Daily Opening Times :
Friday 12 – Monday 29 July 2024
9:00am – 5:00pm Monday – Friday
**Weekends TBC**
Opening Event :
Friday 12 July 2024, 4:00pm – 7:30pm
Exhibition Dates :
Friday 6 – Sunday 15 September 2024
Monday – Friday 10:00am – 4:00pm
Saturday – Sunday 9:00am – 4:00pm
The Annual Members Exhibition is the highlight of the year for Art Society members. This is a judged exhibition and prizes are awarded.
Each exhibiting member is invited to submit one or two works, in any medium, which have been created in the last year. .An independent panel of judges will select the overall winner ( presently $1000 kindly sponsored by Artery) and other prizes, including the Best Use of Medium and the Best Miniature painting.
Visitors to the exhibition are invited to vote for their favourite work.
This exhibition has something for everyone as all works are as varied as the artists who created them.
Opening Dates :
Thursday 22 August – Sunday 1 September 2024
10:00am – 4:00pm daily
CLOSED Monday 26 August 2024
Presented by the Australian Antarctic Festival
The artwork will fill the gallery with data driven visuals surrounded by immersive spatialised sound.
Antarctic DataSpheres will be presented at Salamanca Arts Centre in Hobart as an invited exhibition at the 2024 Australian Antarctic Festival. As part of their Australian Antarctic Arts Fellowship, John McCormick and Adam Nash captured the ship, crew and expeditioners, assisting and documenting the many scientific experiments along the journey. Antarctic DataSpheres transforms this data, sound and imagery into a walk-in immersive experience relating Antarctica’s aesthetic grandeur and Australia’s ongoing Antarctic engagement.
John McCormick – Concept, Visuals, Interaction
Adam Nash – Sound Recording, Composition
Casey Richardson – Visual Effects, Interaction
Opening Dates :
Thursday 22 August – Monday 1 September 2024
10:00am – 4:00pm daily
Presented by the Australian Antarctic Festival in association with The Art Society of Tasmania
Since the early days of Antarctic exploration the big red ships have departed from Hobart tackling the mighty seas of the Southern Ocean for their journeys of scientific research. With global warming this research is more important than ever. Many artists and photographers have also recorded and interpreted this last frontier.
Artists throughout Tasmania have been invited to be part of this exhibition which crosses all mediums and genres.
Daily Opening Times :
Friday 5 July – Sunday 11 August 2024
Monday – Friday 9:00am – 5:00pm
Closed most weekends / Weekend Opening Hours TBC
I often get the impression that a lot of the general public views artists as elusive and mysterious. We hide away in studios for hours, weeks, or months and eventually emerge with a creation. Let’s get things out in the open.
For five weeks I will move my practice out of my studio and upstairs into the studio gallery. Recent works will hang on the walls as usual, alongside my current projects. One such project is a large drawing whose subject is as tall as I am. On the days I would have otherwise been downstairs in studio 126, I’ll be in situ, working in the studio gallery. Unfortunately, this will not be every day. But on the days I am not present, my work will still be there for you to see.
I invite people not only to see what I’ve made in recent months but what I’m currently making as well. Come and watch me work, have a conversation with me, or both. You can ask me questions about my process and materials and get a glimpse of how I turn a blank surface into a hyperreal drawing using just graphite, brushes, and erasers.
My process is a time-consuming one. The large drawing is not a project that will be completed in the course of the exhibition. You will get a glimpse of the beginning of the project in action, and the beginning of a form will emerge.”
– Katelyn Geard
Anne and Jay Sykes
Hannah Blackmore
Jo Soszynski
Presented by Jay Sykes
Opening Dates :
August 1 – 11, 2024
10:00am – 4:00pm daily
Opening Event :
August 11, 2024, 5:30pm
‘Painting my Thesis’ is intended to bridge the gap between art and science. It is inspired by a brief conversation I had with my PhD supervisors, Professors Michael Charleston and Barbara Holland, in which they (very flatteringly!) compared a graph I produced to a Monet.
All works in this exhibition are based on figures from my PhD Thesis “Protein Structure and Evolution”. The style of the pieces depends on the nature and meaning of the figure it is based on. Each is accompanied with the original figure, as well as a brief explanation concerning its meaning for those interested.
This project is important to me as an ex-academic. Many people, upon hearing that I completed my doctorate and then withdrew from the career path I invested so much time in to pursue life as a creative, rhetoric their way around the fact that they think to do so was a waste. With these works, I intend to prove that no experience in life is wasted. My university experience informs my practice constantly. This exhibition is intended to celebrate this fact.
The installation Self(ies) in Nature explores our delicate relationship with nature and how that relationship can change focus when viewed through the lens of a phone.
