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Art Guide Australia Podcast

Art Guide Australia

Art Guide Australia is the definitive magazine and online guide to art exhibitions across the country. Our art-related podcasts feature lively and insightful conversations with artists, curators and creatives.
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What does it mean to create and innovate over six decades? Art Guide Australia’s newest podcast series The Long Run considers this question with three artists who have had careers spanning sixty years, each reflecting on their art and lives. What can they teach us about the life-stages of an artist?

In the second episode we speak with landscape painter Wendy Stavrianos. Working from regional Victoria, Stavrianos is known for her densely layered landscape paintings and use of line in painting, creating works that evoke different environments in ways that are beautiful, psychological and mysterious. From her early work in the 1960s, to her well-known Rape of a Northern Land series painted in Darwin in the 1970s, and her recent large-scale paintings, Stavrianos is integral to understanding landscape painting in Australia.

In this episode Stavrianos talks about her childhood and youth, and how this set the scene for her to become an artist. She also discusses the gender barriers she encountered as a female painter, how she came to landscape painting, her incredible empathy with the environment and nature, and how mortality and mystery infiltrate her work.

The conversation is an interesting accompaniment to our first episode of The Long Run, where avant-garde painter Gareth Sansom talks about the mechanics and chance of making art, and his feelings on mortality and time.

This series is kindly sponsored by Leonard Joel Auctioneers and Valuers, based in Melbourne and Sydney.

Produced and presented by Tiarney Miekus, music and engineering by Mino Peric.

Wendy Stavrianos is represented by Nicholas Thompson Gallery, Melbourne

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“In some ways I don’t think of my life and art as separate things, I think it’s one in the same thing,” says artist Louise Weaver when speaking of her creative pursuits. “I don’t see it as a career as much as something that is an extension of my life and would go on regardless of whether I had opportunities to exhibit or not.”

With a practice spanning three decades and multiple mediums, Weaver has continuously worked both within and beyond a variety of juxtapositions: nature and culture, metamorphosis and concealment, reality and unreality, and the beautiful and the uncanny. Becoming well-known in the 90s for her crotchet animal forms, over time Weaver has created a vast array of painting, installation and sculptural works, threading interests in mythology, shamanism, the fantastic, the domestic, high fashion, art history and ecological awareness.

Weaver discusses these elements in the podcast interview, and further builds upon an earlier conversation published in Art Guide’s January/February 2020 issue, which can now be found online.

In particular Weaver talks through her major survey exhibition 'Between appearances: the Art of Louise Weaver', showing at Buxton Contemporary, and filters through the ideas and associations that inform her tactile works. She also discusses the dream-like qualities found in her work, her studio process, how she gets beyond self-doubt, questions of gender and creativity, and what she means when she says creating art is how she relates to the world.

See more at Art Guide online: www.artguide.com.au/podcast

Podcast produced by Tiarney Miekus. Engineered by Mino Peric. Music by Jesse L. Warren.

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Even Agatha Gothe-Snape struggles to define her art. While performancemay be the easiest description, there are many avenues winding through her practice including dance, collaboration, text, public works, PowerPoint slide presentations, augmented reality and documentary. If the form of Snape’s work can be slippery, so too can the content. Broadly speaking, much of her work looks at artistic processes, the canon of art history, and the social and aesthetic contexts that artworks sit within.

In a career barely brushing one decade, Gothe-Snape has exhibited widely. She’s the only artist to have shown in all iterations of the Sydney exhibition series The National, and was also included in the 20th Biennale of Sydney — not to mention she’s also the subject of an Archibald-winning painting, created by her partner Mitch Cairns.

Most recently, Gothe-Snape was commissioned by Kaldor Public Art Projects for the exhibition Making art public: 50 Years of Kaldor Public Art Projects. For the show, Agatha created Lion’s honey, an ongoing performance in which a single person reads to themselves each day in the gallery. It’s this work that becomes the focus of the podcast, with Gothe-Snape recounting how the performances came to fruition — just when she was at the edge of refusing a commission — it was hearing a fable that brought her back into creating. It’s Gothe-Snape’s telling of the story that gives such an insight into her practice, and how she thinks about art.

Gothe-Snape also talks about the experience of being part of an artistic family, why she eventually went to art school, the role of language in her work, her thoughts on John Hughes and the art canon, and her struggles with the label of “art”.

