What does it take to survive and thrive in the creative industries for more than 25 years? Meet four luminaries who have endured in professions that leave most people behind.
Penny Cook – first recurring TV role in ‘The Restless Years’ in 1979
John Birmingham – published ‘He Died With A Falafel in His Hand’ in 1994
Bridget Ikin – produced ‘An Angel At My Table’ in 1990
Sarah Carroll – performed at her first music festival in 1992
Representing the creative pillars of publishing, screen, music and performing arts, these accomplished professionals have sustained themselves without a break. They’ve juggled career highs and lows, maintained their personal lives while working in the arts (sometimes while in the spotlight), and evolved and adapted their vocations to the changing times.
Learn from our panel about the challenges they have overcome, the twists and turns they have navigated and the opportunities they have taken to become stayers in their fields. What would they share with their younger selves if they could? What do they wish they’d done differently? What was their greatest achievement? And finally – how exactly do they do it?
The event will be facilitated by Monica Davidson, the NSW Creative Industries Business Advisor, herself a writer and film-maker with over 25 years’ experience in creative practice. Stay on for networking fun. Presented by Business Connect.
THE PEACE AMBASSADORS ORCHESTRA & SEOCHO PHILHARMONIKER
Orchestra performance with Bae Jong-hoon as artistic director & conductor and a traditional Korean music play. The program included
Some of the notable members of the afternoon are:
The Flower of Life KIM Bockhee, Dance
CHOI Jihye Longing for our Heroes MOON Yangsook on Gayageum Ensemble (Korean Traditional String instrument) and LEE Dong Hun on Haegum (Two-String Spike Fiddle of Korea).
S. Saens Introduction & Rondo Capriccioso BAE Angela Jiye Bae, Violin
E. Curtis Nonti Scordar di Me and Sailor’s Song (Korean Folk Song) KIM Jaewoo, Tenor
J. Hummel Trumpet Concerto Jens Lindemann, Trumpet
Korean Folk Song Medley (Korean Traditional Instrument: Gayageum Ensemble)
G. Verdi ‘E Strano….Sempre Libera’ aria from La Traviata Lorina Gore, Soprano
S. Saens Cello Concerto No.1 KO Bongshin, Cello
G. Verdi ‘Brindisi’ duet from La Traviata Lorine Gore, Soprano and KIM Jaewoo, Tenor
A. Piazzolla Oblivion & Malaguena (by E. Lacuna) Jens Lindemann, Trumpet and KO Bongshin, Cello
CHOI Sungwhan Arrange Fantasy
We want your help to discover what is living in Sydney Park. Come along to the Bioblitz and sign up for daytime activities. We start with a Welcome to Country at 10am. Free activities run from 10.30am–4pm.
- water bird survey from 10.30am
- urban jungle bike safari from 11.30am
- reptile survey from 12pm
- Aboriginal cultural tour from 12pm
- pollinator survey from 1pm.
We’ll also have cameras to help us look inside nest boxes and hollows to see if our furry friends are using them. So come and be a scientist for the day. Learn about the world of water bugs, the secrets of feathers, fascinating fungi and where the lizards hide.
There’ll also be some great stalls on the day, with Taronga Zoo and nature play activities. A free BBQ from 10.30am will also be on off
Introduces Inheritance system of important intangible cultural heritage of Korea. In a diverse collection of Korean traditional crafts from Cultural Heritage Administration in Korea, the exhibition highlights 21 works by authorised individual skill holders. Intangible Cultural Heritage are traditional products such as drama, music, dance, folk game and rites, martial art, handicrafts, and cuisine. They have high historic, academic, and artistic values and distinct local flavours. ‘Intangible’ in this case means artistic activity or technique that is formless. They are designated as cultural heritage when actualised by the people or the organisations that have artistic or technical ability. Simultaneously, such people are authorised as holders.
Intangible Cultural Heritage are learned, practiced, and inherited by people and organisations. The authorised individual (holders) or organisation with skill or ability is encouraged and supported to succeed in maintaining and preserving the traditional culture.
For the stable and systematic activity of cultural heritage, Korea Intangible Cultural Heritage system maintains a consistent inheritance procedure from skill holder-apprentice-graduate-scholarship student (general student).
The main responsibility of holder is to spread traditional culture and inherit their property to the next generation. Once certain individuals or organisations are acknowledged as holders, they select student with the will and the ability to inherit their skill and property. When the selected students completed the course of three years and reach up to the definite ability, they are recognised as graduate. Among these graduate, the most excellent will be selected as ‘apprentices’ by recommendation of holders and the evaluations of cultural experts. These chosen apprentices have the duty to assist the holders, as well as learn their skills.
As explained above, Korea’s inheritance system of Intangible Cultural Heritage has been providing and supporting a stable atmosphere for the inheritance of precious skills and properties.
OZDOC AFTRS, Entertainment Quarter, 130 Bent Street, Moore Park. Sydney
FILMS THAT FIGHT BACK chair Ruth Hesey – Total Environment Centre
Karina Holden – Blue
Nell Schofield – Stop Adani Films
Mark Could – Save Bondi Pavilion
Karina Holden started her career as a conservation biologist before becoming a wildlife film maker 21 years ago. She now has a dynamic track record working in both the independent sector as Head of Production and Creative Producer, as well as within the national broadcaster as Science Commissioning Editor and Head of Factual for the ABC. Her first theatrical film, Blue, was directed and produced as part of Goodpitch initiative through Northern Pictures. The film screened at the United Nations before having its official debut at Vancouver International Film Festival where it won best Impact Film and later the Okeanos Foundation award for services to the Ocean. The crux of her creative work is to create change, truth tell and find unlikely heroes who challenge our perceptions.
Nell Schofield is an actor turned activist whose passion is bringing the creative sectors and conservation movements together. With The Sunrise Project she produced and directed the films Guarding the Galilee and A Mighty Force about the movement to stop Adani’s massive Carmichael coal mine in Central Queensland. She also worked as Senior Project Manager with Solar Citizens, and helped spearhead the Land Water Future campaign in NSW as Sydney Coordinator with Lock the Gate Alliance. In 2007, Nell trained with Al Gore as one of his Climate Leaders and has worked in the Office of the Lord Mayor of Sydney on local government issues. She has also worked as a presenter with ABC TV, Showtime, CNN and Channel 9, and as a broadcaster with Radio National. As a teenager Nell famously starred in the cult classic Puberty Blues and, with fellow NIDA graduates created the self-devised work Strictly Ballroom. Nell currently works with the Historic Houses Association of Australia to preserve our nation’s built environment.
Mark Gould is a producer writer and director with over 40 years’ experience in Australian theatre, film and television. Mark has, in the last 2 years made over 120 short videos for the web in the fight to stem the tide of neo-liberal greed in Sydney. His documentaries have been commissioned internationally and nationally, by the BBC, ABC, SBS, Nat Geo, Arte, YLE, RBTF, RTE and others.;
Recent projects for the ABC:-
PILGRIMAGE TO THE KALACHAKRA (COMPASS 2016) ABOUT A BOY (FOREIGN CORRESPONDENT 2015) EASTER IN JERUSALEM (COMPASS) 2014 THE HOLY DIP (COMPASS) 2013
IN GOOGLE WE TRUST (4 CORNERS 2013) MISS TIBET AND THE LIMBO OF EXILE (ABC FOREIGN CORRESPONDENT 2012) GUT INSTINCT ABC FOREIGN CORRESPONDENT 2011) TIBET: Murder in the Snow (Nov 2008) commissioned by BBC & SBS with YLE TSR and RTBF and NAT GEO. This film won best film at NYC Home Planet Festival 2010.
People’s Choice Award at Flagstaff Mountain Film Festival 2009. Award of Excellence at Accolade Mountain Film Festival. This film screened to over 2 million viewers on the BBC and has played at many other major festivals.
A WINNERS GUIDE TO THE NOBEL PRIZE 2006 was commissioned by ABC Science in 2006 and won the Golden Dragon Award for Best Science film at Beijing Film Festival and was nominated for a Eureka Prize.
A PIG, A CHICKEN AND A BAG OF RICE ABC 2005
His landmark series MOULIN ROUGE GIRLS 2004 still holds the ABC ratings record for an ABCTV half hour series. It was nominated for a Logie and sold worldwide.
