We cooperate as an association to advance the practice of sculpture and the reputation and appreciation of sculpture and sculptors in the community. This is regardless of whether or not we make a living from sculpture and regardless of our preferred style or medium. To this end we support artists’ moral rights, we advocate a professional attitude to the production and presentation of work and encourage the artistic and intellectual stimulation of interaction amongst artists of all persuasions.
The AGM is 13 July. Marija Patterson after much-valued contributions has resigned from the Committee due to her personal workload, and we need a replacement.
Our 6 exhibitions this year are possible this year due to the conscientious efforts of Mark Cowie, Jenny Rickards, Monica Mauer, and Beatrice Magalotti. The role of Coordinators is relatively new and we need to give them more support.
The newsletter has grown in stature with the involvement of Katherine and Zoe Harrington. Planning of a new website is continuing. An approach has been made to the Contemporary
Sculptors Association for merging the organisations.
Please plan for submissions of works in the next exhibitions:
the ASV Annual starting 7 September, and the Tesselaar Sculpture Prize starting 15 September. In line with ASV standing policy we welcome all styles and techniques - abstract, fi gurative, realistic, kinetic, etc. Please note that exhibition opportunities are now exceeding the existing supply of ASV artists and their works.
Members are reminded to pay their subscriptions for the year to 30 June 2012 as soon as possible, preferably by 7 July.
|Barry Weymyss, ‘Yama-ni’ (Red gum, brass and mild steel)|
work seen in the foreground
Neil Tait, ‘Incline’ 2009 (mild steel)
work seen in the background.
|Diane Thompson, ‘What’s in a name’,|
winner of the Castlemaine exhibition. (Steel,
stainless steel vegetable steamers, wood)
|Paul Smits, ‘Stagnation’ (polyester)|
Photograph: courtesy of Mark Cowie
Twelve sculptors exhibited 25 works, in a variety of media, including: bronze, mild steel, limestone, wood, and corten steel. All works showed a high-level of conceptual development, coupled with technical expertise in composing works utilising a range of materials.
The Taits very kindly donated $500 toward the prizemoney. Danielle Johnson from Training for Work and the Victorian Training Group generously sponsored the remaining $1000 prize-money. ASV is very appreciative of the support of these sponsors for this inaugural exhibition and competition.
In judging the exhibition, Anthony Conway Acting Head of Visual Arts and Design at La Trobe University (Bendigo), was very complimentary of the range and style of work on display. He awarded Diane Thompson fi rst prize of $1500 for her work, ‘What is in a name’, stating, “The lovely re-cycling of steamer baskets interplays with the utilitarian use of objects and their subsequent repositioning, which, in turn, creates a work of intrigue and beauty. The work also has good height and is uplifting.”
Michael Meszaros also kindly donated his time and gave an informative presentation about the Association to the audience at the opening.The exhibition, curated by Mark Cowie, sold three works.
6 April 2011.
SUMMARY OF SIGNIFICANT MATTERS
John Ride is away from the end of July to mid-October, and an assistant is sought for the Treasury role during this period.
The Committee accepted the Treasurer’s Report, including Accounts for Payment and Profit Statement Year to Date.
The Light Gallery, Eltham, was secured as a venue for the ASV Annual Exhibition.
The Committee received Mark Cowie’s report on the MIFGS Exhibition, and noted that it included 71 exhibits, and sales were $20,000 (8 pieces). Action concerning ASV members who did not turn up to sit their turn at the Exhibition was discussed, and it was agreed that sitters are important to sales.
Progress on the Website was discussed. A shortage of member expertise in the area was noted. The Committee agreed to delegate management of changes to Geoff, Jenny and Marija. Alberto would be asked to quote for changes which are not included in the original brief, and the Committee would then consider them.
A proposal to merge activities of ASV with Contemporary Sculptors Association (CSA) was considered and it was agreed that the President write to the CSA inviting a meeting to discuss the possibility of a merger.
