Victorian Artists Society Journal Mar-May 2013

8/10/2019 Victorian Artists Society Journal Mar-May 2013

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QUARTERLYTHE

JOURNAL

M E M B E R S N E W S L E T T E R O F T H E

V I C T O R I A N A R T I S T S S O C I E T Y

M AR C H 2013 - M AY 2013

$5 NONMEMBER

Scu l p t u r e C la s s e s ha v ea r r i v e d a t t h e VAS!The Victorian Artists Society 430 Albert St. East Melbourne 3002

Ph: 03 9662 1484 E: [email protected] W:victorianartistssociety.com.au ABN: 75 004 046 824

VAS Cal e nd a r pa c k e dw i t h Ev e n t s f o r 2 0 1 3


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THE PRESIDENTS MESSAGE MARCH 2013

From start,

to Art

Treasurers Solutionpage 4

Calling All Paintersage 6-7

ocation-Location-ocationage 8-9

he Business Manainter - WD Knoxage 10-11

Sunday Afternoonwith Joyce McGrathpage 12-13

CONTENTS:


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Treasurers Solution:

utlined below is a proposedusiness model intended

attract and retain at least25 % increase in student

nd member numbers ine medium term, in orderrebuild a customer base

ore appropriate to the VASperating expenses.e purpose of this note is totline and seek responses tosolution intended primarily toduce the workload on staffd the council, to maintain the

ability of the Council and tocus especially on the wantsactive members. We have antimated total of between 150 to

0 regular exhibiting membersd students. This is the core

oup that we need to build up andgenerate additional promotion

rough word of mouth.e how, who and managingks would be explained in a lateran, assuming sufcient supportmerges from our members.ne requirement is to redirectsources from hiring multiplelleries to creating and utilising

ultiple improved studios.udios create the opportunity for active and supportive precinct

r the making of art and sharingt making experiences. Wen apply part of the businessodel of The Arts Studentsague in NY: http://www.eartstudentsleague.orgwenty something years agoe VAS council was apparentlyoubled by the decline ofembers and students. Ernst &oung, management consultantsere commissioned tovestigate and report to the VASuncil. The conclusion offeredrevitalise the business was toncentrate efforts on increasing

udent numbers. Either thevice was not useful or there

as no will and capability toplement the advice.ne years ago VAS experiencedvere nancial stress. Icilitated and guided the VASuncil through a process ofany Sunday workshops andnd raising events over a period

six months. Fortunately, the

Society pulled out of the nancialnose dive. However, the recoveryprocess was very demandingand a number of councilresignations occurred along theway. It was clear that the councilwas not ready to participate inthe bigger challenge of changingthe business. I decided that therewas nothing further that I could doto contribute. A short time later anancial bequest was receivedby VAS and this money relievedthe short term nancial pressureto adapt the VAS business tosuit the much changed businessenvironment.The VAS Business strategy overthe last nine years has beento reduce operating costs anddiversify income sources. VASnow obtains a substantial portion

of its income from sources otherthan class and membership fees.The income from painting salesdeclined to major extent. Recentcouncil attempts have notarrested the long term generaldecline in VAS membershipnumbers (dipping below 500in 2012) and a larger rate ofdecline in student numbers.However, some increase instudent numbers was achievedlast year through concentratedefforts. Our generally limited andtransient volunteer resource is achallenge to running a businesswith a broader range of services.

A more troubling issue is the highturnover of council membersevery few years. The churn isassociated with a change ofdirection by a new President.The attrition rate of councillorsappears to be due to primarilyto exhaustion and fatigueconnected with additional fundraising activities and exhibitions.The work environment for staff isalso more difcult. VAS requiresa minimum equivalent of threeor four active and experiencedcouncil members contributing upto three or more days per weekto support our regular program ofevents, fund raisers and to assistwith the smooth running of thebusiness.VAS is now well positionedwith cash reserves followingrecord results over recent yearsto accept some risk and toredevelop the VAS income base

to concentrate on class andworkshop fees, members studiosession fees and additionalmember exhibitions entry fees.

