First Nations Artist Camp 2021 - Application Form Form Preview

Total Page:16

File Type:pdf, Size:1020Kb

First Nations Artist Camp 2021 - Application Form Form Preview First Nations Artist Camp 2021 - Application Form Form Preview Guidelines About This Opportunity The First Nations Artist Camp is an onsite week-long program where participating artists work with senior practitioners, mentors and industry specialists to explore creative practice including techniques for developing drawing & painting skills, ephemeral, site specific and sculptural work and cross art form collaboration. The 2021 Camp will be held from 18 - 22 October in the Gold Coast hinterland. 2021 will see a focus on developing artist skills to create public art such as murals, ephemeral, large scale works and the incorporation of works into architecture and other public space. Delivered in collaboration with Kalinya Retreats a 100% Aboriginal owned business lead by Koori Businesswoman Jirra Harvey, the Camp provides participating artist exciting opportunities for further support through networks, business development and creative partnerships. The 2021 First Nations Artist Camp is proudly supporting Gold Coast and SEQ First Nations businesses. Over the past five years, the First Nations Artist Camps have successfully contributed to the development of the local sector, with participants increasing their skills, exploring new art forms and gaining new networks and professional opportunities. In the past, the Camp has culminated in a public presentation of the work developed. Developed by the City of Gold Coast the Artist Camp is part of a key action for the City of Gold Coast’s Culture Strategy 2023 that values and supports the elevation and promotion of local Indigenous artist development. Lead Artist and Mentor - Megan Cope Megan Cope is a Quandamooka woman (North Stradbroke Island) in South East Queensland. Her site-specific sculptural installations, video work and paintings investigate issues relating to identity, the environment and mapping practices. Cope’s work often resists prescribed notions of Aboriginality and examines psychogeography’s that challenge the grand narrative of ‘Australia’ and our sense of time and ownership in a settler colonial state. These explorations result in various material outcomes. A member of Aboriginal art collective proppaNOW, Cope’s work has featured in several notable exhibitions, including the TarraWarra 2021 Biennial: Slow Moving Waters; NGV Triennial 2020, 2020 Adelaide Biennial of Australian Art: Monster Theatres at the Art Gallery of South Australia; The National (2017) at the Art Gallery of New South Wales; Defying Empire: 3rd National Indigenous Art Triennial (2017) at the National Gallery of Australia and more. She has held solo exhibitions at Canberra Glassworks; UNSW Galleries, Sydney; the Australian Print Workshop, Melbourne; the Australian Centre for Photography, Sydney; This Is No Fantasy, Melbourne; Fehily Contemporary, Melbourne, and Spiro Grace Art Rooms in Brisbane. In 2017-19 Cope was the Official Australian War Artist. Cope’s work is held in the several collections including National Gallery of Victoria, Queensland Art Gallery |Gallery of Modern Art, National Gallery Australia, Art Gallery Page 1 of 10 First Nations Artist Camp 2021 - Application Form Form Preview Western Australia, Melbourne Museum, Musées de la Civilisation: Canada. Public art commissions include After the Flood at James Cook University, Weelam Ngalut (our place) at Monash University, Melbourne Museum and You Are, Here Now at the Australian Catholic University. More: https://megancope.com/ Key dates DATE ACTION Sunday, 12 September 2021 Midnight AEST Applications close Sunday, 10 October 2021 Application outcome notification Friday 24 September - location tbc Pre-Camp Artist gathering Monday, 18 – Friday, 22 October 2021 Artist Camp November 2021 (tbc) Public presentation of outcomes Who should apply? This opportunity is for Aboriginal and/or Torres Strait Islander artists*, residing on the Gold Coast. Artists residing outside of the Gold Coast who are able to demonstrate a significant connection and/or contribution to the Gold Coast arts industry may also be considered. Positions are limited and will be selected by a panel of industry peers. *Previous participants are welcome to apply to attend again, however consideration will be given to first time participants. Please contact us to discuss any questions you have prior to applying. What to expect? Successful applicants must commit to a 5-day intensive week in the Gold Coast Hinterland focusing on a range of art making processes focused on public art*. The week will include practical workshops, group discussions and individual tutoring. You will be working individually and in small groups and there will be varied levels of physical activity (if you have limitations around walking or physical activity, we can discuss your requirements and look at ways to support you). All food and accommodation is provided. Participants will be supplied a small stipend to cover additional costs. Page 2 of 10 First Nations Artist Camp 