2015 YEAR BOOK
THE THE NATIONAL NATIONAL ART SCHOOL ART SCHOOL 2015 2015 YEAR BOOK
YEAR BOOK
YEAR IN REVIEW CONTENTS
Y E A R
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R E V I E W
M A S T E R
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4 F I N E
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C E R A M I C S P A I N T I N G
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YEAR IN REVIEW
N A T I O N A L
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S C H O O L
G A L L E R Y
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F E L L O W S H I P
I N T E R N S H I P S A R T
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YEAR IN REVIEW Welcome to the National Art School 2015 Year Book in which we celebrate the achievements of our graduating students in the Bachelor of Fine Art, Bachelor of Fine Art (Honours) and Master of Fine Art degrees. The National Art School provides exceptional education opportunities for its students. We have great staff, a unique campus, a central location, a vibrant and long history and a community of students and staff that is engaged, committed and talented. Our highest honour, the 2015 National Art School Fellowships, were awarded to Susan Norrie, Ann Thompson and Ken Unsworth, all alumni of the School who continue their art practices on a local and international stage with commitment and brilliance. We also bestowed the Distinguished Service Award upon Ceramics Studio technician Dave Stockburn and Art History and Theory lecturer Alex Trompf, in recognition of their decades of dedication. This year commenced with our largest degree enrolment ever. The new Postgraduate Centre opened on time and on budget, we continued to grow our Public Programs and High School offerings, the NAS Gallery presented outstanding exhibitions by Bill Culbert and Rosemary Laing, the annual Redlands Konica Minolta Art Prize brought together many of Australia’s established and emerging artists, and Turn Turn Turn cerebrated over 60 years of the Ceramics department. The Postgraduate and Graduate Exhibitions were again tremendous expositions of our graduates’ art practice. We thank our various sponsors, donors and partners who bring tremendous capacity to the School. They allow us to develop and deliver our teaching, Public Programs, NAS Gallery exhibitions and many other activities that we would not otherwise be able to deliver. Our staff bring unparalleled dedication and experience to the School. They are the heart’s blood of our daily life and on behalf of all of us, I thank them for making NAS the superb place that it is, for assisting this new generation of artists to go forth and make art. Michael Snelling Director 6
At the core of the National Art School’s success are the students and staff whose commitment to learning, teaching and artistic enquiry drives the outstanding creative enterprise and achievement that we celebrate in our Graduate Exhibitions at the conclusion of each academic year. These exhibitions celebrate the achievements of the next generation of artists who now join an illustrious alumni and who will in turn make their own individual impact on the world. As is often the case, our students, including many of those presented in this year’s Graduate Exhibitions, have already begun to achieve professional recognition. In 2015 our students have been represented in group and solo exhibitions in both commercial and artist run galleries and their work has been included in significant art prizes and exhibitions throughout Australia including the national survey of Australia’s top emerging graduates Hatched at the Perth Institute of Contemporary Art. Important initiatives that typify the School’s commitment to professional engagement for our students and graduates throughout the year include connection with the professional art world through our weekly Art Forum lecture, and the presentation of student exhibitions in the National Art School Library Stairwell Gallery and Project Spaces. Such activities continue to reflect the comprehensive and rigorous engagement with professional studio practice for which the School is so well regarded. In addition to our well established internship programs and the curatorial programs of NAS gallery, our students also worked with external organisations and major events such as Sculpture by the Sea. These activities and achievements along with the continued delivery of our highly successful short courses, the Margaret Olley Drawing Week, our HSC Intensive Studio Practice Program and Dobell School for Drawing, ensure that this dynamic and dedicated artistic community will continue to grow and develop well into the future. Simon Cooper Head of Studies
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YEAR IN REVIEW
SYED FARAZ ALI 8
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KATE ALSTERGREN 10
SUSAN FOSTER 12
RYAN HOFFMANN 14
MERRYN HULL 16
C E R A M I C S
ELLIOTT NIMMO 18
AMANDA SEDDON 20
SYED FARAZ ALI Taking the Australia-Afghan relationship as my subject, my project explores the layers of socio-political scenarios as filtered through the camouflaging nature of history. My drawings and paintings are symbols of an expression of perceived realities, intended to provoke viewers into recognising how socio-cultural metaphors are manipulated. Formal concerns play a fundamental role in my work, whereupon the human form goes through metamorphosis, creating an illusion that encompasses society’s silent conformity to vested interests as well as to more hidden questions of the human condition that only surface on probing deeper. The use of distortion in my work raises questions about the socio-political norms of cultural imprints and the ephemeral perfection of imperfect beauty. I paint in order to find these intangible hidden dimensions. Inspired by the tangible conscious strength of humanity, my conscience leads me to places that become the journey of my experience of existence. It is a quest ‘to be continued...’
Camel Man conte, watercoulour on paper 137 x 208 cm syedfarazali.com farazstudio@hotmail.com
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KATE ALSTERGREN An exploration of intimacy and the erotic through paint. In my MFA research I explore the broad and multivariate nature of intimacy and acknowledge its scientific, hormonal and chemical basis. This research project incorporates a series of paintings that explore expressions, manifestations and the desire for intimacy through human connection. I discuss the relationship between the methods and subject matter and contend that the act of painting itself is intimate in so far as it involves proximity, touch and contemplative observation. The project started with figurative works of an explicit nature and transitioned to an exploration of the hormonal, human and biomorphic nature of intimacy.
Untitled acrylic polymer and pigment on board 76 x 76 cm
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SUSAN FOSTER “…art of the last 30 years is a critique of consumption alone. That art isn’t as focused on notions of production and how it has changed. The very idea of industrial production involves a whole new matrix of management forms and dislocation.” Liam Gillick, ‘Uncompromisingly Intellectual Art’, Artspace, January, 2014. My practice reflects the complex networks, abundant resources and new opportunities available in the contemporary, metropolitan city in which my studio is located. These paintings embrace the tools and materials of mass printing, and are an exploration of the visual conditioning of advertising. Consisting entirely of large-scale signal material, the paintings can be read as billboards presenting the ubiquity of the digitally re-mastered image and, the ubiquity of advertising in our everyday lives. By taking this material of consumption out of the studio back into a site-specific, public space I am investigating the ideation process within a painting practice. In my installations “Eridanus”, for Sculpture by the Sea 2012, and “Victory Rethought”, for the 2015 Memorial of the Centenary of WW1 (commissioned by Alliiance Francaise), I am using potentially artless materials of commercial reproduction to create objects which examine the artist as project manager and delegator. I am asking, what is an artwork, what is art-work and, what does it mean to be an artist in this dislocated, industrialised age?
Eridanus I Polymeric vinyl on board 90 x 120 x 30 cm susanjfoster.com.au susan_foster@bigpond.com
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RYAN HOFFMANN The use of smart technology and the functions of the internet have caused the traditional characteristics of photography to change. Images are now simultaneously representing, existing and omnipresent as a form of virtual reality. Digital analogue images, digital originals and digital copies form the basis for a painting practice that substitutes these readymade images as a subject for painting. Sourced using an iphone, these images are brought together through painting to represent a stream and create connections/disconnections with other paintings. The methodology undertaken for this research refuses concurrent artistic style and subjects; each image is approached individually. Artistic identity is simulated through original copies allowing exploration of different stylistic approaches to painting through the negation of the original image.
Readymade digital photographs: Virtual reality as autobiography. Room 1 and 2 oil on canvas dimensions variable ryanhoffmann.com r.hoffmann99@hotmail.com
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MERRYN HULL My work questions traditional models commonly employed in the definition of painting. I critique painting by finding ways to deconstruct it in order to reconstruct new forms and explore how an art object can move between three and two-dimensions. This shift is experienced through studio-made architectural 3-D constructions which direct movement through space thus enabling new ways for the work’s audience to look at art. I use a variety of media to explore these ideas: ‘painting’ as painting (in terms of the traditional medium definition); ‘painting’ as photo which functions as painting; 3-D spatial constructions which allude to ‘painting’ and ‘painting’ as video which uses images to evoke the painterly.
