Podcasts about hetti perkins

On our final show of the year, we look at the work and career of the great Emily Kam Kngwarray. A senior Anmatyerr woman from Utopia who took up painting in her 70s, Kngwarray is arguably the most significant contemporary artist from Australia to emerge in the twentieth century. Daniel speaks with Hetti Perkins, the co-curator of a summer blockbuster showcasing Kngwarray's work on at the National Gallery of Australia, as well as art historian Stephen Gilchrist. That's a wrap, 2023! Daniel is joined by guests Sasha Grishin, Gabriella Coslovich and Anna Emina El Samad to discuss  favourite art exhibitions of 2023, the recent performance that led artist Mike Parr to be dropped by his gallerist Anna Schwartz, and the rise of AI in art.

The tragic human cost of the bombardment of the Gaza Strip in the Israel-Hamas war is well documented. What is now becoming clear is how many historic buildings and sites have also been destroyed. We talk to Sarvy Geranpayeh, a correspondent for The Art Newspaper in the Middle East, about the fate of heritage in Gaza. As a huge exhibition of the work of Emily Kam Kngwarray, perhaps the most celebrated of all Indigenous Australian artists, opens at the National Gallery of Australia in Canberra, we speak to the show's curators Kelli Cole and Hetti Perkins, about her life and work. And this episode's Work of the Week is a manuscript written by Paul Gauguin just months before he died in French Polynesia—Martin Bailey, our London correspondent, tells us more about the document, which has been acquired by The Courtauld in London.Emily Kam Kngwarray, National Gallery of Australia, Canberra, 2 December-28 April 2024 Hosted on Acast. See acast.com/privacy for more information.

Artist Hayley Millar Baker (Gunditjmara/Djabwurrung) joins Anna Zagala, Associate Curator at Samstag Museum of Art, to discuss her moving image work, Nycyninasty (2021) currently screening at Samstag as part of the 4th Indigenous Art Triennial: Ceremony curated by Hetti Perkins for the NGA.  Hayley shares what prompted her to pivot from photography to moving image, how the pressure of the pandemic lockdowns created a shift in her work, and what fuels her art practice. ON ART is supported by the Gordon Darling Foundation and Solstice Podcasting and produced by Tilly Balding in Tarntanya/Adelaide. The conversation was recorded on 30 October 2023.See omnystudio.com/listener for privacy information.

Presso la National Gallery di Canberra, fino al 31 luglio, sarà possibile assistere alla mostra curata da Hetti Perkins.

This week, we meet Hetti Perkins, the senior Curator-at-large of Ceremony, the fourth National Indigenous Art Triennial, and Rhoda Roberts, curator of the Parrtjima Festival.

A preview of Ceremony with Hetti Perkins, senior Curator-at-large of the fourth National Indigenous Art Triennial.

Tai Snaith returns to the studio for the fortnightly visual arts segment Art Attack, chatting about her artistic process whilst working from home, and reviewing Judy Watson and Yhonnie Scarce’s ‘Looking Glass’, on display at the TarraWarra Museum of Art. Described by curator Hetti Perkins as both “a love song and lament for country”, this exhibition sees Watson, a Waanyi artist, and Scarce, a Kokatha and Nukunu artist, explore the painful, dark history of the Australian landscape in poignant synergy. Jane Scott, Curator of Flesh After Fifty at the Abbotsford Convent introduces the exhibition’s program of events, challenging ageism, sexism, and body shame to celebrate and promote older women within the art world. Featuring commissions from 14 dynamic Australian artists, the exhibition includes talks from both artists and medical professionals on subjects such as menopause and family violence.Finally, Dr Miranda Wallace, Senior Curator at the NGV announces the gallery’s winter offering, French Impressionism, featuring 79 works which have never previously been exhibited in Australia. Presented in collaboration with the Museum of Fine Arts, Boston, the exhibition will chart the major developments of this artistic period through key figures such as Claude Monet, Pierre-Auguste Renoir and Edgar Degas. 

