Monday, 12 December 2016


Sovereignty image

As a final post for the year -
notice of an ACCA exhibition which includes the work of Bronwyn Razem:

ACCA - Australian Centre for Contemporary Art


The sovereignty of First Nations peoples is embodied culturally, historically and politically, and has never been ceded. The exhibition Sovereignty focuses upon contemporary art of First Nations peoples of South East Australia, and keynote historical works, to explore culturally and linguistically diverse narratives of self-determination, identity, sovereignty and resistance.
Victoria, Australia


Thursday, 17 November 2016

'Art is a connector'

Katy Bowman's wonderfully mesmerising show came down yesterday and is the final show for 2016.

There were nine window installations this year, each challenging, professional, exciting, and each very different from each other.

WINDOWSPACE BEEAC thanks all participants and looks forward to another exciting year in the WINDOW in 2017.

WINDOWSPACE will reopen in February with the work of Les Futo.

To end the year something from 2015 NAVA about the positive role of art.

A tribute to Christmas by Allisha Worden will occupy the WINDOW between 21 Nov and 31 Dec.

Commissioned Article

Finding harmony in diversity towards a national consensus

With renewed global urgency to find harmony in diversity, peace can only come about where all voices at the margins can be expressed, heard and valued.

Eve Stafford OAM on the need for Australia to have a binding national cultural policy with bipartisan support across electoral cycles and winds of change. Read more.

Thursday, 10 November 2016


...  before heading off to the Middle East



is having an

Sat 26 November 2016

68 Bunbury Street 

Wednesday, 9 November 2016


Congratulations to



Coburg Town Hall
90 Bell Street COBURG
Sun 13 Nov
10 am - 6 pm 


Lindberg Galleries 
77 Cambridge Street COLLINGWOOD
Nov 10 - 26

Thursday, 6 October 2016

2016 : 9 KATY BOWMAN - OCT/NOV 2016

KATY BOWMAN,  Shifting Contingencies  (2016)
Mixed media installation

Current: October/November 2016
View at: 79 Main Street BEEAC

Transactional interface

Above all Katy Bowman is an observer.  
Although perhaps she would prefer the word explorer.

This may seem a strange observation to make about a visual artist – are artists not meant to work in movements, isms, recognizable styles, schools? within formulas that allow the viewer to compartmentalize them, categorize them, organize them, get a grip? 
What do you do with ‘an observer’ who might respond to anything … or go off exploring?

If the artist is not easily categorized what then? Perhaps their work is contingent on the pleasure of surprise? Katy Bowman’s installation at WINDOWSPACE-BEEAC seems just that: Shifting Contingencies (2016) is a transactional interface of colour and light, constantly surprising with its mobile discs of interaction, referencing local colour, local history, the circularities of country routines and travels …

Bowman takes the fundamental elements of the visual – colour, light, shape and line and allows and enables surprises, in a space more usually associated with displaying information, (aka advertising), and so doing her work breathes new life into the possibilities of a shopfront, a window. Bowman states: 
My intention is to make a work which will be readable from both a distance and close up and that depending on the viewer’s vantage point will subtly shift during the course of the day and change as the viewer moves past it.  
The key ideas that underpin the work are notions of space, time and light in the context of this particular site and how each informs the other.

Bowman’s mission? To take the viewer/passerby along with her, to provoke consideration of the physics of colour, the chemistry of visual relationships, the trance-like magic of colour and movement – to draw out a musing that gently evokes the locality … ah that’s the colour of those plants near the lake ... beadwort … the lake … discs like a salt-pan … sun wind windmills … and so the transactional interface of visual elements melds with this context, this landscape, local activities, rural cycles – and surprises.

Bowman makes clear: ‘I am particularly interested in working with a variety of materials which respond to light’; ‘in placing my work in the public realm and in particular windows’. The artist has a background in performance and it is interesting to note that Alexander Calder, early creator of what we now know as ‘mobiles’ (motion + motive) was, like Bowman, drawn to performance and indeed had his own Cirque Calder.

If the simple disc, (and Ben Day dot), is deemed a ‘pop’ element then it is worth knowing too that interest in the political side of ‘pop’ saw a recent exhibition at the Tate Modern, London, entitled: The World Goes Pop (Tate Modern, London, Sept 2015 – Jan 2016) which teased out the international reach of the movement, its politics and the paradox of ‘eye candy or erudite criticism’ – worth bearing in mind in the context of Bowman’s Shifting Contingencies at WINDOWSPACE BEEAC over October/November.