2021 - Application Form Form Preview * While the primary focus of the Camp in 2021 is Public Art we encourage First Nations artists of all creative disciplines to apply to further develop their practice and skills in relation to art in public spaces. Eligibility Applicants must: • Identify as Aboriginal and/or Torres Strait Islander • Be a resident of the Gold Coast and/or able to demonstrate a significant connection to the Gold Coast* (actively contributing to the sector) • Be a permanent resident or Australian citizen • Have an ABN *As the City of Gold Coast is a local Government authority, artists residing outside of the Gold Coast are required to gain support from their own local Government authority or Community Organisation to assist with participation. Please contact us to discuss any questions you have prior to applying. Selection criteria Applicants must: • Demonstrate a commitment to creating original artworks and expanding your practice. • Demonstrate a willingness to work both collaboratively and individually. • Articulate the relevance of the current stage of your career to this program. • Demonstrate potential to contribute to ongoing expansion of the Gold Coast creative sector. • Commit to participating in the full program. To Apply Please submit through the SmartyGrants portal: • A completed application form • A copy of your current CV (2 page max.) • 3-5 images of your previous work Enquiries Jade Johnson Senior Arts and Culture Program Officer Arts and Culture | Lifestyle and Community City of Gold Coast T: 07 5581 7138 Page 3 of 10 First Nations Artist Camp 2021 - Application Form Form Preview E: [email protected] Po Box 5042, Gold Coast MC QLD 9729 www.goldcoast.qld.gov.au Getting Started It is recommended that all applicants make contact with the City of Gold Coast contact officer to discuss your application and/or if you require assistance with completing the application form prior to submission. You may begin anywhere in this application form. Please ensure you save as you go. For queries about the guidelines, deadlines, or questions in the form, please contact us via email [email protected] and quote your application number. If you need more help using this form, download the Help Guide for applicants or check out the Applicant Frequently Asked Questions (FAQ's). Navigating (moving through) the application form On the right hand side of every screen, there is a box which links directly to every page of the application. Click the link to jump directly to the page you want. You can also click 'next page' or 'previous page' on the top or bottom of each page to move forward or backward through the application. Saving your draft application If you wish to leave a partially completed application, press 'save' and log out. When you log back in and click on the ‘My Applications’ link at the top of the screen, you will find a list of any applications you have started or submitted. You can reopen your draft application and start where you left off. You can also download any application, whether draft or completed, as a PDF. Click on the ‘Download’ button at the bottom of the application navigation panel. Submitting your application You will find a ‘Review’ button at the bottom of the Navigation Panel. You need to review your application before you can submit it. Once you have reviewed your application you can submit it by clicking on 'Submit' at the top of the screen or on the navigation panel. You will not be able to submit your application until all the compulsory questions are completed. Once you have submitted your application, no further editing or uploading of support materials is possible. When you submit your application, you will receive an automated confirmation email with a copy of your submitted application attached. This will be sent to the email you used to register. If you do not receive a confirmation of submission email then your submission has NOT been received. Attachments and supporting documents Page 4 of 10 First Nations Artist Camp 2021 - Application Form Form Preview You may need to upload/submit attachments to support your application. This is very simple, but requires you to have the documents saved on your computer, or on a USB stick, or similar. You need to allow enough time for each file to upload before trying to attach another file. Files can be up to 25MB each; however, we do recommend trying to keep files to a maximum of 5MB – the larger the file, the longer the upload time. If you are not able to upload a document, please contact us for support (see contact details above). Spell check Most Internet browsers (including Firefox v2.0 and above; Safari; and Google Chrome) have spell checking facilities built in – you can switch this function on or off by adjusting your browser settings. Applicant details * indicates a required field Applicant * Title First Name Last Name Preferred name? Applicant street address * Address Address Line 1, Suburb/Town, State/Province, Postcode, and Country are required. Applicant postal address * Address Address Line 1, Suburb/Town, State/Province, Postcode, and Country are required.
