Past Exhibitions

Installation view of Dobell Drawing Prize #21. Photo: Peter Morgan
PAPER TIGERS: POSTERS FROM SYDNEY'S LONG '70s: 30 August — 12 October 2019
Chips Mackinolty
3rd annual Christmas is false consciousness eve party [1978]
The Tin Sheds Art Workshop
1978
Prints, posters, screenprint, printed in colour inks, from multiple stencils
39.9 cm x 54.2 cm
Print run unknown
Courtesy: Chris O’Doherty
Chips Mackinolty 3rd annual Christmas is false consciousness eve party [1978] The Tin Sheds Art Workshop 1978 Prints, posters, screenprint, printed in colour inks, from multiple stencils 39.9 cm x 54.2 cm Print run unknown Courtesy: Chris O’Doherty

PAPER TIGERS: POSTERS FROM SYDNEY’S LONG ’70s

EXHIBITION DATES: Friday 30 August — Saturday 12 October 2019 
OPENING NIGHT: Thursday 29 August, 6–9pm
OPENING HOURS: 
Monday–Saturday, 11am–5pm

CURATORS: Lesa-Belle Furhagen and Toby Creswell

The National Art School Gallery in conjunction with Sedition: a festival of art, music and pictures presents Paper Tigers an exhibition of the 1970s celebrating Sydney’s dynamic poster art and public protest movements, from the late 1960s through the ’70s to the early ’80s.

Paper Tigers celebrates Sydney’s printed visual culture, including posters, prints and ephemera from a range of both celebrated and anonymous artists and designers, the exhibition presents a snapshot of a period when vibrant and experimental creative production incited social action.

Lesa-Belle Furhagen and Toby Creswell. Photo: Peter Morgan
Lesa-Belle Furhagen and Toby Creswell. Photo: Peter Morgan

Lesa-Belle Furhagen and Toby Creswell are the co-creators and curators of Sedition: a festival of art, music and pictures. The pair are also co-curating the festival’s centrepiece, Paper Tigers, an exhibition of posters and public art from Sydney’s fertile and feral counter-culture scene in the 1970s, at the National Art School Gallery.

With much of the creativity of that time centred around Darlinghurst, the NAS Gallery is an appropriate venue for the show which will present more than 200 artworks including posters, album covers and photographs of the time, films and ephemera of the era..

The vibrant public program includes talks, workshops and live music events in the National Art School’s historic Cell Block Theatre, also a hotspot for performance, music and art school balls in the 1970s. It was here on August 16, 1977, the night Elvis died, that a lairy bunch of art school students had their first gig as Mental as Anything. The band’s guitarist Chris O’Doherty, aka Reg Mombassa, went on to have a successful dual career as musician and artist, and a number of works in Paper Tigers come from his personal collection.

Lesa-Belle and Toby, who worked together on a series of iconic magazines including Rolling Stone, Juice and HQ, chat below about Paper Tigers.

Toby The guts of the idea behind the festival was getting up and being active and making something happen. The 70s was the time when Australia’s cultural cringe was disappearing, women’s liberation was on the rise, and gay liberation. There was no social media or access to other media so people who were doing things on the edge had to resort to squeegeeing up their manifesto and sticking it on a wall.

Lesa-Belle But we don’t want Paper Tigers to be an exercise in nostalgia, we want to take up the issues that were top of mind then that are still relevant today, the whole #metoo thing, where feminism is, issues around domestic violence, a woman’s right to choose – these are still very front and centre today.

Toby The ’70s protest art also had a strong anti-war theme. These things have not gone away, so it’s a not-so-distant mirror to what’s happening now.

Lesa-Belle It was an important time in Sydney’s cultural legacy and one of the reasons for honouring it is Sydney has a thing where it moves onto the next thing, it tends not to honour its past. But at that moment in time, that upheaval produced some incredible works, not just visual art but in music, theatre and film. The Sedition festival more broadly is an acknowledgment of the intersection of all those different cultural mediums at that time.

Where have the artworks come from?

Lesa-Belle Mainly from the artists themselves. That’s been a really interesting part of the journey because we’ve got to meet the makers and get their take on the time. Many were graduates of the art school, like Paul Worstead, who has these most wonderful fanzines held in the National Art School archive. There are works that haven’t been seen before, so it’s not just another poster exhibition. Getting the artists to pull out their works they have held onto, and the stories that went along with those works have really helped craft the show.

Did Sydney’s creativity differ to other Australian cities?

