Bendigo Art Gallery

42 View St
Bendigo
Victoria 3550
Australia

Open daily 10am-5pm

Adriane Strampp’s life-size drawing Tapir has been selected for the 2012 Paul Guest Prize at Bendigo Art Gallery. The judge for the 2012 Paul Guest Prize is Cathy Leahy, Senior Curator Prints and Drawings, National Gallery of Victoria, Melbourne.

‘My abiding and passionate interest in art commenced several decades ago and from those early beginnings I was introduced to contemporary art in a holistic way which ran parallel to my professional career. I appreciate that the journey for artists is, at times, a demanding and tortuous one and I trust that in some small way I have and will continue to assist them to achieve their full potential.’
Paul Guest 2009

The Paul Guest Prize is a non-acquisitive cash prize of $12,000 which is held every two years, highlighting contemporary drawing practice in Australia. The Prize was initiated by former Family Court Judge and Olympic rower, the Honourable Paul Guest QC and encourages artists from across Australia to engage with the important medium of drawing and to create challenging and unique art works.

Animals have played a significant role in the development of society [since] before the written word. Imagery of animals dating back thousands of years attest to their relevance in the changing cultures of all societies. We have worshipped, befriended, eaten, abused and idolized the beast. Animals of all kinds are our work mates, companions, guides, sustenance, entertainment and sacrifices. The Animal Show pays homage to our adoration of the animal and presents over 20 artist’s view of feathered, furry, hairy and scaly creatures.

King Street Gallery
on William
177 William St
Darlinghurst
NSW 2010

10am – 6pm Tuesday – Saturday
Opening April 4, 6-8pm

Curated by Jenny Lam, Exquisite Corpse is an independently run art show that features works across all media—illustration, photography, animatronics and pillow-making… and everything in between—by 40 artists from Chicago, New York, Boston, Philadelphia, Minneapolis, Amsterdam, and Melbourne. Arranged into groups and pairs, these artists—most of whom were strangers to one another before this project—were given one month to create new art, with no limitations or rules other than to work together. Some groups adhered to the exquisite corpse tradition, while others redefined the very idea of collaboration.

Melbourne artists Adriane Strampp, Irene Wellm and Kirsten Perry have put together a drawing, each working on their section without having seen the other artists section, until the work was completed.

Wellm, Perry, Strampp 2011
Ink, pen and charcoal on paper 76 x 56 cm

Exquisite Corpse is located on the second floor of:

Fulton Street Collective
2000 W. Fulton St.
Chicago, IL 60612
847.942.8956

The University Gallery is delighted to be able to present another exciting exhibition for ZOO AiR 2011 in conjunction with the Taronga Foundation. Now in its eleventh year, the TarongaFoundation has been committed to preserving and conserving endangered species both through zoo-based programs and in the animals’ native habitats.

The work generated through the Artists in Residence program this year will be on exhibition at the University Gallery from 20 July until 13 August. Donated works will then be exhibited at the Byron Kennedy Hall in Sydney’s Entertainment Quarter, Moore Park, from Friday 19 August until Sunday 21 August. The auction, by Bonhams Australia, will be held on the afternoon of Sunday 21 August with all proceeds supporting the Taronga Foundation’s conservation projects.

For information visit www.taronga.org/art

Zoo AiR 2011

Taronga Zoo AiR 2011 artists

Adriane Strampp’s Choeropsis liberiensis has been short-listed for the 2011 Hazelhurst Art Award, to be exhibited at the Hazelhurst Regional Gallery & Arts Centre.

Hazelhurst Regional Gallery
782 Kingsway
Gymea
NSW 2227

Exhibition dates: July 8 to August 14 2011
9.30am – 4.30pm

Artspace
Level 17
Victoria University
Melbourne 3000

Five Miles from the Sea is a group show curated by Geoff Tolchard.

Five Miles from the Sea is a look at the incursion (Five miles from the Sea) of non-indigenous Australians and their resulting mark on the land. Whether it is the erosion of the land or the erosion of the quarter acre block, how are we shaping and living in the hinterland? Who lives five miles from the sea? What does it look like though the eyes of ten diverse artists, some from different parts of the globe, who have indeed made Australia their home?

Hare II 2010
charcoal on Arches paper 76 x 56 cm

Adriane Strampp : Artist Statement

In considering the impact of European settlement in Australia, one of the most invasive and damaging migrants (other than European man), is the rabbit.

Although originally arriving with the First Fleet in1788, it was Thomas Austin, formerly of Somerset, who is held historically responsible for the spread of rabbits when he released 24 rabbits and 5 hares at his property Barwon Park, near Geelong in 1859.

