Aboriginal art occupies a special place in Australia and 3 of the 6 artists in the Top 10 auction results are Aborigines.

One of the three Aboriginal artists in Australian contemporary art ranking, Dorothy NAPANGARDI , has enjoyed strong demand since 2004 when her first work was presented at auction. In fact, that first work (Karntakurlangu) fetched $78,089 (AUD 110,000), three times its estimate. The piece Mina Mina that fetched $342,028 is part of a series for which the artist was awarded the National Aboriginal & Torres Strait Islander Art Award in 2001. Her work, mixing movement and texture, successfully associates aboriginal spiritual questions with the savoir-faire of an ancestral tradition.
Sharing the same aboriginal origins, the artist Lin ONUS spent his life depicting aboriginal landscapes and symbols with greater precision than Napangardi. Beginning his career as an illustrator for tourists, Lin used the Chromos codes and re-contextualised it in the aboriginal tradition. His Water Lillies and Evening Reflections, Dingo Springs which fetched $290,822 in 2006 was the peak of a lofty ascent of his price index in 2006 and 2007 (he died in October 1996). From 1999 to 2007, only 18% of his works offered for sale in auctions failed to sell. His prices are still buoyant with at least half of the works sold since 2010 fetching more than $50,000.

The work of Gordon BENNETT is much more political. A militant artist, Bennet draws inspiration from aboriginal history and the history of Australia. His works question identity with very concrete representations that owe as much to Basquiat and Pollock as to 19th century engravings. Possession Island is a good example of this, based on a Samuel Calvert engraving representing Samuel Cook taking possession of Australia. In 2007 the work fetched $282,304 sending the artist’s price index onto another plane; until then his best auction result had been approximately $22 000. Since then two of his works have sold for between $35,000 and $45,000, but since 2010 only 2 out of 9 works presented at auction sales have found buyers, no doubt carrying excessively high estimates (in effect, only one of the seven unsold works since 2010 was estimated below AUD 28,000 ($25,000).

Contemporary Australian art is today enjoying growing local demand (Australia is ranked 11th globally for sales of Contemporary art) and it is also benefiting from the eastward migration of the core of the global art market. Only a few hours from Asia, Australia is less and less insulated and this is good news for Australian art which so far only has one artist in this ranking (Ron Mueck) whose personal best result was generated outside Australia.

Excerpt taken from Artprice, Contemporary Australian Art (01/20/2012) http://www.artmarketinsight.com/wallet/amidetails/showweb/1642

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The winners of the country’s most recognised awards for Indigenous artists have been released.

Janet Fieldhouse took out the $20000 first prize for her work Tattoo, a sculptural installation that uses a light box and transparent porcelain to explore ritual scarification.

Vera Cooper shared the $10000 second prize with Cynthia Vogler for her triptych of ceramic figures, titled Generation, Yorta Yorta Elders and Land and Law Gathering.

She was also awarded the $3000 Victorian prize.

Nancy Wilson and Emily Ngarnal Evans were highly commended for their works, titled Barramundi and Spotted Stingray respectively.

The awards were announced at Shepparton Art Museum.

Curator of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia, Tina Baum, who judged the entries, said the award was a powerful example of Indigenous art.

‘‘I was really impressed by the high calibre of works entered and the diversity of communities and artists represented,’’ she said.

‘‘This made for a hard job to select the winning artists. I congratulate all the short-listed artists and Shepparton Art Museum for continuing to support and highlight such an important art medium for Aboriginal and Torres Strait Islander artists today.’’

An exhibition containing work by 18 artists short-listed from across Australia will run from February 18 to April 22 at the Shepparton Art Museum.

An exhibition of work by one of the Indigenous Ceramic Art Award’s major patrons, Dr Gloria Fletcher AO, who died last year, will run alongside the Indigenous Ceramic Art Award as a tribute to her generosity and achievements.

The award is supported by the Sir Andrew and Lady Fairley Foundation, Yulgibar Foundation, Margaret Lawrence Bequest and the S. J. Rothfield Fund.

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TAIWAN CONTEMPORARY ART AWARD

A focus on machines and narrative drive has bagged Taiwanese artist Han-chih Liu (劉瀚之) the Grand Prize in the coveted Taipei Arts Awards for 2011. Administered by Taipei Fine Arts Museum (TFAM), a Grand Prize winner and five Honourable Mentions were selected from just over 250 entries.

