Dadaism In Australia | Dada Art In Australia

Dada Artists In Australia | Dada Artists Resumes Australia

It’s 1916 and the First World War is boiling over. Artists, writers and entertainers despair. The anything goes political agitation of Dada rapidly turned into a vehicle for new thoughts regarding artistry. This can be most notably seen with Marcel Duchamp and his Le Fountain urinal – a commentary about the notion of art. Max Ernst seeded his improvement as a Surrealist, and in Switzerland Tristan Tzara performed at the Cabaret Voltaire. In the Australian setting, it’s more than 60 years since Barry Humphries was served breakfast on a peak hour train as a Dadaist act. Dada and Australian sensibilities have much in common, especially when considering the way humour and absurdist art are utilised to ensnare the viewer.

What you’ll find below are Australian Dadaist artists; all using different mediums and various artistic techniques to create stunningly unique works.

Australian Artists

Stephen Benwell

Reclining female

Acrylic on paper 1988

Courtesy of Niagara Galleries

Artist Statement

… because if you have drawn it you’ve stated it. It’s a statement, you can explain it that simply. Because then that drawing exists. That is what art is. When we look at the history of art we just look at other people’s drawings of man. And they explain so much to us. You could not get a bigger task ever, that is the excitement of it all! (Interview with Joe Pascoe, Benwell& Potter Ceramics Exhibition, Shepparton Art Gallery 1989).

Resume

Stephen Benwell has exhibited regularly since 1975 and has achieved an international reputation for his hand-built ceramics, which encompass the vessel as a form, inventive sculptures and humanistic statues in clay. This exhibition includes several works on paper, two from his childhood years and two later works, which all exhibit a dream-like imagination.

Born Melbourne, 1953.

Education:

2005 MFA Monash University

Recent Solo Exhibitions:

2013 Stephen Benwell: Beauty, Anarchy, Desire – A Retrospective, Heide Museum of Modern Art, Melbourne

2012 Stephen Benwell, Greenaway Art Gallery, Adelaide

Walking to Oracles: New Paintings and Ceramics, Niagara Galleries, Melbourne

2010 New Ceramics, Niagara Galleries, Melbourne

2007 Recent Works, Niagara Galleries, Melbourne

2005 Niagara Galleries, Melbourne

The Impassioned Shepherd, The Faculty Gallery, Monash University, Melbourne

Recent Group Exhibitions:

2015 Dada lives! Hatch Contemporary Art Space, Ivanhoe

2014 Australia-Korea, Invitational Exhibition, Hanyang University Museum, Seoul, Korea

The Gathering II ,Wangaratta Art Gallery, Victoria

2013 Melbourne Now, National Gallery of Victoria, Melbourne

Diorama, Wollongong City Gallery, N.S.W.

Tenements of Wonder, Greenwood Street Project, Melbourne

2012 Subversive Clay, 2012 Australian Ceramics Triennale, Adelaide

2010 Sidney Myer Fund Australian Ceramic Award, Shepparton Art Gallery, Victoria

Hobart Art Prize, Tasmanian Museum and Art Gallery, Hobart

Fletcher Jones Art Prize, Geelong Gallery, Victoria

Bravura: 21st Century Australian Craft, Art Gallery of South Australia, Adelaide

2009 Deakin University Contemporary Small Sculpture Award Finalists’ Exhibition, Deakin University Art Gallery, Melbourne

Auckland Art Fair, New Zealand

2008 Australian Ceramic Stories, Dubbo Regional Gallery, New South Wales

2006 A Secret History of Blue and White, Vietnam Fine Arts Museum, Hanoi and touring

Australian Contemporary, SOFA, Navy Pier, Chicago

Australian Glass and Ceramic Artists, Galerie Ursula Rosenhauer, Goettingen, Germany

Recent Awards:

2010 Sidney Myer Fund Australian Ceramic Award, Shepparton Art Gallery

2009 Inaugural Deakin University Contemporary Small Sculpture Award

Australia Council Visual Arts Board New Work Grant

2008 Monash University Travel Grant

2003-2007 Monash Graduate Scholarship

Elected Bibliography, books and catalogues:

Max Delany, Fleur Watson et al., Melbourne Now , exhibition catalogue, National Gallery of Victoria, 2013

David Hurlston, Melbourne Now Exhibition Guide, National Gallery of Victoria, 2013

Jason Smith, Stephen Benwell: Beauty, Anarchy, Desire – A Retrospective , exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2013

Danny Lacy, Stephen Benwell: The Significance of Rubble’, 2010 Sidney Myer Fund Australian Ceramic Award, exhibition catalogue, Shepparton Art Gallery, 2010

Stephen Benwell: New Ceramics, exhibition catalogue, Niagara Publishing, Melbourne, 2010

Dr. Julia Jones, Australian Ceramic Stories’, Australian Ceramic Stories, exhibition catalogue DubboRegional Gallery, NSW, 2008

Dr. Luke Morgan, Sighing over ruins: Stephen Benwell’, Stephen Benwell Recent Works, exhibition catalogue, Niagara Publishing, Melbourne, 2007

Articles/reviews:

Robert Nelson, ‘Lumps of clay shaped into the past’, The Age, 11 September 2013

Sonia Harford, ‘Potted history of one who broke the mould’, The Age , August 9 2013

Owen Craven, ‘Stephen Benwell – Beauty Anarchy Desire: A Retrospective’, Art Almanac, August, 2013

John McPhee, Collection: Recent Works by Stephen Benwell’, Artist Profile, Issue13, 2010

Robert Nelson, The dated and discredited brought back with a twist’, The Age, 28 March 2010

Margot Osborne, Bravura: 21st Century Australian Craft’, Art Monthly Australia, Issue 227, March 2010

Courtney Kidd, A disciplined eye’, Australian Art Collector, Issue 47, January – March 2009

John McPhee, Ceramic Beekcake and other desires:The art of Stephen Benwell, Art and Australia, Volume 47. Spring, 2009

Megan Backhouse, Art around the galleries: Stephen Benwell’, The Age A2, 17 November 2007

Robert Nelson, Arcadia all on the surface’, The Age, 6 July 2005

Mark Cain

Mark Cain

Thriving On Bullshit

Museum crate, fibreglass cow pat, mixed media 2003

Collection of the Artist

Artist Statement

At the core of my work, is the need to communicate …Usually this takes the form of text, with a political and social immediacy. These messages and imagery are not always palatable, yet a sense of black humour permeates much of this oeuvre. Over the past twenty years, this work has been showcased through Galleries; an interactive Arts Website; Urban based Stencil Art and Film.

