A Vision of the Future Grants Report 2010–11 Introduction Overview
Trustees of The Ian Potter Cultural Trust
Mr Charles Goode AC Prof. Geoffrey Blainey AC The Hon. Sir Daryl Dawson Mr Leon Davis AO The Hon. Sir James Gobbo (Chairman) AC KBE CB AC CVO QC
Mr John Gough AO OBE Prof. Thomas Healy AO Dr Thomas Hurley AO OBE Mr Allan Myers AO QC Mr Frank Nelson
Lady Potter AC Dr P John Rose AO Prof. Graeme Ryan AC
Staff
Chief Executive Officer Janet Hirst Finance Therese Reidy Program Manager Claire Rimmer Communications Avalee Weir Administration Gail Lewry Miranda Hartcher-O’Brien Sue Wilkinson Personal Assistant to the Chief Executive Officer Sarah MacNeill
2 | The Ian Potter Cultural Trust Introduction Contents
In 1993 The Ian Potter Foundation established The Ian Potter Cultural Trust to encourage and support the diversity and excellence of emerging Australian artists. The Trust offers grants to assist early-career artists of exceptional talent to undertake professional development, usually overseas.
The Ian Potter Cultural Trust’s support of individual artists is unique in Australia. To date, at least a thousand artists have been supported by grants totalling more than $4.3 million. The grants have afforded these talented individuals the opportunity to travel overseas to meet with and learn from their international peers; attend workshops; and undertake research and post-graduate study, private lessons and training courses. These experiences allow them to showcase their talents and skills on an international stage and develop valuable relationships with mentors and colleagues. The Trust’s remit is to support individual artists from across the country and to invite applicants from all states.
P ho to: Mar k St rizic (1968)
Governors and Staff 2 Facts and Figures 2010–11 7 Film 18 Funding Principles 4 Highlights 2010–11 8 Music 20 Chairman’s Report 5 Performing Arts 12 Visual Arts 22 Chief Executive Officer’s Report 6 Dance 16 Grants paid 2010–11 26
Grants Report 2010–11 | 3 Introduction Funding Principles
Funding Principles
A commitment to excellence
The Trust’s funding is governed by a commitment to excellence. We support individuals who are passionate about their work and have the potential to be outstanding in their field in an international context.
Diversity, distinction and opportunity
The Trust seeks to encourage diversity, distinction and opportunity for emerging artists in Australia.
Who do we support?
The Trust assists emerging or early-career artists. We support applicants who can demonstrate both initiative and exceptional talent together with an ability to convert their ambitions to reality.
4 | The Ian Potter Cultural Trust Introduction Chairman’s Report
Chairman’s Report If there was any doubt about the value of supporting and encouraging talented emerging artists and helping them to seize key opportunities early in their careers, this is quickly allayed by a glance through the long list of The Ian Potter Cultural Trust alumni.
The number of artists who have received This year, grantees have continued to an Ian Potter Cultural Trust grant is now traverse the globe, travelling to places well over a thousand; many are now as diverse as Russia, The Netherlands, established in their careers, some are Spain, Germany, Japan and New Zealand household names and nearly all have – although New York City continues to gone on to make a contribution to the be the dominant destination, particularly calibre and vivacity of the Australian for performing arts. The practices of the arts scene. The Trustees often notice grantees are almost as diverse as the grantees’ names appearing in the destinations, ranging from photograph programs at recitals or performances conservation to filmmaking, from or in the pages of the newspapers, contemporary dance to mime. The which is most gratifying. characteristics they all share, however, are talent, passion for their craft and a The Trustees of The Ian Potter Cultural drive to succeed. And, as the stories in Trust believe support for individual artists this report attest, each one is doing their fuels the engine room of the arts sector best to get maximum benefit from these and this year we have been heartened extraordinary opportunities. by new forms of funding for individuals emerging through both philanthropic My thanks go to the chief executive and government channels. The growth officer, Janet Hirst, and the staff for their in recognition of individual artist support, continued contribution to the growth together with the increased funding, and development of The Ian Potter generates new momentum that should Cultural Trust. bring rich rewards. These benefits will be reaped not only by the individuals but Charles Goode AC across the sector and throughout the cultural life of Australia in years to come. Even with this new funding, the Cultural Trust continues to be one of the few avenues of support for education, travel and professional development opportunities and, as ever, it is fascinating to learn of the myriad experiences these Australian artists are having overseas.
Grants Report 2010–11 | 5 Introduction Chief Executive Officer’s Report
Chief Executive Officer’s Report This year has seen a significant rise in the number of emerging artists seeking support from The Ian Potter Cultural Trust: 241 applications were received, and grants amounting to over $490,000 were awarded to 86 emerging artists.
The Trust believes it is important to The world premiere of Gordon’s Symphony support individual artists and to give was performed with the Sydney Symphony support at a critical time in their career. at the Sydney Opera House in May, to This critical time often comes during excellent reviews. the early stages of the artist’s career “The piece … holds attention like a skilled when they may benefit enormously conversationalist deftly bringing in new from the opportunity for professional ideas, some unexpected, some logical, development overseas, which often and making subtle comparisons.” involves meeting with and learning from international experts, undertaking private Peter McCallum, Sydney Morning Herald lessons, training courses or attending workshops. “The dominant impression left by its world premiere performance was Over past years, the majority of of a composer with an assured sense applications has come from artists of structural coherence and distinctive in the field of music, but this year has understanding of orchestration.” seen more interest than ever before Murray Black, The Australian from performing arts applicants. It has been exciting to see growth in the We had hoped to be in a position to Trust’s support for back-of-house artists, announce here the next chapter of The including set and lighting designers and Ian Potter Arts Commissions; however, film sound designers. One of these we are still working on key details that is John Kassab, winner of the 2010 will ensure the next Commission can Australian Screen Sound Guild Awards, make the same level of contribution as Best Achievement in Sound in an The Ian Potter Music Commissions did for Animated Film or Program for The Lost composition. We look forward to making Thing, who travelled to the USA to an announcement in coming months. attend short courses in film sound design at Video Symphony School in My thanks go to our Trustees, in Los Angeles. The skills and experience particular Lady Potter; to our Cultural The Trust believes it the artists bring back to Australia Trust staff; and to our external specialists, is important to support can have a significant impact on who provide such excellent advice to the Trustees. individual artists and how we experience performance. to give support at a critical This has also been an important year Janet Hirst time in an artist’s career. for the outstanding artists awarded Fellowships under the final Ian Potter Music Commissions. Iain Grandage, winner of the Emerging Composer Fellowship, produced a series of chamber music works and has brought his commission to a close. Gordon Kerry, winner of the Established Composer Fellowship, has been busy with several of his orchestral works written as part of the Fellowship already being performed.
