Radiance: the art of Elisabeth Cummings

Radiance: the art of Elisabeth Cummings

Elisabeth Cummings at Wedderburn, 2023. Photo: Peter Morgan

Radiance: the art of Elisabeth Cummings

“You’ve looked at so much and experienced so much colour, so many shapes, and they excite you… Putting them together and pushing them around, it’s frustrating, it’s difficult often, but it’s exciting.”
Elisabeth Cummings, 2023

The National Art School is proud to present Radiance: the art of Elisabeth Cummings, a spectacular exhibition celebrating one of the School’s most esteemed and exceptional alumni. The artist’s singular visual language and inimitable grasp of colour are celebrated in major works from the last three decades drawn from public and private collections.

Cummings’ paintings are grounded in memory and her experience of place, distilling into visual form her response to her surroundings, including Australia’s unique landforms and ecology, as well as beloved internal spaces. Since the 1970s she has lived and worked in a secluded bushland setting at Wedderburn on Dharawal Country in Sydney’s south-west. Intrepid trips have taken her across the continent to absorb and paint magnificent locations, including the Monaro and Darling regions in NSW, Flinders Ranges in South Australia and the Kimberley in far-north West Australia. She has also travelled and worked extensively overseas.

Born in Meanjin/Brisbane, Cummings began painting as a child before moving to Sydney to attend the National Art School, then East Sydney Technical College. After graduating from NAS in 1957, in 1958 she won the NSW Travelling Scholarship and was based in Florence, Italy for the next decade. Returning from Europe, she moved to Wedderburn, a bushland location on the outskirts of Sydney where she built a mudbrick house and studio as part of an artists’ colony. She also returned to NAS, to teach part-time for more than 30 years from 1969 to 2001.

Cummings has been exhibiting for more than 50 years and her works are represented in major Australian public collections including the National Gallery of Australia (NGA), Art Gallery of NSW and NAS Collection. She was awarded a Medal of the Order of Australia in 2011 for her services to the visual arts in Australia. A major retrospective of her work, Elisabeth Cummings: Interior Landscapes, toured from Canberra’s Drill Hall Gallery to NSW and Queensland in 2017-18. In 2022, her work featured in Know My Name: Australian Women Artists 1900 to Now Part Two at the NGA.

It is appropriate and inspiring that this exhibition Radiance brings the mature work of Elisabeth Cummings, one of Australia’s most eminent artists, back to Gadigal Country and the splendid heritage surroundings where she studied and taught at the National Art School.

Elisabeth Cummings is represented by King Street Gallery on William.

“Elisabeth Cummings has been referencing the same cycles of terrains for many years: favourite places in the Kimberley and Central Desert, pockets of light within her studio and living space, glimpses and shards of the trees outside her window at dusk or in moonlight. A sense of place is always humming beneath the skin, yet she is the first to state her work is anti-plein air. Her gathering process is well-documented as physical: travelling, drawing, sleeping inside the landscape and simply sitting with it. Yet in its completion, her painting practice rebounds to the conceptual. The ‘not-knowing’ of the studio… the service of fugitive colour rather than obedient form.” Anna Johnson, Elizabeth Cummings monograph, 2017

“Elisabeth Cummings now looks like one of the great painters of our era … there is an amazing energy in the best of [her] work. It’s a quality that seems to have crept up on her over the years, as if age and experience have bequeathed her an ever-greater creative freedom.” John McDonald, The Sydney Morning Herald, review for Elisabeth Cummings: Interior Landscapes, Drill Hall Gallery, Canberra 2017

“She has a humble and serene countenance, no diva resides in that diminutive frame. But do not be fooled, Elisabeth Cummings is a pre-eminent and indefatigable athlete of the imagination, capable of transforming complexity and doubt into certainty.” Michael Kempson, Cicada Press Director, 2016

EXHIBITION DATES:

Friday 18 August – Saturday 21 October 2023NAS GalleriesMonday to Saturday, 11am–5pm
156 Forbes St, Darlinghurst

Free entry

OPENING NIGHT:

Thursday 17 AugustNAS Galleries 6–9pm
156 Forbes St, Darlinghurst

Free entry, RSVP below.