Resume

Mark Cain has focussed on having an independent arts practice and has consistently created artworks that critique the official canon of the art world, through the use of super-craftsmanship and conceptual ingenuity. Mark Cain also makes Dada films; see Addled on utube.

Born Shepparton, Victoria, 1959.

Qualifications:

1984 Graduate Diploma of Education, Hawthorn Institute, Melbourne

1977- 9 Diploma of Fine Art Caulfield Institute of Technology, Melbourne

Professional Practice:

1999 – Current Technician, Shepparton Art Museum

1996 – 98 Painting and Drawing Lecturer, Shepparton TAFE. Intern, National Gallery of Victoria

1995 Visual Arts Teacher Prison Services, Victoria

1985 – 93 Full-time Art Teacher Various Melbourne Colleges

Solo Exhibitions:

2009-2013 Street Artist

2006-2009 Shady Side Gallery, Interactive Arts Website

2006 Bullshit, Shepparton Art Gallery

Recent Paintings, Mitchelton Winery Gallery, Nagambie

Riding on the back of a pedigree horse, Shepparton Art Gallery

Australia’s narrative scenes, Span Galleries, Melbourne

Selected Group Shows:

2015 Dada lives!, Hatch Contemporary Art Space, Ivanhoe

1998 to 2007 Friends of the Shepparton Art Gallery

1996 Who 3, Shepparton Art Gallery

Ten Years After, Caulfield Student Union

Loungeroom Artists, Station Pier, Melbourne

Selected Commissions; Performances and Collections:

2014 Addled, 10 Min Film (Dir. By Mark Cain)

2014 STREET ART Melbourne, Lou Chamberlin P.198, 2013 Unknown

A Private View 4min video [Dir. By Peta Manning]

Riding on the back of a pedigree horse 6min video [Dir. By Peta Manning]

Shepparton Art Gallery Collection

Poster Commission, Shepparton Arts Festival

Anika Cook

Anika Cook

Australian Politics series

Digital print 2014

Courtesy of the Artist

Artist Statement

My work often features an underlying narrative that is sometimes amusing, sometimes a little absurd. Collage, with its elements of pre-existing meaning, seems a wonderful medium for this. This series for Dada Lives! takes a leaf out of the books of Hannah Hoch and Max Ernst, nodding to Hoch’s biting political satire while invoking Ernst’s delicate collage technique and use of dramatic narrative-driven imagery.

Resume

Anika Cook is representative of a younger generation of artists whose style has developed alongside the unfolding of the dawn of the digital age. Seamless post post-modern, she is sticking the world back together, so that we can all understand it. Underlying much of her work is a great respect for old masters from the European canon, who are now recast into a global perspective. Anika Cook also designs clothing and ready-to-acquire artworks featuring ‘incredible’ imagery.

Exhibitions:

2015 Dada Lives! Hatch Contemporary Art Space, Ivanhoe

VAMFF exhibition, Brunswick Street Gallery

2010 – 2011 Exhibition at Design:Made: Trade, State of Design festival, Melbourne

2005 Gretel Was Getting Fatter installation, Sticky Institute, Degraves St underpass, Melbourne

2010 Playing Field exhibition, Craft Victoria, Melbourne

2006 Desire exhibition, George Paton Gallery, Melbourne

Christmas Exhibition, Someday Gallery, Curtin House

Hardcopy exhibition, Gasworks Art Part

2005 A-Zeroexhibition, Level 2 Gallery, Curtin House

Re-appraising the Figure exhibition, George Paton Gallery

Hardcopy exhibition, Gasworks Art Park

2004 Myth and Narrative exhibition, University of Melbourne

GaleriaBezdomna exhibition, Homeless Gallery, Collingwood

Education:

2011 – Master of Design, Monash University (uncompleted)

2013 Introduction to Commercial Knitwear Development

2006 Bachelor of Creative Arts, University of Melbourne

2000 Bachelor of Arts (Media Studies), RMIT University (uncompleted)

Professional Experience:

2004 – Designer and proprietor of design business The Gently Unfurling Sneak producing printed clothing, accessories and limited edition artworks. The Gently Unfurling Sneak products are stocked in more than 30 retail outlets and galleries around Australia.

2008 – 2011 Web and Design Coordinator, Craft Victoria

Responsible for design and development of Craft Victoria’s website (including complete re-design and build in 2010) and ongoing brand development and production of printed marketing collateral.

2009 – Freelance web design

Graphic design, branding and web development for various clients, including designers, arts producers, writers and film makers.

Awards:

2009 ArtStart grant, Australia Council

2008 Skills and Arts Development Emerging Artist grant, Australia Council

2006 Hannah Barry Memorial Prize, School of Creative Arts, University of Melbourne

2005 Arts grant, Melbourne University Student Union

William Kelly

Nathalia – darts & dates by William Kelly OAM & Joe Pascoe

It must have been provocation of a profound kind that lead Marcel Duchamp to make such a simple artwork as Three Standard Stoppages[1].

To form the work, In Paris 1913-14, he dropped three one metre threads from a height of one metre, allowing them to partially curl where they landed. Each ‘stoppage’ was traced and then made permanent and placed together in a museum type box as the finalised artwork.

Those with an Asperger’s leaning may perhaps note the cubic element – a metre long string dropped from a metre three times. It’s an odd thing to do in that it had no precedent. Some see a humour in it, and perhaps, with a 100 years hindsight, it was a wry crack at Cubism, carried out on a conceptual level. We will never ‘know’, though John Cage certainly appreciated it, citing it as a forerunner to his music piece 4’33”.[2]

There is a sweet country town in Australia, where artists William Kelly[3] and his wife Veronica reside. Nathalia[4], as it is called, calmly crosses a generous river, framed by pepper trees and straggly eucalypts, and is seamed through its axis by 19th century buildings. Its 1,500 people are looked over by that symbol of eternity, a water tower, rising handsomely at the end of the main street. The soft side streets eek out to the fertile countryside. A town such as this gives rise to thoughts about the nature of time.