Geoff reported an approach from the Victorian Artists Society to explore the benefits of sharing exhibition opportunities, and it was agreed that he follow up.
The ASV AGM was discussed and 13 July was agreed, due to the absence of the Treasurer from late July to October. Committee members indicated agreement to stand again next year. The Committee agreed that in future Exhibition Co-ordinators should pay no entry fees and no commission on sales of their own works, in recognition of the considerable amount of time and effort involved in running exhibitions. It was also agreed that a coordinators can be shown as curators on the ASV website.
Hi all members, I have not had time to organise activities of interest for our monthly meetings due to a busy schedule and am not going to continue that role this year, but somehow I’m still here.... Any volunteers? In the meantime the following things have been organised:
10th AUGUST - we are going to visit the Bayside Sculpture Studios. This should prove to be a very informative and interesting evening. Many of our members belong to this group.
9th SEPTEMBER - we will meet at our rooms where Geoffrey Ricardo will come and tell us about his work. I will tell you more a little closer to the date.
In the meantime if anyone has any ideas about activities or has a studio that would be interesting to visit please let me know.
Also let me know if anyone is interested in taking on this Job .....
We invite you and associates to participate in the Spirit of the Land Art Festival 2011, with a NATIONAL FARM ART SCULPTURE AWARD of $10,000 in prize money and additional $7000 in other awards. The National Farm Art Sculpture Award is for sculptures created from recycled or new farm materials and/or any natural element of the land in a new art form called “farm art.” The Arts Festival includes three exhibitions held in Lockhart in the heart of the Riverina District of NSW, some 70 kms from Wagga Wagga and 90 kms from Albury/ Wodonga.
The exhibition categories are:
Sculpture (any medium, including Farm Art) Fine Art (oil, water, clay, textiles, glass, ceramics, photography, multi-media)
Indigenous art (cultural and contemporary)
Secondary School (Totem Poles, Fine Arts)
Primary Schools (Cardboard Totems)
Garden Art (any medium)
Silhouettes (Two dimensional life sized metal sculpture)
There are additional awards in some categories including a prize for a local artist who resides within 60kms of Lockhart, and an indigenous artist award.
Registration is open to emerging and established artists who can exhibit in any or all categories. This includes farmers whose entries were the catalyst for the national sculpture award, but you do not need to be a farmer to enter this category. There is no limitation on the number of entries. Entries close on 1st October 2011. A brief resume and personal photograph is requested for promotional purposes.
The Festival will officially open on Friday 7th October 2011 and close on Sunday 9th October. Exhibits can be collected on Sunday 9th October after 4pm. Work not sold may be considered by the Festival Arts committee for inclusion in Lockhart’s Sculpture Park for a period of up to three months. Unsold works can be posted on the website for sale. Standard commissions
apply. Whilst all care is taken, artists are responsible for insurance. A Memorandum of Understanding outlines all parties’ responsibilities.
Prize winners will be announced on Friday night at the Spirit of the Land preview.
Early registration will assist with our national/ international promotional campaign and photographs of artworks would also be appreciated. These can be emailed or posted. The Festival has attracted international media crews from New Zealand, China, Brazil, UK, and USA and Portugal.
Accommodation is available in Lockhart at Lockhart Motel (0269205357), The Rio (0269204116) Bank & Stable (0269205443), Rose Cottage B&B (0414757257), Commercial Hotel(0269205109), Railway Hotel (0269205513), and at Boree Creek Hotel Motel (0269271407) the Urana Caravan Park (0269208192), The Kings Own Hotel Motel, The Rock (0269202011), Hanericka Farm Stay, The Rock (0401349393).
