboard paper constructions on wooden table variable 18 × 98.6 × 83 cm

‘I first viewed Klippel’s work at Watters Gallery November 1983, the exhibition was 90% sold, however I purchased Opus 5244 after asking advice from Frank Watters.’

ARTEL 16 ROBERT KLIPPEL: VISUAL WEIGHT Watter’s introduction of Geoffrey Hassall to Robert Klippel was the start of many visits by Hassall to Klippel’s waterfront home and studio in Birchgrove. Hassall remembers that the house was divided into nine studios; one room for works on paper and the balance for sculpture. For Hassall this i s the short story of what was a long and enjoyable friendship. A friendship equally cherished by Klippel. The Hassall Collection contains dozens of Klippel artworks covering decades of the artist’s oeuvre including many fabulous examples of small and large sculpture. This special friendship was one built on mutual respect. Klippel wrote many personal messages to his good friend. ‘ To Geoff, in admiration of your high standards, you are an artist in your own manner.’ 5 There are so many aspects of Klippel’s life expressed in his artwork and captured in the Hassall Collection. There are sculptures in all forms; wood, metal, steel, bronze, found material, carboard and paper as well as many examples of paintings, collage and drawing many of which Klippel intended to be seen in partnership. As described by writer and artist James Gleeson, and long-time supporter of Klippel. ‘The drawings are not just a glossary on his sculpture but an equal partner, a corpus of work that stands as a twin pillar to his sculpture and which enshrines some of the most exiting aspects of his artistic thinking.’ 6 For an exhibition to be curated and loaned from a private collection, especially for a Maitland audience, is a rare privilege. Like Klippel, MRAG is thrilled to have the friendship of a collector like Geoffrey Hassall, supported so expertly by Robert Hirschmann. We are honoured to bring to Maitland, from the Hassall Collection, the exhibition Robert Klippel: Visual Weight.

Kim Blunt, Senior Curator ROBERT KLIPPEL

Gleeson, J. Robert Klippel, 1983, p16 here Gleeson quotes at length from various diaries kept by Klippel. 2 ibid. p17. 3 Watters Gallery operated from 1964 and closed in 2018 a total of 54 years. 1

This work is now catalogued as No. 524. Noted on the back of the work Untitled which was a gift from the Artist to Geoff Hassall in 1997. 5 Op. cit. p 12. 6 Originally catalogued as Opus 72. 4 5

Robert Klippel, No. 72, 1958, brazed and welded steel with copper plates, 62 × 30 × 17 cm

ARTEL 18 MEET AN ARTIST SIMONE ROSENBAUER

02 MAR 2024 — 30 JUN 2024

Simone Rosenbauer is a Newcastle based German born artist who has been working in photography since the 1990’s. Her work Small Museum will be on display at MRAG from 24 February - 30 June. Over a three-year period, Simone visited 41 community run museums in regional and remote parts of Australia to document in photographic and oral form the buildings, caretakers, collections, and stories therein. The resulting artwork is a glimpse of the many and varied histories being preserved throughout Australia by dedicated community members. The cultural significance of this work has been recognised with 120 images being acquired by The National Library. Maree Skene caught up with Simone to find out more about the Small Museum project. Images courtesy Simone Rosenbauer

MEET AN ARTIST

What sparked your interest in undertaking this project? During my first visit to Australia in 2003, I had the opportunity to explore some small museums. I was utterly fascinated by the wealth of stories, love, and passion that these museums held. These institutions, nestled in the heart of communities, hold treasures of culture, history, and human connection. I was drawn to

19 the idea of capturing these narratives and celebrating the dedicated individuals who preserve them.

There must be hundreds of small museums across Australia, how did you select the 41 that make up this work? And did you have a favourite? You’re absolutely right. Australia boasts an incredible array of small museums, each with its own charm and historical significance. The selection process was challenging, but it ultimately came down to a combination of factors. I aimed for geographical diversity, ensuring that I covered different regions and states of the country, and I also considered the uniqueness and richness of the collections. Additionally, I spoke to experts in the field and received recommendations from museum enthusiasts, which played a vital role in my decision-making. As for having a favourite, that’s a tough question. Every museum I visited had its own distinct charm and was a unique window into Australia’s history. It would be unfair to choose just one favourite because each museum contributed something special to the project, and collectively they create a comprehensive

and diverse narrative of the country’s cultural heritage.

