#artist is brett cotton

[jeremystrele]

A Landmark Exhibition of First Nations Fashion

A Landmark Exhibition of First Nations Fashion

Textiles

Sasha Gattermayr

From left: Rayarriwarrtharrbayingathi Mingungurra Amy Loogatha; Alison Kirstin Goongarra; Dorothy Gabori; Agnes Kohler; Grace Lilian Lee – (collaborator) Burrkunda, dress 2017. Synthetic polymer paint on cotton. Collection National Gallery of Victoria. Photo – Leon Schoots.

Left: The entrance to Bendigo Gallery. Right: Pieces by Trudy Inkamala, Beautiful, all my ideas, dress, bag, necklace, head piece 2019. Cotton, calico, woollen blanket, wool. Courtesy of the artist and Yarrenyty Arltere Artists. Photo – Leon Schoots.

Elisa Jane Carmichael garments displayed alongside Yarrenyty Arltere Artists collection. Photo – Leon Schoots.

Arkie Barton’s Rainbow Dreaming dress; Dreamtime jacket and Spinifex flares displayed alongside Shannon Brett’s Femme gem dress. Photo – Leon Schoots.

Lyn-Al Young, Ngoorntook (winter) 2020. Photo – Leon Schoots.

Photo – Leon Schoots.

Peggy Griffith’s Legacy Dress displayed alongside garments from Hope Vale Arts and Cultural Centre x QUT Fashion. Photo – Leon Schoots.

Grace Lillian Lee, Hibiscus Sunrise – 1/4. Cotton webbing, assorted beads and corals, canvas, cotton drill, permaset paint. Photo – Leon Schoots.

Margaret Rarru’s Madonna bathi and Madonna bra is displayed alongside Maara Collective x Bula’Bula Arts collection. Photo – Leon Schoots.

Melba Ngarridjdjan Gunjarrwanga and Deborah Kamanj Wurrkidj textile prints. Courtesy of the artists and Bábbarra Women’s Centre. Photo – Leon Schoots.

Grace Lillian Lee, A weave of reflection – 1/5 2018. Cotton webbing, cane, goose feathers, cotton yarn. Photo – Leon Schoots.

A main room of Piinpi: Contemporary Indigenous Fashion. Photo – Leon Schoots.

Stories of Country, culture and ancestry have been told through textiles by Aboriginal people for thousands and thousands of years.

Shonae Hobson is a Southern Kaantju woman from Coen on the Cape York Peninsula in Far North Queensland, and she’s also the First Nations curator at Bendigo Art Gallery on Dja Dja Wurrung Country. Here, she has curated a world-first exhibition, Piinpi: Contemporary Indigenous Fashion.

‘Indigenous fashion is so diverse, with many artists and designers working in a variety of mediums and styles,’ Shonae says, explaining the concept driving the show. ‘For me, it was about bringing together a selection of works that showcased the nuances of our material culture, as well as the richness of and innovation of Indigenous fashion and design today.’

The word piinpi is an expression from east Cape York used to describe the natural regeneration of the landscape that arrives with seasonal flux. Rather than follow a western exhibition structure (which is typically organised along linear concepts such as chronology or regionality), Shonae organised her featured works according to season. As a result, the show is deeply seeded in Indigenous knowledge.

‘The exhibition is based thematically on Kuuku Ya’u seasons and the show has been curated with the intention to take audiences on a journey across Country,’ says Shonae. ‘Common themes including bush foods, resourcefulness and sustainability are all conveyed through the artists’ designs.’

The exhibition is sectioned into Dry, Wet, and Cool seasons linked by the contemporary engagement of traditional practices. The Dry season exhibits work harvested from the land, such as materials tinted with natural earth dyes or baskets made from dried pandanus leaves. The Wet season signifies heavy rainfall and regeneration, and features hand-painted garments and basketry in vibrant colours. The Cool season is a time for being on Country to gather materials, and is represented with bush dyed textiles, shell jewellery, and possum skin cloaks.

Among the highlights are five new works by Gunai, Wiradjuri, Gunditjmara and Yorta Yorta woman and artist Lyn-Al Young, commissioned by the gallery specifically for Piinpi. Lyn-Al practices an ancient singing process when crafting the garments for her eponymous label, LYN-AL. Guided by her ancestors, she follows songlines and imbues the elements of her dyed silk pieces with positive words and energy.

The exhibition also represents the First Nations designers working in urban centres. Featuring the work of Teagan Cowlishaw (of AARLI Fashion), Maree Clarke, Lisa Waup and Shannon Brett (of Lore), the streetwear section of Piinpi displays the designers seeking to reclaim Aboriginal identity through contemporary fashion. This part of the exhibition recognises the Blak artists in urban areas using wearable fashion to make statements of resistance against colonialism.

‘The space is being led by Indigenous people when, for so long, our stories and histories have been told through the lens of the coloniser,’ Shonae says of the rapidly growing First Nations fashion community. ‘What we are seeing with the Indigenous fashion industry is a new wave of cultural leaders and artistic innovators who are really shaping the future of the industry, and making important statements through their work.’

‘Piinpi: Contemporary Indigenous Fashion’ will be exhibited from 12 November, 2020 – 17 January, 2021 at Bendigo Art Gallery. See more information here.

[wallpaperpainter]

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[junker-town]

What was most popular the last time the Chiefs and 49ers won a Super Bowl

The last two times these two won the Lombardi Trophy, things were pretty different.

It’s been quite a long time since the Kansas City Chiefs won a Super Bowl. In fact, it’s been a whole 50 years — the Chiefs won Super Bowl IV in the 1969 season. Kansas City had the fourth-longest active drought without a Super Bowl appearance until it earned a bid this season.

The San Francisco 49ers, on the other hand, have won a championship more recently. Their last Super Bowl win came in the 1994 season, when the Steve Young-led 49ers defeated the San Diego Chargers in Miami.

This year’s Super Bowl is also in Miami, but that’s about all that remains the same. A lot has changed in the world since the last time these two won championships.

Let’s take a look at what was happening in sports, TV, movies, pop culture, and technology the last time the Chiefs and 49ers won the Super Bowl.

1969 vs. 1994 in sports

1969

The New York Mets won the World Series, 4-1, over the Baltimore Orioles. Nicknamed the “Amazin Mets,” the victory was one of the biggest upsets in World Series history. The Mets it had a losing season each year before that.

The Boston Celtics were the NBA champions, as they defeated the Los Angeles Lakers in seven games. We saw the Celtics-Lakers rivalry heat up during this decade, and the two played in the finals six times — Boston won them all.

In college football, the Texas Longhorns won the national title, beating Notre Dame, 21-17, in the Cotton Bowl, and thus, Texas was truly back. What’s also interesting about this season is after the Longhorns defeated No. 2 Arkansas in December earlier that season, President Richard Nixon presented Texas with a plaque claiming the Longhorns to be the No. 1 team in the land.

1994

Major League Baseball strike: 1994 was a chaotic year for the MLB. Owners wanting to implement salary caps led to a players’ strike in August. It didn’t end for 232 days, the longest stoppage in MLB history, and there was no World Series. The strike cost management close to $1 billion, and players lost millions. It effectively ended Michael Jordan and Bo Jackson’s MLB careers, too.

