James PARRETT Blind Turn 2007

This major award is in memory of the tragedies that ensued after the 1942 Japanese invasion of the New Guinea Islands. This included Australias greatest maritime disaster, the sinking of the Montevideo Maru with the loss of more than 1,000 lives.

The memorial will be completed in 2012 and will be installed in the Eastern Precinct on the grounds of the Australian War Memorial, Canberra

In creating his design, James states “My immediate response was to create a work that would ‘protect’ the memory of the people who lost their lives as well as the tragedy of the event itself.

He sought to provide an abstract design for future generations that was timeless, both physically and aesthetically. The work will be fabricated in stainless steel and be approximately 3.5 mtrs high. The design, based on the manipulation of circular forms, refers to themes of physical and personal journeys, and the ocean. This symbolic design provides a peaceful way of reflecting upon the fall of Rabaul, the New Guinea Islands and the sinking of the Montevideo Maru.

The location for the Rabaul and Montevideo Maru memorial is in the Australian War Memorial’s award winning Eastern Precinct, designed by Johnson Pilton Walker. This site commands views across the National Servicemens memorial and ANZAC Parade and will be positioned near the bronze sculpture of Sir Edward Weary Dunlop.

James Parrett is represented by Gould Galleries

Click here to view more works by James Parrett

James Parrett on Artabase

Darkwood no.19, 2011

Judge of the 2011 Prize Davida Allen has announced Sydney artist Chris Langlois as the winner of the $10,000 first prize, with his work Darkwood no. 19 2011, which has been acquired for the Gold Coast City Gallery collection.

Chris Langlois is represented by Gould Galleries.

In addition, Blue faced honey eater – Peek 2011 by Jodie Wells and The Hunter and Collector 2010 by Rew Hanks have also been acquired. Congratulations to the winner and all of the finalists.

Filter 78 :: if <1 ohm :: Now Online
The first articles of Issue 78 of Filter Magazine are now online. ANAT CEO Gavin Artz discusses the place of Australian Artists in the International Electronic Arts World.  Ross Harley discusses the perceptions of Electronic Art in preparation for ISEA2013 :: Resistance is Futile.  Remember to return to Filter during the next week to read updates, additional articles and add your questions and comments to the issue.
http://filter.anat.org.au

Australia Copyright Agency Limited has added a new webpage to the resale royalty website, with information about royalties where an artist or beneficiary lives overseas: click here to view.

Under the current law, this information is:

1. if the artist is living: at the time of the resale, the artist was not an Australian citizen or resident.
2. if the artist has died:

• when the artist died, he or she was not an Australian citizen or resident; or
• there is no successor who has a connection with Australia.

A successor can be a beneficary or a trustee.

Our research indicates that works by the following artists are not currently subject to resale royalties because there is no successor who has the requisite connection with Australia:

• Sidney Nolan
• Roy de Maistre

The situation may change, however, when:

• the Australian scheme is extended to other countries; and/or
• there is a new successor in title.

All resales must be reported to us, whether or not a royalty is payable, and we determine if a royalty is payable.

If you would like an indication in advance of whether or not a royalty is likely to be payable, please contact us and we will do our best to assist.

Australia Changes to the Artists’ resale royalty scheme mean that Art Dealers no longer need to report sales of artworks valued under $1,000.

Australia Although awareness of the resale royalty scheme is high, there are a few misconceptions when it comes to the details. Some surround what needs to be reported for resale royalty purposes. Judy Grady, the key contact at Copyright Agency for galleries, auction houses and art dealers, shares some of the questions she is frequently asked.

• Does the first resale after 8 June 2010 need to be reported?
  Yes, all resales need to be reported. If it is the first transfer of ownership after June 8, 2010, no royalty will be payable. This will be identified through the acquisition question that you answer on the resale report: ‘Seller acquired work post 8th June 2010? Yes or No.Do resales where the sales price is less than $1000 (including GST) need to be reported?
  Yes, but please do talk to Copyright Agency about simplified reporting for these sales.
• Do primary sales need to be reported?
  No, primary sales do not need to be reported, but you can report them if you wish. They have made provision for this in the reporting system but it is not required. In response to requests from artists, dealers, galleries and auction houses, they have made provisions for this in the reporting system but it is not a legislated requirement.

• if providing dimensions do not type ‘cm’ in the field. You just need to enter the numbers
• when providing the sale price, do not type the ‘$’ sign. You only need enter the numbers
• make sure you tick the box that warrants that all the information you have provided is correct
• to submit the report you need to first click ‘Update’ and then click ‘Submit
• after clicking ‘Update’, the details of the resales will appear at the base of the page, providing you with the opportunity to check the details you have entered before clicking ‘Submit’

Australia Copyright Agency sets aside 1.5% of licensing revenue for its Cultural Fund to reinvest in Australia’s vibrant arts and cultural community. Since its inception, the grants have been allocated to a wide cross-section of projects in the visual arts and publishing industries. The priority area of funding is ‘supporting innovation in the Australian creative industries to develop local and foreign markets for Australian works.’