6 | The Ian Potter Cultural Trust Introduction Facts and Figures
Facts and Figures 2010–11
Grants Approved Grants Paid
NUMBER: VALUE: NUMBER: VALUE: 86 $492,848 84 $483,148
Note: In addition, three grants, totalling $60,000, were paid to Music Commissions Fellows.
Countries Visited
TOTAL Australia / Austria / Belgium / Canada / China / Czech Republic / Denmark / France / Germany / Greece / India / Malaysia / 20 The Netherlands / New Zealand / Russia / Spain / Sweden / East Timor / UK / USA
Arts Practices (by grants paid)
17% Visual Arts
28% Performing Arts
32% Music
11% Dance
6% Film
1% Literature
5% Craft/Design
Grants Report 2010–11 | 7 Highlights 2010–11
Highlights As the years go by the ever-expanding list of Cultural Trust “alumni” is starting to read like a Who’s Who of the arts sector. We are quietly proud of the achievements of the Trust’s past grantees and the contribution they are making to the Australian arts scene. Here we celebrate some of this year’s standout success stories.
Pilar Mata Dupont and Tarryn Gill Pilar and Tarryn are cross- disciplinary artists who have worked together since 2001 producing and performing works that encompass photography, performance, choreography, film, installation, theatre and design.
They are enjoying a growing reputation and have been curated into important group exhibitions in major contemporary art galleries across Australia. Their work has also been acquired by the Queensland Art Gallery. In December 2009 the pair was awarded a Cultural Trust grant of $5,116 to undertake research and development at Residencias Del Sur, Buenos Aires, Argentina, in early 2010. The research and skills development that they carried out in Argentina were applied to a new body of work showcased at the 17th Biennale of Sydney in 2010, which they describe as their biggest opportunity to date. Ph oto: Pilar and Tarryn were also recipients of Kim Tran the $100,000 Basil Sellers Art Prize 2010. We suspect this is just the beginning for this dynamic duo!
8 | The Ian Potter Cultural Trust Highlights 2010–11 Photo: Rachel Hirsch
Richard Mills AM Richard was awarded The Ian Potter Music Commissions Established Composer Fellowship 2005.
The commission was to compose a series It seems 2011 is a year of significant of song cycles: Songlines of the Heart’s events for Richard. In addition to Desire; …Is Perfect in the Bird; Three completing his Ian Potter Music Antiphons of Hildegard of Bingen; In Commissions Fellowship, he announced Time of War; Little Office of the Blessed that he would end his tenure as artistic Virgin Mary; and A Thread to Hold a Heart director of the West Australian Opera, of Man. Songlines of the Heart’s Desire a post he has held since 1997. Richard was performed at the 2010 Edinburgh will take on a new role at the helm of the Festival and it is proposed that the full Victorian Opera, starting at the close cycle will be included in The Adelaide of its 2012 season. Festival’s 2012 program.
Music Commissions Fellows 2009 Gordon Kerry is our Established Composer Fellow 2009. He was awarded $80,000 to compose five new works – for the Sydney Symphony Orchestra, Scottish Chamber Orchestra, Sydney Chamber Choir, Bendigo Symphony Orchestra and Victorian Opera.
The last two years have been busy, regional Victoria. The new work, productive years for Gordon: he has written for the Scottish Chamber been able to complete and organise Orchestra, is to be performed in the performances for the works for Sydney Queen’s Hall, Edinburgh, in October Symphony Orchestra, Sydney Chamber 2011. Gordon’s full-score operatic work Choir and Bendigo Symphony Orchestra. is underway and has been programmed All performances have been very well in Victorian Opera’s 2012 season. received by audiences in Sydney and
r lle ue y M ffre Photo: Je
Iain Grandage was awarded the Emerging Composer Fellowship of $20,000 in 2009 to produce a series of chamber music works titled Indian Ocean Songs to be performed as part of the Soft Soft Loud Chamber Music Series 2010/11 at Fremantle Arts Centre.
Iain had been commissioned to produce Iain says the Commission has been three works but, thanks to some clever the most rewarding experience of his leverage of funding by Fremantle career thus far, presenting him with the Arts Centre, he was able to write four opportunity to “work with fine musicians, altogether: Cheynes, Drowning Dream, cheek by jowl, every day”. Soapbox and The Wild Geese. The works were enjoyed by Fremantle audiences and each has further performance opportunities in the pipeline.
Grants Report 2010–11 | 9 Highlights 2010–2011
Alison Bell You may recognise Alison Bell’s name from popular TV shows like Rush, Packed to the Rafters and, more recently, Laid.
The Trust supported Alison in August young theatre practitioners working 2010 with a grant of $6,743 to undertake in Europe (including Marius Von a study tour to Schaubühne am Lehniner Mayenburg, resident playwright/director Platz (Berlin, Germany), The Bush and dramaturge of The Schaubühne in Theatre and The International School Berlin, and Anthea Williams, associate of Corporeal Mime & Voice Workshops director of the Bush Theatre), Alison (London, UK). This was a fascinating was able to consolidate and add to her course of study that was to challenge existing skills and knowledge and has and offer new skills and perspective returned to Australia, where she is active Image to Alison’s craft of theatre acting. in the theatre scene, to share what she In rehearsals for Perplex at the Schaubühne With extended access to some exciting learnt overseas. Theatre, Berlin Right to left; Alison Bell, Marius Von Mayenburg (playwright/director) Maja Zade (dramaturge), Nina Wetzel (set and costume designer) Patrick White Playwrights’ Honours Melissa Bubnic was awarded a grant of $7,000 to study at Goldsmiths, University of London, from September 2009 to July 2010.
Melissa felt that her writing had stalled playwrights and industry professionals,” in Australia; she was working full time she says. In July 2010, Melissa graduated and struggling to find time to write. She with a Masters in Writing for Performance reports that the course at Goldsmiths and in May of this year she was was incredibly productive. “I’ve written announced as the recipient of the 2010 scripts, read and seen a multitude of Patrick White Playwrights’ Award for plays from around the world and formed her comic drama Beached, the play she wonderful relationships with other wrote for her Masters at Goldsmiths.
Melbourne playwright Raimondo Cortese was named the inaugural winner of the Patrick White Playwrights’ Fellowship for an established playwright.
He will receive $25,000 and take part in Raimondo was awarded a Cultural Trust activities at the Sydney Theatre Company, grant of $3,000 back in 1998 to travel including leading playwriting workshops to Berlin to attend The Hebbel-Theater and helping to mentor playwrights. workshops, discussions and forums in January–February 1999. Xan Colman Theatre performer Xan Colman was awarded a grant of $1,000 in March 2007 to enable him to volunteer for three months at the Makhampom Theatre in Chiang Dao, northern Thailand.
