Issue 93 August 2012

LISTINGS NSW / ACT

(64)

TASMANIA

[67]

MELBOURNE

(68)

BAY & PENINSULA

(79]

CENTRAL VICTORIA

(80)

MURRAY RIVER

(89)

NORTHERN VICTORIA

(90)

WESTERN VICTORIA

(91)

Issue 93 August 2012 trouble is an independent monthly mag for promotion of arts and culture Published

by Newstead Press Pty Ltd, ISSN 1449-3926 STAFF: administration Vanessa Boyack - admin@troublemag.com | editorial Steve Proposch - art@troublemag.com | listings - listings@troublemag.com CONTRIBUTORS: Mandy Ord (comic left), Ive Sorocuk, Brianna Munting, Inga Walton, Ruby Noise, One Step at a Time Like This, Courtney Symes, Jean-Franรงois Vernay, Ben Laycock, Jase Harper. Matt Emery.

Find us on Facebook: www.facebook.com/Troublemag Subscribe to our website: www.troublemag.com DIS IS DE DISCLAIMER! The views and opinions expressed herein are not necessarily those of the publisher. To the best of our knowledge all details in this magazine were correct at the time of publication. The publisher does not accept responsibility for errors or omissions. All content in this publication is copyright and may not be reproduced in whole or in part in any form without prior permission of the publisher. Trouble is distributed online from the first of every month of publication but accepts no responsibility for any inconvenience or financial loss in the event of delays. Phew!

FEATURES

trouble

(04) COMICS FACE

Ive Sorocuk

(09) ARI’S: WHERE TO NEXT

Brianna Munting

(14) PORTRAITS REIGN

IN SPAIN

Inga Walton

(26) S.A. ILLUSTRATED

FROM THE STREET

aug 2012

(56) STRALIAN BOOKS

FEAT. PATRICK WHITE

Jean-François Vernay

(60) TASMANIAN

TRAVELOGUE III

Jean-François Vernay

(62) GREETINGS FROM

DARKEST PERU PART V

Ben Laycock

Ruby Noise

(30) EN ROUTE – A DIARY

One Step at a Time Like This

(36) MELBURNIN’

Courtney Symes

(42) AUGUST SALON

Augusting ...

COVER: Carreño de MIRANDA, Eugenia Martínez Vallejo, Called ‘La Monstrua’, Clothed (c.1680), oil on canvas, 165 x 107 cm. Por trait of Spain, Masterpieces from the Prado, Queensland Ar t Gallery, Stanley Place, South Bank (QLD), until 4 November 2012 - www.qagoma.qld.gov.au © Photographic Archive, Museo Nacional del Prado, Madrid, Spain - www.museodelprado.es READER ADVICE: Trouble magazine contains artistic content that may include nudity, adult concepts, coarse language, and the names, images or artworks of deceased Aboriginal or Torres Strait Islander people. Treat Trouble intelligently, as you expect to be treated by others. Collect or dispose of thoughtfully.

clockwise from bottom left: John Wolseley, Dunes climbing a mountain (detail) 1993; Thornton Walker, The Homage (detail) 2008; Anna Eggert, Vesna 2004; David Dellafiora, Beware of Poets Bearing Dreams (detail) 2009; Stephen Bush, Cumberland (detail) 2010.

All works in the Deakin University Art Collection. Images reproduced with permission from the artists.

Face to Face 25 July to 1 September 2012 Deakin University creative artists respond to the Deakin University Art Collection.

Responding to an idea from Deborah Walker (Deakin University), this exhibition displays creative responses to the Deakin University Art Collection by arts practitioners from the School of Communication and Creative Arts at Deakin University. It includes the work of 22 staff from visual arts, animation, film, photography and dance as well as some postgraduate candidates.

We gratefully acknowledge the support of the Deakin University Centre for Memory, Imagination and Invention and the Processes of Signification Emerging Research Group (PSERG).

Deakin University Art Gallery, Deakin University, Melbourne Burwood Campus, 221 Burwood Highway, Burwood Victoria 3125. Melways ref 61 B5.

T +61 3 9244 5344 F +61 3 9244 5254 E artgallery@deakin.edu.au Hours Tuesday–Friday 10 am–4 pm, Saturday 1 pm–5 pm, free entry.

Gallery closed on public holidays.

Please visit deakin.edu.au/art-collection for exhibition details.

Deakin University CRICOS Provider Code: 00113B

TAN ONA OD I T L H

HAMILTON ART GALLERY, 13 JUNE - 9 AUGUST AN RMIT SCHOOL OF ART & NETS VICTORIA TOURING EXHIBITION CURATED BY STEPHEN GALLAGHER

Jane SAWYER Collaboration (part 1), 2011 & Collaboration (part 2), 2011

EVERYWHERE BUT HERE BLINDSIDE FESTIVAL 2-11 AUGUST, 2012 Natalie ABBOTT, Laura BATCH, Iain BONNER, Mary-Jane CASWELL, Rebecca DAYNES, jon hewitt, Bonnie LANE, Amanda MORGAN, Hoang Tran NGUYEN, Jon Mark OLDMEADOW, Hannah RAISIN, Dominic REDFERN, Claire ROBERTSON, Zoe SCOGLIO, Jessie SCOTT, Kate SHAW, Tania SMITH, Hanna TAI, M T WALKER and more.

for the full program go to www.BLINDSIDE.org.au Image: Hoang Tran NGUYEN

Forklift Island (Abridged) (2011)

video still (detail)

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

ARTIST RUN INITIATIVES:

Where to Next?

by Brianna Munting

The role of ARIs, artist spaces, independent spaces, spaces as incubators, as agents for change, as diverse and multiple in models, intentions and histories is a continuing discussion, an unfinished dialogue that interrogates possibilities into the future.

Can spaces, places and people, maybe somewhat idealistically, facilitate or contribute to a collective imagining, one that recognises that the traditional silos of mediums and individualism are being questioned, one that looks at retaining the independence of artist spaces, celebrating these pluralities whilst calling into question the frameworks often imposed on ARIs. Can our artist run spaces imagine new ways of operating, interacting and valuing contemporary practice? >> pic courtesy One Step at a Time Like This

continued

>> ARIs can begin the to answer these debates through the thinking of how we negotiate the now and how we move into the future, how we set challenges to each other, our communities, to the broader arts world and how we celebrate and support artists.

Artist Run Initiatives are propositional space, spaces of people, voices, noise, shouting, whispering, convergence and divergence.

pic courtesy Made in Brunswick

They are about the collective, the individual, the multiples and multiplied. They can be about being brave, to speak and be heard, to say yes or no, but to take a position.

Sometimes this happens sometimes it doesn’t, but what is clear is that Artist Run Initiatives (ARIs) are the spaces that are charged with inventing Australia’s visual cultures.

Where to Next? / Brianna Munting

One of the key points of continuous contestation is the use of the ARI label – the imposition of this term as trying to encompass a multiplicity of practices, ideas, models is often seen as directed and used by administrative organisations and funding bodies as means for measuring ‘successes’ that are based on rigid reporting frameworks and already established arts infrastructures. ARIs, and yes I see the irony of using this term, question this qualifier and perhaps quantifier as restrictive, one that has implications of predetermined structures and space without being reflexive enough of the emergent practices particularly in regards to collectivity and hybridisation across the more traditional silos of artistic disciplines.

Perhaps what we need is a new reasoning, one focused on moving away from comparisons or categorisations where ARIs represent a privileging and encompassing of multiplicity and focusing on the ideas of experimentation and risk – a space where ‘failure’ is celebrated rather than a commercial and pre packaged outcomes.

I believe some fierce inquisition is needed into the application of the ideas of professionalism, institutionalization and independence with ARIs. I would argue there is a misuse of the term professionalism as often I have heard it articulated as a contraction of an ARIs ability to work and operate outside of ‘mainstream’ channels in the arts ecology. However I would instead propose that professionalism is something artists are using as a means of exerting artists rights, capacities and ideas as a means of empowerment, of taking control of your own space, your ideas and being able to manage the bureaucratic systems that sit on and around the ARI structures to your full advantage. I would also argue there is a significant difference in the meaning and application of professionalism, to the term institutionalisation as it is the term

institutionalisation that becomes the point of contention and restriction. The treatment of ARIs as career stepping stones is an idea that is not necessarily representative of the diverse communities or practices and can be limiting in its act of marginalisation. It is a term that does not provide space for access, collaboration or exchange but keeps people at a distance. It continues the experience of ‘siloing’ rather than supporting the intersecting spaces of practices, mediums and ideas.

There needs to be a re-writing of the parametres of practice and reporting so dominant frameworks and/or reporting mechanisms are not articulated outside of the sector but by the sector. I think the key here is consultation, assistance and inclusivity without operating from top down but generated from grass roots up.

Issues of space are a reoccurring concern in terms of both practical issues and conceptual issues. The burden of compliance, regulations and legitimacy are common themes almost every ARI has to encounter. Maybe it is not so much a question of tensions between legitimacy versus illegitimacy but one of keeping and maintaining independence. This raises questions on the relationship between forms of organisation and forms of practice. Do you work for your space or have space work for you, does your space direct your vision or does your vision direct the space and the model of your practice and/or organisation.

ARIs perhaps should have a fear of containment but also one of excitement, of support, friendships, connections and explorations. They really should be the sites of activity, failure and the experimental, and not be polished within an inch of their lives.

For more discussion on ARIs and the issues surrounding them see www.arina.org.au

ART DAY OUT presents original contemporary arts practice in all its forms.

In 2012 the program includes invigorating workshop tents with artists Public Mischief and Andy Rigby from Kyneton and Malmsbury, who will instruct the art and culture loving public on how to make instruments by exploring homeware accessories with a wicked twist. Author Jackie Kerin is presenting storytelling sessions that involve and engage audiences. Coburn Primary School are conducting clay tile making workshops as part of the commemoration of the Coburn Family.

Contemporary craft stalls will be on site.

What a perfect chance to purchase original and unique handcrafted products created by artisans and craft artists from the shire and beyond. From the local CWA Ladies to contemporary jewellers and artisans, there will be something here for everybody.

The VU Rotunda is a writers and authors panel that will delight those who love a good book by a fire on a starry night. Three well known authors – John Marsden, Michael McGirr and Sydney Smith – will tantalise your imagination and stimulate discussion about what stirs a person to become a published author when they take the stage to discuss books and writing.

Original musicians will present their energetic songs laced with a sound that will enliven every toe tapper and inner dancer, so don’t miss the Steve Daly Band, A-Choired Taste of Gospel, Pans On Fire and Straight 2 Da Beat.

ART DAY OUT is held at the

Willows Historical Park, Reserve Road Melton (VIC), Mel Ref 337 C9.

Sunday 9 September 2012 11am-4pm – FREE entry

ART DAY OUT ART DAY OUT is proudly presented by

Portraits Reign In Spain

by Inga Walton

T

he latest instalment of what might feasibly be called the ‘public gallery wars’ has resulted in another coup for Queensland Art Gallery. The new exhibition, Portrait of Spain: Masterpieces from the Prado (until 4 November, 2012), represents the largest and most significant loan the Museo del Prado, Madrid has yet undertaken to a foreign institution, and is also the first group of works from their collection ever to be shown in the Southern Hemisphere.

The exhibition features eighty paintings and twenty-two etchings which serve to explore artistic development in Spain over three and a half centuries, highlighting the internal and external factors that influenced the evolution of Spanish visual culture and identity between 1550 and 1905. Following his restoration to the throne in 1813, King Ferdinand VII (1784-1833) founded the Prado in 1819, drawing on the outstanding works found in the Royal Collections.

Once King Philip II of Spain (1527-98) established his court permanently in Madrid in 1561 there arose a need to furnish the growing number of royal properties. Many of the works now in the Prado’s collection had been specifically commissioned or created for these real sitios (‘royal sites’), which included palaces, hunting lodges, government buildings, and places of worship such as churches, convents and monasteries (such as El Escorial).

The Museo’s holdings include paintings from the 12th to the early 20th century, including the largest collection of works

by Diego Rodríguez de Silva y Velázquez (1599-1660), Francisco José de Goya y Lucientes (1746-1828), and Sir Peter Paul Rubens (1577-1640) in the world. At its apogee (1580-1640), Spain’s interests included the entire Iberian Peninsula; the

Low Countries; Naples, Sicily and other Italian territories; chunks of Central and South America; parts of what is now the southern United States; the Philippines; and Portuguese territories in Asia and Africa. Numerous foreign artists who worked for the royal court, and received the patronage of the nobility, including Titian [Tiziano Vecellio] (c.1488/90-1576), El Greco [Doménikos Theotokópoulos] (1541-1614), Anton Raphael Mengs (1728-79) and Giovanni Domenico Tiepolo (1727-1804) are also well represented with significant paintings in the exhibition.

The splendour of courtly life and society under the Habsburg (1516-1700) and Bourbon (1700-1833) monarchs is conjured through pictures encompassing mythological and allegorical scenes, ravishing still lifes, religious and devotional works, landscapes, pastorals, images of war and conflict, crowd scenes, nude studies and socio-political commentary. The largest stretched canvas painting ever lent to an Australian gallery, the historical genre work The relief of Genoa by the second Marquis of Santa Cruz (El socorro de Génova por el Segundo marqués de Santa Cruz) (163435) by Antonio de Pereda (1611-78), is an exemplary spectacle at almost eleven square metres. It depicts a pivotal >>

Portraits Reign in Spain / Inga Walton

>> moment in the conflict between Spain and France in the Thirty Years’ War (1618-48) for control over Liguria. By securing Genoa in May, 1625 Councillor of State and naval commander Don Álvaro de Bazán, Marquis of Santa Cruz (1571-1644) added to a number of other important victories that helped restore Spanish territorial hegemony for several more years. These military triumphs were commemorated in epic paintings, more akin to theatrical set-pieces, which were hung in the Hall of Realms in the Buen Retiro Palace in Madrid.

