Sally Nangala Mulda has been selected as a finalist in the 2019 Sulman Prize, administered by the Art Gallery of New South Wales. The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.

Sally says of her working this years prize:

This is me outside my home at Abbott’s Town Camp in Alice Springs feeding my cats. Little cat, mother cat. One woman, my family, playing cards. Nobody bothering anybody. No papa bothering the cats! We are just sitting quietly. I like quiet. Nobody talking.

Sally M Nagala Mulda, 2019

Image: Sally feeding little cat, mother cat, acrylic on linen, 76 x 92 cm

John Bokor is a finalist in the 2019 Sulman Prize, administered by the Art Gallery of New South Wales.

The Sulman Prize is awarded in the terms of the gift of the family of the late Sir John Sulman, to the best genre painting and/or mural project done by an artist resident in Australia during the five years preceding the date fixed by the Trustees for sending in entries.

'Four thirty pm' s from a group of works I started making in 2017 depicting interior spaces. They are hybrid paintings of real and imagined scenes made using an airbrush and traditional painting tools. This painting took a very long time to resolve. I thought at one point in 2018 that it was finished and had it framed, only to realise early this year that it needed more work. I treated it as badly as it had me and sanded the surface down and reworked the whole painting, destroying most of what was underneath. When it was finally finished the light in the studio resembled the light in the painting. I checked my clock and it was 4.30pm.

- John Bokor, 2019

IMAGE:
John Bokor
Four thirty pm 2019
oil on board
125 x 147 cm

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RocoColonial

4 May 2019 - 30 Jun 2019

RocoColonial is a major artist-initiated project by Gary Carsley and presented by Hazelhurst Arts Centre in partnership with Bathurst Regional Art Gallery.

ARTISTS: Brook Andrew | Tony Clark | Peter Cooley | Deborah Kelly | Belem Lett | Jennifer Leahy | Danie Mellor | Marc Newson | Técha Noble & Romance Was Born | Joan Ross | Justin Shoulder | Esme Timbery | Jenny Watson | Louise Zhang

CARTOUCHES: Renjie Teoh

Rococo and Colonial are often considered to be disparate, undisputable categories that neatly divide periods of time. This separation offers little opportunity to consider parallel histories - how similar or different things might be happening elsewhere or at the same time. RocoColonial is an exhibition that examines the overlap between Rococo and Colonial and begins by acknowledging that both can be intrinsically related and link Australia to a wider, speculative world of multiple, concurrent histories.

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Abbey McCulloch's work 'The Forcefield' 2019 has been selected as a finalist in the 2019 Sunshine Coast Art Prize, administered by Caloundra Regional Gallery.

The Sunshine Coast Art Prize 2019 is a national contemporary acquisitive award presented by Sunshine Coast Council. The award is open to any artist who is an Australian resident, working in a 2D medium. Forty finalists have been selected for exhibition at the Caloundra Regional Gallery and the winning work will be added to the Sunshine Coast Art Collection.

The Sunshine Coast Art Prize 2019 offers a prize pool of more than $30,000 in cash and prizes.

Image: The Forcefield 2019, oil on canvas, 66 x 100cm

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Abbey McCulloch was awarded 'Highly Commended' in the Ravenswood Australian Women's Art Prize with her work 'Mammoth' 2019.

The annual prize was launched in 2017 to advance art and opportunity for emerging and established female artists in Australia. There are two prize categories, including a $35,000 prize — the richest professional art prize for women in Australia. Artwork judging will be overseen by Ravenswood Australian Women's Art Prize Patron and acclaimed artist, Jennifer Turpin, and announced at the exhibition opening on 31 May, 2019.

Image: 'Mammoth' 2019, oil on canvas 101 x 101cm

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Deakin University Contemporary Small Sculpture Award 2019

When: 29 May–12 July 2019
Tuesday to Friday 10am–4pm, Open only during exhibitions
Where: Deakin University Art Gallery, Melbourne Burwood Campus
Building FA, 221 Burwood Hwy, Burwood, VIC 3125

In its tenth anniversary year this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit displaying the work of the 2019 finalists.

Image: VIPOO SRIVILASA Protection 2018, 66
 x 37
 x 23 cm, ceramic, acrylic paint, glaze ceramic flowers and mix media.

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The Kedumba Drawing Collection was started in 1990 and embodies and reflects all the elements of outstanding drawing created in Australia over more than 50 years and has acquired almost two hundred drawings.

Peta Minnici subject of her work depicts Minnici almost as a voyeur peering from outside through glass windows of Bundanon Homestead during my recent residency.
Capturing both inside and surrounding landscape in one frame, as a play on reflections, allows the internal foyer and staircase to fuse seamlessly with the mountains and trees.

Minnici's work 'Looking In, Seeing Out - Bundanon' has been acquired into this collection.

IMAGE:

Peta Minnici

Looking in, Seeing out – Bundanon 2018

ink on paper

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In 2015 Owen Craven wrote about Dan Kyle, his studio and life in the bush near the Blue Mountains —

Soon after graduating from the National Art School, Dan Kyle set up home deep within the Australian bush at the foot of the Blue Mountains, west of Sydney. His paintings are translations of what he sees – the beauty, the unique forms, the colours – but also his way of reducing the density of the bush to a more approachable landscape for him to keep exploring. Back in Issue 32, 2015, Artist Profile chatted to Dan about the formal and conceptual nuances of his landscapes.

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Louise Martin-Chew writes about Sally Nangala Mulda's life and painting for Art/Edit magazine. She says:

'WHAT IS MOST DISTINCTIVE about the paintings of Sally M. Nangala Mulda is that they tell us just how it is to live in Abbott’s Town Camp, not far from the mostly dry Todd River bed in Alice Springs (Mparntwe). Many of the paintings produced by Indigenous artists working out of the region use colour and pattern to evoke the romance of their connections to Country. However, Sally’s approach delivers the gritty reality of the place in which she lives, the interactions between police and Aboriginal people, the supermarket as the source of “a feed”, the tension around alcohol consumption and people sleeping rough, all set amongst saltbush, waterholes, homes and shops.'

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On Sally Nangala Mulda's work for 'The National' at the Art Gallery of New South Wales, Snack Syndicate for Running Dog writes:

'Sally Mulda’s narrative style mimics the pedantic, forensic language of the state while at the same time showing that such language tends to obfuscate its subjects—people who live and die. Mulda’s frank descriptions of the Town Camp index the countless different ways that black life is both constrained by, and always in excess of, white law.

Together, the paintings in the exhibition are quietly unsettling, staging a series of encounters that produce both minor affects (annoyance, confusion, amusement, affection) and their major implications. Engaging with the paintings, we feel the enormity of living under occupation, as well as the conviction that such enormity can never be total.'

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