Dreamcrossed presents artists’ depictions of the body as a site of imagination, both as an excavation of identity and a surface embellished through ornamentation.
Among the many artists represented, the exhibition includes the fanciful hybrid characters of Jacqui Stockdale, the tortured and tormented figures of Albert Tucker, the languid nudes of George Bell and Mike Parr’s discomforting scratched and smeared prints of the body.
Drawn from Benalla Art Gallery’s collection, this exhibition includes photography, painting, drawings and prints.
Image: Jacqui Stockdale, Rama-Jaara The Royal Shepherdess, 2012, C type print. Courtesy the artist & This is No Fantasy, Melbourne.
The world is not a foreign land brings together work by Timothy Cook, Djambawa Marawili, Ngarra, Rusty Peters, Freda Warlapinni and Nyapanyapa Yunupingu.
Crossing three geographically and culturally distinct regions—the Tiwi Islands, the Kimberley, and North-eastern Arnhem Land—each artist presents sometimes strikingly different perspectives on what constitutes Indigenous contemporary art. However, seen together, their work also reveals a series of productive and meaningful relationships; a network of connections that ask audiences to reconsider how certain objects and, by extension, certain practices, might relate beyond the confines of existing categories.
Image: Timothy Cook, Kulama, 2013, natural pigments and acrylic binder on paper. Courtesy of the artist and Jilmara Arts & Crafts Association, Melville Island, Northern Territory. Private collection, Sydney.
The John Twycross Melbourne International Exhibitions Collection comprises approximately 200 objects bought by wealthy wool merchant John Twycross at the 1880 Melbourne International Exhibition and 1888 Melbourne International Centennial Exhibition. This collection is a remarkable snapshot of late 19th century taste and style and includes examples of decorative, functional, and novelty objects and works of art exhibited in the Austro-Hungarian, British, German, Italian, Japanese, British Indian, and Minor Courts.
Prior to being donated to Museum Victoria, many of the works in this collection spent time in the North-East. Thirty-four objects have been selected for display at Benalla Art Gallery. They offer the contemporary viewer a rare insight into Melbourne’s first World Fair.
The John Twycross Collection is presented in association with Museum Victoria.
Image: Urns - Wedgwood, Classical Figures, England, circa 1880, ceramic Wedgewood urns featuring classical figures in salmon pink, blue and white, John Twycross International Exhibitions Collection, Museum Victoria, Photo: Benjamin Healley.
Amanda Marburg’s distinctive paintings are the end product of an extended process involving photography and model making. Her method is to build plasticine figures and structures before photographing the strange worlds she creates against studio backdrops, which then act as the final basis for her paintings.
This exhibition is an interactive participatory play space for children and parents. Several stations are available for plasticine modelling alongside Amanda’s paintings inspired by Grimm’s Fairy Tales. This creative space is full of activities and books designed for children to explore and have fun with art.
Image: Amanda Marburg, Zebra Parrott, 2015, oil on linen. Courtesy of Olsenirwin, Sydney and Sutton Gallery, Melbourne.
This exhibition of Australian female artists, from the late nineteenth century through to today, focuses on photography, painting, sculpture and works on paper in both a social and historical context. Revolutionary Visions recognises the contribution that women artists have made, not only to the history of Australian art, but also to the strength of the Benalla Art Gallery permanent collection.
Many works by female artists within the Collection were purchased when it was unfashionable. It was the foresight of Mrs Erma Ledger – wife of major benefactor Mr Laurence Ledger – who shared his interest in art and encouraged the purchase of works by significant Australian women artists. More recently, through artist donations, major public and private bequests and fundraising by the Friends of Benalla Art Gallery, the collection of works by female artists has continued to grow, adding to our rich understanding of women’s art practice within Australia.
Image: Ethel Spowers, Swings, 1932, colour linocut on oriental tissue paper. Bennett Bequest, 2000.
The Free Art School is a participatory art project developed by Benalla Art Gallery based on the concept of social sculpture.
Benalla Art Gallery believes that everyone has creative potential. To help you discover yours, the Gallery has set up a Free Art School offering classes and workshops in painting, drawing, watercolour, printmaking, ceramics, jewellery making, plant inspired collage, mosaics and some surprises like tie dye clothing.
