India Mark is a finalist in the prestigious Archibald Prize for portraiture at the Art Gallery of New South Wales with her work 'Candy'. Of her work, Mark says:

Sarah M is a film student and sex worker. ‘I came across Sarah on Instagram, a platform she uses prolifically to advocate for sex worker rights,’ says India Mark. ‘Breaking down stigmas, prejudices, attitudes and behaviour that threaten the health, safety and professionalism of those within the industry, her online profile offers an invaluable human standpoint amidst the objectification and victimisation that remain socially prevalent today.

‘My painting aims to realise Sarah’s knowledge and confidence. I built up the surface and space of the portrait in a way that amplifies the impact of the painted human figure. She is the kind of person who can instil cultural change and I wanted to honour that.’

Born in 1993 in Gerringong, New South Wales, Mark lives and works in Thirroul. In 2017, she completed a Master of Fine Art at the National Art School and was a finalist in the Brett Whiteley Travelling Art Scholarship. This is her second time in the Archibald Prize, having also been a finalist in 2016.

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Marisa Purcell is a finalist in the 2018 Ravenswood Art Prize with her work 'Cage'. More than just an art prize, The Ravenswood is a visual art movement championed by women. 

Approximately 70% of art school graduates nationally are female. However, female artists are significantly underrepresented in gallery exhibitions and prize recipients. ‘The numbers just don’t add up for women in the visual arts world,’ said Edwina Palmer, Head of Visual Arts at Ravenswood School for Girls. 

The prize is designed to promote and connect Australia’s female artists. It consists of two categories; the Professional Artists’ prize valued at $35,000, and an Emerging Artist prize valued at $5,000, making the Ravenswood Australian Women’s Art Prize the richest professional art prize for women in Australia.

‘I see it very much as a space for women, and we hope we can do a lot for them. The Art Prize gives women another opportunity to build their careers, and to put the spotlight on women in art,’ said Palmer.  

Established in 2017, the inaugural Art Prize was an extraordinary success with over 780 entrants. Palmer was stunned with the reception the Prize received. 

Julian Meagher is featured in the May/June edition of Vogue Living magazine.

Congratulations to Belynda Henry who is a finalist in the 2018 Paddington Art Prize with her work 'A Capricious Landscape'.

The Paddington Art Prize is a $30,000 National acquisitive prize, awarded annually for a painting inspired by the Australian landscape. Established in 2004 by Arts Patron, Marlene Antico OAM, this National prize takes its place among the country’s most lucrative and highly coveted painting prizes.

The prize encourages the interpretation of the landscape as a significant contemporary genre, its long tradition in Australian painting as a key contributor to our national ethos, and is a positive initiative in private patronage of the arts in Australia.

Painting the landscape is an ever changing process. “Capricious landscape” is attempting to capture the ever changing mood, the impulsive behaviour and the unpredictable beauty of Australia. - Belynda Henry

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A Capricious Landscape 2018
101 x 122cm
oil on canvas

The Gallery is delighted to announce we now represent Charmaine Pike.

The paintings of Charmaine Pike allude to the remote landscape, its geographical features and natural formations, embedded or rather personified with human emotion. Her use of bold lines, form and colour probe deep into the human condition, dealing with psychological tensions within the self and the environment we inhabit.

Melissa Pesa, Artist Profile November 2017

Charmaine was selected as a finalist in The Adelaide Perry Prize for Drawing in 2010, The Mosman Art Prize 2013, The Paddington Art Prize 2015 and 2016. In 2012, her solo exhibition at Tamworth Regional Gallery was met with great acclaim. In 2014 she was selected by Angus Nivison for ‘Place and Practice’ the Regional Arts Australia National Visual Arts Showcase in Parliament House, Canberra. 

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This is us, this is the way it is – that’s what Sally Mulda’s paintings of life seem to say.  Paddy wagons in the river, policemen pouring out grog, an assortment of bottles and cans lying on the ground; four disconsolate people, probably men, walking away.  Dogs, children sleeping and everything in between that makes up life in the Alice Springs Town Camps, are depicted in her paintings, raw and free.

Yarrenyty Arltere Artists In Our Hands are soft sculptures made with bush dyed woollen blankets, embellished with wool and feathers for the 21st Biennale of Sydney. 

