ACGA on the World Stage

Thu, 23 May 2013 11:39:41 +1000

Australian galleries are making a mark overseas, with ACGA member galleries attending numerous international art fairs.

KIAF12
In September 2012, four ACGA galleries returned to the Korean International Art Fair. KIAF is Korea’s hub for global art trade and attracts commercial galleries from around the world. There was a broad range of artists represented by the ACGA galleries, who were supported in their efforts by funding from the Australian Council for the Arts.

ART STAGE SINGAPORE 13
In January the third annual Art Stage Singapore fair took place, bringing together collectors, curators, dealers, galleries and art enthusiasts from across the commercial art world. Seven ACGA galleries took part in this elegant and well run fair, meeting potential customers and recording sales.

HONG KONG ART BASEL 13
Hong Kong has this year introduced its first Art Basel, replacing its traditional art fair, which will be on in late May. The new show gives galleries from around the world a platform in Asia to demonstrate the way they work with artists, and bring their highest quality work to Hong Kong.

Interview with Tony Ellwood, Director of NGV

Thu, 23 May 2013 11:00:04 +1000

Where does your enthusiasm for contemporary art come from?

Over the years I have learnt that audiences respond very well to a broad range of contemporary art. I think the combination of unexpected content and materials has a lot to do with this, along with the currency of their messages. Increasingly, participatory work is also exciting large audiences. As a museum professional I find this very stimulating to observe.

As head of the Queensland Art Gallery and now the National Gallery of Victoria what do you see as your greatest achievements and what has been your greatest challenge so far?

I think encouraging a broad range of gallery experiences is both a challenge and an achievement. While we work solidly on temporary exhibitions we are equally as focussed on maintaining and evolving permanent collection gallery spaces. For example, currently at the NGV we are looking at innovative ways to broaden the context of the 18th and 19th century galleries by introducing more diverse media. This is unprecedented in those spaces.

Do you consider contemporary art an experts’ business, and the success of the artists more to do with critics, curators and gallery owners?

I don’t think it can be clearly defined, artists have various networks and supporters like any profession. Each artist will have their own unique story about how they work within multiple groups that relate to the reception of their work. Certainly some artists have champions, which is very fortunate, but equally some artists are discovered by less traditional art spaces.

What do you think are some of the differences between the contemporary art of Australia and that of Asia and specifically China?

In China artists can commission technically complex or expensive works at radically cheaper rates than they can here. This means that the ambition of materials and scale can be significantly grander.

Regarding acquisitions, would you purchase artworks directly from artists as well as galleries and auction houses?

The NGV acquires through multiple sources.

Which are you key goals or concerns for the National Gallery of Victoria at this point?

My key goals for the NGV at the moment are around building a program that will attract new visitors and enhancing audience engagement - whether this is through new and exciting public programs or utilising new technology in exhibition spaces; giving visitors more opportunity to learn about and interact with art works on their own terms.

Many public galleries in the USA, UK and Europe spend the majority of their acquisition budgets purchasing international art, is this something that you predict will happen here?

I hope we will maintain a balance, although there is certainly great interest in the NGV expanding its current contemporary holdings.

How difficult is it to create art momentum in Australia, a country the size of Europe with only five major cities?

I think our size can also be our strength at times. Australians travel for good exhibition experiences and galleries are increasingly mounting exclusive exhibitions to capitalise on cultural tourism opportunities.

How would you describe the federal government’s efforts on the arts/culture sphere?

I think the federal government has a considered program that aims to support and reflect the complex and diverse nature of our creative practitioners.

Do you think online distribution of artworks and the internet may damage art and the art market?

I wouldn’t judge anyone for purchasing in this way, we have grown accustomed to purchasing many things online and art is an inevitable continuation of that for some consumers.

Do you think a novice collector must be guided?

No, only if they seek it out. Purchasing art is a very personal experience.

Are you a collector yourself and who do you think are the most interesting contemporary artists outside Australia today?

I collect work by friends or when I am at an event that I want to support. In no way do I assert myself as a serious collector, plus any key work that I see I would always refer to the gallery that I work for.
I think it is interesting to look at certain regions. At the NGV we have been discussing artists from South Africa, New Zealand, Brazil, Japan and the Middle East. I want to ensure we are considering art from a broad geographical perspective.

And the most important exhibitions for the next season are….?

All of them - we have a strong and varied program of exhibitions in 2013, including Monet’s Garden, our 2013 Melbourne Winter Masterpieces exhibition, opens in May. Exclusive to Melbourne, this exhibition comes to us from the Musée Marmottan Monet in Paris and will feature more than sixty works devoted to Claude Monet’s iconic garden at Giverny.

Also opening in May is an exhibition of contemporary artist Robin Rhode. Robin Rhode is a South African-born artist based in Berlin. Rhode employs a wide variety of media including photography, video and drawing as well as creating performance-based works.

Opening just after Monet’s Garden is Australian Impressionists in France – the first exhibition to focus on Australian Impressionist artists in France from 1885 to 1915. Whilst earlier exhibitions of the Australian Impressionist movement have confined their scope to Australia, this exhibition will tell the untold story of how these Australian artists participated in the global movement of Impressionism and worked alongside some of the leading artists of the time.

Opening at the end of October, Melbourne Now will celebrate the considerable strength, quantity and diversity of Melbourne artists and designers. This exhibition – an exciting first for the NGV - will integrate art, fashion, architecture, design, music and film, as well as commissioned interactive works and a range of activities and events designed especially for young adults, children and families. Melbourne Now will reflect on the incredible depth and quality of Melbourne’s art offering, exploring the issues and subjects that drive its artistic community.

News

ACGA on the World Stage

Interview with Tony Ellwood, Director of NGV