The line-up for Splendour in the Grass 2018 has been released.
Headlined by Lorde, Kendrick Lamar and Vampire Weekend, the line-up also features other big names such as Khalid, Franz Ferdinand, CHVRCHES, Miguel, MGMT, SAFIA, Angus and Julia Stone and many more. They will perform in July over three days at North Byron Parklands for the festival, which is in its 18th year running.
Out of 101 acts announced in the lineup, 43 contain female members. Find the full lineup at the bottom of this post.
Tickets will go on sale on Thursday, April 19 at 9am. Camping option is also available at the Splendour site. For more information, visit Splendour In The Grass’ website.
Splendour in the Grass 2018 Full Lineup:
Lorde (only AUS show)
Vampire Weekend (only AUS show)
Khalid (only AUS show)
Girl Talk (only AUS show)
Angus & Julia Stone
Gang of Youths
Dune Rats & Friends
Ben Harper & Charlie Musselwhite
The Avalanches DJ set
Ball Park Music
Henry Rollins (only AUS show)
The Jungle Giants
Carmada (L D R U & Yahtzel)
Sampa The Great
Albert Hammond Jr
Riton & Kah-Lo
All Our Exes Live In Texas
Alex The Astronaut
Nina Las Vegas
Soccer Mommy (only AUS show)
Rolling Blackouts Coastal Fever
The Babe Rainbow
Amyl & The Sniffers
Made In Paris
Antony & Cleopatra
triple j Unearthed winners (TBA)
As an artist, it is common to feel stuck in a rut or creatively stunted. When this happens, it is a good idea to open yourself up to new challenges that will make you learn and discover important knowledge – not only on the arts itself, but also yourself as an artist. Here are a few ways to nurture, develop and expand your artistic instincts.
Enrol in a Course
There is always something new to learn. Try something outside your general field – so if you’re an illustrator, do some vocal or drama courses. Chances are, you will learn something new and inspiring to bring back to your regular work.
Kind of the opposite from the previous tip, but still works just as fine. In a world where Internet reigns and every kind of content can be found with a tap of finger, it is very easy to become overstimulated. Try to cut down on unnecessary content and focus on your work. To make it easier, you can also opt to produce works based on just one theme for a certain period of time. For example, writing flash fictions exclusively for a week or using just one colour family for your design.
Do a Public Challenge
Ever heard of NaNoWriMo? It is short for National Novel Writing Month, which is an Internet-based creative writing project held every November. Online challenges like this not only help you stay accountable, but the community behind them will also keep you motivated, with other artists to share your experiences with. This also brings us to the next tip…
Meet Your People
Wherever possible, meet up with people of similar profession and/or passion to you – not just to gain the newest updates in the industry, but also to expand your network and find opportunities for collaboration and gigs! Getting to know other people’s projects can also give you the inspiration you need to get started on your own.
Getting a passion project done and being in the running for monetary prize – why not? It indeed can be daunting to participate in a competition, but you can always learn something new by exposing your work to a fresh pair of eyes.
Aussie rock band Jet is coming back with a national tour to celebrate the 15th anniversary of its debut album, Get Born.
Titled Get Re-Born, the tour will go from May to June and cover seven cities: Newcastle, Sydney, Canberra, Brisbane, Perth, Adelaide and Melbourne.
“We’re really excited to play Get Born in full for the first time ever,” the band said. “The idea of playing this album and celebrating 15 years since began our journey is something that’s very special to us, and we can’t wait to get out there and see old friends again, and meet plenty of new ones as well.”
To kick off the tour, the band played a free gig in Melbourne’s AC/DC Lane on Tuesday.
Get Born sold over 6 million copies, earning the band 8x Platinum in ARIA Charts. The band disbanded in 2012 and reformed back four years later.
To complement the tour, Jet will also release the album Get Born: Live at the Forum in May.
The tour tickets, starting from $69.90, will be released for sale on Monday, March 19, 10am. For more information, visit the LiveNation website.
Interested in the art of tattooing? This weekend, don’t miss out on this event.
