Sunday, March 13, 2016

HILL END ARTS COUNCIL: Mark a date in the diaries! Open House Day Hill En...

HILL END ARTS COUNCIL: Mark a date in the diaries! Open House Day Hill En...: Just imagine….then and now…. As the autumn leaves start tumbling down it is time to once again head to Hill End’s Open Day on...

Mark a date in the diaries! Open House Day Hill End



Just imagine….then and now….

As the autumn leaves start tumbling down it is time to once again head to Hill End’s Open Day on Sunday 10 April.  
A number of the villagers are throwing open their homes, their school, their hall, their church and their studios to allow you to peek inside and see how they now live, work and play in an historic gold town. 

Imagine the town as it was….and then see the buildings now. 
Most of the buildings open for viewing were constructed between the 1870s and the 1900s and have seen generations of families through their doors. Some were almost in ruins when they were lovingly “adopted” by people with a passion and on Open Day they wish to share this with you. Many years of painstaking restoration and preservation (and never mind the dollars!) have gone into conserving these buildings as useful and comfortable dwellings. 

They are not museums, they are everyday buildings, still being used for their intended purposes and now all the more treasured for being so. Some have the “mod cons” but these are skilfully integrated into an eclectic environment where they seem right at home. “Why didn’t I think of that?” will be your constant comment.

What will you see? Well, remember your school days, come and visit our school and see how education has changed in an electronic environment yet still retains an historic link to a school that was built in 1872. A church with no electricity? – not a problem, Ted lights the myriad of kerosene lanterns that add a reverent atmosphere to an evening ecumenical service. A cottage with the bathroom “out the back” means that it is a place to escape to and relax in a lingering tub. Leave the mobile phone on the dining room table; it probably won’t work out there anyway! 
View the family portraits in the Royal Hall and watch out as their eyes follow you around the room…Visit the artists who have given up city life for a brief tree change to absorb the creative atmosphere once enjoyed by Donald Friend, Margaret Olley and many others.  Wander down the streets that will be alive with autumn colour. Don’t forget your camera and a good pair of walking shoes. 
 
This is your opportunity to speak to these people, who are proud of their village, in a relaxed friendly atmosphere and ask them the questions that have surely arisen as you wander around town. Volunteers will be available at all venues to guide you to your next place of exploration. C’mon in!

BUILDINGS OPEN ON THE DAY

THE ROYAL HALL

MURRAYS COTTAGE - Bathurst Regional Art Gallery Residency

ENGLISH COTTAGE - Home of Hill End Press

CARVER'S COTTAGE

HAEFLIGERS COTTAGE - Bathurst Regional Art Gallery Residency

DENNINGTON COTTAGE

LA PALOMA POTTERY

ST PAUL'S CHURCH

HILL END PUBLIC SCHOOL

ACKERMAN COTTAGE


FOR BOOKINGS: To experience this great day out on Sunday 10 April 2016 are essential and can be made by phoning 

(02) 6337 8306 

or 

emailing HillEndOpenDay@yahoo.com.au


Registration and payment is at the Royal Hall in Beyers Avenue, next to the Royal Pub.


Cost: $25.00 per person/$18.00 concession. 
(Sorry, cash only on the day)

Further publicity details from Kim Deacon  Phone:(02) 6337 8306 or email HillEndOpenDay@yahoo.com.au

Thursday, March 3, 2016

COMING EXHIBITION: Collaboration with Archibald prize winner painter John Beard and master printer Bill Moseley - Raft of the Medusa


As William Wright explained in 2014 “John (Beard) is a painter ... who you need to find, you need to discover. I have been watching over the years you get this sense of looking ... over time, you see it takes on another dimension. John is an artist like that.”
Kon Gouriotus, Profile magazine February 2016


A response from Barry Pearce, former Head Of Australian Art AGNSW

John's vision of The Raft of the Medusa allows one to inhabit the horrifying, almost uninhabitable Romantic grandeur of the great masterpiece and comprehend its powerful beauty better. No mean feat.

I recalled the Kenneth Clark passage regarding Velasquez when standing in front of your panels based on The Raft of the Medusa; thinking about Manet looking at Velasquez and how his revelation of the Spanish master's texture, yet reining in the energy of execution with hard borders had such a quintessential influence of the modern movement in France ( a bit like Delacroix's response to Constable I suppose).

I think in your own way you too are looking to unravel the mystery of these great masterpieces but you secure the vision through a delicate system of tessellated marks, a process of engagement in your own language which is totally legitimate. Further, you seem to transmute an overpowering Romantic statement into something intimate. Quite miraculous really, like climbing inside and being caressed and absorbed by Gericault's neurones. Kenneth clark regarding Velasquez....

Kenneth Clark......One should be content to accept it without question, but one cannot look for long at Las Meninas without wanting to find out how it is done. I remember that when it hung in Geneva in 1939 I used to go very early in there morning, before the gallery was open, and try to stalk it, as if it were really alive. (This is impossible in the Prado, where the hushed and darkened room in which it hangs is never empty.) I would start from as far away as I could, when the illusion was complete, and come gradually nearer, until suddenly what had been a hand, and a ribbon, and a piece of silver, dissolved into a salad of beautiful brush strokes. I thought I might learn something if I could catch the moment at which this transformation took place, but it proved to be as elusive as the moment between waking and sleeping.

Kenneth Clark


Looking at pictures

London, John Murray 1960 pp 36-37 and sleeping


Photogravure etching from John Beard’s painting After The Raft of the Medusa ( in collaboration with Bill Moseley )

In collaboration with Bill Moseley, artist and master printer, the exhibition includes two editions of photogravure copper plate etchings ( one in red the other in black ) and a unique state ‘ambrotype’ consisting of 24 glass panels.