The Nebraska Cornhuskers won the college football national championship by beating then-No. 1 Miami in the Orange Bowl. It marked head coach Tom Osborne’s first national title, though he’d go on to win two more in the 90s.

The Houston Rockets won their first-ever NBA championship, taking the seven-game series against the New York Knicks.

The O.J. Simpson chase: During Game 5 of Knicks-Rockets, NBC’s telecast was interrupted for the police chase of Simpson in his white Bronco:

Tonya Harding won the U.S. Figure Skating Championship. As you probably know, that was before she was later stripped of her title for her role in the attack on her competitor, Nancy Kerrigan, which happened that same year.

1969 vs. 1994 in music

1969

The Billboard No. 1 song in 1969 was “Sugar, Sugar,” by a cartoon band named The Archies, from the animated TV show The Archie Show. Yes, this is incredibly weird to me, too.

Other big hits during this year included “Honky Tonk Women” by the Rolling Stones, “Aquarius/Let The Sunshine In” by the 5th Dimension, and “I Can’t Get Next To You” by the Temptations.

The Woodstock music festival was held in August 1969. More than 400,000 people gathered on a farm in New York to see artists like Jimi Hendrix, The Who, The Grateful Dead, and Janis Joplin.

Photo by John Dominis/The LIFE Picture Collection via Getty Images

The festival is known as one of the biggest and most important music events in history, lasting four days (it was originally supposed to be only three) while heavy rains caused delays of several acts.

The Beatles recorded their final album together, Abbey Road, which included classics like “Here Comes the Sun” and “Come Together.” That year, the group gave its final live performance, which took place on the roof of Apple Records.

1994

The No. 1 Billboard single for 1994 was “The Sign” by Ace of Base, which was the title track of the Swedish group’s debut album. This one was an absolute banger:

Other hits like “Don’t Turn Around” and “All That She Wants” were on this album.

Some other popular songs from this year included Sheryl Crow’s “All I Wanna Do,” and Boyz II Men’s “I’ll Make Love To You.” This year Mariah Carey released her Christmas album, which is the greatest holiday album in history. I’m not 100 percent sure about that fact, but I’m right, OK? Hootie and the Blowfish’s Cracked Rearview Mirror album was released, though it became more popular the following year in 1995.

This was a pretty big year for debuting artists. Some of the more notable ones, to name a few: Weezer, Outkast, Beck, Notorious B.I.G., and Oasis.

Nirvana lead singer Kurt Cobain sadly died in April 1994.

1969 vs. 1994 world events

1969

One of the biggest moments in both the U.S. and the world history was the Apollo 11 mission, which successfully put the first-ever man on the moon. The mission, led by Neil Armstrong and Buzz Aldrin, launched on July 11, 1969, and landed on the moon on July 20.

Photo by CBS Photo Archive/Getty Images

On July 18, 1969, U.S. Senator Ted Kennedy drove his car off of a bridge in Chappaquiddick, which resulted in the death of Mary Jo Kopechne, a former campaign worker of Robert Kennedy’s. Although the news made headlines in the beginning, it ultimately was largely overshadowed by the Apollo 11.

President Richard Nixon was inaugurated on Jan. 20, 1969, for his first term.

On Dec. 1, 1969, a draft lottery was reinstated, for the Vietnam War. It was the first since World War II.

1994

Bill Clinton was sued for sexual harassment by Paula Jones while serving his first term as the President of the United States. The accusations Jones brought forward were allegedly from when Clinton was the governor of Arkansas in 1991. Judges allowed Clinton to avoid trial for the lawsuit until after he left office. Jones later settled her lawsuit in November 1998 after Clinton won the 1996 election.

The Republicans took control of the House of Representatives after Newt Gingrich’s Contract with America. Before Republicans took control. Gingrich signed the contract which laid out legislation that would be passed within the first 100 days of Congress.

Nelson Mandela was elected as South African’s president, in the country’s first-ever democratic election. The elections marked the end of apartheid in South Africa, and Mandela later established a commission to investigate human rights and political violations that happened during apartheid. Beyond his time in office, which lasted until 1999, Mandela is considered to be one of the greatest champions of peace and social justice, both in South Africa and around the world.

1969 vs. 1994 television and movies

1969

The No. 1 grossing movie was Butch Cassidy and the Sundance Kid, starring Paul Newman and Robert Redford. It later won four Oscars, including for Best Original Screenplay.

The children’s television show Sesame Street debuted on PBS in 1969. Sesame Street is still airing new episodes on TV to this day!

Rowan & Martin’s Laugh-In was the most-watched TV show, a sketch comedy show hosted by comedians Dan Rowan and Dick Martin. The show featured actresses like Lily Tomlin and Goldie Hawn as performers, too.

1994

Seinfeld was the most-watched television show, while Friends and ER premiered this year. Nearly 22 million people watched the Friends premiere, and ER had over 23 million viewers. All three shows were the anchors of NBC’s Must-See TV lineup.

Disney’s The Lion King was the top-grossing movie that year, and other greats like Forrest Gump, Shawshank Redemption, and Pulp Fiction were released.

Frasier won its first Emmy for Outstanding Comedy Series. It went on to win 112 Emmys until it last aired in 2004.

1969 vs. 1994 celebrities

1969

Celebrities born this year included: Brett Favre, Renee Zellweger, Jennifer Aniston, Paul Rudd (who’s a huge Chiefs fan), and Jennifer Lopez, who coincidentally is performing the halftime show at Super Bowl LIV.

Dwight D. Eisenhower and Judy Garland passed away. Eisenhower died of congestive heart failure. Garland was just 47 when she died of a barbiturates overdose.

John Lennon and Paul McCartney both got married this year, McCartney to Linda until her death in 1998, and Lennon to Yoko Ono until his assassination in 1980.

1994

Lisa Marie Presley married Michael Jackson. The marriage lasted two years before the couple filed for divorce.

Time to feel old! Celebrities born this year include Justin Bieber, Harry Styles, Dakota Fanning, Giannis Antetokounmpo, and Joel Embiid.

Richard Nixon and Jackie Kennedy both passed away. Nixon was 81, and he died after suffering a stroke. Jackie O passed away of non-Hodgkin’s lymphoma at just 64 years old.

Billy Joel and Christie Brinkley divorced after 10 years of marriage. Brinkley was said to have partially inspired Joel’s hit “Uptown Girl.”

1969 vs. 1994 Technology

1969

The first-ever ATM was installed in the U.S.: On Sept. 2, 1969, the ATM became available to the public at Chemical Bank in Rockville Center, New York.

This one could only give customers cash, though more ATM advancements came soon after.

Televisions looked a lot different!

On July 3, 1969, the internet’s first message was sent from UCLA: Two machines on campus that were linked together through ARPANET. There was an attempt to send “login” over the network to a group of Stanford students, but the program crashed after “l” was typed in.

1994

DirecTV’s first satellite digital television service launched. That year, there were just 320,000 subscribers.

Something called “Netscape Navigator” was the leading web browser at the time. I am 27 years old, and have no idea what this thing is:

Screenshot via Wikipedia

The IBM Simon debuted as the first-ever “smartphone” for sale: Thank God we have iPhones now.