If you require additional information please contact me on (02) 6920 7428 or firstname.lastname@example.org
Sue Schneider, Chairperson Spirit of the Land Lockhart Festival
Phone 026920 7428 or mobile 0428124838
|One becomes two’ 2006 mild steel (All photographs courtesy of the artist)|
|‘Navigation’ 2011, mild steel and redgum|
|‘Jonah’s Journey’ 2006, mild steel|
|‘Guardian Spirit’ 2009 mild steel, redgum and stone|
Mark: The artists mentioned are ones I have admired and researched quite extensively, along with a diverse range of Australian and other international visual artists. I like to think the influences that preside over my own sculpting practice are many and varied, yet there is little doubt that a handful of Australian sculptors have had a more direct influence in my artistic education, as evidenced in the styles displayed in many of my earlier sculptures.
Creating abstract visual art forms enables me to express elements of those matters that are inherent in the broader collective and which, hopefully, refl ect some fragment of the human condition. Yet such elements are primarily intangible and near-on impossible to adequately describe or explain, and that is where sculpting steps in to occupy a small part of the immense void in my understanding of pretty much most things. Put simply, I find creating abstract sculpture a vividly expressive experience. For me, the process drills into and occasions the release of layers of feelings, sensations, intuitive responses and matters emanating from the unconscious. It raises questions of how much of my output is as a result of simply being a conduit for greater expressive forces distilled in hitherto mysterious domains. The capacity of art to encourage awareness and engender mindfulness continues to amaze and impress me.
K & Z: What and who inspires your works?
M: At the most immediate level, my intuition inspires me. It is the way I work predominantly. Although I do a lot of drawing and sketching, so very little of my work is shaped or determined by prepared plans and designs. The process pretty much commences when I enter my workshop. There is too numerous a collection of sculptors, whose breadth of work I indulge in and admire, to do justice in this format. Suffice to say, Lenton Parr, Anthony Pryor and Geoffrey Bartlett were early inspirations, as was the delightful Peter Blizzard. As
my practice evolves I am constantly inspired by the works of many contemporary Australian sculptors. And more than anything I feel inspired by the flow of thoughts and kernels of ideas generated through interaction and discussion with fellow sculptors.
K&Z: Your works show a vast knowledge of materials and techniques that come from training and experience. How did you develop these skills?
M: I do not profess to possessing the strongest or broadest range of skill sets. My skills are adequate, yet evolving. I am always tapping into the experience of others and seeking knowledge from those who have attained profi ciencies and competencies in their chosen mediums. I have been fortunate enough to receive tutelage from and be shown methods and techniques from a broad range of people, working in diverse artistic disciplines and in the fabricating and engineering-related fi elds. Several years ago I undertook training in engineering and metal fabrication at TAFE, which provided a strong foundation for much of my work in steel.
K&Z: You use a lot of colour in your works. Do you think that colour enhances a sculpture? What is your theory on colour?
M: I’m not sure I have any particular theory on colour, other than I like, at certain times, certain colours more than others. It is, at best, a transitory association because there are times when I believe a piece works best when presented in its raw organic state. That all said, I do seem to find yellow a very appealing colour and it has featured in a number of my works. More recently, I have become rather fascinated by the range of patinas and finishes that can be applied to bronze.
|‘Seeking Wisdom’, 2008 painted mild steel|
|‘Cloud Tree’, 2010 bronze|
|‘Dance of Life’. 2009 painted mild steel and redgum|
|‘Echoes’ ,2007 mild steel|
|’’Blood of Eden’, 2009 painted wood and mild steel|
|‘Vision of the Infinite’, 2008 painted mild steel and wood|
This fund provides limited financial assistance to visual arts practitioners faced with financial difficulty as a result of serious illness, accident or some other unexpected catastrophe. It is not intended that the fund should be used merely as a means of coping with financial hardship.
Applications can be made at any time.
This fund was established by painter and sculptor Bert Flugelman who during his career suffered severe personal disasters, which could have left him destitute, had it not been for the generosity of friends and colleagues in the art world. Assistance may be in the form of loans, advances, gifts or any other measures considered by the Trustees, at their discretion to be appropriate to the need of the beneficiary. If you wish to apply to the Benevolent Fund for assistance please send your application to the National Association for the Visual Arts outlining the nature of your adverse circumstances, how it affects your practice and required assistance.