For more on Bowman's work visit her website:


Sunday, 2 October 2016

Saturday, 1 October 2016


The Australian Artists' Grant is initiated by NAVA to assist professional visual and media arts, craft and design practitioners to produce, present and promote their work throughout Australia and overseas. Individual applicants are eligible to apply for funding of up to $500+GST. Groups are eligible to apply for funding of up to $1,000+GST. Apply now.

Artists from regional and remote Australia are encouraged to apply.

Funds from this round can be used for projects or exhibitions taking place in January, February, March, April 2017 only. Terms and conditions here.

Eckersley's Art & Craft are generously sponsoring a $250 gift card to one applicant in this round of the Australian Artists' Grant. Only NAVA Premium and Premium Plus Members are eligible.

Applications close: 11.59pm AEST Saturday 12 November 2016


The Visual Arts Fellowship aims to assist exceptional mid-career Australian visual and media arts, craft and design practitioners to undertake a self directed program of professional development.

Two $20,000 fellowships are open to mid-career artists. Apply now.
Terms and conditions here.

Applications close: 11.59pm AEST Saturday 8 October 2016

Tuesday, 13 September 2016

DAVID THROSBY on 'support for individual artists'


31 August 2016

One of the casualties of the ill-starred reorganisation of arts funding proposed last year by the then Minister for the Arts, Senator George Brandis, was support for individual artists. If his plan had gone ahead, it would have resulted in a further consolidation of funding for the major performing companies at the expense of the lone creative practitioner.

But in its replacement – the Catalyst fund put in place by the new Minister Senator Mitch Fifield – the support prospects for individual artists have not improved much. Catalyst does not fund individuals directly.

Policy conflicts between the funding demands of large performing companies and the needs of the individual creative artist are by no means new. In Australia, they can be traced back as far as the years immediately following the establishment of the Australia Council.
An early vision of the Council’s inaugural chair, Nugget Coombs, was the setting up of well-funded performing companies of international standard in theatre, music and ballet. A consequence of this policy was that during the late 1970s, support for these organisations was absorbing what was seen as a disproportionate share of the available money.

To counteract this trend, a proposal was put to the Council in 1980 by the Literature Board, supported by the Visual Arts and Crafts Boards, for a study into the circumstances of the individual creative artist, in the expectation that such a study would highlight the disadvantage suffered by these boards’ clientele, and would propose remedies. The proposal led to the establishment in 1981 of the Individual Artists Inquiry.

I was invited to chair the Inquiry. Its committee comprised senior artists and arts industry personnel with a wide range of experience and expertise representing writers, visual artists, craftspeople, actors, dancers, musicians, composers, directors and community artists.
Given the lack of data about artists’ economic circumstances, we began by designing and commissioning the first ever national survey of Australian artists to gather the essential information to guide our deliberations. The Inquiry completed its work in August 1983 and its report, entitled The Artist in Australia Today, was published later that year.

What can we learn looking back on the findings and recommendations of this Inquiry from a vantage point 33 years later? The first observation is how little has changed.
The survey documented the relatively low incomes earned from creative work, the extent to which artists were obliged by economic necessity to seek other jobs to support their creative practice, and the difficulties artists faced in establishing their right to recognition in a world where being an artist was not looked upon as a professional occupation. All remain serious issues affecting art practice today.

The Inquiry’s wide-ranging recommendations dealt with the status of the artist, issues relating to artists’ employment and working conditions, and the various means for providing assistance to support their work. Not surprisingly the 1983 Committee recommended an increase in funding for “initial creative artists”, an outcome argued as being achievable without disadvantaging the big performing companies.

Many of the Inquiry’s observations have some continuing resonance: the importance of supporting emerging artists; the need for more effective copyright protection; the role of artists’ residencies; dealing with obstacles in the way of a full recognition of artists’ rights; and so on.

To its credit, the Australia Council acted on many of the Inquiry’s recommendations, elevating a concern for the professional welfare of the individual artist in its policy priorities, a position the Council still holds to today, even when government intentions point in another direction.