Set within the Gallery, the Free Art School includes interactive installations, a social space, library and projects with guest artists.
No artistic experience is necessary. Classes are for ages 15+ and are designed to expand an understanding of artistic practice to build confidence in creative expression. Book early for the workshops on 03 5760 2619.
Image: Spenceroni, Collage #1, paper, texta & acrylic. Courtesy of the artist.
From the well-loved, well-used tea cups which have survived generations to the old fenderless car body slowly disappearing into the vegetation, Helga’s images are permeated with understanding. There is not just an overriding feeling of serene melancholy, but something steadfastly respectful in the ordinariness of her subject matter. - Cate Kennedy
Helga Leunig is a resident of North-East Victoria and this exhibition captures so perfectly the region’s particular characteristics of foggy mountain tracks, golden fields of grass, flora and fauna and everyday inanimate objects.
To accompany the exhibition is a book, “Mother Country: Reflections of Australian Rural Life” with an essay by Cate Kennedy.
Image: Helga Leunig, Sydney Harbour Bridge and platypus, 2014, type C photograph. Courtesy of the artist.
Developed in partnership with leading visual arts organisation Gertrude Contemporary, From the Collection focuses on ideas of play, improvisation and the hand-made.
The exhibition features artists Sarah CrowEST, Dylan Martorell, Nathan Gray and the collaborative group DAMP who build instruments, write scripts, compose sound, make costumes and paint ceramics.
Using works from the Benalla Art Gallery collection as a spring-board, the artists have created a series of new works which will be exhibited alongside the Gallery’s collection as a form of call and response.
Image: Sarah crowEST, Untitled (Ned), 2015, self portrait with costume.
“Encouraging Painting, Creativity and Community Involvement”
The Broken River Painters group was established in 1976 by a number of talented local artists who were already painting individually in Benalla and the surrounding district. Their first studio space was located in the Simpson Gallery at Benalla Art Gallery and was eventually relocated to a creative space downstairs, which they shared with the pottery group. In 2011 the studio moved again to the Barc Huts at Benalla Airport, which offered a larger space to accommodate their growing membership.
Over the past five decades the painters have held a number of successful exhibitions locally and have participated in high profile art shows throughout Victoria. A permanent display is held at the Benalla Hospital and in several cafes around Benalla. This community minded art group is widely admired by locals and visitors to the area. Benalla Art Gallery is proud to be holding an exhibition of recent works by current members.
Image: Diwi Bekins, Tranquility, 2015, acrylic on canvas. Courtesy of the artist.
Slipstitch presents an Australian perspective on the contemporary uptake of embroidery by a new generation of artists. The exhibition features recent work from Mae Finlayson, David Green, Lucas Grogan, Alice Kettle, Tim Moore, Silke Raetze, Demelza Sherwood, Matt Siwerski, Jane Theau, Sera Waters, Elyse Watkins and Ilka White.
In recent years contemporary artists in Australia have embraced embroidery for its capacity for poignant and reflective narrative. The re-emergence of embroidery is part of a broader questioning of the hierarchy of materials that has gained momentum since the 1990s. Embroidered objects have often been read literally and relegated within a domestic framework. These new contemporary works break down preconceptions by exploring what embroidery can become once it transcends the regularity of pattern and decoration. Historically, embroidery like the Bayeux Tapestry, was used as a tool for personal or political narratives. Slipstitch aims to introduce a contemporary audience to the capacity of embroidery for drawing and communication in this mode.
The tour of this exhibition has been made possible by Creative Victoria through the Touring Victoria program and a full colour catalogue publication has been generously supported by the Gordon Darling Foundation.
Image: Lucas Grogan, The Universe Quilt 2013 (detail), embroidery; cotton, cotton thread on black laminated, 200 x 175 cm, Ararat Regional Art Gallery Collection. Purchased with the assistance of the Robert Salzer Foundation, 2013. Photo: Asa Gauen, New York. Courtesy the artist and Gallerysmith Melbourne.
An Ararat Regional Art Gallery and NETS Victoria touring exhibition, curated by Dr Belinda von Mengersen