An exhibition of landscapes from the school of Australian Impressionism. The image of Australia’s landscape has touched the imaginations of artists for centuries. It was a key source of inspiration to artists of the nineteenth and twentieth century and they produced a large volume of work depicting people, places and landscapes using ‘impressionist’ techniques with quick, broad strokes to capture the light and colour they saw as they painted.
The paintings and watercolours in this exhibition are drawn from the Alec Cato Collection, Wesley College, Melbourne and the Benalla Art Gallery Collection. Australian painters include Arthur Streeton, Frederick McCubbin, Tom Roberts, Hans Heysen , Penleigh Boyd and others as they traveled to all to all four corners of our country.
Works on display have rarely been exhibited. Floor talks led by Kenneth Park, Curator of Collections at Wesley College are scheduled to take place during the exhibition.
Arthur Streeton, Winter Landscape, oil on canvas, 48.5 x 74 cm, Alec Cato Collection, Wesley College, Melbourne
Located 3 hours west of Alice Springs, Warlukurlangu Artists’ Aboriginal Corporation is one of the longest running and most successful Aboriginal-owned art centres in Central Australia. Warlukurlangu means ‘belonging to fire’ in the local language, Warlpiri, and is named for a fire dreaming site west of Yuendumu.
Benalla Art Gallery will host an exhibition of Warlukurlangu Artists and their gloriously colourful acrylic paintings. A series of interactive workshops for adults and children will be run in collaboration with Indigenous artists from the area.
Kelly Napanangka Michaels, Mina Mina Jukurrpa (Mina Mina Dreaming), acrylic on canvas. Courtesy of the artist and the Warlukurlangu Artists’ Aboriginal Association, Yuendumu
Contemporary Textiles brings together the work of Georgina Cue, Jeannie McDonagh and Annemieke Mein. These artists transform their materials, connecting old and new narratives to create works of innovation and beauty.
Through the visually striking designs, skilled techniques and richly textured surfaces, the works on display highlight the importance of weaving new histories and ideas in today’s society.
The exhibition showcases a diverse range of textile practice and celebrates the ways in which these three contemporary artists explore, extend and push the boundaries of this traditional medium.
Image: Georgina Cue, Hysteria, 2008, embroidery thread on flyscreen, 45 x 50 cm. Collection of the artist.
Abstraction is one of modernism’s most profound and innovative concepts. The term indicates a departure from reality into a world of thoughts and ideas expressed through a visual language of form. Artworks of this genre are prime examples of the power of radical and progressive thinking.
This exhibition explores how Australian artists today are collectively responding to the genre of abstraction, as both historical idea and emergent artistic practice.
Abstract is our winter wonder of colour here at Benalla Art Gallery and brings together the work of six important contemporary Australian artists - Sydney Ball, Dale Frank, Marc Freeman, Camille Hannah, Kirra Jamison and Noël Skrzypczak, who, through their individual practices reflect on the relevance and importance of abstraction today. Each artist shares a visual language to develop an identity that connects atmospheric and experiential qualities, art historical frameworks and the nature of innovation itself.
Image: Sydney Ball, Infinex #16, 2012, acrylic on canvas, 250 x 100 cm, courtesy of Sullivan & Strumpf, Sydney
Australia was a destination for settlement in the early 1800s and migration continues to this day. The artists who came to this continent have contributed in many ways to the education and development of the diverse cultural styles of Australian visual arts.
This exhibition is a selection of artworks by migrant artists in the Benalla Art Gallery collection from the early colonial period through to the present day. The sample of images reflects the changes that have influenced Australian art over the past two centuries.
Image: Danila Vassilieff, Street scene, Fitzroy, 1938, oil on board. Bennett Bequest, 1999
Louise Paramor is one of Australia’s most well recgonised and celebrated artists and is widely known for her creative vision for residual and ephemeral materials. In a career spanning more than 25 years she has held over 40 national and international exhibitions and has received major sculpture awards and public commissions.