Mark is contributing to the work of Ryan Jasper as a mentor, EP and script editor.
Ivan O’Mahoney received the 2016 Australian Directors Guild (ADG) Award, the Walkley Documentary Award, the Australian Academy of Cinema & Television (AACTA) Award and the Amnesty International Media Award for ABC’s domestic violence series ‘Hitting Home.’ He is also the recipient of the 2013 AACTA for Best Documentary Series and the 2012 ADG Award for Best Direction in a Documentary Series for his work on the SBS refugee series ‘Go Back To Where You Came From.’ Ivan has directed and produced films for HBO, BBC, ARTE, Channel 4, PBS & Discovery Channel. A former lawyer and UN peacekeeper in Bosnia, he holds degrees in international law (Leiden) and journalism (Columbia). Ivan’s other acclaimed projects include Baghdad High, about teenagers in Iraq (HBO); ‘How To Plan a Revolution,’ following democracy activists in Azerbaijan (BBC) and ‘Surviving Hunger,’ a film on famine in Ethiopia (CNN). His 4 Corners film ‘Code of Silence received’ the 2009 Sports Journalism Walkley. Screened at major festivals (Tribeca, Sheffield, Human Rights Watch), Ivan’s other gongs include the Robert F. Kennedy Journalism Award, the Prix Europa, two Logies, two Rose d’Ors, the Japan Prize for Educational Media and a Golden Nymph. Ivan is a director and executive producer of Sydney and LA-based In Films, a film and television production company established in 2013. In Films is a partnership with producer Nial Fulton. The company received the prestigious 2015 Enterprise Grant from Screen Australia, the federal funding body for the television and film industry. Over the last three years In Films has produced and delivered “Hitting Home” (ABC, 2 x 60 documentary on domestic violence); “Matilda and Me,” (1 x 60 on Tim Minchin and the making of his smash hit musical); “The Outlaw Michael Howe” (1 x 60 period drama for ABC); “Borderland” (4 x 60 series on US illegal immigration for AJAM); “1999” (10 x 3 comedy for YouTube/Screen Australia); Caged (1 x 60 documentary on mixed martial arts for SBS); The Queen & Zak Grieve (a 6 x 10 vocast series for The Australian” and ‘Making Muriel (1 x 60 for ABC Arts on the making of Muriel’s Wedding the Musical). In Films has been nominated 2016 Breakout Production Business of the Year at the Screen Producers Australia Awards.
Ruth Hessey‘s documentary film about the beauty of garbage, Waste Not,has been translated into 4 languages, and screened in over 30 countries. Her other documentary projects include The Mural (distributed by Ronin Films) and Under Threat, an animated short film about Australia’s threatened native species.
Ruth is also a high profile writer – (SMH, TimeOut Sydney, Vogue, Australian Art Review); radio broadcaster (ABC Radio National, 702, Green Velvet Eastside Radio); screenwriter, and novelist (half done!). Her contributions to anthologies include Bewitched & Bedevilled: Women Write the Gillard Years (Hardie Grant); Screwed: Stories of Love and Sex (Allen & Unwin); Interviews with Jane Campion (University of Illinois at Chicago); Dennis O’Rourke’s The Good Woman Of Bangkok (QLD University Press); Baz Luhrmann (University of Michigan).
Since 2009 Ruth has worked in environment advocacy, creating campaign videos, websites, and educational guides which have accumulated over 10,000 views online.
Ruth has also worked as a TV Host/presenter (World Movies); educator and history guide (Museum of Sydney); education consultant (Rooty Hill High School, Eden College); environment consultant (Fremantle Media); ABC radio film reviewer (ABC 702, Radio National); and copywriter (Film Australia, Village Roadshow, TM Publicity). She was named one of Sydney’s Most Influential, Inspiring, Creative People in 2012 by Sydney magazine. Ruth is also developing a 6 part mini series for television based on a new Australian novel with producer Tracey Mair.
The annual ARTEXPRESS exhibition is one of the most dynamic and popular at the Gallery. Featuring a selection of outstanding student artworks developed for the artmaking component of the HSC examination in Visual Arts 2017, ARTEXPRESS 2018 provides insight into students’ creativity and the issues important to them.
The exhibition encompasses a broad range of approaches and expressive forms, including ceramics, collection of works, documented forms, drawing, graphic design, painting, photomedia, printmaking, sculpture, textiles and fibre, and time-based forms.
AGNSW Contemporary Collection Projects. Despite routine declarations of its decline, abstract painting is an urgent and vital mode of artmaking that seems to exist in a state of constant reinvention. This display of contemporary abstract paintings focuses on unconventional and experimental approaches to the age-old discipline of painting. Drawn largely from the Gallery’s collection, the exhibition includes artworks by Daniel Buren, Morris Louis, Judy Millar, Dona Nelson, Sigmar Polke and Robert Rauschenberg among many others.
and a beautiful afternoon in Sydney
In 2018, we are going to start out meetup with invited speakers, talking about WebGL, Cinematic VR, Collaborative AR/VR and beyond. Keep checking this space for updated.
Our first confirmed speaker is Mie Moth-Poulsen, EPICentre visiting fellow from Aalbork University Copenhagen. She is currently doing postgraduate study in interaction design. Title: Can you Cut It? An Exploration of the Effects of Editing in Cinematic Virtual Reality
The studies explored how cut frequency influences viewers’ sense of disorientation and their ability to follow the story, during exposure to fictional 360◦ films experienced using a headmounted display. The results revealed no effects of increased cut frequency which lead to the conclusion that editing need not pose a problem in relation to cinematic VR, as long as the participants’ attention is appropriately guided at the point of the cut.
The studies inspired to a further iteration, investigating if spatial audio can be used as cues to guide the viewer’s attention within Cinematic Virtual Reality. KEEP EYES OPEN for updates on other speakers to appear soon here.
The vast development of Virtual Reality (VR) displays and 360 degree video cameras has sparked an interest in bringing cinematic experiences from the screen and into VR. However, Cinematic Virtual reality is a new and relatively unexplored area within academic research. Historically editing has provided filmmakers with a powerful tool for shaping stories and guiding the attention of audiences. However, will an immersed viewer, experiencing the story from inside a 360 degree fictional world, find cuts disorienting? This question, founded two iterative studies investigating the application of editing in Cinematic Virtual Reality and if this causes disorientation for the viewer.
The research was conducted in 2016 on postgraduate in Medialogy (media technology). Traditional filmmaking theories and newly proposed theories for Cinematic Virtual Reality was used to produce two Cinematic Virtual Reality films.
Bees are dying – in recent years an unprecedented decline in honey bee colonies has been seen around the globe. The causes are still largely unknown. At CSIRO, the Global Initiative for Honey bee Health (GIHH) is an international collaboration of researchers, beekeepers, farmers, and industry set up to research the threats to bee health in order to better understand colony collapse and find solutions that will allow for sustainable crop pollination and food security. Integral to the research effort is RFID tags that are manually fitted to bees. The abundance of data being collected by the thousands of bee-attached sensors as well as additional environmental sensors poses a number of challenges with regard to the interpretation and comprehension of the data, both computationally as well as from a user perspective. In this talk, Huyen will discuss visual analytics techniques that have been investigated at CSIRO DATA61 to facilitate an effective path from data to insight, with a particular focus on interactive and immersive user interfaces that allow for a range of end users to effectively explore the complex sensor data.
In order to create plausible virtual humans it is important to model their movement and interactions with their environment in an accurate and realistic manner. A lot of time and effort is spent by artists and engineers modelling user interactions with virtual agents with which the user acts directly. Virtual crowds, however, form an important component of virtual worlds. It is generally not feasible to author scripted behaviours and interactions for individual members large virtual crowds, and it typical to rely on systems that allow for autonomous navigation and behaviour. In this talk, we look at some solutions developed over the course of Rowan’s research.