DRAPE, 2015 digitised print face-mounted on clear acrylic 120 x 120 cm. ed. 1 of 3 merrynhull.com merryn@merrynhull.com
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ELLIOTT NIMMO This project is a studio-led investigation of advertising imagery as a subject for painting. This examination focuses on an exploration of the relationship between the viewer/consumer and the image, through a process of de-branding and re-formation. The de-branding process is realised through the removal of all branding logos and trademarks in the paintings. The painted image usurps the advertising function through a process that includes re-location, re-contextualisation and re-formation. Issues pertinent to continuing latent context are of significant concern. My research investigates the continuing context or echo of the advertising image and its original purpose as a further complexity of the subject for painting.
Untitled (Pool) oil on canvas 183 x 137 cm elliottnimmo.wordpress.com elliottnimmo@gmail.com
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AMANDA SEDDON My theoretical research explores both conscious and unconscious modes of identity construction and forms of social projections. Although this research began in quite general terms, the final works became personal explorations. To create my self portraits I traced the historical representation of a Matriarchal Archetype (Mother) back to Medieval and Renaissance theological portraits of the Virgin Mary (The Marian Archetype). This research into Marian portraiture goes beyond an attempt to to understand ideological constructs as a type of learned inherited knowledge veiled within the subconscious. It serves to investigate themes of narrative space in portraiture, and fuels my studio exploration of spatial representations of the psyche.
Sessorium Installation view (Hortus Conclusus Installation 2015) mixed media and digital film dimensions variable amandaseddon.com
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YEAR IN REVIEW
H O N O U R S
H O N O U R S
O F
F I N E
A R T
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H O N O U R S
A R T
H O N O U R S B A C H E L O R
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B F A
2 4
EVIE CORE 27
FINN LEA 28
LIYA MIRZAEVA 29
MACHIKO MOTOI 30
JAMIE BASTOLI 31
JAKE BLASCHKA 32
ROBIN HEARFIELD 33
ALEX KARACONJI 34
SIMON WHEELDON 35
SASHA ALBA 36
TANIA ALEXANDER 37
JANE DANIEL BRANSGROVE 38 BREDA 39
2 5
BIANCA BURNS 40
DOMINIC BYRNE 41
NATALIA DZWIGAﾅ、 42
ELLIE GIFFORD 43
LAUREN ANNELIES GREENHALGH 44 JAHN 45
MICHELLE LE DAIN 46
SAMUEL MASSEY 47
JO MEISNER 48
MATTHEW PEET 49
JORDAN FIONA RICHARDSON 51 RYAN 52
ANYA PESCE 50
2 6
BROOKE SANDERSON 53
LISA SHARP 54
SAMUEL SHEPHERD 55
JAMES STEVENS 56
DANIELLE TOOLEY 57
MARY VAN GILS 58
SEAN WADEY 59
OLIVER WAGNER 60
NATASHA WALSH 61
SUZI ZGLINICKI 62
2 7
NICKY COSTI 63
ANTHONY IVANA HODGKINSON 64 JOVANOVIC 65
JULIA MILTON 68
LUKE PLAYER 69
ELIZA SLATER 70
SHANNON SMITH 73
SAMANTHA STEPHENSON 74 LAURA SUTTON 75
JAMES NEEDHAMWALKER 66 BRENDAN McDONELL 71
KATHERINE SCOTT 67 CAROLINE McGREGOR 72 LISA TOLCHER 76
2 8
EVIE CORE
Untitled (extant) plam frond and clay 12 x 115 x 25 cm 2 9
C E R A M I C S
eviecore@gmail.com
FINN LEA
Untitled white stoneware 7 x 14 x 14 cm finn.c.lea@gmail.com
H O N S
3 0
LIYA MIRZAEVA
Family of Pots stoneware, reduction fired dimensions variable 3 1
C E R A M I C S
liya.com.au liya.mirzaeva@gmail.com
MACHIKO MOTOI
Heat wave copper red on porcelain 4.5 x 9 cm diameter machikomotoi@gmail.com
H O N S
3 2
JAMIE BASTOLI
Intravenous plastic dropsheet, bamboo, garbage bags, nylon string and shredded rubber 250 x 500 x 600 cm 3 3
D R A W I N G
jamie.bastoli@gmail.com
JAKE BLASCHKA
Ethical Meditation Duratrans print and general purpose tape 182 x 122 cm jakeblaschka@hotmail.com
H O N S
3 4
ROBIN HEARFIELD
Drawing Top Left – After Scarab of Ra timber, paint, dirt, generator, revolving stand, velvet and skull 390 x 390 x 240 cm 3 5
D R A W I N G
robin.hearfield@gmail.com
ALEX KARACONJI
Martin Place #1 charcoal on paper 59 x 42 cm alexkaraconji.com alexkaraconji@hotmail.com
H O N S
3 6
SIMON WHEELDON
The Cyclops of Euripides ink on paper 15 x 20 cm 3 7
D R A W I N G
siwheeldon.tumblr.com simonwheeldon@hotmail.com
SASHA ALBA
The Oxford (Taylor Square) 2mm screenboard, bristol board, acrylic paint, archival PVA and pencil 21 x 23.5 x 17.4 cm sashaalba.com sasha.alba.art@gmail.com
H O N S
3 8
TANIA ALEXANDER
AVTOMEKHANIK III installation: hand-stitched felt and silver lamĂŠ dimensions variable 3 9
P A I N T I N G
tania_alexander1@hotmail.com
JANE BRANSGROVE
Untitled oil on canvas 119.5 x 98.5 x 4cm janebransgrove.com jbransgrove@live.com.au
H O N S
4 0
DANIEL BREDA
Imposition of Architecture oil on canvas 135.5 x 126 cm 4 1
P A I N T I N G
d-breda_10@hotmail.com
BIANCA BURNS
Means to an End acrylic paint on found wood 82 x 55.5 cm
H O N S
4 2
DOMINIC BYRNE
Stacks On single channel video projection, 8:30 mins 4 3
P A I N T I N G
dominicbyrne.net dominicbyrneis@gmail.com
NATALIA DZWIGAﾅ、
Brwinﾃｳw Station Cracks acrylic on canvas 47.5 x 47.5 cm each nataliadzwigala.com natalia_dzwigala@hotmail.com
H O N S
4 4
ELLIE GIFFORD
Hieroglyphs oil on canvas 81.5 x 91.5 cm 4 5
P A I N T I N G
elliemahalagifford.com egif0798@hotmail.com
LAUREN GREENHALGH
Untitled acrylic and conte on board 40 x 50 cm laurengreenhalgh.com laurengreenhalgh@live.com.au
H O N S
4 6
ANNELIES JAHN
small white cube foam core, cardboard and aluminium 27 x 38 x 38 cm 4 7
P A I N T I N G
annelies@jahn.com.au
MICHELLE LE DAIN
Gift No. 13, ‘Cutting’ acrylic, plastic and tape on acetate 83 x 59 cm michelleledain.com michelleledain@gmail.com
H O N S
4 8
SAMUEL MASSEY
Mustering mosquitos and boiling them down for their fat oil on canvas 81 x 61 cm 4 9
P A I N T I N G
sammasseypainter.wix.com sambo_joey@hotmail.com
JO MEISNER
Belonging Together #1 Duraclear transparency, digital print and metal ed.1 of 3 200 x 128 cm jomeisner.com.au gojomeisner@gmail.com
H O N S
5 0
MATTHEW PEET
Santa Roberto aerosol on board 397 x 219 cm 5 1
P A I N T I N G
piecesofmistery.com peetersham@hotmail.com
ANYA PESCE
Big Red Gesture (detail) moulded Poly Methyl Methacrylate (acrylic) 180 x 50 x 70 cm anya3003@bigpond.net.au