Unlike an archival record, you haven’t given a detailed description of the objects photographed; instead, the images sit alongside interviews with the caretakers of these collections. Why did you choose to do this? I made a conscious decision to focus on the stories behind the objects and the people who care for them rather than providing a detailed catalogue of the objects themselves. Small museums often have limited resources and may not be able to provide extensive information about their collections, but the stories behind the artifacts are what make them truly come alive. By interviewing the caretakers, I aimed to humanise the museums and create a more personal connection between the audience and the collections. The passion and dedication of these caretakers are at the heart of the Small Museum project, and I believe that their narratives bring a deeper, more emotional dimension to the work. It’s about celebrating the people who work tirelessly to preserve these pieces of our history and sharing their experiences and perspectives.

How has this project been a personal exploration of Australia? The Small Museum project has been a profound personal exploration of Australia on multiple levels. It has allowed me to connect with the diverse cultural and historical fabric of this country. Through my travels to these small museums, I’ve encountered stories of Indigenous cultures, early settlers, unique regional traditions and various aspects of Australian history that I may not have otherwise discovered. Moreover, it has been a journey of meeting the people who are the custodians of these stories and objects. Their passion and commitment to preserving their local history has been incredibly inspiring. Through their narratives and insights, I’ve gained a deeper understanding of the rich tapestry that makes up the Australian identity. In a way, this project has been a personal odyssey through the heart of Australia, and it has enriched my understanding of this remarkable country in ways I couldn’t have anticipated.

Maree Skene Visitor Engagement Officer

ARTEL 20 TERRY SMITH

MEET A MEMBER

In each issue of Artel, we introduce you to one of our members and for this issue we profile Terry Smith, who is one of our most dedicated volunteers and committee members. Having called Nelson’s Plains home for the last four years, Terry Smith’s life couldn’t be further from punk rock culture of 70’s London where he grew up. Born and raised in North London, Terry’s early years were spent in council housing. It was during this time that he first dabbled in photography, sparking a lifelong passion. At the age of ten, he acquired his first enlarger, which he set up in his flat to develop photographs. This early exposure to film and photography would later become one of many creative outlets for Terry, alongside his talents in film production and directing. However, Terry’s artistic journey took an interesting turn when his parents left their council flat when he was just sixteen. He began squatting in grand old houses throughout North London. It was during this period that his passion for music truly blossomed. Terry’s career as a drummer saw him join The Innocents, TERRY SMITH

where they played in New York. After the band disbanded, he continued his career as a drummer with The Nipple Erectors, The Barracudas, and The Temper. He fondly recalls the carefree lifestyle of the time and that some of his closest friends were [and still are] rockstars from the punk rock movement, emphasising the unique environment that nurtured his love for music. After his extensive tours across Europe and America left him feeling that the often-nomadic lifestyle that comes with touring was not sustainable, Terry knew it was time for a change. Consequently, he packed his favourite possessions, mainly consisting of records and clothes, and shipped them to Australia. It was a major life change, but one that would lead to a deep connection with Australia. It was during this time that his friendship with celebrated singer and songwriter, Kirsty MacColl played a pivotal role in

Terry Smith and artist Luke Thurgate in 2022 at MRAG, courtesy Terry Smith. He’s on the Beach picture disk. Terry on the drums.

21 Kirsty’s oeuvre. When Terry moved to Australia, he and Kirsty maintained a close friendship and their bond endured through postcards sent across the seas. Terry vividly remembers the day he received a parcel from the UK. Inside, he discovered that Kirsty had sent her new record, with a song written about him called ‘He’s on the Beach.’ This heartfelt gesture still brings him joy as he reflects on how the song continues to resonate with people in Australia. He beams as he recalls a fond memory: ‘I was cooking one evening, listening to ABC radio and Kitty Flanagan gave her top three songs. “He’s on the Beach” was her number one pick. She [Kitty] wondered what that boy was doing today and if it’s worked out for him. I couldn’t help but smile. I love that it’s struck a chord and connection with people still to this day. Kirsty’s music is still so vibrant and people that weren’t alive when the music was made are connecting with it today.’ That song, [He’s on the Beach] Terry believes came about when he was sitting on Bondi beach writing a postcard to Kirsty. It’s a testament to the power of their friendship and the creative sparks that emerged from it. Terry still has the picture disc of the single that Kirsty sent him in the mail. When Terry arrived in Australia, he studied at the Australian Centre for Photography. His girlfriend at the time was a dancer and so when he got a call from the dance industry, his career as a photographer took off. The Australian Dance Company, Bangarra Dance Company and the Sydney Morning Herald were just some of his clients. He recalls shooting at Sydney Opera House as a career highlight. ‘My father told me to get a trade, so I gave myself a timeframe and after eight years and with success as a drummer travelling across Europe and America, I realised the life that I wanted possibly wasn’t for me. So, I went and got my electrical license.’ Terry still does small scale electrical work and still takes photos. But now instead of photographing dancers in flight, he captures the array of birds in his garden. A nice trade off if you ask me.