A critical success factor isattracting a small number ofexperienced and somewhatcharismatic member artists toregularly use the VAS facilities inorder to attract other members.The principal member benetis the opportunity to share theexpense and effort of settingup painting subjects. The ideais based on the successfulbusiness model of the ArtsStudents League and the VASFriday Group. Creating theappropriate incentives to attractthe regular participation of theright professional or committedmember artists is the key to the

proposal. There is an opportunityto offer largely non-cash benetsincluding, attractive studioarrangements, promotionalservices and discounted salescommissions.

Additional Investment will berequired to improve VAS facilities- lighting and members storagelockers for the studio. TheHammond Gallery will requiremodication with mobile screensand lighting for the creation ofthree temporary studios. A dualalternating use of gallery andstudio is possible. Upgrading thelighting and the hanging systemin the Frater gallery will also berequired. VAS would then haveavailable three or four studiosable to support the additionalclasses, workshops and enablemultiple untutored memberpainting sessions.The aim is to substantiallyincrease member participation atVAS. A good outcome over thenext few years is that there willbe a demand for VAS facilitiesto justify opening 10/7. Thesehours could accommodate smallgroups of members happilyoccupied in classes, participatingin workshops or working ingroups in up to four studios.The above comments arethose of Ian Wilson and are notnecessarily views shared by theVAS council.

Ian Wilson CPAHonorary Treasurer VAS

VAS Critique Night 2012

The VAS members and friends thatattended this night were very wellrewarded.

The event held on Friday 23 November 2012 wasa very successful night and supplied learnings for asimilar evening in 2013. Our three critique teachersRay Hewitt, Paul McDonald Smith and AnnieFinkeld and president Greg Smith, were extremelyprofessional and giving of themselves.

Not having much expectation I was struck by theartistic knowledge that was either conrmed orrealised. The positive criticism was encouragingyet constructive. The teachers provided a dealof considered thought to their critiques and thebreadth of their knowledge was evident to thosewho attended. As an observer and artist, this wasan extremely valuable opportunity to efcientlygather knowledge and not least network with fellowmembers over nibbles and drinks with a backdropof inspiring exhibition of works of our teachers inthe Cato gallery. It just brings to mind how luckywe are in having such a valuable resource in ourcurrent group of teachers.

I would strongly encourage all to attend, and ifbrave enough participate in supplying paintings tobe critiqued, in a similar, expanded social eventto be held later this year. See above for details onthe scheduled bigger and better Critique Night inMarch 2013.

Ray WilsonEducation Convenor

2013 Critique Night

Friday 22nd March

6.30pm onwards

Please register your interest -

RSVP to VAS Ofce 9662 1484

Entry $5 nibbles and refreshments

provided. BYO painting to be critiqued

by VAS Tutors.

A social evening of guidance.

Paul McDonald Smith & Carol Allen

Annie Finkelde & Greg Smith

Nathan Moshinsky & Maurice Glover

Tutors: Paul, Annie & Ray Hewitt


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An enthusiastic new member, and tutor

on Thursday nights at the VAS, Jian (John

Wu) will have work on display and take

part in the Portrait week 11 to 24 July and

the People Painting People weekend on

the 20 and 21 July. Diarise it now, as all

members portraits will be hung in the VAS

Galleries for consideration for the Nada

Hunter Award and high-level students

work will qualify for entries for the Norma

Bull Scholarship Award. An overall event

which cannot be missed!

NEW PAINTER JOINS THE LIST OF VAS TUTORS

AND PEOPLE PAINTING PEOPLE TEAM FOR 2013

Calling all VAS Painters!!!! PORTRAIT WEEK 10 July to 28 July

Paint Yourself * Paint Each Other

Paint a Model * Paint Your Mother

We want to show what VAS Artists can do -Even those who dont believe they are portrait artistshave a go!

We want your work on the wallstherell be prizes and fun!-3 entries per person @ $5 an entry to be hung in the Frater and Cato Galleries.