Nonetheless, the superb portraits in the exhibition are its most enthralling aspect, as they so immediately and vividly convey the spirit of their time. Spain’s political, social, religious, economic and intellectual life can be measured within these brush strokes. Most of the royal portraits, whether they were commissioned for personal or civic use, sent to other family members at foreign courts, or used as diplomatic gifts, usually followed a well-established prototype with customary elements. Artists referencing their predecessors is particular evident in these works, both for the purposes of continuity and as a means of reaffirming Spain’s glory and national identity, which was intimately bound to the personage of the monarch and their immediate family.

Spain’s great aristocratic families (Grandes de España), those who had achieved noble rank by merit or in the service of the crown (Títulos del Reino), politicians, military leaders and ecclesiastics also sought to emulate this practice to reinforce their own status and proximity to power. The appeal of portraiture extended still further to a wealthy clientele of haute bourgeois,

gentry and the mercantile middle class creating a great trove of examples, for both public and private use, produced by some of the finest exponents of the genre.

Following the death of Rodrigo de Villandrando (1588-1623) the favourite court painter (pintor de cámara) of King Philip IV (1605-65), Don Gaspar de Guzmán, CountDuke of Olivares (1587-1645), then prime minister, suggested his protégé Velázquez as a successor. He was duly appointed to the position in 1623 and came to be in constant and close attendance on Philip thereafter, interrupted only by two periods in Italy in 1629 and 1649. Velázquez went on to become the only artist authorised to paint the monarch’s portrait, an exceptional honour. His social status was further elevated when Velázquez was made Chief Steward of the Palace (1652) and admitted as a knight of the Order of Santiago (1659). Velázquez’s proximity to Philip and the latter’s esteem for his painter is reflected in the unusual work Philip IV as Hunter (Felipe IV en traje de cazador) (c.1633). No references are made to the status of the sitter who poses within the landscape with a statuelike comportment and impassive gaze which reveals little of his personality. The quality and elegance of his hunting attire and firearm, and the practised manner in which Philip rests his left hand at his waist, are the only indications of rank. The meaning implied in the work goes beyond its ostensible subject-matter; in that era a depiction of the hunt was viewed as an ‘image of war’. The figure of Philip dressed for the chase was a clear evocation of his wider responsibilities and readiness to defend the realm. >>

>> A painting of extraordinary magnificence, The Infanta Isabella Clara Eugenia and Magdalena Ruiz (La infanta Isabel Clara Eugenia y Magdalena Ruiz) (c.1585-88) by Alonso Sánchez Coello (1531/32-88) and his workshop, depicts the beloved eldest daughter of King Philip II by his third wife, the French princess Elisabeth/Isabel de Valois (1545-68).

Such was her dynastic importance amidst the shifting alliances and political expedience of the period that the Infanta Isabella of Spain and Portugal (1566-1633) was painted on numerous occasions, often in full-length. The likes of Sofonisba Anguissola (c.1532-1625), one of the few female artists to achieve such high distinction at any royal court, Frans Pourbus, the Younger (1569-1622), Juan Pantoja de la Cruz (1553-1608) and Rubens all produced portraits of her. Following the departure of Sir Anthonis van Dashort Mor (c.1517-77) in 1561, his pupil Coello became Philip II’s principal painter, and first painted the Infanta as a nubile thirteen year-old.

This dazzling work displays the sharp sense of colour, crispness of execution and heightened realism typical of Coello’s fastidious and precise style. The formal majesty of the Infanta is expressed by her extravagant gown of white silk heavily embroidered with gold thread, with trailing over-sleeves and train.

Her jewelled and feathered head-dress, high, starched white collar and matching lace cuffs, and the profusion of enormous gems and pearls proclaim her exalted status.

Between her fingers Isabella holds a cameo medallion depicting a profile bust of Philip II. This device conveys her place within the royal family, but also her dependency on her father for her social position as the person to whom she owes obeisance. To the Infanta’s

right is the loyal family retainer Magdalena Ruiz, who had served the Spanish Habsburgs as a guardadamas (chaperone or bodyguard) to the royal daughters since the reign of the King-Emperor Charles V & I (1500-58). The great disparity in their heights suggests Ruiz is a dwarf, and not merely adopting a submissive kneeling position beside her mistress.

The Infanta places a condescending hand on Ruiz’s lace-trimmed wimple as if she were a child, or a favoured pet. In turn, Ruiz carries Isabella’s fidgeting captive monkeys, a Cottontop (or Pinché) tamarin (Saguinus oedipus) and what appears to be a Whitemantled tamarin (Saguinus melanoleucus) tethered by a silver chain. Both species hail from Portuguese territories in South America which, at this time, belonged to Philip II following the unification of the countries in 1580. Spanish colonial conquest of the ‘New World’, the plundering of its riches, and the subjugation of its peoples are alluded to pictorially as a means of expressing the Crown’s omnipotence. Ruiz wears a long necklace or rosary of coral beads looped twice around her neck, which supports both a pendant cross and a gold portrait cameo; both are probably marks of royal favour. Her age and severe black and white habit only serve to further accentuate Isabella’s youthful vigour.

Isabella served as her father’s caregiver during the last three years of his life until his death on 13 September, 1598. According to his wishes, she was wed to her cousin Archduke Albert VII of Austria (1559-1621) on 18 April, 1599 while still in mourning. Upon their marriage, Philip had previously agreed to cede to the couple joint sovereignty over the Seventeen Provinces that made up the Habsburg Netherlands.

Portraits Reign in Spain / Inga Walton

“The Infanta places a condescending hand on Ruiz’s lace-trimmed wimple as if she were a child, or a favoured pet.”

Widely referred to as ‘the Archdukes’, Isabella and Albert’s Court at Brussels became one of the foremost political and artistic centres in Europe at that time, and Isabella one of the most powerful women of her day. All three of the Archdukes’ children died in infancy, and in accordance with the Act of Cession, the right to succeed them devolved back on the Spanish Crown. In 1603 dual state portraits of the couple, possibly by Otto van Veen (c.15561629), were presented to King James VI & I (1566-1625) of Great Britain for Whitehall Palace. Isabella was once again pictured gesturing towards a female dwarf attendant, this one wearing a rich black and gold dress.

The Venetian envoy reported that James’ queen-consort Anne of Denmark (1574-1619) found the inclusion poignant, “...the Queen being called, there was some conversation about [the portraits] in the course of which [she] expressed her pity that so great a lady should endure the sorrow of not enjoying the sweet name of mother”. After Albert’s

death, Isabella joined the secular Third Order of St. Francis, a suitably pious decision for a Catholic widow. Nonetheless, her nephew King Phillip IV of Spain, allowed Isabella to rule in her own right as Regent until her death, continuing what was considered the ‘Golden Age’ of the Spanish Netherlands.

Isabella’s portraits reflect a particular fondness at the Spanish royal court for those referred to as gente de placer (‘people for mirth and entertainment’). These individuals constituted an indispensable part of the palace’s human landscape and were directly associated with notions of power, much like a status symbol or designer accessory. Court jesters, fools, pages, and other ‘servants of the body’ were a common presence in royal and noble houses.

However, the Spanish court also favoured dwarves and other ‘curiosities’, such as those who were disabled, deformed, or made in some way abnormal by illness. Within formal portraits these somewhat exotic ‘fetish objects’ served as a visual counterpoint by being physically and/or socially inferior. In this play of hierarchies, the central figure’s power and status was emphasised by the close and deferential presence of these distinctive members of their retinue. Indeed, just as the monarch was expected to set the tone in establishing etiquette, to show taste and refinement in dress, and to display patronage by commissioning works from artisans, musicians, and writers to reinforce the Crown’s prestige, acquiring such interesting human ‘marvels’ was simply another aspect of collecting.

Velázquez produced various portraits of King Philip IV’s then heir Don Balthasar Charles, Prince of Asturias (1629-46) and his suite. >>

Portraits Reign in Spain / Inga Walton

>> Velázquez’s Francisco Lezcano, known as ‘The Boy from Vallecas’ (‘El Niño de Vallecas’) (c.1636-38) shows a dwarf from the Basque country whose presence at the royal court in the service of Don Balthasar is documented between 1634 and 1639. Lezcano’s informal pose and insouciant manner, casually holding a deck of cards, would have been considered unsuitable in this context if his small stature and the foreshortening of his right leg did not suggest some form of handicap. Lezcano may also have suffered from mental retardation, perhaps due to Congenital hypothyroidism (Cretinism), which could explain his frank, almost insolent, gaze. Velázquez made excellent use of the liberties such subjects afforded him in terms of composition and technical freedom. In recording any cognitive or physical anomalies inherent to the sitter, he did so in a sympathetic and naturalistic way, which served to humanise the often undignified role these individuals fulfilled. Lezcano’s portrait and two other Velázquez works depicting dwarves were hung on the walls of Philip IV’s hunting lodge the Torre de la Parada alongside portraits of the royal family, indicative of their unique, if peculiar, status.

Another grotesquery paraded at court was documented by Juan Carreño de Miranda (1614-85). A girl who was pointedly referred to as ‘La Monstrua’ created a sensation in Madrid when she was taken there in 1680.

The obese six year-old was already some 70kg, possibly due to a hormonal disorder such as Cushing’s syndrome (hypercorticism), and was regarded as something of a natural history specimen or wonder. An account by Juan Cabezas explains the origin of Miranda’s painting Eugenia Martínez Vallejo, called ‘La Monstrua’, clothed (Eugenia Martínez Vallejo, ‘la Monstrua’, vestida) (c.1680). [cover

image] “The king our lord [Charles II] has ordered she be attired decorously, in the style of the palace, in a sumptuous dress with red and white brocade and silver buttons, and he has commanded the second Apelles [the renowned Greek painter, fl. 4th century BC] of our Spain, his painter the distinguished Juan Carreño, to produce two different portraits of her: one nude, the other clothed”.

The companion work, “La Monstrua’, nude, or Bacchus (‘La Monstrua’, desnuda, o Baco) (c.1680), explicitly depicts the child’s corpulence, with a wreath of grapes crowning her head and a branch laden with them covering her genitals in a Classical guise.

This unseemly display would no doubt strike a modern audience as cruel and mocking: perhaps that accounts for its absence from the show. Contemporary mores regarding physical difference led to the works being well received by a fascinated court, a situation made all the more remarkable given the restrictive cultural conventions and sensibilities governing the female nude during this period. Celebrated ‘oddities’ like Eugenia Vallejo and Francisco Lezcano were an amusement and could expect to be indulged as ‘favourites’ by the upper echelons of society into which they were cast.

It is probable that their respective physiological conditions meant that they were excused from any requirement to conform to the strict rules governing social decorum and manners.

Though we may make judgments today about the exploitative circumstances of their employment, a position at court or in a noble house represented an unexpectedly privileged living for someone in that situation. Such attention could mitigate the financial burden and public shame for the afflicted and their families if they were transformed from pitiable figures into novelties or quasi-celebrities. >>

>> Miranda was formally appointed court painter in 1671, but had been producing sophisticated portraits of the Queen-Regent Mariana (Maria Anna) of Austria (1634-96), her son Charles II (1661-1700), and his elder sister Infanta Margaret Theresa, Holy Roman Empress (1651-73) for some years. Of noble descent, Miranda had an acute understanding of the inner workings and psychology of the royal court. He refined the earlier idealised conventions of the state portrait to include his own stylistic and iconographic contributions.

Miranda required all his painterly tact when depicting Charles II, the weak, sickly and physically unappealing last Habsburg king of Spain who died without an heir. Despite two marriages, it is likely Charles was impotent, as well as the more obvious indicators of his physical and mental disability, and disfigurement. Modern science has pointed to chronic inbreeding within his family line which led to numerous hereditary weaknesses. He did not learn to speak until the age of four, nor to walk until he was eight. As Charles was unable to chew properly, it has been suggested that he was afflicted with Mandibular prognathism (colloquially known as ‘Habsburg jaw’ due to its prevalence in the family), the endocrine disease Acromegaly, and perhaps a combination of other genetic disorders affecting his pituitary and renal systems.

The popular belief at the time – to which Charles also subscribed – was that his conditions were caused by sorcery, leading to him being called El Hechizado (‘The Hexed’).

No doubt prompted by his personal anxiety, Charles presided over the greatest auto-da-fé (the ritual penance of condemned heretics and apostates) in the history of the Spanish Inquisition in 1680. Charles II in Armour (Carlos II, con armadura) (1681) retains the monarch’s flowing long reddish hair seen in

“The popular belief at the time – to which Charles also subscribed – was that his conditions were caused by sorcery ...” previous portraits, but this is the first time a distinctly militaristic posture is adopted.