Carlos Dominguez, ‘Extended Reality for Teaching – A web based solution’
10 – 14 February
Race, place and identity – Contemporary artists respond to Tracey Moffatt’s 1997 photographic series Up in the Sky
On the 20th anniversary of Tracey Moffatt’s work Up in the Sky, Penrith Regional Gallery will exhibit this seminal series in its Lewers House Gallery. Produced in 1997, this photographic series may be read as black and white film stills, set in an iconic outback Australian landscape. Moffatt’s landscape is peopled, with an open-ended narrative that is provocative of questions of personal, cultural and political histories, both remarkably Australian and global.
Landing Points – will, along with commissioned essays, look to Moffatt’s work as a starting point in consideration of the last 20 years of race, place and identity in Australia.
Eleven artists (established and early career) will produce new works for the show, across the mediums of painting, performance, photography, film and installation. The artists will respond to the cultural complexities layered in the Australian landscape and our relation to it. These artists are: Tim Johnson, Jason Wing, Alana Hunt, Caroline Garcia, Victoria Garcia, Carla Liesch, Nicole Monks with Luke Butterly, Mark Shorter, Cigdem Aydemir, Hayley Megan French and Joan Ross.
Penrith Regional Gallery Collection
Originating as a bequest in 1978, the Penrith Regional Gallery Collection consists of over 1600 objects, primarily featuring paintings, sculptures, works on paper and photography.
The Bentley Effect documents the highs and lows of the battle to keep a unique part of Australia gasfield-free. This timely story of a community’s heroic stand shows how strategic direct action and peaceful protest from a committed community can overcome industrial might and political short-sightedness.
The screening will be followed by a short Q&A with Naomi Hogan
Naomi has a science communications background and is the National Coordinator for the Lock the Gate Alliance. For the past six years she has been fighting CSG and fracking alongside impacted communities in Australia.
This event is Co-hosted with Climate Change Balmain-Rozelle
KATE JERKINS (Sex Discrimination Commissioner) delivered a speech ‘Zero Tolerance – The role of employers in preventing and effectively responding to sexual harassment in the workplace’.
STEPHEN TREW (Holding Redlich, Managing Partner, Sydney) provided an outline of employers’ legal responsibilities to prove a safe workplace.
MENAKA COOKE (Couch/Counsellor) delivered practical training for employers on preventing and responding to sexual harassment.
Beautiful: The Carole King Musical. Beautiful tells the story of the early life and career of Carole King.
AUSTRALIA DAY at Circular Quay, Sydney Harbour – Live at Sydney Opera House
Our biggest celebration, our greatest performers, live and free on the Opera House steps. Marcia Hines, Anthony Callea, John Paul Young, Christine Anu, Guy Sebastian, Dami Im, Casey Donovan and Lorenzo Rositano will perform the hottest tunes alongside tributes to great songs of the past. John Foreman OAM will direct proceedings on stage as a breathtaking fireworks paint the sky over Circular Quay.
Started by watching the Australian Open of the live screen at Customs House, Circular Quay.
THE BOOMALLI TEN EXHIBITION
30th Anniversay show The Boomalli Ten open until the 28th January 2018.
What a great line up of remarkable national and internationally renowned artists and founding members of Boomalli: Michael Riley, Bronwyn Bancroft, Euphemia Bostock, Arone Meeks, Fiona Foley, Brenda L.Croft, Jeffrey Samuels, Tracey Moffat, Avril Quaill and Fern Martins.
I have had the great pleasure and opportunity to work with Boomalli and their amazing team of artists now for many years and this show is truely amazing.
AN AFTERNOON of ART in SYDNEY
ART GALLERY NSW, New South Wales. Art After Hours
Drawn from the Rijksmuseum, the renowned national collection of the Netherlands, this exhibition includes a rare painting by Johannes Vermeer and a room dedicated to one of the greatest minds in the history of art, Rembrandt van Rijn.
Rembrandt and the Dutch golden age presents a richly unfolding panorama of Dutch society during an era of unparalleled wealth, power and cultural confidence. In the Dutch golden age, the art of painting flourished like never before. Artists sensitively observed the beauty of the visible world, transforming it, with great skill, into vivid and compelling paintings. Their subjects ranged from intense portraits and dramatic seascapes to tranquil scenes of domestic life and careful studies of fruit and flowers.
View of the Church of Sloten in the Winter, Jan Abrahamsz. Beerstraten, 1640 – 1666
Warships in a Heavy Storm, Ludolf Bakhuysen, c. 1695
In early 1694 some 30 Dutch warships set sail for the Mediterranean. They were sent to protect a merchant fleet from French attacks. In the Straits of Gibraltar they ran into a heavy storm. Various ships sank or were seriously damaged, including the Hollandia, portrayed centre right in the painting.
Woman Reading a Letter, Johannes Vermeer, c. 1663
Enjoying a quiet, private moment, this young woman is absorbed in reading a letter in the morning light. She is still wearing her blue night jacket. All of the colours in the composition are secondary to its radiant lapis lazuli blue. Vermeer recorded the effects of light with extraordinary precision. Particularly innovative is his rendering of the woman’s skin with pale grey, and the shadows on the wall using light blue.Zoom out
The Denial of St Peter, Rembrandt van Rijn, 1660
In this nocturnal scene lit by a candle, Peter is recognised by soldiers as a disciple of Christ. He denies this, however, renouncing his master. Christ, in the murky right background, looks back at Peter, as he is led away by soldiers. Rembrandt had pupils in his workshop whtil the very last years of his life. Technical investigations have revealed that he was assisted in this pinging.
Man in Oriental Dress, Rembrandt van Rijn, 1635
Rembrandt manipulated light in a highly personal way. Here, the man’s turban and the right side of his face are brilliantly illuminated, while the left side is in shadow. Exotic character heads like this – they are not portraits – were extremely popular in the 17th century; early on, they were widely copied and imitated. They were known as ‘Turkish tronies’.
The Three Crosses, Rembrandt van Rijn, 1653
When you scratch a line in an etching plate, it produces a small raised edge called a ‘burr’. The burr, which gives drypoint lines such a sumptuous velvety look, wears away quickly. As a result, the decorative effect of the technique diminishes and the representation becomes increasingly lighter. Here Rembrandt solved that problem by making areas of shadow darker again with extra lines, for example under the dog in the foreground.
Self Portrait as the Apostle Paul, Rembrandt van Rijn, 1661
Vermeer: Master of Light (COMPLETE Documentary)
The Lower Asian Gallery, Glorious earthly pleasures and heavenly realms through the Gallery’s collection of Asian art.
Glorious presents moments of joy – taking pleasure in the changing seasons, appreciating painting and poetry, sipping tea or wine, playing games, enjoying theatre and stories, or revelling in the beauty of sumptuous cloth. This changing display of paintings, prints, ceramics, textiles and sculpture dating from the first century to the present – now in its second stage – brings together compelling stories and sensations from across Asia. Included in this latest display is the Christopher Worrall Wilson Bequest of ancestral art from the Indonesian archipelago, which features exquisite sculpture, ceremonial objects, regalia and weapons.
The Yiribana Gallery presents a selection of works from our Aboriginal and Torres Strait Islander collection. It also includes the Yiribana Project Space, home to a range of changing exhibitions. Yiribana means ‘this way’ in the language of the Eora people and acknowledges the location of the Gallery on Gadigal land.
A celebration of the work of two artists from the Torres Strait Islands, showcasing the unique form of printmaking that is now synonymous with the region. Glen Mackie and Daniel O’Shane are two artists with individual practices who are currently at the forefront of this medium. This exhibition brings together a number of works by each artist that the Gallery has acquired in recent years.
Artists from the Torres Strait Islands in Australia’s north have experimented with different forms of printmaking, most notably linocuts and vinylcuts, since the mid 1980s. This has led to the development of a unique style of printmaking. Employing finely executed blocks, these works combine detailed graphic designs with realistic figurative forms, generally printed in hard-edged black on white. Over time and through collaborations with master printmakers, artists have produced works on an ever-increasing scale, capturing the authority and complexity of diverse narratives that are distinct to the Torres Strait Islands.
Korean Cultural Centre Australia. Winners of the 2017 KAAF Art Prize
The Korea-Australia Arts Foundation (KAAF)is an organisation comprised of Korean people for promoting and supporting a wide range of visual artists in Australia. KAAF is a non profitable organisation which was established with the motive to provide specialised activities in visual art, to support artists and art organisations within the visual arts field.