Via Microsoft

There have been many changes in the 25 years since the 49ers last won a Super Bowl, and in the 25 years before that, when the Chiefs last earned the Lombardi Trophy. Fans of both teams are hoping they won’t have to wait as long to see them play in the Super Bowl again. But if they do, one thing’s for sure: the world will look a lot different.

[lorenzousa]

The Shipibo artists Sara Flores and Celia Vasquez Yui, both of whom live in the Peruvian Amazon, work with patterns traditionally used for clothing and associated with various healing plants. Ms. Flores’s four large ink-on-cotton paintings, covered in repetitive mazes of thin black lines, are strangely soothing, like quiet serial music. Ten gorgeous ceramic animals, made by Ms. Vasquez Yui, are charming and mysterious, particularly a self-possessed black snake and a dignified squirrel holding out one paw. You want to get to know them better, but you’re not sure they return the feeling. (Curated by the Noguchi Museum’s Brett Littman and the Shipibo Conibo Center.) https://www.instagram.com/p/B7dyZ4JpidIerxL9HsjYDaT_Q6MNkABaMaZHtE0/?igshid=w755v8nz9520

[storetshirtonline-blog]

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Let Brett Bang Unisex But, let’s start with the beginning: Cotton Bureau is a platform for t-shirt selling Let Brett Bang shirt . It all started with a design studio that evolved into a web design and t-shirt store community called United Pixelworkers. Now there are four people behind the project: Jay Fanelli, in charge of colors, shapes, and letters. Nathan Peretic, in charge of front-end code, operations. Matthew Chambers is the most important member of the website team, the only one trusted to touch the database. And last but not least, Sara Gardinier, Cotton Bureau’s Chief Fulfillment Officer and Customer Service.Basically, designers make money selling their designs on t-shirts, the people behind Cotton Bureau make money and the customers get some kick-ass t-shirts nowhere else they would, since every print is carefully hand picked by the team.So, if you are a minimalist t-shirt designer, Cotton Bureau is your go-to tshirt platform, a crowd-funded community for quality, limited edition apparel.Here are some of the all time best, most popular designs. These are just our picks, but you can see all of them in the Wall of Fame section:So, what do you think? Do you like the designs? What about the submission process – have you tried it? Let us know if you’ve used the site and how was the experience like. Feel free to recommend your favorite t-shirt selling platform in the comments. You Can See More Product: https://kingteeshops.com/product-category/trending/ Read the full article

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[tshirtfashiontrend-us]

Let Brett Bang shirt

I’ve been wanting to post Let Brett Bang shirt . about Cotton Bureau for a long time now because I follow them on Twitter and they always post minimalistic t-shirt design that I would wear anytime, anywhere. I don’t think there is a print I don’t like. Just many that I wish I could find easier in our local shops. I’d rather give money to independent designers and t-shirt line than big retailers that charge $30 for silly meme prints. I’d rather have something unique, good quality, limited edition apparel for the price, while encouraging and supporting graphic artist. Let Brett Bang shirt, hoodie, sweater, longsleeve and ladies t-shirt

Let Brett Bang Classic Ladies

Let Brett Bang Hoodie

Let Brett Bang LongSleeve

Let Brett Bang Sweatshirt

Let Brett Bang Unisex But, let’s start with the beginning: Cotton Bureau is a platform for t-shirt selling Let Brett Bang shirt . It all started with a design studio that evolved into a web design and t-shirt store community called United Pixelworkers. Now there are four people behind the project: Jay Fanelli, in charge of colors, shapes, and letters. Nathan Peretic, in charge of front-end code, operations. Matthew Chambers is the most important member of the website team, the only one trusted to touch the database. And last but not least, Sara Gardinier, Cotton Bureau’s Chief Fulfillment Officer and Customer Service.Basically, designers make money selling their designs on t-shirts, the people behind Cotton Bureau make money and the customers get some kick-ass t-shirts nowhere else they would, since every print is carefully hand picked by the team.So, if you are a minimalist t-shirt designer, Cotton Bureau is your go-to tshirt platform, a crowd-funded community for quality, limited edition apparel.Here are some of the all time best, most popular designs. These are just our picks, but you can see all of them in the Wall of Fame section:So, what do you think? Do you like the designs? What about the submission process – have you tried it? Let us know if you’ve used the site and how was the experience like. Feel free to recommend your favorite t-shirt selling platform in the comments. You Can See More Product: https://kingteeshops.com/product-category/trending/ Read the full article

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[allaroundmelbourne]

The best of Australian style gets how we live, and the clothes we need

It's always been there for Lee Mathews, who celebrates 20 years of her feminine, non-trend driven pieces in fabrics ideal for the Australian climate: organic cottons, silk and linen. Plus her printed dresses that are always so easy to wear.

A model walks the runway wearing creations by Aje during Mercedes-Benz Fashion Week Australia.Credit:AAP "I like the way Australia smells," Mathews tells me when I interview her in the week before her show. We were talking about travel, inspiration and stepping off that plane when arriving back home. It feels a little similar to the way Kee describes being inspired by Australia. Before the announcement of Jenny Kee and Linda Jackson: Step Into Paradise, opening at the Powerhouse in October, Kee says of the time she spent with Jackson: "We walked through the bush, we swam in the ocean, we had this sort of magic creativity." Kee ran the seminal boutique Flamingo Park (which stocked Jackson's work) in Sydney's Strand Arcade in the 1970s. "When we first opened Flamingo Park, it was such a time of change and creativeness ... people had a sense of real national pride," she says. In their four decades of creative partnership, the duo took inspiration from Australian animals and landscapes in previously unheard of ways. What could have been kitsch (koala-printed jumpers, for example) and cringeworthy, was actually about a genuine love and a transmission of a sense of place and time. For Kee, the time spent working with Jackson was one of extreme "optimism".

Fashion designers Jenny Kee and Linda Jackson at the Powerhouse Museum in Sydney to announce their new exhibition.Credit:Brook Mitchell And this sense of optimism seems to be something essential to fashion again, despite, or perhaps because of, the political climate we're living in. Well, that, along with wanting to create clothes that people can actually wear. One example is Bassike, who returned to Fashion Week this year after a nine-year absence with a collection that experimented with colour and tie-dye prints. The use of colour is something that the minimalist brand has tended to shy away from. This year the brand wanted to explore, yes, a sense of optimism.

A look from the Lee Mathews show at Fashion Week. Credit:Lucas Dawson The latest collection also exemplified what the brand has always been about: ease and versatility. "I think wearability is key when designing for the Australian lifestyle," says Bassike creative director and co-founder Deborah Sams. "Clothes need to be timeless and easy to put together, for both the climate and our active lifestyles. I think our use of luxurious natural fibres very much plays into the Australian way of dressing." This easy elegance was also visible in the "throw on something to go from beach to rose" vibe at Matteau, the "brilliant prints and don't take yourself too seriously" attitude at Double Rainbouu and the way Christopher Esber, in a very strong collection, thought about clothes women want to wear to the office before stripping off a layer (and some worries) to escape. The closing song for the collection? Holiday by Madonna.