Recommended publications
  • MEGAN COPE Born Brisbane, 1982 Lives and Works in Melbourne QUALIFICATIONS 2006 Bachelor of Visual Arts
    MEGAN COPE Born Brisbane, 1982 Lives and works in Melbourne QUALIFICATIONS 2006 Bachelor of Visual Arts (Visual Communication), Deakin University, Victoria SELECTED SOLO EXHIBITIONS 2019 Australian War Artist, Australian War Memorial, Canberra The Black Napoleon, Australian Print Workshop, Melbourne 2016 Bereft, Artspace, Sydney 2015 The Blaktism, Australian Centre for Photography, Sydney The Blaktism, This Is No Fantasy, Melbourne 2013 The Tide is High, Fehily Contemporary, Melbourne 2012 Deep Water - Spiro Grace Art Rooms, Brisbane SELECTED GROUP EXHIBITIONS 2019 Water, Queensland Art Gallery/Gallery of Modern Art, Brisbane (forthcoming) Violent Salt, Artspace Mackay (touring nationally) Material Place, UNSW Galleries, Sydney Tai Snaith: A World of Ones Own, Art Gallery of Ballarat, Ballarat Haunt, Institute of Modern Art (IMA), Brisbane Concrete: Art, Design, Architecture, Jam Factory, Adelaide 2018 Dhaka Art Summit, Dhaka, Bangladesh Installation Contemporary, Sydney Contemporary, Carriageworks, Sydney Octopus 18, Mother Tongue, Gertrude Contemporary, Melbourne Ex Embassy, Former Australian Embassy, Berlin Coast: the artists’ retreat, Mornington Peninsula Regional Gallery, Victoria Defying Empire: 3rd National Indigenous Art Triennial, University of Queensland Art Museum (touring) Hunter Red (Re(A)d Earth, Lake Macquarie Regional Art Gallery, NSW Great Movements of Feeling, Next Wave Festival, Gertrude Contemporary, Melbourne Defying 2017 Defying Empire: 3rd National Indigenous Art Triennial, National Gallery of Australia (touring)
    [Show full text]
  • Office for Contemporary Art Norway / Valiz
    and Criticism and Indigenous Art, Curation Sovereign Words. Sovereign Words García-Antón Katya by Edited Tripura. Bikash Sontosh Tripura, Prashanta Tamati-Quennell, Megan Garneau, Biung Ismahasan, Kimberley Moulton, Máret Ánne Sara, Venkat Raman Singh Shyam, Irene Snarby, ÁndeDaniel Somby, Browning, Kabita Chakma, Megan Cope, Santosh Kumar Das, Hannah Donnelly, Léuli Māzyār Luna’i Eshrāghi, David Indigenous Art, Curation and Criticism Office for Contemporary Art Norway / Valiz With this publication we pay respect to our peers in Sápmi, as well as to the myriad Indigenous histories, presents and futures harboured in lands and oceans across the world. We acknowledge their Ancestors and the stories of survivance (survival, resistance and presence) in the face of colonial mechanisms that are still ongoing. We also honour the agency possible in the constitution of alliances between Indigenous and non-Indigenous communities within the fields of culture and beyond. Sovereign Words. Indigenous Art, Curation and Criticism Edited by Katya García-Antón Office for Contemporary Art Norway Valiz, Amsterdam – 2018 7 Preface Katya García-Antón Sounding the Global Sovereign Histories Indigenous. Language, of the Visual Contemporaneity and Indigenous Art Writing 15 Can I Get a Witness? 63 Jođi lea buoret go oru. Indigenous Art Criticism Better in Motion than at David Garneau Rest. Iver Jåks 33 What Does or Should (1932–2007) ‘Indigenous Art’ Mean? Irene Snarby Prashanta Tripura 77 Toi te kupu, toi te mana, 47 History and Context of toi te whenua. The Madhubani (Mithila) Art Permanence of Language, Santosh Kumar Das Prestige and Land Megan Tamati-Quennell 97 Sovereignty over Representation. Indigenous Cinema in the Chittagong Hill Tracts of Bangladesh Kabita Chakma Statues, Maps, Stories Sovereign World-Building.