Han-chih Liu, 'Collar Seizing Device (揪領器)', 2011, mechanical installation, 30 x 20 x 50 cm. Image courtesy Taipei Fine Arts Museum.

The artist describes his winning works, a series of three mechanical installations entitled Collar Seizing Device (揪領器), Page Turning Machine (翻書機) and Walking/Reading/Messaging Leaving Machine (步行閱讀留言機) respectively, as such,

In theatrical terms, it is like making a prop first, and then developing the plot, characters and setting. These machines are not aids in everyday life. Instead, they are used to develop a context, a vocabulary and relationships, or as quasi-props to suggest something. Through their use by man (characters), a short story evolves.

According to Taiwanese English-language newspaper, The China Post,

The ‘Collar Seizing Device’ is literally a device one can wear to seize someone’s collar when a person feels threatened. The ‘Page Turning Machine’ can turn imaginary pages like those of a book, whereas the ‘Walking/Reading/Message Leaving Machine’ allows you to read handwritten massages fixed on your scooter’s pedal.

Taipei Arts Awards 2011 winner Han-chih Liu and his work ‘Straightening Up Device’ (2011).

Liu is an emerging artist with a number of local group exhibitions under his belt. In 2011, he held his first major solo, called “Liu Han’s Night”, at Nan-Hai Gallery in Taipei. For his Taipei Arts Awards win, the artist receives TWD550,000 in prize money and the opportunity to show his work at TFAM sometime within the next two years.

Han-chih Liu’s winning works will be on display in an awards exhibition at TFAM, along with that of other finalists, until 4 March 2012.

KN

Related Topics: Taiwanese artists, contemporary art awards and prizes, installation art

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Copyright 2011 :: Open photo contests and competitions

Theme:  "Migration, Stories of a Journey"

Submit a photographic essay consisting of three digital images that explore one of the following:

• migrants’ struggle and difficulties as they seek a better life in their adopted country or
• migrants’ accomplishments and contributions as successful members and leaders in their adopted country.

Awards for 3 finalists:

• A group exhibition at the Royal Horseguards, London
• Return flight to London
• Accommodation in London for 2 nights
• Accademia Apulia Art Award certificates
• Accademia Apulia UK offers the winner:  €1,000

How to enter this photography award

Take a look at Photocompete Facebook page. You will find more photography contests and competitions there! Join Photocompete on Twitter.

Submit your images to ThePhotoVote.com Call For Entry “Your Best Shot”. Free Entry: Win $100 and Software
.

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ART AWARD WINNERS INDIAN ARTISTS

A top jury that included artist Bharti Kher and curator Sunil Gupta has selected Mumbai-based installation artist Charmi Gada Shah as the winner of the 2011 Emerging Artist Award, initiated in 2007 by the Foundation for Indian Contemporary Art (FICA).

Charmi Gada Shah, 'Still-life of a landscape', 2010, ceramic. Image courtesy artist.

From the press release:

The Emerging Artist Award is one of the three annual support programmes offered by FICA. Initiated in 2007, it seeks to promote young artists studying or practicing in India who demonstrate extraordinary skill and promise in the visual arts. The EAA 2011 is presented in collaboration with Pro Helvetia-Swiss Arts Council, New Delhi, and Vadehra Art Gallery, New Delhi, with additional support from Ms Shalini Passi.

On being selected as the recipient of EAA 2011, Shah will receive a ninety-day residency in Switzerland in summer 2012, and a solo exhibition at the Vadehra Art Gallery, New Delhi, in August 2013.

The Jury: Shah was selected by a jury that consisted of artist Bharti Kher, curator Gayatri Sinha, photographer and curator Sunil Gupta, Chandrika Grover of Pro Helvetia-Swiss Arts Council in collaboration with Swiss curator Nadia Schneider Willen, and Radhika Chopra and Vidya Shivadas of FICA. The jury was impressed with Shah’s proficiency in handling material, space and scale, her versatility when it came to working with different environments, and her commitment to research. They also found the dominant themes of change, loss of memory and the question of erasure relevant to contemporary conditions in life and art.

Charmi Gada Shah (b. 1980) completed her Bachelor’s in Fine Arts (Drawing and Painting) from the L.S. Raheja School of Art, Mumbai, and her post-graduate degree from Chelsea College of Art, London. In 2009 she received the Art India Promising Artist Award. She has exhibited in group shows including “The Staircase Project” at Kashi Art Residency, Cochin (2008), “Relative Visa” (2009), “Her Work is Never Done” (2010), curated by Bose Krishnamachari, Mumbai, and “Generation in Transition: New art from India”, curated by Magda Kardasz at the Zacheta National Gallery of Art, Warsaw (2011). She has been shown at Art Gwangju, Korea, by Gallery BMB (2010), and Prague Biennale 5 – India Pavilion, curated by Kanchi Mehta (2011). She lives and works in Mumbai.