Late last year, he was awarded a second and the potential benefits were so Cultural Trust grant of $3,000, to help significant, that a grant was approved. him undertake a fifteen-week internship Xan reports that the experience with Robert Wilson and the Berliner exceeded his expectations and that his Ensemble, Germany, from February skill, knowledge and repertoire have to April 2011. been challenged and enhanced as a result. “I am already eagerly infusing According to one reviewer, “the theatre it [my new work] with the discoveries work of Xan Colman is innovative, and reflections of my time abroad and arresting and beautifully executed”. building future collaborative projects Although Xan is slightly beyond the at home and abroad which I hope emerging phase of his career, this will create an ever broader profile opportunity was so remarkable, and reach ever greater audiences.” 10 | The Ian Potter Cultural Trust Spotlight 2010–2011
Spotlight on... What opportunities awaited these talented Australians as they travelled to destinations around the world? Who did they meet, see and learn from? What does the experience mean to them? And what impact will it have on their work in the future?
We asked a few of this year’s grant recipients to tell us a little about their journeys so far and the road that lies ahead...
Grants Report 2010–11 | 11 Performing Arts
12 | The Ian Potter Cultural Trust Performing Arts 2010–2011
DATES OF TRAVEL Chris Mercer 9 November – 16 December 2010 DESTINATIONS Theatre Producer (Technical) London, England; and Glasgow, Scotland PURPOSE OF TRAVEL Chris studied Theatre Production at the University of A study tour of world-class theatres, Wollongong. After graduating in 2005 he worked for including The Royal Court Theatre Company B as technical manager before joining Chunky (London) and the National Theatre Move as production and operations manager and toured of Scotland to extend production the company’s works both nationally and internationally. and technical management skills
What opportunity did you have overseas The National Theatre of Scotland has no and why was it important for you – and theatre of its own so at its heart it is a for your craft? touring company. They present their work I had the privilege of gaining experience throughout Scotland and internationally with these two companies which are in theatres, parks, nightclubs, football recognised as world leaders in producing stadiums and heaths. The generous time new work. By its nature, creating given by their production team gave me new work requires the production an in-depth understanding of how they department to be flexible to meet the manage the large amount of touring they needs of the creative team. The Royal do each year. Court’s production team and structure What was the highlight? allow artists to create work with little restriction. As well as observing the Sitting in the downstairs theatre of management style, I had an active role in The Royal Court on the opening night building the set, rigging the electrics and of the production I had worked on. The preparing the props. I worked with very energy in the theatre was incredible as experienced trades people who taught the magic that the Director, Designers, me a wide range of skills, including Actors and production team had created installing roof trusses, furnishing set unfolded before the audience. Having the pieces, installation of complex audio opportunity to be part of that was systems, flying performers and ingenious a wonderful experience. lighting effects.
“This was a dream come true and has opened up doors into a creative world that I never thought I would enter. For this I will always be grateful.”
Image right Chris Mercer
Image left A scene from the world premiere of Kin, one of the two productions Chris Mercer worked on with The Royal Court
Grants Report 2010–11 | 13 Performing Arts 2010–2011
DATES OF TRAVEL Katherine Wallace September 2010 – May 2013 DESTINATION Actor New York City, USA Katherine Wallace is an actor with a particular interest PURPOSE OF TRAVEL in theatre. She is currently studying at The Stella Adler To attend the Conservatory Program Studio of Acting. at The Stella Adler Studio of Acting What are you gaining from your travels, What was the highlight? both personally and professionally? Highlights have included intensive voice The Stella Adler Studio asserts: “The work with Andrew Wade, the former growth of an actor and the growth of head of Voice at the Royal Shakespeare a human being are synonymous.” This Company, which has allowed me to find has proved infinitely true in my time as a powerfully supported and resonant an actor here (I have just completed my voice and the opportunity to create an first year of training). I have built a solid original five minute performance piece foundation of skills which I am looking using three sourced texts. forward to building on in the second year and then applying to performance What’s next for you? in the third year. I have learned that I am From many applicants, I have been capable of many things I never imagined I granted one of three assistantship could be, both in myself and in my acting. positions for the second and third years. The assistantship involves working at the school in exchange for tuition. I feel I am now solidly on the right path.
14 | The Ian Potter Cultural Trust Performing Arts 2010–2011
DATES OF TRAVEL Francesca Savige (Mason) 23 December 2010 – 29 January 2011 DESTINATIONS Shakespearean Actor New York City and Lenox, (Massachusetts), USA Francesca is an actor/theatre maker and arts educator specialising in performing Shakespeare. She holds PURPOSE OF TRAVEL a Bachelor of Arts in Theatre with a minor in Theatre Intensive study at Shakespeare & Company and investigation of History and a Bachelor of Fine Arts in Acting, both American approaches to from Queensland University of Technology. Francesca Shakespeare in performance also studied at the Royal Academy of Dramatic Art in London, specialising in Shakespeare.
What opportunity did you have overseas I learnt new skills, gained fitness and and why was it important for you – and stamina vocally, physically, mentally for your craft? and emotionally, explored new realms The Ian Potter Cultural Trust grant of imagination and grew in confidence gave me the opportunity to investigate alongside ability. and train in American approaches to As a 2010 recipient of a Winston Churchill Shakespeare in performance. This study Fellowship, I spent March to May 2011 in was invaluable to me as it enhanced and Grahamstown, South Africa, investigating expanded my craft as an actor and Shakespeare and Community Theatre. significantly contributed to my I was able to apply many of the skills aspirations to become a specialist in gained from my training in America and Shakespeare performance. share my knowledge with community theatre performers that I co-directed in What did you gain from your travels, a production of Shakespeare’s Romeo both personally and professionally? and Juliet which toured to regional Professionally, I learnt a unique and Schools Festivals across South Africa. powerful approach to performing Shakespeare’s text that in some ways I am now employed as an Arts Educator complemented and extended my for Australia’s premier Shakespeare Image above previous training and in other ways company, Bell Shakespeare, and am using Francesca Savige on stage completely revolutionised my craft my new skills and knowledge to great at Shakespeare & Company, effect in this role. Massachusetts and outlook on acting as a whole. In fact, the Shakespeare & Company Image left intensive felt like holistic training. Katherine in dress rehearsal for the original five-minute performance piece in the Poetry Projects
Grants Report 2010–11 | 15 y
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16 | The Ian Potter Cultural Trust Dance 2010–2011
DATES OF TRAVEL Lee Serle June 2010 – June 2011 DESTINATION Dancer New York City, USA Lee studied at the Victorian College of the Arts and received PURPOSE OF TRAVEL a Bachelor of Dance in 2003. He has worked as a freelance Mentorship with Trisha Brown at Trisha contemporary dance artist in Melbourne since then, Brown Dance Company, facilitated by the Rolex Mentor and Protégé Initiative performing the works of various companies and independent choreographers, notably Chunky Move and Lucy Guerin Inc.
