Sunday Arts Magazine

Jenny Anne Jet talks to the Sunday Arts Magazine team about her new exhibition at stranger studio St.Kilda.

On January 20, The Motley Bauhaus (Melbourne’s premier independent art space dedicated to promoting skills based art practices) is launching a brand new 350 person capacity and uniquely independent arts venue right on the edge of the city. The new venue includes a 75 seat black box theatre, big, beautiful gallery, separate cabaret stage, full sized recording studio, working artists’ studios, dark room and two separate bar areas.

The Motley Bauhaus first launched in 2018 on Scotchmer Street in Fitzroy North. Creating a unique but small multidisciplinary home for arts practices proved popular and as such we are upgrading into this new location, more able to house our expanded practice.

The Motley Bauhaus will be launching this brand new space on January 20 with a series of live performances, exhibitions and general fun times and merriment. For a more detailed look at our opening line-up please head to our website

Motley Bauhaus founder Jason Cavanagh said: “I am so excited and scared but also thrilled to be opening this new space. It feels really wild to be doing this right now, with everything that’s going on. It’s been a tough, tough time for artists, for the industry as a whole.  This is a massive investment in our arts community at a time when it is desperately needed. I think art thrives in adversity and I’m really keen to explore and support that.”

 

This brand new, completely independent multidisciplinary arts venue will be launching after a long delay due to restrictions, and what better time to be bringing this completely unique vision into the heart of Melbourne to help revitalise our independent arts sector.

‘Portraiture in Black and White’ includes graphite portraits of Boroondara locals frozen in a moment by Melbourne based artist Sue-Ann Roll. The artist has created 11 graphite portraits for the exhibition featuring a fellow artist from Hawthorn Artists Society, her dentist, a young executive, an elderly Victorian Police Blue Ribbon volunteer, a local fisherman and more, including her daughter dressed in lockdown attire.

 

 

 

 

 

 

“The simplicity of the graphite pencil producing tones that resonate the essence of the subject is drawing at its purest. My main aim was to use tone to explore the ridges of time on the faces of my subjects to capture the essence of their character through my eyes.” says Sue-Ann.

Sue-Ann is an art and graphic Communications teacher who specialising in painting, life drawing and portraiture. In 2014 she attended the Accademia D’Arte in Florence where she had exposure to working with artists from all around the world exchanging various techniques and sharing memorable moments from their artistic life.

The Melbourne Actors LAB carries on the tradition of professional actor training in the method originated by Lee Strasberg, Harold Clurman and Cheryl Crawford at the Group Theatre. The Group Theatre launched  the careers of Elia Kazan, Clifford Odets, Stella Adler, Sanford Meisner who went on to become teachers of talent like James Dean, Marlon Brando, Robert DeNiro, Al Pacino, Ellen Burstyn, Sally Field, Shelly Winters, Anne Bancroft, Dustin Hoffman, Mickey Rourke, and so on- all because their place of training fermented the work of the actor to new levels.  The Group theatre went onto become the Actor’s Studio, the home of acting giants which pushed American Theatre and Film to a whole new standard.

 

THE MELBOURNE ACTORS LAB is the home of the actor who takes their work to such a level, a place beyond reasonable possibility, working with an absolute commitment toward one goal; the truthful revelation of character. It’s work that hones the actors instrument to a place where is it at immediate disposal wherever and whenever it is required. The repeated practice of the exercises of Lee Strasberg lead to something much more profound than at first glance – the absolute mastery of the actors’ instrument, body, mind and voice – creating artists that paint with a finer brush that also have the resilience and wherewithall to work under the most difficult of circumstances, in theatre or film.

 

Beyond the actor training, THE LAB provides an environment where actors can meet filmmakers and start a collaborative relationship together. Filmmakers are encouraged to come into class and observe the actors process. The work in itself inspires a passion for actors to create their own work; theaTre and film projects, and that is the drive that creates, builds and sustains a career.

Yep he is back talking about the Arts in Melbourne in 2022.  Welcome back ROHAN!

Melbourne, Australia: Heide Museum of Modern Art is delighted to open the much anticipated Healing Garden within the

museum grounds on Tuesday 23 November 2021. Inspired by Heide founder Sunday Reed’s profound love for her garden and

designed by leading landscape architecture studio Openwork, the Healing Garden draws on the curative properties of plants and

the ever-growing body of knowledge that positions gardens as a powerful tool for connecting communities, reducing social

isolation and providing positive, life-affirming experiences.