Nathalia is in many ways an example of a ‘New Town’. Its residents are fully informed by the wider digital world and are diverse in their activities, religions and art. It has a brand new library, hospital and police station. Its demographics and rural centrality have caught the eye of planners and the imagination of artists.

To re-create in spirit Duchamp’s challenge, internationally acclaimed artist and Nathalia resident, William Kelly, agreed to be interviewed about three randomly selected days of his life. As we know, every day has 24 hours and each day is ‘dropped’ on us to make meaning of. What shapes would be revealed? The days would be arrived at by throwing darts at a dartboard at home, as witnessed by his wife Veronica.

Friday, 10 September 1949

I was six years old and there were five of us sharing a single room, in a rundown hotel in Buffalo, New York. We were there because my father was looking for work in Western New York. After a few weeks he got a job as a switcher (switchman) on the railways. They are the guys that adjust the tracks for the trains. He stayed with the job.

For breakfast I would have piece of toast and a glass of water. I remember it was hot but mostly very, very humid. I slept on the floor, probably on a sheet – no bed.

During the day we would play in the adjacent vacant lot. As all kids do, we made up games such as throwing rocks at tins or perhaps a glass bottle, if one was around. There was no school for me at that stage. Lunch was another piece of toast, this time with a glass of milk. There wasn’t a power point in our room so we had an electrical cord that plugged into the light fitting. This had to be done in secret (no ‘cooking’ was allowed).

On or around the day in question, it was like most other days, playing in the vacant lot. However, towards the end of the afternoon my sisters went inside and some tough kids came from elsewhere and trapped me. Amongst punches and pushes, I got stabbed near the ankle. My father, I think, carried me to the hospital where they washed the wound and put in several itches as it was a jagged wound.

No dinner that night.

Mostly I remember waking up happy.

Saturday 22 July 1967

I was about 24 years and an art student at Philadelphia. I was painting a large family portrait, about two metres or more square. The portrait was of my family – my wife Veronica and our baby boy Liam. The painting is lost but I remember it has Veronica looking, reclining and I’m standing nude, as seen in a mirror. Liam was in a bassinette. The painting used primary colours and flesh tones. Breakfast was now toast and poached eggs, and at least three cups of coffee. I smoked cigarettes whenever I could find them. I wore Khaki clothes, a hold over from earlier factory work as a welder – short sleeves in summer, long sleeves in winter.

My method then was to work full time for a year in the steel works and then focus on the art school for a whole year. We had a 1963 Volkswagan beetle, in a kind of cream colour. The studio was a room in the apartment.

Being a Saturday I would have gone out and helped my friend and earlier lecturer, Paul Keene[5], with a mural[6] commission he was doing for the Johnson C. Smith University in Charlotte, North Carolina. He was an African American and the university was celebrating its 100 year anniversary as a ‘black’ university, remember, it would have been established just after the Civil War.

I got the job of helping him with the mural as he had broken a leg and was in a wheelchair and could only reach up to a certain height. I sort of did the top half, on the scaffolding, while he did the bottom half! He had sketched out the design and I blocked it in. As his leg got better he was able to get higher. Who knows there might be some of my brushwork still showing through!

Paul was a sophisticated guy and had exhibited in Paris with Picasso and Leger and spoke French. African Americans (then in the US still called Negroes) did better in Europe – particularly in France at the time.

It was late and I drove home at about 8pm. Two blocks from my building the cops had blockaded the streets, as there was a race riot going on. This was the time of race riots and apart from the famous riots where many people would get killed, there were many smaller riots. A combination of hot nights, end of the week pay day to buy alcohol and appalling living conditions, fuelled these quite regular events. There were gunshots. I stashed the car and made my way to the apartment. Veronica and Liam were Ok. We waited for a quiet period of twenty, twenty-five minutes and made our way back to where I had stashed the car, and drove to Veronica’s mother’s house in rural Pennsylvania.

There was irony in working on a special mural depicting the founding of the black university during the day and then being in a race riot at night.

Thursday 7 November 2013

I’m now 70 years old and living in Nathalia. It’s nice and quiet and Veronica and I are having breakfast in the garden. The weather is beautiful and I am listening to the birds. There are most amazing yellow rosellas, magpies, wrens and small birds. Its poached eggs and three cups of coffee!

I go up to the studio. I’m working on a new painting called, Self-portrait in landscape: In the studio everyone is there with you (above Courtesy MARS Gallery, Melbourne). It’s a title I got through a conversation with John Cage. I had spoken with him a few times. On this day I would have looked at art books on Picasso, Duchamp, De Chirico, Goya. Sometimes I do small separate sketches of parts of their artworks, such as a part of Goya’s 3rd of May[7].

The self-portrait was a deliberate attempt to reference people.

This painting has a large blue sky and a white lower plane. I’m seated in the middle, thinking. On the back of the canvas, neatly semi-stencilled, are the many names of people and artists who have influenced me. Apart from the famous names, there are the people like the Dixie Chicks[8] who stood up to George W Bush through their songs. They are important too.

At that stage I would have been blocking in my painting. Around lunchtime Veronica often very kindly brings me a cheese and tomato sandwich and a pot of coffee. I would have kept on thinking, sometimes working on the floor, all afternoon, and mostly working until four or four-thirty in the morning, again rising at eight or eight-thirty. I have always done this. Dinner would take place sometime, with a glass of wine at say 10pm.

I work a fifteen hour day and always have.