What opportunity did you have overseas Brown’s unique style has been and why was it important for you – incredibly informative, enriching my and for your craft? abilities as a dancer and dance maker. I was selected by the Rolex Mentor Having the time to immerse myself and Protégé Initiative to undertake in her work so intensively has given a mentorship with Trisha Brown. me a deep understanding of the work Brown has been a seminal figure in and its importance within the history contemporary dance since the 1960s and of contemporary dance. The artistic is widely regarded as the preeminent vibrancy of New York City has been choreographer of her time. This was especially invigorating. a once in a lifetime opportunity for me What was the highlight? to learn from one of the most influential artists in dance. I had been searching for Dancing on the rooftops along the High ways to expand my experiences beyond Line in Chelsea, recreating Trisha Brown’s Melbourne contemporary dance, and this Roof Piece, originally performed in 1971 has been the perfect platform for me to on the rooftops in SoHo. grow as an artist.
What did you gain from your travels, both personally and professionally? In my time with the Trisha Brown Dance Company, I had the opportunity to learn and perform various works, spanning a 40 year period since the company has been established.
Image Lee Serle in Roof Piece, The High Line, New York, June 2011
Grants Report 2010–11 | 17 Film
P h o to: K err y M on te en
18 | The Ian Potter Cultural Trust Film 2010–2011
DATES OF TRAVEL Kylie Boltin 6 September 2010 – 21 December 2010 DESTINATIONS Filmmaker New York City, USA; New Delhi and Mumbai, India Kylie Boltin holds a PhD (Creative Media) specialising in Film and TV from RMIT University, as well as a Master of Arts PURPOSE OF TRAVEL (Creative Writing) and a Bachelor of Arts (Hons) in Literary Mentorship – film and Cultural studies, both from The University of Melbourne.
What opportunity did you have overseas I also worked with exceptionally and why was it important for you – and talented cinematographers, art directors for your craft? and costume designers. To have this I had the opportunity to be part of a opportunity was incredibly fortunate. major, international film production. I have no doubt the experience will I was welcomed into a crew of India’s inspire my future work. top film professionals and included in What was the highlight? the direction and cinematography teams. In Delhi, Imtiaz Ali opened up his set to What did you gain from your travels, me and included me as part of his crew. both personally and professionally? In addition to the director’s mentorship The director’s mentorship allowed me he also had me shoot HD footage that to gain first-hand experience of top-tier will be a part of the final film. filmmaking in India. The best of the best. I observed the working process of two of India’s most celebrated directors, Imtiaz Ali in New Delhi and Rajkumar Hirani in Mumbai, as well as three of the country’s top actors, Ranbir Kapoor, Shah Rukh Khan and Suriya.
Image Rockstar shoot. Kylie Boltin and Imtiaz Ali on location, New Delhi, India
Grants Report 2010–11 | 19 Music
20 | The Ian Potter Cultural Trust Music 2010–2011
DATES OF TRAVEL Eloise Fisher August 2011 – May 2012 DESTINATION Clarinettist New York City, USA Eloise is a talented clarinet player who holds a Bachelor PURPOSE OF TRAVEL of Music (Hons) from the Australian National University and Masters degree in Music (Clarinet) a Diploma ‘Perfectionnement’ (1re Prix) from Conservatoire at The Juilliard School National de Région de Versailles, France.
What opportunity did you have overseas a great teacher as well as a wonderful and why was it important for you – and player. I have also thoroughly enjoyed the for your craft? demanding academics and find myself I am currently enrolled in the Masters increasingly drawn to the possibility of program at The Juilliard School. Having an academic career. Having undertaken completed my first year here, I can say a number of fascinating pedagogy with all honesty that The Juilliard School classes at Juilliard over the past year, lives up to its reputation: it is an elite I was delighted to be offered a institution that encourages and demands teaching fellowship at Juilliard in exceptionally high levels of performance. the Theory department, which I While the competition to gain entry is will take on at the same time as my fierce, I have found the environment second year of Masters study. within the school to be supportive and What has been the highlight? highly motivating. I have always thrived on (friendly) What did you gain from your travels, competition, so Juilliard is the ideal place both personally and professionally? for me to find motivation and enthusiasm Studying at Juilliard has been an for my studies. I’m also trying to make enriching experience. Thanks to my the most of living in NYC and love the teacher, Charles Neidich, my clarinet variety of musical experiences here. playing continues to improve – he is truly
DATES OF TRAVEL Stephen Newton 27 August 2010 – 28 February 2011 DESTINATIONS Orchestral Double Bassist Vienna, Austria; London, England; and Berlin, Germany Stephen holds a Bachelor of Music (Hons) from The University of New South Wales and a Post Graduate Diploma PURPOSE OF TRAVEL in Music Performance from Sydney Conservatorium of Music Double bass study and tuition in the German bow and Music Performance at ANAM (2004).
What opportunity did you have overseas Through these experiences and and why was it important for you – and the opportunity to attend concerts for your craft? in some of Europe’s most revered I studied with Tim Dunin, professor at the concert halls, I gained knowledge Universität für Musik und Darstellende and inspiration that I will carry with “I will always seek to improve Kunst and principal double bassist of me through my entire career. the Vienna Philharmonic, and with the my knowledge of music What was the highlight? and the arts, and strive to principal of the Berlin Philharmonic, My recital at the Universität in December use the skills I acquire to Matt MacDonald. As a French bow double bass player I felt my was a highlight because I felt I had enrich society around me.” understanding of how the instrument achieved my basic aim, which was to works was somewhat limited. These learn to play with the German bow. musicians taught me how to use the It was a shared recital with my fellow German bow, and I can now help my students, with one of whom I played a own students regardless of which bow duet. The sense of respect and genuine they use. My tuition also helped me to enjoyment in each other’s work was very appreciate why other bassists, including gratifying and left me feeling incredibly my colleagues from MSO, favour certain satisfied and proud of our music and our tones, colours and articulations, and I efforts to express ourselves through it. Image left can now better adjust my own, allowing Stephen Newton (right, middle row) with the Recreation me to improve my playing within an Orchester in Graz orchestral bass section.
Grants Report 2010–11 | 21 Visual Arts
22 | The Ian Potter Cultural Trust Visual Arts 2010–2011
DATES OF TRAVEL Vivian Ziherl September 2010 – May 2011 DESTINATIONS Curator and Critic Amsterdam, The Netherlands, as well as extensive study tours of Europe Vivian Ziherl is a contemporary-art curator and critic from and Asia Brisbane with degrees in Visual Art (Fine Art) and in Peace PURPOSE OF TRAVEL and Conflict Studies. Working freelance, Vivian has curated To undertake the de Appel curatorial projects at leading Brisbane arts institutions and written for program many international arts journals.
