Art Event

As I currently live in Victoria, I will be celebrating NAIDOC from the comfort of my home with a wonderful online event. There are also many local events that have gone virtual and you can find them on the websites of local Aboriginal land councils, community groups, and in some places even at your local library. The Hardie Grant Media Office will mark the week with events and learning opportunities, and we encourage you to attend NAIDOC Week and wear NAIDOC week shirts as well. I recommend visiting the NAIDOC Week website, which lists many events. The actions that can be taken are truly endless and they will always come in handy if done respectfully and from a place where you genuinely want to uplift Aboriginal people and culture. Week of the week or not, it’s always important to celebrate small business and Aboriginal people, so for those looking to support locally run businesses or Aboriginal charities and events, be sure to keep an eye out for this list. 

This week, NAIDOC Intrepid Travel invites you to join us in our celebrations, attend events near you or virtually, listen to Aboriginal voices through books, movies, Aboriginal clothing or social media, and support Aboriginal culture wherever you are. NAIDOC Week is an opportunity for all Australians to learn about Aboriginal culture and history and to participate in the celebration of the oldest and most enduring cultures on Earth. NAIDOC Week is a celebration of Aboriginal and Torres Strait Islander culture and history that takes place across Australia each year in the first week of July (Sunday to Sunday). During the first week of July, the Jobs and Reconciliation Reconciliation Action Plan Task Force joined employees and businesses across Australia to celebrate NAIDOC Week, a celebration and recognition of Aboriginal and Islander history, culture and achievements. 

This is NAIDOC Week, an opportunity to celebrate and recognise the tremendous contribution Aboriginal and Torres Strait Islander people have made and will continue to make to Australian culture, history and way of life. NAIDOC Week is an annual week-long celebration of Aboriginal and Torres Strait Islander history, culture and achievements, giving us an opportunity to recognise the contributions of Indigenous Australians to our country and society. Every year on the first Saturday in July, Australia hosts NAIDOC Australian Aboriginal Culture Week. This year’s NAIDOC Week is themed around “Our Languages Matter”, so our celebrations focus on the many different Aboriginal languages spoken in Australia.

NAIDOC week allows us to focus on Australian Aboriginal cultural heritage, while the Cultural Infusion program offers year-round programs for schools dedicated to all things Indigenous. Our weekly NAIDOC program can be a schoolwide event or target specific levels of the year and is celebrated and led by Indigenous Elders who have worked in schools for up to 20 years. Our NAIDOC program includes a one-day Aboriginal culture program (in Victoria, the one-day program is called “Aboriginal Culture” at the request of the elder leading it). Our National Indigenous Immersion Program is located in the Nganmarryanga (Palumpa) Indigenous community in the far northwest of the Northern Territory.

Our National Indigenous Immersion Program is celebrating its 16th anniversary in 2016 and is an example of the strong relationship that can be built between Winnies and Indigenous communities. I have worked with CareerTrackers for the past five years, helping Aboriginal and Torres Strait Islander college students complete internships, as well as participating in the CareerTrackers High School program and STEM Academy. Recognizing the importance of the land to Aboriginal and Torres Strait Islander people, and the rich history we have as First Nations of this Nation and our connection to the country. Opportunities for history can be reflected in the curriculum of individual services in a number of ways, including (but not limited to) services that create partnerships with people in your local communities who identify as indigenous and get them to share aspects of their unique culture and future aspirations. Director and Chief Executive Officer of the Burnet Institute Professor Brendan Crabb A.S. said that recognizing and celebrating the world’s longest surviving cultures and communities has played an important role in working to bridge the gap in the achievements of indigenous and non-indigenous peoples.

Professor Cindy Shannon AM, Vice-Chancellor and Head of the Logan Campus, said Griffith University recognised the unique place of Indigenous peoples in Australian history and culture and the importance of respecting Indigenous knowledge, culture and talent.

Western Australia hosts a flag-raising ceremony and morning tea in Busselton, while in Sydney, the University of New South Wales will broadcast a talk with native rapper Barkaa about what NAIDOC Week means to you and your world. NAIDOC Week, the Australian High Commission in Singapore, will host its biggest annual event later this month, showcasing Australian culture in Singapore through music, drink, music and art.

Australia is home to the world’s oldest indestructible cultures, the world’s oldest oral histories, and NAIDOC reminds us to recognize our shared history and look to the future. This year’s theme is “Always has been, always will be” in recognition of the fact that Indigenous peoples have inhabited and cared for Australia for over 65,000 years. To celebrate the week, NITV will be bringing back its first hit Australian Aboriginal breakfast TV show Big Mob Brekky, hosted by Shahni Wellington, Ryan Liddle and Tyrone Pynor.

1) Curate your artists.

Once the topic is decided, you will want to begin searching for artists’ who are aligned with your theme. Social networking platforms such as Facebook, Twitter and Instagram excellent tools for cultivating relationships with other artists. There are also websites out there specifically for networking within the art world. When reaching out, explain in detail your vision and where they fit in context. You will want to tell them all about your event’s strategies and logistics.

2) Locate a location/venue.