[1] Marcel Duchamp images; http://www.google.com.au/#q=%E2%80%98Three+Stoppages%E2%80%99+by+Duchamp [2] John Cage comment;.http://www.moma.org/collection/object.php?object_id=78990 [3] William Kelly; http://en.wikipedia.org/wiki/William_Kelly_(artist) (30/12/2014) [4] Nathalia; http://en.wikipedia.org/wiki/Nathalia,_Victoria (30/12/2014) [5]Paul Keene; http://en.wikipedia.org/wiki/Paul_F._Keene_Jr. (6/2/2015) [6] Mural image; http://library.jcsu.edu/tutorials/mural/mural2.html (6/2/2015) [7] Francisco Goya image; http://en.wikipedia.org/wiki/The_Third_of_May_1808 (6/2/2015) [8] Dixie Chicks; http://www.dixiechicks.com/ (6/2/2015) Nicholas Jones Nicholas Jones The Times Concise Atlas of the World Carved book 2014 Courtesy of the Artist Artist Statement ‘… as much about the process as it is about the form … these books were conceived, born, loved, stored, discarded, found anew, studied, cut, folded and reborn.’http://www.bibliopath.org/artwork/ (20/11/2014) new, studied, cut, folded and reborn.” Resume Nicholas Jones has been carving into found books for over a decade, rendering them with new life using his reverse bas-relief technique to burrow into the into the interiors of their pages, to reveal new meanings regarding the particular book – which is now a form of sculpture. Nicholas Jones is Artist-in-Residence throughout the exhibition period and is available for special commissions. Solo Exhibitions: 2013

“To the Islands” Stockroom Gallery “Unpacking the Library” Trinity College, Melbourne University “Nicholas Jones”Wroclaw Book Fair, Wroclaw, Poland 2012

“Encased” Embiggen Bookshop, Melbourne 2010

“Without Bias” Craft Victoria 2009

“The Garden of Forking Paths” The Geelong Gallery “New Work” MARS Gallery 2008

“The Tower of Learning” Pablo Fanque Gallery, Sydney “Release the Stars” Mr Wilkinson 2007

“Nicholas Jones” Australian Art Resources 2006

“A Book is a Garden” Poliform Showroom 2005

“At the Bottom of each Word” Linden Gallery “Slight Return” Spacement Gallery 2002

“Gestalt” Space Furniture 2001

“In Advance of the Broken Spine” RMIT Project Space Gallery “The Merri Creek Scrolls” Experimental Art Space, Melbourne University 2000

“Word Knots” Baillieu Library Foyer “Pages from the Ol’ Factory” Westspace Gallery 1999

“On a Roll” Meyers Place Art Wall “Tondo” Stripp Gallery Selected Group Exhibitions: 2015 Dada lives! Hatch Contemporary Art Space, Ivanhoe 2013 “Inspiration Under the Dome” The State Library of Victoria 2012

“Democracy” Grahame Editions Gallery “Unfold” 45 Downstairs “How the Light Gets In” E.G. Et al Gallery “Marquette” MARS Gallery 2010

“Unrepresented” 45 Downstairs “In the Kitchen Sink” MARS Gallery 2009

“Perspective” Craft Victoria “Paper Cuts” Pigment Gallery “Novel Ideas” Oakville Gallery, Oakville, Ontario, Canada Visual Arts Biennale, Castlemaine State Festival 2007

“Rock, Paper, Scissors” Westspace Gallery “So What” Third Drawer Down Gallery 2006

“Bookish” Australian Galleries “Make the Common Precious” Centro Cultural EstachiónMapocho, Santiago, Chile “Dervish” Imp Gallery “Paper” Perth Institute of Contemporary Art “Lexicon” City Library, Melbourne “Secret Shelf Life of Us” Platform Gallery “Poetica” Object Gallery, Sydney 2005

“A Portable Model Of…” Latrobe Regional Gallery “Make the Common Precious” Craft Victoria “A Portable Model Of…” Plimsoll Gallery, Hobart 2004

“Work in Progress” Next Wave Festival, Spacement Gallery “Address Book” Bus Gallery 2003

“Museum Aesthetic” Gallery 101 “Dome Festival” State Library of Victoria “Compendium” Platform Gallery

Spencer St “Papier” Mezzanine at Ivy Hopes “Compost(ion) Platform 2 Gallery, Flinders St 2002

“Little Kingdoms” Mezzanine at Ivy Hopes “Citylights Attacks!”Citylights Art Project “New Work” LaTrobe St Gallery “Paper” Craft Victoria 2001

“Siemens RMIT Scholarships Show” RMIT Gallery Storey Hall “Strata”, MFA Graduate Show, Span Gallery “The New Collectables” First Site Gallery “Brailling” Corporation Lane, City (Fringe Festival Show) 2000

“Wholelottalove” Citylights Gallery 14GO Bendigo Art Gallery A4 Art Westspace Gallery 1999

