Symposium – The Australian Object: Material Culture in Context

Symposium – The Australian Object: Material Culture in Context

2019-09-23

DATE: Thursday 3 and Friday 4 October 2019, 9am–5pm
LOCATION: Cell Block Theatre, National Art School
SPEAKERS: Alisa Bunbury, Anita Callaway, Mark de Vitis, Molly Duggins, Fiona Foley, Shannon Foster, Stephen Gilchrist, Michael Hill, Alison Inglis, Martyn Jolly and Elisa deCourcy, Jonathan Jones, Lorraine Kypiotis, Greg Lehman, Maria Nugent, Holly Schulte and Priya Vaughan.

This two-day symposium, presented in partnership with the Power Institute, showcases new scholarly research on the material culture of Australia. It addresses the rich diversity of objects and the processes, knowledge, and meanings embedded therein. Our purpose is to revitalise the discourse on marginalised media and quotidian culture and bring scholars, artists, curators and collectors into productive dialogue. Focusing on making meaning through materials, this symposium reinforces the National Art School’s core emphasis on object-led art practices and histories.

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Congratulations to NAS Alumni Ali Tahayori (@alitahayori) for being named the recipient of the 2025 NSW Visual Arts Fellowship (Emerging). and to Sophie Cape (@sophiecapeartist) for winning the 2025 Hadley`s Art Prize.

With a history spanning over 120 years, the 2025 NSW Visual Arts Fellowship remains one of the most significant springboards for the next generation of artists in NSW. The 2025 NSW Visual Arts Fellowship exhibition is on now at Artspace (@artspacesydney).

Established by Hadley’s Orient Hotel, Hobart in 2017, the Hadley’s Art Prize (@hadleysartprize) is one of Australia’s most lucrative art awards that celebrates landscape art. The collection of winning artworks are displayed at Hadley’s Orient Hotel.

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1) Ali Tahayori, `Union and Separation`, 2025. Installation view, 2025 NSW Visual Arts Fellowship (Emerging), Artspace, Sydney, 2025. Photo: Hamish McIntosh

2) Sophie Cape, `Thunder shifts the shivering sands`, 2024, rust, charcoal, soil, pigment and binder on canvas, 148cm x 160cm. Photo: Jessica King

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Sep 2

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Congratulations to NAS Alumni Ali Tahayori (@alitahayori) for being named the recipient of the 2025 NSW Visual Arts Fellowship (Emerging). and to Sophie Cape (@sophiecapeartist) for winning the 2025 Hadley's Art Prize.

With a history spanning over 120 years, the 2025 NSW Visual Arts Fellowship remains one of the most significant springboards for the next generation of artists in NSW. The 2025 NSW Visual Arts Fellowship exhibition is on now at Artspace (@artspacesydney).

Established by Hadley’s Orient Hotel, Hobart in 2017, the Hadley’s Art Prize (@hadleysartprize) is one of Australia’s most lucrative art awards that celebrates landscape art. The collection of winning artworks are displayed at Hadley’s Orient Hotel.

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1) Ali Tahayori, 'Union and Separation', 2025. Installation view, 2025 NSW Visual Arts Fellowship (Emerging), Artspace, Sydney, 2025. Photo: Hamish McIntosh

2) Sophie Cape, 'Thunder shifts the shivering sands', 2024, rust, charcoal, soil, pigment and binder on canvas, 148cm x 160cm. Photo: Jessica King

Visit the National Art School this Saturday to peek inside the iconic sandstone walls of our campus.

See what life is like for our students by dropping into open studios across the campus, participting in studio demonstration, chatting to our academic staff in one-on-one consultation sessions and taking a gruided tour around the campus.

Make sure to RSVP in advance to secure your spot and receive a free tote bag - limited stock available! (Link in bio)

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Sep 1

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Visit the National Art School this Saturday to peek inside the iconic sandstone walls of our campus.

See what life is like for our students by dropping into open studios across the campus, participting in studio demonstration, chatting to our academic staff in one-on-one consultation sessions and taking a gruided tour around the campus.

Make sure to RSVP in advance to secure your spot and receive a free tote bag - limited stock available! (Link in bio)

The National Art School is excited to present the next wave of Australia’s artistic talent at Sydney Contemporary 2025.

Located at Booth J12, we will be showcasing the work of nine emerging artists who have recently graduated from either our Master of Fine Art Program or our Bachelor of Fine Art Program. Highlighting the breadth and diversity of the National Art School’s program—renowned for its studio-based learning and practice-driven teaching—the NAS booth will feature outstanding work by emerging artists, including Jake Bartley @_trizm__, Christian Bonett @christian_bonett_art, Harrison Chao @w4r.h4mm3r, Lewis Doherty @lewisstepsandrew, Isabella Kennedy @isa.kennedy, Rachel Mackay @rachelmackay.art, Megan McKenzie @megan_mckenzie_, Johanna Ng @johanna__ng, and Taylor Steel @taylor__steel.