Korea-Australia Arts Foundation (KAAF) endeavours fora community that is actively involved within the fields of art and culture in this multicultural society. It seeks to serve and to provide support where is needed in order to make such a community.
“This magical toy landscape is in fact a big statement on trash and its huge creative potential” – Inhabitat.
Presented by Sydney festival with Artspeople | Australia/Japan.
Symphony Under The Stars 2018
Returning to the gorgeous surrounds of Parramatta Park, the Sydney Symphony Orchestra will perform a selection of beloved classical and contemporary compositions as part of The Crescent Summer Series.
It will be preceded at 6.30pm by a fantastic performance by Western Sydney’s brightest stars of the future will kick start the night with a combination of two bold and exciting ensembles, one brass and one percussion, presented by Resonance Concerts and Events. Ranging in age from 15 years to professional performers in their 20s, they’ll come together for the first time to perform classics as you’ve never experienced before.
The evening will conclude with a big bang; the traditional grand finale of Tchaikovsky’s rousing 1812 Overture, complete with fireworks and cannon.
Conductor: Benjamin Northey
Trumpet: Paul Goodchild
BERLIOZ Roman Carnival – Overture
SAINT-SAËNS Danse macabre
DEBUSSY orch. Cailliet Claire de Lune
HAYDN Trumpet Concerto: 1st movement
WILLIAMS Adventures on Earth from E.T. the Extra-Terrestrial
GLINKA Overture to Ruslan and Ludmilla
WILLIAMS Princess Leia’s Theme from Star Wars
SAINT-SAËNS Bacchanale from Samson et Dalila
MASSENET Méditation from Thaïs
TCHAIKOVSKY 1812 – Overture
Parramatta Park New Year’s Eve Fireworks
In 1769, King George III commissioned the Endeavour to sail from Portsmouth to the Southern Hemisphere to observe the spectacular sight of Venus passing between the earth and the sun and did a large land mass exist in the southern seas. On April 29, 1770, after a failed attempt at landing the previous day they found a sheltered bay, Botany Bay. Two boatloads of about 30 men, including Cook, Bans and Tupia whet ashore. The aborigines of Botany Bay are know as Dharawal people.
There are two headlands which make up Botany Bay National Park, the northern side, La Perouse and the southern side, Kurnell. Captain Cook’s landing place was set aside as an area of public recreation in 1899. The park was proclaimed an historic site in 1967 and with Bare Island and La Perouse was included as part of Botany Bay Nation Park in 1988. Today, the park consists of 436 hectares of coastal cliffs, woodland, beaches and picnic areas.
Kurnell area is at the southern headland of Kamay Botany Bay National Park, near Cronulla. Go whale watching or explore some of NSW’s most significant heritage sites — and see why Kurnell Peninsula headland was included in the National Heritage List in 2004.
Aboriginal sites in the park include rock engravings, burial sites and areas that show evidence of occupational activity, such as axe-grinding grooves on rocks.
- Discovery Visitors’ Centre and Museum
- Two km return Commemorative track alone the foreshore running past the obelisk making the landing spot
- Burrawang Walk
- Banks-Solander Track through stunning bushland
- Cape Solander cliff line, wide variety of plant species that Banks and Solander documented
- Captain Cook’s Landing Place
- Guru and Yena Tracks
Claire Schanzer, from St George Christian School, in her drawing What She Could Be 2017 explores the tension between an imagined and realistic life for Mona, a 5 year old Syrian refugee. With the current political climate, wars continue to leave families homeless and searching for a safe and secure place for refuge. All potential for a hopeful and joyful life is torn down, when their cries for help are ignored by individuals and governments together. The dichotomy between the limitless potential of an Australian born child’s life and the darker reality for a child refugee is symbolised through the contrastingly coloured and monochrome palettes. This work brings to light the largely overlooked and forgotten impact asylum rejection has upon individuals, the refugee’s childhoods and futures of refugee generations to come.
Anthony Pham from Sydney Technical High School also tackles issues of refugees in his work The Journey 2017, which conveys the long, tiring journey of his father from Vietnam to Australia by boat. His personal experiences and emotions are packed into a set of lino prints, each depicting one of many significant events that defined his journey. Anthony had no idea of what his father went through until he simply just asked. Then and there his father recounted everything, from leaving the docks of his hometown Long Xuyên to being rejected by the government from going to France. Anthony has written a sentence on each print briefly describing the event based on his father’s journey. Any refugee or any hard-working person who works tirelessly for a new and better life can relate to these experiences and hardships.
Claudia Taylor from St Patrick’s College Sutherland confronts gender inequality in her work A bit awkward – a glass ceiling 2017. Claudia explores the “glass ceiling effect” that exists within modern society, by drawing various figures who are significant to her, and have been subject to inequality due to gender imbalance. The pressing nature of glass has been used to symbolise a ‘physical barrier’ which restricts women from excelling within the workplace. “A girl’s confidence plummets during puberty”. By drawing the youngest character free from physical restriction, she endeavours to emphasise the power of innocence, removing a sense of insecurity that is present for mature women.
Benjamin Clay fro Kirrawee High School ‘The Decisive Moment’ photo media stood out for me.
“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms, which give that event its proper expression.” Henri Cartier-Bresson (Author of ‘The Decisive Moment’)
My practice acts to explore the facets of transitory forms within physical and fractured, occupied and unoccupied space. Through photography, I am to arrest this ephemerality and present it in my work. By contrasting the architectural permanence of space with the fleeting femininity exuded in the figure’s expressive potential, both continuity and tension are created within the picture.
PLAY ON: The Art of Sport.
Play On offers a unique opportunity to bring art and sport lovers together, engage with new audiences and present additional public programs with local sports clubs, personalities, athletes and fans.Includes work by Tony Albert, Richard Bell, Lauren Brincat, Jon Campbell, Daniel Crooks, Tarryn Gill & Pilar Mata Dupont, Shaun Gladwell, Josie Kunoth Petyarre and Dinni Kunoth Kemarre, Richard Lewer, Fiona McMonagle, Kerrie Poliness, Khaled Sabsabi, Gabrielle de Vietri, Gerry Wedd.A NETS Victoria and Ian Potter Museum of Art touring exhibition.
Chuo City Garden was established in 1993 to commemorate the Sister City relationship between Chuo City, Tokyo, Japan and the Shire of Sutherland. Plaques were unveiled in the garden in 2002 and 2006 to commemorate the 10th and 15th anniversaries of the Sister City relationship.
Paul is going to finish up the Sydney ACM SIGGRAPH events for 2017 with a talk about projects, research, and planning. You’re probably very familiar with his work on Guardians of the Galaxy vol. 2, Avengers: Age of Ultron, Allegiant, Insurgent, Iron Man Three, Prometheus, and so many others. He’s an engaging and entertaining speaker, you should come listen to him talk and look at his pictures.
Float above the exhibition or view the sculptures from the perspective of a little cat or a massive giant. Sculpture by the Sea and Start VR have collaborated to create an interactive VR experience that offers Users an entirely new way of seeing the exhibition. Using 360° videos & photogrammetry this on-site VR experience highlights Sculpture by the Sea, Bondi 2017
“We are a full service studio who craft stunningly immersive VR content. Our specialised 360º storytellers, technologists, artists and film-makers are at the frontier of user experience.”
The Strathfield Food and Jazz Festival is on this Saturday! Get your tastebuds at the ready for an overload of delicious food from cultures across the world including Malaysian, Korean, Turkish and more!
– Live cooking demos by MasterChefs Julie Goodwin and Diana Chan!
– Kids entertainer Gaston Soufflé
– Vibrant jazz with Gang of Brothers and Sydney Jazz Collective
– Kids cooking classes with the Colourful Chef from Foost
– International food stalls
BUSHWHACKERS – Big Family Bushdance at Addison Road Centre Marrickville.
Operation Art is the premier state-wide visual arts exhibition for school students from Kindergarten to Year 10. With almost 800 artworks by students from throughout NSW, this year’s exhibition offers Armory Gallery visitors a great opportunity to celebrate the creative talents of our young people at our unique riverside setting.