“Future Remembrances” State Library of Victoria Melbourne Festival Show Selected Awards: 2012 Creative Fellowship State Library of Victoria Artist In Residence Melbourne Grammar School Artist in Residence Athenaeum Library 2010 Artist in Residence Melbourne Girls Grammar School 2009 Artist in Residence Fairfield Primary School Artist in Residence Geelong Grammar School 2003 Finalist – University of Melbourne Postgraduate Association Art Prize 2002 Artist in residence – Open Bench Craft Victoria New Work Emerging Arts Development Grant Australia Council for the Arts 2001 Finalist – RMIT Siemens Art Prize 1999 Artist in residence Duldig Studio Collections: Jones’ work is represented in many public and private collections in Australia, including the State Library of Victoria, The State Library of Queensland, The University of Melbourne, Artspace Mackay and RMIT University. Guest Lecturer at RMIT University, Monash University, Zart Art, Lyceum Club, CAE. Anastasia Klose Anastasia Klose Self Portrait Courtesy of Tolarno Galleries Artist Statement “Yes, my work is about my own ‘subjectivity’. But I am an artist, and it’s obviously not just a ‘dear diary here is my life’ outpouring. My work is extremely calculated. I think about it a lot before it happens. I consider my work very much from the perspective of the audience. I want them to get a certain ‘feeling’ when they see my work. I want them to feel like they’ve lived through whatever I’ve lived through themselves, whether they are man or woman. For example, ‘Film for my Nanna’, where I am the bride without a groom walking the streets, everyone could relate to that picture of loneliness. And in my live 2 month performance in Sydney last year at the MCA, ‘ The Reliving Room’, I wanted people to feel sympathy and shame for me dancing, but I also wanted them to be amazed by my physical proximity. I wanted to create a sort of appalling, yet entertaining and compelling, atmosphere. *Regarding audiences, the one thing I don’t want them to be is bored”, interview with Rachel Edgar (https://anastasiaklose.wordpress.com/category/2013/ 21/12/2014). Resume Anastasia Klose uses her own identity as a type of art medium, to bridge the gap between art and life, allowing the energy of making the work to remain in perpetuity within the artwork. Her outstanding ascent as an internationally significant Australian artist has been ignited by the gestalt of our times, which has seen the fusing of the personal with the public, through such art media as video, photography, performance and drawing. Born 1978, Melbourne. Represented by Tolarno Galleries, Melbourne Education: 2012 Masters in Fine Art, Monash University 2005 Honors in Fine Art (Drawing), Victorian College of the Arts 2004 Bachelor of Fine Art (Drawing), Victorian College of the Arts 1998 Bachelor of Arts, Philosophy and English double major, University of Melbourne Selected Solo Exhibitions: 2012 I Can’t Stop Living, Gertrude Contemporary, Melbourne I Can’t Stop Living, Tolarno Galleries, Melbourne 2011 Refuse to Lose, curated by David O’Halloran, Walker St Gallery, Dandenong, Victoria ACCA Pop-Up Program, 3 day performance titled “Nanna, I am still searching…” at the Venice Biennale Vernissage 2011, curated by Juliana Engberg, Australian Centre for Contemporary Art in Venice, Italy 2010 The Poverty Show, Tolarno Galleries, Melbourne i thought I was wrong, but it turned out i was wrong…, Australian Experimental Art Foundation, Adelaide 2009 The Happy Artist, Tolarno Galleries, Melbourne 2008 The Shortest Straw, Apartment, St Kilda Road, Melbourne 2006 Anastasia Klose – The Best of…, Spacement Gallery, Melbourne Selected Group Exhibitions: 2015 Dada lives!, Hatch Contemporary Art Space, Ivanhoe 2013 Melbourne Now, National Gallery Of Victoria, Melbourne, Australia 2012 Primavera Museum of Contemporary Art, Sydney, Australia Contemporary Australia: Women, Queensland Art Gallery, Gallery of Modern Art, Brisbane All you need is love, curated by Bronwyn Johnson as part of Melbourne Winter Artspace, 3 Domaine Chandon winery, Coldstream, Victoria Aiva Festival: Angelholm International Video Art Festival, curated by Rob Garrett, Angelholm, Sweden 2011 The Kiss, performance, Lorne Sculpture Biennale, curated by Julie Collins, Lorne, Victoria Selectively Revealed, 26 October – 11 December 2011 – Aram Art Gallery, Seoul .18 February – 13 May 2012 – National Taiwan Museum of Fine Arts, Taichung, Taiwan. 4 June – 21 July 2012 – Chulalongkorn University Art Space, Bangkok, Thailand. Organized by Asialink and Experimenta, and curated by Sarah Bond and Clare Needham Telepathy and Love, curated by Veronica Kent and Sean Peoples, Spanish Apartment Barcelona, andWestspace, Melbourne 21st Century: Art in the First Decade, Queensland Art Gallery, Gallery of Modern Art, Brisbane 2010 Mortality, Australian Centre for Contemporary Art, Melbourne TWMA Contemporary, Tarrawarra Museum of Art, Healesville Gestures and Procedures, curated by Juliana Engberg, Australian Centre for Contemporary Art, Melbourne Art#1, curated by Juliana Engberg, Shepparton Regional Art Gallery, Shepparton Duettos, curated by Dom de Clario, Australian Experimental Art Foundation, Adelaide Feminism Never Happened, curated by Robert Leonard, IMA, Brisbane 2009 Why we do the things we do, curated by Jacqueline Dougherty, PICA I’m worst at what I do best, curated by Tom Polo, Parramatta Artist Studios 2008 Flux Capacitor, curated by Pilot, Utopian Slumps, Melbourne New Millenium, curated by Steven Alderton, Lismore Regional Gallery, NSW The 2008 Sydney Biennale, curated by Carolyn Christov-Bakargiev, online venue 2007 New 07, curated by Juliana Engberg, Australian Centre of Contemporary Art, Melbourne Thanks Duchamp!!, collaboration with Elizabeth Presa, Cite International Des Arts gallery, Paris 2006 Art Smash, Victoria Park Gallery, Melbourne Eat My Face, curated by MerrinEirth on Artist Running Space, the human art gallery 2005 Graduate Exhibition, VCA Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne Melbourne vs. New York, curated by Olivia Dowling, for Teknikunst festival, RMIT, Melbourne 24seven film night, curated by Kiron Robinson, Glitch Bar, Melbourne Azlan and the Art stars, 2005 Honours exhibition, VCA Student Gallery, Victorian College of the Arts, Melbourne Superstructure, curated by Christine Morrow, West Space, Melbourne 2004 Work in Progress, curated by Hannah Matthews for Nextwave festival, Spacement, Melbourne 2003 Common Vernacular, Conical, Melbourne Selected Awards: 2007 Winner of the $15000 Prometheus Visual Art Award Shortlisted for Georges Mora fellowship 2005 Theodore Urbach Encouragement Award Who wants to be a famous artist? $100 Grant Grab awarded by Gabrielle de Vietri Proud – Best Video Artwork Proud – Best Postgraduate Artwork 2004 Gary Grossbard Drawing Prize 2003 Proud – Best use of installation space Collections: Artbank University of Queensland Art Museum, Brisbane The Prometheus Foundation Gallery Collection Private collections Selected Bibliography: Melbourne Now, (exh. cat.), National Gallery Of Victoria, Melbourne, Australia. NGV Publications 2013 Stephens, Andrew, Faking it – for very good reason, The Age, 12 December, 2013 Anusha Kenny, Anastasia Klose: Becoming the person I am Primavera 2012: Young Australian Artists, pp. 32 – 33 Ashleigh Wilson, Women explore the themes of life in contemporary Australia, The Australian, April 23 Gina McColl, Blowing Venice out of the Water, The Age, p.15, May 10 Gabriella Coslovich, Goma’s