The location could be in a venue or a public park, but it has to be in a space that enhances the art. You do not need to drain yourself financially to put on a good show, formal galleries are a path but not the only one. What is crucial is that the distance is spacious, secure, and accessible. Everything you are going to want to do is consider the overall design of your display and the circumstance where you desire the artworks to noticed. Consider how you’re going to be able to space out the bits, and the way you want audiences to maneuvre about the display. Make sure you communicate transparently with all the site’s legal owner and down something in writing.

3) Ascertain the price.

If you have opted to pay for a location, you will need to pay for some basic costs and catering. The range of individuals you are expecting and also the degree of setup needed will normally determine the expense of your exhibition. Larger shows in larger places often come with larger bills. In the event the sum to lease a space is tight, then you might need to contemplate setting up and taking down a display at precisely the exact same moment. You may even need to get insurance.

4) If necessary, figure outside financing.

The Australian Government has funding available that you can apply for. Occasionally your site will host your display at no cost, and sometimes it’s possible to make a deal to get a proportion of the works offered. Some artists and curators raise cash through budding websites like Pozible or even GoFundMe.

5) Setup is everything.

As a curator, you will need to organise and oversee the transportation of event equipment and furniture, with a common example being tables and chairs. Asset management software allows you to closely monitor these deliveries. Attempt to give yourself ample time to experimentation and make things presentable until the show opens. Contemplate foot traffic and in which large volumes of it is going to be located. On this issue of foot traffic, make sure that most musicians are correctly and clearly credited for their participation. Moreover, be conscious of lighting. Excessively dark or overly bright functions can be distracting, but everything could function if the circumstance is appropriate. It is important you manage your time appropriately, considering using a mobile management system to stay on track.

6) Getting people to attend.

Social media is your best friend in this day and age. Use Facebook and Instagram to your advantage. Encourage your friends to use word of mouth and have them share the event online on their private social accounts. This is a great form of free advertising. Create a media package that sells the event and makes people want to come. Give it character, make it aesthetic, these factors make all the difference. Flyers are essential in the art world, be prepared.

7) The launching.

The key to controlling your environment is preparation. You never know who will rock up, or how many, or if their behavior will be antisocial. Ensure all your logistics are in check and first aid supplies on hand. Finally, have fun and faith in your art!

An art opening is a special occasion that requires you to carefully consider your own outfit. While dressing well is central, you might have to tailor your clothes to match the specifics of different openings. Gala events may call for a fancier dress code, whereas intimate galleries may better accommodate unique styles of dress which range from conservative to avant-garde and edgy.

Follow the Dress Code

Many invitations for gallery openings include a dress code for the function. If that is the case, it’s very important to adhere to the dress code specified by the gallery. If there isn’t any dress code stated, then dressy cocktail or casual wear is a safe bet. In all cases, avoid jeans, baggy shirts and boat shoes. While dress codes might not be strictly enforced by galleries, disregarding the dress code is deemed disrespectful — to the artist and into the gallery. Openings are special events that celebrate the hard work of an artist, so respect and consideration have to be shown by dressing in a suitable fashion.

Dress for the Gallery

For bigger museum openings, classic cocktail wear or even black tie is considered standard. In cases like this, conservative or traditional choices — the little black dress and a tuxedo are the best bets. With smaller galleries, you might want to more carefully tailor your clothing choices to the sort of opening. For example, LA-based stylist Lauren Messiah explains that dress options for uptown and downtown openings differ considerably. She indicates that a downtown gallery frequently features more contemporary-oriented artwork, so an edgier ensemble — like a coat with an asymmetrical cut for women — is much better suited. For an uptown gallery, where the art and gallery are more conventional, top and skirt — or jeans and a button-up shirt for guys — may be more fitting.

Dress for the Occasion

The more exclusive the opening — if it’s personal or by invitation only — the more upscale the dress requirement could be. For guys, this may mean wearing a suit and tie instead of simply a dress shirt and slacks. For girls, this is an opportunity to pull out the sparkly cocktail dress or the elegant silk slip dress in your closet. Occasions that require a black tie dress code will clearly state so on the invitation – like the opening of a major museum.

Shoes and Bags

Choosing the perfect footwear is essential for an opening because you’ll probably be walking and standing in crowded conditions for an extended period. As a result of this, comfortable footwear that will make it possible for you to move around easily — without danger of tripping or slipping — is vital. Therefore, no matter how stylish your strappy heels might be, aim for lower heels unless you’re positive you’ll be comfortable in stilettos for many hours. Last, see that the opening will be crowded and there might be little room to move around. Therefore, leave your oversized handbag behind and decide on a small clutch, which makes it easier for you to walk around the gallery without the danger of hitting a piece of precious art.

The Plumbing Museum has declared the ribbon-cutting and launch of the Manoog Family Artist in Residency Program, a new cultural initiative being provided to the Watertown and Greater Boston communities.