Witness Australasian nature at its most dramatic, graceful and unexpected with this stunning collection of breathtaking photographs that showcase the exceptional talent of our region. See over 100 images presented in large format, accompanied by information in English and Chinese that unveil spectacular moments in nature.
All the photography was amazing, some photographers that I particularly enjoyed were Stuart Blackwell, Andrew Peacock, Chris Firth, Georgina Settler, Charles Davis, Julie Fletcher, Karen Willshaw, Justin Gilligan and Robert Irwin.
12 Stunning 2017 Nature Photographer of the Year Finalist Photos. Every year the Australian Geographic Nature Photographer of the Year competition presents incredible perspectives on natural landscapes, animals and our effect upon them. 2017 is no different, with a huge range of fascinating nature photography to take in. Enjoy this selection of 12 finalist photos from the competition, courtesy of the South Australian Museum.
The Korean Cultural Centre Australia (KCC) presents a specially-curated exhibition ‘Dissolve, Inspiration by Korea’ featuring five Australian artists who have been inspired by Korean art and culture. This exhibition aims to provide an opportunity to introduce the artists’ artworks which were inspired from their own personal experiences of Korea. It also investigates the multifaceted nature if cultural exchange to reveal the meaning of being Korean through the perspectives of non-Koreans. Hence, through the exhibition, the specific intimate connection that exists between interpretations and crossovers of culture is exposed. Developed by the KCC, ‘Dissolve, Inspiration by Korea’ comprises of about 30 works including painting, fibre, textile and Hanji (Traditional Korean paper) crafts by Yvonne Boag, Jan Coveney, Catherine O’Leary, Marianne Penberthy and Maryanne Wick.
It is impossible to define the culture of a nation into a single word. Particularly, objectively looking into one’s culture to accentuate its appeal is undoubtedly a strenuous task. In a sense, these new form of artworks created by an artist from another culture enables you to understand Korea and Korean culture. Furthermore, it is a rare opportunity to deepen the understanding of another culture.
Yvonne Boag Scottish-born printmaker, painter and sculptor. In 1977 she graduated from the South Australian School of Art with a Diploma of Fine Art (Printmaking). She has been a resident in print workshops in Scotland and France as well as being Australia’s first artist-in-residence in Korea.
Korean painting freed me from the constraints of my education in the western tradition of Art. I had lived in Framce for a few years before I first visited South Korea. My impression of Korea when I arrived from Paris was of colour and energy and a freedom from the awareness of the heavy tradition or weight I carried from my western roots. I could see an learn with new eyes.
Colour was celebration of beauty, colour had meaning and direction. Colour was not used just as a way of depicting a real scene, it was an expression of time, place or direction, symbolic in it’s use in Shamanist traditions and in the traditional clothing worn by the people.
Korea also related me from the overwhelming predominance of thick oil paint used by most artists in Australia, a feeling that any painting of value must be thick and expressionistic. The use of Korean water paint and ink proved to me the power of simplicity and less.
Jan Coveney She lives in Adelaide, South Australia and has studied the crat under several different Hanji artists in Korea and she has taught Hanji for the last 10 years. As very little is known about this craft outside of Korea, she’s currently writing a book on it in English.
Everyone in life needs a passion and my passion is Hanji. There’s something about the paper being so tactile and foldable that is alluring and being able to make beautifully practical, everyday objects is extremely satisfying in this, everything looks the same, throwaway world.
Hang is the Korean word for paper and is also the word used to describe the craft of making objects out of cardboard and covering them with the paper. There are two and three-dimensional forms of Hanji but I work mainly in the three dimensional field. ‘Han’ refers to the Korean people and ‘ji’ means paper. It’s a paper made from the bark of the mulberry trees ‘dar’ and has been made as far back as the Three Kingdoms period around 130AD.
My inspirations come from various forms of Korean history, from my time spent in Korea an the sights and experiences I had there as well as symbolisms so close to the Korean culture. In the last few years I’ve been branching out and incorporating some of my photography into my pieces as well as using Hanji techniques to create more modern designs that appeal to the western world.
Each piece I make is very time consuming but it represents a part of my Hanji journey. My extensive travelling over the last 15 years has influenced that journey and I’m learning something new everyday, the more I do the more I get out of it.
Because little is known about this craft outside of Korea and even less is written about it in English, I’ve had to make many adjustments to allow me to continue doing Hanji. Not everything I’ve needed has been available in the countries I’ve called home but with a lot of determination I’ve been able to source most of the products either locally or online which has allowed me to continue my craft.
Creating a teaching Hanji means everything to me. I’ve had a longtime passion and determination to do what I love best, no matter what the obstacles that have arisen, and there have been many. My ongoing goals are firstly, to support other English speakers who have learnt this craft and who would like to continue doing it outside of Korea an secondly to spread the word about the beauty of Hanji in the English speaking world.
Catherine O’Leary She lives in Melbourne who works primarily in the Textile Arts. With a formal training in Fine Arts, her portfolio spans thirty years. She is inspired by the simple, clean lines of the Korean aesthetic.
My first contact with Korea came when I was invited to have an exhibition of her felt artwork in 2008. I returned the next year with a follow up exhibition at Gana Gallery and also held a workshop in Seoul. Other exhibitions in South Korea included; 5 Australian Artists exhibition in Heyri Artists Village and being included in two Bojagi Biennale touring exhibitions
I was introduced to the tradition of Bojagi by the artist and curator Chunghie Lee. Bojagi is a traditional folk art which originated from the need for fabric to store or to wrap things. It embodies craftsmanship with historic traditions. There is a potential for Bojagi to be developed into a fine art form.
The techniques of piecing fabric together and making a feature of the exposed seams identifies the unique structure of Bojagi. In my work, this structure allows light to filter through and the functions between the seams create their own patterns. I am inspired by the simple, clean lines of the Korean aesthetic.
Art is a powerful way to connect people regardless of age or nationality. We are coming together as a unique community showcasing the ties between our countries.
Marianne Penberthy She is an established West Australian fibre and textile artist based in Geraldton, Western Australia. She studied Art and Design at Durack College Geraldton and Edith Cowan University in Perth where she obtained a BA (Visual Arts) in 1995. In 2014, at the invitation of the Korean Bojagi Forum, she showed new works in a solo exhibition on Jeju Island South Korea, a project funded by the WA Department of Culture & Arts and the City of Greater Geraldton.
My introduction to Korean Bojagi came in 2002 when I visited a travelling Bojagi and Beyond exhibition at the Geraldton regional Art Gallery in Western Australia. This exhibition was the result of one of the first workshops in Australia about Korean Bojagi conducted by textile artist and educator Professor Chunghie Lee. These textiles works in this exhibition had a lasting and haunting influence on my art practice.
What inspires me about Bojagi is the transforming use of the remnant and the value placed on scraps of cloth by the Korean makers of Bojagi. The strength of the joint seams grids, the abstract quality of the patchwork cloth and the concept of wrapping something precious in a carefully constructed cloth all resonated with me. Thoughts about wrapping a memory, a place of something precious in cloth or paper filtered down into my work.
The referencing of women’s work through textile construction carried this inspiration. In 2013 I received a grant from the Western Australian Department of Culture & Arts. This grant application was directed towards the development of new work influenced by Asian textile traditions including Korean Bojagi and shibori. With the assistance of this grant I was able to change the traditional approach that had been driving my work with cloth. I chose to create new works outside these traditions and more in alignment with my West Australian art practice. I chose to do this in isolated bushy locations where I spend long periods of time in winter. The work evolved as an implied memory of cloth, rather than actual cloth. I sifted baking flour directly over lace remnants onto the red dirt, removing the cloth to reveal the cloths’s mark or memory. The act of sifting flour over lace onto the ground surface referenced wormed’w work. Historically wheat and flour is associated with the colonisation and early development of Australia. This is important to me. Working in isolated bush locations helps me to connect with place, history and the land on which I work.
In 2014 and 2016 Professor Chunghie Lee invited me to present my work at The Korean Bojagi Forums in Jeju Island and Seoul respectively. These Forums supported contemporary interpretations of Korean Bojagi. It is apparent that inspiration has been drawn from Korean Bojagi traditions by textile artists from around the world.