Phoebe Tonkin in a Matteau design on the runway during Fashion Week. Perhaps the most potent example of this return to embracing Australia was from Aje, the label that opened Fashion Week last Sunday. The brand has previously worked with the family of the late Aboriginal artist Minnie Pwerle, using three paintings from her archives (the artist's family received royalties from sales of the pieces) and, last year, worked with prints by late artist Brett Whiteley, with permission from his widow Wendy Whiteley. Last year's show was held in Whiteley's heritage-listed Secret Garden on Sydney's harbour. This year, the show was held under the shadow of the Sydney Harbour Bridge on a sparkling blue day. There were wattle and waratah prints, shirts with map of NSW patched onto them, and a colour palette of outback red and salt-lake pink. The voluminous puffed-sleeve silhouettes, as my colleague noted, seemed to reference classic Australian books and films including Playing Beattie Bow, Picnic at Hanging Rock and My Brilliant Career. Aje creative director Edwina Forest believes that the longevity of the label, which this year celebrates its 10-year anniversary, is in part because inspiration for the clothes has always come from within Australia rather than outside it. "It's in being proud to be an Australian brand and to look inward for inspiration without always looking outward as a lot of others do to try and be relevant," she said ahead of their show. David Jones' womenswear buying manager Teneille Oakley says "its wonderful to see brands like Aje really embracing Australian style and proudly using local references to inspire their collections". Loading This embrace of Australiana is particularly interesting considering that travel and technology has made the world, and especially the fashion world, a smaller place (not to mention the proliferation of fashion watchdogs such as the influential social media account Diet Prada, which is quick to call out derivative, copycat and plain old ordinary fashion). Exploring a sense of Australiana is about rediscovering a sense of confidence in local designs, rather than being insular or parochial. And along with that comes a certain, and necessary, optimism. It's escaping cultural cringe by being comfortable enough to look within ourselves for inspiration, creating pieces that feel right for the Australian climate and our way of life. Annie Brown is a lifestyle writer at The Sydney Morning Herald and The Age. Most Viewed in Lifestyle Loading https://www.theage.com.au/lifestyle/fashion/the-best-shows-at-fashion-week-had-one-thing-in-common-20190515-p51nob.html?ref=rss&utm_medium=rss&utm_source=rss_lifestyle

[vileart]

The Dramaturgy Killers: Eve Pearson-Wright @ Edfringe 2017

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As part of the Edinburgh Festival Fringe 2017, The Long Lane Theatre Company presents

The Giant Killers

The true story of footballs greatest underdogs

Long Lane Theatre Company makes its Edinburgh Fringe Festival debut with The Giant Killers, a true story of class and sport, brought to stage to uplift and inspire.  

This new play will be performed at Gilded Balloon (Rose Theatre) at 2.30pm (3.45pm) from Wednesday 2 – Monday 28 August.

Football was not always a game for the masses. The first players to compete for the F.A. Cup were lords, knights and peers, in essence, a game for the wealthy and privileged. The pivotal moment happened when a group of mill workers from Darwen in Lancashire joined two talented Glaswegians to change football. The play tells the untold, true story of the Darwen vs The Old Etonians F.A. Cup tie. A story of a town that finds its voice and a team that change the beautiful game forever. They are The Giant Killers!

All questions are answered by me, Eve Pearson-Wright. I am an actress and have co-written and co-produced ‘The Giant Killers’. I run The Long Lane Theatre Company with my husband. This is the first show that we have produced at The Fringe. It is the true story of The first working class men to play to play in the F.A. Cup.

What was the inspiration for this performance?

A few years ago I was in a house fire. I was woken by my dog but couldn't get out of my room as the smoke was too heavy and the heat was to strong. I tried to smash my way out of my window but It was too dark to see. Eventually I passed out on the floor with my dog next to me. Fortunately the fire brigade got to me before I died. I lost my dog and my home and everything I owned. 

When I got out of hospital I didn't have any mojo for life. I couldn't hold memories, so learning lines and working as an actress was impossible. I was depressed. I survived thanks to the generosity of others. Then my boyfriend, now my husband told me a story about a group of men he had been reading about. They had lost everything during the cotton famine of the 1870's. They were poor with no jobs, no prospects. With time on their hands they started kicking a ball around, soon they formed a football team, then they took on the best in the country and eventually they changed football and their community forever. 

He said think - 'if that was a script then them losing everything would only be the first five minutes. And if we write a script about you then this is where we would start, you've only lived the first five minutes of your story.' That helped. Life got better and then last year we wanted to write a play together and so I said "what about that story about the football men?"

Is performance still a good space for public discussion?

It's the best space. We teach drama students a lot and we are always challenging them to answer what an audience requires of theatre. Escapism is a common answer but escapism from what? From boredom? From their mobile phones? From the strain of confirming? The strain of living in a world that is ruled by daft and unexamined conventions? I go to the theatre to care, to understand people, to not feel alone. I like things that make you care make you think and make you dream, dream that you are part of something. 

There is nowhere else where people come together to share an experience, to stop transmitting and sit and receive from somebody that is in that room with you, breathing the same air you’re breathing.

How did you become interested in making performance?

I think everyone has a need for storytelling to some degree, some people just take it all the way. When I was five I used to put on plays and charge my family 5p to watch me re-tell the story of Robin Hood or Ghostbusters in the living room and that desire for me has never gone away.

Is there any particular approach to making of the show?

Write, write and re-write. Writing is kind of like doing a sudoku, you sit in front of it for ages not knowing what to do then one idea opens up and it’s a domino effect. Then it was all about finding the best director, designer, cast and crew we could get. Research was a big part too, we found out so much amazing stuff about this story that the hardest thing was knowing what to leave out.

Does the show fit with your usual productions?

In a word…no. It’s been a long process to get us to the point of being commercially able to produce a piece of new writing. 

For a long time The Long Lane Theatre Company was just me and my husband in small scale shows usually within an educational environment. We’ve spent two years travelling the whole of England performing shows that were created for children bit that was always so we could build to this. This was always the goal though and hopefully from here we can grow further and make more theatre for adults.

What do you hope that the audience will experience?

The show rattles along, it’s got such a speed to it that you feel like you are watching a football match but aside from that I hope they are inspired as well as having a great history lesson. We want them to know the power of organisation and collaboration. That community is a force to be reckoned with and that unification in a world which seems set to divide us is the way forward.  Essentially when your chips are down, that’s when you start cooking. 

The Giant Killers is performed and written by Long Lane Theatre which is run by Eve and Andrew Pearson-Wright: the couple met playing husband and wife in the West End's longest running musical The Mousetrap in 2009. Long Lane Theatre was set up to run workshops and tours for stage schools and other theatre companies. 

As a result of their success with schools Eve and Andrew decided to make their Edinburgh Fringe debut.

The play also stars Tim Barrow who was born in Edinburgh and brought up in both Australia & Scotland. His screen acting work includes Taggart; Waterloo Road; Children Of The Dead End (Glass Machine) and The Queen's Wedding (Mentorn). 

Theatre work includes plays for Glasgow Citizens Theatre, Theatre 503, The Arches, Stoirm Og, Fire Exit, Bard In The Botanics, Prime Productions, Theatre Enigma & Nonsenseroom. Tim set up Lyre Productions to make contemporary feature films – work includes The Inheritance. Nominated Best UK Feature on its premiere at Raindance Film Festival, The Inheritance won the Raindance Award at 2007 British Independent Film Awards, and Tim was nominated Best Producer at 2008 BAFTA Scotland New Talent Awards. 