Joey Hespe, Gallery Officer

ARTEL 22 ART & COMMUNITY Elisa Jane (Leecee) Carmichael’s work in the Maitland Administration Centre

Elisa Jane (Leecee) Carmichael, When Aboriginal DNA Speaks..... Shh, 2022, in the Maitland Administration Centre

ELISA JANE (LEECEE) CARMICHAEL

The site of Maitland’s Administration Centre was once a luxuriant forest and wetland landscape, nestled amongst the thick forests of the alluvial Hunter River floodplain. Yet despite the disturbance brought to the natural landscape following European settlement, the site of the Maitland Administration Centre remains part of a rich cultural landscape, with enduring ties to the Wonnarua people – the land’s traditional custodians for 65,000 years.

23 ELISA JANE (LEECEE) CARMICHAEL WHEN ABORIGINAL DNA SPEAKS..... SHH, WHAT WAS THAT?

In 2021, expressions of interest were sought for a public work of art to be commissioned for the newly built Maitland Council Administration Centre. With key objectives being: 1. To connect the city to its pre-European environment; 2. To connect visitors and residents to the region’s Aboriginal history, culture, and stories; 3. To provide an opportunity to learn and share Maitland’s history – evoking stories and themes from the past. Quandamooka artist, Elisa Jane (Leecee) Carmichael’s winning concept for the space titled, When Aboriginal DNA Speaks….. Shh, what was that, incorporates her recognisable weavings that tie in with Maitland’s past life as a home to forests and wetlands, and more recently, to the Hunter River. In 2022, community members were invited to participate in a facilitated weaving workshop with Carmichael at Mindaribba Local Aboriginal Land Council before her work was complete. These weavings were incorporated into Carmichael’s work which now hangs suspended from the ceiling in the Maitland Administration Centre. When Aboriginal DNA Speaks….. Shh, what was that, provides an opportunity for both visitors and the local community to engage with the rich Indigenous cultural and natural heritage of this site, using art as a medium to connect contemporary Maitland with both its cultural significance and ancient past. Informed by Maitland’s Aboriginal Reference Group and Mindaribba, artists developing concepts for this opportunity were encouraged to explore place-based narratives that resonate with their practice, while providing an insight into the multiple histories of Maitland, which until this day remain intangible.

Joey Hespe, Gallery Officer

ARTEL 24 SETTLED/UNSETTLED Art on asylum-seeker, migrant and refugee experiences

Kathrin Longhurst, Tamil, 2019 oil on linen, 180 × 180 cm Image courtesy the artist.

S E T T L E D /U N S E T T L E D

09 MAR 2024 — 09 JUN 2024

25 PENNY BYRNE . M E H W I S H I Q B A L K AT H R I N LO N G H U R S T . A N G U S M C D O N A L D Featuring multidisciplinary artists Mehwish Iqbal, Kathrin Longhurst, Angus McDonald and Penny Byrne, Settled/Unsettled highlights the social justice issues facing asylum-seekers, refugees, and migrants. Using the universal language of art, the artists featured in this exhibition address the personal and profound issues faced by Australia’s asylum seekers, refugees, and migrants; themes of conflict and exile, home and belonging echo through their work. Penny Byrne is an artist who uses materials such as bronze, glass, vintage porcelain figurines and found objects to create artworks that wield powerful political messages. Her works ask us to consider where we stand and how we feel by “tweaking” everyday objects giving the viewer a deeper understanding of our times. In her work, #EuropaEuropa 2017, Byrne uses vintage porcelain blue and white figurines, gravy boats, cups, bowls, dishes. By adding fluorescent life jackets to this well-known European ceramic tableau, Byrne brings the ongoing plight of so many refugees