The cultural exchange through textiles and the Korean Bojagi Forums offered me an opportunity to experience the diversity of another country its culture and to develop new friendships. The Forums gave voice to new ideas, concepts, skills, and approaches to art making and importantly the opportunity to be part of an ever expanding international contemporary fibre arts ………………Australia and beyond.
Maryanne Wick She is a lecturer in painting and drawing at the National Art School in Sydney, from where she graduated in 2001 with a BFA (in Painting). The five years spent living and working in North Asia, primarily in South Korea and China, was invaluable to her development as an artist.
‘My still life paintings about Korea are conceptual. They depict hand-made ceramic pottery and local objects in a fragile estate of being. Rather than focus entirely on the composition and the objects themselves, I look toward the environment, my surrounds and the society in which I live to create my paintings’. (Maryanne Wick, Seoul, 2003).
I started travelling to Korea in 1999. At that time, a friend and colleague invited me to the home of Korean ceramicist and potter Jong-neung Lee, known by this artist name Jisan. Jason collected pure water from the stream next to his house and made us lunch from his garden. We ate and drank from his exquisite hand-made bowls and talked about Korea, its art and tradition. This meeting was significant to my painting still life compositions about Korea.
After graduating from the National Art School in 2001, I went back to Korea to begin my practice as a full-time artist. The tree small paintings ‘Tilt (Soju Cups)’ (2002) ‘Equilibrium’ (220) and ‘Kumgangsan’ (2203) were painted in Seoul. They formed part of a large series of still life works exhibited in Seoul and Sydney.
Returning to Australia in 2006, I continued painting still life composition based on a ‘sense of place’. The three compositions ‘Still Life in Celadon I’ (2010), ‘Still Life in Celadon II’ (2010) and ‘Still Life in Celadon (Memories of Invading)’ (2010) again depict hand-made ceramics from Korea. Focusing on the environment, local colour and light (which is quite different to the northern hemisphere) each painting aims to reflect my natural surroundings an memories of Korea.
‘Still Life Undisturbed’ (2015) and ‘Still Life After “The Owl and the Pussycat”‘ (2016) depict my collection of Korean and Australian ceramics, various objects and ‘gifts’ from nature. In more recent years, lizards and birds have found their way into my paintings. Nature is a strong influence on my still life painting, together with the use of symbolism, shadow-play and narrative derived from traditional Asian art and, specifically, traditional Korean art.
On reflection, the title of this exhibition ‘Dissolve, Inspiration by Korea’ accurately reflects my Australian heritage and acquired Korean sensibilities. It captures the merging of two unique countries, cultures and art that have impacted, quite significantly, my life and art.
In The Works is a new film screening event at Event Cinemas George Street where WIFT members can preview their work-in-progress films on a cinema screen and in front of a live audience.
The aim of the night is for the filmmaker/member to gain insightful audience feedback to assist in the project’s next edit.
Our debut feature preview is The 33rd Wedding directed by Jed Malone.
Chinese art was once regarded as a gift from the gods. Artists were conduits between earth and heaven; their aim was not just to capture the beauty of nature but to convey its vital “breath”. Many were recluses or monks, for whom painting and calligraphy were spiritual exercises. But that was long ago, in a China where the “three teachings” of Confucianism, Taoism and Buddhism suffused every aspect of life.
China today is a different country, where the official “religion” is atheism and most people are too busy making a living to spare much thought for their soul. But interest in spirituality is growing, as is the freedom to pursue it. For some contemporary artists, faith fills a personal need. “I grew up without religion,” says Tianzhuo Chen, a Buddhist. “I think that is one of the reasons I have this longing to believe.” Even for atheists or sceptics, the symbols of religion tap into deep wells of cultural memory and human meaning.
“Art is not like science,” says Gade. “It is concerned with the soul, the spiritual world.” Ni Youyu is not religious, but he thinks “a good artwork should have a sense of the divine”; otherwise, “it is just a pile of paint”. Zheng Guogu believes ideas and imagery from Tibetan Buddhism give “a new dimension” to his work. Other artists put religious symbols in outrageously secular contexts to mock the modern gods of money, power and pleasure.
The artists in Ritual Spirit do not seek to raise man into heaven. But all are trying, in one sense or another, to bring the gods down to earth.
Among the highlights:
- Ishvara, Tianzhuo Chen’s over-the-top operatic rave inspired by the Bhagavad Gita
- Mr Sea, by Geng Xue (pictured), in which exquisite porcelain figures act out a classic tale of the supernatural
- God Comes Down to Earth, Chen Yu-Lin’s dramatic images of religious festivals in Taiwan
- Scripting, a high-tech ode to hidden harmonies by Luxury Logico
- Joss, a firecracker of a video on material and spiritual values in the consumer age by Cheng Ran and Item Idem
- Ni Youyu’s Dust(Thomas Ruff: 16h 30m/ -50°), a “photograph” of interstellar space made with chalk on a blackboard.
Producing a digital human in CG has been the ‘Manhattan’ project of computer graphics, it is both extremely difficult and has wide ranging implications both commercially and ethically. Digital Actors, Agents and Avatars are all very hot topics, but what few in the industry anticipated is how rapidly this would move from the issue of rendering a high quality human, to being able to do so in real time. Come and see MEETMIKE at ACM Siggraph ANZgraph were Mike Seymour will explain the project first shown that SIGGRAPH 2017 in LA that aimed to not only produce a realistic human but to do so at 90 frames a second in stereo in VR. Beyond realtime at even 30 fps (30 milliseconds), this International team has to render each frame in just 9 Miliseconds. To produce such fast results, the team deployed Deep Learning AI for a markerless facial tracker and solver, and used a custom build of Epic Games UE4.
In this worldwide first, each day of the SIGGRAPH show digital Mike met digital versions of industry legends and leading researchers from around the world. People such as Dr Paul Debevec, Tim Sweeney, Oscar Winners Ben Grossman (Magnopus) and Wayne Stables (Weta) and leading researchers from places such as PIXAR’s Christophe Hery, Glenn Derry (Fox).
Together they met and conducted interviews in “Sydney” via virtual reality which was watched either in VR or on a giant screen.
This project is a key part of a new research project into virtual humans as Actors, Agents and Avatars. The ANZGraph session will provide valuable data and insights for taking digital humans research to the next level, and share lessons learnt from the collaboration of R&D teams from around the world. MEET MIKE researchers span four continents, three universities and six companies including Epic Games, 3Lateral, Cubic Motion, Loom.ai and the Wikihuman global research project. The project aimed to explore best of class scanning, rigging and real-time rendering. Please note that this project aims to give away nearly all the data for non-commercial use and is a non-profit research effort.
(As featured on ABC TV’s Catalyst program).
Code Breakers: WOMEN in GAMES Did you know that almost 50% of gamers are women? Maybe, but how much do you know about the integral role that women have played shaping gaming? Though they still comprise less than 10% of the industry, the contribution of women is enormous.
Screen Worlds: Bringing together rare footage, fascinating objects and interactive displays, Screen Worlds takes you through a journey that examines the past, present and future of screen mediums and digital culture.
NATIONAL GALLERY VICTORIA HOKUSAI Exhibition
Katsushika Hokusai is regarded as one of the most influential and creative minds in the history of Japanese art. His unique social observations, innovative approach to design and mastery of the brush made him famous in Edo-period Japan and globally recognised within a decade of his death.
The self-described ‘Old man mad about drawing’ was known by at least thirty names during his lifetime and was renowned for his unconventional behaviour. Despite his fame, Hokusai never attained financial success and his years of greatest artistic production were spent in poverty. He travelled and moved his resting place and studio regularly, finding inspiration for his unique style through close observations of nature and interactions with ordinary people.
In 1909 the NGV purchased five works from Hokusai’s iconic Thirty-six Views of Mt Fuji series, including his most celebrated image The great wave off Kanagawa (The great wave), 1830–34; two works from his A Tour to the Waterfalls in Various Provinces series; and four other major works. These astute acquisitions established a legacy of Japanese art in Australia that has now extended for more than one hundred years.