Through writing he has also worked with Tom Hardy, Robert Delamere & Brett. C. Leonard of New York's Labyrinth Theatre Company. 

The Giant Killers will be directed by Natalie-Anne Downs. Natalie has been working in professional Theatre and Film for 12 years and is the Founder and Artistic Director of VENI VIDI Theatre & Film London. As a classically-trained pianist and composer, Natalie has always had a hands-on approach to the music used in all her productions, having written scores for several of them. Her 'Shakespeare Shorts' film series was recently selected to appear in Europe's largest short film festival.

LISTINGS INFORMATION: The Giant Killers will be performed from Wednesday 2 – Monday 28 August at Gilded Balloon Rose Theatre studio, 2.30pm (3.45pm)

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#Theatre #Blogger #visual art #Edinburgh Fringe #Experimental Critique

[duilleach]

i got tagged by portgsace thanks man! rules: answer the questions and tag 20 blogs you’d like to know better. star sign: aquarius height: 5″2  time right now: 23:30 last thing googled: the SEC website lmfao favourite music artists: david bowie, the cure, joy division, suede, iggy pop, roxy music, the stooges, siouxsie and the banshees, japan, brett anderson, bernard butler last tv show watched: omg i just watch nature documentaries what am i wearing rn: a fluffy blue jumper and jeans, green leather boots when did i create my blog: 2013ish? i deleted all the posts around that time  what kind of stuff do i post: uhhh art, photography, quotes, music, i’m so generic? do i have any other blogs: yes ( ͡° ͜ʖ ͡° ) do i get asks regularly: i used to get them semi-regularly but tumblr has been really quiet lately why did i choose my url: i dont know phonescreen was free? i also have the url homescreen. i dont like it very much, honestly, i used to be trichordal, cokecorpse, grimykitten (i may go back to that one (i’ve overthought this)) pokémon team: i was OBSESSED with pokemon platinum favorite color: i have so many! marigold yellow is nice, i love greens and blues. i hate purple.  average hours of sleep: i try and always get 6 at least lucky number: 2

favorite characters:  oh ok raskolnikov from crime and punishment, narcissus from narcissus and goldmund, josef knecht from the glass bead game, oshima from kafka on the shore, lord henry wotton from the picture of dorian gray, julia from 1984, and so many more to come because i have so many books to read!

how many blankets i sleep with: winter i have 2 sheets, quilt and woollen blanket, summer a cotton blanket and 2 sheets dream job: i really want to be a sheperdess honestly. realistically i’ll probably do something to do with chemistry. i’m tagging @be-serious-i-am-wild @cclovesbooks ciana will you tag emilys tumblr her url wont work here thx  @wethatdalek @prideofprejudice @koiwitwil @charlie-omniscient and every single one of my followers especially the porn blogs 

#focail

[bhfineart]

Dave’s Faves Deutscher + Hackett 15 July 2020

The first very major auction season is well and truly upon us, with many of Australia's most enthusiastic and discerning art collectors having to wait some considerable time for the main event.

A big part of this is the Deutscher + Hackett auction on 15 July in Melbourne. A healthy 129 lots include some of the most significant paintings by their respective artists to come on to the market ever.

This includes the cover lot, Fred Williams' "Hummock in Landscape" (lot 7); Tony Tuckson's "Swirly Reds and White", c1964 (lot 6) and lot 14, Hans Heysen with "A Summer's Day", c1907.

Lots 32 to 40 are dedicated to the fifth instalment of the Sherman Capsule collection, while almost half, lots 76 - 129, hail from the Peter and Renate Nahum London collection of Aboriginal art.

The artworks can be viewed in Sydney from 2 to 5 July at the D+H Gallery at 16 Goodhope Street, Paddington.

The Melbourne viewing is held from 9 to 14 July at the D+H premises at 105 Commercial Road, South Yarra.

The auction is held on Wednesday, 15 July 2020, 7 pm, at the D+H Gallery at 105 Commercial Road, South Yarra.

You can also have a look at all 129 lots on the Deutscher + Hackett website.

As always, you can count on us for due diligence on lots that you are interested in prior to the auction and bidding on the night. Contact us on phone number 0466 313 095 or email [email protected]

And here are Dave's Faves for you:

[caption id="attachment_6273" align="alignleft" width="252"] Lot 1 - Cressida Campbell, Daisies and Camellias on Indian Cloth, 1997, 61 x 52 cm, est. $40,000-60,000. Daisy chains with gains[/caption]

[caption id="attachment_6274" align="alignleft" width="300"] Lot 6 - Tony Tuckson, Swirly Reds and White (TP54), c1964, 122 x 183 cm, est. $150,000-200,000. What's black and white and red all over?[/caption]

[caption id="attachment_6275" align="alignleft" width="242"] Lot 7 - Fred Williams. Hummock in Landscape, 1967, 153 x 122 cm, est. $1,4,00,000-1,800,000. Hands up for hummocks![/caption]

[caption id="attachment_6276" align="alignleft" width="300"] Lot 10 - Eugene von Guerard, Abendlandschaft von der Insel Capri (Evening Landscape from the Island of Capri), 1846, 75 x 103.5 cm, est. $150,000-200,000. Time Travel[/caption]

[caption id="attachment_6277" align="alignleft" width="300"] Lot 12 - Emanuel Phillips Fox, A Spanish Garden, c1911, 38 x 46 cm, est. $45,000-65,000. Viva Espana![/caption]

[caption id="attachment_6278" align="alignleft" width="247"] Lot 14 - Hans Heysen, A Summer's Day, c1907, 90 x 74.5 cm, est. $150,000-200,000. A Heysen Masterpiece[/caption]

[caption id="attachment_6279" align="alignleft" width="235"] Lot 18 - Nora Heysen, Floral Still LIfe, 1932, 51 x 41 cm, est. $18,000-24,000. Daughter Delights[/caption]

[caption id="attachment_6280" align="alignleft" width="223"] Lot 23 - Brett Whiteley, Self Portrait after a Haircut at 36, 1976, 100 x 75 cm, est. $20,000-30,000. You could turn this into a Family Hairloom (sic)[/caption]

[caption id="attachment_6281" align="alignleft" width="300"] Lot 25 - William Robinson, Rain and Sunlight, Numinbah, 1996, 137 x 182.5 cm, est. $150,000-200,000. Billy boils[/caption]

[caption id="attachment_6282" align="alignleft" width="300"] Lot 28 - Garry Shead, Annunciation, 2000, 167 x 243 cm, est. $250,000-350,000. Garry marries[/caption]

[caption id="attachment_6283" align="alignleft" width="300"] Lot 31 - Tim Storrier, The Water Line, 1997, 102.5 x 151.5 cm, est. $28,000-35,000. Keep warm this Winter[/caption]

[caption id="attachment_6284" align="alignleft" width="244"] Lot 34 - Tim Storrier, Drifting over (the Coals), 1999, 49 x 39.5 cm, est. $15,000-20,000. Rock and Coal[/caption]

