CDU Printmaking Students
FLEDGLING: The Best of CDU Printmaking Students
Curated by Mats Unden
Pop-up exhibition 1-2 Oct 9am-2pm
Opening Friday 30th September 6.00-8.00pm.
Fledgling focuses on work developed through experimentation; pushing the boundaries of printmaking materials and techniques. As the name implies, It is also the (gentle) pushing of CDU printmaking students - emerging artists - towards experimentation, professionalisation of creative practice and exhibiting work in a contemporary art space.
Ann Newmarch (b. 1945) O.A.M is a senior South Australian artist who was at the vanguard of feminist art in Australia in the early 1970s, making her mark as a printmaker, photographer, and painter in particular, and through community-engaged, activist projects such as public murals and, in part, her latest exhibition, … as the Serpent Struggles. Ann produced this significant body of paintings and prints during the 1980s, inspired by her experience of the Central and Western Desert areas of the NT and SA and by the challenge of a postcolonial view.
Ann’s engagement with Aboriginal art in these works is prescient of broader debates around cultural authenticity and representation, as surveyed by the later seminal exhibition From Appropriation to Appreciation (Flinders University Art Museum, 1988) which included her work.
The exhibition’s central motif of the car or car-wreck in the desert predates the cliché, just as Ann’s approach (to) and treatment of a desert Aboriginal aesthetic (in ‘dot’ painting) came at a time when the so-called desert acrylic-on-canvas movement was first beginning to take hold. Ann’s work responds to the immediacy of this movement and to the presence and palette of Aboriginal desert iconography. Her dotting/pixilation is also about the screen – both as and in reference to screenprinting and screen-mediated culture.
‘An artist has a responsibility as an image-maker to concerns wider than herself or her art’, says Ann, quoted in a recent article in The Australian about her politicised screenprints (Bronwyn Watson, ‘Ann Newmarch print at Flinders Uni tackles radiation and birth defects’, 16 July 2016). ‘It’s not much use being concerned only about women’s art when uranium is being mined and Aborigines are losing their land, and when Uncle Sam stings your armpit and your kids want to eat at Hungry Jack’s, and when TV takes the place of learning and doing.’
Since 1969, Ann Newmarch has presented over 30 solo exhibitions and participated in over 100 significant group exhibitions, including the well-known WACK! Art and the Feminist Revolution international exhibition, Museum of Contemporary Art, Los Angeles (2007) in which she was the only Australian artist represented. … as the Serpent Struggles is timed to coincide with the WOW (Women of the World) Festival, GYRACC, Katherine, 16-18 September, at which a number of prints by Ann will also be on display.
Seven Sisters is an installation of painted hubcaps in NCCA's Boxset, referencing the ancestral sisters who are chased by Artwele, an old man also known as the Morning Star, or Kwerralye Pule. The artist writes:
The Seven Sisters are really important to all the women of my family. They are really important to all the other women across Central Australia. I call them Peltharre Sisters – that’s Arrernte. It means the same as Napaljarri. You might have heard that word? That’s the Seven Sisters’ skin name ... their section, all across Central Australia. A person’s skin tells them where they fit with everyone else. Anyway, the Seven Sisters got so tired of Artwele chasing them across the country that they jumped up into the sky to escape all the men who make trouble for women, just like him. But Artwele, he just jumped up after them and he’s still chasing those Seven Sisters up there in the sky. We see him every morning, still chasing them, poor things.
Jane Young is an Arrernte artist who is based in Alice Springs and works through Tangentyere Artists for which she is a founding member (2005). She and her family were also founding members of Keringke Arts at Santa Teresa (from the late 1980s). Jane has been exhibiting through Tangentyere Artists since 2006, mostly in group exhibitions. She generally paints on recycled metal and plastic hubcaps as well as linen. ‘I like to paint the shimmering of the little rocks in the Simpson Desert’, writes Jane, which accounts for the dense patterning and detail of her paintings and recalls her childhood spent with her grandmother taking her to special places in country. Other subjects include landscapes and bush tucker from the region. Jane is currently the Chair of Desart. In 2011, Jane’s work was part of the Darwin Festival Lighthouse Commission.
