Social Resistance and Activism via Street Art Nick Phillipson Street Light — An Exhibition of Lightbox Art by Peter Strong In recent years, the contemporary artworld has seen a rise in the popularity and saleability of artworks typically associated with street and graffiti art. These works are often created by artists who use non-traditional art materials and techniques.
I allocated my small amount of time accordingly: Some hours later, I found I had been deeply mistaken.
Rather than being hung along chronological or geographical lines, some galleries were hung according to themes, such as mortality, beauty, and the human condition.
Whoever is in charge here, I thought, has some serious guts. That person turns out to be Nick Mitzevich.
Mitzevich was a surprise appointment, relatively unknown to South Australia. He had previously held the positions of Director of the University of Queensland Art Museum and of the Newcastle Art Gallery for three and six years respectively, and by all accounts had been very successful in both positions.
In regional galleries you are also in close proximity to your audience, which helps you develop important relationships that are critical to being successful at your job.
Image courtesy of Art Gallery of South Australia Before beginning his career in gallery management, Mitzevich worked as a school art teacher, a multicultural arts officer, a commercial art dealer and a university lecturer.
I was captivated by art from all periods; to me it was a magical world that could transport me anywhere I wanted to go.
Moreover, by displaying these contemporary works alongside their historical counterparts, Mitzevich is deliberately challenging the categories that have traditionally determined the display of works. With the Australian collection, I chose to rehang chronologically as the collection is encyclopaedic and it was important to tell the story of Australian art through the lens of time.
I included more decorative arts, works on paper, photography and Indigenous art in the display to tease out the parallel ideas that make Australian art so rich and diverse. Boundaries of geography and time have been collapsed to inspire a new way of looking at the rich diversity of the European collection.
Objects from different periods and cultures are brought together to reveal how art links the past to the present.
Ultimately my motivation was to create a memorable and engaging gallery experience that is unique to Adelaide and compels audiences to look and think about how art is meaningful to our lives. Mitzevich has embraced some unorthodox measures to engage with the gallery community.
This savvy social move and investment in the wider gallery community has paid off: Expensive renovations to the Elder wing of Australian art and the Melrose wing of European art have also been funded by the state government. However, the Art Gallery of South Australia remains far more dependent on private benefactors than do its interstate counterparts.
With such a scant budget, the re-hanging of the galleries has proven to be an effective and cheap way of refreshing the space. By comparison, the Adelaide Biennial attracted 18, people over an eight-week period. Not everyone is enamoured by this. The best way I can do this is work with the collection in dynamic ways.
At this stage in my directorship I felt that it was important to harness every element of the institution to advance the biennial.
The best way I could do this was to lead from the front. It is important to have a strong curatorial perspective—this is part of my philosophy and my day-to-day life as a director.
It also refreshes my approach as Director and helps me continually push a progressive agenda. Politically astute, he has mended fences, increased visitor numbers and participation and made dynamic choices in terms of collecting and exhibiting.
This success has been widely noted, and rumour has it that he is a possible contender to replace Ron Radford as Director at the National Gallery of Australia in Canberra. Whether Mitzevich wants the job at this stage, or would be prepared to leave the Art Gallery of South Australia is unknown, but in the long term, we may yet see Mitzevich take his skills to the most prestigious gallery job in the nation.75 Arts Grant Writer jobs available on barnweddingvt.com Apply to Grant Writer, Receptionist, Event Planning Intern and more!
Mitzevich originally studied as an artist, then made his way into education. “Education and having a relationship with the audience is still important in my day-to-day job, it underpins most of the decisions that I make as the Director of the Art Gallery of South Australia,” he said.
John Ogburn arrived penniless at Orban’s studio in at the age of 23, having left his job as an industrial chemist in Melbourne. He studied with Orban for . Perpetual Volunteers. Chinese translation here. As an aspiring arts worker, I am very concerned regarding the job availability in the arts sector.
We are encouraged to work as volunteers as much as we can, but I wonder if this can lead to decreasing job availability. Find your next gig on ArtStation. Reflections—A Ubisoft Studio.
Newcastle upon Tyne, Tyne and Wear, United Kingdom. Jobs in the Arts Find a New Job in the Arts. As a free service to the community, ArtsWave offers a list of jobs available in the arts and culture sector.