Ireland in the mid-1800s was not a particularly happy or pleasant time as it was the period of the Great Hunger. Tom Sullivan, writer and director of the film, ARRACHT joins Richard to chat about the impact of the great hunger on Irish Culture and the way it's explored in ARRACHT. Every year, Creative Partnerships Australia gives out awards to celebrate philanthropy in the arts sector. Richard is joined by the CEO of Creative Partnerships Australia, Fiona Menzies, to discuss the 2020 awards winners, plus provide an overview of the awards and why philanthropy is an important part of the arts sector. Waanyi artist Judy Watson and Kokatha and Nukunu artist Yhonnie Scarce share recent and personally painful histories of the destruction, exploitation, and degradation of land and of colonisation. Curator of the TarraWarra Museum of Art, Hetti Perkins discusses with Richard Judy and Yhonnie’s latest exhibition Looking Glass. Detailing Australia’s secret and dirty war—a battle fought on many fronts from colonial massacres to Stolen Generations, from the Maralinga bomb tests to the climate emergency. Looking Glass is being exhibited at TarraWarra from November 28th to March 8th.The Melbourne Fringe Festival is a mix of wacky and wonderful shows. Two such shows are CATS: The Movie, the Musical, The Production, The Artist & Lousical The Musical, created by Jean Tong and Lou Wall respectively. One is a mockumentary that punches down on a musical that has been “piss taken to the ends of the Earth and back,” whilst the other is a pop music comedy, part stand up, part song, and part “online meme content”. Both shows were available to stream online as part of the Melbourne Fringe Festival’s 2020 programming. ARRACHT (Trailer) | YouTubeIreland Picks ‘Arracht’ for Oscars’ International Feature Film Race | VarietyMeet our 2020 Creative Partnerships Award recipients | Creative Partnerships AustraliaMATCH Lab | Creative Partnerships AustraliaPlus1 | Creative Partnerships AustraliaLooking Glass | TarraWarra Museum of ArtCATS: The Movie, the Musical, The Production, The Artist | Melbourne FringeLousical The Musical | Melbourne Fringe

Curator Hetti Perkins discusses how artists and activists have always put their lives and livelihoods on the line for their communities.

Curator Hetti Perkins discusses how artists and activists have always put their lives and livelihoods on the line for their communities.

Curator Hetti Perkins discusses how artists and activists have always put their lives and livelihoods on the line for their communities.

Curator Hetti Perkins discusses how artists and activists have always put their lives and livelihoods on the line for their communities.

Gareth and Olly look at the impact European settlement has made on the indigenous population from the time of first arrival to contemporary times. Join us on Patreon for extra stupid political news, analysis and Gareth's blog. www.patreon.com/politicsovercoffee www.politicsovercoffee.com SHOW NOTES 1. Lousy Little Sixpence, 1983, by Alec Morgan details history of unpaid servitude of Aboriginal people. Available on YouTube https://www.youtube.com/watch?v=2TfaXdI5Z8Q&list=PLEFw6Bo_vaYpBJ3zg7WgWWJApQerbQ4u3 2. Servant or Slave, 2016, directed by Steven McGregor, written by Mitchell Stanley, Hetti Perkins, the film details the lives of five indigenous women, stolen from their families and forced into indentured labour. Available on SBS until the end of the month. https://www.sbs.com.au/ondemand/video/810629699644/servant-or-slave 3.Bringing them Home Report (1997), Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families. Conducted by the Australian Human Rights Commission, this is a 500 page document, that details the history, nationally and by state and territory, makes the case for reparations, and the provision of recommended services. https://humanrights.gov.au/our-work/bringing-them-home-report-1997 My Island Home - Warumpi Band https://www.youtube.com/watch?v=yZEodxUx2ME

In this episode of Jam Pakt, Jonzy's joined in the studio by talented young actress, Madeleine Madden. You might have seen Maddy in TV series like ‘Mystery Road’ or ‘Picnic At Hanging Rock’ and you’ll definitely be hearing her voice soon in the new movie, ‘Dora and the Lost City of Gold’. Maddy’s also the daughter of writer and art curator, Hetti Perkins, and the granddaughter of civil rights activist, Charles Perkins – in fact, Maddy’s an activist in her own right and a big supporter of Seed Mob. She’s one switched on young woman, for sure!