The garden has been designed to facilitate healing and restoration for vulnerable communities and will now be a vital space for

the broader community as we navigate the impact of the ongoing COVID-19 pandemic. Circular in design, the garden draws on

the concept of proxemics, which considers the intuitive spatial distances between people in personal and public space.

Queer-Ways Exhibition (25 November 2021 – 21 January 2022)

Melbourne/Naarm based artists, LUCIANO and Georgia Keats are set to unveil augmented reality illustrated maps of the city’s queer history in their new exhibition Queer-ways: Retracing Melbourne’s Queer Footprint.

Sidney Nolan: Myth Rider brings together more than 100 works by Sidney Nolan from the period 1955–1966, during which the artist grappled with the subject of the Trojan War, its parallels with the Gallipoli campaign, and its origins in the myth of Leda and the Swan.

Throughout these interconnected series, Nolan employs his remarkable visual and mental acuity to meld classical allusions, literary sources, historical references, and his own personal response to war and its disastrous consequences, to convey a series of powerful insights into the broader mythic and universal dimensions of human conflict. Combining compelling subject matter and a highly inventive approach to a wide range of media, the rich array of works in this exhibition reveal Nolan’s innate understanding of and facility for mythopoesis—the making of myth—whereby past and present, ancient and modern, legend and history, are conflated and vividly reimagined.

Although previous exhibitions of Nolan’s Gallipoli series have highlighted his references to classical sources, this will be the first exhibition to show these works in the context of the development of the artist’s vision of the tragedy of warfare from his early works on Hydra (1955–56), through his Leda and Swan series (1958–60) and culminating in his large-scale interpretations of Greek mythology (1966).

Curator, Anthony Fitzpatrick explains the title of this exhibition is taken from The Myth Rider, 1958–59, one of Nolan’s early major paintings from his Gallipoli series:

“This painting, together with a large selection of Nolan’s works from the period 1955–1966, chart his decade long engagement with the epic subject of the Trojan War, its parallels with the Gallipoli campaign, and its origins in the myth of Leda and the Swan.

“What emerges from these three interconnected series is a deepening sense of the tragic which came to inform Nolan’s vision of warfare as a predestined and overwhelming force that is beyond human control.

“For Nolan, myths, like poems, are ‘forms of knowledge’ and feats of the imagination by which the most contradictory, complex and challenging experiences and ideas can be expressed and realised—and this is what he sought to transmit through his art,” Fitzpatrick said.

MQFF31 will run from 18 to 29 November 2021 and feature 145 features, documentaries and shorts that tell the stories of lesbian, gay, bisexual, transgender, intersex and queer communities.

The festival will feature films across three venues, Cinema Nova in Carlton, ACMI in Melbourne and Village Jam Factory in South Yarra, as well as screening in Shepparton and Ballarat. Film-lovers in regional Victoria and across Australia will also be able to join in the festival atmosphere with over 50 titles being made available online through MQFF+.

MQFF31 will kick off with the opening night film Flee, a documentary that follows Tamin Nawabi and his extraordinary story of fleeing Afghanistan as a child-refugee is told for the first time. Opening night is presented by the Asylum Seeker Research Centre and will also feature the premier screening of Australian short We’re doing well – funded through MQFF’s Pitch Pleez! film competition.

What’s in a name? Maree Coote reveals the missing link between word and image.

This award-winning designer has developed her own graphic language of illustrative typography,

making images of all kinds using only the letters of the subject s name and existing typefaces.

This ambitious collection of fabulous faces includes punks, presidents, musos, muses, heroes and horrors,

in a gathering of unforgettable humanity. Also includes an insight into the genesis of the ’Fontigram ‘,

the inspirations and working practices of the designer, and a smattering of type history for the aficionado.

The result is a delight for lovers of typefaces, humanity and serendipity.

“A kind of alphabetical sculpture — the missing link between word and image.” 

“ A fresh tribute to the creative possibilities of letter-form art: stylish and sophisticated.”

“..spinning visual poetry to a new level… dazzling”