Hokusai features 176 works from the Japan Ukiyo-e Museum, Matsumoto, and the NGV Collection that encompass the artist’s remarkable seventy-year career. For the first time in Australia, seven of Hokusai’s major series, including Thirty-six Views of Mt Fuji, 1830–34; A Tour to the Waterfalls in Various Provinces, c. 1832; Remarkable Views of Bridges in Various Provinces, c. 1834; Eight Views of the Ryūkyū Islands; and One Hundred Ghost Stories, c. 1831, are on display, as well as selected works representing his great passion for the classical subjects of birds and flowers and historical poetry. A selection of rare prints and paintings that show the stylistic and thematic changes of Hokusai’s formative years, as well as three sets of illustrated books that highlight the artist’s masterful and compositionally innovative book illustrations, including the complete set of fifteen volumes of Hokusai Manga, complete this comprehensive insight into the life and times of this major figure.
EARLY to MATURE 1782-1831
HOKUSAI MANGA 1814-78
THIRTY-SIX VIEWS of MT FUJI 1830-34
ONE HUNDRED GHOST STORIES 1831
A TOUR TO THE WATERFALLS in VARIOUS PROVINCES 1832
EIGHT VIEWS of the RYŪKYŪ ISLANDS 1832
SNOW, MOON and FLOWERS 1833
A TRUE MIRROR of CHINESE and JAPANESE POETRY 1833-34
BIRDS and FLOWERS 1833-34
REMARKABLE VIEWS of BRIDGES 1834
ONE HUNDRED POEMS EXPLAINED by the NURSE 1835-36
ONE HUNDRED VIEWS of MT FUJI 1834, 1835, 1839
The LIFE of SHAKYAMUNI 1845
MCCLELLAND SCULPTURE PARK & GALLERY McClelland has a long tradition of innovation and success. Its entrepreneurial spirit in the last decade has doubled the size of the Sculpture Park to 16 hectares, more than trebled the attendance to over 130,000 visitors annually, acquired significant works and forged public/private partnerships to consolidate its role as an artistic hub and the focus for cultural tourism in the Frankston & Mornington Peninsula regions.
STEPHEN HALEY: Out of Place
Working in painting and digital media, Stephen Haley uses 3D modelling software to explore the virtual and actual environments of contemporary experience. Where once we inhabited particular and unique places, these are increasingly replaced by generic constructed space. Haley transforms seemingly unremarkable urban surroundings into complex spatial and visual phenomena, to highlight the current conditions of rapid urbanisation, digital evolution and environmental degradation. This exhibition features a selection of Haley’s recent constructed photographs and video work, including vast aerial vistas of metropolitan spaces and driving simulations.
TINA HAIM- WENTSCHER Sculptor 1887-1974
This exhibition celebrates the life and art of Tina Wentcher, a somewhat overlooked figure in Australian sculpture whose works elegantly unite Eastern and Western aesthetic influences. The artist was born in 1887 in Constantinople and established herself as a significant sculptor in Berlin, before travelling extensively with her husband Julius throughout South East Asia. Here they produced numerous sculptures and paintings, including portraits of the local people and landscapes. After fleeing conflicts in Europe and Asia, the Wentchers arrived in Australia in 1940 and continued to produce work that brought together varied cultural and aesthetic influences. After several years of research, renowned curator Ken Scarlett OAM has traced Wentcher’s sculptures in Germany, Greece, China, Singapore, North America and Australia, with this reseacrh and key loans to be presented with McClelland’s representative collection of works by the artist.
The annual David Jones Flower Show at the Elizabeth Street Store in Sydney is in its 32nd year. 30 specialist florists have spent over 10,000 hours and used 150,000 fresh flowers to design this year’s show. It is the largest public event for David Jones and runs daily from 31st August 2017 to 10th September 2017.
ART GALLERY of NEW SOUTH WALES
ARCHIBALD, WYNNE and SULMAN PRIZES 2017
The Archibald, Wynne and Sulman Prizes is an annual exhibition eagerly anticipated by artists and audiences alike, first awarded in 1921, is Australia’s favourite art award, and one of its most prestigious. Awarded to the best portrait painting, it’s a who’s who of Australian culture – from politicians to celebrities, sporting heroes to artists. The Wynne Prize is awarded to the best landscape painting of Australian scenery, or figure sculpture, while the Sulman Prize is given to the best subject painting, genre painting or mural project in oil, acrylic, watercolour or mixed media. Each year, the trustees of the Art Gallery of NSW judge the Archibald and Wynne, and invite an artist to judge the Sulman. The 2017 judge is Tony Albert. Visit the exhibition to vote for your favourite portrait in the ANZ People’s Choice award before voting closes (2 October) and see the work of budding artists aged 5-18 on display in the Young Archies.
‘Jack’s face is full of character,’ says Do. ‘I wanted the painting to capture his gravitas but also the loneliness that has been his constant companion. I mixed wet and semi-dried paint to create a texture that would evoke mountains and waterfalls, tree bark, fallen leaves, clouds and rain to encapsulate the beauty of the Australian landscape inside this beautiful man’s face.
Victorian watercolours were among the very first works of art acquired by the Art Gallery of NSW. Painted in an elaborate, highly finished style that claimed consideration on equal terms with oil painting, they were highly prized in the 19th century. Watercolour painters embraced new and ambitious subjects and usually displayed their pictures in ornate gold frames to set off their jewel-like colours.
Works by Australian and New Zealand contemporary artists who engage with everyday materials and imagery in surprising and transformative ways. In Out of the ordinary, paper price tags burst into a radiant mandala, a printer performs a colourful abstraction, a huge tarpaulin becomes an unexpected canvas and everyday fluorescent lights convert into brilliant ‘blue poles’.
The artists include Rebecca Baumann, Kushana Bush, Sara Hughes, Helen Johnson, Jonathan Jones, Nicholas Mangan, Laith McGregor, Grant Stevens and Michelle Ussher.
Mikala Dwyer creates objects and installations that are both playful and provocative, re-imagining familiar materials and what they say to us about the world in which we live. Her highly engaging sculptures explore ideas about shelter, childhood play, modernist design and the relationship between people and objects. Often beguiling in their colour and profusion, her works incorporate raw materials and found objects in inventive and unexpected ways that transform their architectural settings.
For A shape of thought Dwyer co-opts both the everyday and the fabulous to transform four of our contemporary galleries – floating 150 silver balloons high above the gallery floor, installing an elaborate suspension of fabric shapes held aloft by stockings, and building a large circular sculptural gathering that includes crystal-like Perspex structures.
Passion and procession brings together painting, sculpture, video and installation works from ten contemporary Filipino artists, revealing their very personal responses to faith, history, politics and life in the Philippines.
The works draw on folk mythology, family archives, nature and religious ceremony to reconsider established narratives of history and nation. The artists have used found as well as ritual objects, plant specimens and symbols of precolonial histories to address the ambiguities of faith and science, social inequality and relationship to place. In doing so, they demonstrate a belief in the potential of art to inspire, heal and effect social change.
The artists include Santiago Bose, Marina Cruz, Alfredo Esquillo Jr, Nona Garcia, Renato Habulan, Geraldine Javier, Mark Justiniani, Alwin Reamillo, Norberto Roldan and Rodel Tapaya.
Will provides a unique opportunity for you to get a hands-on look at how 3ds Max sits comfortably within the traditional design process to provide for the reduced time frames and the geographically dispersed teams which typify today’s live entertainment industry.
We will take you on a high-speed walk through the building and rendering of a 3D model of a live event in 3ds Max, adding realistic lighting and atmosphere whilst ensuring that everything is modelled to a real world scale ensuring the same models can be used by the workshops to produce the real thing.
Get valuable insights and plus live demonstrations including:
- an understanding the role that models have always played in the design process
- an appreciation how the technology must be an enabler and not a barrier
- experiencing how 3ds Max can be used as a rapid visualisation tool including VR
- an understanding of how real-time rendering assists rapid development
- an understanding of how Yeo Creative Solutions use 3ds Max as the backbone of their design and visualisation service
- see how Chaos Group V-Ray provides fast, flexible and realistic rendering
Jonathan Yeoman is an experienced 3D visualiser and live entertainment production manager. Jonathan runs Yeo Creative Solutions who support all stages of the creative process including high-quality 3D visualisations, fly throughs, interactive 360-degree panoramas, set designs, construction drawings and the supply of specialist scenic flooring, fabrics and scenic products. He has a background in theatre production and applies the knowledge of construction and lighting techniques that he gained through this experience to add detail and realism to the models his company produces.