H O N S
5 2
JORDAN RICHARDSON
More Like Two Left hands, am I right Goya? oil on canvas 167 x 122 cm 5 3
P A I N T I N G
jjrichardson@westnet.com.au
FIONA RYAN
Presence-Light oil on board 122 x 100.5 cm fionaryanart.com fionaryanart@gmail.com
H O N S
5 4
BROOKE SANDERSON
Untitled synthetic and natural dye on canvas 117 x 76.2 cm 5 5
P A I N T I N G
brookesanderson.com.au brookesanderson907@gmail.com
LISA SHARP
Italian Green Earth rabbit skin glue, calcium carbonate, beeswax, damar resin, turpentine and pigment on linen, hessian, string and pine 60 x 34 cm lisa-sharp.tumblr.com jolibeol@hotmail.com
H O N S
5 6
SAMUEL SHEPHERD
Ourobouros oil on canvas 47 x 38 cm 5 7
P A I N T I N G
svshepherd@gmail.com
JAMES STEVENS
the dog mum would have bought me. I would have looked after it. oil on canvas 46 x 61.5 cm jamestevens.net james.ed.storey@gmail.com
H O N S
5 8
DANIELLE TOOLEY
Great Ocean Road oil on linen 38.5 x 46 cm 5 9
P A I N T I N G
danielletooley.com daniellej.tooley@gmail.com
MARY VAN GILS
To become a void (with/without) oil on board 91.5 x 120 cm maryvangils.com maryvangils@live.com.au
H O N S
6 0
SEAN WADEY
Grey Topographical Painting #2 acrylic on polyester 168.5 x 124 cm 6 1
P A I N T I N G
seanwadey.com waydeesea@gmail.com
OLIVER WAGNER
Sepctral Colour Sequence single channel video projection, 3:30 mins mail@oliverwagner.com
H O N S
6 2
NATASHA WALSH
Aeon’s Breath oil, wax and dammar resin on board 122 x 117 cm 6 3
P A I N T I N G
natashawalsh.com.au nwalsh18@gmail.com
SUZI ZGLINICKI
Outflow 1 ink on canvas 92 x 122 cm suzi.zglinicki.com suzi.zglinicki@gmail.com
H O N S
6 4
NICKY COSTI
Participant #1 Hama beads and peller beads ed. 1 of 1 60 x 63.5 cm 6 5
P H O T O G R A P H Y
flourishtodecay.tumblr.com nickycostiart@gmail.com
ANTHONY HODGKINSON
Untitled (International) silver gelatin print 182 cm x 254 cm ed. 1 of 2
H O N S
6 6
IVANA JOVANOVIC
Myself as Others (Baby’s Cheek) archival pigment print 91 x 64 cm 6 7
P H O T O G R A P H Y
ivana.jovanovic93@hotmail.com
JAMES NEEDHAM-WALKER
Performance: ‘Blue’ digital image ed. 1 of 1 30 x 30 cm nwalkerj@bigpond.net.au
H O N S
6 8
KATHERINE SCOTT
Room 2015 inkjet print ed. 1 of 5 15.5 x 20.5 cm 6 9
P H O T O G R A P H Y
ksscott1903@gmail.com
JULIA MILTON
Fruit Bowl wall applied cad-cut and lino prints on BFK Rives 280 gsm 70 x 115 cm
H O N S
7 0
LUKE PLAYER
Resting with a Cigarette #1 screenprint and oil pastels on bedsheet 131 x 120 cm 7 1
P R I N T M A K I N G
luke.aplayer@gmail.com
ELIZA SLATER
21st Century Cow Linocuts and lasercut plywood installation 120 x 120 x 31 cm
H O N S
7 2
BRENDAN McDONELL
FOXY wood 450 x 750 x 150 cm 7 3
S C U L P T U R E
mcdonellbrendan7@gmail.com
CAROLINE McGREGOR
Untitled from Walking the Line Series steel 155 x 98 x 85 cm carolinemcgregorart.wix.com caroline_mc@bigpond.com
H O N S
7 4
SHANNON SMITH
Untitled Soapstone 26 x 24 x 18 cm 7 5
S C U L P T U R E
shannon.rose.smith@hotmail.com
SAMANTHA STEPHENSON
Afternoon painted steel and MDF 18.5 x 63 x 31 cm sstep462@gmail.com
H O N S
7 6
LAURA SUTTON
Drawn Together wood, acrylic paint and varnish 56 x 35 x 15 cm 7 7
S C U L P T U R E
laurajsutton.com laurajsutton@gmail.com
LISA TOLCHER
Presence, Absence 1 steel, water, plastic, Aluminium and ink 2.5 x 269.5 x 217 cm lisatolcher.com lisatolcher@gmail.com
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O F F I N E A R
F I N E
A
NAME NAME
C E R A M I C S
C E R A M I C S
C E R A M I C S
C E R A M I C S
C E R A M I C S
B F A
8 0
HANNAH BRADBURY 80
YVONNE SOUTER 91 8 1
DYLAN CROUCH 81
BENJAMIN GUTMANIS 82
RYAN EMBREY HANCOCK 83
RACHAEL HARREX 84
PATRICK HEAD 85
DEAN KOSTA 86
PAIGE PHILLIPS 87
CALEB REIDBOQUIST 88
PENNY RYAN 89
RHYS SCHOFIELD 90
SARAH TRACTON 92
ELEANOR WEBBER 93
HANNAH BRADBURY
Becoming Nature Bulli clay with Feldspathic glaze 26 x 22 x 15 cm hannahb_24194@hotmail.com
B F A
8 2
DYLAN CROUCH
Haphephobia terracotta and synthetic hair extensions 53 x 22 cm 8 3
C E R A M I C S
dylann_crouchh@hotmail.com
BENJAMIN GUTMANIS
Ausma 1 porcelain with oil spot glaze 6.8 x 8 x 8 cm benjamin.gutmanis@gmail.com
B F A
8 4
RYAN EMBREY HANCOCK
Pluto & B2 earthenware maiolica 26 x 18 x 18 cm and 39 x 14 x 12 cm 8 5
C E R A M I C S
ryanhnck@bigpond.net.au
RACHAEL HARREX
Shards cool ice porcelain, saggar-fired dimensions variable rachaelharrex.wordpress.com rachaelharrex@gmail.com
B F A
8 6
PATRICK HEAD
Airline, Ham ceramic and acrylic 18 x 13 x 10 cm and 15 x 14 x 10 cm 8 7
C E R A M I C S
wallofdisasters@gmail.com
DEAN KOSTA
Clay Block wood and clay (stoneware) 25 x 13 cm deanakosta@gmail.com
B F A
8 8
PAIGE PHILLIPS
Bois stoneware with wood ash glaze cup 8 x 7 x 7 cm and hand piece 7 x 10 x 6.5 cm 8 9
C E R A M I C S
paige_phillips@hotmail.com
CALEB REID-BOQUIST
Failed relationship Attempt 4 ceramics and steel 64 x 83 x 31 cm calebreidart.wordpress.com calebreid.b@gmail.com
B F A
9 0
PENNY RYAN
As For Living I porcelain 76 x 30 x 30 cm 9 1
C E R A M I C S
penny.ryan@iinet.net.au
RHYS SCHOFIELD
Head Space terracotta and white Raku left: 42.5 x 32 cm right: 48.5 x 40 cm
B F A
9 2
YVONNE SOUTER
“What ya looking at?” stoneware and coloured wax 32.5 x 25 x 17 cm 9 3
C E R A M I C S
yvonne.souter.com souvon@yahoo.com.au
SARAH TRACTON
Arrested Silence I & II porcelain 17 x 27 cm 16 x 28 cm sarahtracton.com sarahtracton@hotmail.com
B F A
9 4
ELEANOR WEBBER
Playground earthenwareceramic dimensions variable 9 5
C E R A M I C S
webberfineart.com eleanor.webber94@gmail.com
YEAR IN REVIEW
P A I N T I N G
P A I N T I N G
P A I N T I N G
P A I N T I N G
P A I N T I N G
P A I N
T I N G
SHELLY ANFIELD 98
ARIEL BARLING 99
ROBERT BENNETT 100
ROBERT BJAALID 101
ANASTAZIA BOBIS 102
ANGUS CALLANDER 103
CLAUDIA CARROLL 104
JANIS CLARKE 105
FAY WENDY COHEN 106
LARA COLBY 107
SARAH ENRIGHT 108
YIYI FAN 109
AMELIA FELL 110
KATE FENNELL 111
MARY FITZGERALD 112
AMANDA FULLER 113
9 7
KARMYN GIBSON 114
INDIA MARK 122
SELINA HAEFELI 115
MARGARET ISAAC 116
JACK JENSEN 117
NATACHA JOESTING 118
JOSEPHINE JOSEPHSEN 119
ANKE KLEVJER 120
VINCENT LE 121
PETA MINNICI 123
INA MOON 124
LILLIAN MORRISSEY 125
REENA NAIDU 126
CATE NORTON 127
BRENDAN O’DONNELL 128
IOULIA OUROVSKAIA 129 9 8
SCOTT OWEN 130
