Thursday, 9 February, 2017 to Saturday, 25 February, 2017
Twenty-two artists will showcase their work in the inaugural ‘Elaine Bermingham National Watercolour Prize in Landscape Painting’ finalist exhibition. Featuring the best watercolour artworks from across Australia, the exhibition opens Thursday 9 February at Griffith University’s Webb Gallery, located within the Queensland College of Art South Bank campus, Brisbane.
Special guest judge, artist Michael Zavros will announce the winners at the official opening, Friday 10 February 6–8pm. The overall winner will receive a non-acquisitive cash prize of $20,000, generously donated by Elaine Bermingham. Two highly commended awards of $2,000 each will also be announced.
The 2017 finalists are:
Tanya Baily (NSW), Leah Bullen (NSW), Stephen Bird (NSW), Maryanne Coutts (NSW), Sam Cranstoun (QLD), Charlie Donaldson (QLD), Mitchell Donaldson (QLD), Robert Fenton (VIC), Jane Grealy (QLD), Belem Lett (NSW), Graham Marchant (NSW), Penny Mason (TAS) , Fiona McMonagle (NSW), Deb Mostert (QLD), Nicola Moss (QLD), Elizabeth Nelson (VIC), Monica Rohan (QLD), Camille Serisier (QLD), Jackson Slattery (VIC), Karen Stephens (QLD), Naomi White (QLD), Laura Williams (WA).
The exhibition is open to the public and runs until 25 February 2017.
Saturday, 17 December, 2016 to Sunday, 5 February, 2017
Max Dupain, Sunbaker (1937), gelatin silver photograph. Gift of the Philip Morris Arts Grant 1982.
The first exhibition to look at the work of these two photographers as they shared their lives and studio. Focussing on the key periods in each of their careers when they produced many of their most memorable images.
Saturday, 3 December, 2016 to Sunday, 5 February, 2017
Big Ted, Little Ted, Humpty and Jemima are heading to Gold Coast City Gallery. The colourful exhibition explores the five decades of Play School by featuring toys, props and costumes from each period, alongside archival audio and video clips of past programs and presenters having fun.
Saturday, 17 December, 2016 to Saturday, 25 February, 2017
Bindi Waugh, 'CHOOSE – WHY' 2016, ink on paper, 300 x 420mm. Image: Courtesy of the artist
Appropriate or not appropriate.
Perception or misconception.
Two regional artists, one indigenous and one non indigenous, both considering contemporary issues from new perspectives using images and text. Questions are posed and ideals are examined in the forum of traditional and digital prints, video works, installation, paintings and drawings.
Friday, 16 December, 2016 to Wednesday, 1 February, 2017
A migrant family enters their new home at Maribyrnong, Victoria, 1965. NAA: A12111, 1/1965/22/25
Nissen huts, boiled mutton, bottled milk and helping hands. For many migrants after World War II, for better or worse, hostels were their first ‘homes’. Rekindle memories with vivid photographs of life in Australia’s migrant hostels.
A touring exhibition developed by the National Archives of Australia. This project has been assisted by the Australian Government through the Ministry for the Arts’ Visions of Australia program.
Sunday, 4 December, 2016 to Sunday, 29 January, 2017
Presented simultaneously at both galleries, In Focus 2016 celebrates the wealth of artists living and working in the Redlands and the important role art groups play in the cultural life of the region. The exhibition brings diverse art groups together, facilitating networking and collaboration between members, with artworks across a range of media. The artists’ individual responses to the 2016 theme, ‘memories’, working within the gallery set parameters of size and support, is sure to be a highlight of this exhibition.
Sunday, 4 December, 2016 to Sunday, 29 January, 2017
Sheelah Mee, Committee meeting n.d., synthetic polymer paint on canvas. Courtesy of the Mee family. (Image digitised from a slide)
This exhibition celebrates Sheelah Mee, an artist and teacher in the Brisbane modernist scene from the 1970s. She lived in Redland City from 1972 until 2004, and was involved with the Redland Yurara Art Society. Mee made paintings, prints, and sculptures that express the reality of her domestic environment.
