Introduction

Preparing an annual exhibition like Top Arts is a major undertaking, involving scores of people. The selection process for the exhibition began in late October, when thousands of applications containing photographs of the artworks were received. The applications are divided according to media so that the seven-member selection panel can view painting, photography, sculpture, textiles, printmaking and drawing separately, while screen-based applications are viewed on DVD or CD-ROM. The shortlisting process can take up to five days.

Shortlisted works are then assembled so that the final selection can be made. The works are accompanied by the preparatory material that records the creation of the pieces – evidence of research and influences, annotated trialling of materials and processes, maquettes or series of preliminary drawings and paintings. The artists’ responses and reflections on each stage of investigation and production are clearly documented.

The design brief and developmental work required for VCE Studio Arts, and the body of work essential for VCE Art, can be arranged in many ways: in notebooks and visual diaries, on sheaves of paper and photocopies, in boxes of trials or models, as photographers’ contact sheets or printmakers’ proofs.

Student groups and members of the public can view the more robust of these folios as part of the education and public programs for Top Arts: VCE 2008, and six folios are displayed on an interactive screen in the exhibition space.

The selection criteria for the exhibition require works that reveal strong conceptual development, skill in the use of media and processes, imagination and individuality, resolved aesthetic qualities, and a choice of medium that best expresses the intention or ideas behind the works.

Examples of the successful fusion of intention and medium occur in many works: in paintings responding to the Chinese earthquake, gesso is layered over oil paint and the canvas manipulated while drying to create cracks extending from the epicentre; in another work an ancient myth is explored through the sinewy lines of lino printing to create a thickly wooded forest; layered, mixed-media works express the messy state of mind of a disturbed protagonist; and overproduction and uncontrolled consumerism are expressed by a profusion of rabbits.

The exhibitors have worked hard to master the skills revealed in the works, and art teachers across the state have played a central role in inspiring, nurturing and developing these talents. Parents encourage students by validating their work, from the earliest days of sticking kindergarten paintings on the fridge to, in some cases, giving up the lounge room so that students can complete their folios for VCE.

All the works have been handled by a huge team of people at the NGV before they were ready for display. They were assembled and processed by the curators and art handlers, discussed and debated by the panel, viewed by the Deputy Director, measured and documented by exhibition designers for the floor plan, accessed by the exhibition’s conservator, and recorded by the NGV ’s photographers for the catalogue, education programs and online resource – images that in turn were processed and catalogued for the NGV ’s central image bank. Screen-based works were looped for viewing by the Multimedia department, while other works were mounted and framed. All were packed for the trip from the assembly area to the NGV, where they were receipted by registration staff and installed by the NGV ’s installation team in consultation with the curators, designers and lighting staff.

In addition the folios and visual diaries were examined by the State Reviewers and the NGV’s education staff for use in programs, the artists’ statements were edited for catalogue and label text, the catalogue pages laid out by the graphic designer and checked by the curators and editor. Images were selected by the marketing and PR staff for display materials and advertising, project correspondence was handled, mailing lists compiled, invitations, posters and catalogues designed and printed, security staff briefed, and the media launch and opening coordinated by Events staff.

So, to all the vast number of people involved in this program, I am sincerely grateful. I particularly thank the selection panel: Trish McCormack, State Reviewer for Art; Brigid Weereratne, State Reviewer for Studio Arts; John Irving, the regional teacher representative; and the NGV ’s representatives: Gina Panebianco, Head of Education and Public Programs; Amanda Burritt, Senior Education Officer and Paula Lindley, Education Officer – for undertaking the difficult task of selection with such focus and flair.

My thanks also go to Anne Harari, the Assistant Curator, who works on every aspect of the exhibition; to the exhibition designers Mark Patullo and Jenny Yang, graphic designers Sam Shmith and Dirk Hiscock; and to Tina Saccone for on-going administrative support. Catalogue production began with word processing by Judy Shelverton, combined with images taken by Predrag Cancar and Selina Ou with additional material by Jeremy Dillon. Thank you, also, to exhibition manager Edwina Brennan, Liz Hewitt from Registration, conservator Janelle Borig, Alison Murray and Jemma Altmeier in Public Relations, Jennie Moloney and Megan Patty in Publications, art handler Andrew Hawley, and Jenny Walker and staff from the Multimedia department; and my colleagues at the VCAA: Suyin Lam, Denise Bohan and Julie Milton, who supported the exhibition in myriad ways.

During the exhibition period programs will be presented by the NGV’s education and programs staff: Paula Lindley, Rebecca Hicks, David Menzies, Michele Stockley and Dianne Hilyear.

Top Arts is a major component of the VCE Season of Excellence 2009 running until 14 June. If you are inspired by the work of the young creative people in this exhibition, make sure you catch Top Designs at Melbourne Museum, Top Screen at the Australian Centre for the Moving Image, Top Class at the National Theatre in St Kilda, and Top Acts at the Arts Centre, Hamer Hall.

I congratulate all the artists who were shortlisted and particularly those whose work was selected for this exhibition. Thank you for your assistance during exhibition preparation. I trust that art and artmaking will continue to enrich your lives.

Merren Ricketson
Coordinating Curator, Top Arts