star continues to burn brightly, The Age January 4 Anne Kirker, Feminism Never Happened, Artlink, Vol. 30, No. 2, 2010 Tim Lloyd, Klose Encounters, The Advertiser, 19 July 2010 LarrissaHjorth, Photoshifting: Art Practice, Camera Phones and Social Media: The ramifications of new media Photofile magazine, Issue 89, 2010 Alexie Glass, Extimacy: A new generation of Feminism, Art and Australia, Vol. 47, Spring, 2009 Andrew Frost, Being a success is overrated – we should strive harder to fail, Sydney Morning Herald, 22 July 2009 Kitty Hauser, Public Works-Anastasia Klose, “Je suisune artiste Aussie!”, The Weekend Australian, Review, 11-12 April 2009 Robert Nelson, Twin Gardens of Artistic Eden depart at bitter bight, The Age, 1 April 2009 Anastasia Klose featured on Artscapetelevision program, episode 1 ‘Starry Starry Night’, presented by Andrew Frost, ABC 1, April 2009 Natalie King, Critics Choice, Australian Art Collector, Issue 48, April – June 2009, p. 164 Juliana Engberg, Uneasy Pieces, Art World, Issue 7, February/March 2009, p.60 Dylan Rainforth, The Age, M Magazine, 5 October 2008 Melissa Hart, Art Notes, Art Monthly Australia, Issue 201, July, 2007 Lucy Elliot, Art Matters – New 07, Melbourne Community Voice, 5 May 2007 Larissa Dubecki, Dying for your art, The Age, 3 May 2007, p.18 Robert Nelson, Pessimism is the new black as artists shrink, erase and shatter expectations – New 07, The Age, 11 April 2007, p. 17 Sebastian Smee, Come feel the disdain, The Australian, 22 March 2007 Harbent Gill, Klose encounters of the absurd kind, Herald Sun, 23 March 2007 Anastasia Klose, New 07 interviewed, Contemporary Visual Arts and Culture Broadsheet, (Anastasia Klose is also on the front cover), Vol. 36, No. 1, March 2007, p.19 John Bailey, Nothing to Hide, The Age, M magazine, 18 March 2007, p. 31 Anne Lim, Hello, Weekend Australian Magazine, 10 – 11March 2007 2006 Simon Gregg, ”Melburnin” – Top 10 exhibitions of 2006, Trouble magazine, December 2006, pp. 9, 58 Michael Ascroft, Master of my inferiority, Be Young and Shutup, Issue 1, September 2006, (http://www.beyoungandshutup.org/article_michael_klose.html) Edward Colless, Undiscovered – Our Rising Art Stars – Anastasia Klose, Australian Art Collector, April 2006, p.130 Meghan Backhouse,Around The Galleries, The Age, 26 February 2006 KirLarwill KirLarwill The Mistress Painted book 2011 Courtesy of the artist Artist statement I am a printmaker and painter living and working in Castlemaine, Victoria. I have a small studio in a shared space in the Castlemaine CBD. I do my printmaking in this studio, or at the studio of friend and colleague Diana Orinda Burns, in Sandon. My work is generally about the beauty and meaning that can be found in the everyday, in the mundane and the utilitarian, and in the unremarkable corners of home. They are an exploration of household objects and familiar surrounds, and of the humour, weight and significance of ordinary things. Resume KirLarwill works across several art media, with great sensitivity, to depict remembered emotions and situations, in an almost Surrealist way. Boats and birds sometimes feature as private symbols in her paintings, prints and assembled objects. The painted books in Dada Lives! connect the idea of painting with the notion of storytelling to create an imaginary object that sits on its own shelf or space, like an imagined thought that has come to life. Solo Exhibitions: 2012 Small Pleasures, Union Studio Gallery, Castlemaine 2010 Small Things Red Gallery, Fitzroy 2006 HomeRed Gallery, Melbourne Group Exhibitions: 2015 Dada lives!, Hatch Contemporary Art Space, Ivanhoe 2014 lentyArtsOpen, Castlemaine Editions II Tacit Contemporary, Melbourne Editions [Redux] Tacit Contemporary, Melbourne 2013 Small works (5 artists) Union Studio Gallery, Castlemaine 4+1 with Robyn Gibson and Anne Tweed (Castlemaine State Festival ) use& re-use with Kathryn Davies and Tim Preston (Castlemaine State Festival) The Tree Show Cascade Print Workshop (Castlemaine State Festival) 2012 ArtsOpen Castlemaine, Usethings exhibition with Clayton Tremlett& Tim Preston Groundwork collaborative prints with Diana Orinda Burns and Robyn Gibson, alongside work by Belinda Fox, Port Jackson Press, Melbourne. 2011 Background: collaborative print project with Diana Orinda Burns and Robyn Gibson, La Trobe University Visual Arts Centre, Bendigo. Footprints, Counihan Gallery, Brunswick (curatorial team and participant) A Country Trail, Lauriston Press, Kyneton 2010 ‘International Print Exhibition and Exchange – Compact Prints’, Umbrella Studio Contemporary Arts, Townsville, Queensland Unique State group show with Diana Orinda Burns and Robyn Gibson, Studio Paradiso, Sandon (part of Castlemaine State Festival program). 2009 Two-person show, Falkner Gallery, Castlemaine 2008 Group show, Pocket Gallery, Newstead 2006 Group show, Falkner Gallery, Castlemaine 2005 Red Gallery Christmas Show, Melbourne Two-person show, Red Gallery, Melbourne 2004 Convent Gallery, Daylesford 2001 Two-person show, Phil Elson Pottery Studio, Castlemaine Two-person show, Hill End Café Gallery, Daylesford 2000 Group show, Hill End Café Gallery, Daylesford Group show , Periapt Café, Flemington Group show, Fitzroy Gallery Williamstown Festival Contemporary Art Prize Exhibition 1999 Group show, Fitzroy Gallery Awards: 2013 First prize mixed media & first prize drawing Beaufort Annual Show 2012 Annual Print Commission Print Council of Australia 2011 First prize (print) Beaufort Annual Show 2009 Second prize Best exhibit in Show, and 1st prize (print), Beaufort Annual Show 2008 Commended, printmaking, Sutton Grange Art Show 2007 First prize Mt Alexander Grief Support Program Art Exhibition First prize (mixed media), Beaufort Annual Show 2005 Best painting in show, Beaufort Annual Show 2004 Highly commended, Beaufort Annual Show 2001 First prize (Drawing), Beaufort Annual Show Education & Professional Development: Initial education B.A. hons; Bachelor Social Work; Graduate Diploma Women’s Studies 1998 – 2000 Diploma of Visual Arts CAE 2004 Short course in colour and painting with Prudence Flint 2006 – ongoingWeekly printmaking classes with Diana Orinda-Burns 2009 Three day drawing workshop with Anne Tweed 2010 (2nd) Three day drawing workshop with Anne Tweed 2013 One-day Masterclass with Katherine Hattam Collaborative Community Projects: Project team member, Castlemaine Press Inc., project planning, community engagement and project promotion work in an arts enterprise project to establish a community access print studio. Project team member, Pop up art project, JumpleadsInc project planning, community engagement and project promotion work in an arts enterprise project to promote and sell the work of Central Victorian artists (2013/14) Coordinator of a study of community desire & support for public arts space in Mt Alexander Shire (2011) Member working group to develop a multi-purpose arts space in Mt Alexander Shire (2010) Chair Castlemaine Artists’ Market establishing and managing the monthly Artists’ Market @ Theatre Royal (2008-9) Consultant assisting local groups with funding submissions for community projects (2007-present) Collections: Counihan Gallery (Footprints Solander Box of 16 central Victorian printmakers) Mount Alexander Hospital State Library of Victoria Canson Australia Print Council of Australia Archive City of Freemantle Art Collection And numerous private collections including Julian Burnside QC Elizabeth Liddle Elizabeth Liddle The Entry Mat, 1788