Since the year 2000 the Toowoomba Regional Art Gallery has facilitated the Toowoomba Biennial Emerging Artists Award Exhibition. This project supports the creative talents of some of south-east Queensland’s most promising emerging artists. This year artists were invited to express the concepts prevalent within their practice, allowing their submissions to lead the project curation.
This exhibition features selections from eighteen finalists: Olga Bakhtina, Peta Berghofer, Jean Cameron, Tina Cherry, Carley Cornelissen, Dan Elborne, Cindy Giles, Kailum Graves, Jayne Hodge, Christine Ko, Louis Lim, Tarn McLean, Leisl Mott, Vincent Parisi, Kate Stewart, Brodie Taylor, Alice Weinthal and Gary Winfield.
These artists work across a range of mediums including painting, drawing, printmaking, photography, sculpture and ceramics. While diverse in their practice, these artists all exhibit a consistent and dedicated approach within their respective fields.
Artists’ works selected for the exhibition are eligible for acquisition and Toowoomba Regional Council proudly provides up to $15,000 for acquisitions. Awarded works from the exhibition will be included in the 2017 Artist-Led: Crates on Wheels tour. Crates on Wheels is a Toowoomba Regional Art Gallery biennial touring initiative, connecting emerging artists from south-east Queensland with students in the Toowoomba region through educational outcomes.
Friday, 16 September, 2016 to Friday, 4 November, 2016
The Elaine Bermingham National Watercolour Prize
The Elaine Bermingham National Watercolour Prize in Landscape Painting is a unique triennial art prize that aims to celebrate excellence and innovation in the watercolour medium.
This non-acquisitive prize is open to all Australian artists and selected finalists will be exhibited in the Webb Gallery, located within Griffith University’s Queensland College of Art at South Bank, Brisbane. 2017 marks the inaugural Bermingham Prize exhibition. The overall winner will receive a $20,000 cash prize generously donated by Elaine Bermingham.
‘Landscape’ is defined as any form of land or environment and does not exclude peopled landscape, seascape or urbanised and rural habitat. Artworks entered do not need to be representational; innovative and abstracted explorations of watercolour are encouraged.
Monday 19 September 2016
Friday 4 November 2016
17 November 2016
Thursday 9th February - Saturday 25th February 2017
Friday 10th February 2017, 6pm – 8pm
$20,000 - major prize (non-acquisitive)
$2,000 - two highly commended awards
$50 entry fee - up to three works per entry
Open to all artists 18 years and over who are Australian Citizens or permanent residents
Friday, 9 September, 2016 to Wednesday, 2 November, 2016
Jonathan Crowther, Cutting the cord, 2013, oil on canvas, 130 x 130cm, Image courtesy of the artist and Matt Cook.
Still life painting - alongside portrait and landscape - is one of the best known and loved of all painting genres.
Still life: Reanimating the inanimate celebrates the perseverance of the still life and its ever-relevant concern with human existence. These contemporary artists revisit the heart of the tradition, exploring ideas of stillness and movement, and the interactions between objects and people. All draw on historical art influences and expand on them with new media and new meaning.
The beauty of still life is that it captures the perishable, the fragile, and the transient. Whether depicting vibrant flowers, or a humble strand of Blu-tac, the works elevate their subject matter from its limited life span to become something that could outlive us all.
Despite the inherent stillness that they share with their historic counterparts, these contemporary works show us that the genre itself is not static. With fresh eyes and contemporary approaches, the still life tradition is evolving.
Exhibiting artists include Jonathon Crowther, Donna Davis, Simon Degroot, Marian Drew, Robert Fenton, Peta Houghton, Stevan Jacks, Sam Leach, Cate Maddy, Sylvia McEwan, Deb Mostert, Laurie Mossuto, Gywn Hanssen Piggot, Victoria Reichelt, George Rowbottom, Emma Theyers, Seabastion Toast and Clare Toms.
Saturday, 3 September, 2016 to Wednesday, 9 November, 2016
Hew Chee Fong, Calm before the storm (detail), 2016, granite. Photo Oliver Hew. Image courtesy of the artist.