HANNAH PEMBROKE 131
TIMOTHY PERKINS 132
ZOE RAYNE 133
CHRYSTAL RIMMER 134
RICHARD ROSEBERY 135
GIDON SACK 136
RANDY SMEROS 137
SANDRA SMITH 138
LILLI STROMLAND 139
LLEWELYN TAYLOR 140
GERALDINE WALSH 141
ANNABELLE WASS 142
MARIJANE YO 143
9 9
SHELLY ANFIELD
Breathing in oil on canvas 91 x 91 cm shellyanfield.com shellyanfield@rocketmail.com
B F A
1 0 0
ARIEL BARLING
Untitled 1 (Detail) oil on canvas 183 x 102 cm 1 0 1
P A I N T I N G
ezz_may93@hotmail.com
ROBERT BENNETT
Interruption oil on canvas 45 x 45 cm robby.bennett87@gmail.com
B F A
1 0 2
ROBERT BJAALID
Excess of algae / Interior of vacuum arcylic on canvas 330 x 300 cm 1 0 3
P A I N T I N G
bluecanvas.com/art-detail/363969 goodnowart@gmail.com
ANASTAZIA BOBIS
the kiss oil on board 70 x 70 cm anastaziabobis@gmail.com
B F A
1 0 4
ANGUS CALLANDER
Orange tower painting masonite and vinyl 60 x 20 cm 1 0 5
P A I N T I N G
anguscallander@gmail.com
CLAUDIA CARROLL
Untitled oil on canvas 76 x 76 cm claudiacarroll21@gmail.com
B F A
1 0 6
JANIS CLARKE
Sea and cloud oil on canvas 100 x 100 cm 1 0 7
P A I N T I N G
janisclarkeartist.com janiscclarke@gmail.com
FAY WENDY COHEN
Empty spaces acrylic on canvas 61 x 61 cm wendycohen.net.au wendycoh@bigpond.net.au
B F A
1 0 8
LARA COLBY
Kaleidotrees acrylic on canvas 61 x 76.5 cm 1 0 9
P A I N T I N G
facebook.com/Lala89creative laracolby91@gmail.com
SARAH ENRIGHT
96 blowjobs for Malevich plastic garbage bags 200 x 400 cm cargocollective.com/enright
B F A
1 1 0
YIYI FAN
Tondos installation: knitting yarn, spray enamel and glue on board dimensions variable 1 1 1
P A I N T I N G
madlava@hotmail.com
AMELIA FELL
The promise hangs acrylic, oil and collage on canvas 76 x 76 cm meels_19@hotmail.com
B F A
1 1 2
KATE FENNELL
Skylight acrylic on canvas 90 x 45 cm 1 1 3
P A I N T I N G
katefennell.com katefennellart@gmail.com
MARY FITZGERALD
Untitled Flesh 1 oil on board 61 x 45 cm fitzgerald.mary@hotmail.com
B F A
1 1 4
AMANDA FULLER
Until the bitter end oil and oilstick, shellac and charcoal on Belgium linen 196 x 122 cm 1 1 5
P A I N T I N G
amandafuller.net.au
KARMYN GIBSON
Graffitto 1 oil on canvas 116 x 100 cm drgibson@pacific.net.au
B F A
1 1 6
SELINA HAEFELI
Ashoka Grove acrylic on board 45 x 40 cm 1 1 7
P A I N T I N G
selinahaefeli.com info@selinahaefeli.com
MARGARET ISAAC
Call fucking elliot oil on board 60.5 x 122 cm margareita_92@hotmail.com
B F A
1 1 8
JACK JENSEN
Scumbag arcylic, spraypaint and ink on wood diptich 117 x110 cm 1 1 9
P A I N T I N G
jackjensen1993@gmail.com
NATACHA JOESTING
Investigation 1 acrylic on board 120 x 120 cm nas.joesting@gmail.com
B F A
1 2 0
JOSEPHINE JOSEPHSEN
Sculptural oil on canvas 100 x 80 cm 1 2 1
P A I N T I N G
jojosephsen.com jojosephsen@hotmail.com
ANKE KLEVJER
Further along acrylic on envelope and peace silk 14 x 60 cm a_klevjer@hotmail.com
B F A
1 2 2
VINCENT LE
Kicking free acrylic on panel 60.5 x 60.5 cm 1 2 3
P A I N T I N G
vincentlee8@hotmail.com
INDIA MARK
Morte 1 oil on canvas 50 x 60 cm india.olive@hotmail.com
B F A
1 2 4
PETA MINNICI
Reverie oil on linen 51 x 51 cm 1 2 5
P A I N T I N G
pl.minnici17@hotmail.com.au
INA MOON
Dreamscape acrylic on canvas 101.5 x 101.5 cm bokkil22@hotmail.com
B F A
1 2 6
LILLIAN MORRISSEY
Edge city 1 ink, acrylic and pencil on canvas 135 x 135 cm 1 2 7
P A I N T I N G
lillianm.com lilymorrissey@gmail.com
REENA NAIDU
Untitled ink and tapacloth on canvas 91 x 76 cm oceanrm10@gmail.com
B F A
1 2 8
CATE NORTON
Yellow Register acrylic on canvas 214 x 204 cm 1 2 9
P A I N T I N G
clersky.eidj@gmail.com
BRENDAN O’DONNELL
Untitled (Republic) oil on plywood and steel 190 x 70 cm bodartwork.com bod@corvuscreative.com.au
B F A
1 3 0
IOULIA OUROVSKAIA
Remember oil on canvas 76 x 60 cm 1 3 1
P A I N T I N G
ioulia75@bigpond.com
SCOTT OWEN
Born in the sauce oil on board 20 x 15 cm mr.scott.owen@gmail.com
B F A
1 3 2
HANNAH PEMBROKE
It’s like a ghost town 1 oil on board 60 x 60 cm 1 3 3
P A I N T I N G
hpembroke.com pembroke.h@gmail.com
TIMOTHY PERKINS
Underground oil on canvas 46 x 76 cm timothyperkins.com.au tmperkins3@gmail.com
B F A
1 3 4
ZOE RAYNE
the journey of the queen who found herself in the mist oil and wood on panel 56 x 76 cm 1 3 5
P A I N T I N G
zoerayne.com zoerayne@hotmail.com
CHRYSTAL RIMMER
Cousin’s messiah oil, acrylic, pastel and graphite on board 60 x 90 cm chrystalmayrimmer@hotmail.com
B F A
1 3 6
RICHARD ROSEBERY
Karlu Karlu midday acrylic on canvas 76 x 76 cm 1 3 7
P A I N T I N G
richardrosebery.com rosebery@bigpond.net.au
GIDON SACK
I had no knife but myself spray paint, spak filler and pigment on board 52 x 50 cm gidsack@gmail.com
B F A
1 3 8
RANDY SMEROS
House of flowers oil on polyester 97 x 97 cm 1 3 9
P A I N T I N G
randysmeros.com randy.smeros@gmail.com
SANDRA SMITH
Untitled acrylic on plywood 40 x 30 x 20 cm sansmi56@hotmail.com
B F A
1 4 0
LILLI STROMLAND
Tyst nu oil on cotton 145 x 120 cm 1 4 1
P A I N T I N G
lillilump@hotmail.com
LLEWELYN TAYLOR
Motorcycle tank automotive paint on canvas 150 x 90 cm llewelyn14@gmail.com
B F A
1 4 2
GERALDINE WALSH
Move 9915 raw canvas, gac, acrylic paint and fibreglass bandage 44.5 x 43 x 40 cm 1 4 3
P A I N T I N G
geraldinewalsh.wordpress.com ger.walsh52@gmail.com
ANNABELLE WASS
Mother/Father latex, fur, Swarovski crystals and beads 77 x 15 x 35 cm annabelle.wass@gmail.com
B F A
1 4 4
MARIJANE YO
Fragment 5 and Shard 7 acrylic and oil on canvas 23 x 31 cm 1 4 5
P A I N T I N G
miss_marijane_yo@yahoo.com
YEAR IN REVIEW
P H O T O G R A P H Y
P H O T O G R A P H Y
P H O T O G R A P H Y
P H O T O G R A P
B F A
1 4 6
P H Y TIM
BARBARINO 146 HEATH McCALMONTPARKINSON 151
1 4 7
EMMA HILL 147
KEIRA HUGHES 148
AROHA SMITH 152
MOLLY WAGNER 153
CÉLESTE KOTEVICH 149
MARISA LANGLEY 150
TIM BARBARINO
Nonna’s House from the Series Partial Recall video game / windows or Mac dimensions variable timbarbarino.wordpress.com t.barbarino@hotmail.com
B F A
1 4 8
EMMA HILL
Heath #1 photograph ed. 1 of 1 61 x 50 cm 1 4 9
P H O T O G R A P H Y
emmahillphotography@gmail.com
KEIRA HUGHES
Bear from the series Slivers of Thirst video still, single channel video 0:30 mins dimensions variable keira.hughes@hotmail.com
B F A
1 5 0
CÉLESTE KOTEVICH
