2013 CSI grant recipient Lake Macquarie City Art Gallery hosting curator Lisa Corsi

Lake Macquarie City Art Gallery.

Courtesy of the Gallery.

Lake Macquarie City Art Gallery (LMCAG) was one of the seven successful grant recipients of the inaugural Curatorial Support Initiative (CSI) in 2012 to engage experienced and dynamic independent curator, Lisa Corsi. 

With a history of strong programming that actively encourages new perspectives, LMCAG’s Director, Debbie Abraham reflects on the CSI opportunity: “Inviting curators to create exhibitions not only introduces new ideas and often new work, but also extends networks for the gallery and staff. The Curatorial Support Initiative grant has enabled LMCAG to work with curator Lisa Corsi on an exhibition project examining the phenomenon of art-collecting practice in Australia, and how we define our interests as a society. The research has focused on the role played by private collectors in shaping notions of a collective cultural identity.”

Entitled Collective Identity(IeS):This is That Time, the exhibition, currently in development, concentrates on artists who were practising at the time of the Australian Bicentenary in 1988; a period when complex issues were raised about Australia’s identity. The work has been selected from the collections of a small group of private individuals with significant works by artists from this period, including work by the recently awarded recipient of the Bulgari Art Award, Jon Cattapan.

Collective Identity(IeS):This is That Time will be on show at LMCAG from 13 September – 17 November 2013. Applications for the 2014 CSI grant program are currently open for submissions.

For more information on the Curatorial Support Initiative grant program please see the Museums & Galleries NSW website: www.mgnsw.org.au/grants/gallery_grants

The Land of Lewers

Way out west and wondering where to take the kids on the weekend? Take them to the Land of Lewers!

Practically built on the edge of the Nepean River at Emu Plains, Penrith Regional Gallery was the home (yes, the actual home) of highly accomplished Modernist artists Margo and Gerald Lewers. So it's both heritage house and garden packaged as an active and thriving regional gallery, with plenty to entertain the kids.

Penrith Regional Gallery garden. 

Photography by Carole Best, 2013.

The rambling cottage garden complete with outdoor sculptures and old-world water tank is both whimsical and elegant. Children climb trees, play hide-and-seek and dash between fountain water spouts. All this—while we sit in the sun with our Ross Dobson inspired coffee and cake.

Penrith Regional Gallery garden. 

Photography by Carole Best, 2013.

The house itself is divided into two distinct parts; the old homestead facing the river is connected by a covered walkway to the modernist addition. It’s here where the Lewers extensive collection is hung and from time to time you’ll see works by the likes of Hinder, Haefliger, Flugelman, Cassab, Balson and more.

From Story, a wall painted by Hendrick Geriche.

Photography by Carole Best, 2013.

The heritage house built in 1906 is now home to the Lewers Learning Centre. The Centre (which sounds much drier than it is) is currently occupied by  Story with each of the homestead's four rooms equipped with dress up, tromp-l'œil wall painting and a ginormous basket of Lego pieces to inspire participation in storymaking and play. 

Detail from Story.

Photography by Carole Best, 2013.

The Land of Lewers is everything a modern gallery should be - fun, evocative, and a real entertainment option for children and adults alike. And one of the many delights to be found way out west!

Why we need a mandatory code for the indigenous art industry

You are probably aware of the Indigenous Art Code and the good work that’s been done in introducing and encouraging art dealers and galleries to sign up to support fair and ethical trade in Aboriginal artwork, but did you know that they have just called for the code to become a mandatory one?

According to Ron Merkel QC, IartC Chair, there continues to be ‘significant unethical and unfair treatment and exploitation of Indigenous artists by some dealers in the Industry’― a practice he believes has not changed significantly since 2007 when the original Senate Committee report was published. He’s referring to the practices of unfair contracts, threatening behaviour, coercion, paying artists with drugs or alcohol and a general lack of transparency in the industry―behaviours which would not be tolerated in any business environment.

In his press release of 22 April, Merkel stridently argues for the introduction of minimum standards which will apply to all dealers. He goes on to say that recent discussions with indigenous arts groups and artists have called for a ‘stronger’ code and that partner organisations such as Arts Law have also indicated there is significant support for a mandatory code.