Mon 8th & Tues 9th July send in days for VAS Portrait Exhibition.

PROGRAM FOR THE WEEKEmerging Faces

.11 July Evening Ofcial Opening 6pm to 9pm

Nada Hunter VAS Portrait Artist AwardNorma Bull Scholarship Winner Announced

Demonstrations, music and funCocktails and Canapes

Special fee for VAS Members $30 Guests $40Full-time secondary students $20

14 July Ghosts of the Past & Smike Night

2pm -5pm High Tea at the VicsPresentations by Anne Scott-Pendlebury & Oliver Streeton

Special fee for VAS Members is a gold coin and Guests $10

20 & 21 July People Painting People

Afternoon Tea at the Vics 2pm 5.30pm

VAS Portrait Painters will be painting prominent men & women achievers.4 Painters per person. Sitters have rst choice to purchase their preferred painting.

All paintings will be for sale on the day.VAS Members $30 Guests $40 each afternoon

full-time secondary students $20

Collection days: Mon 29th and Tues 30th July

N.B. Bookings are essential & open on 11 June at VAS Ofce for Opening Night and People Painting People


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The race is on to makethe top bid (below).

Photos by Ian Wilson.

The HammondGallery overowing onOpening Night.

LOCATION - LOCATION - LOCATION

Presidents Auction on the BargainSale Opening Night led by specialguest REIV Auctioneer AndrewRyan and Anne Scott Pendlebury.

Rosie Wilson - rst time guestto Bargain Sale Opening Night.

OPENING NIGHTSales $12,315

After Sales $10,500Presidents Auction $970TOTAL SALES: $23,785

REVENUEEntry Fees $2360Commission $6274TOTAL REVENUE: $8634

EXPENSESAntiques & Art $764Gallery Mag $364

Art Almanac $470Flyers $53Postage $127Cashiers $300Security $330Refreshments DonatedTOTAL EXPENSES: $2380

TOTAL PROFIT: $6,254


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before having attended formal artclasses, W.D. Knox exhibited forthe rst time in 1918 at exhibitionsof both the Victorian ArtistsSociety (VAS) and the Australian

Art Association (AAA). Thefavourably-received landscapeshung comfortably among theworks of notables such asPenleigh Boyd, Clarice Beckett,William Beckwith McInnes, ClaraSouthern and the then recentlylate Fred McCubbin. Certainlyearlier Knox had befriendedyounger neighbour W.B.McInnes, then a landscapistand later a seven-time winnerof the Archibald Prize, andpainted under his inuence in hisformative years. From 1918 onKnox ourished, exhibited oftenand widely in Australia in his

signature impressionistic style,held solo showings, frequently atthe prestigious Sedon Galleries inMelbourne, and even exhibited inLondon and New York to becomegrouped with the best landscapeartists of the interwar generation.

When the last employee clockedoff for the day at the SwanstonSt steel factory, now known asStorey Hall and ironically the artgallery space of RMIT University,suited W.D. often strolled downto Little Dock, near SpencerSt Bridge with painting case inhand. This area of the Yarra Riverwhere the Melbourne ConventionCentre now stands magneticallydrew artists looking for docksidescenes prior to its demise in the1930s. Knox proved more thancapable of anatomically sketchingboats but it was his masteryof translating such lifelessarchitecture into atmospheric oilimpressions in often fading light,added to his landscape work,that distinguished him from morecelebrated painters. One critic ofa solo exhibition in the 1920s putit this way:

It is not given to even the painterof mountains and valleys tobe also a painter of boats, andindeed, it is given to comparativelyfew painters of any description toexcel in this particular. Mr Knoxsexcursions in this direction leadhim to Little Dock, and the wharfsides, rather than the deep sea.

Yet his operations here show anintimate aesthetic and structuralunderstanding of the small craft ketches, barges and nondescriptriver boats which he portrays,and also of their limpid ripplingreections in still waters.