For this portrait Miranda harkens back to a well-established template for Habsburg painting in an attempt to stress continuity and family hegemony. He makes an explicit, and flattering, reference to Titian’s portrait of Philip II (1551), as Charles II wears the same ‘labor de aspas’ armour preserved in the Royal Collection and worn by his victorious predecessor at the Battle of Saint-Quentin (1557). Thus the painting is symbolically loaded, and draws on past glories to bolster the position of the ineffectual incumbent as a form of dynastic propaganda. Given the sitters successive royal painters had to contend with, it is perhaps no surprise that the surviving portraits of the court’s supporting characters are just as intelligent and perceptive as those of their social ‘betters’, including the thoroughly dysfunctional Royal Family.

Goya’s María Antonia Gonzaga, Marchioness widow of Villafranca (María Antonia Gonzaga, marquesa viuda de Villafranca) (c.1795) depicts the matriarch of a family who were his

Portraits Reign in Spain / Inga Walton

great patrons and had shown the artist support after his illness in 1793, which left him deaf.

María Antonia Gonzaga y Caracciolo (17351801) belonged to the highest nobility as the daughter of Francisco Gonzaga, Prince of the Holy Roman Empire and Duke of Solferino.

She married Antonio Álvarez de Toledo, tenth Marquis of Villafranca, and the head of an important noble house from Aragon, from whence Goya also hailed. Goya produced portraits of María Antonia’s children and extended family, including her eldest son Don José María Álvarez (1756-96), and most famously his wife, Doña María Cayetana de Silva, thirteenth Duchess of Alba (1762-1802).

Goya’s fond association with the Villafranca family can be seen in the delicate and intimate way he portrays the Dowager Marchioness seated against a neutral background and closely framed in three-quarter length size. For a woman of such high rank, María Antonia is dressed elegantly but not ostentatiously and wears minimal jewellery.

Her dark gown is banded with blue, picked up by the silk cockade in her large powdered wig and the ribbon closing her white shawl. Gold braid and lace at her wrists directs our gaze to the metalwork detailing on her loosely held fan. The transparent chiffon of María Antonia’s shawl and the freshness of the pink rose at her breast contribute to a soft and flattering colour palette.

In contrast to the quiet serenity of the Dowager Marchioness, one of the great vicarious joys of the exhibition will no doubt be the study of Mrs Delicado de Imaz (La señora Delicado de Imaz) (c.1833) by Vicente López Portaña (1772-1850). Born in Valencia, Portaña was appointed First Painter of the King’s Chamber to King Ferdinand VII in 1815, and continued in that role under his daughter Isabella II (1830-1904) until his

own death. Portaña could thus enjoy the subsequent clamour for his services from Spain’s aristocracy and upper middle class.

One such client was the delightfully named Señora Delicado, which means ‘delicate’ or ‘refined’, though alas this was not a case of ‘name and nature’. Portaña’s rigorous academic training resulted in his tremendous skill and precision in representing the different properties and tactile qualities of textiles and jewels. The Señora’s silvery floral lace mantilla, worn over her shoulders and which matches the under-lace of her sleeve, is truly a visual marvel. Her convoluted hairstyle, known as tres potencias (‘three powers’), with tight curls at the side and a large top-knot, is augmented by a diamond crescent moon and star pin, and a necklace or bracelet worn as a bandeau.

A substantial segmented gold bracelet with quite unusual crescent-shaped cabochon and emerald-cut stones in blue and pink, a diamond festoon brooch, a large gold fob watch and chain attached to a gold buckle, a wedding ring with two sizable diamonds, large pearl-trimmed diamond pendant earrings, and jewel-studded gold fan complete the Señora’s Christmas tree of accessories.

Portaña faithfully records the fashionable and stylish look of Señora Delicado’s dress, but his unwavering eye for detail refuses to flatter the subject as might have been expected. He exacts a quite withering visual verdict on this rather graceless sitter: her double chin, the masculine cast of her forearms and facial features, the almost unibrow, and above all the visible moustache. In his catalogue entry José Luis Díez points to this as evidence that Portaña, “...was an implacable judge with his less than handsome models, extremely objective in his observations and even, on occasions such as this, unintentionally cruel”. >>

Portraits Reign in Spain / Inga Walton

“Could it be that Portaña did actually intend to expose this parvenue by leaving to posterity the ‘Empress’ in her new clothes?” >> Could it be that Portaña did actually intend to expose this parvenue by leaving to posterity the ‘Empress’ in her new clothes?

European settlement and the colonial history of Australia is inextricably bound to the British Empire, Spain’s great political and maritime rival, whose expansionist endeavours it would eventually eclipse.

As a result, any direct Hispanic influence, tradition or heritage in this country is necessarily limited by distance and circumstance. El Prado, as the repository of Spain’s cultural riches, reflects the specific tastes and preoccupations of the nation’s ruling elite across the centuries. However, since many of the artists who produced these works were retained specifically because of their experience having apprenticed for recognised masters and worked in other European capitals, the collection also echoes the West’s common aesthetic language as practiced throughout this vital and ever evolving artistic fraternity.

The Museo performs its assumed role of international good will ambassador admirably, bringing forth a substantial pictorial representation of the society that created it, and its emergence into the modern era. By way of returning the compliment, Queensland Art Gallery hangs La Belle Hollandaise (1905), its finest work by Pablo Picasso (1881-1973), alongside its historical antecedents. The nude study is one of only three known paintings made during Picasso’s visit to Holland in June, 1905, and is the only locally sourced contribution to a curatorial milestone unlikely to be repeated.

Portrait of Spain, Masterpieces from the Prado, Queensland Art Gallery, Stanley Place, South Bank (QLD), until 4 November 2012 www.qagoma.qld.gov.au www.museodelprado.es The exhibition transfers to the Museum of Fine Arts, Houston, Texas (16 December, 2012-31 March, 2013) www.mfah.org Image credits (in order of appearance): Vicente LÓPEZ PORTAÑA, Mrs Delicado de Imaz (c.1833), oil on canvas, 109 x 86 cm. Diego VELÁZQUEZ, Philip IV As Hunter (c.1633), oil on canvas, 191 x 126 cm. Alonso SÁNCHEZ COELLO, The Infanta Isabel Clara Eugenia and Magdalena Ruiz, (c.1585–88). Juan CARREÑO DE MIRANDA, Charles II in armour, (c.1681).

All images © Photographic Archive, Museo Nacional del Prado, Madrid, Spain.

SA Illustrated From The Street S.A. Art Gallery. North Tce. Adelaide 2 June – 5 August 2012

by Ruby Noise

UNFINISHED

> It’s not often that we get something for free, and even more rare when that free something is a piece of art with a treasure hunt thrown in. But that is exactly what is happening on the streets of Adelaide right now, while the Art Gallery of S.A is holding an exhibition entitled SA Illustrated from the streets. The show incorporates South Australian street artists and their interpretation of an unfinished self-portrait of our Surveyor-General Colonel William Light (1786-1839). >>

SA Illustrated from the Streets / Ruby Noise

> Light started his self-portrait in 1836. Not only was he a forward thinking man in planning our city, but he was an artist in his own right. A pre-requisite I would say for colonial surveyors doing it all by foot and hand at that time. Death by tuberculosis put an end to his self-portrait, which hangs (unfinished) today in the SA Art Gallery. Recently Peter Drew, a street artist and writer, engaged thirteen of his contemporary allies to interpret their versions of that portrait. One by one, with notifications on Facebook by both the Gallery and Drew, the portraits were taken from the gallery wall and placed on the Adelaide streets with a visual clue given. Those who found it got to keep it.

Eleven lucky punters so far have stumbled onto the pieces of art hanging on a wall somewhere in the streets that Light surveyed 177 years ago. The exhibition is nearing its end, as are the number of portraits left in the space.

MORIALTA FALLS James Dodd has a temporary installation out the front of the gallery, also included in this exhibition.

It stands as a bus stop with borrowed imagery from Eugene von Guerard and J.W. Giles from the Galleries Colonial collection. Dodd’s piece entitled Morialta Falls uses stencilling and aerosol techniques to remake landscapes and text in a contemporary setting. (see image left) BOW DOWN TO THE SOVEREIGN GODDESS Ali Baker’s photography piece of Victorian framed indigenous faces staring back at us, reminds us of the imposition the Aboriginal people of South Australia must have felt toward the colonisation of this land. It adds a twist on the view of colonial portraiture of the time and I believe reminds us that Colonel William Light was not the first to document the land that Adelaide now sits on. www.artgallery.sa.gov.au/agsa/home/Exhibitions/ Fromthestreet.html www.youtube.com/watch?v=5IWHQQoSXXQ

en route

| one step at a time like this

Junction Arts Festival Launceston (TAS) 22 to 26 August 2012 Launceston’s CBD will fill up with artists from across Australia, as well as the UK and Canada during August. Junction Arts Festival promises to warm up the Tasmanian winter with playful, interactive and ambitious contemporary art and performance.

One of the custom projects featured at this year’s festival is En Route, created by Melbourne-based collective One Step At A Time Like This. One Step’s Clair Korobacz, Paul Moir, Julian Rickert and Suzanne Kersten have created a unique audio-­guided walking adventure tour that invites people to discover Launceston anew, and to fall in love with it’s hidden stories. Local community members will act as part of the work during the Festival, as En Route aims make a “theatre of the everyday, where passers by become part of the plot and the cityscape becomes the backdrop”.

Trouble invited One Step to create a diary of their experiences in JAF’s Artist Residency Program last May, when they visited Launceston to finalise this site specific work. What we discovered was their obsession for coffee and tea. One Step spend a lot of time thinking about where their next coffee is coming from, and in the meantime wrote the following ...

Saturday Day 1 All: Found the secret door and sink – wandered behind. Looked at window displays in ‘Neil Pitt’ (menswear store) – admired the sign writing, got excited about the prospect of working with Neil Pitt Signwriter Geoff. Dressed up in our heads the old fashioned type mannequins – head-sets and iPods - an en route window display.

All: Admired jukeboxes and old record players at Mojo, got an idea for a new show. All the good places to eat are shut by 3pm (only Fresh opens again in the evening), but where to go for a late lunch? (continued next page) >>

>> Sunday Day 2 Home-made pancake breakfast meeting.

Julian: Looked at the river and walked and dreamed and listened – I became bored and excited, had a cup of tea and went home to edit music.

Paul: Walked our proposed initial route and took 374 photographs on my new DSLR – most of them not over or under exposed. Coffee x 2 from Fresh.

Clair: Bumped into an artist friend from Melbourne (herself originally a local from Launceston) at Fresh. Launnie music rocks!

Suzanne: Walked en route on Sunday in Launceston – I was alone and happy. I love an empty city. We all had a cup of tea with AD Ian who told us some wild tales about SAC35 in Hobart. Pageants!

Monday Day 3 Suzanne: Cup of tea with Andrew Pitt (see photo below) from the Neil Pitt Menswear store and chatted about psychogeography.

Andrew showed us a secret door through the shop into an Arcade.

He owns books on psycho-geography! Here’s the link to Neil Pitts. http://www.neilpitts.com.au/about-us Andrew lent a few of his books to Gillian after she had a meeting with him on our behalf about en route permissions, they were: ’Psychogeography’ by Merlin Coverley and ‘The Unofficial Countryside’ by Richard Mabey (see link) http://www.guardian.co.uk/books/2010/may/29/iainsinclairrichard-mabey-rereading All: We then tried alternate ways through Brisbane Arcade to figure out which would best suit the detective track. Arguing about which is best, 1 against 3, my way is best says Suzanne.

Paul: Got my loyalty card stamped at Amelia’s. Best coffee in town! (see link) http://www.facebook.com/pages/Amelia-atLARC/242662875779553 Also picked up a yoga flyer while there. Then wrote a lovely bit about my home town to use in the show – then Julian ‘smalled’ it – made it smaller. Still having internet problems!

Tuesday Day 4 How did Genders Lane get its name?

Clair: Is George’s Lane better? I liked the contrast of architecture it makes visible – a jagged outline against a brick building, and its back yard feel. Julian agreed. >>

>>

Julian: Went to Telstra head office – en route central should reside here.

Every drawer that opened had some piece of gadget to make a fix. Two helpful guys made one - we now have (unstoppable) internet! I then worked on soundtracks – alone in my lovely little art deco home with Paul’s socks. I also had a vegetarian potato pie from Exeter bakery.

Clair: Had a morning coffee meeting at Fresh with Ian and Sara from Junction, and Paul stopped by to interrupt. He and Ian spoke about last nights AFL game between St Kilda and Carlton. Come on guys! Paul and I then went prop (stationary) shopping at the lovely Office Works on Wellington St or is it Bathurst St, but anyway from the inside it looks identical to the one in Collingwood! We then went and shot flip-book photos of me. After that Paul went off photographing by himself (with his new camera) and spoke to a few shop owners about access. It was really an excuse to get him to the other side of town and to Amelia’s for a flat white T/A. We noticed Paul detoured at every possible opportunity to go through Prince’s Square (his spiritual home – Paul grew up in Launnie) on the way back to base. It was lovely weather for it – cutting through the park.

Suzanne: Tassie produce looks good and tastes good too, especially excited about the organic watercress I just picked up.

Wednesday Day 5 Clair & Paul: Organised props in the Junction office and used their printer to print maps, notes etc. We all did the route at 4pm to trial it on ourselves and realized where all the holes were. Lots of discussion after about how we could improve it, did a few more recordings to help fix it.

Thursday Day 6 All: Minus Julian, who is nowhere to be seen and not expected to be seen for a few days or nights as the audio tracks come into being.

