IMAGE: Installation shot of Remix at HRAG Photographed by Baillie Farley.

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1 IMAGE: Installation shot of Remix at HRAG Photographed by Baillie Farley. VCE STUDIO ART UNIT 4, OUTCOME 3: ART INDUSTRY CONTEXTS Students should be able to compare the methods used by artists and considerations of curators in the preparation, presentation, conservation and promotion of specific artworks in at least two different exhibitions. The Exhibition Space Name of Gallery/ Exhibition Space: Horsham Regional Art Gallery (HRAG) Location: 80 Wilson Street, Horsham VIC 3400 Type of Gallery/ Exhibition Space (commercial/ public gallery): Regional public gallery. The gallery is funded by local government (Horsham Rural City Council), the Victorian State Government (Creative Victoria) and through donations from the public. Characteristics of HRAG: As a public gallery, HRAG collects, and oversees the long term preservation of artworks which belong to the local community. The gallery also exhibits a suite of exhibitions from the gallery collection and on loan from other galleries or artists. Some exhibitions are touring. HRAG is also involved in delivering public programming including artist and curator talks, public tours and workshops. The gallery moved back into the old Horsham Municipal Offices in 2016, which is a part of the Horsham Town Hall. The Horsham Regional Art Gallery has been heritage listed and retains the art deco features that remained after modifications in the early 1980 s and late 1990 s. The gallery has gallery/museum standard exhibition spaces with protection from natural light and environmental controls. There are four spaces on the first floor dedicated to the permanent collection. These are the Mack Jost collection, the Wimmera Collection, the Photography Collection and a space for a collection of mixed work. These exhibitions are changed every six to twelve months. There are three exhibition spaces on the ground floor that host temporary exhibitions that run for eight weeks. These exhibitions may be made up of works from the gallery collection, be on loan from other galleries or artists and/or are touring exhibitions. There is a collection storeroom with storage for the permanent collection, offices for staff and a room for education programs. Since its inception the Gallery has specialised in the collection of Australian photography. Commenced in the 1970 s when photography was just beginning to gain recognition in Australia s public galleries, HRAG s photographic collection has since grown into one of national significance and has a clear collecting commitment to both contemporary and historical works.

2 The Artwork Date: 19 August 8 October 2017 Title of Exhibition: Remix Name of Exhibiting Artist: exhibition is derived from works in the HRAG collection and other works on loan from the Hamilton Gallery. Artists include: Leonard French, Brett Whitely, Janina Green, Ernst Fries, Daniel Crooks, Yashikawa Masamichi, Gwyn Hanssen Pigott, Kishi Eiko, Ettore Sottsass, Wilama Grakalic, Valerie Sparks. Art forms (media) being exhibited: photography, video, ceramics, sculpture, painting What are the materials and techniques that the artist has used? Use the Remix Artwork and Extended text resource to assist you to discuss one artwork from the exhibition.

3 What is the theme or subject matter of this exhibition? The HRAG curator, Alison Eggleton, chose the works from the HRAG and Hamilton Gallery collections. Eggleton completed an internship at the Hamilton Gallery before working at HRAG and was familiar with Hamilton s collection of works including painting and decorative arts (Hamilton specialises in the collection of national and international decorative art). Initially Eggleton was interested in Hamilton s collection of abstract painting from the 1950 s and 60 s but this was not available for loan so her idea around abstraction changed to focus on the perception and the representation of reality. From the artworks that were available for loan she chose work from the two galleries collections which challenged materiality and form to present the duality of the object. Often these works were embedded with historical, cultural and spiritual references. Eggleton says, Each object has the agency to be something else and to critique their own world. Through ceramics, photography, video art and painting, Australian and International artists explore the nexus between the perception and the representation of reality. Their artwork challenges materiality and form to present the duality of the object. Embedded with historical, cultural and spiritual agency these magic objects act as a tool with which to view the world and critique it. HRAG Curator, Alison Eggleton 2017 Exhibition Design The design of the exhibition space comes from the conceptual ideas and physicality of the artwork chosen by the curator. The Horsham Regional Art Gallery does not have a staff member dedicated to exhibition design; the curator designs the exhibition space. They prepare the 2D exhibition floor plan, labels, and lighting. They are responsible for liaising with painters and sign writers, or outsourcing the construction of any exhibition furniture or equipment (for sound and video) that may be required. The main characteristics of the exhibition space the Mann Gallery As the gallery is housed in a heritage listed art deco Municipal Office the spaces are defined by the original building structure. The ceilings are quite low and some of the gallery spaces are narrow which reflects their original use as offices or meeting rooms. Consequently some spaces feel quite intimate, and they are unable to hold a large audience. Remix is exhibited in the Mann Gallery a smaller gallery space on the ground floor which is long and narrow. Due to air conditioning ducts in the ceiling, wall heights are different on the two longest parallel walls. The Mann Gallery is dedicated to touring exhibitions that change over every eight weeks. There is no natural light in the space except indirectly at the entrance through the glass sliding door. The space is lit with artificial track lighting. The original masonry walls have been built out then clad in a layer of MDF and plaster leaving a hollow space between the original masonry wall and the plaster. This allows equipment such as monitors to be screwed into the wall and also for framed work to be wall mounted or pinned, rather than hung from gallery track hanging systems which leave the artworks tilted slightly forward.