Walking into a gallery of Hew Chee Fong’s work evokes an immediate sense of reflection; a moment of quiet contemplation. Don't dive shallow in deep dark water is a meditation on Hew’s more than three decade sculptural practice.
Working predominantly with found natural materials like granite and petrified timber, Hew’s sculptural practice is one which embodies a deep connection with material and process. The works for this exhibition represent a continuity of practice and elicit notions of labour, time, intuition, connection to materials, and often arduous processes.
For many artists, there is a limitation to the spoken word and written texts. Our tendencies to categorize, define and analyze only give us a limited understanding of how to comprehend and respond to the world in which we live. So too, Hew’s works shy away from explicitly defining, naming or categorizing. They evoke rather than represent, elicit rather than designate. We are left to our private reveries and contemplations.
Saturday, 3 September, 2016 to Wednesday, 9 November, 2016
Judith Kentish, woolsac # 1 (detail), 2015, wool, cloth, ink thread and pins. Photo Carl Warner. Image courtesy of the artist.
Comprising new work, 'from ideas of tending', explores the artists’ ongoing interest in material with an essential focus on the time-based aspect of art-making, where labour intensive process and consideration of material is paramount.
Saturday, 19 November, 2016 to Sunday, 5 March, 2017
Keep Cup, KeepCup Brew in the new Alchemy range of colours, released 2014. Soda lime glass, polypropylene, polyethylene polymer (TPU), silicone. Photo Cameron Murray.
Glass has been an important medium in the history of civilisation. Archaeologists have found early humans used obsidian (volcanic glass) to make spear tips whilst evidence shows handmade glass was produced as a form of glaze from 3,500 BC in Mesopotamia.
Rudimentary forms of hollow glass containers have been made through sand casting processes since 1,500 BC and glass blowing, as we know it today, emerged in the first century BC. Since this time we have used this deeply seductive material in increasingly sophisticated ways and now we see glass within cutting edge technologies such as fibre optics and interactive touch screen devices. The combination of art, design and architecture within this exhibition allows us to reflect broadly on our connection to glass and on the many ways we engage with it in our daily lives.
Co-curated by Margaret Hancock Davis and Brian Parkes, GLASS: art design architectureshowcases 23 outstanding projects by contemporary Australian artists, designers and architects. It represents a cross-section of current creative practices and relationships to this versatile material.
Saturday, 20 August, 2016 to Sunday, 13 November, 2016
Michaela Gleave, Waiting for time (7 hour confetti work), 2014. Video performance. Courtesy of the artist and Anna Pappas Gallery, Melbourne.
The Churchie National Emerging Art Prize is firmly positioned as one of Australia's 'to watch' art prizes, offering an inspiring glimpse into the future of the nation's contemporary art scene. Now in its 29th year, 'the churchie' is one of Australia's most acclaimed art awards.
In 2016 the prize moves to its new home at QUT Art Museum. The relocation to QUT Art Museum will see the prize enter a new level of maturity, as it becomes a platform for producing new and commissioned artwork. Rather than single works by many artists, a new curatorial model will allow space for selected artists to offer work that showcases their practice in context. This change gives emerging artists a rare opportunity to show new work in a supportive environment that will facilitate the development of their oeuvre.
'the churchie' is assured to have its finger on the pulse of our emerging art scene more than ever before.
Saturday, 15 October, 2016 to Saturday, 26 November, 2016
One Tree is local artist Denise Piva’s exploration of a Poinciana tree located on the corner of Middle and Bloomfield Streets, just outside Redland Art Gallery, Cleveland. The Poinciana tree has been a feature of the Cleveland streetscape since the 1930s with a significant refurbishment and planting in the 1990s. Apart from its historical significance, the poinciana is an interesting tree with its fluid, expressive limbs and wrinkly exterior. One Tree showcases paintings and photographs of the tree from different angles, distances, light and seasons. This focus on the different aspects of the poinciana is intended to encourage locals to observe and acknowledge the everyday beauty of these trees.