Keynote Speaker: Kathy Temin

Kathy Temin has challenged the idea of what a monument and a memorial can be since the mid 1990s engaging with domesticity, 1970s interior design and remembrance. Her signature medium of synthetic fur refers to the exaggerated emotions of soft toy imagery and the comfort and protection of childhood. Temin’s family history of persecution and displacement have generated abstract and materially based work, some large enough to walk through. Her sculptures refer to monuments and memorials where personal and collective remembrance are interwoven.

Kathy Temin has exhibited nationally and internationally since 1990. Selected solo projects and shows; The National Gallery of Australia, NGA, Canberra (2020) The Art Gallery of New South Wales, Sydney (2010 & 2018) GOMA, Queensland Art Gallery, Brisbane (2014) The Melbourne Art Trams Project, The Melbourne Festival (2015) The Gus Fisher Gallery, Auckland (2015). In 2009 her work was the subject of a 20-year survey exhibition at the Heide Museum of Modern Art, (2008) Melbourne.

She completed a PhD in 2007 and MFA in 1991 both at the Melbourne University and a BFA Victoria College, Melbourne in 1986. Temin's work is represented by Anna Schwartz Gallery in Melbourne and Roslyn Oxley9 Gallery, Sydney. Kathy Temin is Professor in Fine Art, at Monash Art Design Architecture, Monash University, Melbourne.

• VCE Art Creative Practice
• VCE Art Making & Exhibition
• Engaging with CCP in art teaching practice

Peta Clancy

Peta Clancy - First Nations Artist presenter with Q&A 

Peta Clancy will talk about her work with a Q&A to follow. Peta will address her specific research areas which encompass themes including hidden histories of colonisation and climate change. Through introducing her individual practice, her talk will also consider her own teaching approaches in the studio, and ways in which her work may be referenced in the classroom.

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Peta Clancy is a descendent of the Bangerang nation from the Murray Goulburn area, South Eastern Australia. She has been awarded the 2018 Fostering Koorie Art and Culture and the Koorie Heritage Trust Residency Grant.

Clancy’s has had numerous solo exhibitions including, Linden New Art (2015); Galerija Kapelica, Slovenia (2013); Performance Space, Sydney (2011); Australian Centre for Photography, Sydney (2007); Brighton Museum & Art Gallery, UK (2005). Selected group exhibitions have included Under the Sun: Reimagining Max Dupain’s Sunbaker, State Library of New South Wales and Monash Gallery of Art (2017); TEA Super Connect, National Taiwan Museum of Fine Arts (2013) and National Centre for Contemporary Arts (Baltic Branch), Russia (2013).

In 2017 Clancy acted as a curatorial advisor for Science Gallery Melbourne’s season Blood. In 2009-2013 she collaborated with Helen Pynor on ‘The Body is a Big Place’ project, exploring organ transplantation, working with members of that community, medical clinicians, and scientists. The project won an Honorary Mention in the 2012 Prix Ars Electronica, Austria.

Image credit: Peta Clancy, Cutting Edge 2015-16. from the series She carries it all like a map on her skin.

MUMA Exhibition Tour with Charlotte Day

Exhibition: Collective Movements

Join Charlotte Day, the Director of MUMA who will deiver a behind-the-scenes tour of the exhibition Collective Movements. You will be given insights into the show and have the opportunity to ask questions about the exhibition and MUMA. Charlotte will also share information on the art-led education programs run by MUMA.

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Collective Movements is a wide-ranging project focusing on the work of historic and contemporary First Nations creative practitioners and community groups that recognises collectivity as integral to Indigenous knowledges and ways of being. Contributors include: Ensemble Dutala, Kaiela Arts, this mob (led by Moorina Bonini and Mitch Mahoney), Pitcha Makin Fellas, Koorroyarr Arts, the Possum Skin Cloak Story (founded by Debra Couzens, Vicki Couzens, Lee Darroch and Treahna Hamm), and Uncle Ray Thomas and The Torch, among others. An exhibition, publishing project, conversation and workshop platform, the project begins from a desire to make more visible a language and terminology beyond Western art concepts of ‘collaboration’ and ‘collectivism’— one that better describes and acknowledges the way Indigenous creatives work within a broader community and its inheritances. Curators: Kate ten Buuren, Maya Hodge and N’arweet Dr Carolyn Briggs AM.

Charlotte Day has been MUMA’s Director since 2013. She has extensive curatorial and arts management experience having worked in contemporary art organisations including the Australian Centre for Contemporary Art (ACCA), Centre for Contemporary Photography (CCP) and Gertrude Contemporary and as guest curator for the The Anne Landa Award (2013), Adelaide Biennial (2010), TarraWarra Biennial (2008) and Australian Pavilion for Venice Biennale (2005 and 2007). Charlotte has worked across a range of public and private contexts, both in shaping collections as well as managing public art projects, including for Kaldor Public Art Projects and the Michael Buxton Collection. Charlotte has a Master of Arts in Museums and Material Culture from Monash University (1995).

GIF image credit: Collective Movements Identity: Jenna Lee

Luke Smythe

Art History presentation

Luke Smythe will discuss his approach to teaching students about the key developments in the recent histories of art, design and architecture. Learning about each of these histories and the social developments they relate to, give students a clearer understanding of what it means to work in creative practice and why it is that creativity is so important to our lives.

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Luke Smythe is a lecturer in art history and theory at Monash University. Luke has taught art history in New Zealand and the United States. From 2012–2014, he worked as a Curatorial Fellow in Postwar Art at the Pinakothek der Moderne in Munich. His recent research has focused on three main topics: the global evolution of modernism since the Second World War, abstract cinema and somatic experience, and the passage of analogue art media into the digital era. Articles and essays, addressing these and other topics, have appeared in a number of publications, including October, Modernism/modernity, the Art Journal (U.S.), and Oxford Art Journal. His book Gretchen Albrecht: Between Gesture and Geometry was published in 2019 by Massey University Press.

Image credit: I am a Sender. I Transmit! The Multiples of Joseph Beuys, 2014. Installation view at Pinakothek der Moderne. Photographer: Haydar Koyupinar. Investigators: Luke Smythe, Pinakothek der Moderne, Munich Maja Wismer, The Busch-Reisinger Museum/Harvard Art Museums, Cambridge, Massachusetts. 

Topics related to the theme: Transitions: supporting moments in time

• - How do we support student choices and motivations to take up visual art in VCE?
• - How do we address the issues that come up when students have gap years and do not study Visual Arts within the 7-10 year levels?
• - What strategies do teachers implement to support Year 7 students with a diverse range of primary school art experiences, skills and knowledge?

Expanding Drawing/Sculpture
This workshop considers contemporary modes of drawing such as observational drawing, architectural projection, collaboration, and working in the expanded field. With an emphasis on colour, simplification and composition, the project will create connections between each other’s work in a collaborative manner to link drawing practice with three dimensional outcomes. Teaching Associates from the Monash Fine Art Programme will lead this workshop. 

Printmaking
In this printmaking workshop, Jonas Ropponen will present a demonstration of technical skills that will greatly help improve the quality of your students' work and your confidence with printmaking techniques. The Monash University printmaking workshop is a large professional best-practice printmaker's workshop and is fully equipped to cater for any printmaking method.

Topics include:

• - how to best make a woodblock, linoblock, relief collagraph
• - what tools and materials are the best to use, and how to adapt with what you have
• - how to roll up the right consistency of ink for printing
• - how to set the printmaking press pressure for optimum printing
• - how to manage mess and ink waste
• - OH&S in a printmaking studio