Suzanne: Met Geoff and interviewed Andrew from Neil Pitt’s. Very excited about the nature writing Andrew was telling her about. Nat from JAF would love to do a show in Neil Pitt’s too!

en route local guide training days start today !!!

The diary entries end here. One Step remained in Launceston for the next three days, busy training participants in en route and running people through the course.

For more info on Junction Arts Festival http://www.junctionartsfestival.com.au/ For more info on One Step at a Time Like This - http://www.onestepatatimelikethis.com/company.html Coffee stain textures by SixRevisions on Flickr - http://www.flickr.com/photos/31288116@N02/

<: Nikki TOOLE, Caroline Dynybil, Skatehalle, Berlin, Germany 2010, inkjet print. Reproduced courtesy of the artist.

DATELINE: AUGUST 2012

by Courtney Symes

I remember my first skateboard clearly. It was a hand-medown from a cousin and featured a motorbike on the ‘deck’ (board bit you stand on) with unmistakable red and white branding from a well-known cola company underneath. I was a spectacularly bad skater-girl – twenty-four years later my damaged tailbone is still keeping my Chiro in business – and quickly learned that the safest position for me to remain on a skateboard was sitting down. Of course it was more difficult to propel myself along sitting down, which was where my dog Coco came in handy. I would throw a tennis ball and hold onto her leash as she chased it, pulling me along at the same time. Fortunately for other dogs, there are more talented skateboarders than myself, as Nikki Toole discovers.

Skateboarding is a global sport that transcends country, culture and language.

In July 2009, Nikki Toole started to explore the international phenomenon of skateboarding through a series of photographic portraits of skateboarders around the world that have been culminated in Geelong Gallery’s latest exhibition, Skater. The unique twist to Toole’s images is that she has chosen to photograph her subjects in a frontal pose (as opposed to action shots), which has resulted in more intense portraits. Toole’s images prompt the viewer to question if there is a ‘global look’ to skateboarding, or if there is room for the individual to express him or herself. “Each subject is armed with a skateboard that is much more than a mere prop. It is a symbol of community, an emblem of self-expression — a tool of freedom or release … Skater will allow visitors to examine each portrait on both a cultural and an individual level,” explains Geoffrey Edwards, Director of Geelong Gallery. Skater is a National Portrait Gallery and Geelong Gallery touring exhibition consisting of 19 black and white photographic portraits that have been curated by Dr Christopher Chapman, Senior Curator at the National Portrait Gallery. Runs until 9 September - www.geelonggallery.org.au continued >>

continued

Melburnin’ / Courtney Symes

>> Formed in 1918, the Twenty Melbourne Painter’s Society is steeped with tradition. The twenty members that form the Society are introduced by invitation only to ensure that “society members are highly regarded in the Arts industry as exceptionally talented professional award-winning artists and teachers”. Renowned artists that have previously been members have included Clarice Beckett, Rupert Bunny, Sir William Dargie and Sir John Longstaff, among others. Current society members include: Angela Abbott, Greg Allen, June Barnett, Bill Caldwell, Margaret Cowling, John Dudley, Stephen Doyle, Jacqueline Fowler, Amanda Hyatt, Lee Machelak, Barbara McCallum, Paul McDonald-Smith, Ross Paterson, Herman Pekel, Clive Sinclair, Peter Smales, David Taylor, Maxwell Wilks, Judith Wills and Joseph Zbukvic. Whilst all artists utilise tone, form and colour to “embrace both impressionism and tonal realism,” viewers can expect a diverse selection of works in this must-see visual feast. This year’s 94th Annual Exhibition will be presented by Jenny Pihan Fine Art at Glen Eira City Council Gallery until 12 August. - www. jennypihanfineart.com.au

image: Joseph ZBUKVIC, Evening Shadows, Latrobe Street, watercolour, 34 x 52cm.

Having recently moved house myself, I’m wellacquainted with the daunting experience of moving, let alone packing up my family and moving from a completely different country and culture, such as Sudan or India to Australia. Art Without Borders is Box Hill Community Arts Centre’s latest exhibition that aims to make this transition easier for migrant women who have moved to the City of Whitehorse. Artist Judy Leong has offered guidance to women who have participated in this program as they have created “unique textile artwork that tells their personal story and showcases their achievements”. The 13 women participating in the exhibition have utilised patchwork, felt, fabric paint and other materials to create quilts, embroidery, mosaics and wall hangings that symbolise their individual journeys. Catch the exhibition opening at the Box Hill Community Arts Centre on Thursday 2 August at 6pm. Exhibition runs until 12 August. www.bhcac.com.au >>

Melburnin’ / Courtney Symes

continued > Chips MACKINOLTY, Walyaji Wankarunyayirni: Land is Life 1983, (featuring Lorna Fencer Napurrurla), screenprint Jalak Graphics, Darwin, 98.5 x 72 cm. Printed Redback Graphix, Wollongong. Private Collection, Darwin.

>> The importance of cultural diversity in art also continues over at RMIT Gallery this month with two exceptional exhibitions: Yulyurlu Lorna Fencer Napurrurla and Kindness/Udarta. AustraliaIndia Cultural Exchange. Yulyurlu started painting in 1986, and in the twenty years until her death in 2006, she became “arguably the best known Warlpiri artist from the Katherine/Lajamanu region in the Top End of the Northern Territory”.

Exhibition curator, Margie West aims to highlight the important contribution that Yulyurlu made to art in her local region and nationally, with her inclusion in numerous solo and group exhibitions.

West also showcases the development in Yulyurlu’s work – from brightly coloured asymmetric pieces to looser designs featuring “broad gestural brush strokes and a rich over layering of paint”.

literary and musical guests including: Authors Kiran Nagakar and Christopher Kremmer and Musicians Vinod Prasanna (bansuri, Indian bamboo flute) and Kate Tempany (Indian tabla). Don’t miss the cultural evening on Thursday 2 August at 6-8pm. Both exhibitions run until 25 August - www.rmit.edu.au

Face to Face is a creative initiative from twenty-two Deakin University School of Communication and Creative Arts staff and postgraduate students in response to the Deakin University Art Collection.

Artists included in the exhibition hail from animation, dance, film, graphic design, photography and visual arts disciplines, which makes for a varied and intriguing exhibition. Curated by Sam Willis, Curatorial Intern as part of the inaugural curatorial internship program, Face to Face runs until 1 September - www.deakin.edu.

Art has been used to break down cultural au/art-collection boundaries and inspire kindness and understanding in the touring exhibition, Laura Woodward’s kinetic mechanical Kindness/Udarta. Australia-India Cultural sculpture that will be suspended in the Exchange. It celebrates 20 years of the Atrium of the Incinerator Gallery this Australia-India Council’s program of month has a life-like quality to it. The cultural exchanges between visual artists, rhythmic, hypnotic movement of this piece writers and musicians from India and imitates natural rhythms, such as waves Australia. The exhibition will feature lapping on a shore. Woodward makes no works from more than 140 artists from attempt to hide the mechanical workings India and Australia. Artists included in the of her pieces, such as the pumps and exhibition were requested to submit a motors, which all add to the complexity short poem or prose of 300 words or of her work. Woodward’s sculpture is less, or a small artwork, no bigger than the part of Incinerator Gallery’s program, dimensions of a book. The exhibition has The Atrium Project: Filling the Void and been curated by RMIT Gallery Director, will be on display from 10 August until 9 Suzanne Davies and will feature special September. www.incineratorgallery.com.au

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AUGUST SALON

2

1. Linda MCLEAN, Lucinda Thompson 2012, mixed media sculpture. Falkner Gallery, 35 Templeton Street, Castlemaine (VIC), until 2 September - www. falknergallery.com.au 2.Victor MEERTENS, Vinyl Blister #3 2012, torched vinyl record , 28.1 x 21 cm. Courtesy of the artist. TarraWarra Biennial 2012: Sonic Spheres, TarraWarra Museum of Art, 311 Healesville-Yarra Glen Road Healesville (VIC), 5 August â&#x20AC;&#x201C; 9 December - www.twma.com.au

AUGUST SALON

Phillip GEORGE, Crossings 2012, c-type print, 75 x 75 cm, edition of 5, courtesy the artist and BREENSPACE, Sydney. Fog Garden, BREENSPACE, Level 3, 17â&#x20AC;&#x201C;19 Alberta Street Sydney (NSW), until 11 August - www.breenspace.com

PREVIOUS SPREAD: BOGANVILLE BURLESQUE, photo by Tim Talti.

Part of Sydney Fringe, 7 – 30 September 2012 - www.sydneyfringe.com 3. Ryan FORD, Eldorados 2011, pencil sketch. 4. HORSE, from the Unspeakable Words series 2012, digital image. & 5. Carol PORTER, some men will do anything 2012, digital print. Love Letters and Unspeakable Words, part of Words in Winter, Pocket Gallery, 45 Lyons Street, Newstead (VIC), 3 – 31 August - http://www. daylesfordonline.com/wordsinwinter 3

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AUGUST SALON

PREVIOUS SPREAD: Lydia Dekker, Baby Girl, 2012, polymer clay sculpture, 85 mm x 110 mm. Runaway Circus, 696 Sydney Road, Brunswick (VIC), 24 August – 9 September – www.augusteclown.com 6. Laura WOODWARD, Shallows (detail) 2010, stainless steel, acrylic, water, air, glass, pvc, motor, dimensions variable. The Atrium Projet: Filling the Void, Incinerator Gallery, 180 Holmes Road Moonee Ponds (VIC), 10 August – 9 September - www.incineratorgallery.com.au 7. Francis REISS, Ambulance Servicewomen arrive at the scene, copyright the Artist. FRANCIS REISS – War and Peace, Whitehorse Art Space, 1022 Whitehorse Road, Box Hill (VIC), 4 August – 1 September - www.boxhilltownhall.com.au

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MACEDON RANGES SHIRE POST YOUR ART PRIZE 2012 TROUBLE AWARD

DUAL WINNERS: (above) James NANCARROW, Ninja Man. (right) Janice PRICE, Hush – she’s coming! 2012, photograph.

For more info on the Post Your Art Prize, browse to - http://www.mrsc. vic.gov.au/ and search for ‘Post Your Art’.

stralian books

with Jean-François Vernay

PATRICK WHITE Celebrating the Centenary of the Centennial Park Dweller

Patrick White is a fascinating oxymoronic figure in Australian Literature with a taste for dualities, ambiguity and ambivalence.

Born fortuitously in London while his parents were on their honeymoon, he comes from a family of wealthy pastoralists whose forebears first settled in Australia in 1826.

White grew up and was partly educated in Sydney before he was sent back to England to benefit from patrician schooling. The pull of home prompted him to break off his studies and return to his native island when he came of age. After jackarooing in rural Australia for two years, he enrolled in King’s College (Cambridge), started to write

central to 20 Martin Road because he felt suburbia was gradually swallowing him up – he occasionally went public to speak on behalf of the environmentalists and the Republicans, especially once he gained international recognition. While he tried to export himself to Europe and the United States as a transnational writer, he also made a valuable contribution to Australia’s literary heritage by drawing his inspiration from a series of national icons (Ludwig Leichhardt, Eliza Frazer, Sidney Nolan, etc.) in his fiction.

White has always been sitting on the fence, fuelling his public image of being an insideroutsider, if not an exile at home.

One must admit that the distinguished Centennial Park dweller had a rather strained relationship with Australia,

“What is so amazing is that Australians have changed so little; we are the same arrogant plutocrats, larrikins, and Irish rabble as we were then.” sporadically, and ended up producing twelve novels. His thirteenth novel in progress was posthumously released early this year under the title of The Hanging Garden.

Despite his patrician education and his upper-class background, he defined himself as a socialist who more than once barracked for the Australian Labor Party and empathized with ordinary people, if not with the subaltern (mainly the Jews and the Aborigines). No matter how reclusive he was – first establishing himself in Castle Hill for 18 years and then moving

flaunting its literary prestige worldwide while repeatedly flaying its cultural values and popular beliefs.

He did exclaim in his published correspondence edited by David Marr that: “Sometimes I get fed up to the teeth here in the country, where the type of Australian one encounters is the most uninspiring, unintelligent, deadening specimen to be found on earth. Although you will meet charming people here, I detest the average Australian, who is little more than a cheap imitation of the American.” (16/03/1931) >>

Patrick White, 1960. Source: vrroom_naa_gov_au

continued from pervious page

> “How sick I am of the bloody word AUSTRALIA. What a pity, I am part of it; if I were not, I would get out to-morrow.

As it is, they will have me with them till my bitter end, and there are about six more of my un-Australian Australian novels to fling in their faces…” (08/02/1958) “What is so amazing is that Australians have changed so little; we are the same arrogant plutocrats, larrikins, and Irish rabble as we were then.

At least the graziers have been damped down.” (28/12/1973, 428) His uncomfortable in-betweenness expressed in terms of gender, social and cultural identity is possibly the key to White’s ambivalence, his most defining trait.