Shah’s practice engages with the passage of time and the subsequent shifts that have occurred in the meaning and function of architecture. She often works with built spaces that are invariably either abandoned, neglected or in a state of disuse; through the process of revisiting them, and building or innovating on their outlines, Shah draws attention back to these spaces and their disjuncture in time and space. Employing different media, including drawing, sculpture, photography, film and architecture, she formulates a network of correlations that play on notions of memory, destruction and conservation. The works, as installations, become in-situ repositories of documentation, fiction and mimesis.

KN

Related Topics: Indian artists, art prizes, installation art

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 Michigan-based Mia Tavonatti’s work has taken the top $250,000 award at Grand Rapids’s annual experiment in art-for-the-people.

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INDIA CANADA PHOTOGRAPHY ART PRIZE

Indian photographers Gauri Gill and Nandini Valli make up one half of the 2011 finalist selection for the Canadian-based, internationally focused The Grange Prize, the country’s largest cash art award and the only one in which the winner is decided by public vote.

Gauri Gill, 'Urma and Nimli, Lunkaransar', from the series "Notes from the Desert", 1999-2010, silver gelatin print, 61 x 76 cm. Image courtesy the artist and Nature Morte Gallery. © 2011 Gauri Gill.

Gauri Gill was born in Chandigarh, India, in 1970, and currently resides in New Delhi. Gill was educated first at the Delhi College of Art, then at Parsons in New York and at Stanford University in California. She began exhibiting in 2007, and since then has held numerous solo exhibitions in India, America and Europe, the most recent being “What Remains” at Green Cardamom Gallery in London in 2011.

The jury said of her nomination for the prize:

Gill’s practice is complex because it contains several seemingly discrete lines of pursuit. These include her more than a decade long study of marginalised communities in Rajasthan, of women from different generations and their often tentative encounter with modernity. She has also investigated and recorded issues around migrancy, and the decrepitude and change generated by an expanding city. Working in both black and white as well as colour, she seeks out the narratives of ordinary heroism within challenging environments. Gill’s work also addresses the twinned Indian identity markers of class and community as determinants of mobility and social behaviour. In these works there is irony, a rugged documentary spirit and a human concern over issues of survival.

Nandini Valli, 'Disillusioned 1', 2003, from the series "Definitive Reincarnate", inkjet print on archival paper, 76 x 76 cm. Image courtesy the artist and Sakshi Gallery. © 2011 Nandini Valli.

Nandini Valli was born in 1976, and raised in Chennai, India, where she continues to live and work. Initially working as an apprentice to a commercial photographer, it was not until she made the decision to pursue a degree in photography from the Arts University College in Bournemouth, UK, that she realised she was more suited to producing art photographs. She has been showing her work publicly since 2007 and is currently represented by Sakshi Gallery in Mumbai.

The jury said of her nomination for the prize:

One of the less historicised, recently celebrated strains in Indian photography is the performative photograph. Nandini Valli Muthiah has rapidly emerged as one of its foremost exponents. Nandini draws upon a long, established tradition in Indian popular art, the hyperrealist painted calendar poster of the gods. It is a widely recognised style, one that incorporates traditional painting and the painted photograph within a ‘mythologised’ space. The element of subversion lies in the way in which the heroic figure is represented within normal or ‘modern’ environments. A blue-bodied god in a hotel room, or young girls masquerading as Indira Gandhi at a fancy dress show, are comments on India’s perception of the heroic as much as on middle-class aspirations. Nandini Valli Muthiah approaches photography much like a cinema auteur, constructing every aspect of her frame. Her work shows a mature and ironic understanding of a shifting aesthetic field and value system in an increasingly globalising India.

The nominating jury was made up of four art professionals, two each from India and Canada, and included Michelle Jacques, AGO acting curator of Canadian Art, Wayne Baerwaldt, acting vice president of research and academic affairs at Alberta College of Art + Design, Gayatri Sinha, a Delhi-based art critic and curator, and Sunil Gupta, a photographer, writer and curator born in India and living in New Delhi and London.

