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INTO LIGHT: 19th and 20th century paintings from the MUS’E DE LA CHARTREUSE, DOUAI In the mid-nineteenth century, France was the acknowledged centre of the art world, as realist styles of painting were challenged by Impressionism. With the advent of photography many artists worked to imitate nature, finding new ways of to celebrate light and colour as spontaneous ‘impressions’. This exhibition of treasures from the Musee de la Chartreuse, the regional gallery for Douai in northern France, traces these developments. It ranges from the idealised classical imagery of the late eighteenth century, romantic seascapes and tranquil landscapes depicting the mills and canals of northern France, through to paintings which celebrate the effects of pure light and colour, and works which explore the lives of ordinary people, rarely seen in earlier painting. Renovations to the Chartreuse building have created a unique opportunity for Australian audiences to see sixty nineteenth and twentieth-century gems from this outstanding French gallery, alongside key paintings by Australian artists working in France and discovering the same traditions, and works by French artists from Australian collections. Special guided tours will be available every Saturday and Sunday during the run of the exhibition and for group visits by arrangement. through Sunday September 9 LOUISEANN KING BOAA ART 2018 Louiseann King is a sculptor/installation artist and academic based in Eganstown, a physical and historical landscape which is highly charged, complex and capable of subtle and dramatic change. This exciting project will see two exhibition spaces within the Gallery reconceived with thematic displays of work to explore depictions of women and landscapes in the nineteenth century, so that King’s sculptural installations sit within them, providing points of contrast and dialogue with works from the collection. King is a maker and a collector of time and place; her practice is one where she works with nuance, subtlety, the liminal, the forgotten and the lost. She collects, salvages, collates, regroups, juxtaposes and re-renders, creating works which cross boundaries of time and place. She is an oddity and, at times, a curiosity: a woman artist working in bronze in a field dominated by men, with a practice which is inherently feminine and ‘other’. In her practice, bronze is both inherently monumental and heroic, and also deeply seductive and sensual in its potential to enable transformation. In this exhibition, King will consider the way the Gallery collection is displayed, the spaces it occupies and how this generates meaning and context. solis will feature new sculptural installation works/interventions and include a collaboration with sound artist Philip Samartzis which utilises local eco-acoustic recordings and the particular acoustics of the Ferry and Crouch galleries. MARLENE GILSON BOAA ART 2018 Aunty Marlene Gilson is a Wathaurung (Wadawarrung) Elder living on country in Gordon, near Ballarat. A visual artist who discovered painting later in life, Aunty Marlene’s paintings explore Aboriginal myth and stories of the goldfields. Her work is marked by a naive style which references her Indigenous and European ancestry. She is a descendent of King Billy, an Indigenous tribal leader of the Ballarat region at the time of the Eureka Stockade and his wife Queen Mary. Aunty Marlene positions Koorie stories within the context of these Precolonial and Postcolonial times which are often absent in the understanding of Australian history. Gilson’s first exhibition was in 2012 at the Art Gallery with her daughter Deanne Gilson. She was a finalist in the Victorian Indigenous Art Award in 2013, 2014 and 2015 and she received the Koorie Heritage Trust Reconciliation Award. Her work has been shown at the Art Gallery of Ballarat, Bunjilaka, Melbourne Museum, ACCA, M.A.D.E and The Koorie Heritage Trust. Her work is included in collections including the National Gallery of Victoria, City of Melbourne, Art Gallery of Ballarat and Australian Catholic University. 26 September 2018 ARTeFACT Newsletter
