Is the emerging artist label only useful for finding grants and opportunities, or can creative practitioners benefit from thinking about different phases of their practice?
There’s no consensus on what an emerging creative practice is. The Vogel Literary Award, established in 1980, is famously for authors under 35. The Museum of Contemporary Art’s annual Primavera art exhibition, founded in 1992, also stipulates 35. That link between emerging practice and youth is strong, although it is slowly changing.
‘It’s a tricky one,’ said Ruby-Rose Pivet-Marsh, the artistic director of the Emerging Writers’ Festival. People often assume the festival is just for young writers, she said, but that’s not the case. ‘We do try to program older emerging writers as well. We’re quite conscious of that.’ Full story on ArtsHub.
With an eye for capturing the colonial holds of history while communicating her profound spiritual connection to Country, in My Place – Before Marlene Gilson paints the history of her home. In vibrant, detailed and narrative-driven works, she shows the ongoing presence of Wathaurung people through the goldrush, alongside the building of Ballarat and the years that followed. Full story on Art Guide.
As galleries moved online in the pandemic some found tools that would bring them to new audiences while others missed the human connection. Jane O’Sullivan looked at how COVID-19 changed galleries forever.
‘Yes and no,’ said Artereal Gallery’s associate director Rhianna Walcott about whether she misses pre-COVID exhibition openings. She’s not the only one.
‘Exhibition openings are a lot of work,’ says Raft Artspace’s director Dallas Gold. ‘It was good to have a break.’ Full story over on ArtsHub.
It has been going for months, but this week the inquiry into the grants system in New South Wales finally turned its attention to the arts. At a hearing in Sydney, six leading arts professionals told the inquiry about underfunding, uncertainty and sector-wide frustration with lack of transparency. Full story over on ArtsHub.
Having children can radically alter an artist’s practice. I spoke to Casey Jenkins, Lucreccia Quintanilla and Marikit Santiago about family and practice – and why they decided to make work with their kids – for this longform feature in Art Guide Issue 129, Jan/Feb 2021.
Overlapping Magisteria takes its name from the idea that science and religion are entirely separate, non-overlapping realms of enquiry – one about material facts, the other about immaterial values. While the exhibition is not so much about religion, it does offer a counterargument to that kind of compartmentalised thinking by presenting five artists who blend multiple ways of sensing, experiencing and understanding the world. Full story over on Art Guide.