Work by The Grange Prize finalists is on show in Canada until 27 November 2011, and the winner, who will take home CAD50,000, will be announced on 2 November 2011. The Grange Prize was founded in 2008 and each year since has selected four finalists, two each from Canada and a partner country.

KN

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CURATOR INTERVIEW VENICE BIENNALE ART AWARDS

In part one of our interview with Liu Ding and Carol Yinghau Lu we spoke with them about Ding’s residency in Manchester and the duo’s tour through Europe. In part two, we hear their views of the 2011 edition of the Venice Biennale.

Lu served on the selection panel for the Golden Lion Award, a prestigious art award inaugurated in 1974 that is presented to an artist and a national pavilion showing at the Venice Biennale. In this interview we hear about the prize selection process and Lu and Ding’s views on the Chinese Pavilion, and ask them about the value of the plethora of biennales in today’s contemporary art.

Chinese curator Carol Yinghau Lu.

Ms Lu, when did you learn you were one of the judges for the 2011 Venice Biennale?

Carol Yinghua Lu (CL): I learned [that I would be on the selection panel for the Golden Lion Award] at the beginning of March [2011], and the news was announced to the public around May. There are five judges on the jury.

What kind of preparation did you need for the position?

CL: I just needed to familiarise myself with some of the artists in the Biennale and I received all of the other information upon arriving in Venice.

Can you share with us the selection process?

CL: We spent four days, from 9am to 7pm non-stop, looking at all the works. There are more than eighty works in the curated ILLUMInations show in the Giardini and Arsenale, from which we needed to select the recipient of the Golden Lion for the best artist and the Silver Lion for the best promising young artist. We also needed to view all of the national pavilions to select the winner of the Golden Lion for national participation.

CL: At the end of viewings each day we had a review session [and] on day five we spent the whole day in discussion. Throughout the process all of the judges got to know the others’ tastes and the angle from which they viewed the works as well as their basis for judgement, so it was not too difficult to make the final decision on day five.

The Jury for the Venice Biennale 2011: Hassan Khan, John Waters, Letizia Ragaglia, Christine Macel, Carol Yinghua Lu, with Bice Curiger and Paolo Baratta.

Christoph Schlingensief, German Pavilion, Venice Biennale 2011.

Of course the final decision reflects the consensus of all the judges, but what was the criteria you all considered most important?

CL: It really just came down to the quality and the power that good art has. The winning German Pavillion clearly stirs your emotions when you first go inside, then you encounter a deeper intellectual experience after learning about the stories of the artists who passed away during the design of the pavilion. The curator continued on with this challenging project [despite the tragedy] and turned the pavilion into [a tribute to] the practice of the artist. On one level it won because it clearly shows the commitment to art of both the artist and the curator.

CL: The Clock (2010) by Christian Marclay was a piece that struck the jury panel the most, collectively. It has been shown many times, but this doesn’t mean it shouldn’t be considered on an even ground with other works. Nationality doesn’t matter either. The Special Mention (National Pavilion) award was presented to the Lithuanian Pavilion, which has actually won three times in the history of the Biennale.

Christian Marclay, 'The Clock', 2010.

Given your background, what was your impression of the Chinese Pavilion?

CL: Acknowledging that there is always a cultural communication gap, I still felt a bit frustrated with the result. You clearly see how [in China] intellectual knowledge or art is not valued or respected, but represents politics. It looks like we are in the globalised world, for example, we might consume cultural products in a museum in China in the same ways as others would in the Tate, but in reality there is still a gap in our attitude towards art.

Do you think it could be said that the selection of artists for a pavilion at Venice is also a reflection on the politics and not just the art of that particular country?

Liu Ding (LD): Selecting the artists does not matter in this context. It’s a simple projection of power and an imagination of such power.

Yang Maoyuan, 'All Things Are Visible' at the Chinese Pavilion, Venice Biennale 2011.

Cai Zhisong, 'Clouds and Yuan Gong, Empty Incense' at Chinese Pavilion, Venice Biennale 2011.

What is the importance of the Venice Biennale for art itself and for the art market?

LD: It is a very important platform for critical artistic debate. Two camps exist: one for artistic critical acclaim and another for commercial success. Sometimes [these two approaches] overlap and sometimes they do not.

CL: The power of the so-called ‘Venice-effect’ is still dependent on each individual artist and how one decides to work after [they have appeared at Venice].

Let us explore the power of such events a bit more. Do you think that the perception of Chinese art in the West can be broadened by the presence of Chinese art at the Venice Biennale?