The Twyborn Affair (1979), which critically confronts the politics of sex while revealing the author’s private inner world, is exhibit A for displaying the politics of ambiguity and sexual indeterminacy that clearly comes through in his autobiography, Flaws in the Glass (1981). Socially, no matter how close to the people White wanted to be, he is no Tim Winton. He held no populist beliefs, roamed the world on frequent travels and moved deftly in high society. As for the cultural identity malaise he experienced in his youth, it is rather symptomatic of the postcolonial condition of twin allegiance – a no-win situation in which people feel they can never belong. Seeing himself as “a man of divided loyalties” for being brought up in Australia and in England, White bitterly recalls that at his British school he “was accused of being a cockney or colonial, and back in Australia, ‘a bloody Pom’. Language troubles have widened the split in my nature.” (FG: 41) These various splits or dualities in his nature account for the strong sense of fragmentation which defines some of his characters, particularly in the three novels which deal with mental illness and

multiple identities: The Aunt’s Story (1948), The Twyborn Affair, and Memoirs of Many in One (1986).

Shortly before winning the Nobel Prize for Literature, Patrick White’s vanity preened itself a little when he reported in a letter to Marshall Best that Anthony Burgess made the following statement at the 1970 Adelaide Festival: “A country is only remembered for its art. Rome is remembered for Virgil, Greece for Homer, and Australia may be remembered for Patrick White.” (PWL 361) In some ways, there is still some truth in that flattering accolade because, to date, he remains Australia’s only Nobel-Prize winning author.

Among the almost 50 monographs that have been published worldwide at regular interval between the year he was awarded the Nobel Prize and today, it is no wonder that anyone intent on studying White will spend much more time reading the available mass of critical material than White’s literary production. The fact that the bulk of these monographs were published outside Australia and written by non-Australian scholars attests that White may have had solid grounds for feeling he was a writer chiefly praised abroad and misunderstood at home, and for establishing the Patrick White Award (whose untaxed cash prize is now valued at $18,000) traditionally given to under-recognised authors. However, the first attention he received early in his career came from two Australian scholars whose monographs were published in Australia.

It therefore seems rather peculiar that there have been talks about the fragility of White’s significance and of his waning critical reputation, of the decline in numbers of Patrick White scholars (possibly explained by the fact that after so many

Stralian Books: Patrick White / Jean-François Vernay

publications attached to his name, academics seeking to break new grounds may opt for a less studied literary figure), and of public disinterest. Sales of the The Hanging Garden might contradict this latter assumption, unless readers will not fancy an unfinished novel nor even dare go against White’s will.

Reading White’s self-analysis to which he was consciously prone in both his autobiography, Flaws in the Glass (1981), and correspondence will give a clear indication of how tormented his soul was.

Living in seclusion, he gradually built himself a romanticized and charismatic writer’s persona that would adroitly paper over the cracks of his strong personality. With character-driven novels constantly churning round in his head, Patrick White fuelled his romantic literary reputation of being a compulsive writer, one working under duress and who has a taste for painstaking work and a honed prose.

He quickly gained the reputation of being “Australia’s Most Unreadable Novelist” and, being highly sensitive to other people’s opinions about his work, he never missed an opportunity to spread the word, thus consolidating the ivory tower he has erected for himself and establishing himself as an écrivain maudit. This reputation was confirmed in 1956 when “the great Panjandrum of Canberra” (PWS 21) described White’s prose as “pretentious and illiterate verbal sludge.” Not only has AD Hope’s notorious broadside left a deep scar on White’s mind, but it gave the novelist a severe blow to his self-esteem and probably enhanced his fragility, sense of insecurity and taste for self-deprecation.

Jean-François Vernay is the author of The Great Australian Novel – A Panorama (Melbourne: Brolga, 2010).

“... the great Panjandrum of Canberra” ... described White’s prose as “pretentious and illiterate verbal sludge.”

Jean-François Vernay’s

Tasmanian Travelogue Part III

When going out on an early bird stroll along Waterloo Point to explore the headland in the morning freshness, I started reflecting on this amazing pristine wilderness. Stirring the surge in the distance, a pod of Bottlenose dolphins show their dorsal lines in an elegant aquatic ballet, while Hooded plovers sit quietly on the jagged rocks, receiving infrequent visits from Pied oystercatchers. The lush vegetation itself is an invitation to go green like Tassies who seem to be all too keen on saving endangered species such as the Tasmanian Devil and, more than anywhere else in Australia, achieve their best to preserve Nature’s legacy. But this observation needs qualifying since Vica Bayley of the Wilderness Society reports that “In September last year Forestry Tasmania received a taxpayer payout of $12.65 million on condition that it ceases logging in high conservation value forests.

Instead, it has increased the rate of logging in these forests.”

As painful as it sounds, verdant forests are consistently dwindling for the sake of a quick dirty buck. So where is Tasmania’s ecological integrity? This is hardly believable in a land which is home to Australia’s first plastic bag free town, a land where ecotarian restaurants serve gluten-free organic food served in compostable and fully biodegradable packaging (you will have to visit the multiple-award winning Ugly Duck Out to see for yourself), where there are marine and terrestrial conservation programmes, eco-certified and carbon neutral activities and where you can even take a leak in Desert Cube waterless urinals at East Coast Natureworld. Also be reminded – as I have read it somewhere – that Tassie is “the only State that generates a large proportion of its electricity from hydro-electric power schemes”.

Carbon neutral quad riding is probably one of the rare thrill-packed activities you can go for in Coles Bay and on the East Coast, more generally. All4adventure’s friendly guide has taught me the safest way to ride a quad bike. Everything was taken care of when I explored the bumpy tracks of Freycinet National Park on an all terrain vehicle. Though family friendly, this adventurous tour is not for the fainthearted and teenagers under 16.

Freycinet National Park with its distinctive pink granite rock formations towering over Wineglass Bay, generous wildlife and

range of various activities will give you a jaw-dropping experience that you will never forget. Its breathtaking views can be absorbed from different scenic lookouts and hiking along its user-friendly tracks will allow you to keep fit while enjoying the gorgeous coastline that winds along the inviting turquoise sea. So inviting that I felt compelled to embark on a cruise heading to Wineglass Bay where, once arrived, the captain of the boat would treat us to some tantalizing fresh oysters and tasty Tassie cheese, with a glass of sparkling wine. How could I resist this temptation which was even greater than Cadbury Chocolate?

On the way to Wineglass Bay, an obnoxious happy little Vegemite like young Hugo in Christos Tsiolkas’ The Slap cried out: “Oh, penguins!”, to which the Sea Captain politely replied: “No, these are not penguins.

Penguins do not have such long necks.” But the kid insisted: “They do look like penguins.”

And the Sea Captain calmly answered, “These are cormorants and they fly!”

As a ready answer, the little boy who wanted to have the last word ventured: “So they are like penguins, aren’t they?”

And the Sea Captain finally gave in, or not quite: “You’re right kiddo, penguins fly too, but under water.” I am not making it up. This truly happened, and you see how stress-free Tasmanians are. I am pretty sure that on the mainland, the kid would have had his slap for rudely challenging authority.

BACKGROUND: The Gulch at Bicheno – photographer : Francesco Marena

Ben Laycock

THE PANTANAL DARKEST PERU PART V After yet another bone jarring all night bus ride we have finally arrived in the middle of nowhere. Now I know why they say travelling narrows the mind and broadens the bottom.

The Pantanal is a swamp the size of Tasmania, the largest wetland in all the world. It is flooded for 3 months of the year. The animals have to clump together on the islands and be a smorgasbord for the anacondas. We didn’t actually see any giant anacondas on our travels, or any giant ant eaters or any giant sloths for that matter but we did hear many giant anaconda stories and giant anaconda jokes, none of which are worth retelling (lost in translation) and we did meet many giant mosquitos and a giant Tarantula and whole herds of giant guinea pigs, I kid you not. They are called Capybaras and are like a small hairy hippopotamus. The locals assure me they are delicious but then they say that about all the protected species. We didn’t see any Jaguars but we did come across a fresh pile of Jaguar shit.

We are staying in a very authentic little hacienda that is strait out of an Oxfam pamphlet, complete with skinny dogs and skinny chooks and skinny cows and skinny goats and skinny horses and a big fat mama that runs the place.

We were awoken before dawn by a cacophony of screeches and squawks and hoots from the birds and howls from the monkeys and even a weird guttural noise from the caimans( alligators). Then we went canoeing. It was rather dull bit we did see a Toucan. Tick that off. The next day we went horse riding. I managed to stay awake long enough to stay on my pony. My unique riding style was a source of merriment. My daughter Kali gave me endless free advice on the art of

horse riding until she fell off.

The next day we went Piranha fishing. Now that was exciting! Up at Sparrows fart, up to our thighs in the swamp, caimans snapping up fish all around, blue macaws gliding ever so gracefully overhead. It sounds ever so dangerous doesn’t it? But the caimans are too small to eat you and the Piranhas only bite you if you are bleeding. So we ate the Piranhas instead of vice-versa. On the last day we made our very own ethnic necklaces out of fibre and seed pods so now we are members of the Gringo tribe.

Then we headed westward once again in the back of a dubious red pick-up truck, the Pantanal disappearing in a cloud of dust as we continued on our epic quest to cross South America from the Atlantic to the Pacific. We bumped our bums over many dubious bridges and around many deceased bridges and around gargantuan potholes that can devour entire cars and we quietly avoided an old caiman sleeping on the road.

We waved to Gauchos in rawhide breeches and Stetsons straight out of a cowboy movie.

All day we went west into the setting sun, with the Andes looming ever larger till they took up half the sky. Those alluring mountains are the land of The Incas. But to reach those lofty peaks we must first share the infamous Tren de la Muerte (The Train of Death) with various nefarious characters plying their illicit trade across the porous border of Brazil and Bolivia.

Next chapter: Bolivia, land of Revolution www.benlaycock.com.au

the blue mountains • The Blue Mountains Botanic Garden Saturday 30 June – Sunday 12 August: MEL JONES – artist in residence final exhibition, Tomah in Pochoir. The last 12 months of Mel Jones’ artist in residency at the Blue Mountains Botanic Garden, Mount Tomah, culminates with this Pochoir exhibition. View Mel’s unique vibrant landscapes, characterised by crisp lines and brilliant colours using the old world technique of hand cut stencilling. Open 9.30am-5pm. Free entry. T: (02) 4567 3000; E: tomah@rbgsyd.nsw.gov.au. Find us on Facebook: http://www.facebook.com/pages/ Mount-Tomah-Botanic-Garden/120351291351529 - www.mounttomahbotanicgarden.com.au

canberra • National Gallery of Australia Open daily 10am - 5pm. Parkes Place, Parkes, Canberra 2600. T: (02) 6240 6411, www.nga. gov.au

• PhotoAccess Huw Davies Gallery 26 July to 12 August Winter Postcards - a members’ show. 16 August to 2 September DAN O’DAY, I closed my eyes and I saw this.

PhotoAccess Huw Davies Gallery, Manuka Arts Centre, Manuka Circle Griffith ACT. Tuesday to Friday 10am to 4pm, weekends 12 noon to 4pm.

T: (03) 6295 7810; www.photoaccess.org.au Image: LORNA SIM: Penang (From Postcards 2011 exhibition).

NSW / ACT

cowra • Cowra Regional Art Gallery See our website for this month’s exhibitions.

77 Darling Street Cowra NSW 2794. Tues to Sat 10am - 4pm, Sun 2 - 4pm. Free Admission. www.cowraartgallery.com.au Image: G.W. Bot Glyphs: Tree of Life (detail) 2012, watercolour and graphite on colombe paper, 100cm x 100cm.

Winner 2012 Calleen Art Award.

paddington • Camera and Lighting Techniques This course covers intermediate camera operation and techniques of cinematography.

Participants will perform a number of practical exercises during this hands-on course learning skills relating to studio and location lighting, scene coverage, framing and camera movement.

Delve into the role of a cinematographer, and gain a comprehensive knowledge in all areas of camera functionality, advanced lighting techniques, special effects and creating a style that’s right for your production. Starts 15 September. Location: Metro Screen, Paddington Town Hall, Sydney. Book Now: http://www.metroscreen.org.au/course.

rookwood • Hidden: A Rookwood Sculpture Walk 2012 1 September – 14 October 2012 Explore sculpture amongst the graves and be part of a truly enlivening experience! Hidden invites you to explore the biggest working cemetery in the Southern Hemisphere and admire the 39 highly contemplative sculptures that respond to the iconic site. Open sunrise to sunset, starting at the Northern end of Hawthorne Avenue, Rookwood Cemetery. Entry is Free. Catalogue and visitor information available at the Anglican and General Office, Hawthorne Avenue, Rookwood.

Opening Saturday 1 September 2 – 5pm On the Village Green – Corner of Hawthorne Avenue and Necropolis Drive, Rookwood. For more information visit www.hidden.rookwoodcemetery. com.au or call Bethany on (02) 9746 2177

sydney • Art Gallery of New South Wales JACKY REDGATE: the logic of vision, 2 June – 9 September 2012. KAMISAKA SEKKA: master of modern Japanese art and design, until 26 August 2012. 18th Biennale of Sydney: All our relations until 16 September 2012. Art Gallery Road, The Domain, Sydney NSW 2000. T: (02) 9225 1744, www.artgallery.nsw.gov.au

windsor • Hawkesbury Regional Gallery 13 July – 26 August: Light Sensitive Material: Works from the Verghis Collection. Deerubbin Centre, 1st Floor, 300 George Street Windsor 2756. T: (02) 4560 4441 F: (02) 4560 4442; MonFri 10am-4pm Sat & Sun 10am-3pm, (Closed Tues and public holidays). Free admission. www.hawkesbury.nsw.gov.au

devonport • Devonport Regional Gallery 25 August – 28 October. Main Gallery Homage: The Royal Dozen (2008–10) & The Regal Twelve (2004–07). An Australian Centre for Photography touring exhibition. Artist: ALEXIA SINCLAIR. Opening Friday 24 August, 6pm.