• Victorian Indigenous Art Awards
  With a Cultural Fund grant of $13,000, Copyright Agency sponsors cash prizes for the winners and the runners-up in two categories of the Awards: works on paper and three dimensional works.
• ArtLink
  The Cultural Fund is providing $60,000 to ArtLink magazine over three years. The funding will go towards an annual Indigenous edition of the magazine, giving Indigenous artists a voice and to document change and development in the sector. An adjunct to this project is the $11,250 the Cultural Fund has provided for ArtLink to translate its first Indigenous edition into Chinese to increase the profile of Indigenous art to this growing market for cultural works.
• Cultural Partnerships Australia
  Cultural Partnerships Australia, based at Red Gate Gallery in Beijing have been granted $60,000 from the Cultural Fund. With this funding, they will establish a curatorial exchange program which will invite young Chinese curators to meet and work with established and emerging Indigenous artist, curators and gallery directors in Australia. Their aim is to develop Chinese appreciation of Australian art, Indigenous culture and Australian curatorial practices.
• Tom Bass Sculpture Studio School
  The Tom Bass Sculpture Studio School received $10,000 from the Cultural Fund to run an emerging sculptor program, providing artistic and professional development and training to support an emerging sculptor over a twelve month period.
• National Association for the Visual Arts (NAVA)
  Through the Cultural Fund, Copyright Agency has granted NAVA $149,700 over a period of three years to develop and deliver a distance education package of online courses for visual artists, craftspeople and designers with the aim of assisting them build their careers. NAVA’s desire is to provide practical information for artists from urban, regional and remote Australia.

For further information about the Cultural Fund, the projects it supports and details on how to apply for grants, visit Copyright Agency’s website.

First published in 2008, this paper by Julian Oliver argues that artworks which use optical illusion create a type of interactivity by manipulating flaws in human peception to trigger belief mechanisms.

Here interactivity does not result from physically playing with a touchscreen or a joystick, but rather it “shifts the object of interaction from the corporeal into the perceptual”, locating an interface directly within our neurological processes.

In repeatedly attempting to register competing representations of reality, optical artists author a game within our perceptive faculties, whereby “the game – if one could call it that, is built around futile attemps to reach coherence”.

Oliver_Optical-Illusion-Art-as-Radical-Interface

Copyright 2008 Julian Oliver.

Creative Commons Attribution 2.0 License

Sydney, Australia

Art Month Sydney has announced the appointment of an Artistic Director for the first time in the three-year history of Sydney’s annual contemporary art festival.

Running from 1st until 25th March 2012, the program of the third annual Art Month Sydney will be developed under the creative vision of Eliza Muldoon.

“We want people to get excited about contemporary art and to make them feel both welcomed and involved. Personally, I’m looking to share my love of the arts and will be extending an open invitation to Sydneysiders to join us next March,” said Eliza Muldoon, Artistic Director of Art Month Sydney 2012.

Andrew Rothery, Chairman of Art Month Sydney said: “We are delighted to welcome Eliza to the team at a point when Art Month is truly coming of age.” “Eliza’s first-hand expertise and understanding of the Sydney contemporary art field makes her perfectly placed to create a dynamic program for our third annual festival,” said Mr Rothery.

An awarded lecturer at the University of New South Wales’ College of Fine Arts (COFA) and founding director of the Arts Interview website, Eliza will be responsible for developing and implementing a curatorial and artistic program to form the basis of Art Month Sydney 2012. Eliza has also taught at the Australian Film Television and Radio School (AFTRS) and is a respected arts writer and PhD candidate.

“Art Month offers a unique opportunity to showcase the artists and galleries that form the heart of Sydney’s thriving contemporary art scene,” said Ms Muldoon. “We’re looking to build on the success of the previous two events by offering a reinvigorated artistic program that will attract new audiences to the visual arts as well as appealing to existing collectors and art lovers,” said Ms Muldoon.

The Art Month Sydney 2012 program will include exhibitions, art talks, artist performances, open studios, gallery tours, workshops and panel discussions as well as the popular afterhours gallery openings and art bars.

Art Month events will be held in and around Sydney’s commercial and public galleries as well as at artist-run-initiatives and non-traditional art spaces. Further details of the program will be announced in the months prior to the event.

www.artmonthsydney.com.au

United States

The National Medal is the nation’s highest honor for museums and libraries in America, for extraordinary civic, educational, economic, environmental, and social contributions. Recipients must demonstrate innovative approaches to public service and community outreach.

This year’s winners include two art museums, the Brooklyn Museum of Art and the Erie Art Museum.

http://www.artabase.net/gallery/184-brooklyn-museum-of-art

The other institutions that will receive the IMLS medal this year are:

Brooklyn Museum of Art, New York.

Weippe Public Library & Discovery Center, Weippe, ID

San José Public Library, San José, CA

Alachua County Library District, Gainesville, FL

Columbus Metropolitan Library, Columbus, OH

EdVenture Children’s Museum, Columbia, SC

Erie Art Museum, Erie, PA

Lewis Ginter Botanical Garden, Richmond, VA

Madison Children’s Museum, Madison, WI

Hill Museum & Manuscript Library, Collegeville, MN

IMLS is the primary source of United States federal funding for museums and libraries. The National Medal for Museum and Library Service was created to highlight the vital role these institutions play in American society. Recipients are selected by the director of IMLS following an open nomination process and based on the recommendations of the National Museum and Library Services Board.