ASHER BILU BOAA ART 2018 Asher Bilu is an established artist living an working in Melbourne. Originally a painter, Bilu’s work now breaks free of the canvas to create immersive experiences. Born in Israel in 1936, Bilu began his career as an artist soon after arriving in Australia in December 1956. His first solo exhibition at Dalgetty Street Gallery in 1959 was quickly followed by two exhibitions at John Reed’s renowned Museum of Modern Art of Australia. Since then he has exhibited widely in Australia and Europe, and has work held by major collecting institutions throughout Australia, including four commissioned works for the Concert Hall of the Victoria Arts Centre. Other commissioned work includes his installations in public galleries, such as Amaze (1982), Mysterium (2003), and Heavens (2006), some of which have toured to regional venues in Australia. Bilu is included in numerous collections such as National Gallery of Australia, Canberra, National Gallery of Victoria, Melbourne, Art Gallery of NSW, Sydney, Museum of Contemporary Art, Sydney, Museum & Art Gallery of the Northern Territory., and Museum of Modern Art at Heide, Melbourne. FARIDAH CAMERON BOAA ART 2018 The skills of making and mending with thread and yarn were among the first things Faridah Cameron learnt, and for her drawing, writing and stitch are closely associated. Cameron’s paintings are constructed by means of repetitious mark-making, often running from left to right, which has become a form of personal calligraphy. The resultant images sometimes resemble textile, and sometimes text. Cameron has been developing her technique her entire career, continuously working to perfect it. Her secret lies in using plastic bags of paint to pipe the intricate thread-like lines. Cameron has held numerous successful solo exhibition in Tasmania. In addition to this she is represented in many private collections in Australia and overseas, including the Holmes à Court Collection and Tasmanian Office of Heritage and Archives. ‘The thread-like application of paint becomes a metaphor for connecting, making, repairing. As with stitch, simplicity accumulates towards complexity. As with text, marks evolve towards meaning. There are many threads to be followed’ – Faridah Cameron. DAVID JENSZ BOAA ART 2018 David Jensz is an innovative contemporary sculptor whose practice spans studio-based works and public art commissions. Jensz’s works are conceptually exploratory and finely crafted. His practice is informed by physics and contemporary theories of space and time to investigate the nature of being. He is a freelance artist who works from his purpose-built studio at Murrumbateman, near Canberra, Australia. Jensz’s extensive career spans over three decades. During this time, he has exhibited extensively throughout Australia and worldwide. In 2017, his exhibition, Paper Works, curated by Rossalin Garst, was exhibited at 9 Art Gallery and Bann Tuek Art Center in Chiang Rai. Jensz’s unique style lends itself well to public sculpture, resulting in a number large scale public commissions. These include Event Horizon, 2014, Columbus State University, GA, USA, and Life Cycle, 2010, Canberra, (commissioned by the ACT Government). Jensz is included in many collections including the National Gallery of Australia, Canberra, Canberra Museum and Gallery, Macquarie University Sculpture Park and Khon Kaen University, Thailand. ‘Call it sculpture, or call it painting, my aim is to create visual ecstasies. The possibilities seem endless.’ Asher Bilu Faridah Cameron is represented by Handmark Gallery, Tasmania. September 2018 ARTeFACT Newsletter 27
Page 1 and 2: August2018 What Happened in August
Page 3 and 4: Children’s Painting Competition T
Page 5 and 6: September 2018 ARTeFACT Newsletter
Page 7 and 8: Ballarat Specialist School @ Neo-Gi
Page 11 and 12: LOCAL GALLERIES AND EXHIBITION SPAC
Page 13 and 14: UNICORN LANE 31 August - 15 Septemb
Page 21 and 22: ARTLANDS - FEMALE ARTS LEADERS PRES
Page 23 and 24: Commissioned editorial articles on
Page 25: www.hermaj.com (03) 5333 5888 HELL
Page 29 and 30: PIP & POP BOAA ART 2018 Tanya Schul
Page 31 and 32: BOAA Volunteers “ Our BOAA Task F
Page 41 and 42: ART HOUSE GALLERY City Centre Arcad
Page 47 and 48: Ballarat sQribblers hosted by Wrain
Page 49 and 50: BALLARAT FILM SOCIETY Ballaarat Mec
Page 51 and 52: STURT STREET GALLERY ACRYLICS ART C
Page 53 and 54: Sweet Mona’s Choir, based in Ball
Page 55 and 56: Plastic Flower making workshops at
Page 57 and 58: ORGAN CONCERT: LET’S PRETEND Sun
Page 61 and 62: LOCAL LIVE MUSIC ART GALLERY OF BAL
Page 63 and 64: ARTISTS CALLS, AWARDS, PRIZES, GRAN
Page 65 and 66: RESOURCES Arts Access Victoria 222

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