The Janet Holmes à Court Artists’ Grant is designed to provide financial assistance to professional artists for the public presentation of their work. This funding is made possible through a generous donation from Mrs Janet Holmes à Court and the support of the Visual Arts Board of the Australia Council.
Closing dates: 15 August and 15 November.
This grant provides assistance towards the costs of public presentation of visual arts, craft and design. This can include, but is not limited to, framing, media releases, media photographs, advertising, space rental, installation costs, promotional printing, mail outs, documentation, freight, travel, equipment rental, insurance, technical assistance and opening costs.
Amounts available are: $500 for individuals and $1,000 for groups. This grant does not provide assistance towards the production of artwork (materials, studio rental, research etc). Visual arts, craft and design are broadly defi ned and include: painting, printmaking,
drawing, textiles, photo media, sculpture, mixed-media, installation, glass, ceramics, woodwork, jewellery, furniture, performance art, electronic and digital media.
Indigenous artists and artists from non-English Speaking Backgrounds are encouraged to apply.
|‘Beyond the Bend’ Pilbara Jade on Granite|
H 31cm x W 29cm x D 17cm
Photographs courtesy of the artist
It is expected that the exhibition will attract 650 contemporary artists, 84 represented countries and more than 2,500 artworks. The Florence Biennale is a huge international contemporary art fair held every two years in the Historical Fortezza da Basso in Florence, Italy. The Florence Biennale was founded in 1997. The last Biennale was held in Florence in December 2009. Artists cover the expenses of their exhibits through international
sponsorships plus their own funds.
|‘Silver Leaves’ by Rudi Jass.|
Medium: cor-ten steel, stainless steel,
brass; dim.: h 2100 x w 1100 x 900.
Photographs courtesy of the artist
Rudi Jass’s sculpture, ‘Silver Leaves’ was a highlight of the garden design by renown Melbourne landscape designer Ian Barker at the Chelsea Flower Show this year.
Highlights to the Chelsea Flower Show include the show gardens designed by leading landscape artists from all over the world. The (RHS) Chelsea Flower Show is held over fi ve days in May by the Royal Horticultural Society (RHS) in the grounds of the Royal Hospital Chelsea in Chelsea, London. Visitors and competitors are attracted to this Show from all over the world. The RHS has held fl ower shows since 1833, originally in their garden in Chiswick; the garden show was moved to Kensington then finally to Chelsea.
|Maple leaf’..one of the three big pieces.|
|Group photo (over half are not present) (Images courtesy of the artist)|
|Next Issue out in July 2011|
|Michael Kuschbach, ‘go you little dynamo,|
go’, 2007-8 Adelaide Festival of Arts
sculpture commission fi bergalss, metal,
fabric 180cm x 90cm x 150cm
unique edition of 10
images: Mick Bradley & Michael Kutschbach
Enquiries to SCATE@netcall.com.au.
Then you only have to pay $25.
Your ad will be read by about 180 other sculptors.
Single sheets - at cost price - $ 75.00 + gst
Guillotine to size - must charge at $ 4.00 per cut.
Contact: Rudi Jass, 9729 7105
The exhibition dates are:
Wednesday, 29th June - Sunday 24th July 2011.
Opened by the very talented Leigh Hobbs, Artist and Author.
If you would like to come to the opening please email me so I can send you an invite at pamela.irving@ bigpond.com.au
Note: although all editorial material is checked thoroughly for accuracy, neither the editors, nor the Society can accept responsibility for information in this publication that may be ambiguous or incorrect.
|‘Flora, Roman Goddess of Fruiting Flowers’|
by Helen Clancy - Glazed fired ceramic
|‘Pondering’ by Lucinda Brash - Bronze|
|‘Sphere’ by Gordon Robertson - Stainless Steel|
|‘Long Face’ by Julee Latimer - Mosaic Glass|