Designed to encourage careers in both the arts and trades, the program provides artists with the physical and financial resources required to explore the relationship between art and industrial engineering. Named after the founding family of the Plumbing Museum, the Manoog Family Artist in Residency Program offers artists the chance to harness their passion and imagination to generate significant artwork, develop their skills and give back to the community, all over the space found at the Plumbing Museum and its partner organization, J.C. Cannistraro.

As part of this program, selected artists are supplied with complete access to studio workspace, fabrication and welding tools, materials and a cash award. The program’s first resident artist, Ryan Leitner, is a recent graduate of Tufts University School of the Museum of Fine Arts, Boston. The autumn residency will conclude with an exhibition at the Plumbing Museum in January 2017.

At home in Australia, it’s not surprising that the plumbers who made an “Ettamagoh” dunny to race at the prior dunny races in the Warrnambool Talent have created a “Cistern Chapel” pipes museum themselves. Warrnambool plumbers Tony Van Rooy and Brian O’Shannessy obviously enjoy a little fun but their Cistern Chapel is significantly more than dunny humour.

The group of plumbing paraphernalia reveals how changes in plumbing technology have made life much easier and highlighting previous plumbers’ abilities as well as the risks they faced. Mr O’Shannessy said he initially believed his buddy Tony’s pastime of collecting plumbing paraphernalia had been “stupid” before he caught the ‘art collection’ bug and joined him in a few collectors’ rallies.

The collection grew and both got a site at the South Western District Restoration Group’s centre that’s next to the Cobden Miniature Railway and Mini Golf Park. In the true spirit of the old plumbers who were ingenuous in repairing things, they recycled a corrugated iron shed from neighboring Dixie to make a home for the makeshift museum.

It houses everything from old nighttime soil cans and architectural engineered timbers to elaborate ceramic and metal piping configurations as well as the major array of different varieties of toilet cisterns the museum is named after. Other displays include round the corner chisels and coin-operated gas meters. Most haven’t been restored to increase the allure of their era.

Tony, 67, and Brian, 62, have been plumbers for several decades and know the tales behind lots of the things including the inspiration for the saying “as flat as a shit carter’s hat” At the time before sewer pipes were set up, night soil carters took off the bathroom cans from backyard bathrooms.

They carried the cans in their shoulders and the hats they wore to protect their heads from spillage and possible corresponding gas installations frequently wore flat. Lots of the museum’s displays are over a hundred years old like a water main made from stainless steel slats bound with wire. When the absorbent wood became wet, it swelled to become waterproof.

The displays elicit lots of laughs and stories from visitors about their experiences with similar products. Comic signs like “Old plumbers do not die, their plungers only perish” and a “Plumber’s Poem” add levity to the museum. Old wooden bathroom doors under laminated structural timber beams have a new function as display boards for ranges of taps. The plumbers delight in opinions in their guests’ book saying that the museum is “a shit place” or something similar. But while they could laugh about their work, they said it was clear improvements in youth had supplied big improvements in quality of life.

“Prior to a flushing toilet was really easy,” Mr Van Rooy said. But even with each of the technologies and essentially blocked plumbing and drains or burst pipes, he stated meeting his clients was among the best parts of his job. The chance to meet people was why he loves doing maintenance plumbing in a form of art as opposed to construction. Mr Van Rooy said while plumbing sometimes involved getting into unsanitary circumstances, plumbers were generally able to keep “from the shit.”

Installing a solo art show of your own work is a challenging and fulfilling job. A solo show is most likely something you have actually worked toward for a year or more to showcase your art under stunning art hanging systems. You have a significant psychological investment– and frequently an economic one as well– in its success. If your program remains in a museum or industrial gallery, installing the show will probably be the responsibility of the museum manager or gallery director. But if your program is in a co-op gallery, art association, alternative art area, library, bank, restaurant, office space or your own studio, part or all the duty for arranging and hanging the work will most likely fall on your shoulders. Checking out the installation procedure will help you create a cohesive exhibition that will show your work to its finest light.

Things to think about

The very first obstacle is to acknowledge that, while the works you have actually produced for the exhibition are the factor for the program, the exhibition is not about the works. Rather, the exhibition is a work of art unto itself. Your artworks are just one element of that larger work– the exhibition.

Creating an exhibit is a multidimensional procedure. Amongst the elements that add to a success or failure are the exhibit area, the lighting, the audiences and the method they will move through the space, visual interruptions that are inevitable, focus on your primary purpose for the exhibit, the mechanics of how the artwork will be hung, and the plan of the pieces.

The area

Start by clearing the space as much as possible. Even if there are pedestals, chairs or other furniture that you envision you’ll use in setting up your exhibit, remove them at this moment so you can see the area with as few diversions as possible.

When the space is empty, analyze your environments. Is there any natural light? The number of entryways and exits exist? Are there any pillars, unmovable dividing walls or other blockages in the space? Do the walls need to be touched up from the previous picture hanging systems? Is the ceiling high or low? Is there adequate lighting? Exists anything in or near the area that will take on your work for the audiences’ attention?

After you have actually resolved these questions and other that strike you, it’s time to bring your works into the area– if possible, into the center of the area. Don’t lean the works against the walls at this moment– they’ll end up being an obstacle to visualizing the very best possible layout of your show.