LD: There could be some interesting discussion on this. Clearly, there is the objective existence of things. How you come to understand them depends on your existing set of knowledge. Many of the Chinese contemporary art selections [made by Western collectors and for acquisitions internationally] are still coloured by colonial perceptions.

LD: Participation in the Venice Biennale does not guarantee that what an artist creates is interesting, [and] for some art, not being visible doesn’t mean it doesn’t exist or has less value. Of course, the definition of ‘value’ here merits longer investigation.

More on Carol Yinghua Lu and Liu Ding

In an interview recently published on Art Radar, Liu Ding and Carol Yinghua Lu discuss Liu Ding’s conceptual project Liu Ding’s Store and their collaborative project Little Movements, both of which investigate the formation of values in contemporary art and the role that individuals and institutions play in this world. Both ongoing projects have received international attention and they have been invited to participate in forums and exhibitions worldwide.

SXB/KN/HH

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WESTERN AUSTRALIAN INDIGENOUS ART AWARD: The winners of Australia’s richest prize for Indigenous artists have been announced.

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YOUNG YOLNGU WINS IN WA
The most valuable indigenous art prize – the Western Australia Indigenous Art Award of $50,000 has been won by Gunybi Ganambarr from Yirrkala in NW Arnhemland. After two years of triumphs by artists from the Buku Larrnggay Art Centre at the NATSIAAs, their absence in Darwin this year (see yesterday’s story) is met by victory for this innovative artist in Perth. In 2008, Ganambarr was spotted when winning the Xstrata Emerging Indigenous Artist Award in Brisbane.

Here’s what the WA Award’s curator, Glenn Iseger-Pilkington had to say:
“Ganambarr’s works of art – informed by his Yolngu identity – offer sumptuously rich aesthetic experiences. They come into being through his masterful command of media and a willingness to explore new formal and imaginative territories through the incorporation of unexpected materials such as conveyor belt rubber and insulation material. Ganambarr’s unique approach to creating sculptural forms, often incised, or giving them further dimension through a process of building up existing surfaces, creates depth and space across otherwise flat planes. These contain, and project an incredible amount of pictorial activity. Whilst working with a palette of restrained colours, Ganambarr produces strikingly complex works which shimmer with energy and complicated nuance. In this, he reveals himself as a true innovator both within his community and the broader field of contemporary Australian art.”

The exclusively WA Award (of $10,000) went to a Desert woman, now living on the coast near Broome – Jan Billycan. An elder in the group of Yulparija speakers who operate through the Short Street Gallery, Billycan captures the Desert of her birth in the colours of seashore where she now lives. Glenn Iseger-Pilkington again:

“Jan Billycan’s series of paintings, depicting the Country around her birth-site, Kirriwirri, exhibit her natural ability to create canvases defined by highly active and textured surfaces. Rendered in a manner which seems almost carefree, they actually belie a great sophistication and tacit knowledge of the structures of modern pictorial construction. Within each of her paintings, the eye flickers between surface readings and implied depths. Billycan’s use of colour is fluid and intuitive, often modulating across the surface on which she lyrically applies her paint.”

Commended in WA was the Tiwi dreamer and artist, Timothy Cook:
“We would like to make special mention of Timothy Cook, whose works of art captivated each of the judges throughout the intense process of identifying the winner. Cook is an artist with enormous vision and ability whose works are some of the very best being produced in Australia in the present moment.” said the judges – who were Howard Morphy, academic from ANU, Tina Baum, curator from the National Gallery and Robert Cook from the Art Gallery of WA.

Indigenous Curator Glenn PIlkington made the original selection of 16 currently prominent artists and developed the exhibition of representative works from each of them.

The non-winners – who may yet take home the Peoples’ Choice Prize of $5000 – are:
Michael Cook – Bidjara, Angkaliya Curtis – Pitjantjatjara, Angelina George -Yugul Mangi, Gary Lee – Larrakia/Karajarri/Wadaman, Danie Mellor – Mamu/Ngagen/Ngajan, Patrick Mung Mung – Gija, Trevor Nickolls – Ngarrindjeri, Lena Nyadb -i Gija, Tiger Palpatja – Pitjantjatjara, Kuruwarriyingathi Bijarrb Paula Pau -l Kayardild, Reko Gwaybilla Rennie – Kamilaroi/Gamilaraay/Gummaroi, Nyilyari Tjapangat -i Pintupi, and Nyapanyapa Yunupingu – Gumatj

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