Anita Cummins installing their work at PICA. Photo by Susie Blatchford.
Anita Cummins, feelings, detail, 2018. Photo by Aaron Christopher Rees.
Anita Cummins, feelings, 2018. Photo by Aaron Christopher Rees.
Anita Cummins, I got out of bed today, 2018. Photo by Aaron Christopher Rees.
Emilija Kasumovic, Within Absence (detail), 2018, salt, adhesive, synthetic stones, monofilament thread. Photo: Mira Ze.
Jonathan Kim, from The Density series: Stone & Elastomeric I, 2018, elastomeric pipe insulation, copper pipe and found stone.
Jo Chew, Found Materials, 2017-18, acrylic and oil on canvas.
Dennis Golding, Empowering Identity (still), 2018, two channel video.
Stephanie De Biasi, Red of Spades, 2018, readymade objects, buff stone, acrylic on wood. Photo: Gary Parris.
Alison Kubler, Anita Cummins, Amy Barrett-Lennard, Brenda McGivern. Photo by OK Media.
Anita Cummins has won the $50,000 Schenberg Art Fellowship for recent art school graduates.
Cummins was selected from a field of 18 emerging artists who are exhibiting in the annual Hatched National Graduate Show at the Perth Institute of Contemporary Arts (PICA).
The Monash University graduate took out the award with an installation of crushed Cheezels titled feelings and a large collage made from Cheezels boxes titled I got out of bed today. Both works were made in 2018.
This year the Schenberg Art Fellowship was judged by PICA’s director Amy Barrett-Lennard, Professor Ted Snell AM from the University of Western Australia, and curator and writer Alison Kubler.
“The artist’s clean minimalist approach is married with a visually enticing, olfactory and emotionally charged experience,” said the judges in a joint statement when they made the announcement on 3 May.
Now in its 10th year, the Schenberg Art Fellowship is made possible by the Dr Harold Schenberg Bequest.
Works by all 18 finalists are on show in Hatched National Graduate Show 2019 until 7 July.
Hatched National Graduate Show 2019
Perth Institute of Contemporary Arts (PICA)
4 May – 7 July
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Existing in the space between ritual, performance and ceremony, the body-centred work of Latai Taumoepeau rewrites the stories that shape our perception of Oceania—while using ancient traditions to tackle our most urgent modern concerns. Taumoepeau is now participating in Re-Stor(y)ing Oceania at Artspace.
Congratulations to Aisha Sherman-Noth, who has won the 2025 Glover Prize for Weeping birches on the avenue. The Tasmanian-based artist wins $80,000 for the painting, which depicts weeping birch and poplar trees along the Brooker Highway into Hobart.
Sandra Black is best known for her distinctive carved and pierced porcelain vessels, which are now showing in a comprehensive survey show at the Art Gallery of Western Australia. We step inside Black’s light-filled Fremantle studio, where she has worked since 1988.
For Dane Mitchell, Slvalbard—a mysterious archipelago north of the Arctic circle—gives the tensions that shape our ecological moment a new and intriguing form.
Buoyed by rich feminist histories, the multifaceted work of Zanny Begg, who is now showing at the Western Plains Cultural Centre, reveals the possibility of paths not taken and the way age-old legacies persist.
