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
Bindi Cole is a contemporary Australian artist of both Aboriginal (Wathaurung) and British ancestry. The artist uses photography, installation and video to create artworks informed by personal experiences. Cole’s practice navigates defining aspects of her life story including her Aboriginal identity and the importance of spirituality in her work.
At some point in our lives we all require forgiveness, just as there are also times when we need to forgive others. The exhibition We All Need Forgiveness is a 30-monitor video installation, a deeply personal work which engages viewers in the act of forgiveness. This is powerful in the context of Cole’s mixed heritage, yet the work also taps into a fundamental aspect of the human condition by expressing the courage to forgive.
Image: Bindi Cole, We All Need Forgiveness, 2014, multi-channel HD video installation, colour, sound, 5 mins. Courtesy the artist and Nellie Castan Projects, Melbourne. Producer: Daniel Chocka. Video and sound editor: Rachel Fong. Production assistant: Nikita Lotis.
Drawing the Labyrinth comprises hundreds of drawings reflecting an intimate journey of the artist’s life over a year. This seemingly endless concertina reflects glimpses of the artist’s travels in Europe, family gatherings, self-portraits, studies of friends, actors and musicians, anonymous people on trains, teenagers in classrooms, a live band, and even a woman in labour.
Presented in the form of a walking labyrinth, the work invites viewers to slow down, observe and contemplate their surroundings.
During the exhibition Jacqui will be drawing visitors in the gallery and adding their images to this ongoing piece.
Image: Drawing the Labyrinth, 2015, concertina book of ink & pen drawings. Courtesy of This is No Fantasy, Melbourne & Edwina Corlette Gallery, Queensland.
Philip Sargeant and Colin Munro were life long friends. They attended the same secondary school and studied architecture together at the University of Melbourne in the early 1950s. Between 1965 and 1975, in partnership, they carried out two major design projects: Benalla Art Gallery and the McClelland Gallery + Sculpture Park at Langwarrin, today considered two of Australia’s most iconic buildings.
Painting and drawing was another common pursuit of both men, established during their early school days. Art remained a life-long passion and several exhibitions of Sargeant and Munro’s work have been shown in Australia, Samoa and Greece.
This exhibition celebrates the artists and architects fine careers and coincides with the 40th year anniversary celebrations of Benalla Art Gallery.
Image: Colin Munro, Architectural Landscape #1, oil on canvas. Private collection.
Working across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, photography, video, performance and public interventions, artist Ash Keating has raised a wide range of social and environmental issues within his many projects and artworks. These include systems of production and consumption, climate change, urban gentrification, waste and sustainability. This exhibition surveys his practice over a ten year period.
Download the catalogue for this exhibition by clicking on the link below.
Image: Ash Keating: Selected Works 2005 - 2015 (installation view)
Dawn till Dusk: Gifts of Light and Landscape celebrates the generosity of donors to the Benalla Art Gallery. Laurie Ledger donated the first substantial gift of art works from his private collection in 1975. Since then the Gallery’s collection has grown substantially as a result of gifts, bequests and donations to become one of the most significant public art collections in Australia. Dawn till Dusk presents a rich legacy of landscape paintings by some of Australia’s most significant artists from the early nineteenth century to the present.
Image: Lina Bryans, River Landscape, 1945, oil on paper on board. Ledger Gift 1988.
The View presents landscapes and domestic views from the Benalla Art Gallery Collection dating from the mid-nineteenth to the mid-twentieth century, a period in which painting underwent several revolutions, most notably as a result of French Impressionism which emerged in the late 1800s. The paintings presented in this exhibition reflect not only changes in artistic styles but also in wider society.
Image: Abram Louis Buvelot, The Barwon, oil on canvas. Gift of L. H. Ledger, 1986
This is a dark world of toxic landscapes and deserted towns, coloured by sulphurous copper skies and illuminated by the chemical glow of flowing metals and poisonous liquid. These paintings have been inspired by time spent in the mining and metallurgy industries, recent travels through outback mining towns, and our seemingly insatiable desire to dig up the planet and poison our atmosphere. - Tony Flint.
Image: Desert Bloom, 2014, acrylic on canvas. Courtesy of the artist.