Rubber backed coir matting, acrylic gloss paint.

Size: within 3 x 3metres Artist Statement The Entry Mat, 1788 is an installation work that is presented as a modern doormat representing the island now known as Australia. Based on Norman Tindales original Aboriginal language map, the work represents Aboriginal nationhood up to 1788, the year in which New Holland became a British colony called New South Wales. Australia, as we know it today is divided and classified through our modern state borders. The black lines are representative of diverse tribal groups who speak regionally distinct languages and also share cultural practices and customs. 1788 marked the time when masses of Britain’s free and unwanted citizens entered the country in waves of tall ship arrivals and is symbolic of the experiences of Aboriginal people thereafter. Resume Elizabeth Liddle is an emerging artist whose comments on contemporary, historical and cultural issues are influenced by both her immediate surroundings and her heritage. Liddle is a multi-discipline artist working in still life, installations, photography and digital art. Her works in Dada Lives! are conceptually outstanding for their breath of understanding of the Australian condition for many Indigenous people. Exhibitions: Dada lives! Hatch Contemporary Art Space, Ivanhoe 2015 Horizons, Bundoora Homestead Art Centre, June 25-August 3, 2014 Substation Contemporary Art Prize 2013 The Substation – Oct/Nov – 2013 Indigenous Voices, Contemporary Strategies 26 July-15 September, 2013 Incinerator Gallery BengeknyarrwaBengoot.ErrantherreYengeeweme (Wadawurrung/ Arrernte), I see you, I hear you Wednesday 22 May, 2013 – Saturday 29 June, 2013 Manningham Art Gallery http://www.manningham.vic.gov.au/play/arts/ manningham_gallery_current_exhibition.html Flora and Fauna 7 Sep 2012 – 3 Feb 2013 Koorie Heritage Trust TRANSFERANCE-The carrying of memory (Group Show) 28 June-30 July 2011 Boscia Galleries Pa Ring Gallery @ Toyota Community Spirit Gallery (Group show) 7 July – 15 October 2010 Toyota Community Spirit Gallery NAIDOC Week exhibition (Group show) DESA Australia 6 – 12 July 2010 Art Melbourne (Group show) 22-25 April 2010 Koorie Heritage Trust stall Memories and Desire’ Indigenous photographic exhibition (Group show) 11 – 18 December, 2009 Gordon Gallery, Geelong http://www.gordontafe.edu.au/index.cfm? action=4&secAction=4&terAction=4&pageAction=2&ID=89 ‘Memories and Desire’ a fringe show as part of the Ballarat FotoBienale, 2009 (Group show) September 2009 KirritBareet Aboriginal Art Centre Picture This 2009 (Group show) Brunswick St, Gallery July 2009 Collections: Manningham City Council – Art Gallery Cornucopia Australis, 2011, Ed 1of 5 Silver Mounted Emu Egg with Emu Finial, 2011. Ed 1of 5 Relationships Australia Cockatoo Feather Series, 2009, Sulphur Crested Cockatoo Feather, Digital Photograph on Metallic Paper, 2009, Ed 2 of 7 DESA Australia Cockatoo Feather Series, 2009, Ed 1 of 7 Digital Photographs on Metallic Paper, 2009 Awards: FINALIST Substation Contemporary Art Prize 2013 The Substation – Oct/Nov – 2013 WINNER Inaugural DESA Award for Indigenous Artists 2010 DESA Australia ‘Sulphur Crested Cockatoo Feather’ Digital Photograph on Metallic Paper, 2009 Publications and Media: Etchings Indigenous – Black and Sexy Published by Ilura Press, Melbourne Australia, 2010 Photographs: Cockatoo Feather Series 2009 (Mature Cockatoo Feather, Baby Cockatoo Feather, Sulphur Crested Cockatoo Feather), Posing for a Photo, 2008 and Sideshow Alley, Clowns, 2008. John O’Neil John O’Neil Ironbark Digital print 1983 Courtesy of the Artist and Bridget McDonnell Gallery Artist Statement I initially came to Torquay after being employed by Deakin University, Visual Art and Media Departments as Senior Photographer, subsequently l became a Teacher of Photography, Art and Media. Currently l am a Professional Photographer (John O’Neil Photography) doing advertising photography, weddings and portraits. My education is in the visual arts and l have always maintained an interest in art and photo/art and at times l have been very actively involved producing it, l welcome this opportunity to display this work’ some old some new’. www.johnoneilphotography.com/ Resume John O’Neil has been a photographer for several decades, capturing the Australian landscape in a very broad sense, from its primeval origins to modern markings through public commercial statuary, for example. Exhibiting periodically as an artist photographer, O’Neil morphed from the film to the digital era, whilst keeping his distinctive style intact. His bushfire series has acquired iconic status for its depiction of the soul of a burnt landscape, with its promise of eternal survival. Selected Exhibitions: 2011 Stormy Weather, Contemporary Landscape Photography, National Gallery of Victoria 1989 Moet and Chandon Prize, National Gallery of Victoria 1989 Thousand Mile Stare Australian Centre for Contemporary Art 1989 Austausch Melbourne/Berlin Photography Exchange Exhibition. 1987 Regional Artist’s Review, Artery Gallery, Geelong 1986 The YouYangs, Geelong Art Gallery 1988 Big Things, Christine Abrahams Gallery 1986 Australian Landscape Photographed, Art Gallery of NSW, National Gallery of Victoria, Ballarat Art Gallery. 