[caption id="attachment_6285" align="alignleft" width="300"] Lot 36 - Tim Storrier, The Evening Run, 2019, 30 x 50 cm, est. $20,000-25,000. These are a few of my favourite clouds[/caption]

[caption id="attachment_6286" align="alignleft" width="300"] Lot 37 - Shane Cotton, Lookout #1, 2007, 200 x 300 cm, est. $80,000-120,000. Picking Cotton[/caption]

[caption id="attachment_6287" align="alignleft" width="300"] Lot 43 - Gwyn Hanssen Pigott, Still Life with Brown Bowl, 1999, 10 pieces, 31 cm height, est. $10,000-18,000. Don't bottle out[/caption]

[caption id="attachment_6288" align="alignleft" width="289"] Lot 44 - Margaret Preston, Dahlia and Sunflower, 1933, 30.5 x 30.5 cm, est. $12,000-16,000. Perfect Preston Print[/caption]

[caption id="attachment_6289" align="alignleft" width="300"] Lot 48 - Elioth Gruner, Pastoral Landscape, 28 x 40 cm, est. $15,000-20,000. I Wanna Be A Cowboy and You Can Be My Cowgirl (with apologies to Boys Don’t Cry)[/caption]

[caption id="attachment_6290" align="alignleft" width="300"] Lot 65 - Bill Hammond, Banana never sleeps, 1982, 25.5 x 39 cm, est. $8,000-12,000. Minus their pajamas[/caption]

[caption id="attachment_6291" align="alignleft" width="300"] Lot 66 - Ludwig Hirschfeld-Mack, Figures, 1960, 20.5 x 22 cm, est. $4,000-6,000. From Bauhaus to your house[/caption]

[caption id="attachment_6292" align="alignleft" width="300"] Lot 77 - Rover Thomas, Tributaries of the Ord River, 1991, 90.5 x 180 cm, est. $200,000-300,000. I am a Follower[/caption]

[caption id="attachment_6293" align="alignleft" width="300"] Lot 84 - Emily Kame Kngwarreye, Merne (Everything), 1996, 122 x 213 cm, est. $150,000-200,000. And you thought you couldn't have everything[/caption]

[caption id="attachment_6294" align="alignleft" width="300"] Lot 92 - Trevor Nickolls, Holden Boomerang Dreaming in Summer Time, 2000, 91 x 121.5 cm, est. $15,000-20,000. You can still buy a Holden but you'd better be quick[/caption]

  The blog post Dave’s Faves Deutscher + Hackett 15 July 2020 was first published on: BH Fine Art Consultants

#Banziger Hulme - Feed

[topfygad]

Paradise Dropped – and Discovered

Reflections on Earth Month 

By Shannon Guihan 

Chief TreadRight & Sustainability Officer 

Dear Traveler, 

This year, Earth Thirty day period arrives with particular poignancy. As The Travel Company celebrates its initial 100 several years, we also mark the 50th anniversary of the first Earth Day – April 22, 1970 – which was the seed that grew into Earth Month. Now, in 2020, Earth Thirty day period comes in the midst of a globe-wide pandemic, bringing much of lifestyle – and just about all travel – to a standstill.  

Difficult as this is for all of us, it offers an opportunity to mirror on our relationship to this world we all get in touch with home. This is specifically real for those people of us who have the great fortune to travel. If ever there was a time for a reset, this is it. With plans out of the blue set on keep, it is time to step back and ask ourselves some significant concerns. Why do we journey? What responsibilities come with our journeys? How do we want our journey to impact the earth we learn, the individuals we meet, and the wildlife we see? 

Even though this pandemic is new territory for everybody, for individuals of us at TreadRight, these inquiries are not new. They are what led to TreadRight’s founding a dozen yrs in the past, what drives us to do the get the job done we do each day. For me, personally, these are questions that have shaped my career. 

I am not exaggerating when I notify you I grew up in Paradise – just outside the house of St. John’s, Newfoundland, an island off the east coastline of Canada. For me, as a kid, the name of the town fit – from my front door I could run through empty fields and make it to Topsail beach front to it’s possible spot a seal or two. Depending on the time of yr, just about every route led to snowboarding, hiking, or paddling.  

Back then, the economy of Newfoundland & Labrador was largely based on the fishing business, particularly cod. That all improved in the summertime of 1992 when many years of overfishing by multi-national interests had decreased the northern cod populace to around zero. The Canadian government banned the follow of cod fishing and, right away, the industry was near collapse. By the time I was 16, the tourism business was kicking off speedily, and I soon uncovered myself performing as a sea kayak guide along the island’s rugged southern shore, with jagged cliffs over, swarms of jellyfish underneath, and, nearby, pods of fin and minke, and humpback whales that returned to the Grand Banks each summer to feed. 

Unbelievable a yard as it was, what I observed in Newfoundland’s increasing tourism market still left me perplexed. The identical boats that the moment fished for cod now arrived full of tourists, chasing whales and interrupting their feeding. It seemed that “fisheries” had been changed by “tourism,” and guided by much the exact same perspective: Make money quickly, but turn a blind eye to defense. In the system of visiting Paradise, tourists have been trampling it. While not the intention, it was often the result.  

It seemed to me there must be a proper way to explore pure beauty – and this was not it. Seeking to understand, I went to university where I studied Outdoor Recreation and Environmental Schooling, then on to graduate university for a master’s degree in Tourism and Environmental Administration, writing my thesis on “Codes of Conduct for Marine Ecotourism.”  

Anxious to put my newfound understanding into practice, I joined the functions staff of a niche tour operator, which permitted me to put sustainable methods into place. We labored difficult, did most of the suitable things, and thrived. And but, when I looked at the major photograph, our impact was limited. We ended up one of many such effectively-intentioned small operators, just about every performing in our own space – whilst the destruction becoming finished by tourism all over the globe was vast, and growing. 

From there I released and built a tourism consultancy, in which I was capable to do the job with places all over the world to deal with the way in which they develop, market, and sector their locations. And however, the jobs I was doing the job on ended up yet again modest, and I was keen to concentrate on sustainability at scale.  

In the course of this time TTC was a consulting client of mine, and as it arrived time for me to shift over and above consulting, it was also very clear that TTC wanted someone to take TreadRight and sustainability to the following degree, looking to appoint their first Chief Sustainability Officer. I was intrigued, whilst in any other scenario would have been more than a minor cautious. I realized full perfectly that the C in TTC stood for “corporation,” and I’m a cynic when it will come to what companies say and do in phrases of sustainability – I’ve under no circumstances wished to enjoy a element in company greenwashing. Nonetheless, obtaining worked along with Brett Tollman and his team of executives for a number of decades, I experienced observed the depth and sincerity of their motivation. We experienced worked carefully on difficulties these types of as plastics in the travel marketplace, the impression of overtourism and aid for micro-enterprises. The passion they brought to the work had grown steadily more intense and focused, coming down to three terms: Make Journey Make a difference.  

I took the work.  

I’ve spoken of two P’s so far – the Energy a large organization has to have an impact at scale, and the Enthusiasm I saw from the teams at TTC. But there is a third P that is most important – Partnership. In purchase for travel to genuinely have a good impact, we need coordinated endeavours at just about every stage, with all of us realizing that our efforts are component of the even larger image.  

