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AUGUST/SEPTEMBER 2008
A NETS Victoria touring exhibition
developed by Hamilton Art Gallery
Horsham Regional Art Gallery
80 Wilson Street
Horsham VIC 3400
NETS Victoria would like to congratulate Daniel
Crooks on recently being awarded the inaugural $100,000 Basil
Sellers Art Prize. Don't miss your chance to view Crooks's renowned
'time-slice' technique in Loop: new Australian video art at
Horsham Regional Art Gallery.
The seven works featured in Loop experiment with current technology while also conveying a dynamic reference to art history. Each artist draws upon traditional mediums as their base and combines them with new technologies to create hybrid forms of expression.
Daniel von Sturmer uses everyday objects in his Screen Test series (2004) and employs digital stop-motion techniques to create visual experiments that play with gravity and weightlessness, movement and stillness. In Storm Sequence (2000) Shaun Gladwell executes a series of freestyle skateboard moves on the stormy foreshore of Sydney's iconic Bondi Beach while Jess MacNeil examines the recurring themes of absence and presence, and stillness and movement in her digitally manipulated works, Opera House Steps March (2006) and The Shape of Between (2006). In Static No.9 (a small section of something larger) (2005), Daniel Crooks breaks down the conventional relationship between time and space where he incorporates slices of video footage of pedestrians and abstracts them into shapes that mimic strands of DNA while Arlo Mountford's witty and often macabre video animation, The Pioneer Meets the Wanderer (2006) explores art history, popular culture and the role of the artists.
Curated by Daniel McOwan, the director of Hamilton Art Gallery, Loop is a NETS Victoria touring exhibition that provides regional audiences with the unique opportunity to access and engage with contemporary video art, which is rarely presented outside of metropolitan art spaces.
Daniel McOwan talks to NETS Victoria about curating Loop: new Australian video art.
Daniel CROOKS
Static No.9 (a small selection of something larger)
2005
still from DVD (detail)
Hamilton Art Gallery Collection
Courtesy the artist and Anna Schwartz Gallery
2008 NETS Victoria symposium for curators
The Ian Potter Centre: NGV Australia
Federation Square, Melbourne
Featuring around 20 guest speakers, gallery tours and an evening function, make sure you don't miss out on what promises to be a significant convention for both senior and emerging arts workers from around Australia.
Make sure you receive a program when it is launched in September.
Participants of 2007 NETS Victoria symposium
at the Ian Potter Museum of Art (29 June 2007)
Photographer: Jane Barlow
A Craft Victoria and NETS Victoria touring exhibition
Latrobe Regional Gallery
138 Commercial Road
Morwell VIC 3840
Curated by Kate Rhodes, How You Make It features 25 newly-created and existing works by Simon Cooper, Paul Dunlop, Ess. Laboratory (Hoshika Oshimi and Tatsuyoshi Kawabata), FORMALLYKNOWNAS (Toby Whittington), MATERIALBYPRODUCT (Susan Dimasi and Chantal McDonald), Project (Kara Baker and Shelley Lasica), S!X (Denise Sprynskyj and Peter Boyd), and Anthea van Kopplen.
Visitors to each host gallery will be able to try on MATERIALBYPRODUCT's Soft Hard Harder Dress Curtain, the renowned garment worn by Björk during the promotion of her recent album launch and tour. Visitors will also be able to interact and engage with Anthea van Kopplen’s The Envelope, a single pattern with multiple functions that generates a top, skirt, dress and coat.
Destinations, biographies and media release.
Image:
Interns (L-R) Melanie Bower, Ryan Euinton and Kevin Azzopardi beading Soft Hard Harder Dress Curtain
MATERIALBYPRODUCT
(Susan Dimasi and Chantal McDonald)
Soft Hard Harder Dress Curtain
2007
silk, polyester, plastic, cotton
Courtesy the artists
A NETS Victoria touring exhibition
Burnie Regional Art Gallery
Civic Centre Precinct
Wilmot Street
Burnie TAS 7320
For three weeks this seemingly diverse group of artists walked through forest and river, estuary and bay to create work in response to their experience of an ever-shifting environment. Caught in the movement of the landscape, the artists followed a path that took them far from the familiarity and isolation of the studio.