All committees of inquiry end with proposals for further research and this one was no exception. In particular the report stressed the need to keep the data about practising professional artists up to date.

Accordingly, successive Australia Councils have commissioned new surveys every few years since the 1980s, all of which have been undertaken by me and my colleagues at Macquarie University, and all of which have continued to paint a bleak picture of artists’ circumstances.

Their incomes have remained relatively low; full-time work as a creative artist continues to be out of reach for most practitioners; economic factors are still the major impediment to artists’ opportunities to expand their work profile; and ongoing shortcomings persist in the public and administrative recognition of artists’ professional status.

The last-mentioned problem is reflected in the ironic titles of the survey reports we have published over the years: When are you going to get a real job? (1989); But what do you do for a living? (1994); Don’t give up your day job! (2003); Do you really expect to get paid? (2010).

At present we are in the midst of conducting a new edition of the survey, again funded by a grant from the Australia Council. The hunt is on for a title for the report from the survey, to be published early next year. Suggestions please!

StARTers Market

WINDOWSPACE has been asked to mention this event in North Melbourne ...

“....  exciting new initiative is being launched on Sunday 16th October 2016 as part of the Spring Fling Festival to showcase and support Melbourne’s large number of talented artists & creators. 

Sponsored stall spaces are being offered specifically to emerging artists, designers, photographers and makers who have had minimal previous exposure and are looking to get their talents recognised!
Successful applicants can choose to either sell their work or simply exhibit at the market, and expressions of interest will be accepted from individuals and small groups with all levels of artistic experience. Participants in the first StARTers Market will be chosen based on their creativity, diversity and focus on sustainable practises, and are encouraged to make their space at the market exciting with colour, music and opportunities for people to interact with their work.”

Press release is attached and this is the facebook event specifically for the StARTers Market. Have also attached some images of how it will look on the day. They are given 2 fence panels and can do what they like to exhibit or sell their work within this space. Will be located on Victoria Street.

Links related to festival are provided below.


Monday, 5 September 2016



BARRY MOUSLEY, Diorama (2016)
Mixed media installation

Current: September, 2016
View at: 79 Main Street BEEAC

… a lake in the window …

Think heraldry, stained glass, illustrated manuscripts – the impetus behind medieval imagery is instructive: this is the setting, this is the story, these are the characters. If you can’t read the story, you can see it.

Corrunnen artist, Barry Mousley, cites medieval manuscripts and stained glass as formative influences on his work. These ‘early’ practices might appear at odds with Mousley’s world, his contemporary documentation of changes in a unique and fragile Ramsar Lake zone and his specialization in Australian wildlife, particularly endangered & lesser known species. How do medieval imagery and contemporary nature resolve, visually?

Like the ‘authors’ of manuscript and glass, Mousley is inspired by a desire to record, to share, to tell, to show. To wit, BM: ‘You know it’s been pretty windy. There was this awful rattle in our chimney. I thought Uh Oh. It settled and then happened again. In the still I went outside and this is what I found.’ Mousley whips out his wee camera, No 2#. There on a chimney are the angular shapes of a cormorant! Now, only now, this writer knows there are cormorants in these parts; has seen one on Barry’s chimney. Clear, informative, exciting. Expect a cormorant to appear by Mousley’s hand, soon.

While his work is literal, it play tricks – tromp d’oeil, Escher-like, but above all Mousley’s art is ‘loving’: a caress detected in the infinite subtlety of what appears such fidelity, is what sets it apart. There is a glow in the attention to subject accuracy, not slavish verisimilitude. There is a warmth and fervor in the desire to share a knowledge of what has been seen and found – in his locality – and Mousley renders this desire.

His works are not fictions, nor intellectual constructs, rather evidence of delight and joy in marvels of the natural world. Where Attenborough hugs a chimp or grovels with a gorilla, Mousley hugs the paints and grounds, shapes and colours that allow him to share with such delight what he has seen around him. His work is his ‘manuscript’ of this experience, his means to share the story of what is precious around him.

Mousley’s visual interests are anchored and informed by his practical engagement with Birds Australia, Parks Victoria, the Wildlife Arts Society and Greening Australia. His talent is to bring his interest in the natural world and his visual capabilities together in the humming unison of an irresistible story that everyone can ‘read’.