1985 Victoria Vision – 1834 Onwards, National Gallery of Victoria 1985 Survey Surveyed, Geelong Art Gallery 1984 Survey Show, Geelong Art Gallery 1984 Ash Wednesday, Australian Centre for Photography 1983 Landscapes, Christine Abrahams Gallery, Melbourne Collections: National Gallery of Victoria Geelong Art Gallery Deakin University Collection Melbourne City Council Collection Moet and Chandon Collection Private Collections Stefan Szonyi Stefan Szonyi Studio 1 Ceramic 1994 Courtesy of the Artist Artist Statement Two of these works are from the from an “In The Studio” series while the other work is from a “Big” series. They are all simply observations and reflections on recalled and selected events, combined with an element of autobiography and social commentary. The work incorporates a natural fascination with miniatures and is an attempt to come to terms with the challenges involved in construction using clay combined with other materials. The earthenware clay and underglazes used in this work seemed to be the ideal materials to challenge my need to engage in modelling and attempting to make well crafted, colourful objects. My training in painting imbued me with a love of colour and I have primarily been motivated by the joy and pleasure derived from viewing and handling brightly coloured ceramic objects. Resume Stefan Szonyi captures a universe in the palm of your hand through his miniature world of ceramics, which explore such themes as family love, chance and some of the constructs in the art world. His is an unusual oeuvre in that probably more than half of his ceramics now reside in public collections, where they provide an entrée into the unique philosophical qualities of Australian humour. 1945 Born Germany 1949 Arrived Australia 1964-66 Trained Secondary Teacher´s Certificate, Melbourne Teacher´s College 1967 Studied Painting Royal Melbourne Institute of Technology 1979-81 Studied art at Preston Institute of Technology Currently living in Daylesford, Victoria. Solo Exhibitions: 1977 Ray Hughes Gallery, Brisbane 1990 Macquarie Galleries, Sydney 1992-93 Stefan Szonyi Surveyed, Touring Exhibition – Ballarat, Bendigo, Benalla, Shepparton and , Geelong Regional Galleries, and Roy Morgan Research Centre, Melbourne. Curated by Joe Pascoe. 1994 Ray Hughes Gallery, Sydney Group exhibitions: 1976 Craft Centre, Melbourne 1979 37th International Exhibition of Ceramic Art, Faenza, Italy 1980 Mayfair Ceramics Award Exhibition / Meat Market Centenary Celebration,North Melbourne 1980-82 Recent Ceramics from Australia, Australia Council Exhibition Touring Europe 1982-84 Contemporary Australian Ceramics, Australia Council Exhibition Touring New Zealand, Canada, U.S.A. 1982 National Craft Aquisition Award, Darwin / Mayfair Ceramics Award Exhibition 1984 First Annual Ceramics Exhibition, Ballarat Fine Art Gallery / Fremantle Arts Centre 1985 Clothes and Clay Orange Festival of Art, Orange Regional Gallery / Australian Motif, Craft Council Gallery, Sydney / Caltex North Queensland Ceramic Award, Perc Tucker Regional Gallery, Townsville, Darling Downs Ceramic Award, Toowoomba, Queensland / Australian Crafts Survey Exhibition, Meat Market Craft Centre, North Melbourne / International Ceramics Festival, Mino, Japan 1987 Mayfair Ceramics Award / Mornington Peninsula Craft Event 1988 Mornington Peninsula Craft Event / Bicentennial National Exhibition, Melbourne Showgrounds / Australian Crafts, Meat Market Craft Centre, North Melbourne 1990 Tea for Two, Meat Market Craft Centre, North Melbourne 1991 Shepparton Art Gallery – Sidney Myer Fund Australia Day Ceramics Award 1994 Colin and Cecily Rigg Craft Award, National Gallery of Victoria 1995 Shepparton Art Gallery – Sidney Myer Fund Australia Day Ceramics Award / Nillumbik Art 1996 Shepparton Art Gallery – Sidney Myer Fund Australia Day Ceramics Award 1996-97 Delinquent Angel-Australian ceramics touring Faeza-Italy, Asia, Australia 1997 Then and Now, Meat Market Craft Centre, North Melbourne / Sidney Myer Fund International Ceramic Award – Shepparton Art Gallery / Newcastle Region Art Gallery National Ceramic Purchase Award 1998 Sidney Myer Fund International Ceramic Award – Shepparton Art Gallery / The Great Australian Teapot Show – Distelfink Gallery/ Australian Crafts for Tea – Tokyo/ Celebrating Ceramics – Castlemaine Art Gallery 1999 Teawares Towards 2000 – Distelfink Galley/ Qdos Gallery, Lorne 2002 Gold Coast Ceramic Art Award 2003 Hypercrafting – Monash University, Caulfield 2004 Celebrating the Master­ – Skepsi on Swanston 2004 Open Air Sculpture Show -Qdos, Lorne 2005 Gold Coast Ceramic Art AwardAA 2006 Hungarofest – Melbourne 2015 2015 Dada Lives! Hatch Contemporary Art Space, Ivanhoe Collections: Ararat Gallery Art Gallery of South Australia Australasian Meat Workers Union Collection, Victoria Australian National Gallery, Canberra Ballarat Fine Art Gallery Bendigo Art Gallery Caltex Collection, Queensland City of Footscray Collection Comune Di Faenza Collection, Italy Diamond Valley Collection, Victoria Geelong Art Gallery La Trobe Regional Gallery Mayfair Ceramic Collection, Shepparton Art Gallery National Gallery of Victoria Newcastle Region Art Gallery Nillumbik Shire Art Collection Orange Civic Centre Collection Powerhouse Museum, Sydney Queen Victoria Museum & Art Gallery, Launceston Queensland University of Technology Shepparton Art Gallery Toowoomba City Council Collection University of Tasmania Collection Victorian State Craft Collection, Meat Market Craft Centre Various Private Collections