4 How is the work displayed? Consider the elements below: Is the work displayed in groups? Do the groups of work have a theme? Is it framed, pinned to the wall, sitting on the floor, in a display case, on a screen etc? Is there labelling or wall sheets? What is the lighting like? Is there lots of wall space or are the works close to each other? Is there sound? Is there room furniture? Is there vinyl lettering for the title of the exhibition? What is the colour of the walls? What is the floor surface? You may want to take photographs of the space to remind you of how it looks. The whole room is painted a deep purple, enveloping the viewer while they are in the space and transforming the space into a vessel. Purple is an emotive colour and is often referenced in the architecture of spiritual spaces. The deep colour makes the artworks stand out. The labels are printed purple with white writing and mounted on foam core. Labels the same colour as the walls reduce the visual distraction from the artwork. Neutral colour vinyl flooring. Spot track lighting. Specially made plinths for sculptural objects which are also painted purple. To allow for the small exhibition space, the plinths are against the wall. This also reduces visual distraction around the artworks on the plinths. The backdrop of the deep purple behind the artworks also highlights their forms. 2 wooden display tables arranged in a V for the objects with a similar scale in the middle of the room. The smaller objects on the tables to not interrupt the sightlines through to the works hung on the walls. Placing the tables in a V shape disrupts the squareness of the room and influences the way the viewer moves to look at the work they must pay attention to where they are walking (cannot tune out). The group of vessels by Pigott which were used as a starting point for the exhibition are on a floating white shelf drawing the viewers attention. An LCD screen has been mounted to the wall in a vertical position for the Daniel Crooks video work. 2D works are framed and hung from D-rings.

5 Curator and Artist Intentions What has been the artists and curators approach in the display of the work? In other words what is the curatorial concept and how does it affect how the viewer approaches and responds to the work? Has the artist made the work from materials which require protection or has the artist intended the work to be ephemeral and the materials are allowed to deteriorate? There are relationships between the works and their placement within the room. The work that is the basis for the selection of all work in the exhibition is the group of everyday ceramic vessels by Pigott. Placed next to each other, they take human elements. Titled Still life- Sentinel, this small group of objects sit humbly on a shelf on the far wall of the exhibition space. The subtle palette of white and apricot porcelain pots and bowl are delicately arranged. Beyond the universally utilitarian vessel, the abstract minimalism of the ceramic form is beguiling. Appearing as an intimate portrait, the close grouping becomes metaphor for the evocative qualities of human relationships. The duality in this way of seeing, suggests the artwork is no longer a group of hollow vessels but a spiritual presence. Could Leonard French s painting be a flat geometric painting or be a view into the dome of a building. There is a sense of moving backwards or forwards and the familiar shapes of circles and squares form a crucifix in the centre of the work. There is a duality of the representation of space in the work by Brett Whitely. By placing the artists clipboard in the work, the artist disrupts the picture frame, is present in the space, and places the viewer in the artist s viewpoint. Janina Green s tinted pink photograph of a mass produced Ikea vase has a simple form like the vessels by Pigott. Green uses the vase as a female form, also referencing the body and questioning the place of women in the home. Close by, the vase by Italian designer, Sottsass, comments on the commercialisation of objects and transforms forms from the everyday into something else. He explores form vs. function and gives his vase an architectural quality. The large ceramic work by Japanese ceramicist Kishi looks like a piece of architectural origami. The surface of the work has undergone numerous processes to be achieved. The surface appears like planes of fabric and the form represents the physical constraint and the lines made by the bodies of traditional Japanese dancers. The ceramic work by Yoshikawa references the forms of Chinese architecture. It is a vessel that has collapsed on itself and is dripping with a traditional Celadon glaze. The two bowls by Grakalic are made from lead, also used to make fools gold. They are inscribed with a Spanish poem that reflects the trouble in the artist s life, her grief over war and destruction. They are like spiritual or magical vessels. The large photograph by Valerie Sparks depicts a Post-Apocalyptic Melbourne 150 years from now with historical and religious architecture left standing. The scale of the buildings in the photograph is similar to the scale of the objects in exhibition. Each building is a vessel that you go inside. Nature has taken over the scene and the presence of water is also very spiritual. The sculpture by Ernst Fries has similar shapes and movement to the painting by Leonard French. Fries is interested in kinetic movement, the gold ball is the magic object creating friction between the two halves. The surface of the work is liquid like water. The video work by Crooks has actual movement taking a familiar subject matter and abstracting it into something else.

6 Conservation Considerations for artworks in this exhibition You may use the HRAG Education Resource on storage, handling and conservation/preservation practices to support your answers. Choose an artwork in the exhibition: Artist: Date: Title: Materials used: Describe the conservation concerns for this artwork:

7 Exhibition layout. Use the floor plan created by the curator of Remix exhibition in the Mann Gallery below. Remember to include any room furniture. Write explanations if you need to. Take photographs to help you remember.