Celebrate and learn more about the body art from the best people in the business – meet the industry’s most talented artists, research different tattoo genres, trends and techniques, or get inked on the spot! Featured experts include Dylan Weber (Atlantis Tattoo Studio), James Strickland (Seven Tattoo Studio, Los Angeles) and Tater Tatts (Impact Tattoos).
Adult tickets start at $35. For more information, visit the Expo’s website.
March 9-11, 10am | International Convention Centre, Darling Harbour
Nature provides some of the greatest arts that humankind has ever seen through unique objects and visual experiences. Because of this, spending time in nature is beneficial for designers, illustrators, sculptors, painters, photographers and other creatives alike. Here are a few reasons why natural arts can help artists grow and improve in their works.
Health, Mental and Spiritual Benefits
Being in the natural world has been proven to bring health benefits and promote mental and physical well-being. Studies found that being outdoors not only helps in reducing stress levels and controlling blood pressure, but it also is potent in relieving mental fatigue, decreasing anxiety and depression, as well as generating a sense of awe – all of which are supportive of your artistic endeavors.
Inspiration for Artworks
Stuck in a creative rut? Beautiful natural objects and landscapes are a great source of inspiration and new perspectives. “Artwork based on nature is aesthetically pleasing and deeply calming, and in some cases, it can evoke more rushed emotions when based on powerful forces of nature,” says Fine Art America. “Art inspired by nature works to remind humanity of its connection with the universe that surrounds it.” Need some proof? Check out the works of environmental artists like Andy Goldsworthy or Agnes Denes.
A Study in Material
An hour of exploration and observation in the nature will expose you to various materials, textures, colours and other visual elements, all of which can serve as a reference for your next art project. You can also learn more about ways to use natural materials sustainably.
You have to get more than a bit mad to single-handedly launch a campaign against inequality. At a recent forum, visual artist Elvis Richardson wryly described how anger was the catalyst that sparked her to start CoUNTess, a blog that assembles and reviews data on gender representation in Australia’s contemporary art scene.
Since 2008, Richardson has analysed the gender breakdown of who gets exhibited, collected, reviewed and rewarded. Converting indignation into statistics and emotion into hard facts, her blog provides irrefutable evidence that gender bias is an ongoing problem besetting the visual arts.
The most current snapshot illustrates that only 34% of the artists shown in state museums are women. In commercial galleries, the proportion is 40%. In the art media, 34% of feature articles and reviews are about women, but 80% of magazine covers are dedicated to male artists.
Change needs to be embraced at every level, not least in developing art curriculum in secondary schools. Victorian students who sat their final Studio Art exam last week were given 14 images to write about, of which only one was produced by a woman. A cursory survey of exams in previous years and other states suggests such bias is entrenched.
Over the past decade, the gatekeepers of the Australian art scene have started responding to the unconscious bias Richardson documents. When comparing the graphs and charts in her old posts with the 2016 CoUNTess Report, it is possible to identify small improvements. Still, as Richardson says in her report introduction:
The closer an artist gets to money, prestige and power the more likely they are to be male.
A recent study by David Throsby and Katya Petetskaya also shows the gender pay gap is substantial in the Australian art scene.
The 2016 CoUNTess Report was made possible with support from the Cruthers Art Foundation. This organisation is making a substantial contribution towards rebalancing the statistics via the Cruthers Collection of Women’s Art, the only dedicated public collection of art by Australian women.
Begun in 1974 as a private family collection acquiring women’s art, the collection consists primarily of portraiture, self portraiture and art that is focused on still life, abstraction, early postmodernism and second wave feminism.
The collection was gifted to the University of Western Australia in 2007 and is housed at Lawrence Wilson Art Gallery. Cruthers curator Gemma Weston believes the collection plays a role in valuing and making visible the work of women artists, which in turn can provide a pathway to its acceptance in the institutional domain. Individual works are often loaned to other art museums around Australia.
Weston identifies visibility as a key factor in determining what gets collected and how an artist gets traction in her career. She says institutional recognition is a long and complicated process of gathering momentum, which often begins with the private collector rather than the art museum.
There is no doubt that all-women collections and exhibitions can help to change the depressing statistics assembled by Richardson. There is concern, however, that this strategy can cause ghettoisation.