Toby I think there is a Sydney style, I don’t know how to express it – pretty hard-edged with a black humour to it when you look at the people who have come out of here. It’s not very whimsical, it’s very tough-minded and lean.

Why were the 1970s such a creative time?

Lesa-Belle At that time economically, Sydney was pretty depressed, there was a recession on, a lot of people were on the dole, but they used that money to create some amazing work and some amazing happenings. We want to really bring that back to life, not just as an acknowledgement of the legacy but to inspire contemporary artists, musicians, theatre and film makers.

Toby There’s a great poster that Marie McMahon did of St Mary’s Cathedral with all these flames coming out of the windows and two women in front of it, and it says, ‘Keep warm this winter, make trouble.’

How has public protest changed?

Lesa-Belle I don’t think it’s gone, you look at the climate change rallies and the lock out rallies, there is still agitation out there, people still want to be heard. I don’t think we all have to accept that social media echo chamber, we still have a voice and in some ways we live in incredibly revolutionary times. If ever there was a time to arc up, I think it’s now.

Do you have personal connections to the show?

Toby Some posters are for events my punk rock group was involved with, but also we know a lot of the artists from around the place and working in the arts for all this time. Johnny Allen, the original organiser of the Aquarius Festival in Nimbin, ran the Paris Cinema and cabaret shows in Sydney. He’s putting together a cabaret season for the Sedition festival.

Any connections to the National Art School?

Lesa-Belle I have always lived here and the National Art School is like the heartbeat of this area. My daughter and I have done summer school here, it’s not just an institution of learning, it’s a very open place, where gigs are still happening and conversations about art. There’s not so many places like that left in Sydney.

Toby One of the artists in Paper Tigers, Jan Fieldsend, did a map of Sydney in the 1970s, which is a great rough diagram of where people hung out, and the National Art School is at the centre of that.

 

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CAUGHT STEALING: 14 June — 10 August 2019
Linda Dement and Nancy Mauro-Flude, 'Cyberfeminist bed sheet transfigured', 2018, courtesy the artists
Linda Dement and Nancy Mauro-Flude, 'Cyberfeminist bed sheet transfigured', 2018, courtesy the artists

CAUGHT STEALING

EXHIBITION DATES: Friday 14 June — Saturday 10 August 2019
OPENING HOURS: Monday–Saturday, 11am–5pm

CURATOR: Dr Jaime Tsai

ARTISTS: Hany Armanious, Daniel Boyd, Peter Burgess, Destiny Deacon, Linda Dement, Virginia Fraser and Destiny Deacon, Fiona Hall, Shane Haseman, Sean Cordeiro and Claire Healy, Andrew Hurle, Harley Ives, Nancy Mauro-Flude, Tom Nicholson, Lillian O’Neil, Louise Paramor, Philjames, Joan Ross, Soda_Jerk and The Avalanches, Marian Tubbs, Gary Warner.

Caught Stealing is an exhibition by contemporary Australian artists who mobilise theft as an artistic strategy in their work. A century after the first Dada photomontages, misappropriation continues in the diverse practices of artists demanding social justice, revisions of history, and ecological awareness. Motifs of piracy also signify resistance to the corporate control of the cultural sphere, as well as colonisation and its legacy in Australia.

Dobell Drawing Prize #21: 28 March — 25 May 2019
Installation view of Dobell Drawing Prize #21. Photo: Peter Morgan

DOBELL DRAWING PRIZE #21

EXHIBITION DATES: Thursday 28 March — Saturday 25 May 2019
OPENING HOURS: Monday–Saturday, 11am–5pm

Dobell Drawing Prize #21 is a new biennial prize and exhibition presented by the National Art School in association with the Sir William Dobell Art Foundation. The Prize is an open call to all artists and aims to explore the enduring importance of drawing and the breadth and dynamism of contemporary approaches to drawing.

The exhibition showcases the finalists’ artworks across a broad range of media that acknowledges the foundational principals of drawing, while also encouraging challenging and expansive approaches to drawing. Submissions are invited for artworks on paper, but may also include wall drawings and larger-scale works and works utilising electronic media.

National Art School envisions the Prize as a platform for the celebration and examination of current drawing practices. The Prize builds on the energy of both emerging artists who make art through drawing, while also celebrating innovation and technical skill of experienced artists.

A drawing symposium, workshops and a range of artist talks will be held in conjunction with the Prize and exhibition, positioning the National Art School and Sydney at the core of contemporary drawing, research and the exploration of ideas.  Drawing continues to be central to the National Art School’s curriculum, and the opportunity to present and reflect the many facets of contemporary drawing offers artists another forum to explore the dynamic medium of drawing.