He devoted every spare momentof his leisure time into thispassion for painting, addingnishing touches late into thenight at home. Works signedW.D. Knox (and occasionallyRonget, a family appellation) soldwell, although the artist was notone to seek the limelight. At thatrst exhibition, at the VAS in theautumn of 1918, Moonrise andEvening after Rain were eachoffered for two guineas ($4.20),the National Gallery of Victoria

acquired its rst of three Knoxes,Mentone Beach, for eightguineas ($16.80) in 1925 whilethe listed record price paid for aKnox painting is $60,000 for thepanoramic Summer Pastoral at aLeonard Joel auction in 1987.

As he was often sketchingand painting en plein air at theend of the day due to lifelong,full-time employment, Knoxsquickly-made poetic nocturnesaccounted for some of his bestwork as evidenced by the 2011Mornington Peninsula RegionalGallery exhibition, W.D. Knox:Nocturnes and harmonies.Hence the occasional referenceto the inuence of foremostexponent of the transitionallight genre, David Davies,in addition to reminiscencesof Walter Withers. Yet it wasprobably Streetons approachthat informed Knox most beforehe eventually developed his ownpost-Heidelberg School styleand it was Streeton who wrotein the foreword to Knoxs 1929Exhibition of Oils catalogue:

There is something alluring andalmost lyrical about many of MrKnoxs small canvases suchgems as these one would liketo possess and hang around afavoured room.

Streetons 1931 review of aSedon Galleries exhibitionmaintained that Knoxs The

White Schooner was a beautifulimpression of twilight and ina later display of Australianpainters at the same gallery aLittle Dock scene was regardedas one of the best canvasses inthe whole show - the sensationof colour and vibrant atmospheredescribed as excellent. Morerecognition followed in 1934 whenThe Centenary All-Australian

Art Exhibition featured LouisBuvelot, Rupert Bunny, HansHeysen, Norman Lindsay andothers including those alreadyaforementioned in a Whos Whoof Australian painting. Earlier, in1927, a Knox landscape hung in aCanberra exhibition to celebratethe royal opening of the newfederal parliament building.

In the 1983 art of W.D. Knoxexhibition at the McClellandGallery, Langwarrin, the rst twopaintings listed in the cataloguewere executed when the artist was

just 13 years of age, promptingcommentary in the cataloguenotes on the rare maturity ofone so young. From that time asan early teenager it was to bearound another 25 years thoughbefore the precocious talent rstattended art classes for a shortprize-winning time at the NationalGallery School at night underBernard Hall.

From his preferred locationsaround Heidelberg, the quaysideand Port Phillip Bay (wheretoday he is represented onthe Art Coastal Trail), Knoxalso ventured deep into thecountryside of Victoria in the1920s and 30s for fresh subjectmaterial, especially in the way ofvast panoramas. It is difcult tosay when he got the time for suchtravel, as work and extendedfamily commitments aside duringthe Great Depression, Knox alsosat on the committees of theVAS and the AAA (a long-servingtreasurer), initially concurrently,and was accepted as a foundationmember of the Robert Menzies-inspired Australian Academy of

Art in 1937. Just how did a manworking all day in the rigidity ofsteel manufacture paradoxicallyand so prolically produce suchintimate, colourful impressions?

Daily lives of the artistsof yesteryear conjureup romantic images of

ainters working with theirodels by day and oftens not by night, of hand-to-outh existences in foreignarrets, occasional casualmployment and seeminglyndless debauchery.

there was one artist inrticular to run counter to suchtions it was the religioussinessman-painter William

unn Knox. Largely hidden in thee shadows of the Heidelberg

chool, W.D. Knox, as he wasown, managed a large steelmpany in Melbourne yet at theme time produced land andascapes with such a l ightnesstouch and atmosphere that

day he is represented in thetional galleries of Victoria and

ustralia and many others.

orn in Adelaide in 1880 to theev. Alexander Knox and Elise,e Swiss-born daughter of Rev.ancois and Aimee Ronget,lliam was orphaned at the age11, placed under the care of

s parents Scottish maid, Maryunn, from whom his middle namerived, and soon removed from

Melbourne Grammar School.After a brief, prize-winning stintat South Melbourne College hestarted earning a wage. Littlewonder then that the youngsterdeveloped a strong Protestantwork ethic and adherence toreligious teachings given sucha heritage and his straitenedcircumstances. Those schoolprizes too, for Bookkeepingand for French, offer an earlyindication of the occupationalbipolarity that followed.