Alexia Sinclair’s distinct and highly complex digital composite photographs are celebrated in art collections and publications throughout the world. Sinclair travelled the globe to photograph architecture and landscapes that she then used in her constructed photomedia portraits of great historical figures. Nobles such as Alexander the Great will be represented in this captivating exhibition. Image: Marie Antoinette - the Extravagant Queen (17551793) 2005. The Little Gallery Catching a Mirage. Artist: FERNANDO DO CAMPO. Catching a Mirage marks a return to works on paper for artist Fernando do Campo. This exhibition investigates the dichotomy between the limitation and limitlessness of pictorial space to hold visual information.

Open Mon - Fri 10am-5pm, Sat 12noon5pm, Sun and Public Holidays 1pm-5pm. 45 Stewart Street, Devonport,Tasmania 7310. E: artgallery@devonport.tas.gov.au T: (03) 6424 8296; www.devonportgallery.com.

hobart • Inka Gallery Inc. Not-for-profit, artists’ run, original contemporary art. Exhibitions three-weekly. Salamanca Place, Hobart. Hours 10am-5pm,T: (03) 6223 3663 www.inkagallery.org.au; www.inkagalleryhobart. blogspot.com

TASMANIA

• MONA, Museum of Old and New Art, Hobart Ancient, modern and contemporary art.

Monanism the permanent collection – evolving over time. Current exhibition: Theatre of the World curated by JEAN-HUBERT MARTIN through to 8 April, 2013. More than 350 artworks and objects of curiosity spanning 4,000 years of creativity. Fees: $20/adult; under 18s are free. Autumn/winter opening hours: 10am to 5pm, closed Tuesdays. Food, bars, winery, microbrewery, accommodation, bookshop and library. 655 Main Road Berriedale, Tasmania, 7011. T: (03) 6277 9900, www.mona.net.au

box hill • Box Hill Community Arts Centre 31 July – 12 August, ART WITHOUT BORDERS - A migrants journey in textiles; 14 – 19 August, MISHAAN MAGAN - The Anuk Sisters; 21 – 26 August, CONTEMPORARY WOMEN PAINTERS – Encore; 28 August – 9 September, ALRASSA ART GROUP. 470 Station Street Box Hill t: (03) 9895 8888 www.bhcac.com.au

• Whitehorse Art Space 4 August – 1 September FRANCIS REISS – War and Peace. An exhibition by respected local photo journalist Francis Reiss. Born in Hamburg in 1927, Francis Reiss still travels widely and undertakes photographic work well into his 80s. And in the All Nations Foyer Looking Through My Eyes a photographic exhibition by CARLY YOUNG. Hours: Tues and Fri 10am-3pm, Wed and Thurs 9am-5pm, Saturday noon-4pm. T: (03) 9262 6250, 1022 Whitehorse Road, Box Hill VIC 3128, www. boxhilltownhall.com.au Image: Francis REISS, Ambulance Servicewomen arrive at the scene, copyright. the Artist.

MELBOURNE

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brunswick • August Clown Gallery August Clown Gallery is a new creative space showing contemporary, lowbrow and surrealist art. The Gallery sells originals, limited edition prints and collectables. Join us on Friday 24 August, 6pm for our grand opening exhibition, Runaway Circus and a celebration of the bizarre and unusual. Exhibition runs until 9 September.

696 Sydney Road, Brunswick. Gallery hours (from 24 August onwards): Fri 2pm - 8pm, Sat 10am - 3pm, Sun 10am - 3pm. Image Credit: LYDIA DEKKER (Netherlands), polymer clay sculptures. www.augusteclown.com

• Counihan Gallery in Brunswick 16 August – 16 September: Le Coq, BENJAMIN SHEPPARD. The Elaboratorium: Scale Free Network, BRIONY BARR, DR GREGORY CROCETTI, JACQUELINE SMITH. Opening event Thursday, 16 August, 6-8pm. Scale Free Network drawing workshops Saturday 18 August and Saturday 1 September, 12-2pm. Bookings required T: (03) 9389 8622. 233 Sydney Road, Brunswick 3056 T: (03) 9389 8622; www. moreland.vic.gov.au/gallery. E: counihangallery@ moreland.vic.gov.au Image: Elaboratorium Test image 2, 2012, video flex camera, overhead projector, moss, video projection.

bulleen • Bolin Bolin Gallery At Bulleen Art & Garden 10 August to 16 September. Daily 9am to 5pm. Clay Connections an exhibition by the VALLEY POTTERS. Bulleen Art & Garden, 6 Manningham Road West, Bulleen 3105. T: (03) 8850-3030; www.gallery.baag.com.au Like us on Facebook: http://www.facebook.com/ BolinBolinGallery

bundoora • Bundoora Homestead Art Centre 6 July – 26 August 26 2012 Menagerie Merveilleuse: curious beasts of Bundoora and beyond. A Bundoora Homestead Art Centre exhibition. SHARON WEST presents a selection of unnatural specimens overlooked by zoologists.

Marvellous hybrid curios are featured including kangaroosters and budgeroos. Winner of the 2011 Darebin Art Show award, Sharon West is the inaugural Artist in Residence at Bundoora Homestead Art Centre. 7-27 Snake Gully Drive, Bundoora. (Melways 19 G2) T: (03) 9496 1060; http://bundoorahomestead.com

burwood • Deakin University Art Gallery Face to Face, 25 July – 1 September 2012.

Responding to an idea from Deborah Walker (Deakin University), this exhibition displays creative responses to the Deakin University Art Collection by arts practitioners from the School of Communication and Creative Arts at Deakin University. It includes the work of 22 staff from visual arts, animation, film, photography and dance as well as some postgraduate candidates.

Gallery hours 10am - 4pm Tuesday to Friday, 1 - 5pm Saturday. Closed Public Holidays, Free Entry. 221 Burwood Hwy, Burwood 3125. T: (03) 9244 5344; F: (03) 9244 5254, E: artgallery@ deakin.edu.au; www.deakin.edu.au/art-collection clockwise from bottom left: John Wolseley, Dunes climbing a mountain (detail) 1993; Thornton Walker, The Homage (detail) 2008; collingwood Anna Eggert, Vesna 2004; David Dellafiora, Beware of Poets Bearing Dreams (detail) 2009; Stephen Bush, Cumberland (detail) 2010.

All works in the Deakin University Art Collection. Images reproduced with permission from the artists.

• Friends of the Earth: Art Auction Fundraiser Sunday 16 September, viewing from 4pm onwards, auction starts 6.45pm for Friends of the Earth’s Anti-nuclear and Clean Energy (ACE) campaign. Hogan’s Gallery, 310 Smithto an idea from Deborah Walker (Deakin University), this exhibition Responding 25 July to 1 September 2012 displays Street, Collingwood (next door to FoE).

We creative are responses to the Deakin University Art Collection by arts practitioners from the School of Communication and Creative Arts at Deakin seeking quality art donations - please contact Deakin University creative artists University. It includes the work of 22 staff from visual arts, animation, film, respond to the Deakin University E: Zin ace@foe.org.au, M: 0408 165 735. www. and dance as well as some postgraduate candidates. photography Art Collection. , www.foe.org.au/anti-nuclear acecollective.org We gratefully acknowledge the support of the Deakin University Centre

Face to Face

for Memory, Imagination and Invention and the Processes of Signification Emerging Research Group (PSERG).

Deakin University Art Gallery, Deakin University, Melbourne Burwood Campus, 221 Burwood Highway, Burwood Victoria 3125. Melways ref 61 B5.

T +61 3 9244 5344 F +61 3 9244 5254 E artgallery@deakin.edu.au Hours Tuesday–Friday 10 am–4 pm, Saturday 1 pm–5 pm, free entry.

Gallery closed on public holidays.

Please visit deakin.edu.au/art-collection for exhibition details.

Deakin University CRICOS Provider Code: 00113B

deer park • Hunt Club Community Arts Centre Galleries To 18 August Colour Our World, an exhibition of paintings and drawings by the WESTERN ART GROUP. 25 August – 29 September Pelican, paintings and working drawings by illustrator-in-residence MEREDITH THOMAS. Part of Brimbank Writers Festival. Centre open Mon-Thurs 9am - 7.30pm, Fri 9am - 4.30pm, Sat 9am -12.30pm. Closed Public Holidays. 775 Ballarat Road, Deer Park (Melway 25, F8) T: (03) 9249 4600 E: huntclub@brimbank.vic.gov. au www.brimbank.vic.gov.au/arts

doncaster • Manningham Art Gallery Relocation Manningham Gallery will be closed through August whilst it relocates to a new space within Manningham City Square (MC²), 687 Doncaster Road, Doncaster. Comprising two exhibition spaces and rebranded as Manningham Art Gallery, the new gallery will create opportunities for a diverse mix of exhibitions and be a major focal point for art and cultural activities in Manningham. Manningham Art Gallery will launch in early September with the exhibition Potters Cottage: a tribute, an exhibition celebrating the influential Warrandyte ceramic artist collective which ran from the late 1950s until the early 2000s. For more information visit www.manningham.vic.gov.au/gallery MC² (Manningham City Square), 687 Doncaster Road, Doncaster 3108. Mel Ref. 33 F12. Open Tuesday to Saturday 11am to 5pm. T: (03) 9840-9367. E: gallery@manningham.vic.gov. au; www.manningham.vic.gov.au/gallery Free entry. Image: Artist’s impression of Manningham Art Gallery from MC² foyer.

east melbourne • The Johnston Collection House Museum and Gallery Fairhall: The Bride, The Ship & The Wardrobe: Romance Was Born Meets William Johnston, with a series of installation works by KATE ROHDE, 2 July – 24 October. LUKE SALES and ANNA PLUNKETT from ROMANCE WAS BORN, one of Australia’s most internationally celebrated fashion houses, will apply their famously quirky design sensibility to William Johnston’s collection for this guided tour. Sales and Plunkett have created themes based on the colours of the rooms and into each theatrically designed space they will introduce examples of their clothing set against the backdrop of Johnston’s extraordinary collection.

Gallery: Commanding Splendour: The Duke of Wellington & The Empire Style 2 July – 26 October. Celebrates Wellington and explores the theme of Empire Style as it emerged in England in the early 19th century. This exhibition is to be viewed free of charge in conjunction with all house-museum Tours or Lecture bookings. Bookings essential www.johnstoncollection.org

fitzroy • Colour Factory Gallery Kanazawa Study by ROHAN HUTCHINSON. Exhibition dates: 3 August – 1 September.

Opening night: 2 August, 6-8pm. 409 - 429 Gore Street, Fitzroy 3065. T: (03) 9419 8756, F: (03) 9417 5637. Gallery hours: Mon - Fri 10am - 6pm, Sat 1 - 4pm. E: Gallery@colourfactory.com.au

footscray • Magnani Papers Australia Beautiful fine art papers for printmaking, painting and drawing. Mention this Trouble ad and get 10% off! 40 Buckley Street Footscray 3011. T: (03) 9689 5660, www.magnani.com.au E: james@magnani.com.au

healesville • TarraWarra Museum of Art 5 August – 9 December 2012 TarraWarra Biennial 2012: Sonic Spheres. Curator: VICTORIA LYNN. An assemblage of contemporary Australian artworks engaged with music, sound and voice. The exhibition will include drawings, musical scores, sculptures made from musical instruments, paintings and video. This year, the biennial will include the work of 20 artists and one collaborative group: ROBYN BACKEN, LAUREN BRINCAT, EUGENE CARCHESIO, THE DONKEY’S TAIL, MARCO FUSINATO, NATHAN GRAY, DAVID HAINES and JOYCE HINTERDING, ROSS MANNING, DYLAN MARTORELL, VICTOR MEERTENS, ANGELICA MESITI, YUKULTJI NAPANGATI, JAMES NEWITT, TOM NICHOLSON with ANDREW BYRNE, JOHN NIXON, SANDRA SELIG, CHRISTIAN THOMPSON, RAY JAMES TJANGALA and JOHNNY YUNGUT TJUPURRULA. Performances on the first Sunday of every month. See website for details.

TarraWarra Museum of Art, 311 HealesvilleYarra Glen Road, Healesville. For information and bookings visit twma.com.au Image: Dylan MARTORELL Masuk Angin gamelan robot 2012, mixed media, dimensions variable.

Photo: Dylan Martorell. Courtesy of the artist and Utopian Slumps, Melbourne.

langwarrin • McClelland Gallery + Sculpture Park 29 July to 28 October. CLIVE STEPHEN: Sculptor and Awakening Forms: VINCAS JOMANTAS and CLIFFORD LAST. Australia’s leading Sculpture Park and Gallery. 390 McClelland Drive, Langwarrin (Mel. Ref. 103 E3 only 45 min from St Kilda!) T: (03) 9789 1671. Gallery Hours: Tues-Sun 10am-5pm (Entry by donation). McClelland Gallery Café, Tues-Sun 10am-4.30pm. Guided Tours: Wed and Thurs 11am and 2pm, and Sat and Sun by appointment only. Prior bookings highly recommended. E: info@mcclellandgallery.com, www.mcclellandgallery.com

melbourne • BLINDSIDE New Festival Heading to BLINDSIDE in August!