and the borders that stand in the way of refugees as they attempt to flee the ongoing wars in the hopes of finding safety in Europe. Working across painting, printmaking, textiles, ceramics, sculpture and installation, Mehwish Iqbal’s practice explores notions of womanhood, courage, liberation, and power. In Settled/Unsettled, Iqbal presents four compelling works that respond to the vulnerabilities and survival strategies of marginalised people in present and historic contexts. These works are part of Iqbal’s ongoing research that examining the geopolitical scenarios giving rise to the influx of refugee and migrant diaspora, commodification of human agency, monopoly of powerplay, hybrid identities and their complex reception in alien environments. Kathrin Longhurst’s work portrays women as protagonists, active agents in charge of their destiny. Growing up in Communist East Germany, Longhurst experienced first-hand the effects of a totalitarian regime and the desire for freedom that drives people to leave

their homelands and seek refuge in other parts of the world. Her body of work in Settled/Unsettled aims to portray women as protagonists, active agents in charge of their destiny. ‘I hope to build a connection between cultures, communities and social backgrounds and to bring these faces to a larger audience around the country, creating understanding and insight through these paintings.’ It wasn’t far back in the world’s memory that people could move as freely as the capital they generated. Today people that are experiencing exile from their country, are faced with barriers such as camps and detention centres built provisionally or makeshift in unvalued spaces. Award-winning artist and documentary filmmaker Angus McDonald’s film, Manus 2019 details the plight of many refugees and asylum seekers who were held for years under the Australian Federal Government’s brutal offshore immigration detention centres on Manus Island, Papua New Guinea.

ARTEL 26 SETTLED/UNSETTLED

Secretly filmed by Walkley award-winning journalist Olivia Rousset, the documentary centres on the testimonials of numerous men who were held in this camp for many years.

Penny Byrne, Leaking like a SIEV, 2011 Angus McDonald, Behrouz Boochani, 2020 116 × 100 cm. Photograph with special thanks to Behrouz Boochani. Courtesy Howling Eagle Productions

S E T T L E D /U N S E T T L E D

‘The goal of the film is to contribute towards the public rediscovering their compassion and contributing to a change in our collective approach towards dealing with those fleeing war and persecution. We need to recognise that those who arrive are not criminals or illegal. They are simply people running for their lives

27 PENNY BYRNE . M E H W I S H I Q B A L K AT H R I N LO N G H U R S T . A N G U S M C D O N A L D

who seek our help, and we need to begin helping them instead of adding further to their suffering.’

‘ REMEMBER ONE THING, WE ARE H U M A N B E I N G S .’ ABDUL AZIZ ADAM

Refugee from Sudan who was on Manus for 6 years.

By exploring the personal narratives of those who have experienced conflict and exile, the artists in Settled/Unsettled explore migration in a contemporary moment. Giving witness to the adversity and trauma experienced by so many arriving in new places, these works advocate for the empowerment and acceptance of asylum-seekers, refugees, and migrants through a shared human experience.

Courtney Novak, Deputy Director

ARTEL 28 C R E AT I V E K I D S E Q UA LS H A P P Y K I D S

CR E AT I V E K IDS

29 C U LT U R E D O S E FOR KIDS At MRAG we understand the benefit of the arts on wellbeing, and we are excited to be bringing a very special program for children, aged 9 – 12 years to MRAG in 2024 – Culture Dose for Kids. Culture Dose was developed by the Art Gallery of New South Wales and the Black Dog Institute with the support of the Jibb Foundation.

About the program: The Culture Dose for Kids program is a study to understand the impact of an arts engagement program on improving wellbeing in primary school-aged children who experience mild anxiety. Parents/caregivers will also participate in this calming and engaging program in separate and parallel sessions.

It is widely regarded now that engagement with the arts can help young people connect to their feelings, thoughts and imagination. It can build self-confidence and resilience, foster social connections, and improve mental health and wellbeing. Through rigorous research and consultation with the community, Culture Dose for Kids was developed to understand the benefit to children and their caregivers on wellbeing. MRAG will be taking part in this study, inviting children who are experiencing mild anxiety to take part in an eight-week art program in a small group setting at the Gallery. A free program for their parents and caregivers will run at the same time. The program will provide a safe, structured space for young people and

their parents/carers to engage with and respond creatively to artworks led by an experienced team.* In each two-hour session participants will visit MRAG and be guided to look at artworks in a mindful manner. Participants will then move onto the workshop for playful artmaking. The program focuses on a different theme each week.

Program information The program is free to attend. All materials and afternoon tea are provided. Workshops will run weekly from 2-4pm and commence on Saturday February 10, 2024. If you have a child aged 9 – 12 years who may benefit from the program, please contact MRAG for details on how to apply.