No. 1 Sydney University from the series Interstitial Interiors archival photographic print mounted 60 x 131 cm 1 5 1
P H O T O G R A P H Y
celestecebra.com celeste.kotevich@gmail.com
MARISA LANGLEY
Light and Form photograph 122 x 122 cm marisaalangley@gmail.com
B F A
1 5 2
HEATH McCALMONT-PARKINSON
Better Than One / You And Eye silver gelatin prints approx. 600 x 200 cm approx. 70 prints 1 5 3
P H O T O G R A P H Y
heathmcp.com theathmcp@live.com
AROHA SMITH
Control floral foam, polystyrene, paster and spekfiller 50 x 80 x 20 cm aroha_338@hotmail.com
B F A
1 5 4
MOLLY WAGNER
Walking In The City video still, photograph ed. 1 of 1 59.4 x 84.1 cm 1 5 5
P H O T O G R A P H Y
molly.wagner@gmail.com
YEAR IN REVIEW
P R I N T M A K I N G
P R I N T M A K I N G
P R I N T M A K I N G
P R I N T M A K I
B F A
1 5 6
CATHERINE ABADIE 156
JESSICA ANTHONY ARMSTRONG 157 BARTOK 158
EMMA COONEY 159
LILY CUMMINS 160
ARNIKA GREEN 161
ANDREA LARKIN 162
EMILIE LIDDEN 163
JOSEPHINE MADDEN 164
SHARI DIOR PAGLIASSO 165
SANDY PURVES 166
JESSICA SEROV 167
LAUREN SMITH 168
EDUARDO YAP 169
1 5 7
CATHERINE ABADIE
Jessie Aquatint and chine collĂŠ charcoal portrait unique print 57 x 65 cm cathyabadie.wordpress.com cathy.abadie@bigpond.com
B F A
1 5 8
JESSICA ARMSTRONG
Adpositional Copper and enamel paint 99 x 50 x 91 cm 1 5 9
P R I N T M A K I N G
armstrongjessica90@gmail.com
ANTHONY BARTOK
Jet / Girls digital print unique state anthonybartok.tumblr.com anthony.bartok@gmail.com
B F A
1 6 0
EMMA COONEY
Making Non Sense digital print 76.6 x 52.6 cm 1 6 1
P R I N T M A K I N G
emmarac.tumblr.com emmacooney31@gmail.com
LILY CUMMINS
You come to me in a Pink Haze Dry point Etching on Hahnemuhle paper 106 x 75 cm lilycummins.com lilycummins26@gmail.com
B F A
1 6 2
ARNIKA GREEN
Mist Screenprint on Rives BFK paper unique state 22 x 22 cm 1 6 3
P R I N T M A K I N G
arnikagreen.com email@arnikagreen.com
ANDREA LARKIN
378x230x0.8 assemblage of found objects 183 x 73 cm andrealarkin.net andrea.larkin@ozemail.com.au
B F A
1 6 4
EMILIE LIDDEN
Wilhelmina digital print 31 x 22.5 cm 1 6 5
P R I N T M A K I N G
emilielidden.com emilie@emilielidden.com
JOSEPHINE MADDEN
Obedience school Silkscreen print on Stonehenge paper AP + ed. 1 of 1 38.5 x 56.5 cm jomadden11@hotmail.com
B F A
1 6 6
SHARI DIOR PAGLIASSO
As We Are Heat press transfer on cotton 370 x 37 cm 1 6 7
P R I N T M A K I N G
Shari Dior Art (facebook) sdior09@gmail.com
SANDY PURVES
Reclaiming Hopewood 2 Etching and Aquatint 76 x 60 cm sandyp@hinet.net.au
B F A
1 6 8
JESSICA SEROV
You forgot, but I remembered Zinc plate Etching, Aquatint, heatpress transfer 86.5 x 99.5 cm 1 6 9
P R I N T M A K I N G
thebluestamp.com jjserov@gmail.com
LAUREN SMITH
Fragmented Space dry point Etching 47.8 x 34 cm lauren-joy@hotmail.com
B F A
1 7 0
EDUARDO YAP
S.Charmers Embossing with ink and goldleaf 50.5 x 37.5 cm 1 7 1
P R I N T M A K I N G
ejy23@hotmail.com
YEAR IN REVIEW
S C U L P T U R E
S C U L P T U R E
S C U L P T U R E
S C U L P T U R E
B F A
S C U L P
1 7 2
T U R SAMUAL
BARTON 172
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OLIVIA CHIN 173
KARL DOYLE 174
JARED GLASER 175
JAKE ANTHONY GOMBOSO 176
EMILY McGREGOR 179
EDWARD HOLLY OHANESSIAN 180 PARSONS 181
JODI STEWART 182
STEPHANIE SYKES183
JOHANN TOVAR CARRERA 185
GILLIAN HODES 177
BENJAMIN TOOTH 184
ALY INDERMÜHLE 178
SAMUAL BARTON
For Little steel 730 x 540 x 480 cm samualbartonblog.wordpress.com hpychf@gmail.com
B F A
1 7 4
OLIVIA CHIN
Untitled beeswax, weft cloth, tulle, steel 100 x 165 x 20 cm 1 7 5
S C U L P T U R E
olivia.chin@icloud.com
KARL DOYLE
Bruv plaster 79 x 53 x 39 cm irisheyes7777@hotmail.com
B F A
1 7 6
JARED GLASER
Object Shaped Humans mixed medium 70 x 120 x 40 cm 1 7 7
S C U L P T U R E
jaredglaser@hotmail.com
JAKE ANTHONY GOMBOSO
Untitled concrete 130 x 60 x 60 cm jakegomboso@live.com
B F A
1 7 8
GILLIAN HODES
Dave I Bronze 25 x 14 x 18 cm 1 7 9
S C U L P T U R E
gillianhodes.com gillianhodes@gmail.com
ALY INDERMÜHLE
You’re so cool cardboard and LED lights 300 x 720 x 270 cm indermuhle.com.au aly@inside.net
B F A
1 8 0
EMILY McGREGOR
Foreground: Before Background: During ceramic (white Raku) dimensions variable 1 8 1
S C U L P T U R E
em@emilymcgregor.com
EDWARD OHANESSIAN
Algebra wood, steel, glass and LED Light 347.8 x 105.3 x 300 cm kurrajong16@bigpond.com
B F A
1 8 2
HOLLY PARSONS
Untitled wood 460 x 440 x 150 cm 1 8 3
S C U L P T U R E
hollykayartist.com hollykayp@gmail.com
JODI STEWART
Perfect Skin porcelain on bone 25 x 35 x 15 cm jodistewartart.wordpress.com jodistewart@y7mail.com
B F A
1 8 4
STEPHANIE SYKES
Shard #1 porcelain 20 x 20 x 10 cm Photo: Molly Wagner 1 8 5
S C U L P T U R E
stephsykes.com stephaniesykes11@gmail.com
BENJAMIN TOOTH
The Star stringy bark 80 x 40 x 40 cm ben.tooth@me.com
B F A
1 8 6
JOHANN TOVAR CARRERA
Linear Composition I steel 107 x 20 x 8 cm 1 8 7
S C U L P T U R E
johanntovarcarrera.wordpress.com gtk669@gmail.com
NATIONAL ART SCHOOL GALLERY The National Art School Gallery presents a rich and engaging program of exhibitions, events, talks and publications that contribute to the cultural fabric of the School and more broadly to Sydney and national audiences. In 2015 the Gallery presented four exhibitions by Australian and international artists, and two end-of-year exhibitions showcasing the work of Graduate and Postgraduate students. Bill Culbert 8 January – 7 March 2015 Following the standout success of his installation at the 55th Venice Biennale of Art, New Zealand artist Bill Culbert presented a solo exhibition at NAS Gallery as part of Sydney Festival and Art Month. His work combines found materials and everyday sources of light in simple and poetic juxtapositions. The upstairs gallery was transformed by a large-scale floor piece Pacific Flotsam (2007), an eddy of 239 reclaimed plastic bottles and 78 fluorescent tubes which emanated cool, white light. Culbert’s flatglass works downstairs presented a rigorous use of light-as-line in space, and a selection of his photographs showed his enduring love of light. Redlands Konica Minolta Art Prize 2015 26 March – 23 May The Redlands Konica Minolta Art Prize 2015 is an annual exhibition and acquisitive award presenting recent work by Australian