The new Dobell Drawing Prize is an acquisitive art award that runs in alternative years to the Dobell Australian Drawing Biennial at the Art Gallery of New South Wales, affirming the Dobell Foundation’s commitment to continuing the development of drawing as a medium in its own right, and a fundamental element of the visual arts.

WINNER 

Congratulations to Justine Varga who has won the Dobell Drawing Prize #21!

Comments from the Judge’s: “Drawing is a fundamental part of many visual art practices. The winner of the Dobell Drawing Prize #21 uses drawing in the most meaningful and sophisticated way. Her work is a distillation of so many components of our collective lives. Drawing plays a pivotal role in this artist’s exploration of us all. The winning work is a powerful, playful and sophisticated 21st century drawing and a deserved winner.”

Congratulations also to Tony Albert who was highly commended, “Highly commended goes to an artist who is relentlessly and skilfully re-writing dialogues about Australian histories. Drawing underpins his practice. Old Sins Cast Long Shadows uses the most simple drawing techniques to tell a formidably sophisticated story.”

2019 FINALISTS

Badra Aji (VIC), Tony Albert (QLD/NSW), Leonie Andrews (ACT), Suzanne Archer (NSW), Martin Bell (VIC), M. Bozzec (NSW), Michelle Caithness (VIC), Kristone Capistrano (NSW), Tom Carment (NSW), Tanya Chaitow (NSW), Ari Chand (NSW), Joshua Charadia (NSW), Matthew Clarke (VIC), Penny Coss (WA), Maryanne Coutts (NSW), Fiona Currey-Billyard (NSW) Dagmar Cyrulla (VIC), Madeleine Joy Dawes (VIC), Amy Dynan (NSW), Helen Eager (NSW), Yvonne East (NSW), Stephanie Eather (VIC), David Fairbairn (NSW), George Gittoes (NSW), Richard Goodwin (NSW), Kendal Heyes (NSW), Mark Hislop (VIC), Daniel Hollier (NSW),Pollyxenia Joannou (NSW), Alan Jones (NSW), Locust Jones (NSW), Alex Karaconji (NSW), Sonia Kurarra (WA), Hyun Hee Lee (NSW), Brooke Leigh (NSW), Ruark Lewis (NSW), Tanya Linney (NSW), Lily Mae Martin (VIC), Jonathan McBurnie (QLD), Noel McKenna (NSW), Peta Minnici (NSW), Damian Moss (NSW), Wendy Murray (NSW), Angus Nivison (NSW), Chris O’Doherty aka Reg Mombassa (NSW), Catherine O’Donnell (NSW), Toshiko Oiyama (NSW), Jenny Orchard (NSW), Becc Ország (VIC), Kerrie Poliness (VIC), Monica Rohan (QLD), Wendy Sharpe (NSW), Peter Solness (NSW), Kim Spooner (NSW), Luke Thurgate (SA), Justine Varga (NSW), Mirra Whale (NSW) 

ARTHUR BOYD: LANDSCAPE OF THE SOUL 10 JANUARY — 9 MARCH 2019
Boyd Exh_NAS Gallery Level 1 (Nebuchadnezzar Series) #1

ARTHUR BOYD: LANDSCAPE OF THE SOUL
A BUNDANON TRUST TOURING EXHIBITION AT THE NATIONAL ART SCHOOL GALLERY
CURATED BY BARRY PEARCE

Exhibition Dates: 10 January – 9 March 2019
Opening Hours: Monday–Saturday, 11am–5pm

Landscape of the Soul is a new exhibition exploring the Australian landscape and a sense of place through the complex genius of Arthur Boyd.  From light-filled early landscapes to tormented figures in the bush, the paintings, prints, drawings, photographs and archival material in this exhibition expose an inner landscape and an artist’s creative odyssey. Curated by Barry Pearce, this new Bundanon Trust Touring Exhibition is presented at the National Art School from 10 January to 9 March 2019.

From early, youthful en plein air subjects celebrating light, to the final phase of his career depicting the Shoalhaven on the south coast of New South Wales, encompassing the artist’s journeys from Australia to England and Europe, artworks in the exhibition present the landscape as a theatre for his deeper explorations – not merely topographic, but a psychic sense of place.

RELEASED MFA EXHIBITION: 8 November — 18 November 2018
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RELEASED
CLASS OF 2018
MFA EXHIBITION

EXHIBITION DATES: Thursday 8 November — Sunday 18 November 2018
OPENING HOURS: Monday–Sunday, 11am–5pm

The MFA Exhibition celebrated the achievements of our postgraduate students, with new art from new artists, on show throughout the National Art School. The NAS Gallery, Rayner Hoff Project Space, Annex and Open Studios presented fresh, progressive and bold works from our outstanding class of 2018 – the next generation of  Australian artists.