Klassikern om det aboriginska konstverket Fruit Bats lördag 16 juni kl. 10.45 i P1 Aboriginerna och Torres Strait Islanders har funnits på den australiska kontinenten i minst 40 000 år, men efter att européerna koloniserade Australien har urbefolkningens historia varit sorglig och brutal. Konsten har blivit ett sätt att bearbeta och läka de här såren. Och sen den aboriginska konsten gifte sig med ett modernt urbant liv så har det blivit en av de starkaste och vitalaste kulturyttringarna i Australien idag. Klassikern tar fasta på ett av de centrala verk som vuxit fram i mötet mellan den här storstadskulturen och urbefolkningens historia. Det handlar om en skulptur som heter Fruit Bats, Flyghundar, från 1991. Verket består av en paraplyformad tvättvinda av den sort som brukar finnas i trädgårdar. Och på tvättvindan harkonstnären Lin Onus hängt 100 handgjorda sovande flyghundar med vingarna hopvikta runt kroppen. Vingar som målats i traditionella klanmöstern. Skulpturen är ett av de mest populära konstverken på Gallery of New South Wales, ett av Sydneys stora konstmuséer. En riktig publikmagnet som både är rolig att titta på, och som på ett underfundigt sätt påminner om den aboriginska kulturens starka närvaro i Australien. Om både de drömmar och mardrömmar som finns inbäddat i landets historia, även i din egen trädgård. Och precis som flyghundar kan den aboriginska kulturen vara både skitig och högljudd. Cecilia Blomberg har träffatkonstcuratorn Hetti Perkins som valt Lin Onus Fruit Bats som aboriginsk klassiker.

Skulptuen Fruit Bats, Flyghundar, från 1991. Verket består av en paraplyformad tvättvinda och på den har konstnären Lin Onus hängt 100 handgjorda sovande flyghundar med vingarna hopvikta runt kroppen. Lyssna på alla avsnitt i Sveriges Radio Play. Vingar som målats i traditionella klanmöstern. Skulpturen är ett av de mest populära konstverken på Gallery of New South Wales, ett av Sydneys stora konstmuséer. En riktig publikmagnet som både är rolig att titta på, och som på ett underfundigt sätt påminner om den aboriginska kulturens starka närvaro i Australien. Om både de drömmar och mardrömmar som finns inbäddat i landets historia, även i din egen trädgård. Och precis som flyghundar kan den aboriginska kulturen vara både skitig och högljudd. Cecilia Blomberg har träffat konstcuratorn Hetti Perkins som valt Lin Onus Fruit Bats som aboriginsk klassiker. Aboriginerna och Torres Strait Islanders har funnits på den australiska kontinenten i minst 40 000 år, men efter att européerna koloniserade Australien har urbefolkningens historia varit sorglig och brutal. Konsten har blivit ett sätt att bearbeta och läka de här såren. Och sen den aboriginska konsten gifte sig med ett modernt urbant liv så har det blivit en av de starkaste och vitalaste kulturyttringarna i Australien idag. Klassikern tar fasta på ett av de centrala verk som vuxit fram i mötet mellan den här storstadskulturen och urbefolkningens historia.

