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HR #6

Day of Protests @ NGV - Christian Capurro

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­­­­­­­­­­­­­­­­­­­Update : 15 December 2004

Christian Capurro

The response to our call to support the Day of Protests @ NGV was overwhelming and the protest a great success.

We estimate around 100 protesters took part in either the Friday morning performance outside the NGV International or the afternoon sketch-in at both NGV venues. We also received messages of support from at least that number again, from people who were unable to attend on the day, including curators and directors from a number of state and regional art galleries.

The Free Pencil Movement grew out of the frustration and anger a few artists felt at being prohibited from sketching and note-making at NGV exhibitions this year (The Impressionists, Edvard Munch and James Gleeson). It was soon realised that many other gallery visitors, including artists, scholars, students and members of the general public, had also been prohibited from sketching or note-making and felt similarly aggrieved.

Richard Tipping - Ben Harper

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Richard Kelly Tipping: Public Works

School of Design, Communication and Information Technology, University of
Newcastle, 2002.

ISBN 1 920701 01 X

Ben Harper

This catalogue was published to accompany an exhibition of Tipping's works
at Greenaway Art Gallery in Adelaide last year, focusing on his work
intended for public display. Photos of selected works are included with
essays by George Alexander and Alex Selenitsch.

Tipping's art poems (he also writes 'normal' poetry) are a kind of concrete
poetry made concrete - or stone, or aluminium. Sounding Silence, for
example, juxtaposes two granite blocks carved with the words 'listen' and

The artist’s chair - Alex Selenitsch

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­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­for PRACTICE IN PROCESS
COUNIHAN GALLERY,BRUNSWICK VICTORIA
9 SEPTEMBER 2004

Alex Selenitsch

Some time ago, hidden in a book on Mark Rothko, I discovered a photo of his studio. As if to separate itself from the art, which is gorgeously coloured, the photo was in black and white. It showed a clear floor marked with paint drops and smears, there was one canvas on an easel – yes, an easel – and in front of it, a chair with a fat cushion. The artist’s chair. I remember this chair most of all. It started me thinking about this piece of furniture and its role in making art. While scholars classify just about everything about artworks and museum labels become larger and larger, the facts of the studio are neglected – and the chair seems to me to stand for one of those facts.

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