Learn more about our artists at the link in bio.

11 – 14 September, Carriageworks. We look forward to seeing you there!
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Jake Bartley, ‘Im at the Root of All Evil’, 2025, oil on canvas, 195 x 157.5 cm; Christian Bonett, ‘The G(A)Y team van’, 2024, glazed earthenware, 48 x 23 x 20 cm; Harison Chao, ‘Spectacular Optical’, 2024, oil on canvas, 110 x 95 cm; Lewis Doherty, ‘Carriage/Study for a Pattern’, 2025, bronze, casting remnants. 30 x 23.1 x 17 cm, unique; Isabella Kennedy, ‘swaddle/shroud’, 2024, inkjet print on Epson matte, 44 x 29.5 cm, edition of 3; Rachel Mackay, ‘Chimera 7’, 2025, oil on canvas, 91.4 x 61 cm; Megan McKenzie, ‘Float’, 2024, raku, stoneware and textured glazes, 70 x 30 x 30 cm (ceramics pieces only, height for suspension is variable); Johanna Ng, ‘a man holding a camera walks with a woman in front of an advertisement for carte bradesco’, 2024, from the series ‘Every Asian in Sex and the City’, inkjet print on clear film, inkjet print on cotton rag, 80.5 x 59.4 cm; Taylor Steel, ‘gathering dust’, 2024, polycarbonate, epoxy resin, toner, acetate, enamel, aluminium composite panel and stainless steel, aluminium frame, 31 x 25.5 cm; all images courtesy and © the artists

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Aug 30

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The National Art School is excited to present the next wave of Australia’s artistic talent at Sydney Contemporary 2025.

Located at Booth J12, we will be showcasing the work of nine emerging artists who have recently graduated from either our Master of Fine Art Program or our Bachelor of Fine Art Program. Highlighting the breadth and diversity of the National Art School’s program—renowned for its studio-based learning and practice-driven teaching—the NAS booth will feature outstanding work by emerging artists, including Jake Bartley @_trizm__, Christian Bonett @christian_bonett_art, Harrison Chao @w4r.h4mm3r, Lewis Doherty @lewisstepsandrew, Isabella Kennedy @isa.kennedy, Rachel Mackay @rachelmackay.art, Megan McKenzie @megan_mckenzie_, Johanna Ng @johanna__ng, and Taylor Steel @taylor__steel.

Learn more about our artists at the link in bio.

11 – 14 September, Carriageworks. We look forward to seeing you there!
—
Jake Bartley, ‘Im at the Root of All Evil’, 2025, oil on canvas, 195 x 157.5 cm; Christian Bonett, ‘The G(A)Y team van’, 2024, glazed earthenware, 48 x 23 x 20 cm; Harison Chao, ‘Spectacular Optical’, 2024, oil on canvas, 110 x 95 cm; Lewis Doherty, ‘Carriage/Study for a Pattern’, 2025, bronze, casting remnants. 30 x 23.1 x 17 cm, unique; Isabella Kennedy, ‘swaddle/shroud’, 2024, inkjet print on Epson matte, 44 x 29.5 cm, edition of 3; Rachel Mackay, ‘Chimera 7’, 2025, oil on canvas, 91.4 x 61 cm; Megan McKenzie, ‘Float’, 2024, raku, stoneware and textured glazes, 70 x 30 x 30 cm (ceramics pieces only, height for suspension is variable); Johanna Ng, ‘a man holding a camera walks with a woman in front of an advertisement for carte bradesco’, 2024, from the series ‘Every Asian in Sex and the City’, inkjet print on clear film, inkjet print on cotton rag, 80.5 x 59.4 cm; Taylor Steel, ‘gathering dust’, 2024, polycarbonate, epoxy resin, toner, acetate, enamel, aluminium composite panel and stainless steel, aluminium frame, 31 x 25.5 cm; all images courtesy and © the artists

The National Art School was sad to hear that artist Robert Eadie died on the 22nd August at the age of 84.

He had been a practicing artist since he graduated from the National Art School in 1966, working across multiple mediums, including painting, drawing, sculpture and printmaking. He had a profound influence on his fellow students, including his friend of 60 years, Bill Brown, and they both taught together later at NAS. Bill remembers that ‘he was an inspiring teacher, who never taught ideals; in form, in concepts or outcomes. Instead, he showed students how to make sense of themselves, for the betterment of themselves.’