8 Marketing Is the exhibition marketed towards a specific audience? People interested in art, local community, gallery members, artists, schools. Each show is marketed towards the same group plus any mailing lists that the artist may provide. The format or appearance of the publicity/ marketing material changes to represent the art in the exhibition. Each exhibition at the gallery has a hero image which is usually one with a strong shape or focal point that can be reproduced large or small. The image should encompass what the exhibition is about. An example of the opening night invitation to Remix (front and back) How is the exhibition promoted to the target audience? List or collect some examples. lists radio hard copy mail lists education program Horsham Town Hall Season brochure opening event and invitation (quarterly) Public programming including Art Almanac and Art Guide (monthly) artist/curator talks Horsham Town Hall website large signage within the Horsham Town social media (gallery Facebook page) Hall advertising in local papers Street signage at entrances to Horsham media releases are sent to local newspapers Town Hall In large public galleries, a full time publicity officer would be employed. At Horsham Regional Art Gallery, a regional public gallery, some design work is outsourced to a graphic designer. The gallery Director and curator take on publicity as part of their role and must be able to write press releases and liaise with media, and create social media content. Some publicity is handled by the Horsham Town Hall Marketing Coordinator. Does this exhibition have any major sponsors? Remix is a HRAG exhibition in partnership with Hamilton. Horsham Regional Art Gallery always lists the Victorian State Government (Creative Victoria) and the Horsham Rural City Council as major sponsors as they fund the operation of the gallery.

9 Roles The gallery has a policy of showing a balanced program of work by emerging, mid-career and established artists; works that relate to the gallery s collection, the local area, and to wider Australian art practice; photography and other mediums. How are artworks selected for exhibition? The works are selected by the Director or Curator in collaboration with the artist or the gallery representing the artist. The Director may see an artwork by the artist that is appealing and approaches the artist/gallery about how this may fit in with the HRAG exhibition program. The artist/gallery may submit images of artworks based on these ideas. The final selection is then made through collaboration between the Director, Curator and the artist/gallery representing the artist. What are the roles of the staff employed at this exhibition space? Consider who selects work, hangs work, sets prices, designs exhibition space and layout, determines the colour of walls or other decorative elements, handles works, markets work, writes information (labels and catalogues) Role Curator ALISON EGGLETON Horsham Regional Art Gallery is a small organisation. The role of the curator is quite broad. The curator at Horsham Regional Art Gallery is responsible for curation, exhibition design, artwork installation and preservation of artworks. Director (the BOSS!) ADAM HARDING Responsibilities Manages the gallery s permanent collection. Plans, coordinates and researches current and future exhibitions. Chooses artworks for exhibitions. Refines conceptual content of exhibitions. Writes catalogues, essays and other written material. Assists with grant applications. Assists in education programs. Looks after maintenance, conservation and storage of the gallery collection and its documentation. Designs the gallery space layout/presentation of artworks. Offers advice on framing, mounting and presenting artworks. Helps maintain gallery building. Undertakes condition reports for travelling exhibitions and permanent collection. Organises the transport of artworks and insurances. Collaborates with artists in the exhibition program and respond to media enquiries. Installs artworks for exhibition. Maintain exhibition budget. Attend HRAG openings and exhibitions. Write loan applications for the use of works outside the gallery collection. Writes artwork acquisition proposals. The director works with the gallery staff directly and creates a long term vision of the gallery s collection. Responsible for decisions about finance and the running of the gallery including staffing, resources, marketing, managing budgets, artwork acquisition. Promotes exhibitions and increases (newsletter, media liaison, radio). Responsible for targeting appropriate audiences. Plans, coordinates and researches current and future exhibitions. An annual exhibition program is planned a year or two in advance. Writes grant applications and artwork acquisition proposals.

10 Represents HRAG at art industry events. Fosters good relations with government agencies and representatives. Cultivates an effective network of patrons, partners and sponsors. Liaises with representatives from other organisations to build the profile of the gallery. Briefs board members and Council about HRAG projects. Presents opening night speeches and introduces artist floor talks. Curatorial Assistant Employed for the week of an exhibition installation (Labour). Patch and paint walls. Handle artworks and assist with hanging/installation. Assist with labels. Education Officer Expands the public s understanding of art. DEBBIE MOAR Develops and delivers education programs about exhibitions and the permanent collection for students and the public. Coordinates after school programs Maintains Education Room and art materials/equipment Develops education materials and professional development for educators related to the gallery collection or current exhibitions. Maintains networks with regional educators Reports to HRAG Board and Department of Education and Training Victoria. Office Administration Front of house including retail. LETICIA PARKER Manages HRAG volunteers Manages functions and events at the gallery including catering. Office administration Update gallery website Organises mailing lists, publishes newsletters, invitations, bookings for public programs. Manages membership and databases. volunteers Front of house Retail sales Assist a gallery events HRAG Board Volunteer positions (mostly interested community members or business people) Ensure the good governance and management of the gallery. HRAG Acquisition Committee A group of volunteers who meet every 6 months to approve and discuss the acquisition of new works for the gallery.