It’s plainly unacceptable that this corrupt behaviour continues – especially since it’s about greed and a preparedness to cheat others. So let’s get behind the IartC and support the Mandatory Code. It ‘will ensure fairness, minimise regulatory complexity and enhance the Industry for both Industry participants and the wider community’, and that’s got to be a good thing for everyone!

Yamba's exciting exhibition

Yamba Museum have launched an exciting exhibition which Debrah Novak, Exhibition Curator wants to share with you all:

Opening night, two of the artists with their family.
Image courtesy of Yamba Museum.

IMAGinE award recipents Yamba Museum have just launched their second major project for the year, ‘VISION4CHANGE’ Aboriginal arts exhibition.

This special project, six weeks in the making is a collaborative partnership between four Clarence Valley museums who have utilised some of their historic Aboriginal photos and the Aboriginal community for the very first time.

In the 18th century the Clarence Valley was very fortunate to have two eminent Australian photographers based at Grafton. One of these was John William Lindt whose collection of Aboriginal photographic studies and portraiture are now world renown.

A number of these historic photos and the contemporary artworks from four locally acclaimed female Aboriginal artists, Jessica Birk, Frances Belle Parker, Elsie Randall and Danielle Gorogo provide a deep insight into a world not many non-Aboriginal people are familar with or have knowledge of in a local context.

One of our members also photographed and interviewed 16 local Elders to create a video enabling them to share their story. 

We had two official openings. The first one was during the day and was to accommodate the Elders and included a class from the local high school. Opening night was a huge success attracting around 100 people with the official welcome to country performed in local dialect. 

The feedback from both Aboriginal and non-Aboriginal community about the exhibition has been nothing short of amazing. A quote from Anne Dinham, who attended the opening night:

“I just have to say how fantastic it was to be there for perhaps our most significant exhibition opening. Deb, you have achieved something that has been talked about and sorely needed...for so long!

Possibly none of us know quite how significant tonight was, not just the exhibition itself but the bringing together of the peoples who share a love for this place.

I felt so moved by the stories told on the video and the words of those wonderful girls, the artists ... as did everyone, I think… Well done to you all! A wonderful achievement! May it continue to be a blessing to all.”

- Deborah Novak

The exhibition is on until 15 July 2013.

For more information please visit their website http://www.pyhsmuseum.org.au/

Let’s remember

With the sad news of the death of lead singer of the great Australian band Yothu Yindi, we were reminded of several important things.

We were reminded of the significance of the band’s work, both musically and in terms of the lead singer’s commitment to education and cultural development in his Yolngu homelands.

We remembered the impact of Treaty, the band’s massive 1991 hit which underscored Prime Minister Hawke’s failure to deliver his promised Treaty between black and white Australia. There’s not many of us who haven’t been moved by Tribal Voice or more recently by the evocative Geoffrey Gurrumul Yunupingu, the band’s first keyboard player. Nor can we forget Yothu Yindi’s performance at the closing ceremony of the 2000 Olympic Games in Sydney.

And we all remember the fantastic collaboration with the likes of Paul Kelly and Peter Garrett, and the contribution these and other partnerships have made the lives of Aboriginal youth in particular while enriching our own. But last week as the tragedy of yet another Aboriginal great losing their life to renal failure, we came close to forgetting how to respect an Aboriginal family in mourning. Initially social media channels ran wild with photos and images of Mr Yunupingu despite requests from his family to observe traditional practices for commemorating the dead. Some mainstream media, who should have known better and from whom we expect more, also jumped on the bandwagon.

While we all have an intuitive recognition of appropriate behaviour in our personal cultural domains, our understanding of other peoples’ cultural and religious practices remains sketchy. So here’s a bunch of resources to help us remember what to do when an indigenous person dies. SBS has a well-researched and workable media policy and the Indigenous Portal (Australian Government) gives a quick rundown on what you need to know. Also have a look at M&G NSW’s Dialogues across cultures and our Welcome to country information.

That said, you can’t do better than your local indigenous group as cultural protocols vary between different regions and families. Here at M&G NSW we are part of the Media Ring RAP Group and rely on the fantastic Koori Radio (and their Facebook page) for advice.

We're building a website: We want you now

The Museums & Galleries of NSW website will highlight your museums, galleries and Aboriginal cultural centres to the public.

We want you now!

Our website will be nothing without your participation. The whole public facing side will be profiling your exciting places, exhibitions and events. 