Tuesday, February 23, 2016

HILL END PRESS: Tin type workshops - Book Now Open!

HILL END PRESS: Tin type workshops - Book Now Open!http://workshoparts.org.au/course/under-the-hood-c19th-tintype-photography-2-day-workshop/: HILL END PRESS   at the Workshop Arts Centre Ewart Gallery 33 Laurel Street, Willoughby NSW ENROL NOW for the  TIN TYP...

Sunday, February 21, 2016

Mark Booth finalist in two major Australian sculpture prizes.

Sculptor Mark Booth
Hill End artist Mark Booth is creating and gathering momentum with his intriguing organic sculpture with flying colours. A finalist in two prestigious art prizes, The inaugural Tom Bass Prize which is the first national Australian art prize for figurative sculpture.and the Sculpture at Scenic World, Blue Mountains.

The Tom Bass Prize will be held at the Juniper Hall , 250 Oxford Street Paddington Exhibition from the 4th March - 20th March 2016. Open Wednesday - Sunday, 10.00am - 5.00pm.  

The prize features 38 artists from across Australia which will exhibit a broad range of sculpture from representational, abstract, innovative and contemporary, all inspired by the human form.

The second exhibition is at Scenic World located on the corner of Violet Street and Cliff Drive, Katoomba in Australia's World Heritage - listed Blue Mountains. The exhibition will be in the rainforest with world class sculptures and held over 30 days from April 8 - May 8.




Artist's statement
Sculptures made from PVC pipe elbows combine to create infinite knots, which, although non-objective, reference the organic. Their modular components suggest a repetition of form, but each is unique in its arrangement, reflecting the freeform process of assembly. Achieved through the use of pattern, light, and scale, camouflage can change the perception of form by making it disappear or change shape. A natural phenomenon, it can be adopted to disguise man-made forms and blend them into their surroundings. This transformation of artificial into organic, disintegration of form, and the obfuscation of an object, are concerns for the artist.

  

To see more of Mark's sculpture go to http://www.mark-booth.com/






Monday, February 15, 2016

Read up on how Blake Prize fnalists Bill Moseley & Joanna Logue achieved their collaborative artwork.

Tin Type Wet Plate Collodion by Bill Moseley & Joanna Logue 
Vol de Nuit 2014 Tin type collage on aluminium 95cm x 85cm 

64th BLAKE PRIZE
One of Australia's longest and prestigious art prizes

13th February  -  24th April 2016

CASULA POWERHOUSE
 1 Powerhouse Road Casula
10.00am - 5.00pm
 
Very excited to announce that artists Bill Moseley and Joanna Logue are finalists in the 2016 Blake Prize at Casula Powerhouse.

Their collaboration brought an artwork worthy of passing down through the generations. Two artists with distinct styles of portraying the worlds that they live in.


Collaborating at the HILL END PRESS studio, Central Tableands NSW


 Joanna is a landscape painter whose paintings are inspired by the landscape surrounding her studio in Oberon NSW. Joanna is interested in the tension created by the juxtaposition of shapes against the wider field and the placement of these forms within the picture plain. By doing away extraneous detail, her hope is that a kind of distillation might take place, where the essence of the landscape hums softly through.




For Bill it's about being drawn to the darkly romantic world of remembered imagery, the fallible memory and the persistence of myths. Having a great love for the antiquarian methods of photography for their qualities of timeless and uneasy beauty.

Combining these two great talents they created Vol de Nuit. The title is from the novel Antoine De Saint Exupery, and is a metaphor for the souls flight or journey through darkness to it's ultimate destination.

This essentially about finding meaning in the senseless void and risks taken in that quest.

Notions of death and immortality are inherent in any spiritual belief; the Kookaburra is simultaneously 'Natura Morta' and a symbolic spirit frozen in immortal flight.

The tin type process was invented by Archer in 1851, using sensitised collodion on either a black steel sheet for an 'instant' positive or else on glass as a negative for prints.

Tin type wet plate collodion workshops can be done at Hill End Press for all information go to www.hillendpress.com.au


The Coalminers Daughter - Tin type collodion Finalist Mussellbrook photography


You can see more of Bill and Joanna's artwork on

http://billmoseley.hillendpress.com.au/ 
http://www.joannalogue.com.au/ 
http://www.casulapowerhouse.com/whats-on/exhibitions2/the-64th-blake-prize 
www.annapappasgallery.com 

Curator and writer Gavin Wilson's landscape re imagined

On now at the Blue Mountains Cultural Centre
KATOOMBA




Fear of Forgetting

 Steven Cavanagh who was recipient of the Hill End Artist in residence program in 2010 and the National Art School residency in 2013 through Bathurst Regional Art Gallery has curated in partnership with Paul McDonald of CONTACT SHEET gallery an insightful exhibition, that challenges the way we see photography.

 Fear of Forgetting

Artwork by Julie Williams


CONTACT SHEET
invite you to join them in the opening of

Fear of Forgetting

Featuring the following artists

Steven Cavanagh, Janet Haslett, Sandra Kontos, Sky Wagner, Michael Waite, Jason Weissberger, Julie Williams.

Exhibition to be opened by 
Michael Snelling
Director of the National Art School

Sunday 21st February 2016

1.00pm - 3.00pm


RSVP ESSENTIAL



Curated by Steven Cavanagh and Paul McDonald

Exhibition dates

17th February - 5th March 2016

60 Atchison Street |  St Leonards | NSW | 2065 

http://contactsheet.comau/current-exhibition/