* Program information provided by the AGNSW and the Black Dog Institute Culture Dose for Kids is a collaboration between the Art Gallery of NSW and the Black Dog Institute and is funded by the Jibb Foundation.

ARTEL 30 NEWS FOR MEMBERS

Acknowledgements The Friends of MRAG committee would like to acknowledge the passing of valued member and volunteer, Heinz Kestermann. Heinz will be remembered for his dedication, bright mind, and passion for culture, especially for classical music. We offer our condolences to Heinz’s family.

NEWS FOR MEMBERS

Members Bus Trip to the Art Gallery of New South Wales 6 . 3 0 A M - 5 . 0 0 P M , A L L D AY S AT U R D AY 10 F E B R U A R Y 202 4

Our Members Events program will continue into 2024 with a bus tour to the Art Gallery of New South Wales to visit blockbuster summer exhibitions, Louise Bourgeois, Has the Day Invaded the Night or Has the Night Invaded the Day? and Kandinsky.

Members walking tour of Maitland art galleries 2 . 0 0 P M , S A T U R D AY 18 M AY 2 0 2 4

We also have a walking tour of Maitland art galleries planned, with visits to local galleries Studio Amsterdam and Raven Art Gallery, followed by drinks at a local pub Contact MRAG or visit the website to book your spot at these members events.

BECOME A MEMBER OF MAITLAND REGIONAL ART GALLERY Your membership supports free and accessible programs for all ages, and gives you access to an exclusive annual program of events and member benefits.

MEMBERSHIP

1 YEAR

3 YEARS

INDIVIDUAL

$35

$85

CONCESSION*

$30

$70

FAMILY

$65

$150

BUSINESS

$90

$200

*child/student/pensioner

GIVE GALLERY MEMBERSHIP AS A GIFT! When you purchase a gift membership online the recipient of the gift will receive an email including their membership details and your personalised message. To become a member, renew your membership, or for a full list of benefits, head to mrag.org.au/become-a-member

2023 MR AGM ART SALE OPENING E VENT

ARTEL 32

Portraits and painted dragons, landscapes constructed, abstracted, surreal and serene, discarded toys and a cloud shaded mantle clock. More than 100 drawings, paintings, photographs and sculptures, created by some of Australia’s most significant artists, have been acquired into the Gallery’s Collection in the last few months. Valued at more $100K these artworks have been donated to the Maitland Regional Art Gallery Collection by artists and private collectors, signifying the respect that our Collection holds across the art community and adding significantly to the vibrancy and depth of our Collection.

SOCIAL GALLERY

Photography: Leighsa Cox & Brydie Paif

UPRIVER DOWNRIVER OPENING

ARTEL 34

SOCIAL GALLERY

Photography: Newy Digital & Leighsa Cox

ARTEL 36 EXHIBITIONS

16 M A R 2 0 2 4 — 16 J U N 2 0 2 4

Visual Weight Robert Klippel

02 MAR 2024 — 30 JUN 2024

Small Museum Simone Rosenbauer Artist Simone Rosenbauer spent a year travelling across Australia visiting 41 unique small museums. From the Land of the Beardies – House of History (Glen Innes, NSW), to the The House of Bottles (Kinglake, VIC), as well as The Carnaby Collection of Beetles and Butterflies (Boyup Brook WA) to name a few. This exhibition brings together Rosenbauer’s work in a capsule of time and place.

Simone Rosenbauer, SM05.02.067 (detail) Tamworth Historical Society, Tamworth NSW

EXHIBITIONS

Renowned Australian artist, Robert Klippel was first introduced to art collector Geoffrey Hassall by gallerist Frank Watters of Watters Gallery in 1983. Robert Klippel: Visual Weight, is a testament to the friendship of galleries, artists and collectors. This exhibition will be curated and loaned from Geoffrey Hassall’s private collection, with assistance by Robert Hirschmann.

Robert Klippel, Untitled (AKD859 and P62) (detail), 1950, pen and ink on paper, 41.9 × 30.9 cm

09 MAR 2024 — 09 JUN 2024

Settled/Unsettled PENNY BYRNE MEHWISH IQBAL KATHRIN LONGHURST ANGUS MCDONALD Settled/Unsettled explores issues around war and cultural displacement through the lens of asylum-seeker, refugee, and migrant experiences. By investigating the themes of conflict and exile, home and belonging, the exhibition contributes to the movement of empowerment and acceptance.