Liz Grylls & Nadine Lee
The works in Domestic Bliss (showing in NCCA's Screenroom) are made by emerging artists and first-time collaborators Liz Grylls and Nadine Lee. Each work uses the humble tea towel as the starting point to express more than the notion of ‘Stay Calm and Keep Drying’. As a common household item, the tea towel features in this exhibition as both a canvas and an analogy for home life. Both Liz and Nadine have a number of identities including artist, parent, partner, cultural representative. It is often easy to compartmentalise each identity, however Domestic Bliss seeks to highlight that regardless of what identity an individual may have or be assumed to have, they also have ideas and thoughts that are far greater than one single identity.
Liz enjoys working in a range of mediums and has used tea towels previously for works combining printed images and embroidered text, sometimes without any apparent correlation. In comparison, the embroidered text in Nadine’s tea towels raises direct questions based on the tea towel's use and the users themselves; for example, as symbols of forced domestic help, collectables, or as pieces of art.
Both Liz and Nadine live and work in Darwin. They have both completed a Bachelor of Creative Arts and Industries (Fine Arts/Visual Arts) from Charles Darwin University. Liz has completed Honours in Creative Arts and Industries (Fine Arts) at CDU while Nadine is currently completing an Honours degree (Visual Art) at CDU. Nadine has previously shown work in NCCA’s Boxset (2015).
Machinations is an exhibition in Gallery 2 consisting of new large-scale, screenprinted poster works which survey military aviation machines currently used by The Australian Defence Force, including fighters, carriers and drones (UAVs: Unmanned Aerial Vehicles) which are increasingly used in the surveillance of Australian waters. Mutton’s imagery also taps into principles of ‘dazzle’ camouflage design – complex geometric patterning developed during World War I and used in Australian propaganda posters.
This body of work developed out of an artist-residency at Megalo Print Studio + Gallery, Canberra in 2015, and continues the artist’s exploration into the relationship that nations and communities have with the technology of war, as seen in previous exhibitions such as Rise of the Machines (2014), and Post War: Thousand Mile Stare (2015). ‘I am interested in the romanticism associated with military flying machines’, Mutton muses, ‘and the seeming disconnect with their capability as enablers of destruction and/or superintendence.’
Katy is an early-career visual artist who has held a number of solo exhibitions over the past 5 years, and participated in numerous group exhibitions including Women, the Homefront & War (Hawkesbury Regional Gallery, 2016), and Guarding the Homefront, Casula Powerhouse (2015). A graduate in printmedia and drawing from the Australian National University, these two mediums continue to inform her practice along with work in sculpture/installation. Katy has been the recipient of several prestigious grants/fellowships: in 2014 she was honoured with the Canberra Critics Circle Visual Arts Award for her solo exhibition Rise of the Machines, and with a Print Council of Australia Print Commission in 2016.
Machinations was produced with assistance from the ACT Government through Arts ACT.
Curated by Djon Mundine
Bungaree’s Farm is an exhibition of contemporary Aboriginal audio, video, performance and installation art exploring the legacy of Bungaree – the first Aboriginal man to be granted land by the NSW Government.
Developed to mark the 200th anniversary of the establishment of Bungaree’s Farm by Governor Macquarie on 31 January 1815, the exhibition is the result of a series of intensive residency workshops led by renowned Aboriginal curator Djon Mundine OAM in consultation with dramaturg Andrea James, and presented in association with Mosman Art Gallery, Sydney.
Daniel Boyd, Karla Dickens, (BLAK) Douglas, Leah Flanagan, Amala Groom, Warwick Keen, Peter McKenzie, Djon Mundine, Caroline Oakley, Bjorn Stewart, Leanne Tobin, Jason Wing, Chantelle Woods, Sandy Woods.
Bungaree – A Man in Space
Jung is reported to observe;
“it is indeed no small matter to know one’s guilt, and one’s evil, and certainly nothing to be gained by losing sight of one’s shadow. When we are conscious of our guilt we are in a more favourable position – we can at least hope to change and improve ourselves.”
