This exhibition is an exploration of contemporary artworks in the Benalla collection that relate to a culture and story of the Australian landscape by Indigenous and non-Indigenous artists. The subject of the land is a response to the site and purpose of the place in relation to the culture of Australian people within urban and rural dwellings.
Image: Brook Andrew, Sexy and Dangerous, 1996, duratran on perspex, 183 x 122 cm
The era of the 60s and 70s in Australian art was a time influenced by art from America and Europe which included Abstract Expressionism, Pop Art, Hard Edge and Colour Field. The Field exhibition at the NGV in 1968 was a key example of the influence of Hard Edge abstract methods that inspired a generation of Australian artists. This exhibition compromises of a selection of paintings from the Benalla Art Gallery collection that reveal the Australian artists such as Yvonne Audette, Sydney Ball, Peter Booth, Leslie Dumbrell, Robert Jacks and John Sandler who responded to the new modern traditions of the times.
Image: Peter Booth, Untitled, 1968-69, synthetic polymer paint on canvas, 158 x 222 cm
Sam Staughton was born into the life of farming but was naturally inclined towards the visual arts. ‘Wolbunya’, the family property was his working life although he managed a full course of study at the National Gallery of Victoria and a tour of England and Europe before he returned to his family’s farming commitments. Marriage, children and continual farming did not stop his painting passion. Finally the farm was sold and Sam and his wife Marian and children moved to Melbourne. Sam was painting full time.
In the years that followed Sam held ten solo exhibitions, almost one a year, establishing himself as a highly committed and well liked artist amongst his peers and industry notables.
Image: The Smoking Room, 2008, oil on canvas, 137.5 x 183.5 cm
Jack Dale Mengenen paints powerful images of the Kimberley landscape. His land claim paintings and Wandjinas - spirits of the clouds - are all gathered together from across his country. Jack’s paintings are a history lesson of his experiences and trace the story of the Kimberley through much of the twentieth century.
A small number of Aboriginal stockmen from this recent past have emerged to be recognised as great artists - Paddy Tjumpingee, Rover Thomas and Paddy Bedford. Jack Dale is in that same tradition of the Aboriginal stockman yet a traditional elder, who at a great age found “voice on canvas”. - Tom Stephens JP MLA, Member for Pilbara
Image: Djalala-Marker Stones, 2004, ochres and acrylic on linen, 150 x 220 cm
The Benalla Ceramic Mural was twenty-seven years in the making. It was created by some of Australia’s leading ceramic artists and many of the people of Benalla. The mural combined the skills of architects and potters, the vision of indigenous people, and the enthusiasm and hard work of countless volunteers, young and old. The spectacular mural on the shore of Lake Benalla contains a myriad of their contributions, all composed into a grand and harmonious design.
The launch of “Benalla Ceramic Mural – A Short History” by Joan Jensen and David W Moore will take place on Friday 6th December from 5-7pm at Benalla Art Gallery.
The Benalla Art Gallery permanent collection is one of the most important public collections of Australian art in regional Victoria and surveys Australian art history across the periods of the colonial, indigenous, impressionist, modernist and postmodernist eras.
The Benalla Art Gallery collection includes a significant collection of historic and contemporary Australian landscape paintings, prints and works on paper, sculpture, ceramics and a growing collection of Australian contemporary art.
Currently on display in the Ledger Gallery are important works by Arthur Streeton, Tom Roberts, Frederick McCubbin, John Peter Russell, J.A. Turner, Eugene Von Gerard, Freda Robertshaw, Margaret Preston, Arthur Boyd, Leonard French, Danila Vassilieff, John Brack, Jeffrey Smart, Fred Williams, Albert Tucker, Sidney Nolan, John Perceval and Charles Blackman among others.
Image: Sidney Nolan, Glenrowan, 1973-74, woven tapestry, 310 x 400 cm
The Pilbara Series celebrates one of the great series of landscape paintings in twentieth century Australian art. Fred Williams pioneered a new vision of the Australian landscape, and became one of the most important Australian artists.
Fred Williams first visited the Pilbara – a remote area in Australia’s far north-west – in May 1979 and was motivated by the exceptional beauty. By mid June, Williams had produced almost 100 gouaches of the Pilbara.
Williams continued to produce works years after his visit. Large in scale and striking in colour, they are powerfully evocative of the Pilbara and in many ways operate as both symbolic and representational depictions of inland Australia.
Event partner: Rio Tinto
Image: Mount Nameless (Morning), 1981, oil on canvas, 121.9 x 152.2 cm, National Gallery of Victoria collection, presented through the NGV Foundation by Rio Tinto, Honorary Life Benefactor, 2001
Organised by the Polish Art Foundation, Melbourne. This exhibition features a selection of drawings submitted by emerging artists as well as works by established artists from around the world.
The 7th International Drawing Biennale is held in memory of Tomasz Ostrowski. Entry is free.
Redgums & Regents is a group exhibition by three practicing visual artists who work in a variety of media ranging from printmaking to textile based work and metal/wood mixed media. This exhibition will portray aspects and personal impressions relating to the animal and plant life specific to North East Victoria, where Rose Wedler, Fleur Rendell and Sally Huguenin live.
The artists are not collaborating on works, but will develop three distinctly different bodies of work. Even though they work in very different media, the art works that have been produced complement each other and will present an intriguing and diverse combination of each artist’s individual interpretation on the theme.
Sally Huguenin, The Punk - Crested Shriketit (detail), 2013, handprinted & embroidered recycled cotton & linen, paper clay, glass, wire
Fleur Rendell, Regent’s Regalia, 2013, linocut print
Rose Wedler, Gentle Giants (detail), 2013, patinated mild steel
Trevor ‘Turbo’ Brown, a Latji Latji man from Mildura, has a particular empathy for Australia’s animals which have become almost the sole subjects of his vibrant and playful paintings.
He lived for some time on the banks of the Murray River and considered the animals that he befriended there as his only companions. For all the frenetic pace at which he works amid flurries of unmixed paint, Turbo has a deft touch with a brush and prefers to paint on a large-scale.
His first solo exhibition was in 2004 at the Koori Heritage Trust where all twenty paintings were sold. Subsequently his work has been acquired by the National Gallery of Victoria and the National Gallery of Australia, among other collections.
In 2012, Turbo received the Deadly Art Award at the Victorian Indigenous Art Awards, Victoria’s highest honour for an Indigenous artist.