1

View a current exhibition; research aspects of the preparation and presentation of the exhibition with reference to: The classification of gallery/exhibition space, for example, public or commercial gallery, alternative art space or online exhibition. Bendigo Art Gallery is a public art space, owned and operated by the City of Greater Bendigo (local government) and retaining an independent Board of Management who oversees investment of funds for acquisitions of artwork for the collection. The exhibition GIMME FREEDOM (or gimme death) is a solo exhibition by Kyneton based artist Jud Wimhurst. The artist has worked closely with Gallery curator Clare Needham in the preparation and design of this exhibition. The artist developed the work over a period of seven months as part of the Gallery’s Going Solo initiative which gives a contemporary Australian artist living and working in central Victoria the chance to present a solo exhibition at Bendigo Art Gallery alongside other national and international exhibitions. How does this exhibition fulfill the role of a large regional gallery through the Going Solo project?

The main characteristics of the exhibition space The exhibition is displayed in a single gallery space approximately 14m long x 10m wide. It has a domed ceiling. The space is painted white and the floor is timber. Unlike the 19th century gallery spaces next door, which are painted royal blue and have several distinct decorative features, it is a very neutral space typical for the display of contemporary art. There are several entrance and exit points in the gallery space and in some ways it is like a thoroughfare with visitors walking through it to get to most other spaces in the Gallery. Depending on where you stand in the gallery it is also possible to see artworks in other gallery spaces. Their visual impact on the works in the exhibition needs to be considered. Analyse the effect of the neutral off-white walls and timber floors. Do you think the white walls compliment the artworks or detract from them? Discuss:

Studio Arts Unit 4 Outcome 3 exhibition focus

GIMME FREEDOM (or gimme death): Jud Wimhurst 5 November 2016 – 12 February 2017

2

Jud Wimhurst GIMME FREEDOM (or gimme death) 2016 Installation view Image courtesy of the artist and MARS Gallery Photo Ian Hill

The approach for displaying artworks The final layout of the exhibition was determined in collaboration between the artist and the curator. The installation is made up of many sculptural elements, which are installed on a series of floor plinths of varying size. The plinth acts as a framing device and designates a space on the floor for each scenario. They also raise them up off the floor to keep them safe. The artist and curator decided where each plinth would be positioned in the gallery space according to size, relationship to other scenes and the amount of space around them. As the items on display are three-dimensional, it was important that people could access the plinths from as many sides as possible. It was also important to ensure there was a safe path for visitors to walk through the installation to get to other rooms in the Gallery. The artist worked with the gallery’s technical team to arrange each scenario and adhere each item to the plinths for security and safety. Explain the effect of the spacing of the artworks and the way in which they are positioned; how does this differ from the artworks on display in the Bolton, Drury and Abbott Courts at Bendigo Art Gallery?

3

What was the intention of the artist and curator in displaying the artworks? As mentioned, the curator worked very closely with the artist in determining the final layout of the exhibition. It was important that the exhibition looked balanced and well-spaced. The artist had a very strong idea of how he wanted audiences to view and engage with the work. Because his objects are based on archetypal toy soldiers which evoke a sense of play, he wanted the pieces to be installed close to the ground so viewers felt like they had perhaps walked into a child’s bedroom or a battlefield mid-conflict. The plinths are therefore, only 200mm off the floor. This is lower than the Gallery would normally make plinths to display such small works, but it was important to acknowledge the artist’s broader conceptual concerns in the final decisions for display. This gallery space was chosen specifically for this installation. The domed ceiling is a bit like an aeroplane hangar and its length allows viewers to stand back and take in the whole scene. There is also enough space for viewers to move freely between each scene and get a closer look at the detail of each object. The most elaborate and animated scene is placed in the centre of the room to draw viewer’s through the installation. A film was made during the making of the artwork for the installation. At key moments throughout the development of the work a film-maker filmed the artist in his studio documenting the process as the work evolved. This film is playing in the small transition space just around the corner from the installation. It was a conscious decision to install this outside the gallery where the installation is installed. The artist wanted viewers to appreciate the final work as it was installed before they got to see ‘behind-the-scenes’ and the magic of how each object was made. It was also decided to install headphones to eliminate any sound bleed that would affect the viewing of the installation. How do specific aspects of the exhibition design influence your viewing experience?

The role of the curators, graphic designer and other staff The curator (Clare Needham, Bendigo Art Gallery) worked closely with the artist throughout the whole process from exhibition conception, to the production of artwork and its final display. Clare visited the artist’s studio every couple of months to see the progress of the artwork, talk about the artists ideas and provide the artist with whatever support was needed. This is the unique context of the Going Solo opportunity, allowing artists to work collaboratively and be mentored by Gallery curators. Clare wrote a short piece of text to accompany the installation. This is called an extended text panel and is installed in the exhibition space to give viewers a little food for thought and some background information for viewing the work. Clare also wrote a more extended piece of writing for a small room brochure produced to accompany the exhibition. A photographer was engaged to digitally reproduce the artworks to be printed in this brochure and used to promote the exhibition. As part of her role as curator, Clare collated all catalogue materials and liaised with the designer about its layout and production.