Bungaree was a man held in a personal, social, geographical, and historic space. A gallery can be described as a long performance space, open on one side, connecting two other spaces. As Shakespeare conveyed; we all perform our lives and move through ‘this’ space to another space. A human body is an object in space. People and objects in ‘that’ space are open to surveillance and judgment.
In the space here are objects and expressions made; where the artists knew each other, and expressions that just look and sound like each other in form, content, character, context, concept, or history.
The differences between inanimate objects and living beings are; their voices, their gaze, character, smell, mannerisms and gait; their body language, mental and physical expression. The workshops at the end of 2014 were about the process of bringing into being an extension of the artist’s practice in creating non-tangible expressions of Bungaree’s personality and social being, (moving image, projection, writing, ridicule and wit, in song and music, and performance, both individually and/or in group display).
I wanted to shift the Aboriginal presence out of the ghetto of Redfern; to remind everyone, including ourselves, that Aboriginal people lived all over what is now called the Sydney basin – Aboriginal people are everywhere and Aboriginal people do everything.
I asked artists to bring a number of ideas around the notion of non-tangible expression for the ‘company’ to workshop into being. We recorded as much of the process and resultant artwork to display with the initial exhibition in 2015.
Characters create an activated space, a loaded, charged space. These works in a sense are memories, the detritus, the leftovers; a fetish of Bungaree’s life that are now a piece of art.
Djon Mundine OAM Curator
Blak Douglas and Adam Geczy.
The Most Stolen Race On Earthis an installation-based exhibition by Sydney-based artist duo Blak Douglas (aka Adam Hill) and Adam Geczy. Taking up most of NCCA’s gallery spaces, this exhibition will present a mix of 2D, 3D and screen-based works which challenge the idea of a lucky, fair-go Australia, exposing the nation’s racial myths and fault-lines and continuing/escalating socio-political disempowerment of Indigenous Australians. Drawing on humour, satire and shock, this black-and-white duo shifts the ‘post’ in postcolonial and effectively maintains the rage. The Most Stolen Race On Earth> follows on from Douglas and Geczy’s The Most Gaoled Race On Earth exhibition at the Lock-Up Cultural Centre in Newcastle earlier this year, and from their Blakattak and BOMB exhibitions shown at the Sydney College of the Arts gallery (2015), and Museum of Contemporary Aboriginal Art, Utrecht (2014) respectively. The duo has been collaborating on artworks and exhibitions for almost a decade as well as maintaining their own practices. The Most Stolen Race On Earth marks their first major exhibition at NCCA after previously showing their video work Australia – the Trailer in NCCA’s Screenroom.
Blak Douglas (aka Adam Hill)grew up in Blacktown (Blaktown), western Sydney on Booreberongal (Dharug) country and of predominantly Dhungatti (mid-north coast, NSW) and Scottish heritage. A Graphic Design graduate from the University of Western Sydney in 1994, Douglas held his first solo exhibition in 1999 and has since exhibited in numerous solo, duo and group exhibitions throughout Australia and internationally with his work held in key public and private collections. Douglas works with diverse media: painting, graphic design, sculpture, photography, performance, video and installation. Exhibitions include: Not a proper Aborigine, ‘10-year Survey’, 2010, Mosman Art Gallery; This is why we don’t stand for the anthem, 2008, Arc One, Melbourne; BOMB (with Adam Geczy), 2014-15, Museum of contemporary Aboriginal art, Utrecht; and Archibald Prize finalist, 2015, Art Gallery of NSW. Douglas is also a highly accomplished yidaki (didgeridoo) player with extensive national and international performing experience. He runs the BLAK• active gallery space in Redfern, Sydney.
Adam Geczy is a Sydney-based artist, writer and lecturer of Austro-Hungarian and English descent. He graduated in Painting from Sydney College of the Arts and in the late 1990s his practice moved more into installation, performance and collaboration. He has engaged in several ongoing collaborative projects since 2000 – with artist Mike Parr, musicians Thomas Gerwin (Berlin) and Peter Sculthorpe, and artist Blak Douglas (aka Adam Hill).
