News

Congratulations to Belem Lett who is a finalist in this year's Waverley Art Prize for his work 'Smile'.

Belem is one of the 38 finalists chosen from over 700 entries. Recognising his striking choice of colour and form, Waverley Woollahra Art School credits his signature technique of forcing the eye to follow the shifting stark palettes.

The Waverley Art Prize celebrates excellence across the local arts community and greater Australian contemporary Visual Arts sector, ultimately showcasing the brilliance of early to mid-career Australian artists.

The Finalist Exhibition for this Waverley Art Prize is held in Sydney at the Bondi Pavilion until August 13, 2023.

Artwork:

Smile

oil, gesso and marble dust on aluminium composite panel

150 x 122 cm

2023

AT MID-CAREER: James Drinkwater is curated by Terence Maloon

Early recognised as an exceptional talent, James Drinkwater has never toned-down the intensity and bravura of his approach to painting. His work has mined a vast legacy of modern art – Australian, British, American, French – as if all of it remains relevant, fresh and available to him. Now, on the brink of turning 40, this is the first survey of his prodigious past. While his paintings evoke figures, landscapes and interiors, they are also meticulously composed abstractions, distinctive for their complex and opulent fusion of texture, colour and spatial intrigue.

This exhibition will be accompanied by a major publication. .

- Drill Hall Gallery, Australian National University.

The exhibition is open 24 June - 20 August 2024.

IMAGE:

James Drinkwater

We are clumsy now on this southern beach 2016

mixed media on board

140 x 120 cm

READ MORE HERE

Grace Ebert featured Vipoo Srivilasa's exhibition 'Solitude and Connection' in the article 'Exquisite Porcelain Figures by Vipoo Srivilasa Express the Ineffable Nature of Beauty and Connection'.

"Flowers in gold lustre and cobalt, small portraits of mythical creatures with feathers and polka dots, and various geometric motifs embellish Vipoo Srivilasa’s porcelain figures, which celebrate abundance and joy through opulent details. On view now at Edwina Corlette in the artist’s solo show Solitude and Connection, the sculptures are otherworldly in form as they meld human anatomy with flora and fauna, exploring 'the diverse ways in which love takes shape.'"

READ MORE HERE

We are thrilled to announce that Peta Minnici features in 'Clayton Utz Art Partnership, The First Five Years'.

Published in Conjunction with Clayton Utz, 3:33 Art Projects, and Bandicoot Publishing Pty Ltd, Alexandria, NSW, Australia. Editors: Bruce Cooper, Kon Gouriotis and Max Germanos. Contributing writer: Dr. Judith Pugh.

The Clayton Utz Art Partnership brings together a unique collaboration between two outstanding Australian artists and their firm.

READ MORE HERE

Arrernte and Southern Luritja artist Sally M Nangala Mulda alongside Arrernte and Western Arrarnta artist Marlene Rubuntja have developed their practice to be completely recognisable and representative of the place in which they live, Mparntwe/Alice Springs. Working from Tangentyere Artists and Yarrenyty Arltere Artists (art centres), these senior women have established themselves as two of Australia’s leading visual artists.

The third Artbank + ACMI Commission, Two Girls From Amoonguna, encompasses video, soft sculpture and paintings, with the centerpiece the animated work titled Arrkutja Tharra, Kungka Kutjara, Two Girls.

Arrkutja Tharra, Kungka Kutjara, Two Girls delves into the reality of First Peoples’ experiences in Central Australia by chronicling the artists’ successes and struggles. The work centres Sally and Marlene’s voices, as well as the voices of their younger family members, who can be heard in the animation. It was made in collaboration with Ludo Studio, the Emmy-award winning production company behind Bluey, Robbie Hood and The Strange Chores, along with script writer Courtney Collins, Left of Elephant Sound and Tangentyere Artists producer Ellanor Webb.

Figures from Marlene’s soft sculptures and Sally’s acrylic on linen paintings star in the animation, embedded on top of Marlene’s ink on paper works of the Central Australian landscape. Bringing together both artists’ practice, Sally’s iconic cursive painted lettering produce the subtitles.

Having grown up at the Amoonguna Settlement outside of Mparntwe/Alice Springs in the early 1960s, the two friends wouldn’t reconnect until much later in life, after both of them had seen their fair amount of hardships; now having achieved so much, they are immensely proud of one another.

Two Girls from Amoonguna is an exhibition about two of Australia’s leading artists and their journey to get there.

IMAGES:

1/ Sally M Nangala Mulda at Tarnanthi, 2019

2/ Marlene Rubuntja holding a soft echidna sculpture

WATCH HERE

READ MORE HERE

Congratulations to Sally Anderson who is a finalist in this year's Ravenswood Australian Women's Art Prize with her work ‘Sea Town Lawn Roof Song with NO’s Vessel.’