What opportunity did you have overseas What did you gain from your travels, and why was it important for you – and both personally and professionally? for your craft? As a non-academic program, de Appel’s With the support of The Ian Potter training is an education by exposure Cultural Trust I attended the de Appel that focuses on learning through curatorial program in Amsterdam over practice. As such it provided us with 10 months. It was a true privilege to be eye-opening access to diverse actors accepted into the program along with in the international field of visual art, five other participants from around the criticism and curatorial practice. The globe. The program commenced with program is incredibly intensive. The close an intensive two-month period of travel inter-personal proximity of undertaking throughout the ‘Biennale-season’ of East the program with five colleagues from Asia and to large-scale events in Spain disparate parts of the world provided “This experience provided and England. Local travel within Europe an incredible shared mediation of the me with opportunities and continued throughout the program, experience. The participants learned, exposure that have already interlaced with workshops with leading and unlearned, together. curators and critics. The six participants had a tremendous impact on produced a collaborative exhibition my professional and personal and publication as a shared project trajectory.” of research and experimentation.
DATES OF TRAVEL Steven Morgana September 2011 – September 2012 DESTINATION Sculptor London, UK Steven is a young contemporary artist who specialises in PURPOSE OF TRAVEL sculpture and installation. Steven holds a Bachelor of Art To undertake a Master of Fine Arts (Hons) from Curtin University, including an exchange (MFA) at Goldsmiths College at l’École Nationale Supérieur des Beaux-Arts in Paris.
What opportunity did you have overseas What has been the highlight so far? and why was it important for you – and For me the highlight is simply being part for your craft? of a small group of students who have After graduating I received an come from around the world to be here unconditional offer of entry from at Goldsmiths to develop their work to Goldsmiths College to undertake their a level of professional excellence. You acclaimed MFA Fine Art program. To walk into the studios and immediately be offered a place within the program – you’re immersed in a hum of fervent renowned for its highly critical, innovative creative activity. All around you’ll find and interdisciplinary curriculum and students engaged in discussions about located in one of the capitals of art and politics, all sorts of incredible contemporary art – was at once exciting experiments and work, and students in Image top and decisive. It gave me the opportunity their studios discussing their work with a Participants in the de Appel to develop my artistic practice abroad visiting international artist. The ambience curatorial program in Beijing: Vivian is second from right and offered me both the interdisciplinary is intense yet relaxed. Highly critical and context in which to discuss and explore yet buoyantly optimistic. Watching this Image above my interest in light and space (not unfold, being part of its unfolding, is Detail of a recent work by only with artists but also scientists and definitely the greatest, ongoing highlight Steven Morgana: Co-operative Kaleidoscope – Stand Off architects), as well as access to research of my travels so far. laboratories in which to develop this in Image left my work using technologies exclusive Steven Morgana with his to Goldsmiths. recent work: Chromatic Restyling Lamps
Grants Report 2010–11 | 23 Visual Arts 2010–2011
DATES OF TRAVEL Anthea Behm 7 September 2010 – 31 July 2011 DESTINATION Visual Artist New York City, USA Anthea is a visual artist who specialises in video, PURPOSE OF TRAVEL performance and photography. She holds a Master To undertake the Whitney Museum of Fine Arts from the School of the Art Institute of of American Art Independent Study Program in New York Chicago and a Bachelor of Fine Arts (Hons) from the College of Fine Arts, The University of New South Wales.
What opportunity did you have overseas What was the highlight? and why was it important for you – and It’s difficult to isolate one particular for your craft? highlight, as the intensive weekly I had the opportunity to participate seminars in addition to the regular in the studio component of the Whitney studio visits were all significant. Museum of American Art Independent Participating in intimate seminars by Study Program (ISP) in New York. Ron Clark, as well as renowned visiting Drawing together a group of highly faculty including Benjamin Buchloh, active, emerging artists, critics, curators Yvonne Rainer, Hal Foster and Vito and art historians, the program provided Acconci, was a thrilling experience a rigorous and challenging arena for and one which greatly enhanced those who have begun participating the development of my theoretical in their respective fields to pursue frameworks and understanding. their work at a professional level while engaging in ongoing theoretical Similarly, studio visits with ISP faculty discussion and critical debate. such as Isaac Julien, Okwui Enwezor, Emphasising the interdependence of Mary Kelly and Jennifer Gonzalez theory and practice, these discussions provided the opportunity for critical addressed the historical, social and feedback and discussion with leaders intellectual conditions of artistic and in my field. cultural production and provided an ideal context to test current research My studio visit with Andrea Fraser ideas and artistic strategies. was particularly influential, dramatically shifting the way I was thinking about The program has grounded my practice my current practice; as was my studio within a framework of informed discourse visit with Laura Mulvey, during which and methodological approaches and we scrutinised an episode of The Real provided me with a strong foundation Housewives of New York City, much to continue growing. I also established to my delight. a strong community of like-minded peers who are committed to critical discourse, and I anticipate they will be prominent in my future endeavours.
Photo: Courtesy Anthea Behm
24 | The Ian Potter Cultural Trust Visual Arts 2010–2011
DATES OF TRAVEL Kelly Leahey January 2011 – January 2012 DESTINATIONS Photograph Conservator Ottawa, Canada; New York, USA; Amsterdam, The Netherlands; and Kelly is a specialist in the conservation of photographs. She Logroño, Spain recently graduated from The University of Melbourne with a PURPOSE OF TRAVEL Master of Cultural Materials Conservation and a Postgraduate To undertake two internships and attend Certificate of Photographic Materials Conservation. She also two international conferences holds a Bachelor of Creative Arts (Hons). on photograph conservation What opportunity did you have overseas This experience has reinforced and why was it important for you – and that I am capable of taking on for your craft? increased responsibility and that I attended and presented a paper at my knowledge and experience have the 10th Bi-annual Winter Meeting of the value in the wider museum context. Photographic Materials Group, American Attendance at two major conferences Institute for Conservation of Historic and and visits to a number of conservation Artistic Works, Ottawa, Canada, and laboratories has helped me to build attended the international conference my professional network with peers Thirty Years of Science on Photographic and leaders in the field. Expanding this “Thank you for supporting Conservation, Logroño, Spain. network will help me keep up to date my learning this year and my I also had the chance to work as with developments and enable increased resources to draw on in my future career. development as a photograph Graduate Photograph Conservation Intern at The Metropolitan Museum of Art I am extremely grateful to The Ian Potter conservator. I hope that I can with Nora W. Kennedy in New York and continue to add value in this Cultural Trust for supporting my activities as Graduate Photograph Conservation this year. There are few opportunities exciting and challenging field.” Intern, Foto Restauratie Atelier, working to apply for funding where both the with Clara von Waldthausen in Amsterdam. creation of art and caring for this material Having the contrasting experiences are supported. The skills required of a of working at one of the world’s competent conservator are complex and largest museums and with a specialist can take years to develop. As well as conservator in private practice has having excellent manual dexterity, we are given me diverse experience of required to have knowledge of chemistry, photograph conservation activities. materials and their deterioration, history, art, ethical considerations and, often, What did you gain from your travels, how to raise funds. We also need both personally and professionally? the maturity and good judgment to recognise when the best action is to My confidence has improved, but I have do nothing at all. The real return that also developed a better understanding Image above caring for our cultural heritage provides of the risks and challenges of this work. Kelly Leahey (pictured right) can be difficult to articulate, especially Given the particular care requirements with Nora Kennedy, discussing when it can’t be quantified in dollar some challenging photographs for photographs, such experiences are terms, but [can only be] measured from the new study collection important as they help equip me to in quality of life, learning, connection make better decisions about their care. Image left to other people and enjoyment. Production still of Adorno/ Bueller (2010–11): cast and crew in Gallery 240 of the Art Institute of Chicago. Anthea Behm is pictured left.