    [Show full text]
  • Attachment A17
    Attachment A17 Public Art Strategy - 133-145 Castlereagh Street, Sydney 504 Preliminary Public Art Strategy for the Stockland Piccadilly Complex Prepared by Barbara Flynn, 30 July 2020 Barbara Flynn Pty Ltd Copyright © Barbara Flynn and Art Advisor to Stockland for the the artists 2020 Stockland Piccadilly Complex 505 Contents 1 Overview 1 2 Executive summary 2 3 Vision for the project 3 Vision for public art 3 Approach 4 Artwork types, locations, artist selection and artwork delivery 4 Working with Aboriginal artists 7 4 The site 9 5 Analysis of the precinct 10 Civic context 10 Cultural guidelines 11 6 Public art for the project 16 What makes great art? 16 The opportunities for art 19 What are the narratives? 23 506 506 7 The possible artist partners 25 8 Possible types of art matched to locations 30 1 Utilising the full length of the space 30 2 Looking up 60 3 Looking down 94 4 Retail therapy 98 9 Methodology 119 Process of commissioning works of art 119 Future ownership and care of works of art 120 Program 121 10 Budget 124 Relationship of program and budget 124 Value for money: Budget levels and the scope they allow for 125 11 Conclusion 128 Annexure A 129 Notes 131 1 Overview Stockland, art advisor Barbara Flynn, and the Stockland Piccadilly Complex Preliminary Public Art This Preliminary Public Art Strategy has been prepared by Barbara Flynn of Strategy for the Stockland design team pay respect to the Traditional Owners and Elders, past, present and Piccadilly Complex Barbara Flynn Pty Ltd on behalf of Stockland.
    [Show full text]
  • Art Gallery of New South Wales 2017: Our Year in Review
    Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 201 7 2017 ART GALLERY OF NEW SOUTH WALES 2017 2 Art Gallery of New South Wales 2017 Art Gallery of New South Wales 2017 3 Our year in review 4 Art Gallery of New South Wales 2017 6 OUR VISION 7 FROM THE PRESIDENT David Gonski 8 FROM THE DIRECTOR Michael Brand 10 2017 AT A GLANCE 12 SYDNEY MODERN PROJECT 16 ART 42 IDEAS 50 AUDIENCE 62 PARTNERS 78 PEOPLE 86 BOARD OF TRUSTEES 88 EXECUTIVE 89 CONTACTS 90 2018 PREVIEW The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales stands. We respectfully acknowledge their Elders past, present and future. Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. page 4: A view from the Grand Courts to the entrance court showing Bertram Mackennal’s Diana wounded 1907–08 and Emily Floyd’s Kesh alphabet 2017. 6 Art Gallery of New South Wales 2017 DAVID GONSKI AC PRESIDENT ART GALLERY OF NEW SOUTH WALES TRUST and the Hon Adam Marshall MP, Glenfiddich, Herbert Smith Freehills, Minister for Tourism and Major Events. JCDecaux, J.P. Morgan, Macquarie Group, Macquarie University, The funding collaboration between McWilliam’s Wines & Champagne government and philanthropists for Taittinger, Paspaley Pearls, Sofitel our expansion will be the largest in FROM Sydney Wentworth, the Sydney the history of Australian arts.
    [Show full text]
  • 14-15Art Gallery of Ballarat Annual Report
    Art Gallery of Ballarat Annual Report 14-15 Annual Report 2014-15 Chair’s Report 4 Director’s Report 8 Association Report 10 Gallery Guides Report 12 Acquisitions 14 Adopt an Artwork 26 Donations, Gifts, and Bequests 27 Exhibitions 28 EIKŌN: Icons of the Orthodox Christian World 30 Touring Exhibitions 32 Outward Loans 34 Publications & Merchandise 36 Education Report 38 Public Programs 40 ISSN 0726-5530 Gallery Staff and Volunteers 49 Art Gallery of Ballarat Board Members 50 ACN: 145 246 224 ABN: 28 145 246 224 Budget Summaries 52 40 Lydiard Street North Ballarat Victoria 3350 T 03 5320 5858 F 03 5320 5791 [email protected] www.artgalleryofballarat.com.au Image right: installation view of EIKŌN: Icons of the Orthodox Christian World Image next page: Hugh DT Williamson Gallery Vision The Art Gallery of Ballarat where Art Inspires, Stimulates and Challenges Mission To foster and enrich the cultural life of our city, our region and the Nation by acquiring, conserving and presenting a great collection of art. Image: installation view of Art and Australia 2003 – 2013 3 Chair’s Report Art Gallery of Ballarat Board of Directors I often tell people that the Art Gallery of Ballarat is about a city wide program around the exhibition, including withdrawal of our café proprietors early this year allowed us art: we buy it, we show it, we lend it and we store it. The launching the Season of the Arts Program. The Archibald to trial The Salon, a relaxed meeting area, which has been challenge for us is how to do this in a creative and inspiring Prize 15-16 Exhibitions and the Art Gallery of Ballarat major very popular with Association Members, staff and visitors.
