nature+humanity+art

Landfall

LORNE SCULPTURE BIENNALE

17 Mar - 2 April 2018

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LSB18 Newsletter - May/June 2017

Lorne Sculpture Biennale, May/June 2017 News
 

Hello Lorne Sculpture Exhibition Inc members and supporters
This newsletter announces our judges, gives more information on our Cranlana dinner on 9 August, provides an update on sponsors, and profiles of two of our artists.


LSB2016, Jill Orr ‘The Quarry, Antipodean Epic’ (performance), photo by Leon Walker
 
LSB 2018 Judges 

Curator Lara Nicholls and our Patron Kerry Gardner have secured a remarkable panel of judges for the Biennale in 2018. The Landfall Non-Acquisitive Award and the Emerging Artist Award will be judged by Callum Morton, Charlotte Day and Max Delany; and the Sculpturescape Land Art Award will be judged by Maudie Palmer, Jason Smith and Lara Nicholls. Our judges hold highly esteemed positions in the Australian art world and bring to our artists and visitors a wealth of experience and expertise in contemporary art practice.
 
 
Charlotte Day
is the Director of the Monash University of Modern Art, a position she has held since 2013 and where she has staged an innovative and engaging program of themed and solo exhibitions brining new insight and appreciation for artists and their practice. Prior to that she was Associate Curator at the Australian Centre for Contemporary Art and managed numerous private curatorial projects. She has over seventeen years’ experience in arts management, having held positions of Director and Acting Director respectively at key Melbourne arts spaces, the Centre for Contemporary Photography and Gertrude Contemporary. It is a great thrill to have Charlotte on our Judges’ panel for 2018.
 
 
Professor Callum Morton
is one of Australia’s most acclaimed installation artists. You may be familiar with his enigmatic urban relic, Hotel (2008), located along EastLink; and some of you may have seen Valhalla, his remarkable ‘memory ruin’ at the 2007 Venice Biennale. His works have been exhibited at the Santa Monica Museum of Art, LA, the Hamburger Bahnhoff Museum, Berlin, the Indian Triennale, and in several Australian galleries. Callum is the Head of Fine Art, Faculty of Art, Design and Architecture, Monash University. Here his large-scale installation, Silverscreen provides a spectacular entrance to the Monash University Museum of Art. I am delighted for our Landfall artists that they will have the opportunity to show their work to such a highly regarded artist and mentor.
 
 
Max Delany
has been an influential figure in the Australian contemporary art scene for many years. He is currently the Artistic Director and CEO of the Australian Centre for Contemporary Art (ACCA), where he has redirected the curatorial program bringing Melburnians a remarkable and insightful range of exhibitions since he joined in 2016. Prior to this, Max was the Senior Curator of Contemporary Art at the National Gallery of Victoria bringing us wonderful multi-disciplinary exhibitions such as Melbourne Now and the extraordinary and beloved experience of Andy Warhol|Ai Weiwei, one of the NGV’s most visited exhibitions. We look forward to welcoming Max to the Otways in 2018 and feel greatly honoured that he so enthusiastically joined our Judges’ panel for Landfall.
 
 
Maudie Palmer
is greatly admired for her pioneering curatorial work as the inaugural director in 1981 of Heide Museum of Modern Art in Bulleen; and as the inaugural director of the TarraWarra Museum of Art at Healesville from 2003. More recently she has lead the charge in the artistic revival of regional Wimmera/Grampians township, St Arnaud. This year she was appointed as Strategic Manager of the McClelland Sculpture Park and Gallery in Langwarrin, arguably Australia’s most important sculpture park and museum dedicated to the practice of sculpture. Maudie’s experience and expertise along with her personal relationships with many of Australia’s leading artists places her in a position of great esteem among artists and their audience.
Photo by Jacqueline Mitelman
 
 
Jason Smith
is the Director of the Geelong Art Gallery, a position he has held since 2016. Here he has revitalised the exhibition program and shed a new light on the contemporary collection of this leading Australian regional art gallery. Prior to this appointment, he was the Head of Australian Art at the Queensland Art Gallery and Gallery of Modern Art in Brisbane and before that he was the much-admired Director of Heide Museum of Modern Art in Bulleen. We are thrilled that Jason returns to the Lorne Sculpture Biennale to judge the Sculpturescape Land Art Award with Maudie Palmer, both former Directors of Heide, the home of one of Australia’s great sculpture collections. 
Photo by Matthew Wren
 
Dinner at Cranlana

In our last newsletter, we included the invitation to a dinner, hosted by our patron Kerry Garner, at the Myer family home, Cranlana, on 9 August 2017.
 
This will be a fabulous evening and is our key fund-raising activity for the 2018 Lorne Sculpture Biennale. It will provide an inspiring way to reconnect with friends and fellow supporters and enjoy exceptional cuisine and premium wines while donating crucial support.