Geczy identifies two key strands of his practice: one abstract and tactile, the other conceptual and political. He is primarily interested in working across concerns and disciplines. Recent exhibitions include S/M Wonderland (solo), 2014, Australian Centre for Photography, Sydney; participation in the 11th International Sound Festival Berlin, Mitte Museum, Berlin, 2014; and (with Blak Douglas) Blakattak, Sydney College of the Arts, SCA Galleries, 2015.
Geczy is also a prolific writer and art critic, and has authored and edited numerous books on art. Recent publications include: (authored with Vicky Karaminas) Fashion’s Double: Representations of Fashion in Painting, Photography and Film, Bloomsbury Academic, 2015 (hardback); and (authored with Jacqueline Millner) Fashionable Art, Bloomsbury Academic, 2015 (paperback). He is currently a Senior Lecturer, Sydney College of the Arts, University of Sydney.
Exhibition opening, Friday 8 July 6-8pm
Spectrum presents the work of 11 young Darwin-based photographers, aged from 6 to 15, who were each given a digital camera for 2 weeks and asked to photograph their world. These young photographers all share a diagnosis on the autism spectrum. Some took as few as 20 photos while others took over 300. The final selection for exhibition celebrates the unique and sometimes heightened aesthetic of each photographer and aims to encourage understanding and acceptance of autism. Conceived and coordinated by Darren McCallum & presented in association with Autism NT.
Spectrum is NCCA's second pop-up exhibition for 2016, and will run over the w'end, until 2pm Sun 10 July.
Spectrum thanks the following Key Sponsors: Able Finance Services, Trader Jack’s, Jape Group Australia;
and other generous Sponsors: Art Decor - Picture Framing, Great Northern Real Estate, Fannie Bay Meats, Waterfront Bistro at the Sailing Club, PH Electrical Services, Dulux, Repromed, Hireworks NT, Darwin Water Plumbing Services, Top End Pest Control, Simon Watts from RE Central, plus many individual sponsors.
Also special thanks to all the participating families for embracing this project.
Spent It is Darwin artist Sarah Pirrie's wry response to Territory Day, that one day of the year when the Territory 'lifestyle' seems to amount to how much noise and litter can be made with the letting off of fireworks.
What was 'spent' - the artist in making the work; the land/sea-scape bearing the scars and debris of the event?
Pirrie is not against fireworks for all but highlights the lack of a clean-up and environmentally friendly response.
Sarah Pirrie is a leading NT contemporary artist who lectures in art at Charles Darwin University. She works across a range of mediums though is best known for her sculptural and installation-based work which often relates to environmental research and related issues, and with a particular focus on marine and mangrove ecologies in the Top End.
Opening Friday 27 May 6-8pm
Patience is the title given to a wedding dress made by Lisa-Marie Vassilakoglou, worn for her own wedding and about which she writes:
I was inspired to make it especially because my grandmother had made hers. She has now ripped up her dress and made little handkerchiefs for her own future funeral so that people can take a piece of her with them, when she passes on … In Greek culture women are expected to get married and be virgins, they are expected to wear a white beautiful dress, one that particularly covers the shoulders, and afterwards they are expected to survive the many challenges that come with marriage without giving up and turning to divorce.
Patience is a fact of my hand-sewing the lace on the hem, hand-sewing the crystals and pearls, hand-sewing the embroidery to the bodice. It is a dying trade, dressmaking, and it was something that our grandmothers had to do especially in the war … I want to pass my dress down to my children so that they always have something from me that was made with love and patience.
Garifallitsa-Marie Vassilakoglou also known as Lisa-Marie Vassis/Vassilakoglou is a Darwin born and bred artist with a particular interest in fashion. She began a business in fashion design while still at high school, and graduated in Fashion Design and Visual Arts from Charles Darwin University (2005-09). Lisa-Marie has worked as a fashion designer in Australia and Greece, and achieved many career accolades including consecutive state/NT finalist for Jeans for Genes Day-related designs (2007/08), and top-10 finalist for NT Young Achieve of the Year Arts Award (2009). She has also designed and made dance costumes for a Greek-Cypriot community youth group. Lisa-Marie also works in photography, performance and painting and has exhibited twice in the annual Portrait of a Senior Territorian Award, receiving a Highly Commended in 2009 for her painting of her grandmother Sevasti Halkitis.
