Deborah Kelly’s acclaimed exhibition No Human Being Is Illegal (in all our glory) is set to shock and delight visitors when it opens at Warwick Art Gallery as part of a regional tour to galleries and cultural centres across Australia.
Originally created for the 19th Biennale of Sydney (2014) by teams of public participants over the course of many months, Warwick now has the opportunity to see this incredible community project following a successful first outing at the Murray Art Museum Albury.
The exhibition comprises 20 life-sized photographic portraits realised through ongoing discussion, exchange and art making between the artist, the subjects and the contributors. The collaboration centres upon nude photographic portraits that were collaged over time as workshop participants added layers of archival and contemporary imagery specific to the subjects’ interests, attributes and vision.
The subjects represent a fascinating cross section of contemporary Australia with each portrait telling an intimate story of the subject’s life.
“Without the barriers of language, culture, religion, sexuality, gender or race, this collaged imagery bombards the viewer with the human narrative, ‘in all its glory’.”
– Jacqui Hemsley, Director, Murray Art Museum Albury
For the better part of three decades, Kelly has created a prolific body of mixed-media artworks that are at once unexpected, humorous, provocative, and profound. Often politically motivated, Kelly’s artworks explore ideas of power in all its manifestations, negotiating racial, sexual and religious prejudices and histories.
Deborah Kelly has exhibited widely including the collaborative project boat-people.org, the prize-winning public artwork series Hey, hetero! (created with Tina Fiveash), and Beware of the God commissioned by the Museum of Contemporary Art Australia in 2005. Kelly’s work has been exhibited at the 19th Biennale of Sydney (2014) and the 2008 Singapore Biennale.
The Brushes and Flashes exhibition will showcase artists from the South Burnett.
Eleven artists will exhibit works in pastel, watercolour, oil, drawing, acrylic, pottery, sculpture, paper tole, photography and indigenous art.
Anthony Donas – Indigenous artist
Megan Cridland, BFA – Drawings
Garry Eyre, Cert of Applied Arts – Abstracts
Ina Patterson, Cert of Commercial Illustration – Watercolours
Judy Forrster – Photography
Karren Bolton(Currently in 3rd year of BA Fine Arts & Visual Culture) – Sculpture & Pottery
Lyn Felsman – Pastels, Water colour, Oils
Rosemarie Matthews-Fredericks – Paper Tole
Thelm Archibald – Threaded Acrylics
Summer Brooke-Jones – Sculpture, Felting
Paul Craddock – Various
Chooks by Lyn Felsman
Artists Fiona Rafferty and Frances Smith commemorate the centenary of the birth of Australian writer, poet and activist Judith Wright in Reminiscence, in an exhibition touring in regional Queensland during 2016 – 2018.
Reminiscence is comprised of paintings, works on paper and ceramics by Rafferty and Smith. These artworks respond to Judith Wright’s work as a writer, poet, environmentalist, and advocate of human rights.
Rafferty was inspired to create a body of work to commemorate Judith Wright when she spent five months living at Calanthe, Judith Wright’s former home on Tamborine Mountain. Rafferty says, “The issues that Judith fought for—such as indigenous land rights and protecting the Great Barrier Reef—are issues that are still relevant today; through this exhibition we celebrate and continue her work in an effort to inspire the generations that proceed her”. “When I resided at Calanthe I felt Judith Wright’s presence everywhere, and after further researching her work I was instantly inspired by her intelligence, compassion and strength”
Reminiscence was developed as part of the Flying Arts Alliance Curator Development Program ‘Curators in Space’. ‘Flying Arts selected five emerging curators to work under the banner of ‘Curators in Space’ to develop Reminiscence with a suite of public programs and learning resources that invite participants of all ages to engage with Judith Wright’s life and work. The ‘Curators in Space’ team worked with the artists to bring this timely exhibition to life; its first showing inspiring a mini-festival at the Judith Wright Centre of Contemporary Arts, Brisbane, in late 2015.
Reminiscence is a Flying Arts Touring Exhibition.
Featured Image: Endangered I & II, 2015 Frances Smith
Got Mittens Too is Peter Osborn’s first solo exhibition at Warwick Art Gallery. Peter has a background in structural engineering design and has studied visual arts at the University of Southern Queensland. His works include ceramic figurative sculpture and watercolour illustration.
The 100 year commemoration of the Anzac involvement in World War 1 became a personal journey when he read the diary his grandfather wrote while on service at the Western Front. This brief document provided many poignant images of the conflict and devastating loss of life.
“I became interested in my grandfather's WW1 experiences after my uncle sent me a scanned copy of his diary from that time,” said Peter, “ He arrived in France in mid 1916 as a sapper with the 13th brigade of the 4th Division AIF and somehow survived, particularly the third battle of Ypres where his younger brother was killed.
The title of the exhibit Go Mittens Too comes from an anecdote related by my grandfather when, after the German soldiers raised a banner proclaiming “Gott mit uns” (God is with us), the Allies responded with a banner “Got mittens too”
In addition to the exhibition Peter has designed a catalogue book featuring excerpts from the diary, text and images from the exhibitions. The book is available from the Gallery during the exhibition.
This 7 metre long work has been hand stitched together by textile artist Prudence Mapstone and comprises hundreds of bright floral motifs in all sorts of shapes, sizes and colours reflecting the theme of Flower Power.
There are more than 207 contributors from over 24 different countries, many sending in numerous pieces that have been included in the installation. This is one you can’t miss!
It has been 50 years since the term 'Flower Power' was first coined in Berkeley, California, and used as a passive resistance slogan for non-violent protest against the Vietnam War. By the 'summer of love' a few years later, the movement had spread; the term 'flower child' was synonymous with 'hippie', and a counterculture had sprung up embracing psychedelic music and art.
This art style is often recognizable from its simple, graphic, brightly coloured, poster-like designs; and as many flower children sought a return to basics and simple living, crafts had a resurgence, and a distinctive style of no-rules crochet sprang up as a small part of the hippie, grass roots ethos.
For those who missed it the first and second time around, a third touring exhibition is on the road! Due to the demand for Beanies and the outstanding success of the first and second tour of the Alice Springs Beanie Festival exhibition “Colours of the Country”, we look forward to another fabulous showcase of an icon of Australian headwear.
This collection of Beanies, from the Alice Springs Beanie Festival, demonstrates the growth of the Beanie as an art form over the years and the imagination, creativity and fine craftsmanship presented in each piece. The colourful exhibition encapsulates the whimsical essence of the Beanie Festival and also highlights the works produced by Indigenous artists from the Central Desert region who are regular collaborators in this cross-cultural event.
An exhibition embraced by a broad cross section of the community, the collection will inspire audiences to laugh, don crazy headwear and bring out those knitting needles all over again.
Image: 'Spirit ladies from the desert', Sharon Alice, 2010. 'Galahs', Betty Conway, 2012. ‘Hanging out the washing’, Rhonda Napanangka, 2012.
Image Courtesy of: The Alice Springs Beanie Festival