Aboriginerna och Torres Strait Islanders har funnits i Australien i minst 40 000 år. Men efter att européerna koloniserade kontinenten blev deras historia brutal och sorglig. Den handlar om brutna släktband, utbredd alkoholism och problem med sjukdomar och ren undernäring. Men idag finns en ny generation med aboriginska rötter som kämpar för rätten till sin historia, sitt land och det märks tydligt inom kulturen. 1967 blev landets urbefolkning officiellt fullvärdiga australiska medborgare, först 2008 fick de en offentlig ursäkt för den brutala behandling de fått utstå genom historien - inte minst det som benämns "den stulna generationen", de aboriginska barn som tvångsomhändertogs ända in på 1970-talet för att få en ”vit” uppfostran. Idag tillhör aboriginsk konst, dans, film och teater de starkaste och mest vitala kulturyttringarna i Australien. Och då handlar det inte bara om traditionellt måleri och rituella danser, utan även som en självklar del i samtidskulturen. Cecilia Blomberg har bland andra träffat Hetti Perkins som har satt den aboriginska bildkonsten på världskartan. Hetti Perkins är dotter till medborgarrättsaktivisten Charlie Perkins och hon har förenat det politiska arvet efter sin far med ett passionerat konstintresse. Konsten är ett sätt att läka såren efter den hårda historia vårt folk fått genomleva.  Det handlar om att inte glömma övergreppen, utan om att hitta en egen inre styrka att gå vidare. Och det handlar om rätten att få definiera sig själv, sin egen historia och sin egen framtid, säger Hetti Perkins.  Hetti Perkins har också gjort tre dokumentärfilmer om aboriginsk konst tillsammans med Warwick Thornton. Dokumentärfilmerna Art + Soul är en resa rakt in i öknen, in i storstäderna, in i aboriginernas och Torres Strait Islanders konstvärld och historia. Och filmerna som visades på SVT i vintras visar just på kraften i den här konstscenen. Cecilia Blomberg träffade också Warwick Thornton vars film Samson och Delilah belönades med Caméra D'or för bästa debutantfilm i Cannes 2009. Han ser sig själv som en del i den aboriginska konsttraditionen där filmrutan är lika relevant för att skapa konst som en tom målarduk.  Han skulle aldrig göra en film om det vita Australien, säger han.  Han vill berätta sitt folks historia och menar att just filmens berättarspråk gifter sig särskilt bra med aboriginernas långa muntliga berättartradition. Desutom har Anneli Dufva träffat regissören Benedict Andrews  och dramaturgen Tom Wright, för att få deras syn på landets dubbla historia. Programledare och reporter: Cecilia Blomberg Producent: Marie Liljedahl

Buluwana was a woman of Wumuddjan subsection, and one of the first people to inhabit the Kurulk clan region at Ngandarrayo. The Ngandarrayo site is on a large escarpment outlier. The camping places along this outlier are rich in rock art. During the time of great drought, Buluwana and her family were camped at Ngandarrayo. They were weak from thirst, and close to death, when the group was confronted by the malevolent gigantic form of the Death Adder snake. Buluwana tried to run away with the rest of her family, but was crushed and turned to stone. An arrangement of rocks still remains in the ground as Buluwana's present-day form. Only her head protrudes as a prismic standing stone - the rest ofher body is under the ground. Other human remains lying on rock ledges are said to be those of more early ancestors. The Ngandarrayo site is a place of great significance to people of the Kurulk and Kulmarru clans, and is classed as a highly sacred and dangerous place. from Hetti Perkins et al., 'Crossing country: the alchemy of Western Arnhem Land art', Art Gallery of New South Wales, Sydney, 2004

Buluwana was a woman of Wumuddjan subsection, and one of the first people to inhabit the Kurulk clan region at Ngandarrayo. The Ngandarrayo site is on a large escarpment outlier. The camping places along this outlier are rich in rock art. During the time of great drought, Buluwana and her family were camped at Ngandarrayo. They were weak from thirst, and close to death, when the group was confronted by the malevolent gigantic form of the Death Adder snake. Buluwana tried to run away with the rest of her family, but was crushed and turned to stone. An arrangement of rocks still remains in the ground as Buluwana's present-day form. Only her head protrudes as a prismic standing stone - the rest ofher body is under the ground. Other human remains lying on rock ledges are said to be those of more early ancestors. The Ngandarrayo site is a place of great significance to people of the Kurulk and Kulmarru clans, and is classed as a highly sacred and dangerous place. from Hetti Perkins et al., 'Crossing country: the alchemy of Western Arnhem Land art', Art Gallery of New South Wales, Sydney, 2004