A lack of predators and mild winters provided an ideal climate for year-round breeding and by the 1900’s the feral rabbit population had reached plague proportions across Australia. Despite the rabbits’ devastating impact on native flora and the environment, the introduction of foxes as a remedy only worsened the situation as the foxes found indigenous birds and marsupials easier prey. In 1907 the infamous rabbit-proof fence was built in WA, a futile attempt to control the spread of rabbits, and later in 1950 Myxomatosis was introduced, causing a slow and painful death that ultimately the rabbits became immune to.

In 1863 the Acclimatisation Society of Victoria set up on Phillip Island a breeding colony for hares sent from London by the Zoological Society. Although introduced at the same time as rabbits, hares had less of an impact on the environment being slower to breed and non-burrowing, and their spread was limited to the more temperate climate of South-Eastern Australia.

This work is from a series of recent drawings titled The Animal Gaze, examining the fragile relationship between animals and the human race. The hare stares back at the viewer, a symbol of strength and vulnerability, segregation and marginalisation. We are both migrants to this land and the animal gaze serves to remind us equally of our imposition on their world.

The Victorian Acclimatisation Society was founded in 1861 in order to introduce European plants and animals in order to make the alien environment economically productive, and to feel more like home. It folded 11 years later as the extent their damage was realised. (Source: Museum Victoria)

Adriane Strampp Hare (In memory of Marcus) charcoal, pencil and graphite on Arches paper 76 x 56 cm

Adriane Strampp’s work Hare (In memory of Marcus) 2010 has been acquired for the Kedumba Collection of Contemporary Australian Drawings.

Adriane Stampp
19. Hare (In memory of Marcus)

“An iconic, enigmatic work that reminds me of the enquiry that Durer was capable of. The artist placed the hare in a believable space without rendering a background. Placing all the importance on the animal itself.”

Speech by Peter Sharp
Judge of the Kedumba Drawing Award 2010

Blue Mountains Grammar School,
Wentworth Falls,
NSW

31 October – 30 November 2010

Adriane Strampp is among the 31 finalists for this year’s John Leslie Art Prize 1 October 2010 with her painting Grey Garden oil on linen 152 x 152 cm.

The Vision Splendid – Beauty in the Natural World
John Leslie Art Prize,
Gippsland Art Gallery,
Sale,
VIC

2 October – 14 November 2010

Adriane Strampp Tsuki Charcoal, pencil and graphite on paper 76 x 56 cm 2010

Adriane Strampp Hare Charcoal, pencil and graphite on paper 76 x 56 cm 2010

Adriane Strampp has been invited to enter this year’s Kedumba Drawing Award.

Blue Mountains Grammar School, Wentworth Falls, NSW
31 October – 30 November 2010

‘The Kedumba Collection has become the most representative collection of drawings of this period in this country.’

John Olsen AO OBE

Adriane Strampp Equus 2008 oil on cotton paper 100x490 cm

Artists have been invited to respond to seven considerations regarding the compelling nature of painting. The title refers to the whole of this exhibition as constituting a discreet body of ‘painting’, one that might inclusively construct, amongst other things, a local constellation. This constellation might then be referred to as ‘painting’, and be located within a local universe called ‘art’; in time this constellation might become known, but probably only to its very particular inhabitants, as the ‘painthing constellation’.

Painting. Painting, pain thing: painthing. Maybe this has happened to you too; you’re driving along a suburban street or you’re reading the label on the back of a tin of crushed tomatoes somewhere in a dim corner of a supermarket and suddenly a word, actually any word but this time it’s this word, gets caught on the sieve-like structure that divides your perception of ordinary action from an extraordinary something. Immediately the word as-it-is jumps out at you and you see it in its entire absurdity, its un-meaning, its limp body superimposed on the frenetic buzziness of the universal attraction and repulsion going on all around you. Then you begin to examine it, prod it for signs of its former life. Nothing. Something very surprising suddenly happens; its body becomes slowly absorbed into the phrenesis of action and reaction, memory and meaning, membrane and pulsing core. It continues to offer itself to this whole until the shape you once knew emerges elsewhere as another; different, but somehow the same. And then you try and understand (what else can you do, you’re stuck in a long check-out queue) how this word-—this painful thing actually—can simultaneously be both itself and other. You look around; people are still in the queue, shelves still stacked, fluoros still buzzing, cars still silently gliding by outside, tired smiles still being offered. And then you realize that almost everything (you think almost because somehow you feel it cannot be quite this absolute) is both itself and some other thing; inalienably itself, yet distantly other. Is a constellation like that? Are the celestial bodies and dust particles that form it simply an infinite collection of collections of otherness, each component offering a kaleidoscopic fragment of the whole, yet each simultaneously desiring both breathless proximity and vast expansive space in which to, utterly and defiantly, be that one thing it feels itself to be? And, what of breathless proximity? Ah, that, the as one-ness thing. I can’t speak of that. It’s not in my nature, I resolutely surmise, as I get to the check-out just in time.

Domenico de Clario, AEAF director