Article by Gina Fairley
ArtsHub takes a look at two venues, the National Art School and Campbelltown Arts Centre, on the edge for this year’s Biennale of Sydney to see how grass roots engagement is redefining the centre. Find out more through the link below.
Image: Hannah Catherine Jones, Owed to Diaspora(s), (video still, detail), 2019. Courtesy the artist.
We’re looking for a Facilities and Risk Manager - Application Deadline Sunday 13 April
The Facilities and Risk Manager effectively manages and organises services and resources for the facilities, workshop, security, WHS, and campus operations of National Art School in Darlinghurst. In addition, they provide strategic support and advice to senior management on all issues related to facilities and campus operations.
Apply at the link in bio.
Mar 27
Introducing Kirtika Kain and Kyra Mancktelow, speakers at Facture: Drawing Symposium 2025
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Moderated by Chelsea Lehmann, Kirtika will be discussing the role of drawing in process, experimentation, and abstraction in material and socially-engaged practices, while Kyra will discuss the influence Dylan Mooney`s work has had on their practice, especially his most recent exhibition The Story of My People.
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Kirtika Kain is an artist practicing on Darug Country, New South Wales, Australia. She received her Bachelor of Fine Arts in 2016 and was awarded the Bird Holcomb Scholarship to complete her Master of Fine Art in 2018 at the National Art School, Sydney. She was a recipient of the Lloyd Rees Memorial Youth Art Award in 2017, the Art Incubator Grant and Dyason Bequest, Art Gallery of New South Wales, and a finalist in the Churchill Fellowship and numerous art prizes including Blacktown Art Prize (2017, 2019). Kirtika has been a finalist in the Create NSW Emerging Artist Fellowship at Artspace, a recipient of the Parramatta Artist Studio (2020, 2024) and an artist in residence at the British School at Rome (2019) and the Amant Siena Summer Residency (2022).
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Kyra Mancktelow’s multidisciplinary practice investigates legacies of colonialism, posing important questions such as how we remember and acknowledge Indigenous histories. A Quandamooka artist with links to the Mardigan people of Cunnamulla, Kyra’s practice includes printmaking, ceramics, and sculpture – each applying a unique and distinct aesthetic. Kyra works with various materials to share her rich heritage, stories, and traditions to educate audiences and strengthen her connection to Country. Her printmaking explores intergenerational trauma as a result of forced integration on colonial missions, and her use of local materials in her sculpture, including clay, emu features, and Talwalpin (cotton tree), strengthens her connection to Country.
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Facture: Drawing Symposium 2025
Saturday 12 April 2025
Facture – The manner in which something is made
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Learn more about the speakers and symposium at the link in bio.
Mar 27
Introducing Anne Judell and Liz Coats, speakers at Facture: Drawing Symposium 2025
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Moderated by Margaret Roberts, Anne will discuss her decades-long exploration of the patterns and forces of the natural world and pay homage to the artist who first inspired her, while Liz will talk about the recent work of long-time friend and colleague, Margaret Roberts, together with a short description of her experiments with colour painting.
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Anne Judell was the 2011 winner of the Dobell Drawing Prize awarded by the Art Gallery of New South Wales. Respect for Anne`s work has grown over a career spanning more than four decades, as a solo exhibitor and through her presence in selected group exhibitions. Her entries have been included on many occasions as a finalist in the Wynne Prize, the Dobell Drawing Prize and the Blake Prize as well as in other prestigious competitions including the Jacaranda Acquisitive Drawing Award and Kedumba Drawing Award.
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Liz Coats has devoted her career to the exploration of colour in abstract painting as an embodied, material practice that brings organic and formal issues into relationship. Since the mid-1970s, colour has remained her central focus, in particular how it mediates her preoccupations with dimensional insight, transition and connectedness.
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Facture: Drawing Symposium 2025
Saturday 12 April 2025
Facture – The manner in which something is made
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Learn more about the speakers and symposium at the link in bio.
Mar 26
Introducing Dominic Terlizzi and Osvaldo Budet, speakers at Facture: Drawing Symposium 2025
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Moderated by Joe Frost, Dominic and Osvaldo will discuss transformations and voids found in objects and history through expanded drawing approaches.
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Dominic Terlizzi is a Brooklyn based artist whose studio work includes drawing, painting, sculpture, and installation. He utilises objects and textures to build imagery. Dominic recently exhibited at Craig Krull Gallery and Helen J Gallery in LA, My Pet Ram, Tappeto Volante, Field of Play, The Front, Good Naked, Underdonk, and Headstone Gallery in New York. International exhibitions include McBride Contemporian in Montreal, and NEVVEN Gallery in Gothenburg, Sweden.
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Osvaldo Budet is a Puerto Rican artist and graduate of Maryland Institute College of Art, where he completed his Master of Fine Arts in painting. He currently lectures in drawing at the National Art School, Sydney and is represented by Cassandra Bird, Sydney. His work explores the physical and political dimensions of colonization and post-colonization, as a reflection of the culture and the interests of the systems we inhabit.
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Facture: Drawing Symposium 2025
Saturday 12 April 2025
Facture – The manner in which something is made
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Learn more about the speakers and symposium at the link in bio.
Mar 25
Facture – the manner in which something is made
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Join us Saturday 12 April for the 2025 Drawing Symposium at the National Art School, presented by the National Centre for Drawing. Featuring a diverse range of national and international speakers, as well as associated performances and exhibitions, this event is held in conjunction with the 24th Dobell Drawing Prize. The symposium will explore the theme of Facture, a concept that emphasises an artwork’s tangible reality as an intentionally crafted object, linking the act of creation directly to its physical presence. Considering an artwork in terms of its facture reveals it as a record of the artist’s decisions, methods, and materials. Discussions will examine how this concept enriches our understanding of drawing and aligns with contemporary and interdisciplinary approaches to art-making.
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Learn more and buy tickets at the link in bio.
Mar 19