    [Show full text]
  • Education Resource Background Education Resource
    Education resource Background Education resource Contemporary Indigenous photography came to This education resource will assist teachers and prominence in the mid to late 1980s, when Indigenous students in exploring the National Gallery of artists strategically applied the medium to express the Australia’s travelling exhibition Resolution: new frustrations many Aboriginal and Torres Strait Islander Indigenous photomedia. The exhibition suits the Visual people felt around the time of the 1988 Australian Arts and English subjects in the Australian Curriculum, Bicentennial celebrations, after two hundred years of particularly for Years 9 and 10 and senior students. European occupation. The English curriculum focus addresses the analysis of still and moving images and evaluates their impact on Over the past three decades, many of these artists an audience. Students will gain an understanding of have actively become leading contributors to the visual material as a language that has the potential contemporary art world and still produce photomedia for inclusive and empowering outcomes, mirroring the work that engages with history—personal, cultural premise of Resolution. and social—in complex and layered ways. We have also seen the rise of a new generation of artists who The making and responding activities listed in this similarly explore the impact and influence photography resource address the Visual Arts subject and the has had on Australia’s Indigenous population, often cross-curriculum priority for students to engage in using or referring to early photographic techniques recognition, respect and reconciliation of the world’s and practices to engage with the concerns of today, oldest continuous living culture. Using the works in and often in unexpected and enlightening ways.
    [Show full text]
  • AHSN26 Laughter and Belonging
    26th Australasian Humour Studies Network Annual Conference (AHSN2020) 5-7 February 2020 Griffith University, Brisbane, South Bank Campus Theme: Laughter and Belonging Conference hashtag: #AHSN2020 Conference hashtag: #AHSN2020 Venue address: The Ship Inn, Corner Stanley & Sidon Streets, Southbank Parklands, Brisbane Google Maps link: https://goo.gl/maps/25rFFWonFKAK9i33A NB: The entrance to Griffith University’s building S07 is on the right-hand side of the Ship Inn restaurant. The function room, where the opening session is held, is right above the restaurant. The entrance is through building S07. 1 26th Australasian Humour Studies Network Annual Conference (AHSN2020) 5-7 February 2020 Griffith University, Brisbane, South Bank Campus Laughter and Belonging Emergency contacts and useful information ……………………..…………. 3 Acknowledgements ……………………………………………….…….. …. 4 Welcome ……………………………………………………………..….….. 5 Maps ………………………………………………………………………. 6 Conference Program …………………………………………..…….……. .. 7 Abstracts and bios Keynote speakers ………………………….……………………….……. .. 18 Workshops ………………………………………………………………… 25 Panels ………………………………………………………….………….. 26 Conference presentations …………………………………………………. 33 Information on venue, transport and accommodation ……………………. 104 Conference dinner ………………………………………………………… 108 2 Emergency contacts and useful information Emergency (Police/Ambulance/Fire): 000 or 112 from a mobile. Griffith Security: Security services are available 24-hours on all Griffith University campuses and are handled by the Campus Support Team. If the campus Security Office is unattended, a telephone is available at the front of each office to contact the team or alternatively call 1800 800 707 (free call) anywhere on campus. Southbank campus support team: Internal phone: 7777 - External phone: (07) 3735 6226 Wi-Fi Griffith ID: Griffith staff and students should use their staff ID to log in. Eduroam: staff and students of other education institutions should use their institutional credentials to log in via Eduroam.