Saturday 30 August, 2:00pm
Bookings essential: +61 3 6430 5875
Ilka WHITE
Casting (detail)
2007
nylon monofilament, cotton, silk, linen, viscose, rayon
Photographer: Terence Bogue
Courtesy the artist
A Geelong Gallery and NETS Victoria touring exhibition
You were born in Papua New Guinea (PNG). Was this a major influence in terms of the lush, exotic and vivid landscapes that you depict in your works?
I was brought up in a family with a very keen interest in all aspects of the natural world. A lot of time was spent in the bush either bird watching or finding wildflowers. In New Guinea the natural world was very much a part of the national people either for food or adornment. I think this had a very large influence on me, the stories and myths that are absorbed as a child. It was here also that I think the merging of the imaginary or mythic world and the natural world happened, it was part of the culture and part of life.
How would you describe your artistic practice from concept to making?
When making a painting, I always know what I want the end result to be. I am quite often disappointed in terms of technique and skill in realising what I want. And also aspects of the story can change and be enlarged along the way but basically it's just trying to get my thoughts down onto the canvas.
Did you have any preconceived ideas or plans for your painting, Freeman Dyson?
My plans for the painting were to create a world were time had either slowed right down or stopped. The figure of a man could have been lying there 10 minutes or 400 years. The only things moving are the crows and magpies fossicking through the remnants of clocks, watches and robotic parts. I wanted a feeling of stillness, a backwater in time.
Scientists generally like to divide themselves into two groups: 'Birds' who have a God's-eye view of the world and 'Frogs' who spend their time in the mud. I recently read an interview with Freeman Dyson where he likened himself to a 'Frog' because he preferred to explore from the ground up. In a lot of ways, there's a really nice juxtaposition there with your Freeman Dyson painting as its perspective starts from the ground up – like so many of your works that provide an insect's eye view. Can you please explain why this perspective is important for you as an entry point for your narratives.
The perspective from the ground is important to me because I think, firstly, it adds another layer or depth to the work. The idea of worlds within worlds gradually going down to a finite core. Also it is a perspective from lying down, a lazy artist or a child's view. I also like the idea of when you are lying down reading a book and you look up and for a moment you are in two worlds, the one of the book and the real one around you.
Read the full interview with James Morrison and other artists from The enchanted forest: new gothic storytellers, including Jazmina Cininas, Deborah Klein and Louise Weaver.
James MORRISON
Freeman Dyson (detail)
2008
oil on canvas
Photographer: Jeremy Dillon
Courtesy the artist and Darren Knight Gallery (Sydney)
A NETS Victoria touring exhibition developed by the Centre for Contemporary Photography
Bathurst Regional Art Gallery (NSW)
29 August - 12 October
A NETS Victoria touring exhibition developed by Hamilton Art Gallery
Horsham Regional Art Gallery (VIC)
9 September - 2 November
A NETS Victoria touring exhibition
Burnie Regional Art Gallery (VIC)
Until 14 September
A Craft Victoria and NETS Victoria touring exhibition
Latrobe Regional Gallery (VIC)
27 September - 2 November
iStockphoto.com
National Exhibitions Touring Support (NETS) Victoria is supported
by the Victorian Government through Arts Victoria and the Community
Support Fund, by the Australian Government through the Australia Council,
its arts funding and advisory body, and through the Visual Arts and
Craft Strategy, an initiative of the Australian, State and Territory
Governments. NETS Victoria also receives significant in-kind support
from the National Gallery of Victoria
c/- The Ian Potter Centre: NGV Australia
Federation Square
PO Box 7259 Melbourne Victoria 8004
T: +61 3 8662 1513
F: +61 3 8662 1575
E: info@netsvictoria.org
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