We began by identifying the three critical areas in which journey has the biggest likely for influence: Earth, Folks, and Wildlife. With these as the three pillars of TreadRight, we looked to see who was doing the best work in each realm. This has led to us partnering with over fifty-5 initiatives about the globe, and a new, shortly to be released company-wide strategy aligned with the United Nations Sustainable Improvement Ambitions.  

As you now take time to consider your future travels, I invite you to share in the inspiration I obtain every working day from the individuals and communities with whom we associate, like Rosamira, Executive Director of Proyecto Tití, which protects the critically endangered cotton best tamarin in Colombia. Through WildlifeSOS in Jaipur, India, you will meet the actually impassioned people working to inform tourists and prevent the cruel follow of driving elephants. And nowhere will you obtain more impressive visionaries than Sam Judd and Camden Howitt, co-founders of Sustainable Coastlines in New Zealand. Last month – before travel was suspended, which now feels like a incredibly extended time back – I spent an inspiring afternoon alongside other TTC volunteers, collecting and categorizing trash discovered on a New Zealand beach in the title of citizen science.  

In her blog posting very last month for Worldwide Women’s Day, Bea Tollman wrote that supporting girls and girls is essential, and a lot of of our initiatives do just that. When you journey to Perugia, Italy, you will meet up with Marta at Laboratorio Giuditta Bronzzetti. When I was released to her, she was working in a crumbling church with a hole in its roof, as the very last in a lineage of hand frame weavers carrying on traditions dating back to the Renaissance. TreadRight partnered with her to restore the church’s roof and develop her reward store, where she now trains the next technology of weavers. You are going to obtain a similar story in Peru, where Centro de Textiles Traditionales del Cusco preserves 10,000-12 months-old Andean traditions though providing training and employment to females. And, at thirteen locations throughout rural Laos, you will discover girls and girls understanding standard techniques through Ock Pop Tock’s Village Weavers Venture. 

For now, I invite you to learn about all these incredible partnerships and more at TreadRight.org. When the time comes to travel again, you will have the chance to pay a visit to and support a lot of of our partners all-around the entire world, through the amazing itineraries offered by TTC’s models.  

Some of TreadRight’s most important partnerships are with our ambassadors, who serve as our storytellers – and tale listeners – close to the environment. Céline Cousteau, granddaughter of Jacques Cousteau and an accomplished activist, filmmaker, and explorer in her have correct serves as our planet ambassador – look at out her beautiful video telling of the story of Iraq Al Amir Women’s Cooperative in Jordan. Sarain Fox, our folks ambassador, is a To start with Nations activist and artist, helping preserve Canada’s indigenous culture through Manitoba Mukluk’s Storyboot School. Check out her tips on how we make our journey issue. This year TreadRight welcomed Ami Vitale as our first wildlife ambassador. An award-profitable Countrywide Geographic photographer, she specializes in telling the stories behind the headlines. When travel resumes, she will be sharing stories from some of our projects in southern Africa, including those welcoming Red Carnation visitors to Bushman’s Kloof Wilderness Reserve & Wellness Retreat, South Africa, and Botswana’s shortly to open Xigera Safari Lodge – which, by the way will be nearly 100% photo voltaic run.  

These are but a few of the places the place we function, and I’ve told you why we do what we do – to Make Travel Matter. As TTC’s Chief Sustainability Officer, I also emphasis on how we put this into practice on a everyday foundation, ensuring that the beneficial impression of your travel begins extensive before your journey, through the practices of each and every of TTC’s 42 brand names. We are eliminating all unnecessary single-use plastics from our offices, in our hotels and on all of our outings. Each TTC traveler is inspired to bring their personal reusable drinking water bottle on their vacation and to receive paperwork electronically, and when you choose to do so, we plant a tree through our E-Files Initiative. This calendar year, we will be planting in Australia, helping the recovery from the awful bush fires there. TTC’s Toronto office – where I operate – is powered by geothermal power, and a excellent range of our offices all over the globe have had photo voltaic panels set up.  

As you can notify, when it comes to guaranteeing journey has a optimistic impact, there are a lot of moving sections – and a extensive way to go. But, as they say, Paradise was not built in a working day. 

I’d like to end with our most important partnership: You, our vacationers. In addition to the visits, you will be capable to make with TTC’s companies to see and assist these initiatives, a portion of every single greenback you spend with every TTC company funds this function. And, be sure to examine and signal on to our journey pledge – which upholds the simple, critical tenets of TreadRight and TTC – to help protect and protect our planet, our persons and their communities, and the wildlife of our wonderful fragile earth. 

Just as I began this write-up with concerns, I’ll stop with one more, for you. The time to travel will appear again – ideally, quickly. When it does, how will you make travel matter? 

Sincerely, 

Shannon Guihan 

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The Must-See Exhibits At Melbourne Art Fair 2018

The Must-See Exhibits At Melbourne Art Fair 2018

Art

by Elle Murrell

Installation of Pierre Mukeba’s 2017 solo exhibition at GAG Projects (Greenaway Art Gallery) Trauma. Photo – GAG Projects.

A portrait of Pierre at Trauma. Photo – GAG Projects.

Pierre Mukeba’s Indisposed, 2017, brush pen and fabric appliqué on cotton, 360x180cm. Photo – courtesy of GAG Projects, Greenaway Art Gallery.

Pierre Mukeba’s The Beauty of, 2017, brush pen and fabric appliqué on cotton, 380x200cm. Photo – courtesy of GAG Projects, Greenaway Art Gallery.

Pierre Mukeba · GAG Projects

Young Adelaide-based artist Pierre Mukeba is one to watch. Pierre immigrated to Australia in 2006 with his family, from the war-torn Democratic Republic of Congo, after living in a refugee camp in Zambia and with family in Zimbabwe. It was living with his uncle that inspired Pierre to take up drawing, while his grandfather was a famous artist in Congo.

In a restricted colour palette, the self-taught 23-year-old depicts his family members candidly, often swathed in strikingly patterned garments, and other everyday scenes of life in Central Africa.

Pierre’s emotive works on display at Melbourne Art Fair offer subtle yet crucial, thought-provoking glimpses into the trauma experienced by asylum seekers and other displaced persons.

Lucy Culliton’s Dogwood 2018, oil on board, 80x60cm. Photo – David Paterson, courtesy of Jan Murphy Gallery.

Lucy Culliton’s Carrot flowers in plastic jug 2018, oil on board, 183x183cm. Photo – David Paterson, courtesy of Jan Murphy Gallery.

Lucy Culliton · Jan Murphy Gallery

Regular Archibald, Wynne and Sulman finalist, Lucy Culliton will be showcasing stunning new still life paintings.

Inspired by her rural home in Bibbenluke, New South Wales, Lucy’s exhibitions typically focus on a single subject matter, with florals taking centre-stage at Melbourne Art Fair.

The National Art School graduate boasts works in the collections of the National Gallery of Australia and Parliament House, Canberra, along with many private collections, and her inclusion in MAF presents a covetable opportunity for collectors.

Cressida Campbell in her Bronte studio. Photo – Nikki To for The Design Files.