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Art Club is our high school student program for 15-17 year olds, designed to enhance and extend students’ technical, conceptual, and intellectual skills, through intensive practical study in the disciplines offered at NAS as well as engaging in an experience of our studios and campus, under the expert direction of experienced artists.

Set your child on a creative path with Art Club. 

Learn more at the link in bio.
Thank you to everyone who attended the opening night of the 24th Dobell Drawing Prize and congratulations again to the prize winner NAS alumna Rosemary Lee.

The 24th Dobell Drawing Prize is now open until Saturday 21 June 2025
11am – 5pm Monday to Saturday 
NAS Gallery 
Free admission, all welcome

Learn more about the exhibition at the link in bio.
We are delighted to announce NAS alumna Rosemary Lee as the winner of the 24th Dobell Drawing Prize, Australia’s leading prize for drawing, worth $30,000.

Selected from 56 nationwide finalists, and 965 entries, Rosemary’s work will become part of the National Art School’s significant collection, built over the past 120 years. Rosemary, in her winning work 24-1 (2024), observes tonal and compositional profundity in everyday life.

The judging panel comprising acclaimed First Nations artist Vernon Ah Kee, Paula Latos-Valier AM, Trustee and Art Director of the Sir William Dobell Art Foundation, and Dr Yolunda Hickman, Head of Postgraduate Studies, National Art School, commented of Rosemary’s work: “The decision to award the 24th Dobell Drawing Prize to Rosemary Lee for the work ‘24-1’ was unanimous. We were most impressed by the level of visual intensity the artist has achieved in this work both through its vibrant colour and in the extraordinary detail of the composition. The artwork’s exploration of the urban landscape and gentrification of the Sydney suburbs of Ashfield and Summer Hill, has produced an image capturing a broader sense of transience and the omnipresence of construction sites in our cities today. It questions the cultural and historical value of place, through the lens of the artist’s personal connection.” 

See Lee’s work alongside the work of the other finalists in the 24th Dobell Drawing Prize, 11 April – 21 June 2025, NAS Gallery
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Left to right: NAS Director and CEO, Dr Kristen Sharp with artist Rosemary Lee, featuring winning artwork 24–1, 2024, pencil on paper, image courtesy the artist and National Art School Gallery © the artist, photograph: Peter Morgan
Introducing the National Art School Short Courses Program from July–December 2025

Whether you’re a beginner, rediscovering a past passion, refining your skills, or considering our Fine Arts degree, the short courses offer a stimulating and rewarding experience for all levels.

Our 2025 program begins in July with Winter School, followed by Term Three, Spring Weekend Workshops in September, and Term Four in October.

Learn more and enrol at the link in bio.
Making Sound is a performance event featuring four artists who make devices that make sound, including Gary Warner, Pia van Gelder, Ben Denham and Sean O’Connell, presented following Facture: Drawing Symposium 2025, Saturday 12 April 5-6pm. 

Gary Warner creates an improvised soundfield with his ‘aleatoric ensemble’ autonomous sound machines, a collection of modified turntables that spin ad-hoc bric-a-brac assemblages.

Pia van Gelder (pictured) amplifies an electronic circuit as it is built in real-time. Under the moniker of “PvG sans PCB,” in these performances, van Gelder works on a breadboard with electronic components and additional found objects to demonstrate the electronic variabilities produced in the material world.

Ben Denham and Sean O’Connell perform together with handmade synthesizer systems that sense and sonify barometric pressure and the flow of electrons through matter.

Purchase your tickets to the symposium at the link in bio.
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Pia van Gelder, 'sans PCB', 2021, performance, Collings Creative, image courtesy and © the artist
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