Tag: Museums

The magic of Erth's visual and physical theatre returns to the museum this summer with their brand new show- Badu.Journe...

For 1 night only- Courtney Barnett premieres new compositions & performs some of her classics in one of Australia's most...

Design-Isolate explores how creative practice may have changed for makers during this year either as a result of social ...

The arts and creative industries have been hit hard this year with opportunities to exhibit and sell work limited by clo...

HIVE MIND- a new creation by Dead Puppet Society- is a kinetic sculpture that brings micro insects to life at macro scal...

The Birthday Party' eternalises the last days of childhood with timeless portraits that are at once hauntingly beautifu...

The Korean Cultural Centre (KCC) Australia is presenting a new photo exhibition Light Shadow: Koo Bohnchang as part of the Head On Photo Festival this year.Featuring 39 photography works- Light Shadow captures the moment of encounter between baekja (-white porcelain) and -dal hang-ari (moon jar) of the Joseon Dynasty (1392-1910)- a camera and an artist.South Korea's leading photographer- Koo Bohnchang embarked on a journey in search of Korean baekja scattered all over the world in different museums. For more than 30 years- he has been a pioneer and leader of modern Korean photography.Baekja was the defining nature of the craft during the Joseon Dynasty. Royal and noble families preferred pure white surfaces and humble shapes compared to extravagant patterns and decorations. In particular- dal hang-ari which is considered to best represent the essence of Joseon white porcelain- is regarded as one of the greatest embodiment of Korean beauty and spirit through its pure white hue and round formations.IMPORTANT NOTICE*There will be no opening event for the exhibition due to COVID-19. Be sure to check out the visitor's information related to COVID-19 before visiting the gallery at www.koreanculture.org.au-visitors-info.

Re-construction brings together artists- one community group and two curators to reread the legacy of Jack Mundey and the Green Bans. Jack Mundey's whole life was one giant spatial project. But he didn't need art to do what he did- he had the context of the union movement. Discussing Jack Mundey's concept of green bans and public space as a 'spatial project' in an art context- is implying a common link between the union movement and art- which makes us aware of the way both offer room for alternative thinking or challenges to mainstream thinking.Sydney's Green Bans were the world's first urban uprising over planning- heritage and housing justice. In 1971- an alliance of builders' labourers and musicians- wharfies and artists- pensioners and the suburban middle class made history. Mundey secretary of the Builders' Labourers' Federation- led his comrades to the environmental barricades in June 1971 alongside a united group of 'middle-class women' from Hunters Hill who fought to save a remnant of Sydney Harbour bush. This was the first of a series of important intersectional alliances with communities. It became a new political model. At the time Mundey was a non-doctrinaire communist who later joined the Greens party.Re-construction re-enacts and re-animates texts and slogans from the unofficial archives that record sit-ins or peace marches for civil rights- gay and lesbian or women's rights and environment movements. In this case a portion of Jack Mundey's papers donated to the Trades Hall Collection are reviewed at Sydney Trades Hall.Green Bans embraced other heritage suburbs- most of them working class and many involving saving low-cost or public housing but the Builders' Labourers' Federation fought targeted battles for the rights of women- Aboriginals and gays. The establishment Sydney Morning Herald was quick to call them 'mere builders' labourers' and 'proletarian town planners'- just conservationists were called 'mere housewives'. From Kellys Bush onwards- the green ban era was just 4 years until the de-registration of the NSW Builders Labours' Federation. The additional year dedicates 1975 to their legacy: the renewal of Woolloomoolloo Public Housing- proudly declared a 'world leader' for its architecture and consultation model.COVID-19 Safety Plan - Museums and galleriesWe follow NSW Health Guidelines. Wellbeing of staff- volunteers and visitors: Information and training on COVID-19- including when to get tested- physical distancing and cleaning is provided.Physical distancing: Entry signage advising 1.5 metres social distance- Maximum of 10 visitors. (More generous than one visitor per 4 square metres of space).Hygiene and cleaning: All resting points have sanitiser- bathroom has soap- sanitiser and paper towels- all surfaces cleaned twice daily.Recordkeeping: name and a mobile number or email address for all staff- volunteers- visitors is recorded for a period of at least 28 days.

Seed Stitch Contemporary Textile Award 2020 is a biennial exhibition produced and presented by Australian Design Centre in partnership with the Seed Stitch Collective.This year the competition attracted 49 entries from NSW textile artists and the exhibition features outstanding work by the 25 finalists. Artists: Ali Noble | Alison Giles | Amy Jones | Barbara Rogers | Brenda Livermore |  Catherine Farry | Chris Hutch | Christina Newberry | Christine Wiltshier | Denise Lithgow | Elizabeth West | Gabrielle Mordy | Irene Manion | Jane Theau | Kelcie Bryant-Duguid | Liz Williamson | Melinda Young | Nicole Robins | Regina Krawets | Sairi Yoshizawa | Sarah Edmondson | Sue Jo Wright | Susan Fell | Suzanne Davey | Tina FoxWe are following the NSW Health COVID-19 Safety Industry Guidelines for museums and galleries to keep our guests and staff safe.