For those who want to travel to someplace new, BLINDSIDE brings you Everywhere But Here – its inaugural Festival based around notions of travel, transitions and place, 2 – 11 August. For the full program go to www.blindside.org.au Nicholas Building, 714/37 Swanston St (enter via Cathedral Arcade lifts, cnr Flinders Lane), Melbourne. Hours: Tue to Sat 12-6pm. T: (03) 9650 0093; Image: Charles Robb, Landmark, Helen Lempriere National Sculpture Award and Exhibition, Werribee Parklands, Melbourne 2005. Image: Zoe Scoglio.

• fortyfivedownstairs 31 July – 11 August, TUPUN NGURANGURU – People of the Sandhill Country The Spinifex Arts Project - 15th Anniversary Exhibition, presented

by Vivien Anderson Gallery, collaborative painting. 31 July – 19 August, Mademoiselle

by HIGH PERFORMANCE COMPANY, music theatre revue. 14 – 25 August, Then x Ten: The Power of the Poster, A HERMAN MILLER exhibition, prints and posters. 22 August – 2 September, The Marvelous Wonderettes

by MONSTER MEDIA, musical theatre. 29 August – 8 September, Parallel Tensions: New Designer Exhibition, MELBOURNE FASHION WEEK 2012, fashion design. 45 Flinders Lane, Melbourne, 3000. T: (03) 9662 9966 www. fortyfivedownstairs.com

• RMIT Gallery 29 June – 25 August: YULYULYU: Lorna Fencer Napurrurla. The first major exhibition of well known Warlpiri artist Yulyulyu LORNA FENCER NAPURRURLA (1924-2006) traces her development as a highly original artist and highlights her importance as a master painter within the Lajamanu region and within the broader framework of central desert art movement. Presented by Mimi Aboriginal Arts and Crafts in association with Artback NT Arts Development and Touring. This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. Public Program 29 June: 12-1 pm Margie West curator talk.

29 June – 25 August: Stars of the Tokyo Stage: Natori Shunsen’s Kabuki actor prints. An inspiration to artists for centuries, kabuki draws on Japan’s rich folklore, literature and history, as well as violent, romantic and scandalous events, to present lavish dramatic performances. This exhibition from the National Gallery of Australia reveals the dynamic world of Japan’s kabuki theatre through superb actor portraits created by artist NATORI SHUNSEN (1886–1960) in the 1920s and 30s. A selection of spectacular kabuki robes further illustrates the extravagance of the theatrical form. Public Program 26 July:12-1 pm Lucie Folan, curator talk.

29 June – 25 August: Kindness/Udarta: AustraliaIndia Cultural Exchange. Celebrating 20 years of the Australia-India Council’s successful program of cultural exchanges between Indian and Australian visual artists, writers and musicians, Kindness/Udarta: Australia-India Cultural Exchange bears witness to the depth of vitality that only the arts can so readily engender.

With more than 117 writers, visual artists and musicians including THOMAS KENEALLY, ALEXIS WRIGHT, LES MURRAY, ROBYN BEECHE, CALLUM MORTON, JENNY WATSON, HAKU SHAH, GIRIRAJ PRASAD, NALINI MALANI, SEEMA KOHLI, BHARTI KHER, SHILPA GUPTA, SUBODH GUPTA, PRADYUMNA KUMAR AND RANBIR SINGH KALEKA. Public Program 2 August: 5.30-7 pm.

RMIT Gallery: Indian cultural celebration, with music, food and readings. Special guests Indian author Kiran Nagakar and Australian author CHRISTOPHER KREMMER.

RMIT Gallery: 344 Swanston Street, Melbourne 3000. T: (03) 9925 1717; F: (03) 9925 1738; E: rmit.gallery@rmit.edu.auwww.rmit.edu.au/ rmitgallery. Free admission. Lift access. Mon-Fri 11am to 5pm, Thurs 11-7. Sat 12 to 5pm, closed Sun and public holidays. RMIT Gallery open on RMIT Open day Sunday 14 August. Become a Fan of the Gallery on Facebook. Follow us on Twitter@RMITGallery. Now open to 7pm Thursday nights.

moonee ponds • Incinerator Gallery 10 August – 9 September. Naturally Wild ROUSSEL CLO. French born Australian artist, Roussel Clo captures the drama and tension of life in urban spaces and the personal angst of environmental destruction. Twilight opening 10 August 6pm-8pm with live music from SAW LAWRENCE. The Atrium Project: Filling the Void LAURA WOODWARD. Laura Woodward’s newest work Web, created specifically for the Incinerator Gallery’s Atrium, furthers her ongoing investigations in to the creation and use of systems, and water, within her work.

Twilight opening 10 August 6pm-8pm with live music from Saw Lawrence. Call For Entries Fire Works: Art and Design by Bright Young Things. The Incinerator Gallery’s newest art prize for VCE students who live in or go to school in Moonee Valley. $500 cash prizes for best design and best art. Entries open 22 August. For more information and to enter visit our website. Opening hours: Tues to Sun, 10am-4pm. Free Entry. Incinerator Gallery, 180 Holmes Road, Moonee Ponds VIC 3039 T: (03) 8325 1750, E: incinerator@mvcc.vic.gov.au, www.incineratorgallery.com.au

southbank

• ACCA - Australian Centre for Contemporary Art 11 August to 23 September 2012. PAT BRASSINGTON: ÁRebours, a major survey by one of Australia’s most important and influential photo-based artists. This is the first extensive gathering of Brassington’s 30 years of practice and explores her ongoing aesthetic language derived from surrealism and cinema reinterpreted through photography. Sculptural Matter. Including video and photography, cast and found forms, installations and assemblages, Sculptural Matter explores a sculptural way of thinking and making from both a historical and contemporary perspective. It includes such iconic works as Richard Serra‘s Hand Catching Lead (1968) and Alina Szapocznikow’s Photosculptures (1971) to Thea Djordjadze’s recent temporal installation, constructed in situ in the ACCA exhibition hall. Sculptural Matter will introduce leading established as well as emerging international practitioners to Australian audiences, many for the first time.

Artists: NAIRY BAGHRAMIAN, CAROL BOVE, THEA DJORDJADZE, GABRIEL KURI, SARAH LUCAS, SHAHRYAR NASHAT, RICHARD SERRA, ALINA SZAPOCZNIKOW, TATIANA TROUVE. Australian Centre for Contemporary Art, 111 Sturt Street, Southbank.Gallery Hours: Tuesday-Friday 10am-5pm, Weekends and Public Holidays 11am-6pm.

Mondays by appointment. T: (03) 9697 9999. Admission: Free. www.accaonline.org.au

st andrews • The Baldessin Press and Studio Artists / writers retreats, workshops, studio access etc in tranquil bushland 50 kms from Melbourne. T (03) 97101350, www. baldessinpress.com

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sunshine • Sunshine Art Spaces Artist studios, gallery and shop front. Four artists – weaver LIA PA’APA’A, community film maker AMIE BATALIBASI and comic book artist JARROD ELVIN – have been successful in obtaining licences on the studio space located in what was previously a chemist shop. Opposite the studios is a Gallery space, which will feature a exciting program of exhibitions. Open Weds-Sat, 10am-4pm. 2 City Place, Sunshine (Melway 40, H1) T: (03) 9249 4600 E: artspaces@brimbank.vic.gov.au; www.sunshineartspaces.com.au

upwey • Burrinja Gallery Jus’ Drawn: proppaNOW Collective. A touring exhibition of works by eight of Australia’s most important urban Indigenous artists, until 26 August. Cnr Glenfern Rd and Matson Dr. Tue to Sun 10.30am-4pm. T: (03) 9754 8723. W: burrinja.org.au Image: VERNON AH KEE, Unwritten (detail).

wheelers hill • Monash Gallery of Art (MGA) 18 July -26 August 2012 TOPSHOTS: the best photomedia work by VCE Art, Media and Studio Arts students. 3 August – 30 September 2012 Photographic abstractions. Drawing on MGA’s nationally significant collection of Australian photographs, this exhibition highlights the work of artists who use photography to achieve abstract effects. 860 Ferntree Gully Road, Wheelers Hill 3150. Tues - Fri 10am to 5pm, Sat - Sun 12 to 5pm, Closed Mon. T: (03) 8544 0500, E: mga@ monash.vic.gov.au, www.mga.org.au Image: David MOORE, Blue collage 1983, chromogenic print collage, 22.0 x 30.0 cm. Monash Gallery of Art, City of Monash Collection. Courtesy of the Estate of David Moore.

BAY & PENINSULA geelong • Geelong Gallery Five decades of abstraction 4 August to 2 September. Skater – portraits by NIKKI TOOLE, National Portrait Gallery and Geelong Gallery touring exhibition, until 9 September. Sentinels and showboats – milestones in print collecting until 9 September. Melrose art pottery, a Bundoora Homestead Art Centre touring exhibition, until 7 October. Geelong Gallery, Little Malop Street, Geelong 3220. T: (03) 5229 3645, www.geelonggallery.org.au Free entry.

Open daily 10am to 5pm. Closed Christmas Day, Boxing Day and New Year’s Day. Image: GEORGE JOHNSON, Construction with orange diagonal (detail) 1987, synthetic polymer paint on canvas. Collection: Geelong Gallery. Gift of Jennifer Zimmer through the Australian Government’s Cultural Gifts Program, 2011.

Reproduced courtesy of the artist and Charles Nodrum Gallery, Melbourne.

mornington peninsula • Mornington Peninsula Regional Gallery 21 June – 12 August: Controversy: The power of art, an exclusive Mornington Peninsula Regional Gallery exhibition. Mornington Peninsula Regional Gallery, Civic Reserve, Dunns Rd, Mornington VIC 3931. T:: (03) 5975 4395; W: mprg.mornpen.vic.gov.au. Open Tuesday – Sunday 10am-5pm.

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CENTRAL VIC ballarat • Art Gallery of Ballarat T: (03) 5320 5858 Free entry. Open daily 9am to 5pm. E: artgal@ballarat.vic.gov.au; www. artgalleryofballarat.com.au

• Ballarat Arts Foundation Grants Rounds for emerging artists: 1 – 31 March and 1 – 30 September. Visit Downloads on www.ballaratartsfoundation.org.au or T: (03) 5332 4824 or M: 0409 352 268

• Her Majesty’s Until 12 August, BALLART LYRIC THEATRE’s Hairspray; Friday 17 August 8pm, The Fabulous Delltones; Tuesday 21 August 2pm, GINA HOGAN’s Women of the 60’s; from 18 August to 31 October, 2012 Royal South Street Competitions. Her Majesty’s Theatre, 17 Lydiard Street South, Ballarat. Box Office/Ticket Sales: MajesTix T: (03) 5333 5888 Box Office hours - Monday to Friday, 9.15am - 5pm and one hour prior to performance starting times.

• Post Office Gallery Wed 1 Aug – Sat 1 Sep BENCHMARK: UB Undergraduate Visual Arts. University of Ballarat Arts Academy students across all disciplines within the Visual Arts, in second, third and Honours level of the Degree and Diploma courses present their current work in the Gallery’s special exhibition for 2012 showcasing a vast range of themes and ideas and broad approaches to their subject. Post Office Gallery, University of Ballarat.

Cnr Sturt and Lydiard St Ballarat. VIC. 3350.

Mon/Tue by appt. Wed-Sat 1-4pm. T: (03) 5327 8615, E: s.hinton@ballarat.edu.au; www.ballarat. edu.au. Image: PETER GEORGAKIS, Oscillation 2012, digital print on paper. Courtesy the artist.

• Radmac “Now Showing “ at the Radmac Gallery through August 2012 Local Artist JULIE SCOTT with a very colourful range of landscapes and abstract art created in acrylics on canvas along with JAMES SCOTT (not related) from Oxford England his exhibition titled The Unborn Collection a range of oils, acrylics, watercolour and mixed media on wood and canvas. Radmac Gallery, 104 Armstrong Street (Nth) Ballarat 3350 Ph (03) 5333 4617 Gallery Hours 8.30 am to 5.30 pm Mon – Fri 9.00 am to 12.00 pm Sat. Entry Free. Enrol now for Art Classes, Gallery and Studio Space available. Image: James Scott, from The Unborn Collection.

bendigo • Artsonview Framing and Gallery Expert custom framing by GEOFF SAYER. Conservation and exhibition framing also available. Plus a small but interesting range of original artwork and photography. Ceramics and etchings by RAY PEARCE, limited edition prints by GEOFF HOCKING now in stock. 75 View Street. E: sayer@iinet.net.au; T: (03) 5443 0624

• Bendigo Art Gallery The Paul Guest Prize 14 July – 26 August.

IAN HILL: The Riverina series 21 July – 2 September. 42 View Street, Bendigo. T: (03) 5434 6088. www.bendigoartgallery.com.au Image: Ian Hill, Leeton (detail) 2000–04, gelatin silver print. Courtesy of the artist.

• The Capital Info and tickets online at www.thecapital.com.au.

T: (03) 5441 6100 or visit 50 View Street, Bendigo. Full list of shows at website.