For most of his working life thisstrict teetotaller was employedby the Shefeld-based Eagleand Globe Steel Company inSwanston St, eventually risingto state manager and it is saidthat his religious faith preventedany transition to full-time paintingand furthermore even precludedpainting on Sundays. Knoxsadly died at the age of 64 in1945 along with the prospect ofa long and fruitful retirement infront of his beloved easel but hislegacy should be one that foreverinspires all amateur painters.

After his parents moved toMelbourne William was rearedin the halcyon days of AustralianImpressionism at Chelsworth

Farm, Ivanhoe, within sight ofthe Eaglemont camp of ArthurStreeton, Tom Roberts, CharlesConder and others; the camplater to be associated with WalterBurley Grifns innovative MountEagle housing estate. This milieuof creativity, in addition to theinuence of the free-spiritednature of his Reverend father,seemingly awakened the naturalsketching talent in the young ladbefore his teenage years.

As business success materialisedat the steel factory Knox builta now heritage-listed Arts andCrafts style home for his family

wife Vera and children Johnand Janet - in unsurprisinglyMount St, Heidelberg. Theharness of business conformityand consequent time restraintsinitially restricted his artisticprogress but as art critic andpainter of the day, AlexanderColquhoun, so eloquently wrote:

the suppressed aestheticproclivities of a young mandedicated to a responsiblebusiness career and thesmouldering desire to be a paintercontinued to burn in obscurity...

At the age of 37, reportedly

W. D. Knox, Australian 1880-1945, Mentone beach c.1925, oil on cardboard, 24.2 x 33.3 cm, Nationalallery of Victoria, Melbourne, Purchased with a Government grant, 1925 (above).

THE BUSINESS MAN PAINTER :W. D. KNOX

Article by Ian Hobbs


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Q:Here are a few

questions for youJoyce: How longhave you been painting andwhen did you start ?Howwould you classify yourstyle and Joyce, whatsyour story?

Well, I have been interestedin art since I was a teenagerand started to draw in hospitalschool as a child I didnt likethe formal drawing sessionsmuch but we drew a snow dropand people said mine was thebest I havent forgotten! Aswell as my art interest I havealways had a job, retiring nallyin 1990. I worked from the ageof 17 apart from the 2 years Itravelled Europe in my 20s.That was an adventure takingin the European countries andcountryside, visiting galleries aswell as meeting father Pio whom

I found inspirational.

During the war I was clerkingin the city at the Department ofLabour and National Service in the Commonwealth PublicService. When I came backfrom Europe Id given up theidea of working in radio (whichwas my dream) and went backto work at the State Library andwas accepted there as a cadetattendant, retiring in 1990 as

Art Librarian. It was while Iwas working at the library that Imoved into Meldrums studio inKew and lived there for 18 years.

Meldrum, who thought there wasa science to art - that sciencebeing a method.

I joined the VAS around the1950s sending pictures in, andtook heart from Arnold Shoreadmiring my work. I seriouslyreturned to the VAS in the1990s when Connie Walker waspresident. She invited me to jointhe council. From then on Iexhibited regularly. During the2nd WW I used to go to as manygalleries as were available. Also

Gino Nibbi had a bookshop thatimported modern European artbooks introducing local artiststo what was happening in art inEurope.

After the war Tucker, EricThake and others of equal lateracclaim, used to go to the VASfor life drawing and it was aboutthat time that I thought aboutpainting things as they are. Icame across Archie and AmalieColquhoun who were of thatpersuasion and I studied under

Archie for approx. 5 years. Herecommended I concentrate onwhat I liked that he was doing

he was a tonal painter and Iloved it. I too am a tonal painterand feel its best to stick to whatyou love to do rather than getdistracted by fashions in art.Tonal style, for me, lends verywell to portrait painting and over

the years I have painted about90 commissioned portraits andcompletely enjoyed the process.