In 2014 a sculpture featuring a life-size fiberglass polar bear won Paramor top prize at the Lorne Sculpture Biennale. She was recipient of the prestigious McClelland Sculpture and Survey Award in 2010 and in 2012 her monumental work ‘Panorama Station’ was commissioned for the Peninsula Link Freeway.
Paramor works with found objects and plastics that are especially tactile and often striking in colour – characteristics that, not surprisingly, evoke an irresistible sense of whimsy and play. This exhibition showcases a selection of consumer-based plastic sculptural works, collage and abstract paintings on glass that challenge traditional readings of contemporary detritus in a fun and lurid way. There is also a serious side to Paramor’s practice and the significance and indeed resonance of her artwork can be found within religion, architecture, modern day urban life and today’s heavily consumerist culture.
Image: Louise Paramor, Hotel Panorama, 2010, plastic. McClelland Gallery + Sculpture Park collection.
The human figure without clothes; it is each of us, at some point, every day. And so we celebrate that; be it in the humble function of bathing and dressing, or some grander reflection of ideals, philosophical concerns or cultural traditions.
The Benalla Art Gallery brings the first Benalla Nude Art Prize. The exhibition will be a selection of shortlisted works, from which the winning work will be awarded the $50,000 non-acquisitive prize.
Daniel Thomas AM, Art Historian & Curator
Jane Scott, CEO & Artistic Director, CRAFT
Ivan Durrant, Visual Artist
In ‘The Gillies’, a single large indefinable anthropomorphic presence, as if coming out of the land, dominates the natural environment. Inside these ominous statues is a young boy on the cusp of adolescence, wearing a ghillie (a camouflage outfit originally developed for hunting and the military).
Polixeni Papapetrou engages part reality, part fantasy moving through the landscape, using the rich terrain as a backdrop for her narratives about the transitional space of childhood. Papapetrou’s art practice has involved an intimate collaboration with her children and their friends for over a decade. As they have grown and transformed, so too have the roles they perform and spaces they inhabit.
‘The Ghillies’ is a reflection on the surrendering of childhood or boyhood to the adult world foreshadowing prowess, as young boys, separate from great maternal intimacy and are absorbed into institutional camouflage of one kind or another. The body is concealed and childhood identity slowly recedes leaving a universal figure that becomes one with the surroundings. Some boys will fit into well-known social archetypes, but other boys want to liberate themselves from those patterns and project their identity more brazenly.
Image: Polixeni Papapetrou, Desert Man, 2012, pigment ink print, 120 x 120 cm, courtesy of Stills Gallery, Sydney
Victoria’s most inspiring and high achieving 2013 VCE artists will showcase their work in the annual exhibition, Regional Art & Design (RAD).
RAD is an exhibition of painting, photography, sculpture, mixed media, ceramics, film, animation, textiles, drawing, installation and printmaking produced by VCE Art and VCE Studio Arts students.
With a dynamic approach to presentation, which includes the exhibition of student preparatory support material such as folios and notebooks, Regional Art Design provides students the opportunity for artistic recognition in a public art space.
RAD also gives fellow upcoming students a chance to view selected works in the lead up to their own VCE studies, providing insight, education and inspiration for their years ahead.
Albert Tucker was a major figure in the Australian modernist movement, which challenged the foundations of traditional art practice and adopted a spontaneous and visionary approach to the creative process.
Throughout his career, he painted significant portraits of his contemporaries and loved ones. Sitters included Tucker’s colleagues in the so called Angry Penguins group or ‘Heide circle’ — Joy Hester, Sidney Nolan, Arthur Boyd and John Perceval.
This exhibition presents nine of Tucker’s most important portraits that transition through various periods of his artistic development, leaving a thread that connects a great portion of his oeuvre.
Image: Albert Tucker, Self Portrait, 1983, synthetic polymer paint on canvas board. Private collection.