In a letter to fellow painter Tom Roberts, Arthur Streeton described his experience at the summer painting camp he had set up on the outskirts of Melbourne in the late 1880s:
‘I sit here in the upper circle surrounded by copper and gold, and smile with joy under my fly net as all the light, glory and quivering brightness passes slowly and freely before my eyes.’
This exhibition celebrates the passion many artists share for the Australian landscape and the special quality of light which they strive to capture. A Quivering Brightness presents landscapes and views from the Benalla Art Gallery Collection dating from the mid-nineteenth to the mid-twentieth century, and includes works by many of Australia’s most highly regarded artists.
Image: Penleigh Boyd, Portsea, oil on board, 1921. Gift of E.E. Ledger 1975.
Saturday 20 May, 10-4pm (1 hr lunch): Landscape painting class with artist Julie Guppy
Taking its title from an artwork by Leah King Smith, Patterns of Connection features the work of Indigenous artists from the Benalla Art Gallery Collection.
Indigenous art is often political, and several of these artists address contentious issues including representation, racism, religious influence and the exploitation of land. Others express their identity and connection with the land by representing ancestral stories, traditions and ceremonies.
The exhibition includes works by Brook Andrew, Destiny Deacon, Fiona Foley, Leah King-Smith, Gordon Bennett, Gloria Tamerre Petyarre and Turkey Tolson Tjupurrula.
Image: Leah King Smith, Untitled No. 11 from the Patterns of Connection series, 1991, cibachrome photograph. Benalla Art Gallery Collection. Licensed by Aboriginal Artists Agency, Sydney
TextaQueen has developed an enviable reputation for her compelling portraits that explore gender, race and identity through the medium of fibre-tipped pens.
Bringing together work created over a 15 year period, this survey exhibition reflects on how visual and popular culture inform personal identity via re-interpretations of the salon nude, re-creations of cultural and historical identities undressed in the Australian landscape, critiques of colonial histories in apocalyptic movie poster portraits and in recent work articulating the evolution of TextaQueen’s own identity as an Australian-born Goan Indian.
This exhibition features 28 fibre-tipped marker works alongside a new body of landscape and self-portrait photographs.
A Mornington Peninsula Travelling Exhibition
Image: TextaQueen, Reunion, fibre-tipped markers and coloured pencil on Stonehenge cotton paper. MPRG Collection, purchased 2014.