Q Who are your favouritepainters in history Joyce?

A: My major historical loveis Velazquez but I also lovethe Impressionists, especiallyManet. The present art practices;avant garde, abstraction,conceptualism and such, reallyisnt for me tonal paintingis my preference good tonalpainters whom over the yearsI have collected apart

from Meldrum and my teachersAmalie and Archie Colquhoun,were Ron Crawford, HarleyGrifths, Rex Bramleigh andShirley Bourne. But to each hisown and at my age I do the thingsI enjoy which includes portraitminiatures, still life, portraits, andlandscape painting, TONALLYrendered, of course. My otherinterest was sculpture muchtoo physical for me now.

Q: And now for a very difcultquestion: Is painting its own

reward or do you think there is anal goal to being a painter?

A: Yes, I consider painting tobe its own reward. Most paintersmake their living by means otherthan their painting but that doesnot detract from the totality ofpainting. I nally retired from thelibrary in 1990 painting all thewhile and am painting still.Thank you Joyce, all good!

Interview by Raffealla TorrensonPhoto and painting (below,

2005) by Raffealla Torrenson.

Joyce McGrath is ArchivesConvenor for the VAS.

f course the Knox namegeneral is well-known in

ctorian artistic circles. W.Dsrother Tully Knox exhibited withe VAS and nephew, Elthams

elebrated Alistair Knox, theading Australian environmentalrchitect and builder of hiseneration, and an array oflated painters, sculptors,riters, dancers, designersc comprise something of

Victorian artistic dynasty.nly last year a Knox familyescendant, Christabel Wigley,on the Montalto Sculpture Prize

Red Hill on the Morningtoneninsula.

cCullochs Encyclopaedia ofustralian Art records that:

W.D. Knoxs paintings ofndscapes and harbour scenestained a jewel-like quality, andn a modest scale matched theork of better-known Australian

mpressionists.

rom all reports, Knox was ahy man. For this professionalmateur though, his paintingsd all the talking.

W.D. Knox: White Boat, Little Dock, c.1925,oil on canvas, 24 x 44.5 cm. Courtesy ofMenzies Art Brands (above).

W.D. Knox: Little Dock, Melbourne, oil oncanvas, 35 x 45 cm. Courtesy of MenziesArt Brands (left).

W.D. Knox: The sideroad at Dromana, oil,undated. Courtesy ofthe artists daughter(right).

W. D. KnoxAustralian 1880-1945, Riverlandscape c.1920,oil on canvas oncardboard, 34.6 x44.5 cm, NationalGallery of Victoria,Melbourne, Bequestof Mr Ebenezer Ivey,1980 (above).


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Not a bite, but plenty of sight

Photos by Robyn Pridham

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Enquiries (+613) 9879 1923

[email protected]

www.therivergarden.info/paintingholidays.html

amazing temples,village markets and wonderful vistas

across mighty lakes and rivers.

Beautiful boutique hotel with

outstanding food. Award winning

artists, Visit local artist studios and

galleries, go on, Temple tours, dine, paint with time to relax.

Just a great holiday!

*VAS Early Bird discountsavailable until March 2013.

Rates do not includeairfares or accommodation

Paint OutsSun 31st Mar - 10am

West Melbourne - Eades Park, KingStreet & Chetwynd Street, MelwayRef 2A J12

Sun 28th April - 10am

Rupertswood Gatehouse -Sunbury 1 Macedon Street,Melway Ref 382 E3

16-19th May

Lorne 4 days staying Ocean LodgeMotel, 6 Armytage Street (bookdirect with motel 5289 1330)

LIFE CLASSES

Wednesday Portrait and Life

Group 5.30pm - 7.30pm,

8pm - 10pm

$8 Members per session or $12

for both sessions

$12 Non member per session,

or $16 both sessions

Saturday Life Group 12-3pm

$12 Members $18 Non-

members

THANKS!