Being in nature benefits us physically and emotionally, and nature in turn benefits from our understanding and respect for it.
This balance can be disturbed when we turn the lens to include ourselves and the perspective changes from nature in the spotlight, to merely being a backdrop to self.
Our need to be centre stage can diminish our ability to be truely present with nature. The artwork questions what is lost when we become the focal point and nature is the accessory.
The abstracted cyanotypes are a collaboration with nature and combine found natural objects and repurposed fabric. Cyanotypes are a form of camera-less photography which rely on the sun for processing and ultimately give nature the final say in the outcome.
The design of the installation highlights our tendency to display our achievements of being in nature. Sketched profiles suggest, however, the fleetingness of humans in comparison to the natural landscape, despite any attempts to dominate it. They are accompanied by thoughts of nature writers, who too, grapple with our complicated relationship with the environment.
The installation follows an Arts Residency at Salamanca Arts Centre.
Anne and Jay Sykes
Hannah Blackmore
Jo Soszynski
Daily Opening Times :
Wednesday 10 – Monday 15 July 2024
Monday – Friday 9:00am – 5:00pm
Saturday and Sunday – 9:00am – 4:00pm
Opening Event :
Tuesday 9 July 2024 @ 5:00pm
The paintings in Symbiosis have been fully inspired by eclectic pieces of music and lyrics that were provided by some of Hobart’s prominent musicians. The submissions, which range from electric compositions and improvised piano to vocal harmonies and written poetry and lyrics, are all expressions from the musicians as they considered their ideas and feelings about Tasmania’s natural landscape.
Caitlin Love is captivated by Tasmania’s diverse and rich natural environment, so it is fitting that the musical pieces she used to inspire the works are just as diverse and rich. Each artwork generated imagery, colour pallets and memories for Caitlin, and she was able to explore Southern Tasmania for appropriate locations to paint from. The artworks have taken Caitlin on road trips, a 4am mission to the summit of kunanyi/Mt Wellington for the sunrise, and a 25km hike at Tasmania’s most southerly point.
Symbiosis is the interaction between two different organisms living together. These artworks would not exist without the music they were inspired by, and indeed they are enriched by the music, lyrics, emotion and imaginings of the musicians they were made by. The art and music give life and meaning to one another.
Launch Event :
Friday 12 July 2024, 6:00pm – 7:30pm
FREE EVENT | All welcome!
Exhibition Open :
Friday 12 + Saturday 13 July 2024
10:00am – 4:00pm daily
The beautifully hand-drawn true story of his visit to the Aeolian Islands of Italy with his parents to seek out past connections and family roots. Joshua and his father hope to locate the burial place of Joshua’s great-great-grandfather on the island of Salina. But it’s not always so easy to find the past you’re looking for, nor to travel with your parents.
Launch Event will include :
– Short storytelling performance by Joshua and Natalya Bing based on the book;
– Book to be launched by the awesome Nunami Sculthorpe-Green;
– Art exhibition opening of art from the book, and related to the book, some of which is for sale.
Copies of the book will be for sale on the night and throughout the exhibition, but they are ALSO available at all good bookstores around the island of Lutruwita. Out from July 2 nationwide through Scribe publications.
This event is happening on the stolen land of the Muwinina people.
We pay our respects to the Palawa people of Lutruwita, their connection to their lands and their ongoing storytelling traditions.
Opening Dates :
Thursday 11 – Sunday 14 July 2024
10:00am – 4:00pm daily
Opening Event :
Friday 12 July 2024, 5:30pm – 7:30pm
Using the portrait as the subject, the themes of beauty and identity have been explored and presented. Exploring the fleeting and everlasting nature of beauty coupled with the currency for a needed conversation on the positive and negative impact digital identity has on our identity, the work will reflect a new vision of how artificial intelligence can be used as a tool in the arts.
“To take the exhibition to another level I have referenced my analog video (vhs) documentation from various performance art installations (from Darlinghurst, Melbourne, Wagga Wagga and Hobart between 1987-1993) in which early investigations of identity were investigated. I converted these tapes to digital mp4 files. Handing them over, (in collaboration with Dylan Oswin) he has run a lens of artificial intelligence (using stable diffusion) over the moving image. The result has created images of hallucinogenic qualities. The forms take on the likes of Piccininni’s hybrid creatures, visions of metamorphic entrails like that used in dissection performances by Nitsch and the mangled distorted and grotesque forms of which I use in my expressive figurative painting style. This further impacts on the two-dimensional work and takes the show to another level.
AI now, is here and is proudly the first digital body of artwork using Artificial Intelligence presented in Hobart. I hope this show evokes a valuable conversation and the place artificial intelligence has in the visual arts.”
– David Hearne