Grants Report 2010–11 | 25 Grants Paid 2010–11
Grants Paid 2010-11
Image Peta Kruger, contemporary jeweller
Craft
LAURA DEAKIN DAVID PHILLIPS CONTEMPORARY JEWELLERY CONTEMPORARY JEWELLERY
A six-month mentorship with Postgraduate studies in contemporary contemporary jeweller Helen Britton; jewellery under Professor Otto Kunzli, Munich, Germany, February–August 2011 Munich Academy of Fine Arts; Munich, $7,000 Germany, January–December 2011 $7,000 NATALIA MILOSZ-PIEKARSKA CONTEMPORARY JEWELLERY
Six-month studio internship with PETA KRUGER contemporary jeweller Scott Wilson, CONTEMPORARY JEWELLERY including visiting organisations, schools, galleries and individuals involved in the Mentorship with international field of contemporary jewellery; London, contemporary jeweller Karl Fritsch, UK, May–October 2011 New Zealand; and exhibition, The $7,000 Jam Factory, Adelaide, Australia, July 2011 – March 2012 $5,500
26 | The Ian Potter Cultural Trust Grants Paid 2010–11
Dance
NATALIE ABBOTT PHOEBE ROBINSON DANCE AND PERFORMANCE CONTEMPORARY DANCE – MEDIA ARTS CHOREOGRAPHY
Take part in a series of professional Attend a semester of the MA Solo/ development opportunities with Miguel Dance/Authorship program, a full-time, Guiterrez, Michele Boule, Simon Ellis and performance-oriented Master of Arts Luke George, and participate in MELT degree at the University of the Arts; dance and media workshop; New York, Berlin, Germany, 12 April 2011 – USA, and London, UK, 2 January – 16 July 2011 31 August 2011 $7,000 $7,000 LEE SERLE JORDINE CORNISH CONTEMPORARY DANCE CONTEMPORARY DANCE Mentorship with Trisha Brown Dance HANNAH EUN JI CHUNG Three month European study tour: Company; New York City, USA, CLASSICAL BALLET Montpellier Danse, France; Deltebre Dansa, June 2010 – June 2011 Deltebre, Spain; Dies De Dansa, Barcelona, $6,500 Training at the Royal Ballet School, Spain; Impuls Tanz, Vienna, Austria; Museoll, London, UK, September 2010 – Dresden, Germany; Tanz im August, Berlin, STUART SHUGG August 2011 (pictured left) Germany, June–September 2011 CONTEMPORARY DANCE $5,000 $7,000 Development and performance program GINA-MARIE LEATHEM with John Kinzel for a new work revolving BALLET around solos and duets involving performative states and highly articulate Scholarship at Jacqueline Kennedy male dancers, at LaMaMa Moves Festival; Onassis School, American Ballet Theatre; New York City, USA, May–June 2011 New York City, USA, May–August 2011 $5,000 $7,000 JAMES WELSBY KATINA MAREE OLSEN CONTEMPORARY DANCE CONTEMPORARY DANCE Attend technique classes, create a dance Contemporary danceWEB Scholarship solo at Chez Bushwick Dance Centre; Program 2011, a project of Jardin and attend the Dance Umbrella Festival; d’Europe; Vienna, Austria, July– New York, USA, and London, UK, 17 August 2011 September – 17 October 2011 $4,695 $5,000 Film Literature
KYLIE BOLTIN SHONA MASARIN FILM MAKING FILM MAKING
Mentorship with leading Indian writer/ Mentorship with Howard Guttenplan, director Imitiaz Ali, Prague, Czech Executive Director, Millennium Film Republic; New York, USA; Mumbai, Workshop, New York City, USA, India, September–November 2010 June 2011 – May 2012 $6,772 $7,000 NATASHA JOHNS-MESSENGER STUART WILLIS FILM MAKING FILM PRODUCTION
Complete post-production of graduate Making of a short film as part ELLA DELANY short film, Master of Fine Arts, Film of a Masters thesis, Victorian College CREATIVE WRITING Division, Columbia University; School of the Arts, School of Film and of the Arts, New York City, USA, Television; Melbourne, Australia, A creative writing Master May–July 2011 September–October 2010 of Fine Arts, comprising $7,000 $7,000 a 35,000-word thesis, internships and a teaching JOHN KASSAB fellowship in second year; SOUND PRODUCTION Columbia University, New Two short courses in film sound design, York, USA, September Video Symphony School; Los Angeles, 2010 – June 2013 USA, September–October 2010 $7,000 $3,969
GrantsGrants Report 2010–112010–11 | 2277 Grants Paid 2010–11
Music
LINA ANDONOVSKA ABEL CROSS FLUTE BASS
Tutoring with Michael Cox, Principal Study trip to the Centre for Flute, BBC Symphony and International Improvisational Music and collaborative Soloist; London, UK, February 2011 work with emerging and established – November 2011 artists; New York City, USA, $5,641 July–August 2011 $4,500 SAMUEL ANNING DOUBLE BASS GLEN DONNELLY VIOLA Master of Music, Manhattan School of Music; New York, USA, September 2010 Undergraduate study at the Royal – August 2012 Academy of Music; London, UK, $7,000 December 2010 – June 2011 $7,000 OLIVIA BUTLER OBOE ELOISE FISHER CLARINET JON CROMPTON Second semester of postgraduate study SAXOPHONE at the École Nationale de Musique de Complete a two-year Master of Music Montbéliard, studying under Professor Degree with principal teacher Charles Mentorship with saxophonist Christian Schmitt; Montbéliard, France, Neidich, The Juilliard School; New York, Jacam Manricks; New York, USA, September 2010 – February 2011 USA, September 2010 – May 2012 January–March 2011 $2,500 $5,000 $5,000 ELIAS CONSTANTOPEDOS PAUL FITZSIMON MUSIC COMPOSITION CONDUCTING