Right now M&G NSW staff are putting basic information about every one of you into our website but we need you to add the colour. Contact us if you would like to be one of the first to get started!

Add content to your profile page

So let's take a look at the profile page. In this case we've built a profile page for the Lady Denman Maritime Museum in Jervis Bay:

Add pictures

Upload images onto your page and create a slideshow. You have amazing collections, objects, works of art, exhibitions and events. We want to see them. 

What makes you special?

Write a description that tells visitors what they'll see and hear and why you stand out from the crowd. How do you reflect your region and your town? 

Connect to your social media

Simply add your Twitter, Facebook or Youtube account and they will feed into these custom built modules.

If you don't belong to social media, no biggie because . . .

Later on: News, Events and Exhibitions

From early September we will want to know everything that's going on at your museum, gallery or Aboriginal cultural centre and how you're connecting with your region. You'll be able to easily send us information with an online form and it will become part of the state-wide Events and Exhibitions database.

We want to hear from:

Aboriginal cultural centres
Community and volunteer-run museums 
Regional public galleries 
Regional museums 

Artist-run initiatives 

We're here to help

To help you through the process we will arrange your signup and link you to your organisation profile page. We'll provide an easy to use Website Guide that shows you how to upload text and images onto your profile page.

If you would like to check out our website (that isn't live yet) and be one of the first to start uploading information please contact us.

Andrew or Katie 

ph: 02 9358 1760 
andrewb@mgnsw.org.au 
comms@mgnsw.org.au

2013 Artist In-Residence Grant recipient Vic McEwan at Griffith Regional Art Gallery

Vic McEwan is a composer, sound and installation artist, producer and director who is interested in landscape, communities, remote spaces and cross art form collaboration. 

As a recipient of a 2013 Artist In-Residence grant (ACR), funded by the Copyright Agency Limited Cultural Fund (CAL) and managed by Museums & Galleries NSW, McEwan has embarked on a year-long exploration of a community in recovery, actively seeking the stories from the town of Yenda in the wake of the 2012 floods. 

The floods

“In 2012 many parts of Australia experienced heavy flooding and storm related damage. Yenda, a small town in the Riverina near Griffith with a population of under 1500 people, was given an immediate evacuation order… the consequences being that no time was allowed for collection of precious items or preparation of households and contents… Approximately 230 families, nearly half of the population, have been unable to return due to the severity of damage.” describes McEwan. 

Recording the stories

Image still from Vic McEwan’s Yenda Flood Recovery Arts Project, youtube courtesy the artist and ABC.

Hosted by Griffith Regional Art Gallery and based in Yenda for his residency, McEwan began the project by inviting members of the community to share their stories in the first of many meetings and ongoing public consultations.

Using the residency as a large scale research, documentation and development project, McEwan began by recording the stories of Yenda to develop a communal framework for how the arts can be used by communities recovering from trauma.

Image: Invitation for community meetings in Yenda

by Vic McEwan held earlier this year.

The resulting video projections, video mapping and installations, expressing the community experience, will be shown at a final public event as a celebration of Yenda’s resilience, their rebuilding efforts and the difficulties and successes the community has faced during their ongoing path to repair.

Learn more

http://www.vicmcewan.com/#!yenda/cmm

For more information on the Artist or Curator in Residence program see the Museums & Galleries NSW website: http://mgnsw.org.au/grants/gallery_grants/


The Artist or Curator in Residence Grant Program is supported by the Copyright Agency Limited’s Cultural Fund, and is managed by Museums and Galleries NSW.

Video Encounters: The Museum Robot Project

At Museum of Sydney on Friday 10 May, delegates converged both physically and virtually for Video Encounters to witness some of the best videoconferencing experiences Australia has to offer in the one half day seminar.

Museum Robot Project National Museum Australia 

Robert Bunzli

Robert is the Project Manager for the Museum Robot Project, a collaboration between the National Museum Australia, CSIRO and the Commonwealth Department of Broadband, Communications and the Digital Economy. He has a background in digital delivery of interactive education, through multipoint video conferences, and digital distribution of live events through web streaming. His interest developed through his previous role as Production Manager for Digital Outreach at Questacon. Robert is passionate about public institutions rethinking ways of engaging audiences with the help of the NBN.




To see more information about the Museum Robot visit the National Museum of Australia website.