Exhibition runs from: 24 June – 24 July
Of the exhibition Bridie Gillman states: My practice is informed by ideas of place, and the ways in which experiences and memories shape our perspective of a site. Everyday observations that could be easily overlooked or forgotten are remembered and expressed in paint using colour and abstract gestures. This process of responding to past experiences from the context of my studio environment offers me different ways of connecting to a place when I am physically no longer there. Memories of a place often shift over time, with details fading and colours changing. My practice welcome’s the distortion that occurs in the process of remembering.
Exhibition runs from: 11 November – 9 December
The latest Countess Report has been released, providing a reference point for gender equity in Australia’s contemporary visual arts. The report builds on the 2016 edition, showing significant increase in gender equity across public galleries, artist-run initiatives, major museums and university galleries, biennales, commercial galleries and contemporary art organisations. A total of 13,000 artists were counted across 184 organisations.
“Congratulations to the ARIs, contemporary art organisations, commercial galleries, major museums and university galleries, public galleries and biennales who’ve made such significant gender equity gains.
However, the research as revealed in the report focuses public attention on the pressing need for state-owned collections and institutions to match the progress made by the independent sector to redress the gender imbalance in collecting and promoting the work of women artists.”
– John Cruthers, The Sheila Foundation, Chair.
The Countess Report is a benchmarking project and online resource on gender equality in the Australian contemporary art sector, founded by Elvis Richardson. The Countess Report is funded by the Sheila Foundation Ltd (formerly Cruthers Art Foundation), and backed by the National Association for the Visual Arts (NAVA).
Congratulations to Elvis Richardson and Tim Sterling who have been announced as FINALISTS in the Nillumbik Prize for Contemporary Art! Presented by the Nillumbik Shire Council this biannual acquisitive art prize is open to emerging and established artists working in any medium across Australia.
The recipient of the $20,000 Open Prize and the $10,000 Local Prize will be announced at the opening of the finalist exhibition on 30 May. The judges for the prize are Godwin Bradbeer Artist, Charlotte Day Director, Monash University Museum of Art and Danny Lacy Senior Curator, Mornington Peninsula Regional Gallery.
Exhibition launches May 30 at Barn Gallery Montsalvat.
Elvis Richardson is exhibiting in the inaugural Kyneton Contemporary Art Triennial (KCAT), launching Friday April 13.
Artworks by ten Australian artists will be on display in unusual sites all over Kyneton.
Artist Lifestyle presents machine style, hand painted, enamel on aluminum, for shiny, capitalist marketing promises, both a sales pitch and a word of warning, depending on the target audience. Is the artist lifestyle for you? Anagrams of Artist Lifestyle feature on each panel and together mysteriously unpack a hidden truthfulness, underlying expectations and assumed promises within its self referential reshuffled letters.
The words generated seem to speak directly to the contested social and economic value of art and the role of being an artist today. Artist lifestyle questions how personal, civic and national identity are formulated around artistic acts, objects and events.
Artist Lifestyle installed like real estate signs in the Kyneton Triennale comments on the global phenomenon of gentrification which is a localised form of colonialism where economically disadvantaged residents are forced to move on and out of neighborhoods and communities they contributed to developing to accommodate a new set of property owners. The artists implication in the process of gentrification is being the visible beacon to property investors and developers to make their moves.
Elvis Richardson’s blog CoUNTess: Women count in the art-world has published data on gender representation in Australian contemporary visual arts since 2008. Its data-collecting activities provide hard evidence of the need for – and add substantial traction to – action by women artists working to bring gender equality to art education, art practice and contemporary art culture. It is frequently cited.
Responses to gender inequality in contemporary art have increased internationally over the past few years. They include influential New York critic Jerry Saltz’s ongoing commentary on gender statistics, The East London Fawcett Group’s Great East London Art Audit, a data collection project focusing on London contemporary art galleries in 2012, the 2014, Gallery Tally in which Los Angeles artist Micol Hebron asked artists to submit posters visualising the gender representation of commercial galleries then exhibited them online, and the continuing artistic activism of the US-based Guerrilla Girls and Pussy Galore. All these projects have used statistics about unequal gender representation to question how notions of quality and taste apply in determining artistic merit and success.
The Countess Report is a benchmarking project and online resource on gender equality in the Australian contemporary art sector. Put together by Elvis Richardson, it compiles and analyses data on education, prizes, funding, art media, organisational makeup, and exhibitions of various kinds across a wide range of galleries including national and State, regional, commercial, ARIs (Artist Run Galleries), and CAOs (Contemporary Art Spaces). The Countess Report is based on publically available data collected from websites, exhibition catalogues, magazines and media in the calendar year 2014, chosen because the data set is recent, complete and still readily available. Detailed findings now available in The Countess Report offer evidence not previously available and provide a test case sample for future benchmarking.
The project has been designed as a public resource in the form of a website http://www.thecountessreport.com.au where the base collated data is presented. The results of this data are also available in summary form in this report. The project raises questions rather than provides answers, although this report does contain preliminary findings and initial recommendations for future research and activities.
The Countess Report was conducted by Elvis Richardson, through the initiative and research funding of the Cruthers Art Foundation and assistance provided by NAVA, an Advisory Committee and other paid and unpaid assistants.
Congratulations to Nadine Christensen and Elvis Richardson, who have been selected as finalists for the 2015 Darebin Art Prize!
The Darebin Art Prize is a biennial national multi-medium acquisitive art prize awarding excellence in contemporary visual art.
The $10,000 acquisitive prize includes a wide range of contemporary practices.
The exhibition opens 10 December 2015 at the Bundoora Homestead Art Centre and closes 21 February 2016. More information on the Prize here!
Elvis Richardson is currently exhibiting in both NSW and VIC.
Curated by Carrie Miller, Richardson exhibits alongside an impressive group of artists in: Exhibit A at The Lock-Up – an old Newcastle Police Station:
In an era when the conventional boundaries between artistic genres are becoming less relevant, and the subject matter of art is ever broadening so that what constitutes art is constantly being thrown into question, the topic of crime, criminality and the criminal subject presents fertile conceptual ground for artists who are already engaging with the nature of ‘community standards’ and ‘acceptable’ moral conventions in relation to their own discipline.
Exhibit A runs from 30 October to 6 December 2015. More details here!