Second year postgraduate Master of Final semester of a Master of Conducting, Music Theory and Composition: Scoring studying under Professor Lutz Koehler, for Film and Multimedia, New York University of the Arts; Berlin, Germany, University, Steinhardt School; New York October 2010 – March 2011 City, USA, September 2010 – $5,000 September 2011 JOSIE GRAHAM VIOLIN/CELLO (STRING QUARTET) $7,000 LIAM FLENADY MUSIC COMPOSITION Three-week chamber music residency Attend impuls Academy, an art-research at The Banff Centre; Banff, Canada, seminar at the Orpheus Institute, and June–July 2011 tuition from composers from various $1,750 JEREMY BARNETT institutions; Germany, Austria, Belgium JONATHAN HENDERSON PERCUSSION and the Netherlands, 29 January – 5 March 2011 FLUTE Complete studies in Master $3,800 Two years’ postgraduate study in flute in Music Performance at the performance with Professor Felix Boston Conservatory, specialising CALLUM G’FROERER Renggli, Hochschule fur Music; Freiburg, in the marimba; Boston, USA, TRUMPET Germany, June 2010 – July 2012 1 January 2011 – 30 June 2011 $7,000 $5,000 Perform and attend workshops in jazz and creative music; Banff, Canada; Chosen Vale, USA; Kurten, Germany BEN HENDRY and Mount Pelion, Greece, 7 May 2011 PERCUSSION – 31 August 2011 Study with one of Australia’s premier $6,600 percussionists, Greg Sheehan; Byron Bay, BRIDGET GRAHAM Australia, August 2011 VIOLIN (STRING QUARTET) $3,810
Three-week chamber music residency SOPHIE HUDGELL at The Banff Centre; Banff, Canada, VIOLIN (STRING QUARTET) June–July 2011 Three-week chamber music residency $1,750 at The Banff Centre; Banff, Canada, June–July 2011 $1,750
28 | The Ian Potter Cultural Trust Grants Paid 2010–11
Music
ELEANOR LYONS CAMERON ROBERTS VOICE PIANIST/INJURY PREVENTION
Study and performance in the academy Study of Applied Science in Piano for young singers at The Mariinsky Theatre, Technique Optimisation and Injury improvement of Russian language skills Prevention and its broader implications and participation in a masterclass with for training elite performance in Elena Obraztsova; St Petersburgh, musicians; UK, Spain and Germany, Russia, 1 January 2011 – 31 August 2011 February–May 2011 $7,000 $7,000 STEPHEN NEWTON ASHLEY WILLIAM SMITH DOUBLE BASS CLARINET
Six months’ study, Professor Timothy First year study for Master of Music Dunin, Universität für Musik und in Clarinet Performance under the Darstellende Kunst, Graz, Austria; and tutelage of internationally renowned private lessons with Matthew MacDonald clarinettist David Shifrin; Yale University, ELEANOR GREENWOOD and Yannis Saksela, Berlin, Germany, and Connecticut, USA, September 2010 – OPERA Neil Tarlton, London, UK, September May 2011 Operatic study project, including 2010 – February 2011 $7,000 private vocal study with Ms Liane $7,000 MARK SMYTHE Keegan, and intensive German language study, Goethe Institute; HOLLY PICCOLI FILM MUSIC COMPOSITION VIOLIN Berlin, Germany, November– Attend the Scott Smalley Advanced December 2010 Study for Certificate in Performance with Orchestration Course, New York $6,000 Professor Syoko Aki, Head of Strings at University (NYU) Steinhardt Music, Yale School of Music; New Haven, USA, The Moving Image Conference and the January 2011 – May 2012 NYU/ASCAP Foundation Film Scoring $7,000 Workshop; Los Angeles and New York, USA, May–June 2011 HANNAH REARDON-SMITH $6,520 NELSON YARWOOD FLUTE VIOLA (STRING QUARTET) ALISTAIR SUNG Lessons in contemporary music CELLO Three-week chamber music residency performance and teaching, and at The Banff Centre; Banff, Canada, reconnaissance of international flute Complete second year of a Masters June–July 2011 study options; Amsterdam, Cologne, degree in Cello Performance with $1,750 Bremen, Hamburg, Berlin and Graz, Professor Mats Rondin at Malmo School January–February 2011 of Music and participate in the Aurora $2,500 Chamber Music course; Malmo and Vanesborg, Sweden, August 2011 – June 2012 $6,690
Performing Arts
ALISON BELL HANNA CORMICK ANNA HOUSTON ACTING THEATRE – ACTING ACTING
Study tour to Schaubühne am Lehniner First year of the professional course at École Completion of the second and third terms Platz, Berlin, Germany; The Bush Theatre, Internationale de Théâtre Jacques Lecoq; of the foundation year at École Philippe London, UK; The International School of Paris, France, October 2011 – June 2012 Gaulier; Paris, France, 10 January 2011 – Corporeal Mime & Voice Workshops, $7,000 24 June 2011 London, UK, September 2010 – $7,000 November 2010 ADRIANE DAFF $6,743 ACTING MISCHA IPP ACTING XAN COLMAN Study course Le Jeu (“The Game”) at École THEATRE – DIRECTION Philippe Gaulier; Paris, France, July 2011 Evening Conservatory Course at the $1,652 Stella Adler Studio of Acting, New York, Fifteen-week internship with Robert USA, September 2011 – May 2012 Wilson at the Berliner Ensemble; Berlin, $7,000 Germany, 18 February – 22 April 2011 $3,000
Grants Report 2010–11 | 29 Grants Paid 2010–11
Performing Arts Continued
CHRIS MERCER KATIE SFETKIDIS THEATRE PRODUCTION LIGHTING DESIGN (TECHNICAL) Attendance at the Broadway Lighting Study tour to The National Theatre, Masterclass and The Banff Arts Centre The Royal Court Theatre and the Theatre Production, Design and Stage National Theatre of Scotland; London Management Work Study Program; New and Edinburgh, UK, December 2010 – York, USA, and Banff, Canada, May– February 2011 September 2011 $5,500 $4,000 FELICITY NICOL AMY TURTON PHYSICAL THEATRE THEATRE – DIRECTION
