13 August, 2010
"A Victorian Supreme Court case in March 2010 brings hope to artists seeking to protect their reputations against art dealers selling fake artworks. The case, Blackman v Gant,1 involved eminent Australian artists Charles Blackman and Robert Dickerson bringing action against the art dealer who sold fake artworks under their names."
full story here
About the artists resale royalty scheme
Under the artists resale royalty scheme:
* commercial resales of artworks must be reported; and
* a 5% royalty is payable on some resales.
The Australian government has appointed Copyright Agency Limited (CAL) to manage the scheme.
Key features of the scheme:
* it applies to resales of existing as well as new works;
* it applies to a range of original artworks, included limited edition prints authorised by the artist;
* it does not apply to a private sale from one individual to another;
* a royalty is not payable on the first change of hands after 9 June, but all resales must be reported;
* a royalty is not payable on resales for under $1,000;
* the scheme will be extended to artworks from countries that have similar schemes.
"Q. How much has the art market grown by in the last nine years?
A. Well it was around about $35 million total turnover in 1998 and it posted over $100 million two years ago and 150 plus last year. So it’s improved enormously. It’s increased enormously over the last nine years.
Q. That’s still small though isn’t it by international standards?
A. It is. I mean ah Picasso’s Boy with a Pipe for example sold at auction for $120 million in America in 1999, I think. .so a single painting can sell in the States or England for the entire turnover of the art we sell in Australia."
28th July 2008
Dr. Meaghan Wilson-Anastasios is a researcher and sessional lecturer at the University of Melbourne. Her research interests include art price formation and how and why economic superstars emerge in the auction market. Part of her research was the focus of a Four Corners program, Art for Art’s Sake, aired on ABC television.
12 August, 2010
Paul Keating considers these issues in a lecture hosted by the University of Melbourne's Centre for Advanced Journalism.
University of Melbourne, August 2010
part 1 - view on blip tv
11 August, 2010
This exhibition of Melbourne-based artists is an investigation into the current state of printmaking. By highlighting the diversity and scope of the discipline its commonalities come to the fore: issues of tradition versus innovation, registration and interface, appropriation and the multiple. These ideas echo throughout the work, and yet they are a similarity which each artist approaches and answers in a different way.
Featuring works by Jazmina Cininas, Gary (Spook) James, Ruth Johnstone, Tim Jones, Jules, Damon Kowarsky, Peter Lancaster, Simon Perry, Cat Poljski, Sophia Szilagyi, Andy Tetzlaff and Kim Wall.
Opening drinks Wednesday 11 August 6 to 8pm.
The exhibition continues until 4 September
Jenny Port Gallery
Currently on exhibition at Flinders Lane Gallery, Melbourne
For the past few years whilst I was living in an Amsterdam canelfront apartment I have been working on a series of paintings depicting water, but using only lines. I was very interested to discover Christophe's paintings in Flinders Lane and to examine how he had resolved the technical difficulties involved. There are similarities in subject and approach, but the two bodies of work are quite different. Ed
(there's a detail of one of my paintings here)
Juliana Engberg discusses arts policy and the wider applications of the arts in society with Jill Singer. This is one of a series of conversations associated with the Dear Mr Rudd book published by Black Inc.
part one is here
part two is missing
Thankyou for your patience. Ed.
Subject Index - May 2010
Impact 7 - Melbourne
7th Australian Print Symposium
Museums & Galleries - Manchester
Pixels - Animation
Melbourne Art Fair 2010
Städel Museum Collection - NGV
10 August, 2010
Art Censorship public forum: Burnside, Marr, Johnston, Hamilton, Howard, Bond
Art Censorship: the Bigger Picture was the title of this public forum that took place on 12th June at the Museum of Contemporary Art in Sydney. In this informed, thoughtful and sometimes passionate debate, Julian Burnside, David Marr, Clive Hamilton, Hetty Johnston, Ian Howard and Tony Bond addressed the topic in light of the furore surrounding recent censorship of the work of well-known artist Bill Henson. The forum, introduced by Margaret Pomeranz, was presented by Watch on Censorship in association with the National Association for the Visual Arts (NAVA). Sydney, June 2008
(Part 1 of 4) (Introduction, Ian Howard, Tony Bond)
I was not in Australia when this happened, so in some ways this is catch up time. I am happy that I have had the opportunity to listen to this discussion.
It appears that however wellmeaning, the opinions stated by the woman from the child protection agency (cpa) are coloured by her lack of understanding about art and her ignorance of Henson and his photography, an ignorance that she openly admits. A senior artist and his work have been taken out of context and dragged through the media for the apparent purpose of drawing attention to the activities of the cpa. It looks very much like a well intentioned publicity stunt gone horribly wrong. Ed.
In the much-anticipated Melbourne Art Foundation 2010 Lecture, artist Bill Henson delivers a vigorous defence of freedom of expression in art. In implicit response to the 'scandal' surrounding his work in 2008, Henson argues that we should be wary of governments and interest groups who try to impose restrictions on the free exercise of the artistic imagination, and that our zeal to protect innocence should not come at the cost of violating artistic experience. Following his lecture, Henson responds to questions from the audience.
Bill Henson is one of Australia’s leading contemporary artists. His work is to be found around the world and in every major public collection in Australia.
Now Available on Slow TV
watch fullscreen here
the Bill Henson "controversy"
I was trawling through Slow TV's archive looking for more lectures to watch (and there are many) when I found this by David Marr. Unfortunately the question time is missing. Ed.
Journalist and writer David Marr speaks passionately and intelligently about the recent sagas involving photographer Bill Henson, which are the subject of his new book, The Henson Case. Melbourne, October 2008
Evan Penny is a conceptually based figurative sculptor and photographer living and working in Toronto, Ontario. Born in South Africa in 1953, Penny immigrated to Canada in 1964 and received his formal training at the Alberta College of Art and Design, completing his BA with Honours in 1975 and his MFA in Sculpture in 1978.
Penny has built an international reputation for his hyper-realist figurative sculptures that capture the paradox of an unreal reality. Employing traditional as well as contemporary sculpting methods, Penny molds figures out of clay, and then casts his sculptures in resin, bronze or silicone. While his earlier works were largely cast in resin or bronze, Penny's recent works have centered around busts or backs cast in silicone with resin eyes, implanted human hair, and custom-made clothing. Penny's project at large over the past several years investigates the relationship of sculpture to photography and virtual technologies, and the ever changing and unstable boundaries between reality and illusion.
Documentary about sculptor Evan Penny.
Part 1 of 3
Produced by Columbus Museum of Art
part 3 of 3
reviews and essays