Opening Friday 27 May 6-8pm
Following a 1-month residency in Darwin (in association with George Brown Darwin Botanic Gardens and supported by the Australia Indonesia Institute) in October 2015, Jogjakarta-based early-career artist Dito Yuwono responds to ‘betwixt-and-between’ ideas of Darwin as Asian/Australian, city/town, natural/built environment.
“I am interested in the issue of spatial history and memory. Space and memory are interrelated. Spatial history is an intertwined memory that is constructed and often reinterpreted. How a geographical space cultivates collective memory, and how each memory of the citizen constructs the image of a place interests me [to] explore the relationship between memory, history, people, and places. By presenting the correlation between those elements, the spatial history of a space and a city can be seen side by side with personal narrative of the citizen.”
In The Geography of Here and There Yuwono explores Darwin's proximity to Asia, and how NCCA is placed/located as an institution and through the archived memories of artists who have passed through it.
Dito Yuwono is a young Indonesian contemporary photographer from Mes56 artist collective, Jogjakarta, Indonesia. He graduated in 2010 from Mass Communication of Atma Jaya Yogyakarta University. In 2011, he co-founded an independent space that aims to build a supportive and positive environment for young artists – Lir Space, Yogyakarta. Dito’s artistic practice is varied between photography, mix-media installation, video, and performance. He is especially interested in working with community and recollecting memories to find the link between memory-citizen-history. His work often serves as a form of storytelling using personal approach to subtly grasp the bigger picture of sociopolitical environments. Recent solo projects include: Have We Met? (2011), Finding Stillness (2012), The Memories of Unidentified Experience (2014), and Recollecting Memories: Tukang Foto Keliling (2013-now).
Opening Friday 27 May, 6-8pm
In many a Kalymnian household anywhere around the world can be found a proud mantle display of sea sponges. Once the main source of income for the island of Kalymnos, the sponge is both a commodity and a symbol of identity.
Emerging artist and curator Koulla Roussos plays with concepts of fluidity and the concrete, incorporating the iconic sea sponge as a metaphor and tool for interrogating subjective manifestations of identity; asking the question, “How do I materialise my hybrid, fluid subjectivity for the anonymous spectator?”
COnCREtE is an installation-based work incorporating sculpture, digital print, video and found objects.
Koulla was born in Darwin. In 1987 she graduated from the University of Adelaide in Economics, and in 1993 with Honours in Law from the Northern Territory University. She was admitted to practice as a Barrister and Solicitor in the Supreme Court of NT in 1995, and is currently a barrister with John Toohey Chambers, Darwin, specialising in criminal law. Koulla is also a practicing artist and curator. She has undertaken postgraduate studies in Art History and professes a keen interest in exploring the ways contemporary art can engage with public spaces and create new understandings of a place. She has curated several exhibitions in Darwin including Monsters from the Black Lagoon (2015), TaNTtrum (with Jonathan Saunders, 2013/2014), Origin of a Species (2014), Flash Art (2013), and a year-long monthly program of arthouse film at NCCA (The Vault, 2015).
Opening Friday 27 May, 6-8pm
The works in Chronic Manageable Conditions began on a journey where I recovered from a debilitating medical condition.
In order to avoid the grand history of painting, I enjoyed an indulgence in drawing, or making works on paper, partly inspired in this direction by exposure to the graphic work of artists from Jogjakarta while I was living in Indonesia. Drawing, in this project, is direct, responsive, immediate and raw. It is a form of thinking out loud, and can also engage the body in a physical way, outside of the frame. I respond to this immediacy as a metaphor for living in Darwin, compelling us to be in the moment. I observe artists revelling in the margins here, dancing to our own tune.
I prefer a messier subjectivity, something that can contain a multitude of ideas and aspirations, be it identity politics, romantic expression, thought bubbles, dreamscapes, surreal associations, queerness, responses to the street, media and screen life, to the daily complexities of contemporary life. This ability to respond is important to me, against the barrage of info and power operations we are otherwise compelled to ingest. Once I began this project, it took on a life of its own, digging out moments in a contested realm of visions; in some cases digging out old diaries from my art school days for source material.