Cranlana is a gracious private home and tickets are limited to six tables of ten. We still have two unbooked tables available plus single and double seats at some of the other tables.  There is a Curator’s and a President’s table, please indicate if you wish to sit on either of these.

Entry is by donation of $1,000 per person, of which $910 is tax-deductible. While this is a large amount, it is another enjoyable and tax effective way to support the Lorne Sculpture exhibition.



Your invitation is above, click to download.

Please contact:
Karen Pitt if you have queries about the tax deduction:
karenpitt1950@outlook.com

Sicca van Schaardenburg if you want to book tickets:
info@lornesculpture.com


We look forward to welcoming you to Cranlana in August!
 
Sponsors


Where would we be without our generous sponsors! Our last two newsletters thanked those who committed early and we can now add to that list a generous grant by the Myer Foundation to cover the continuing appointment of a part-time manager to work with the Curator and Committee of Management to carry out project management, relationship development and media/social media work for the biennial sculpture exhibitions to be held in 2018 and 2020. This position will be advertised on our website later this month.

Thank you also to the Kamener Foundation, Tony and Jo Dunin, Gordon Moffat, Charles Tegner, Nelson Estrella and Phil Rounselvell who have all committed for 2018. And thank you again to the Hatcher, O’Neill and Rodd Families whose names were misspelt in our last newsletter. 

Support us
Thank you again to the private foundations and individuals who continue to support this excellent event. For further information on:
Sponsor packages click HERE.
Memberships click
HERE.

Your support is vital and deeply appreciated, thank you.
 
Grants:
We are awaiting the outcome of other grant applications with various private trusts and foundations. However, State, and Federal government funding continues to be difficult to obtain as funding priorities change and as our exhibition is no longer considered to be a new initiative.  
 
Artist profiles from curator Lara Nicholls

This is the first in a series of features on selected Landfall artists, in which I will focus on several artists, their practice and the work they are busy preparing for the Lorne Sculpture Biennale 2018.
 
Margaret Worth
Margaret is an important abstract artist who works with a range of disciplines, including painting and sculpture. Her work often overlaps the two, such as her wonderful Samsara 17 of 1967, exhibited recently in the NGA travelling exhibition Abstraction. The design skills and colour arrangement inherent in this contoured marine ply sine wave are extraordinary. While it looks very ‘now’, it was in fact made in 1967 – testament to Margaret’s innovative practice that evolved in South Australia out of geometric abstraction in the 1960’s. Today she is one of Australia’s leading sculptors who works with mathematics, physics, environment and audience to create playful and brilliant kinetic sculptures. Her submission for Landfall is Vajrasana meditation.

Of the work, she states:
The sculpture catches the energies of light and air movement. Its kinetic surface activates and reflects them as visual vibrations and wave patterns. Invisible energies of the natural world are made visible, revealing their aesthetic and ever-changing nature. The gesture of the form infers the internal energy of a yoga pose for meditation – Vajrasana. The ‘body’ of the work interconnects with the colours of the environment and the action of the elements. They ‘perform’ across its surface. The intention is to expand awareness of the interaction between ourselves, our physical and cultural environments.
 


Margaret Worth, February 2017 at Geelong Art Gallery with Samsara 17, 1967


Design for Lorne Sculpture Biennale 2018

Made of stainless steel, 2 pack powder-coated steel and Austen steel, measuring 4 x 2.25 x 1.5m, the work will be situated on the sculpture trail near the pier as a beacon looking out to the ocean, reminiscent of Archimedes, who set up his mirrors as a parabolic reflector, or heat ray, to famously burn the Roman ships in Syracuse, Sicily in 214 BCE. A poetic contemporary solar device, the work would be an intelligent choice for sponsorship by patrons in the renewables field.
Jos Van Hulsen
With his philosophy of finding and repurposing lost and found objects, Jos Van Hulsen’s work answers many of the ideas underpinning Landfall. 
 
As he commented:
Past cultures have been remembered for what they preserved, this century will be remembered for what it throws away. My work is concerned with transforming discarded materials into something new. My interest lies in combining histories, materials from different contexts, times and places.
 
Born in the Netherlands in 1963, Jos is a cofounder of Post Industrial Design in Footscray, where he makes his sculptures and designs objects and products for the store.

To see more of his practice:
www.postindustrialdesign.com.au


Jos on the trail inspecting his site with Graeme Wilkie in June 2017


Mosque, preparatory drawing for a finished Sculpture, 295 x 180 x 180, recycled steel, glass, ceramics, copper, brass

Thinking of sponsoring our artists in profile?
If any generous sponsors are interested in being patrons for either Jos or Margaret, please do not hesitate to contact Curator Lara Nicholls directly curator@lornesculpture.com
 
Regards
Lorne Sculpture Biennale Committee
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