See more at Art Guide online: www.artguide.com.au/podcast

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For David Hurlston curating is both a conceptual and physical process: he’s concerned with how viewers move through gallery spaces and how they read artworks. “It’s just about making a really tangible and interesting and educative experience, and I think that happens in the real world, in the real space,” he says.

Having been a curator at the National Gallery of Victoria for over 25 years, David Hurlston’s name is synonymous with the curatorial field of Australian art. While his current role is Senior Curator, Australian Painting, Sculpture and Decorative Arts to 1980, David has worked in a number of curatorial roles at the National Gallery of Victoria including Curator, Australian art exhibitions (2002-2007), Program Coordinator (1999-2002) and Access Gallery Curator (1993-1999).

As Hurlston explains in the podcast, curating is centred on collaboration, listening and negotiation: elements which have come into play when curating survey shows on well-known artists including Ron Mueck, David Hockney, Deborah Halpern, Ian Strange and more.

Hurlston also discusses the push and pull between entertaining and informing gallery visitors, his childhood experience of regularly visiting NGV, his background as an artist, what curating has meant to him over the years, and what the label of ‘curator of Australian art’ signifies today.

See more at Art Guide Australia online: www.artguide.com.au

Podcast produced by Tiarney Miekus. Engineered by Mino Peric. Music by Jesse Warren.

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“Not only is it exhibition making,” says independent curator Andy Butler when talking of his curatorial practice, “I think it’s advocacy in a lot of ways for particular artists’ practices, for the arts more broadly, for particular ideas that you want to see circulate within the contemporary art world and contemporary art discourse.”

Along with being an independent curator, Butler is a Filipino-Australian writer and artist who continuously looks at the dynamics of power, systemic racism and racial hierarchies within a contemporary art context. As Butler explains in the third episode of our Conversations with Curators series, independent curating provides a malleable space for exploring power and racism, allowing him to work closely with artists and to take greater curatorial risks.

Although Butler is still in the earlier stages of his curatorial career, he’s recently curated a number of exhibitions that have garnered considerable attention including Those Monuments Don’t Know us at Bundoora Homestead and Always there and all a part at Melbourne artist-run gallery BLINDSIDE.

In the podcast conversation Butler talks about these shows, explaining his impetus to illustrate the complexity of artists and their work, and to focus on having meaningful engagements and discussions on racism and colonialism in both art and life. “At least in the exhibitions I’ve curated, I’ve tried to move away from this sense that exhibitions like this are just celebrating diversity — they’re actually more about whiteness,” explains Butler. “They’re more about structures of power that people from all of these [different] backgrounds are all navigating in these different ways.”

See more at Art Guide Australia online: www.artguide.com.au

Podcast produced by Tiarney Miekus. Engineered by Mino Peric. Music by Jesse Warren.

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For over 60 years John Wolseley has been visiting, capturing and sharing his experience of landscapes. But what does it mean to create and innovate over six decades? And what can Wolseley teach us about the life-stages of an artist?

Art Guide Australia’s newest podcast series The Long Run considers this question with artists who have had careers spanning 60 years, each reflecting on their art and lives.

In this third episode Wolseley, one of Australia’s most well-known landscape painters and printmakers, speaks to us from his home in regional Victoria. Moving to Australia from England in 1976, he’s known for immersing himself in an environment before painting it, capturing landscapes ranging from the mountains in Tasmania, to wetlands and rivers, to the floodplains of Arnhem land. Known as a great storyteller, Wolseley captures worlds that invite engagement with nature and the environment.

In this episode Wolseley talks about how he came of age when England was coming out of World War II, and his experience of growing up on a farm and later attending boarding school. The artist also talks about studying under prestigious artists, what it takes for a landscape to capture his attention, and how he balances an environmental awareness in his work without being didactic. And finally, Wolseley tells us what having a 60-year practice feels like, and whether he’s optimistic about the future.

If you like this conversation, you can listen to the first episode where avant-garde painter Gareth Sansom talks about chance in making art, and his feelings on mortality and time; and in episode two hear Wendy Stavrianos discuss her experience of being a female landscape painter.

This series is kindly sponsored by Leonard Joel Auctioneers and Valuers, based in Melbourne and Sydney.

Produced and presented by Tiarney Miekus, music and engineering by Mino Peric.

John Wolseley is represented Roslyn Oxley9, Sydney and Australian Galleries, Melbourne.

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