Opening night on 8 November was huge – thanks to the great crowd who came along to celebrate our artists and enjoy the bands, DJ’s, dance floors, food, pop up bars, explore the studios, discover more about the iconic NAS campus, catch up with friends and purchase artwork from Australia’s very best graduating artists.

MEET OUR MASTERS

Ceramics:
Amanda Bromfield, Tim Ferguson, Jane McKenzie, Maricelle Olivier, Sassy Park

Drawing:
Olivia Arnold, Troy Donaghy, Fiona Henderson, Caitlin Hespe, Marlon Roche, Emilie Syme-Lamont

Painting:
Elham Ahmadi, Laura Badertscher, Drew Connor Holland, Lucy Keeler, Nicolette Lewis, Joanne Makas, Aaron Matheson, Heidi Melamed, Lisa Patroni, Flin Sharp, Stuart Smith, Hugh Van Schaick, Sean Wadey, Zara June Williams, Richard York, Tom Yousif

Photomedia:
Louise Allerton, Jonathan Setter

Printmaking:
Jessica Armstrong, Emily Clay, Sarah Edmondson, Kirtika Kain, Emily Redman

Sculpture:
Charlotte Bakker, Claire Brown, Jane Burton Taylor

National Art: Part One: 14 August — 27 October 2018

National Art – Part One

EXHIBITION DATES: Tuesday 14 August — Saturday 27 October 2018
OPENING HOURS: Monday–Saturday, 11am–5pm

National Art – Part One is an exhibition and celebration of artworks by fifty practising Australian artists who have studied at the National Art School and have generously donated work from their personal collections to the School. This is one of the most significant moments in the history of the National Art School’s Collection, affirming our optimism for the bright future of the School.

National Art – Part One presents an expansive approach to art today, encompassing the broad stylistic diversity that the National Art School promotes. The earliest work is from 1947 and the most recent is from 2018, spanning seven decades, across many generations, art movements and media.

50 National Art School Alumni
1947–2018, spanning 7 decades
165 works donated to NAS Collection

CHARLES BLACKMAN OBE, LES BLAKEBROUGH AM, EUPHEMIA BOSTOCK, BILL BROWN, MITCH CAIRNS, SOPHIE CAPE, KEVIN CONNOR, LUCY CULLITON, ELISABETH CUMMINGS OAM, KARLA DICKENS, KEN DONE AM, MERILYN FAIRSKYE, FIONA FOLEY, TODD FULLER, ADRIENNE GAHA, PETER GODWIN, SARAH GOFFMAN, FIONA HALL AO, MICHAEL JOHNSON, ALAN JONES, JAN KING, JUZ KITSON, ILDIKO KOVACS, FIONA LOWRY, DANI MCKENZIE, MARIE MCMAHON, GUY MAESTRI, TIM MAGUIRE, REG MOMBASSA (CHRIS O’DOHERTY), IDRIS MURPHY, CATHERINE O’DONNELL, ROBERT OWEN, PETER POWDITCH AM, LESLIE RICE, JOAN ROSS, JULIE RRAP, BILL SAMUELS, JEFFREY SAMUELS, LUKE SCIBERRAS, GARRY SHEAD, GRIA SHEAD, NICOLA SMITH, MICHAEL SNAPE, TIM STORRIER AM, ANN THOMSON, KEN UNSWORTH AM, JUSTINE VARGA, GUY WARREN AM, COEN YOUNG, ANNE ZAHALKA 

 

Check out the media about National Art – Part One:

Newspaper

The Australian – National Art: Part One, NAS Gallery, studio practice trumps trends

Sydney Morning Herald – National Art School showcases ‘Fabulous 50’

The Australian – A reunion of the old school

Online

ART GUIDE: NATIONAL ART SCHOOL GALLERY

Artshub – Review: National Art – Part One, at NAS Gallery

RUSSH – Come together at the National Art School

Arts Review – National Art: Part One

Radio

ABC RN – National Art School invites alumni to donate formative work for new exhibition

TV

The Mix – ABC – episode 34: here

Measured Response: 31 May — 28 July 2018
DSC_5088.jpg.1500x0_q85_crop_upscale

MEASURED RESPONSE

EXHIBITION DATES: Thursday 31 May — Saturday 28 July 2018

Curated by Emily McDaniel

Measured Response brings together contemporary Aboriginal perspectives that engage with bodily and spiritual practices of art-making and often use themselves as a point of reference for measurement and creation; a weaver uses an arm’s reach to measure lengths of string, a ceramicist choreographs their hands to create form, and hand-blown glass needs the artist’s breath to take shape. Measured Response demonstrates how our relationship to the world is calibrated through our bodily dimensions.