The National Art School sends our condolences to Rob’s family and many friends, and acknowledges his great contribution to the School.

Read the full Vale at nas.edu.au.
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Robert Eadie, c. 1978; Robert Eadie, `Figure on the beach`, 1966, oil on canvas on board, 53 x 54.5cm, National Art School Collection

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Aug 29

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The National Art School was sad to hear that artist Robert Eadie died on the 22nd August at the age of 84.

He had been a practicing artist since he graduated from the National Art School in 1966, working across multiple mediums, including painting, drawing, sculpture and printmaking. He had a profound influence on his fellow students, including his friend of 60 years, Bill Brown, and they both taught together later at NAS. Bill remembers that ‘he was an inspiring teacher, who never taught ideals; in form, in concepts or outcomes. Instead, he showed students how to make sense of themselves, for the betterment of themselves.’

The National Art School sends our condolences to Rob’s family and many friends, and acknowledges his great contribution to the School.

Read the full Vale at nas.edu.au.
—
Robert Eadie, c. 1978; Robert Eadie, 'Figure on the beach', 1966, oil on canvas on board, 53 x 54.5cm, National Art School Collection

`A landmark exhibition exploring the connections between First Nations and Asian Australian histories through contemporary art...Both poetic and political, The Neighbour at the Gate demonstrates how art can act as a gateway for healing, connection, and truth-telling amid contested notions of belonging.` - Vault Magazine

Celebrating one month of The Neighbour at the Gate at NAS Gallery, on with extended opening hours until 18 October 2025. Monday to Sunday, 11am – 5pm, free admission. Plan your visit at the link in bio.
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Installation view, The Neighbour at the Gate, National Art School Gallery, Sydney, 2025, image courtesy and © the artists, photograph: Peter Morgan

The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.

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Aug 26

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'A landmark exhibition exploring the connections between First Nations and Asian Australian histories through contemporary art...Both poetic and political, The Neighbour at the Gate demonstrates how art can act as a gateway for healing, connection, and truth-telling amid contested notions of belonging.' - Vault Magazine

Celebrating one month of The Neighbour at the Gate at NAS Gallery, on with extended opening hours until 18 October 2025. Monday to Sunday, 11am – 5pm, free admission. Plan your visit at the link in bio.
—
Installation view, The Neighbour at the Gate, National Art School Gallery, Sydney, 2025, image courtesy and © the artists, photograph: Peter Morgan

The Neighbour at the Gate has been made possible with the generous support of the NSW Government through its Blockbusters Funding initiative.

Congratulations to NAS alumni/staff Jane Burton, Gerwyn Davies, Ella Dreyfus, Izabela Pluta, Ali Tayahori, Justine Varga, and Kai Wasikowski, finalists of the Bowness Photography Prize 2025.

This year is the 20th anniversary of the Prize. Visit @maph_photography before 9 November to view the artworks in person.

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1) Jane Burton, ‘Snakes and ladders’, 2024, pigment ink-jet print, 42 x 33 cm, collection of the artist, courtesy of the artist and Bett Gallery (Hobart)

2) Gerwyn Davies, ‘Trick mirror’, 2024, pigment ink-jet print, 120 x 100 cm, collection of the artist, courtesy of the artist, Jan Murphy Gallery (Brisbane) and Michael Reid Galleries (Sydney + Berlin)

3) Ella Dreyfus, ‘Liminal body’, 2025, chromogenic print, 150 x 100 cm, collection of the artist, courtesy of the artist

4) Izabela Pluta, ‘Coral study / Seepage (mirage)’, 2025, from the series Undulations, gelatin silver prints, 36 x 31.5 cm (each), collection of the artist, courtesy of the artist and Gallery Sally Dan Cuthbert (Sydney)

5) Ali Tayahori, ‘Sisterhood (Broken)’, 2025, from the series Archive of longing, UV print on glass, hand-cut glass, silicone on aluminium, 62 x 62 x 4 cm, collection of the artist, courtesy of the artist and THIS IS NO FANTASY (Melbourne)

6) Justine Varga, ‘Time immemorial (126,749 years)’, 2024–2025, chromogenic print, 190 x 76 cm, collection of the artist, courtesy of the artist, Tolarno Galleries (Melbourne) and Hugo Michell Gallery (Adelaide)

7) Kai Wasikowski, ‘The bees and the ledger: N.B (scenes 1–27)’, 2024, from the series The bees and the ledger, ink-jet prints, 38 x 38 cm, collection of the artist, courtesy of the artist

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Aug 25

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Symposium – The Australian Object: Material Culture in Context