Yeo Creative Solutions combines new technology and experience to create better results for event planners and designers with 3D visualisation, drafting and set design that gets everything right before the event takes place.
David Zwierzchaczewski is the animation specialist for media and entertainment at Autodesk. He has spent the past 20 years working in the Film, TV, and Games industries and the last 5 years at Autodesk where he has been at the forefront of software development and implementation in the industry.
The Jaunt One is a professional grade stereographic cinematic VR build from the ground up and designed with visionary VR creators in mind. Come along to see the first Juant One outside of the USA and gets some hands on time with the team at Staples VR who have partnered with Jaunt to provide tech, rental and support for the system in both New Zealand and Australia. Staples VR will put the camera through its paces and explain the good the bad and the amazing when it comes to the system. Staples VR will compare with outher capture systems and help you with decisions around which camera is right for your project.
Staples VR lead the way when it comes to live action 360 video and vr content creation. They have worked with clients in entertainment, medical, forensic, education and telecomunication industries to name a few and are on the fore front of this rapidly expanding industry.
They have build a huge range of skills and techniques to get the most of of your capture systems and post workflow and will for the first time be offering these in depth learnings to external operators and technicians looking at entering this industry.
AUTO DESK Design 2020 Autodesk Doltone House Pirrama Road, Pyrmont
THE FUTURE OF MAKING THINGS
Future of Making Things by Andy Cunningham, Autodesk
Industry Update by Greg Ewing, President (NSW) Engineers, Australia
Customer presentation by Steve Fox, BIM Consulting
firstname.lastname@example.org T. +61 2 8252 8488 M. +61 (0)452 455 165
The Value of Collections by Autodesk technical team, Sam Macalister & Matthew McKnight
‘How to get there’: Moving to Subscription by Andy Cunningham, Autodesk.
Featuring creative live-drawing using coding (presented by Tomasz Bednarz of Data61 and UNSW Art & Design) and invited lecture by Wes Griffin from NIST, USA 🙂 After talks, we all will move to Expended Perception and Interaction Centre (EPICentre), for small nibbles and one or two HPC Visualisation demos.
Abstract: Everything starts with a pixel. Once you know how to display a dot, you can draw almost everything without any limitations. Things became simpler – you don’t need to know operation on bits to draw a ghost or a flower, or remember hexadecimal numbers to animate shapes. However, you still need to know a bit about hardware, its limitations to produce efficient code and creative real-time visuals. Ninjas can achieve almost impossible, even control Big Data of 64kb. Ninja Hack Art is alive in connecting dots of art and science, making new engineering designs. This talk will focus on live-drawing with code.
Bio: Tomasz Bednarz
Title: Application Creation for an Immersive Virtual Measurement and Analysis Laboratory
Abstract: Content creation for realtime interactive systems is a difficult problem. In game development, content creation pipelines are a major portion of the code base and content creation is a major portion of the budget. In research environments, the choice of rendering and simulation systems is frequently driven by the need for easy to use content authoring tools. In visualization, this problem is compounded by the widely varying types of data that users desire to visualize. We present a content creation framework incorporated into our visualization system that enables measurement and quantitative analysis tasks in both desktop and immersive environments on diverse input data sets.
Bio: Wesley Griffin is a Computer Scientist in the High Performance Computing and Visualization Group of the Applied and Computational Mathematics Division of the Information Technology Laboratory at the National Institute of Standards and Technology (NIST). He currently works on realtime interactive systems both at the infrastructure level and at visualization creation of scientific data produced at NIST. He earned his PhD in Computer Science from the University of Maryland, Baltimore County in 2016.
KHRONOS is royalty-free, open standards for 3D graphics, Virtual and Augmented Reality, Parallel Computing, Neural Networks, and Vision Processing.
The Walkway covers more than 800 metres from Rhodes Station to Concord Hospital in Sydney’s inner-west, and runs along the mangrove-studded shores of Brays Bay on the Parramatta River.
At the centrepiece are magnificent granite walls bearing photographic images of the Kokoda campaign. There are 22 audio-visual stations along the Walkway, each describing a significant place or military engagement. The Walkway has been planted with lush tropical vegetation simulating the conditions of The Kokoda Track.
Mining Pyrite offers a comparison between the failure and success of Olympic Park through the work of artists for whom work and experimentation are synonymous. The constant testing and exploration of the boundaries of what does and doesn’t work is the stock and trade of creativity. Over the past 12 years Sydney Olympic Park Authority has acknowledged and supported this endeavour through its Artists at the Armory program. Mining Pyrite is an exhibition that sheds light on the activities of the studios, as well as celebrating a history of the success of the residency and proving the point that if a studio exists for emerging artists, success may prevail over failure.
Curators Cassandra Hard-Lawrie and Nick Vickershave selected 20 artists who have occupied the studios and whose works exemplify a journey of exploration, a journey that demonstrates that creativity is not easy, a journey that traces the journey within the journey from failure to success.
Mining Pyrite features the artworks of: Wade Marynowsky, Mark Booth, Chris Bowman, Mark Brown, Claire Healy and Sean Cordeiro, Louisa Dawson, Gary Deirmendjian, Judith Duquemin, Allan Giddy, John Gillies, Locust Jones, Akira Kamada, Michael Keighery, Daniel Mudie Cunningham, Meredith Peach, Jane Theau, Rachel Walls, Ken and Julia Yonetani.
The region’s premier forum for the exploration of Broadcast, Media and Entertainment technology, SMPTE17 includes three days of compelling technical conference sessions, offering attendees unparalleled opportunities for professional development, relationship building, and “mind sharing.” Presenters and panelists will include a wide range of international and local technology thought-leaders.
The Australia Section of the SMPTE was founded in 1971. Today, it is part of the SMPTE Asia Pacific Region that includes more than 750 members. SMPTE in Australia has been a leader in building ties between like-minded and guild organisations serving the media and content industry. Further information about SMPTE Australia is available at smpte.org.au.
The Oscar® and Emmy® Award-winning Society of Motion Picture and Television Engineers® (SMPTE®), a professional membership association, is one of the leaders in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem, worldwide. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.
More than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world sustain the Society. Through the Society’s partnership with the Hollywood Professional Alliance® (HPA®), this membership is complemented by the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, commercials, digital media, and other dynamic media content.
WALKLEY MEDIA TALKS in association with the State Library of NSW: Interactive Storytelling: New Ways of Engaging Audiences.
In the digital age newsrooms are experimenting to capture readers’ attention. Some approach the challenge in a tech-driven way, with chatbots, interactive games, quizzes and complex multimedia stories that let readers choose their own adventure. For others it’s about involving the audience from the earliest stages of story selection through to crowdsourced content. The rise of news bots and Snapchat glasses raise questions about user experiences and concerns about information curation. So what’s next in storytelling, and how are different organisations faring with the growth of interactive content?
KOREAN CULTURAL OFFICE Passage to Pusan: The Journey Bridging the Friendship between Two Families
To commemorate the anniversary of the Korean War, representing the book of the same name by Australian journalist Louise Evans. The exhibition details the 15,000km journey of Australian Mother, Thelma Healy to spiritually reunite with her son Vincent after his death during the Korean War. The journey bridging the friendship between two families, transferring Thelma’s travel diary, family photographs and intimate letters onto six installations, revealing Thelma’s pilgrimage and an enduring friendship forged by mutual loss, grief and gratitude with Korean war widow Kim Chang Keun and her family. 340 Australian soldiers died fighting for the democracy in Korean during the Korean War.
White Rabbit Gallery: The lights go out on THE DARK MATTERS
The ancient Chinese got their ink from smoky oil lamps, brushing away deposited soot and missing it into a paste that hardened into “stones”.
7 & 8 July
Lantern Making Workshops
DisConnex: Reframing Resistance. Chrissie Cotter Gallery, Camperdown NSW, Australia
A group exhibition showcasing re-used salvaged heritage items from homes destroyed by WestCONnex; in tandem with films, photographs, placards, works of art, protest actions and costumes that creatively challenge the displacement caused to communities across Sydney by the spreading network of tollways.