Download the roomsheet here

ARTISTS:

  • Tamara Baillie
  • Lorraine Connelly-Northey
  • Penny Evans
  • Euraba Artists and Papermakers
  • Julie Freeman
  • Hands On Wagga Weavers
  • Yhonnie Scarce
  • Lucy Simpson
  • Dr Thancoupie Gloria Fletcher (Thanakupi), AO
  • Delissa Walker
Redlands Konica Minolta Art Prize 2018: 15 March — 12 May 2018
6_Redlands installation C OShea, M_Cope, CCavaniglia

Redlands Konica Minolta Art Prize 2018

EXHIBITION DATES: Thursday 15 March — Saturday 12 May 2018

Guest curator Nike Savvas selects some of the country’s brightest contemporary art stars who in turn nominate one emerging contemporary artist to participate in the exhibition. This pairing of established and emerging artists seeks to encourage mentoring relationships between different generations of artists.

All participating artists submit a recent work to contend for one of two prizes: the Established Artist Main Prize ($25,000) sponsored by Konica Minolta for the sixth consecutive year and the Emerging Artist Prize ($10,000) sponsored by Croll Real Estate. The Viewer’s Choice Prize valued at $1,000 is announced at the end on the exhibition. The two winning artworks in the established and emerging categories will become part of Redlands School’s permanent art collection, providing a valuable resource for visual arts students and teachers.  The 2018 Prize winners, to be announced on 21 March 2018, will be determined on by guest judges: Natasha Bullock (MCA Senior Curator), Judith Blackall (NAS Gallery Manager and Curator), Mark Harpley (Visual Arts Coordinator, Redlands School) and Fabian Byrne (Visual Arts Teacher, Redlands School).

Guest curator Nike Savvas commented on her selection of established artists: “I have selected artists whose practices evidence discriminating, uncompromising and highly individualist approaches to art making. In a cultural climate beset by hype, hits, corporatisation and swinging social agency, the next iteration of this exhibition titled Extreme Prejudice seeks to highlight the personal and critical imperatives that belie and drive such single-minded work.”

Artist Pairs: 

Richard Bell & Megan Cope
Vivienne Binns OAM & Jacob Potter
Vicente Butron & Gemma Avery
Richard Dunn & Adrian McDonald
Sarah Goffman & Connie Anthes
Agatha Gothe-Snape & Aodhan Madden
Gail Hastings & Dan McCabe
Tim Johnson & Hayley Megan French
Lindy Lee & Kath Fries
Stephen Little & Joe Wilson and Chanelle Collier
Jonny Niesche & Mason Kimber
John Nixon & Lucina Lane
Rose Nolan & Renee Cosgrave
Kerrie Poliness & Melissa Deerson
Elizabeth Pulie & Zoe Marni-Robertson
Huseyin Sami & Consuelo Cavaniglia
David Serisier & Oliver Wagner
Jenny Watson & Annie O’Rourke
Hilarie Mais & Conor O’Shea

Museum of Love and Protest: 16 February — Sunday 4 March 2018
A number of mannequins in different outfits

Museum of Love & Protest

EXHIBITION DATES: Friday 16 February — Sunday 4 March 2018

The National Art School is proud to be an exhibition partner of the Sydney Gay and Lesbian Mardi Gras in 2018.

The signature event for the 40th anniversary celebrations, the Museum of Love & Protest looks back across four amazing decades and presents an immersive exhibition of original costumes, photographs and rarely-seen film and video footage, iconic posters, storytelling, music and artefacts.

Presented in association with the National Art School, the Museum celebrates 40 years of love, protest, diversity, acceptance, humour, pride, family, passion and creativity. The Museum’s theatrical design combines visual spectacle and moments of intimacy for visitors to discover the extraordinary stories, artists, communities and images of the Sydney Gay and Lesbian Mardi Gras. Featuring interactive elements, the Museum invites visitors to contribute their own memories and stories of Mardi Gras for others to share. As a special treat, on Friday and Saturday evenings at 6pm, the Museum of Love & Protest really comes alive as fabulous Mardi Gras identities entertain you with their unique spin on Mardi Gras history.

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