Drawn from the Benalla Art Gallery Collection, this exhibition explores the idea of works of art as studies of particular subjects, primarily through portraiture in this case, and also as decorative ornaments.
Ornament and Subject features paintings, photography and prints from the 19th century to the present day with a special focus on contemporary female artists.
Image: Jacqui Stockdale, Rama Jarra, The Shepherdess 2012. C type print. Benalla Art Gallery Collection
There are more images circulating in the world then ever before. Despite this, never has photography occupied such an anxious understanding of itself. Freed - through technological advances - of the requirement to represent the real, globally photography is questioning its expressive value and beginning to redefine itself.
This exhibition contributes an Australian voice to this international conversation. Concentrated through strategies of dispersal and aggregation, Looking But Not Seeing brings together a group of artists whose work engages with questions of what photography is now and where it is going.
Jacqui Ball, Nina Gilbert, Eliza Hutchison, Will Nolan, Nik Pantazopoulos, Kiron Robinson, Vivian Cooper Smith, Darren Sylvester, Marian Tubbs, Xanthe Waite and Grace Wood.
Curated by Kiron Robinson.
This exhibition has received assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria.
Exhibition Opening Sunday 2 September, 3-5pm
Image: Darren Sylvester, Ghost Story, 2017, light jet print. Courtesy the artist, Neon Parc, Melbourne and Sullivan+Strumpf, Sydney
Samantha J Heriz is a British/Australian visual artist working conceptually across media. Much of her work concerns language, words, speech and the conveyance of subtlety. Often juxtaposition and duration are utilised to play with figure/ground to highlight the overlooked.
This 4-channel video installation was made whilst on residency at TAKT Berlin in 2016. During the month Heriz overtly spied from the inside and outside of Building No.1, the location of the Stasi Headquarters. The building remains largely unchanged and its essence of ‘ubiquitous control’ seems to linger. This work sees words from Party slogans, songs and official media, paired with footage of the Stasi Headquarters in 2016.