4

Bendigo Art Gallery worked with several independent designers and Mulqueen Design & Print (a locally based design company) to create all exhibition materials including a printed and an electronic invitation, a printed room brochure, and advertisements. In consultation with the artist and the curator, the designers chose a colour for the exhibition and then followed standard Bendigo Art Gallery style for font and layout. A sign writer was engaged to provide the vinyl lettering for the exhibition title wall and extended text panel. In consultation with the Gallery’s education staff, the curator developed several public programs to complement the exhibition and enhance the visitor experience including a student workshop and a public talk. The curator liaised with the Collections Manager and Technicians regarding receipt of work at the Gallery and its final installation. The installation of the exhibition was coordinated by the Collections Manager with the curator and gallery’s technical staff. All label information was provided by the artist and laid out by the curator. What methods and considerations were involved in the conservation of specific artworks in the exhibition? Handling: Each item in the installation was handled with nitrile gloves to ensure they were not damaged and were kept clean. The installation of the central piece Battlesick was most involved. Each of the many components was individually placed by the artist according to his concept. Once each item was in place it was adhered to the plinth with a removable adhesive sticker (even the tiny tomato sauce splats and French Fries!). This was to ensure the items did not fall over if accidently knocked or a touched and to dissuade viewers from picking them up. Prior to installation several tests were done to ensure the adhesive applied to the bottom of each object did not adversely affect the artwork or damage the plinth. An adhesive was chosen that was suitably strong and able to be removed easily at the end of the exhibition. Further reinforcing the no touch rule to protect the artwork on display, ‘Please do not touch’ signs in the form of a symbol with a hand with a cross through it were installed next to each artwork label.

The artist positioning the individual artworks, handling each piece with nitrile gloves. The work is overseen by the curator, Clare Needham.

5

Jud Wimhurst Battlesick (detail) GIMME FREEDOM (or gimme death) 2016

Transportation: The artist packed all the work for his installation in his studio and transported it to the Gallery. Each item was individually wrapped in cotton and bubble wrap and packed in a variety of boxes according to the size of the object. Some items such as the tanks were made to be modular so they could be easily transported and put together at the Gallery. How the gallery deals with promotion and marketing The Gallery’s approach to promotion and marketing differs with each exhibition, and in accordance with its budget. For this exhibition, which is a small exhibition in the Gallery’s annual program, the promotional focus was primarily local newspapers, local magazines like Greater Bendigo News and Bendigo Magazine as well as printed arts publications such as Art Guide and Art Almanac. There was a lot of promotion for this exhibition through the Gallery’s social media channels. The curator and independent publicist wrote a media release and sent it to local media including the Bendigo Advertiser, Bendigo Weekly and ABC Central Victoria who all interviewed the artist. Hero Image The hero images selected for promotion usually have a strong shape and focal point that can be reproduced large or small. They should sum up what the exhibition is about and communicate that to a wide audience. Usually at least two or three hero images are selected for promoting an exhibition; in this case the curator selected just one image for use in advertising, promotion and on

6

the exhibition invitation. It was hoped that this would ensure people would recognise it across a variety of media and immediately associate it with the exhibition.

Publicity Staff In larger state public galleries a full time publicity officer may be employed. At Bendigo Art Gallery, which is a regional public gallery, some of the publicity is outsourced to a freelance publicist. The curator also takes on publicity as part of their role and must be able to write media releases and liaise with the media. Bendigo Art Gallery employs a Marketing and Audience Engagement Officer to support the promotion of exhibitions with a focus on online media. Sponsorship Bendigo Art Gallery has a number of ongoing sponsors and supporters such as Creative Victoria, City of Greater Bendigo and La Trobe University (Higher Education Partner). Government Sponsors Government sponsorship assists in an ongoing sense with the operation of the Gallery, for the purpose of delivering exhibitions and programs.

Promotional Video: https://www.youtube.com/watch?v=IhYEKK3MSR8

Jud Wimhurst, 2016 Image courtesy of the artist Photo: Ian Hill

7

Press/ Media Releases MEDIA RELEASE

MEDIA RELEASE

GIMME FREEDOM (or gimme death) JUD WIMHURST 5 November 2016 – 12 February 2017 In Jud Wimhurst’s major new sculptural installation Gimme Freedom (or gimme death), two opposing teams of oversized toy soldiers engage in a fictitious battle. Each team is outfitted in the corporate colours of an iconic fast food empire and fight with impotent weapons of mass consumption. Like many of his works Jud utilises humor to draw attention to serious matters. In GIMME FREEDOM (or gimme death), Jud probes the darker side of consumerism questioning the freedom and happiness it promises. The messy scene presented in the gallery is ultimately frivolous, highlighting the excess and wastefulness of our contemporary lives of convenience. It is a cautionary tale about getting caught up in the daily entourage of small choices (like what to have for lunch) and missing the bigger issues of our times. Jud Wimhurst lives and works in Kyneton and has been included in exhibitions at TarraWarra Museum of Art and McClelland Gallery and Sculpture Park. Recent solo exhibitions include Protection at the La Trobe University Visual Arts Centre in Bendigo, and Safe/Secure at [MARS] Gallery, Melbourne. Jud is the 2016 Bendigo Art Gallery Going Solo artist. This is an annual exhibition series offering one artist living and working in central Victoria the opportunity to work with gallery curators and technical staff to produce a significant work or body of works to be exhibited at Bendigo Art Gallery. Written by Clare Needham, Curator (City History and Collections) and Helen Attrill, Education Officer