Recurrent themes seep up in clusters: racial politics, sexual politics and pleasures, (the queering of) native flora and fauna, the body, mortality, my Catholic upbringing, my life as a hyphen – a space in-between. These also reflect an ecology of childhood. I am a war baby, Mum being from North Vietnam and Dad being an officer in the RAAF. A marriage of enemies, apparently, with its own rich baggage.
Andy Ewing has worked as an artist, curator, and arts project manager over the past two decades. He undertook formal studies in visual art in Sydney during the late 1980s/early 1990s and soon after held his first solo exhibition in Sydney. Chronic Manageable Conditions represents his first solo exhibition in a public art gallery and a concerted return to his practice after a long hiatus. His curatorial achievements include Monster Pop!, Museum and Art Gallery of the NT, 2015/15 (co-curated with Fiona Carter), and Territorial, NCCA/Canberra Contemporary Art Space, 2007 (co-curated with David Broker). In 2015 Andy was judged overall winner of NCCA’s Members’ show (Milestone) and of Darwin’s annual Art of Pride exhibition. Andy belongs to Yum Cha Arts collective which focuses on multi-artform projects, developing and producing collaborations with Asian and NT artists. www.yumchaarts.org
Artmart 2016 is a 3-day pop-up exhibition which celebrates (mainly) local talent and kickstarts the early dry season.
Artmart began in 2015 as a way of drawing attention to Parap as an art gallery hub, with the Northern Centre for Contemporary Art joined by fellow Parap-based Nomad and Outstation galleries to form the Parap Galleries identity: parapgalleries.com.
The ‘mart’ in Artmart embraces our location amidst the well-known Parap Market and promotes the idea of contemporary art as accessible and affordable.
NCCA supports local talent being supported by local patronage, and exhibiting local talent alongside the work of their fellow NT, national and international peers.
Participating artists include: Rupert Betheras (Darwin-Melbourne), Daniel Coloe (Darwin-Melbourne), John Eaton (Cairns), Liss Fenwick (Darwin/Humpty Doo), Jacky Green (Borroloola), Linda Joy (Darwin), Rita Macarounas (Darwin), Birendra Pani (New Delhi), Rossanne Pellegrino (London), Jason Sellaiah (Wadeye), Angus Titoko (Darwin) & Leigh Zaramis (Darwin) and artists from the Indigenous Jewellery Project representing Ernabella Arts: Niningka Munkuri Lewis, Malpiya Davey, Marissa Thompson, Thomas Tjiliya, Nicole Rupert, Hazel Rupert; Ikuntji Artists: Virginia Ngalaia Napanangka, Walter Jugadai Tjungurrayi.
Exhibition Opening: (Black) Friday 13 May, 6-8pm
Artmart 2016 will be accompanied by two screening sessions commemorating Fist Full of Films (FFoF), the much-loved NT-wide short film festival which last showed in 2014: fistfulloffilms.com.au
Saturday 14 May 12 noon: ‘Clench', a selection of award-winning works from previous 3 FFoFs
Sunday 15 May 12 noon: 'Speakeasy', a selection of animal-themed FFoF works curated by Matthew Van Roden
Screenings in NCCA Screenroom; free; byo cushion/chair
In 2015 photographer and writer Peta Burton walked around Uluru 100 times in 30 days, photographing as as she went. 70 years earlier Burton's Polish grandmother had held a similar interest in Uluru and had created a painting of the eastern side of the rock. Burton brings together her grandmother's painting and her own work in a photographic-based installation capturing multi-generational impressions of Uluru.
Peta Burton has worked extensively in journalism (TV, print and radio). In 2014 she founded the Trek Series which saw her walk 1014km in 30 days from Cairns to Cape York and raise thousands of dollars for charity. Her Uluru walk began as the Adelaide to Darwin World Record Charity Trek which ended abruptly on its first day and eventually became a feat of bonding and endurance in the desert. The Ochre Cloak is also the name of Peta's forthcoming book documenting her Uluru walk.