5434 6100 www.thecapital.com.au 50 VIEW STREET BENDIGO

• Community & Cultural Development (CCD) www.bendigo.vic.gov.au - for arts, festivals and events info at your fingertips. Select Council Services, then Arts Festivals and Events for Events Calendar and Arts Register. The CCD Unit is an initiative of the City of Greater Bendigo. E: eventscalendar@bendigo.vic.gov. au T: (03) 5434 6464

• La Trobe University Visual Arts Centre VAC Gallery: 1 August – 9 September JEREMY KIBEL – Looking Back at the Glass Asylum.

Access Gallery: To 12 August TOM PENDER – White Hills. 15 August – 9 September PAUL FLETCHER – The Tyranny of the Moment, the Closeness of Distance. Gallery hours: Tue - Fri 10am-5pm, Sat - Sun 12pm-5pm. 121 View Street, Bendigo. T: (03) 5441 8724; www.latrobe. edu.au/vac Image: Image: Jeremy Kibel, Untitled (detail) 2007, spray pack mixed media on Indian handmade paper. Image courtesy of the artist and Blockprojects.

castlemaine • Arts Officer - Jon Harris Community Activity and Culture Unit Mount Alexander Shire Council Jon Harris (Tues, Wed, Thurs, Fri) PO Box 185 Castlemaine 3450. T: (03) 5471 1793, M: 0428 394 577, E: arts@mountalexander.vic.gov.au

• Buda Historic Home and Garden A property of national significance. Home of the creative Leviny family from 1863 to 1981, featuring their personal belongings, original furnishings and arts and crafts collection.

1.2 hectares of heritage gardens to wander including plant nursery. 42 Hunter Street, Castlemaine 3450. T/F: (03) 5472 1032, W: www.budacastlemaine.org Open Wed - Sat 12-5pm, Sun 10am-5pm. Groups by appointment.

• CASPA Four Seasons of the Hepburn Shire – photography by IVAN CARTER, SARAH CORFE, OLIVER HOLMGREN and ELIZABETH WADE. Highlighting the ever-changing light, colour, faces, places and moods of the four seasons of the Hepburn Shire region. Opening Sat 28 July 6:30pm until Fri 24 August. Above Stoneman’s Bookroom, Hargraves Street. www. castlemainefringe.org.au/caspa

• Castlemaine Art Gallery and Historical Museum Jeff Makin: Drawings 4 August – 2 September.

JEFFREY MAKIN is a full-time artist, art critic and Director of Port Jackson Press Australia, who now lives in Chewton. He recently published his essays and reviews on Art in Australia titled Critical Moments.

The exhibition will focus on drawings of Central Victoria and elsewhere based on the landscape. 14 Lyttleton Street Castlemaine, Vic. For full list of events and exhibitions log onto: www.castlemainegallery.com Image: Jeff Makin, The Old Oak! (detail), charcoal and oil stick. Collection of the artist.

• Falkner Gallery Until 2 Sep This Dress Belonged to ... Fact and Fiction: CHERYL KENNEDY and LINDA MCLEAN, mixed media sculpture. 35 Templeton Street, Castlemaine. Hours: 11am-5pm ThursSun T: (03) 5470 5858; E: falknergallery@tpg. com.au; W: www.falknergallery.com.au Image: Linda McLean, Lucinda Thompson, mixed media sculpture.

• Greengraphics: web and print We design anything, in web or print. Call (03) 5472 5300 or visit www.greengraphics.com.au

• Lot19 Studios and Artspace We are currently seeking submissions for the annual spring sculpture prize! see the website for details, and for ongoing exhibitions and arts events. Lot19 Langslow Street (up Mcshannags Road) Castlemaine. www.lot19art.com

• Nunan Gallery New and retrospective art work by BRIAN NUNAN. Be unafraid – come and visit and enjoy. Open Frid. Sat. Sun 10am to 5pm. Nunan Gallery, 40 Campbell Street Castlemaine. T: (03) 5470 6724; E: brian@briannunan.com; www.briannunan.com Image: Brian Nunan, Kimberley Man.

• Union Studio Framers and Gallery Custom, exhibition and conservation framing.

Contemporary art and design gallery. Special offer to Trouble readers: mention Trouble and get 20% OFF all Picture Framing in August.

Open 7 days. 74 Mostyn Street (enter via Union St) Castlemaine. www.unionstudio.com.au T: (03) 5470 6446

kyneton • Stockroom Makers, artists and project space. 9 August to 2 September (opening Sat 11 August, 4.30pm), AKIRA AKIRA, CARLY FISCHER, ELAINE MILES, ELLIE MUCKE, ESS LABORATORY, JASON WATERHOUSE, KRIS COAD, MASCHA MOJE and WELFE, _utility (A Craft Victoria, Craft Cubed Festival Event); MARK SPENCER, Point of Departure; JILL BRAILSFORD, Storyboard. Thurs-Mon 10.30am-5pm. 98 Piper Street, Kyneton 3444.

T: (03) 5422 3215. www.stockroomkyneton.com Image: Jason Waterhouse, Pencil.

• Sojourn A creative journey of the coast and country offering glimpses through the eyes and imaginations of three unique photographers, DEBORAH MULLINS, HOWARD MAYLOR and LIZA CLEMENTS. By offering perspectives that are often overlooked these works inspire the viewer to pause their sojourn to discover a moment in time that can be seen one minute but gone the next. 22 August – 9 September 2012.

Exhibit Artist Space 12-14 Piper Street, Kyneton M: 0407 357 888

newstead • Dig Café Until 5 September MICHAEL HAMPTON photographer - www.michaeljhampton.com Closed Monday and Tuesday. Open Wednesday and Thursday 9am-4pm, Friday and Saturday 9am - late, Sunday 9am-4pm. Cnr Lyons and Panmure Streets Newstead. T: (03) 5476 2744; www.digcafe.com.au IMAGE: Allex Hall, untitled 2011, acrylic on canvas, 40x60cm.

• Gathering Gathering is located in Newstead, 15 minutes from Castlemaine, 25 mins from Daylesford. We stock all original, all Australian, all handmade goods. Perfect for shopping for that special gift or for something for yourself. You can find one of a kind pieces for grownups and kids to wear, adorn yourselves with, and place in your home.

It is a space in our community to see hand making at its best. Panmure Street Newstead.

• Pocket Gallery Words in Winter presents a fascinating exhibition exploring words, with and without meaning. Love letters and Unspeakable Words – Words, Pictures and Adventures in Typography, with HORSE, RYAN FORD and CAROL PORTER, will be at the Pocket Gallery, Newstead RTC, 45 Lyons Street, Newstead from 3 August. Opening Hours 9am-5pm MonFriday, until end the month. Image by Horse.

• Words in Winter – Newstead What better for the cold, bleak end of winter, than a celebration of the spoken and written word in all forms. Events will be staged in Newstead from 2 – 31 August, with readings, lectures, discussions and stories told with poetry and song. Newstead’s famous Salon evening at the Crown Hotel returns first Thursday of the month. A highlight is again the hotly contested Inter-Town Challenge. Picture the entire town doing a general knowledge crossword together!

(BYO coffee and reference books – but no internet.) A full program of Newstead’s events at local café, pub and winery, can be found at http://newstead.vic.au/organisation/wordswinter) The full district-wide program is at http:// www.daylesfordonline.com/wordsinwinter

• Karen Pierce Painter, Illustrator, Art Teacher, Community Artist.

Quality prints and cards. Old Post Office Studio, 22 Panmure Street Newstead. T: (03) 5476 2459, www.karenpierceart.com

• Print Council of Australia Inc. Printmakers and print collectors stay in touch with print exhibitions, events and technical issues through IMPRINT magazine. Members receive frequent email updates and information about opportunities (courses, forums, group exhibitions and competitions). Subscriptions $65/year or $45 concessions see website: www.printcouncil.org.au or phone T: (03) 9328 8991 for membership details

mildura • The Art Vault To 13 August DARIA HEALY-KOLJANIN Curiosity Killed The Cat main gallery; late ZANDRINA TACEY I will not live an unlived life small gallery. 15 August – 3rd September JULIAN MEAGHER As a matter of fact – 52 tins flight QF1 main gallery; SARAH AMOS The Mikros series small gallery. 43 Deakin Avenue, Mildura 3500. T: (03) 5022 0013 E: juliechambers@theartvault.com.au www.theartvault.com.au Gallery Director: Julie Chambers. Wed - Sat 10am to 5pm and Sun Mon 10am to 2pm. Artists in Residence: Julian Meagher; Sarah Amos. Image: Julian Meagher, Orchis 2012, oil on linen, 71x54cm.

• Mildura Arts Centre 3 July – 17 August 2012, Spirit of Community: NAIDOC exhibition. Venue: LEAP Project Space, 39 Langtree Ave, Mildura. Open Tues-Fri: 11am3pm. Mildura Arts Centre Regional Gallery is closed while the Centre undertakes an exciting redevelopment of Mildura’s arts and cultural precinct. 199 Cureton Avenue, Mildura VIC 3500.

T: (03) 5018 8330; F: (03) 5021 1462; www. milduraartscentre.com.au Image: Bobbi-Jean Sailor and daughter Taniah Hollier, photo LEAP.

swan hill • Swan Hill Regional Art Gallery Syzygy by HARRY NANKIN, 11 July to 26 August.

Chaos Calm by MICHELLE HUNT, 11 July to 5 August. STREETON TRIO, Chamber Music Concert, 28 July at 7.30pm. Tickets: General $34.50 / Art Gallery Associate Member $32.00 / Students $12.00. For bookings phone the Gallery.

Opening hours 10am-5pm Tuesday to Friday, 11am-5pm Saturday and Sunday. Horseshoe Bend, Swan Hill, 3585. T:(03) 5036 2430 E:artgal@swanhill.vic.gov.au; www.swanhillart. com Image: Harry Nankin, Syzygy.

MURRAY RIVER

NORTHERN VIC

benalla • Benalla Art Gallery RAD VCE exhibition 4 to 26 August. Opening hours 10am - 5pm. Benalla Art Gallery, Bridge Street, Benalla, Victoria, 3672. T: (03) 5760 2619; E: gallery@benalla.vic.gov.au; www. benallaartgallery.com

shepparton • Shepparton Art Museum 20 September – 19 November: 2012 Sidney Myer Fund Australian Ceramic Award. 70 Welsford Street, Shepparton VIC 3630; T: (03) 5832 9861; E: art.museum@shepparton.vic. gov.au; www.sheppartonartmuseum.com.au Acting Director: Ryan Johnston. Open 7 days, Free Entry.

wangaratta • Wangaratta Art Gallery 28 July – 26 August 2012 BILL HENSON: early work from the MGA collection. 56 Ovens Street Wangaratta. Director: Dianne Mangan, Hours: Mon-Tues 12-5pm; Wed-Fri 10am-5pm, Sat-Sun 1-4pm. T: (03) 5722 0865, F: (03) 5722 2969, E: d.mangan@wangaratta.vic.gov. au or gallery@wangaratta.vic.gov.au; www. wangaratta.vic.gov.au then follow the links to the gallery. Follow us on Facebook.

Image: AMANDA HO, Plant, Mineral, Animal 2012, cotton warp, silk stainless seel weft.

Image courtesy of the artist. Petite miniatures entry 2012.

LAUNCH PARTY Saturday 18 February 2012 • Free arts activities, live music & tours of SAM: 10.00am to 5.00pm • Sir John Longstaff: Portrait of a Lady Exhibition • 2011 Indigenous Ceramic Art Award Exhibition • 6 New Permanent Collection Galleries For more information visit sheppartonartmuseum.com.au 70 Welsford St, Shepparton, 3630 VIC p 03 5832 9861 f 03 58318480 e art.museum@shepparton.vic.gov.au

ararat • Ararat Regional Art Gallery Impressions - contemporary glass by ANNABEL KILPATRICK, to 12 August 2012. Under My Skin - installation and photography by CATH JOHNSTON, 16 August to 16 September 2012.

LIONEL LINDSAY: prints from the permanent collection, to 2 September 2012. Recent Acquisitions, to 22 October. Town Hall, Vincent Street, Ararat. Mon to Fri 10am – 4.30pm, w/ ends 12 - 4pm. Free entry. T: (03) 5352 2836; E: gallery@ararat.vic.gov.au; www.facebook.com/ araratgallery Image: Cath Johnston, Handle with Care 2011.

hamilton • Hamilton Art Gallery Tooth and Nail, until 12 August. Organised

by RMIT this exhibition features sculptural ceramics from contemporary Australian and Chinese makers and reflects upon the contrasts and similarities of ceramics from recent and ancient traditions. 107 Brown Street, Mon - Fri 10am - 5pm, Sat 10am - 12pm and 2 - 5pm, Sun 2 - 5pm. T: (03) 5573 0460, E: info@ hamiltongallery.org, W: www.hamiltongallery.org Image: ROBYN PHELAN, Depleted 2009, Southern Ice Paperclay, cobalt glaze, 36 x 29 x 24 cm.

horsham • Horsham Regional Art Gallery 21 Roberts Ave, Horsham. Tues-Fri 10am-5pm, Sat-Sun 1-4.30pm. T: (03) 5362 2888; E: hrag@ hrcc.vic.gov.au; www.horshamartgallery.com.au Image: Melinda YOUNG, Arborescence (detail) 2012, found wood, artificial plant foliage, oxidised 925 silver, ruby, garnet, carnelian, jasper, labradorite, aventurine, jade, smoky quartz, tourmaline, opal, stone, glass, paint and waxed linen thread, 140 x 60 x 10cm, image courtesy of the artist, © the artist.

WESTERN VIC

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