Cressida’s artwork Hallway with kilims, 2017-18, watercolour on incised plywood, 120x80cm. Photo – courtesy the artist and Philip Bacon Galleries.

Cressida’s The Pool, 2018, watercolour on incised plywood, 60x240cm to be exhibited at the Melbourne Art Fair. Photo – courtesy of Sophie Gannon Gallery.

Cressida Campbell · Sophie Gannon Gallery

We were chuffed to land a studio visit with Cressida Campbell last week, as she prepares to exhibit with Sophie Gannon Gallery at the Melbourne Art Fair.

Cressida’s five new works – two unique woodblock prints, and three painted wood blocks – are inspired by both familiar interior scenes from her own home, and new explorations into reflections on water.  As always, the works are painstaking in their detail, and larger in scale than ever before.

  Sally Gabori exhibition installed at Alcaston Gallery, Melbourne. Photo – courtesy of the Estate of Sally Gabori and Alcaston Gallery.

Mirdidingkingathi Juwarnda Sally Gabori’s (left) Dibirdibi Country, 2011, Synthetic polymer paint on linen, 120x91cm, and (right) Thundi, 2010, Synthetic polymer paint on linen, 196x300cm. Photos – courtesy of the Estate of Sally Gabori and Alcaston Gallery.

Sally Gabori · Alcaston Gallery

Born in Bentinck Island c.1924, The late Mirdidingkingathi Juwarnda Sally Gabori and her Kaiadilt community members were relocated to Mornington Island by missionaries in the 1940s.

Amazingly, the artist did not pick up a paintbrush until she was in her 80s, with the encouragement of Mornington Arts Centre co-ordinator Brett Evans. Despite this, in her later years, Sally became one of Australia’s most highly regarded and sought-after indigenous artists.

Passing away in 2015 (read the moving obituary by her son-in-law here), Sally has left behind a tremendous legacy. The special opportunity to witness a selection of her vibrant land and seascapes should not be missed.

Ildiko Kovacs’ Beam, 2017, oil paint on plywood,180x365cm. Photo – courtesy the artist and Martin Browne Contemporary.

Ildiko Kovacs’ Roped, 2017, oil paint on card mounted on board, 102x76cm. Photo – courtesy the artist and Martin Browne Contemporary.

Ildiko Kovacs’ Deep Blue, 2017, oil paint on plywood, 180x122cm. Photo – courtesy the artist and http://www.martinbrownecontemporary.com/Martin Browne Contemporary.

Ildiko Kovacs. Photo – courtesy the artist and Martin Browne Contemporary.

Ildiko Kovacs · Martin Browne Contemporary

Exhibiting since the 1980s, acclaimed artist Ildiko Kovacs will unveil new abstract landscapes at Melbourne Art Fair.

Through these works, the highly coveted Sydney-based painter continues her rich exploration of colour and line – intuitive, raw and textured.

Mirka Mora original paintings on the wall of her home studio. Photo – Sean Fennessy.

Mirka in the studio.  Photo – Sean Fennessy.

Angel Daughter, Mirka Mora, c. 1960, 56x76cm, charcoal on paper. Photo – courtesy of the artist and William Moira Galleries.

Mirka Mora · William Mora Galleries

Every time we feature prolific Australian artist Mirka Mora, the feedback we receive is ecstatic! It’s safe to say, Mirka holds a special place in many hearts.

Fair go-ers this year will be treated to a number of original charcoal sketches by Mirka, created between 1950 and 1970, exhibited by her son’s gallery, William Mora Galleries.

Not titled, 2018, ink on paper, 14x19cm and Not titled, 2018, ink on paper, 13x12cm, both by Fulli Andrinopoulos. Photo – courtesy of the artist and Arts Projects Australia.

The Arts Project Australia Northcote studio. Photo – courtesy of Arts Projects Australia.

Julian Martin’s Not titled, 2018, pastel on paper, 38×28.5. Photo – courtesy of the artist and Arts Projects Australia.

Julian Martin’s Not titled, 2018, pastel on paper, 38×28.5. Photo – courtesy of the artist and Arts Projects Australia.

Arts Project Australia

Established in 1974, Arts Project Australia is a centre of excellence supporting artists with an intellectual disability, promoting their work and advocating for their inclusion in contemporary art practice. More than 130 artists work from the Northcote studio each week, developing their own practice with support from professional staff artists.

At Melbourne Art Fair, this wonderful group will showcase captivating art by Fulli Andrinopoulos (pictured top) Samraing Chea, Alan Constable, and Julian Martin (above).

Chiharu Shiota’s Absent Bodies, 2016. Installation view Anna Schwartz Gallery. Photo – Zan Wimberley, courtesy the artist and Anna Schwartz Gallery.

Chiharu Shiota. Image courtesy the artist and Anna Schwartz Gallery.

Chiharu Shiota · Anna Schwartz Gallery

Japanese artist Chiharu Shiota will unveil The Crossing, a new site-specific installation. This work marks Chiharu’s first presentation at an Australian art fair, and will see a sculptural field of white thread interwoven with books.

Best known for her intricate and large-scale installations that explore complex relationships between body and mind, The Crossing is an organic construction like a biological structure that flexes in all directions, rejecting a hierarchical system.

‘Every single thread carries a vast amount of meaningful information, accumulating in a mass of awareness. It is the history of our interwoven, universal narratives, filling the space with an organic structure of human matter,’ explains Chiharu. ‘With The Crossing, I want to present this intermingling but compact system, to map the knowledge we share and pass on to our children, who pass it on to their children.’

Travis MacDonald’s The rug store tiger, 2016, oil on linen, 100x70cm. Photo – courtesy of the artist and Niagara Galleries.

Travis MacDonald’s Carlton romantic, 2018, oil on canvas, 56x46cm. Photo – courtesy of the artist and Niagara Galleries.

Travis MacDonald’s They’re all little trees, 2018, oil on canvas, 51x61cm. Photo – courtesy of the artist and Niagara Galleries.

Travis MacDonald · Niagara Galleries

One of two New Zealand-born artists on our radar for the upcoming fair is Travis MacDonald. The now Melbourne-based painter graduated from VCA in 2011, and has since been awarded the Gary Grossbard Drawing Prize and the Lionel Gell Foundation Drawing Scholarship.

Travis draws on his collection of photography and an interest in history, music, conspiracy theories and world events to present storied compositions on canvas.

A past exhibition by Julian Hooper. Photo – courtesy of the artist and Gallery 9.

Julian Hooper’s Neska, acrylic on canvas on linen, 102cmx76cm. Photo – courtesy of the artist and Gallery 9.

Julian Hooper’s Baba, acrylic on canvas on linen, 38cmx30cm. Photo – courtesy of the artist and Gallery 9.

Julian Hooper · Gallery 9

We can’t get enough of Auckland-based artist Julian Hooper’s beguiling paintings. The accomplished painter has exhibited extensively throughout his homeland, Australia, and in New York.

We’re especially intrigued by Julian’s graphic works featuring imaginative configurations of letters and numbers – sussing out these paintings in real life will be a MAF highlight for us!

Melbourne Art Fair August 2nd – 5th Southbank Arts Precinct (alongside ACCA) 111 Sturt Street Southbank, Victoria

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