IMAGE:

Sally Anderson

Sea Town Lawn Roof Song with NO’s Vessel 2023

acrylic on canvas

115 x 97 cm

READ MORE HERE

Arrernte and Western Arrarnta artist Marlene Rubuntja alongside Arrernte and Southern Luritja artist Sally M Nangala Mulda have developed their practice to be completely recognisable and representative of the place in which they live, Mparntwe/Alice Springs. Working from Tangentyere Artists and Yarrenyty Arltere Artists (art centres), these senior women have established themselves as two of Australia’s leading visual artists.

The third Artbank + ACMI Commission, Two Girls From Amoonguna, encompasses video, soft sculpture and paintings, with the centerpiece the animated work titled Arrkutja Tharra, Kungka Kutjara, Two Girls.

Arrkutja Tharra, Kungka Kutjara, Two Girls delves into the reality of First Peoples’ experiences in Central Australia by chronicling the artists’ successes and struggles. The work centres Sally and Marlene’s voices, as well as the voices of their younger family members, who can be heard in the animation. It was made in collaboration with Ludo Studio, the Emmy-award winning production company behind Bluey, Robbie Hood and The Strange Chores, along with script writer Courtney Collins, Left of Elephant Sound and Tangentyere Artists producer Ellanor Webb.

Figures from Marlene’s soft sculptures and Sally’s acrylic on linen paintings star in the animation, embedded on top of Marlene’s ink on paper works of the Central Australian landscape. Bringing together both artists’ practice, Sally’s iconic cursive painted lettering produce the subtitles.

Having grown up at the Amoonguna Settlement outside of Mparntwe/Alice Springs in the early 1960s, the two friends wouldn’t reconnect until much later in life, after both of them had seen their fair amount of hardships; now having achieved so much, they are immensely proud of one another.

Two Girls from Amoonguna is an exhibition about two of Australia’s leading artists and their journey to get there.

Watch Two Girls from Amoonguna HERE

Read more HERE

Sally M Nangala Mulda is a finalist in the 2023 Sulman Prize.

Old man pay day

Daughter and father drinking beer. Down the creek one woman got two tail. Two man coming with the beer two rum with the bag

Two rum and two coca cola in the bag

Woman taking tail

Man taking rum and coca cola with the bag

Man taking beer at the creek

Sally M Nangala Mulda, 2023

Sally M Nangala Mulda’s work is a form of documentary storytelling. She started painting in 2008 and has frequently portrayed town camp life since the 2007 Northern Territory intervention: people camping in the riverbed in swags, council rangers moving people on, people cooking kangaroo tail down the creek. Her practice represents an important catalogue of lived experience of town camp life and colonisation.

Read more here.

Sally M Nangala Mulda

Old man pay day

acrylic on linen

59.5 x 91.5 cm

Judith Sinnamon is a finalist in the 2023 Archibald Prize.

‘Katharine often appears on the Insiders panel, where she brings a refreshing, cut-through perspective to the fug of Australian politics,’ says Sinnamon. ‘I feel tremendous gratitude towards Katharine and all journalists of strong conviction and integrity, who speak truth to power at a time of rampant misinformation and media mogul influence.’

Murphy has worked in the parliamentary press gallery in Kamberri/Canberra since 1996. She is currently political editor of Guardian Australia and the host of a weekly podcast, Australian politics. She is the author of On disruption, an analysis of the impact of the internet on journalism.

Sinnamon captures the award-winning journalist, with her colourful clothing and animated face, listening to the podcast Pod save America in her light-filled home.

‘During our sitting, I drew loose charcoal sketches and took numerous photos,’ says Sinnamon. ‘I then returned to my [Sunshine Coast] Hinterland studio and began the month-long process of rendering Katharine’s portrait – my first in the Archibald Prize.’

- Art Gallery New South Wales

IMAGE:

Judith Sinnamon

Katharine Murphy 2023

oil on linen

104.2 x 134 cm

READ MORE HERE.

Eliza Gosse is a finalist in the 2023 Archibald Prize.

This dual portrait features Eliza Gosse and her husband, architect and designer Benjamin Jay Shand, who was the subject of her portrait 'somewhere near home' in the Archibald Prize 2022.

Gosse describes this 2023 work – one of several recent portraits, all painted on board – as: 'a cut-out of our weekend at sunrise – just us and our fluffy robes.'

Robes are mandatory if you come to breakfast at ours. The coffee percolates as the muesli is garnished and the CD is chosen. Wouldn’t it be wonderful if every morning could be spent lazing over several cups of coffee with a dash of honey and a side of strawberries?

While painting these portraits in my studio, I indulged in a few afternoons on the floor – tea and biscuits included – with the works propped up against the wall, as a sort of tea party with my wooden friends.

My studio mates will be glad to see these cut-outs gone; they say they came to life at night.

- Eliza Gosse

IMAGE:

Eliza Gosse

Breakfast At Ours

oil on board

two panels: 137.5 x 86.5 cm (left); 145.5 x 97 cm (right)

READ MORE HERE