LUKE O’CONNOR Study of Mask at École Philippe Gaulier Creative research in contemporary music; PHYSICAL THEATRE and Mime Body Dramatique at École de Berlin, Germany; Paris, France, and Mime Corporel Dramatique; Paris, France, Brussels, Belgium, 16 March – 1 June 2011 Study with Philippe Gaulier, 1 January 2011 – 6 February 2011 $7,000 mentoring from John Britton $4,700 and attendance at the European KATHERINE WALLACE Juggling Convention; Paris, KATHRYN OSBORNE ACTING France; Huddersfield, UK; and THEATRE – DIRECTION Munich, Germany, 4 July 2011 – Three year course at The Stella Adler 2 September 2011 Attend and present work at the Studio of Acting; New York City, NY, 25th anniversary of the Magdelena USA, September 2010 – May 2013 $7,000 International Women’s Theatre $7,000 Festival, and present the theatre work A Disappearing Act at the Edinburgh Fringe Festival; Cardiff and Edinburgh, MATTHEW WELLS UK, August 2011 ACTING $6,900 Second-year program at École International NICHOLAS PAINE de Théâtre Jacques Lecoq, terms two and three; Paris, France, 6 January – 4 June 2011 FINEGAN KRUCKEMEVER PRODUCTION PLAYWRITING $7,000 Twenty-week mentorship with Natalie JENNY WYNTER Study tour to ASSITEJ World Congress De Vito from Mammalian Diving Reflex IMPROVISATION and Performing Arts Festival; Sweden, and Mashinka Firunts from Performance Space 122; Toronto, Canada and New Denmark, and to the New Victory, New Two-week residency, private lessons in York, USA, May–November 2011 York, USA, April–May 2011 improvisation performance from Michael $7,000 $6,994 Pollock (Musical Director of Second City LA) and Gary Austin (founder of The RIZA MANALO CLAIRE PEARSON ACTING Groundlings); Los Angeles, USA, 18 July FILM/THEATRE/COMMUNITY ARTS 2011 – 4 August 2011 Attendance at the Participatory Video Participate in the ‘Acting Shakespeare’ $7,000 Facilitation and Editing Training course, program at The Royal Academy of followed by a residency with Many Hands Dramatic Arts, and an internship with International; Oxford, UK, and Los Palos, High Tide Theatre Company; London, UK, Timor Leste, 13 June 2011 – 4 September 2011 June–August 2011 $6,500 $7,000 CLAUDE MARCOS AMELIA ROPER THEATRE DESIGN PLAYWRITING
Attendance at and participation in the Second and third semesters, Master of 2011 Prague Quadrennial of Performance Fine Arts, Playwriting, Yale School of Design and Space; Prague, Czech Drama, New Haven, Connecticut, USA, Republic, June 2011 January 2011 – December 2011 $4,000 $7,000 FRANCESCA MASON (SAVIGE) ACTING LARA TUMAK THEATRE MAKING Month-long intensive study program at The Shakespeare Company, Lenox, USA; Attendance at and participation in the investigation of American approaches 2011 Prague Quadrennial of Performance to Shakespeare at various theatres; New Design and Space; Prague, Czech York, USA, December 2010 – January 2011 Republic, June 2011 $7,000 $5,592
30 | The Ian Potter Cultural Trust Grants Paid 2010–11
Visual Arts
ANTHEA BEHM ROCHELLE HALEY STEVEN MORGANA PERFORMANCE, VIDEO DANCE/LIVE DRAWING SCULPTURE/INSTALLATION AND PHOTOGRAPHY Perform Strings at The Actor’s Studio, Master of Fine Arts in Art Practice Second semester of the studio component Kuala Lumpur, Malaysia; and complete (two-year) program, Goldsmiths of the 2010–11 Independent Study Program research and development work with University of London, London, UK, at the Whitney Museum of American Marion Ruchti at the Micadanses Studio; September 2010 – August 2012 Art; New York, USA, September 2010 – Kuala Lumpur, Malaysia, and Paris, $7,000 August 2011 France, April–July 2011 $7,000 $6,500 DAVID TURLEY CONTEMPORARY ART CAITLIN BREARE ANDRÉ JEWSON CONSERVATION ACTING/THEATRE MAKING Master of Fine Arts, Chelsea College of Arts; London, UK, October 2011 – Study for Master of Art History with an Writing and Directing workshop, September 2012 Advanced Certificate in Conservation, École Philippe Gaulier; Paris, France, $7,000 Institute of Fine Arts, New York University; May–June 2011 New York, USA, September 2010 – May 2014 $2,070 HEIDI YARDLEY $7,000 FINE ART NICK KEYS JOHANNA ELLERSDORFER CONTEMPORARY ART/ Artist residency, research and networking CONSERVATION WRITING/PERFORMANCE within the arts community, Point B Artist Worklodge; Williamsburg, Brooklyn, USA, Six-month internship in paintings Second semester of a postgraduate September–October 2011 conservation, the National Gallery of Master of Fine Arts (MFA) Program, Bard $7,000 Denmark, under paintings conservator Dr College; New York, USA, June–July 2011 Jorgen Wadum; Copenhagen, Denmark, $7,000 VIVIAN ZIHERL September 2011 – March 2012 CURATION $7,000 KELLY LEAHEY PHOTOGRAPHIC CONSERVATION Intensive skills development course for DEIRDRE FEENEY young curator/critics; Amsterdam, The GLASS Presentation of a paper at the American Netherlands, September 2010 – May 2011 Institute of Conservation, and internships $7,000 Learning and sharing knowledge, with Nora Kennedy and Clara von Pilchuck Glass School, Washington, USA; Waldthausen; Ottawa, Canada; New York, research at the Corning Museum of Glass USA, and Amsterdam, Netherlands, collection, Corning, NY, the Museum of January 2011 – January 2012 the Moving Image, Astoria, NY, and the $7,000 Museum of Modern Art, Manhattan, NY, USA, July–August 2011 $4,700 KATHRYN GRAY STEPHEN GILCHRIST VIDEO, PHOTOGRAPHY CURATION AND INSTALLATION
Curatorial residency at the International Residency program at 943 Studio; Kunming, Studio & Curatorial Program to elaborate China, October–November 2010 a model of working in cultural spaces; $5,000 New York, USA, June–August 2011 $5,000
Please note: The information provided in this list was correct at the time of award. Travel details may be subject to change.
Printed on Monza Recycled Satin which is Certified Carbon Neutral by The Carbon Reduction Institute (CRI) following Grants Report 2010–11 | 31 the standards set by the global Greenhouse Gas Protocol. It is also FSC certified. Designed by magneticdesign.com.au The Ian Potter Cultural Trust Level 3, 111 Collins Street Melbourne VIC 3000 Australia T 03 9650 3188 F 03 9650 7986 E [email protected] www.ianpotterculturaltrust.org.au
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