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ARTLANDS - FEMALE ARTS LEADERS PRESENTING<br />
Have you bought your tickets for Artlands Victoria yet? The exciting program for this event includes an extraordinary group<br />
of female arts leaders who will lead conversations, keynotes, workshops and sessions about their practice, <strong>res</strong>earch and<br />
experiences. Included in this illustrious list is Ballarat’s own Fiona Sweet, Festival Director of the Ballarat International Foto<br />
Biennale who will discuss the arts festival model.<br />
Book now! Secure your place.<br />
https://artlands.com.au/news/leading-the-charge-an-introduction-to-our-powerhouse-female-p<strong>res</strong>enters<br />
Meet our next round of speakers and p<strong>res</strong>enters; a group of powerhouse women who will lead conversations, keynotes,<br />
workshops and sessions about their practice, <strong>res</strong>earch and experiences.<br />
We’ve worked really hard to profile strong intergenerational women’s voices across the program and we are very excited to<br />
introduce you...<br />
Ambitious and fair: the future for regional gallery practice<br />
Let’s collaborate on a set of actions to drive national standards that are ambitious and fair. Australia’s regional galleries<br />
lead important conversations on contemporary practice, taking active roles in the ethics and the politics of the local, and<br />
articulating a strongly grounded artistic leadership. More than simply the custodians of carefully guarded collections, regional<br />
galleries succeed or struggle on the strength of their ambition for fostering the Australian culture from their own unique<br />
standpoint. Increasingly international in their outlook, regional galleries seek to balance local artistic development with global<br />
artistic movements, working from a confident connection to country and sense of place.<br />
Join Executive Director of the National Association for the Visual Arts Esther Anatolitis in an active participatory workshop<br />
for regional artists, curators and gallerists from all over Australia, to characterise contemporary practice and identifying ways<br />
forward.<br />
How is regional feminism different and why does this matter?<br />
Join Dr Julie Montgarrett of Charles Sturt University and Sarah McEwan of The Cad Factory to explore this question and<br />
much more in an in-conversation session to continue their <strong>res</strong>earch into regional feminisms. Montgarrett and McEwan want<br />
to know what you think and what your experiences have been.<br />
Harmony Hub — Building Bridges Within our Community<br />
Two women from different countries meet in a small rural Australian city and start a radio show. Archana Patney is from India<br />
and Joelle Whiting from Mauritius. The radio show is called Harmony Hub and is broadcast fortnightly from the Swan Hill<br />
Community Radio 99.1 SMART FM studios. Their motto: Building bridges within our community.<br />
Contemporary best practice in the remote: Artistic process case studies<br />
Remoteness is often seen in juxtaposition to the concept of contemporary arts practice, however case studies from Western<br />
Australian artist Alana Hunt, Northern Territory curator Britt Guy and New South Wales artist Holly Macdonald focus on the<br />
highly innovative way that art is being conceived, made and p<strong>res</strong>ented in a remote context.<br />
Why Do We Have Arts Festivals?<br />
Common to non-profit arts festivals is a model based upon a sponsorship agreement between the artist and the festival. That<br />
is, when exhibiting the artist’s work, the festival forgoes paying the artist a fiscal fee on the proposition that the exposure<br />
alone will become quantifiable in their projected future earnings and career projection. The festivals often justify this position<br />
due to their own challenges to remain economically sustainable.<br />
However, is this claim of ‘increased exposure’ misleading? And therefore, what is the role of the festival and its employees in<br />
supporting artists through the festival model?<br />
In <strong>2018</strong>, Fiona Sweet received <strong>res</strong>earch funding from the Ian Potter Foundation to travel to Europe and p<strong>res</strong>ent at 6 leading<br />
international photographic festivals. This subsequent lecture is based upon her findings<br />
regarding the ‘why’ of a festival’s existence.<br />
Don’t miss these incredible p<strong>res</strong>entations and more at this year’s Artlands Victoria!<br />
<strong>September</strong> <strong>2018</strong> ARTeFACT Newsletter<br />
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