    [Show full text]
  • MEGAN COPE Born Brisbane, 1982 Lives and Works in Melbourne
    MEGAN COPE Born Brisbane, 1982 Lives and works in Melbourne QUALIFICATIONS 2006 Bachelor of Visual Arts (Visual Communication), Deakin University, Victoria SELECTED SOLO EXHIBITIONS 2016 Bereft, Artspace, Sydney 2015 The Blaktism, Australian Centre for Photography, Sydney The Blaktism, This Is No Fantasy + Dianne Tanzer Gallery, Melbourne 2013 The Tide is High, Fehily Contemporary, Melbourne 2012 Deep Water - Spiro Grace Art Rooms, Brisbane SELECTED GROUP EXHIBITIONS 2017 Material Politics, Institute of Modern Art (IMA), Brisbane (forthcoming) Defying Empire: 3rd National Indigenous Art Triennial, National Gallery of Australia (forthcoming) The National 2017: New Australian Art, Art Gallery of New South Wales, Sydney Another Day in Paradise, Campbelltown Arts Centre, Sydney Ku-ring-gai pH, Manly Art Gallery and Museum, Sydney 2016 Sovereignty, Australian Centre for Contemporary Art, Melbourne Fraud Complex, West Space, Melbourne Re-visioning Histories, Bundoora Homestead Art Centre, Melbourne Frontier Imaginaries, QUT Art Museum, Brisbane (touring) Frontier Imaginaries, Al-Ma’mal Foundation for Contemporary Art, Jerusalem (touring) Lifelines: Indigenous Contemporary Art from Australia, Musées de la Civilisation, Québec, Canada Saltwater Country, Mornington Peninsula Regional Gallery, VIC (touring) Saltwater Country, Tandanya National Aboriginal Cultural Institute, SA (touring) Saltwater Country, Bunbury Regional Art Galleries, WA (touring) Saltwater Country, Western Plains Cultural Centre, Dubbo, NSW (touring) Saltwater Country, Lake
    [Show full text]
  • 2019 Annual Report the National Association for the Visual Arts (Nava) Annual Report 2019
    2019 ANNUAL REPORT THE NATIONAL ASSOCIATION FOR THE VISUAL ARTS (NAVA) ANNUAL REPORT 2019 NAVA leads advocacy, policy and action for CONTENTS an Australian contemporary arts sector that’s ambitious and fair. Reflecting on 2019 2 Through the Code of Practice for the Professional Australian Visual Arts, Media, Craft and Design ARTIST FOCUS Sector, we set national best practice standards Membership 3 for the contemporary arts industry. Professional Development 4 Artistic Leadership 5 Our vision – that artistic courage ignites Australian culture – drives everything we do. INDUSTRY FOCUS Code of Practice 7 Cross-Sector Partnerships 7 The National Association for the Visual Arts Industry Leadership 8 (NAVA) acknowledges the Gadigal peoples of the Eora Nation where our office is located and all Custodians of Country throughout all lands, PUBLIC FOCUS Policy Development 10 waters and territories. Their sovereignty has never been ceded. We pay our respects to the Public Engagement 10 Elders past, present and future. Cultural Leadership 11 The words “Aboriginal and Torres Strait ABOUT NAVA 12 Islander’, ‘Blak’, ‘Indigenous’, ‘First Nations’ Our board 13 and ‘First Peoples’, are used interchangeably Staff 14 in this report to refer to both Aboriginal and Acknowledgements 14 Torres Strait Islanders, and global First Nations artists in the Australian arts and culture sector. 2019 Financial Report 15 NAVA understands the complexities in the use of these words and that some Aboriginal and Torres Strait Islander peoples may not be comfortable with some of these words. We would like to make known that only the deepest respect is intended in the use of these terms.