and New Zealand artists. It provides a platform for an artist-selected exhibition of established artists alongside early-career artists, recognising the importance of mentoring between generations of artists. This year’s exhibition was selected by Sydney-based artist Tim Johnson and presented work by 43 artists. Mikala Dwyer’s work won the established artist category and Coen Young was awarded winner of the emerging artist category. Dennis Del Favero’s installation Tampa 2001 with projection and sound won the visitor-choice category. Turn Turn Turn: the studio ceramics tradition at the National Art School 5 June – 8 August Turn Turn Turn celebrated more than six decades of the renowned ceramics course at the National Art School. The teaching of ceramics is an important part of inter-generational influence, and the NAS Ceramics department has a reputation for outstanding creativity. Curated by Glenn Barkley, Turn Turn Turn presented more than 140 artists who together demonstrated the innovation and energy of ceramics as an art form. Artists included
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Stephen Bird, Louise Boscacci, Lynda Draper, Merran Esson, Steve Harrison, Patsy Hely, Juz Kitson, Janet Mansfield oam, Alan Peascod, Peter Rushforth am, Thancoupie Gloria Fletcher ao and Toni Warburton. Rosemary Laing: effort + rush 20 August – 15 October 2015 Australian contemporary artist Rosemary Laing is internationally renowned for her photo-based work that investigates a range of concerns such as Australia’s relationship to the landscape, our invisible and repressed histories, and the environment. This exhibition presented selections from the artist’s key series since 2003, and included her seminal piece one dozen unnatural disasters in the Australian landscape (2003) as well as more recent projects, a dozen useless actions for grieving blondes (2009); Jim, from the series leak (2010) and for the first time, effort and rush (2015), a new series of largescale images juxtaposed on photographic wallpaper. Judith Blackall NAS Gallery Curator/Gallery Manager
Bill Culbert Pacific Flotsam (2007) Installation view at NAS Gallery Collection of the Christchurch Art Gallery Te Puna o Waiwhetu, New Zealand. Purchased 2008 Photo: Peter Morgan
Juz Kitson Outside the symbolic order (2015) Installation view at NAS Gallery Courtesy the artist and GAG projects / Greenaway Art Gallery. Photo: Peter Morgan
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NATIONAL ART SCHOOL FELLOWSHIP The National Art School Fellowship is an honorary award which acknowledges and celebrates the achievements of eminent members of the visual arts community. On Thursday 21 May 2015, Susan Norrie, Ann Thomson and Ken Unsworth were honoured for their outstanding careers and enduring influence on Australian culture, marking the first time three artists have been awarded in a single year. National Art School Director, Michael Snelling, said, “Susan, Ann and Ken have all made momentous contributions to the visual arts, demonstrating continued excellence in their practice and influencing generations of Australians. Importantly, all three artists are National Art School alumni and their careers set an inspiring example to our students, recent graduates and wider School community.” Susan Norrie graduated from the National Art School in 1972, and went on to build a successful career as a photographer, painter, filmmaker and multi-media artist. She represented Australia at the 52nd Venice Biennale, 2007 and has exhibited broadly both in Australia and overseas including Helsinki, Tokyo, Spain, Germany, Canada and Scotland. Reflecting on her time at the National Art School, Susan commented, “The 1970s at East Sydney Technical College were formative years for me as an artist. One of my teachers was painter and conceptual artist Noel Sheridan, who often worked in video and performance. At the time, the School was under great political and social upheaval as the function of ‘art’ in society was constantly debated. East Sydney Tech was radical and experimental; ‘art’ was valued as a freedom of the mind.” Ann Thomson graduated from the National Art School in 1963 with a Diploma in Art, and went on to develop her painting and sculptural practice as well as a long career as an art teacher. In 1977 Ann’s work was the subject of a major exhibition at the Institute of Modern Art, Brisbane. Australia Felix, a major sculptural work, was commissioned and exhibited as the centrepiece for the Australian pavilion at the 1992 World Expo in Seville, Spain. In 2015 she had a survey at the Drill Hall Gallery, Canberra. Her work is represented in major collections in Spain, Germany and in various collections across Australia.
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Ann Thomson commented, “It was quite a feat for me as a young woman to flee from the sleepy town of Brisbane, as it was in the early 50s, and escape to Sydney to become an art student. For me, becoming a student at East Sydney Tech with its old convict-built buildings opened up a whole other world. Real artists like John Passmore and Godfrey Miller coming from their studios to teach us was inspiring and without doubt formed my future life as an artist.” Ken Unsworth graduated from the National Art School in 1962 with a Diploma in Art. He has held several teaching positions and held numerous solo exhibitions, in Australia and overseas, including a major survey exhibition at the Art Gallery of New South Wales in 1998. In 1978 Ken represented Australia at the Venice Biennale. He has received numerous awards including the Bicentenary Sculpture Competition. Upon being told about the Fellowship, Ken commented, “The most useful and indeed sometimes profound experiences at the 1960s National Art School were every night-time drawing class with Godfrey Miller, my friendship with Godfrey Miller and conversation with Peter Laverty and John Coburn that led to the understanding that with unceasing application one might find one’s own way forward and do something that others might find worthy of thought. It may be sooner, or perhaps more realistically it may take a lifetime.”