Weston is conscious of this conundrum. Cruthers’ current show Country and Colony moves beyond the concerns of previous exhibitions to document “women’s art” and “women’s issues” through biography, autobiography and portraiture.
While gender and feminist politics are a subtext, Colony and Country profiles new acquisitions that deal with the fraught history of colonialism. The paintings, prints and objects by Indigenous and non-Indigenous artists tell stories about land, landscape, the body, industry and culture.
Building momentum for change
While the speed of change appears glacial, the momentum to overcome structural inequality for female artists appears to be building. In September, 11 top gallery directors, curators and arts organisation chiefs in the UK united in a call for greater representation of female artists.
A month later, possibly encouraged by the fall of the American movie producer Harvey Weinstein, the call-out of sexist and abusive behaviour in cultural industries spread to the visual arts. Numerous sexual harassment allegations were made against powerful and prominent gatekeeper, Artforum co-publisher Knight Landesman.
Landesman’s resignation from the international art publication has prompted many more women to come forward with stories about his alleged behaviour. An open letter written by women in the art world, “We are not surprised”, has morphed into a larger campaign linking abuse of power with structural inequality.
By providing a graphic illustration of inequality, Richardson’s CoUNTess project has done much to bring the issue into view in Australia. Together with Weston’s thoughtful management and curation, the Cruthers Collection of Women’s Art is another important step in changing the status quo. Many arts organisations and individuals who have the capacity to bring about change have started counting and making an effort to rectify the imbalance.
Yet when part of the cost of overlooking structural inequality is sexual harassment it is time for more decisive action. While extreme examples of sexual misconduct have not (yet) been exposed in Australia, demeaning behaviour is regularly meted out by the art scene gatekeepers. There are also anecdotal stories of grooming and sexual advances by powerful male gatekeepers. At present, few speak up because they fear damaging their career prospects.
The CoUNTess Report recommends that “stakeholders in the Australian visual art sector routinely collect, analyse and publish gender representation data and use it to inform their policy decisions”.
A rebalance of gender representation will only occur if all institutions that have a role in shaping the value of artists’ work start counting.
As in the tertiary sector, many more girls than boys study art at school. In Victoria, for example, 73% of the cohort who completed Studio Art in 2016 were girls. Unless there is significant improvement, why would future generations of women pursue a career in the visual arts?
Let’s start with what is copyright? Basically it is how a creator can protect their labour and creativity legally and can sometimes extend beyond economic loss however there are some differences between design and general copyright protection:
Protection under the Designs Act 2003 (Cth) requires a formal application for registration before rights are obtained. Before you can pursue anyone for infringement of a registered design, it must be examined and certified by the Registrar. Unlike enforcing copyright, which does not require any formal registration or certification process.
Design registration requires a fee whereas copyright protection is automatic and free (yay!).
What must be met for copyright protection:
Product meet the definition of ‘artistic work’ (such as a painting, a drawing, sculpture or work of artistic craftsmanship).
The work must be in material form. This means it cannot be a mere idea or theory.
The product must be original, artistic work, meaning the work cannot be copied from another person. If you are claiming copyright for it, it must come from you.
If your work/product meets the above then registration for copyright is not necessary as it is automatic. Keep in mind though, you will need to have proof that the work is originally yours so things like progress images, prototypes etc. help disputes of copyright ownership. After all, there’s no point getting the law involved if you can’t prove your background and claim is legitimate.
An important thing to note is the differences between design and copyright protection:
This protects a product’s appearance but not it’s function.
However if the function is related to a product’s appearance will not disqualify it from registration.
It must be distinctly different to existing product designs publicly used in Australia, or published in a document anywhere.
Important Things To Note
Unless dual protection (copyright and design protection) is possible, copyright protection is lost when a design is registered.
Once a product has been reduced at industrial quantities, copyright protection is lost and it is also no longer possible to register the design.
With their new album After Laughter, the pop rock band will kickstart their 2018 tour across Europe before making their way to Australia in February, followed by New Zealand and the Philippines. Other than vocalist Hayley Williams and guitarist Taylor York, the tour will also feature drummer Zac Farro who rejoined the band earlier this year.
Tickets will go on sale starting Wednesday, November 15, 12pm local time.