SUPERPOSITION: Equilibrium & Engagement, Museum of Contemporary Art Australia, Sydney, 2018. Commissioned by the Biennale of Sydney with generous assistance from Georgie and Alastair Taylor. 

Yarrenyty Arltere Artists Founded 2000 in Alice Springs, Australia Live and work in Alice Springs. Participating artists:

Cornelius Ebatarinja (Western Arrernte/Arrernte), Trudy Inkamala (Western Arrernte/Luritja), Roxanne Petrick (Alyawarre), Sonya Petrick (Eastern Arrernte/Alyawarre), Dulcie Raggett (Luritja), Marlene Rubuntja (Arrernte), Katherine Ryder (Eastern Arrernte), Rosabella Ryder (Arrernte), Dulcie Sharpe (Luritja/Arrernte), Rhonda Sharpe (Luritja)

Yarrenyty Arltere Artists is a not-for-profit Aboriginal owned and run art centre located in the Larapinta Valley Town Camp, Alice Springs, one of the oldest Town Camp communities on Arrernte country.

Yarrenyty Arltere Artists present a series of the whimsical soft sculptures that demonstrate the unique style for which they are renowned. Representing the past, present and future, the pieces reflect memory and traditional stories as well as exploring contemporary issues and challenges faced by the community. Embodying local flora and fauna, stories of family and country, or scenes from everyday life in the Town Camp, the sculptures are made from recycled woollen blankets which are dyed using local plants, tea and corroded metal. Embroidered with brightly coloured wool thread and embellished with feathers, the soft sculptures are filled with character and humour. They are emblematic of the vitality of the Town Camp and its people, and the ingenuity of the Yarrenyty Arltere Artists who, through creativity and perseverance, have reignited the confidence and spirit of their community.

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ESTUDIO CAMPANA | YARRENYTY ARLTERE ARTISTS | ELLIAT RICH

NGV TRIENNIAL

Victoria Amazonica 2017, was created by Brazilian designers Fernando and Humberto Campana in collaboration with Yarrenyty Arltere Artists, designers Elliat Rich and James Young and the Centre for Appropriate Technology – all based in Alice Springs in the Northern Territory.

Based initially on a sketch Humberto Campana made in Alice Springs of a giant South American lily, this exuberant, large-scale soft domed structure features intricate embroidery by the Yarrenyty Arltere Artists that tells stories of rain, rivers and water.

The Gallery is delighted to be exhibiting work by the Yarrenyty Arltere Artists from the Larapinta Town Camp in Alice Springs. This exhibition coincides with the Artists inclusion in the 2018 Sydney Biennale with a series of works at the Museum of Contemporary Art, and in collaboration with Brazil's Campana Brothers for the National Gallery of Victoria's Triennial.

Originally established in 2000 as a response to the chronic social issues faced by the town camp, Yarrenyty Arltere Town Camp Artists started as an arts training project. In 2002 the community identified the enterprise as a goal and in 2008 the enterprise was established.  Now a vibrant and dynamic hub, Yarrenyty Arltere Artists is seen as an important part in rebuilding strength in the community and creating economic access for people, many of whom had not been engaged previously in the workforce. Now people are participating in regular work, there is a vehicle for social inclusiveness and the activities in the art centre have provided real and engaging pathways into the wider society.

10 — 28 April 2018 at Edwina Corlette Gallery

Barnaby Smith has reviewed Vipoo Srivilasa's exhibition Everyday Shrines at Gippsland Art Gallery:

'The experience of belonging to two or more countries is an increasingly universal one, especially for Australians. An affiliation with multiple cultures and an identity formed by multiple traditions is, after all, the migrant experience. It is a theme that has been widely explored across the arts spectrum, yet rarely with as much playfulness as in the work of Thai-Australian ceramicist Vipoo Srivilasa. His new exhibition Everyday Shrines, shown at Gippsland Art Gallery as part of Craft Victoria’s Craft Forward series, takes an impish yet thoughtful approach to fusing the imagery and iconography of Australian and Thai societies.'

The exhibition is current until 17 June 2018 at Gippsland Art Gallery.

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