2015 Fellows of the National Art School Ann Thomson, Ken Unsworth and Susan Norrie. Photo: Peter Morgan.
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INTERNSHIPS & RESIDENCIES The National Art School provides opportunities for emerging and established artists to be immersed in the professional arts industry and to interact and collaborate with people from other cultures and communities through a range of internships and residency programs. From the isolated beauty of central Australia to the centres of rich artistic expression in Europe, the National Art School residencies continue to provide opportunities for students, academic staff and recent graduates to develop their practice alongside cultures from different parts of the world. National Art School Aboriginal Art Centre Internship Program The Aboriginal Art Centre Internship Program is now in its sixth year, thanks to the generous support of Sharon Tofler and Mark Tedeschi AM QC. The 2015 internships were awarded to Rebecca Neeley (Bachelor of Fine Art, Printmaking), and Fiona Ryan (Bachelor of Fine Art, Painting). Rebecca completed her 10 week internship with Tapatjatjaka Art and Craft in the Community of Titjikala. Titjikala is situated 120 km South East of Alice Springs in the Simpson Desert. Fiona completed her 10 week internship with Ikuntji Artists at Haasts Bluff. Ikuntji is situated 220 km West of Alice Springs on the edge of the Simpson desert in the McDonnell Ranges in the Simpson Desert. These emerging artists acquired practical arts management experience in Aboriginal community art centres, developing their own practice and sharing skills through engagement with local indigenous artists. National Art School Residency at The British School at Rome Catherine O’Donnell (Master of Fine Art) undertook a residency at the British School at Rome. For three months in early 2015, she lived and worked with a diverse group of artists, historians, archaeologists and architects from around the world, researching and developing her practice, inspired by the historical and architectural beauty of the eternal city. This residency is made possible through the generosity of our donors especially Jennifer Dowling. The Onslow Storrier National Art School Paris Studio Residency The Onslow Storrier National Art School Paris Studio Residency is located at La Cité Internationale des Arts in Paris and has been established for the benefit of the National Art School’s alumni, students and staff through the generosity of Annette Onslow and Tim Storrier. In 2015 Maryanne Coutts (Head of Drawing), Melinda Marshman (Bachler of Fine Art, Honours), Elwira Titan (Master of Fine Art) and Yang-En Hume (Bachelor of Fine Art, Honours) attended the studio and immersed themselves in new experiences which will help shape their artistic practice. 1 9 2
Clockwise from top left: Aboriginal Art Centre Internship. Photo: Rebecca Neeley. Melinda Marshman at the Onslow Storrier National Art School Paris Studio Residency. Catherine O’Donnell at the British School At Rome Residency.
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ART FORUM The Art Forum is a weekly program where artists, curators and academics present their professional projects to students, staff, alumni and the general public. The first speaker in 2015 was Reg Mombassa, who spoke about his life as an artist and musician; our second, Bill Culbert, the 2013 Venice Biennale representative for New Zealand, spoke alongside his well-known installation Pacific Flotsam in the NAS Gallery; Lisa Havilah, Director of Carriageworks, presented her ground-breaking work as one of Australia’s leading arts administrators; Jonathan Jones spoke of his re-imagining of the old Garden Palace in the Royal Botanical Gardens in Sydney; and artists Merran Esson, Lynda Draper and Toni Warburton, with art dealer Will Sturrock, discussed Turn Turn Turn, an exhibition celebrating sixty years of the ceramics tradition in the NAS Gallery. The international presenters included Cedar Lewisohn, UK artist and curator at Tate Modern, London; Jesper Rasmussen, rector at Jutland Academy of Art, Arhaus, Denmark; and Afghani artist Khadim Ali, who recently moved to Sydney from Pakistan to continue his art practice. Australian artists included sculptor Mikala Dwyer, winner of Redlands Konica Minolta Art Prize, 2015; multi-media and drawing-machine artist, Gary Warner; cartoonist and commentator Bruce Petty; photographer and academic Helen Grace; sculptor Hany Armanious, Australian representative at the 2011 Venice Biennale; senior painter Ken Whisson; Kathryn Ryan spoke about her collecting-practice; Ruth Cullen showed her film The Tightrope Dancer about Vali Myers; and artists Heidi Alexsen, Hugo Moline and Nathan Hawkes showed their work from Japan’s Echigo Tsumari Triennale. Additional Art Forum presenters included Suzanne Buljan, Australian Centre for Photography; Glenn Barkley, the Curator’s Department; Dr Gillian Fuller, Design and Art Australia Online; and Deborah Beck, artist, historian and National Art School archivist, as well as Dr Maryanne Coutts, Catherine O’Donnell and Marta Ferracin who spoke about their residencies in Paris, Rome and Rio de Janeiro. Dr Ella Dreyfus Head of Public Programs Dr Margaret Roberts Lecturer in Drawing 1 9 4
STUDENT REPRESENTATIVE COUNCIL 2015 has been a year of change for NAS. The newly renovated Building 11 now provides beautiful, light-filled studios to postgraduate students and third year sculptors. Hoff’s old studio has been officially reopened as a gallery – on time and on budget – with curated shows giving a new edge to our on-campus culture. The school’s collection has found a home and our facilities have been expanded with the addition of a cross-disciplinary workshop, not to mention the shiny, post-renovation Digilab. Not all change has been easy: the café on the corner changed hands amid uproar and the new vending machine has variously forced upon us emotions of joy and hopelessness. Truly these are turbulent times. Vending machine or no, students still manage to get their fill from killer food and killer art at Stairwell Gallery shows, a staple in our NAS diet. Sculpture and ceramics students have also displayed their artistic and culinary talents in casual, intimate studio shows. On a larger scale, Turn, Turn, Turn at the National Art School Gallery marked the passage of over 60 years since the institution of NAS’s ceramics department and made us proud of our potters. The hubris of the NAS scene remains the SRC social. The SRC has continued to run the sporadic social, spreading love, cheap alcohol and an assortment of meat and vegetable-based sausages. The years intermingle and we talk trash about artists we love to hate. Are you going to the Darlo? Venturing outside the gaol walls, we’ve embarked on an interschool relationship with UNSW. The NAS ball is going off-campus to the Oxford Art Factory and we are combining forces to host an ‘Intergalactic Australiana’ party masterpiece. Fun and frivolity aside, we’ve all worked hard this year. Our school is known for its intensive studio practice. As a result, we’re a tightknit bunch. Everyone knows everyone to some extent, regardless of year or department. We critique each other’s work and value each other’s opinions and every graduating year leaves a big hole to fill. But it’s time to wipe the tears and say goodbye. We hope those who renew our population will keep pushing themselves, and we know that whatever path they take they’ll ace it. Don’t forget to write. Drew Holland and Hanli Uys Student Representative Council Co-Chairs
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BOARD & STAFF Board of Directors Chair, Board of Directors Nicholas Johnson Chief Operating Officer & Company Secretary Sue Procter Director, Board of Directors Mr David Grayce Ms Jenny Green Ms Glenda McLoughlin Mr Mark Tedeschi am qc Dr John Vallance Director Michael Snelling Academic Faculty Head of Studies Simon Cooper Master of Fine Art Coordinator Dr Ian Greig Bachelor of Fine Art (Honours) Coordinator John Bloomfield Bachelor of Fine Art / HSC Programs Coordinator Lorraine Kypiotis Head of Public Programs Dr Ella Dreyfus
