State of the Union by Helen Grace

24thJuly – 28th October, 2018

The Ian Potter Museum of Art, University of Melbourne, Victoria, 3010, Australia

http://www.art-museum.unimelb.edu.au/exhibitions/future-exhibitions/exhib-date/2018-07-24/exhib/state-of-the-union

Curated by Jacqueline Doughty

State of the Union explores the relationship of artists to political engagement through a focus on the labour movement and trade unions.

The exhibition presents artworks that investigate industrial action and labour issues alongside the work of artists who draw upon the traditional visual strategies of protest, such as banners, posters, and collaborative actions. In addition to artworks that take trade unionism as a subject matter, the exhibition includes a consideration of artists whose practices are a form of cultural activism through which they advocate for fair working conditions, including those of artworkers.

State of the Union also considers the reciprocal commitment of Australian trade unions to art and cultural production through the establishment of theatre groups, film units, libraries, and artist residencies, and via their long-standing appreciation of the power of visual communication through their use of banners, posters and murals.

Alongside a selection of recent contemporary artworks, the exhibition highlights two periods in Australia when interactions between artists and the labour movement were particularly rich: the Depression era of the 1930s and 40s when the political convictions of social realist artists were reflected in artworks depicting the hardships faced by workers and their families; and the 1970s and 80s, when the introduction of community arts funding nurtured a flowering of cultural activity within trade unions and trades councils, in the form of banner and mural painting, factory festivals and artist-in-the-workplace residencies.

 

 This project premiered at the Workers Health Centre in Lidcombe, NSW in 1984. Made in collaboration with Julie Donaldson, Warwick Pearse, and panels designed by Ruth Waller, it was great to see that these panels still looked so  fresh after more than thirty years.

This project premiered at the Workers Health Centre in Lidcombe, NSW in 1984. Made in collaboration with Julie Donaldson, Warwick Pearse, and panels designed by Ruth Waller, it was great to see that these panels still looked so  fresh after more than thirty years.

Work/Life by Helen Grace

Exhibition with Sandra Rein - archival projects, Australia/Spain

ABM Confecciones, C/ Encarnación González Nº8 Bajo, 28053 Madrid, Spain, June 29th– July 8th

https://www.laventanadelarte.es/exposiciones/abm-confecciones/madrid/madrid/work-live/38209

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We, the people who live for the Beautiful by Helen Grace

Featuring; Liam Benson, Gerwyn Davies, Helen Grace, Deborah Kelly, Daniel Mudie Cunningham, Kim Leutwyler, Justin Shoulder, Shahmen Suku

In recognition of the 40th anniversary of Mardi Gras, Waverley Council is proud to present We, the People Who Live for the Beautiful; a month long exhibition, workshops, screenings, panels and documentary that celebrate the power, beauty and diversity of the LGBTIQ community. We, The People Who Live for the Beautiful is part of the Bondi Memorial Project. The Bondi Memorial Project is a  public artwork in Bondi that recognises the history of LGBTIQ violence in Bondi.

Bondi Pavilion Gallery, June 20th - July 15th, 2018

http://www.waverley.nsw.gov.au/recreation/arts_and_culture/bondi_pavilion_gallery/coming_soon/we_the_people_that_live_for_the_beautiful

My 40-year-old images from the court appearances that followed the arrests of the first Mardi Gras marchers. Police everywhere! (Too busy in June to post this when it might actually have been news!)

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Ghosts of childhood past by Helen Grace

A family gathering in the former convent school I attended - now a boutique hotel, someone's folly,  Storm clouds gathered - but the ghosts are settled and no longer lurk there (for me at least)

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The Party (Sally Potter) by Helen Grace

Sydney Film Festival 2017

delicious to watch this the night after the latest British election result has so spectacularly failed to give Theresa May the mandate she wanted, to sail into Brexit negotiations with any confidence. (The film was shot at the time of the Brexit referendum). But here, it's less conservatism and more left-liberal politics that is savaged with truth-telling. Star-studded, stunning script, smart cinematography to match.