    [Show full text]
  • 2019 Artspace Annual Report.Pdf
    ARTSPACE Annual Report 2019 Prepared by Artspace Artspace Artspace TABLE OF CONTENTS VISION EVER CHANGING, EVER CHALLENGING, Artspace is where audiences encounter the artists and the ideas of our times. MISSION Executive Report 4 Artspace is one of the leading institutions for the production and presentation of contemporary art in the Asia-Pacific. 2019 Reach 8-9 Artspace’s mission is to enhance our culture through a deeper Key Performance Indicators 12 engagement with contemporary art. Embracing risk, experimentation, Expanded Artistic Program criticality and collaboration, Artspace’s multi-platform program Exhibitions 16 facilitates new commissions, exhibitions, performances, artist Ideas Platform 28 residencies, public programs, publishing and advocacy. International Partnerships and Commissioned Work 41 Underpinned by a commitment to reflecting and advancing social and National and Regional Touring 42 cultural diversity, Artspace catalyses new artistic visions and Studios 47 enables artists of all generations to test ideas and shape public International Visiting Curators Program 58 conversations. Public Programs 62 Publishing 66 ABOUT US Performance Against Goals Established in 1983, Artspace is an independent, not-for-profit Expanded Artistic Program 72 contemporary art space that receives government support for its Artists and Advocacy 76 activities from the Federal Government through the Australia Council Audience Growth, Engagement and Reach 78 for the Arts and the State Government through Create NSW, alongside Organisational Dynamism
    [Show full text]
  • Contemporary Art and Post-Work Politics
    Contemporary Art and Post-Work Politics Contributors David Attwood, Diana Baker Smith, Andrew Brooks, Eva Bujalka, Rex Butler, Darren Jorgensen, Lisa Radford, Francis Russell, Mladen Stilinovic´, Masato Takasaka, Natalie Thomas, Tim Woodward Edited by David Attwood, Francis Russell Text Only Series The Art of Laziness: Contemporary Art and Post-Work Politics The Art of Laziness: Contemporary Art and Post-Work Politics Contributors: David Attwood, Diana Baker Smith Andrew Brooks, Eva Bujalka Rex Butler, Darren Jorgensen Lisa Radford, Francis Russell Mladen Stilinović, Masato Takasaka Natalie Thomas, Tim Woodward Editors: David Attwood, Francis Russell CENTRE of VISUAL ART Publisher _ A+A Publishing, Victorian College of the Arts, University of Melbourne Distribution _ Peribo, Sydney and John Rule Art Book Distribution © 2020 A+A Publishing University of Melbourne ALL RIGHTS RESERVED EDITORS David Attwood Francis Russell SERIES EDITOR Edward Colless AUTHORS David Attwood Diana Baker Smith Andrew Brooks Eva Bujalka Rex Butler Darren Jorgensen Lisa Radford Francis Russell Mladen Stilinović Masato Takasaka Natalie Thomas Tim Woodward The views expressed in this publication are those of the contributing authors and editors, and not necessarily those of the publisher. The publisher respectfully acknowledges the Boonwurrung and Wurundjeri peoples of the Kulin Nation, on whose land Art + Australia publications are produced. We acknowledge their ancestors and Elders, who are part of the longest continuing culture in the world. A+A Publishing Text
    [Show full text]
  • Annual Report 2015–16 © National Gallery of Australia 2016 All Rights Reserved
    Annual Report 2015–16 © National Gallery of Australia 2016 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. National Gallery of Australia Parkes Place, Canberra ACT 2600 GPO Box 1150, Canberra ACT 2601 Edited by Eric Meredith Designed by Carla Da Silva Index by Sherrey Quinn Printed by New Millennium Print ISSN 1323 5192 nga.gov.au/aboutus/reports Cover: Tom’s Studio, the family activity room for Tom Roberts, supported by Tim Fairfax AC, February 2016. CONTENTS Letter of transmittal 5 About the NGA 6 Executive summary 9 Chair’s report 10 Director’s report 12 Snapshot 20 Performance summary 24 Performance statements 25 Engage, educate and inspire 27 Managing resources 35 Collect, share and digitise 37 Management and accountability 47 Governance 48 Corporate services 55 Statutory compliance 58 Appendices 59 Appendix A: Exhibitions 60 Appendix B: Publishing and papers 62 Appendix C: Acquisitions 66 Appendix D: Supporters 79 Appendix E: Legislative requirements 91 Appendix F: Index of requirements 95 Appendix G: Agency resource statement 96 Financial statements 97 Independent auditor’s report 98 Financial statements 100 Notes 105 Glossary 124 Index 126 NGA Annual Report 2015–16 3 Tables Table 1: Performance summary 2015–16 24 Table 2: Visitation 27 Table 3: Public programs 28 Table 4: School participation 30 Table 5: Online visits
    [Show full text]