WEEK IN REVIEW: Top 5 Stories in Australia
Missed our key stories this week in Australia? BLOUIN ARTINFO brings you a quick recap:
Who would have thought that a group of large-scale sculptures originally created for exhibition outdoors would translate so well to the top floor of a department store. But they do, incredibly well in fact. Currently on show at the David Jones Sydney flagship store, the exhibition of highlights from previous “Sculpture by the Sea” events is a revelation.
Google have recognised the 136th birthday of the celebrated Australian illustrator and children’s author May Gibbs with a Google logo recreated using a range of her illustrations. This year also marks the 100th anniversary of the first appearance of the uniquely Australian gumnut baby characters that are Gibbs’ most memorable contribution to Australian literature.
Fresh from touring the country with international music sensation Gotye, up-and-coming Australian singer, songwriter, and guitarist Bertie Blackman is set to conquer the American indie music scene with her unique brand of alternative dark pop. Judging by her rapidly growing fan base and the rave reviews she has received in Australia, Bertie should have no trouble attracting attention in the USA.
The new London fine wine and spirits boutique Hedonism is offering for sale a £1.2 million ($AUS 1.8 million) collection of wines by renowned Australian winemaker Penfolds. “The Penfolds Collection” is thought to be the finest set of Penfolds wines ever to be sold and includes a full vertical of signed and authenticated Grange spanning six decades, from the experimental first vintage of 1951 through to current vintage of 2007.
Commissioned by Sydney’s Shopfront contemporary arts and performance centre, the CITYLIGHTS event gives members of the public in Sydney and Yokahama the opportunity to connect via simple “city modules” – small-scale models of city buildings – which will pulse with a warm glow and play sounds unique to each city in response to the movements of trained performers and members of the audience. Half the installation is in Australia, controlled by an Australian audience and half the installation is in Japan, controlled by a Japanese audience.