Mehwish Iqbal, Badshah, 2022, etching, collagraph, silk screen, 24 karat silver leaf, hand embroidery on paper, 135 × 103.5 cm Credits: Yavuz Gallery Photographer: Mim Sterling

13 A P R 2 0 2 4 — 2 3 J U N 2 0 2 5

Ron Mueck Pregnant woman 2002, National Gallery of Australia Standing at an impressive height of 2.5 metres, Pregnant woman is nearly double the size of an average person. Mueck himself has explained that the work is a contemporary response to the representations of motherhood, echoing the long-standing tradition of portraying mothers and children in art.

Ron Mueck, Pregnant woman 2002 (detail), fibreglass, silicone, polyester resin, oil paint, fibres National Gallery of Australia, Kamberri/Canberra, purchased with the assistance of Tony and Carol Berg 2003. © Ron Mueck courtesy the artist and Thaddaeus Ropac Gallery, London.

ARTEL 38 COMING SOON

22 JUN 2024 — 06 OCT 2024

0 6 J U L 2 0 2 4 — 13 O C T 2 0 2 4

29 JUN 2024 — 27 OCT 2024

Old Stories New Magic

POWER — The Future is Here

Lineage

NAOMI KANTJURINYI MICHELLE GEARIN ADAM LEE JULIA ROBINSON SARKER PROTICK Old Stories New Magic brings together artists who draw from the deep and ancient well of the real and the mythic. This is an exhibition that embraces old stories and explores our longing and fascination with other worlds and beings, the dreamy sub-conscious and the long-lasting presence of the ancient.

Dennis Golding POWER - The Future is Here is the result of a collaboration between artist Dennis Golding and Aboriginal and Torres Strait Islander students from Alexandria Park Community School and curated Kyra Kum-Sing. The superhero capes wereGUIDELINES created during PROMOTIONAL a workshop in 2020, led by Golding who was an artist in residence at the school through Solid Ground. Students from Kindergarten to Year 12 designed their capes with iconography informed by their lived experiences and cultural identity. Level 1, The Arts Exchange 10 Hickson Road The Rocks NSW 2000 02 9252 8300 www.mgnsw.org.au info@mgnsw.org.au

A Solid Ground project with Dennis Golding and Alexandria Park Community School, curated by Kyra Kum-Sing, presented by Carriageworks and Blacktown Arts, and touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program.

SOPHIE CAPE KEVIN CONNOR ELIZABETH CUMMINGS STEVE LOPES EUAN MACLEOD ANN THOMSON SHONAH TRESCOTT GUY WARREN Lineage invites the viewer on a journey through the captivating dialogue of eight distinct creative voices, each individually contributing to a shared narrative of artistic heritage. As we traverse the generational spectrum, Lineage offers a glimpse into the influences, transformations, and enduring themes that help shape the ongoing evolution of contemporary art.

Artist Dennis Golding with The Future is Here, 2021, Carriageworks. Image courtesy and © the artist. Photograph Zan Wimberley. Michelle Gearin, Prism (detail), 2022, 49 individual paintings, oil and watercolour paintings on Italian cotton paper mounted on archival foam, 32 cm diameter each. Purchased by Maitland Regional Art Gallery, 2022.

EXHIBITIONS

Euan Macleod, Climber with Twin Shadows (detail), 2023, oil poly, 53.5 × 67cm

39 MRAG COLLECTION BOOK, SHARED

Our collection continues to grow through new acquisitions and wonderful benefactors. In 2023, we launched our new publication highlighting Ellie Hannon on board the Schmidt Ocean work theFalkor collection, Institute’sin vessel over the Ashmore Reef at sunset, digital image, Conor Ashleigh, Schmidt Ocean Institute, 2021 aptly titled, Shared.

From historical treasures to art that fills our minds with a sense of place and wonder, this book captures the spirit of Maitland Regional Art Gallery’s collection in Valerie Marshall Strong Olsen, Still Life with its Flowers, 1985,forms. oil on board all many

Sharing this collection gives us the opportunity to ignite conversations, inspire young artists and generate pure joy and delight for curious minds. Deborah Kelly is represented by Wagner Gallery, Sydney and

Finkelstein Gallery, Melbourne. AVAILABLE AT THE Deborah Kelly, The Gods of Tiny Things [still], MRAG $20.00 two-channelSTORE digital animation, colour, sound