Ceramics Head of Ceramics Merran Esson Lecturers Stephen Bird Tania Rollond Sessional Lecturers Kwi Rak Choung Simone Fraser Bronwyn Kemp Sandy Lockwood Jenny Orchard Sarah O’Sullivan Simon Reece Linda Seiffert Toni Warburton Cameron Williams Studio Technicians David Stockburn Joseph Purtle Drawing Head of Drawing Dr Maryanne Coutts Lecturers Deborah Beck Charles Cooper Lynette Eastaway Joseph Frost Dr Margaret Roberts Sessional Lecturers Anthony Cahill Dr Sally Clarke Roger Crawford Dr Ben Denham Ivor Fabok David Fairbairn Rachel Fairfax Janet Haslett
Terry Hayes Paul Higgs Pollyxenia Joannou Lisa Jones Frank Littler Deborah Marks Daniel Pata Jude Rae Dr Ambrose Reisch Jeff Rigby Kim Spooner Noel Thurgate Skye Wagner Belinda Ward Studio Technician John Stanfield Painting Head of Painting Dr Stephen Little Lecturers Susan Andrews John Bloomfield Dr Andrew Donaldson Dr David Serisier Sessional Lecturers Justin Balmain Vicente Butron Nick Collerson Charles Cooper Roger Crawford Christine Dean Joanne Handley Steven Harvey Paul Higgs Anwen Keeling Chelsea Lehmann Nana Ohnesorge Rodney Pople
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Leslie Rice Rolande Souliere Kim Spooner Studio Technician Paolo Iarossi Photography Head of Photography Geoff Kleem Lecturers Rebecca Shanahan Sessional Lecturers Steven Cavanagh David Manley Tanya Peterson Tim Silver Skye Wagner Studio Technician Damian Dillon Printmaking Co-Heads of Printmaking Helen Mueller Peter Burgess Lecturers Caroline Mckenzie-Craig Sessional Lecturers Maureen Burns Jacqui Driver Wendy Murray Esther Neate Brenda Tye Studio Technician Nina Juniper Sculpture Head of Sculpture Ron Robertson-Swann oam Lecturers Jim Croke David Horton
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Sessional Lecturers Gary Deirmendjian Clara Hali Caz Haswell Sam Valenz Studio Technician Simon Hodgson Art History & Theory Head of Art History & Theory Dr Michael Hill Lecturers Lorraine Kypiotis Dr Georgina Cole Dr Ian Greig Sessional Lecturers Dr Chris Dean Dr Molly Duggins Dr Shane Haseman Sophie Hopmeier Alex Trompf Dr Jamie Tsai Guest Lecturers and Visiting Artists Khadim Ali Su Archer Hany Armanious Heidi Axelsen Glenn Barkley John Bokor Peter Bonner Suzanne Buljan Bill Culbert Ruth Cullen Julia Davis Lynda Draper Mikala Dwyer Gina Fairley Marta Ferracin
George Freedman Gillian Fuller Adrian Gebers Helen Grace David Haines Nathan Hawkes Kerry Jameson Jonathan Jones Miriam Kelly Therese Keogh Yasuhisa Kohyama Tania Leimbach Cedar Lewisohn Tom Loveday Tony Mighell Col Minogue Hugo Moline Reg Mombassa AKA Chris O’Doherty Catherine O’Donnell Bruce Petty Claude Presset Jesper Rasmussen Cybele Rowe Kathryn Ryan Robert Sanderson Ken Smith Peter Solness Grant Stevens Simon Taylor Will Sturrock Abdullah Syed Kei Takemura Toni Warburton Gary Warner Ken Whisson
Student Services Registrar Benedict Griffin Student Counsellors Michelle Glass Raji Munro Student Services Officer Marina Veg Student Services Administrator Jazmin Velasco Library Library & Learning Centre Manager Elizabeth Little Librarian Susan Olive Library Technician Lana Ryles Grace Sagud Public Programs Head of Public Programs Lecturer in Photography Dr Ella Dreyfus Public Programs Administrative Officer Jenny Rislund Sessional Lecturers Tania Browitt Kwi Choung Peter Lancaster Toni Warburton Gallery Gallery Manager & Curator Judith Blackall Archivist & Collections Manager Deborah Beck
Corporate Services Chief Operating Officer & Company Secretary Sue Procter Development Sponsorship Manager Helen Maidens Philanthropy Manager Steve Clarke Alumni and Development Zoë Wilesmith Marketing Marketing & Communications Manager Ros Brennan Marketing Coordinator Danielle Neely Venue Hire Venue Hire & Events Manager Julie O’Reilly Events Coordinator Ross Morrison Administration Governance & Business Operations Manager Ellen O’Shaughnessy Executive Assistant Laura Bialecki Receptionist & Administrative Assistant Claire Thomas
Facilites Facilities & Operations Manager Christine Myerscough Facilities Administrator Scott Clement Facilities Assistant Mark Polak Workshop Manager Jaroslav Prochazka Digital Media Lab & AV Technicians John Daly Peter Morgan Security and Services Officers Lou Greco Jean-Claude Imbert Campus Assistants Marcel Delgardo Mal Nagobi Campus Grounds Assistant Darwish Khalil Campus Service Assistant Jason Bennett Finance Finance Manager Chloe Wong Finance Clerk Suki Yuen Human Resources Human Resources Manager Caroline Tommey IT IT Manager Nhu Pham IT Officer Duncan Whichelo 1 9 8
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DONORS, FOUNDATIONS & TRUSTS Anonymous Arlberg Hospiz Hotel Arts Council of New Zealand Toi Aotearoa Arts NSW Julian Beaumont Guido & Michelle Belgiorno-Nettis Judith Blackall Blackwattle Pottery Supplies Rhonda Boswell Ros Brennan Judith Calman Steve Clarke Helen Coates-Milton Maryanne Coutts City of Sydney Patrick Corrigan am Derivan Pty Ltd Pam Doherty Ken Done Jennifer Dowling Drawing Staff David and Jane Duncan Clive Dyer Lynette Eastaway Leonie and James Furber Thomas Gottleib David Grayce Ian Greig Wayne Hammonds Hangout Café James Hill Michael Hill In memory of David Hodgson ao qc Michael Hodgson Nora Hosking Bill and Rosemary Huff-Johnston
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SUPPORT THE NATIONAL ART SCHOOL & THE NEXT GENERATION OF ARTISTS Over the past year we have made tremendous strides with increased student enrolments and the completion of the new Postgraduate Centre. Our alumni continue to achieve locally and globally at the highest levels, appearing in many public and private galleries and museums. Fiona Hall ao, representing Australia in the new pavilion at the Venice Biennale, is one of many who demonstrate the strength of our teaching and the power of art to engage with the important concerns of our world. As an independent, not-for-profit school, the National Art School uses your donation to add excellence to everything we do. By supporting us you are supporting the next generation of Australian artists. Please donate now • Online at www.gofundraise.com.au/beneficiary/NationalArtSchool • Or contact Steve Clarke, Philanthropy Manager on +61 2 9339 8765, steve.clarke@nas.edu.au The National Art School is a not-for-profit organisation and donations of $2 or more are tax deductible. Please consider leaving the National Art School a gift in your will to ensure an artistic legacy for future generations.
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Clitheroe Foundation Honours Scholarship JORDAN RICHARDSON Without receiving the Clitheroe Foundation Honours Scholarship I would not have been able to continue my study. It has brought about a freedom that let me utilise quality materials and resources which were otherwise out of reach, enabling a development of my practice that could not have been attainable otherwise. The liberty I have been granted has allowed so much to be taken from this year and I am incredibly grateful to the Clitheroe Foundation for their magnanimity.
Mark Henry Cain Memorial Scholarship LOUISE MORGAN The Mark Henry Cain Memorial Scholarship will give me the opportunity to enrich my practice and studies through broadening my perspectives and experiences beyond Australia. I am excited at the prospect of visiting the Glasgow School of Arts as part of my postgraduate studies and am extremely grateful to receive this generous opportunity thanks to the award’s benefactor in memory of Mark Henry Cain.
Bird Holcomb Foundation Honours Scholarship SEAN WADEY Receiving the 2014 Bird Holcomb Foundation Honours Scholarship will allow me to explore the material aspect of my studio-based practice thoroughly in my 2015 Honours year. The support the scholarship offers is a grateful opportunity at this early stage of my career and I would like to thank the benefactors for their generosity.
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