Thank you to all our volunteerswho helped out on Bargain Salenight and to gallery sit duringthe show. Also to those of youwho helped at reception whileKate was away, Gemma reallyappreciated it!

CONGRATULATIONSCongratulations JaniceMills (painting above) whowon a Commended at theMornington Penninsula ArtShow for her oil paintingPt Leo - Morning sunshine tocome.

TERM DATES

Term two runs fromMonday 15th April to Friday

28th June (11 weeks)


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Gallery HireRental: Prices include GST

Mems Non Mems

Frater Gal. pw $605$ 785

2 weeks $1130$1490

Hammond Gal. pw $605$ 785

2 weeks $1130$1490

*McCubbin Gal. pw $330$440

2 weeks $550

$770Cato Gallery pw $550$ 730

2 weeks $1020$1360

Additional costs: Security staffing foropening night (If held at night) and one halfof the cost to the Security during the periodswhen the exhibition is open on any Saturday,Sunday or public holiday.

*The McCubbin Gallery is available for hireonly as an adjunct to either the Frater orHammond Galleries.

Booking Period

Minimum one week. Commence Wednesday10.00 am Close Tuesday

2.00 pm.

Hours

Weekdays 10 am to 4.00 pm. Weekends &Public Holidays 1.00 pm to 4.00 pm

Extra hours by arrangement.

Rate $30 per hour.

Exhibitions must close at 2pm on last day.

Council requires the attendance of a securityguard if the building would otherwise beclosed.

Bookings

To discuss or book your next exhibitioncontact the office on 9662 1484

Patrons in Chief:The Honourable Alex Chernov, AC, QC

Governor of Victoria,

and Mrs. Elizabeth Chernov

Ptron - Specil Repreente:

Noel Waite ao fvas

Council Members:

PRESIDENTGregory R. Smith fvas

TREASURERIan Wilson

EXHIBITING

Meg Davoren-HoneyRy Hewi FVAS

Michelle HollisJohn Hurle

Ann Jolivet

Eileen MackleyBeatrice Melita

Joyce McGrath oam fvas

Ray Wilson

NON EXHIBITING

Dinny BirrellSoraya Pickard

Secretary/Manager:

Gemma Catley

Asst Secretary:Kate Galea

Hon. Architect:Allan Willingham fvas

Hon. Solicitor: TBA

Newleer 2013The VAS Newleer will be pleed t cnider

publicn literry r phtgrphic

cntribun n ubject generl interet.

Cntribun will be publihed n trictly

hnrry bi nd n pyent will be de.

June - Aug 2013

Copy/Post Dates

Copy My 14, Post June

Newleer Editor

Gregory R. Smithfvas Preident

All crrepndence t: the VAS Oce

430 Albert St. Et Melburne 3002

The VAS Newleer i deigned, typeet nd printed by the

Oce the Victrin Art Sciety.Opinions expressed

herein arenot necessarily thoseof theVAS Council.

- Coming Up -MARCH

13-19 Paul Laspagis

Human Presence

Opening 6-8pm

Wednesday 13th March

20-24 VAS @ Flower & Garden Show

20-26 Mr He

22-28Chinese Artist Show

22Critique Night6.30pm

28- Term One ends

29-1 AprilEaster Weekend - VAS closed

APRIL

8-22Autumn Exhibition

Send in days 3 & 4 April

Collection day 23 April

15- Term two starts

19 - Film Night @ VAS

MAY

1-7 Guest Artists from China

8-14Maritime Exhibition

Send in day 7 May

Collection day 14 May

15-28 Bernard Peasley Photography

23-31Teresa Mrena - Retrospective and Recent works

Opening 2pm Saturday 25 May

JUNE

11-24 Winter Exhibition

Opening 7pm Thursday 11th June

Send in days 5 & 6 June

Collection day Tuesday 25 June


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Documents

Victorian Artists Society Journal Mar-May 2013