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24.01.2022 In May 2020, Artist: Amber Koroluk-Stephenson completed an artist residency on the Glover Country estate, staying in the 1830's house originally built and owned by John Glover. The experience allowed her to develop her interest in the histories of landscape painting and the influence of the European gaze on representations of colonialism in Australia. Amber Koroluk-Stephenson is currently exhibiting the work produced during this residency, with 'Breaking Horizons' being featured at Bett Gallery Hobart until the 22nd of August, 2020.

24.01.2022 Glover Prize finalist 2011 Artist: Karen Standke Title: how to disappear completely... Oil on canvas | 137 x 183 cm In 2010 I walked both the Overland and South Coast tracks, spending a total of 20 days in the national parks of Tasmania. I felt privileged to be there. All ego was lost, walking through this incredible land.

23.01.2022 We're very pleased to announce the three judges who will be tasked with selecting the finalists and winner of the 2021 Glover Prize | , ; Well regarded art dealer, patron and philanthropist, Philip Bacon established Philip Bacon Galleries, Brisbane in 1974. The gallery is renowned for exhibiting many of the country’s most celebrated, established and contemporary artists.... | , (); , , Tracy was appointed to the newly created position of Director, Creative Arts and Cultural Services for the City of Launceston in October 2018. Her role spans the Directorship of the Queen Victoria Museum and Art Gallery (QVMAG) and the development and implementation of cultural strategy and services for the city. | Julie Gough is a Tasmanian Aboriginal artist, writer and a curator of Indigenous Cultures at the Tasmanian Museum and Art Gallery. Her Briggs-Johnson family have lived in the Latrobe region of North West Tasmania since the 1840s, with Tebrikunna their Traditional Country, in far north eastern Lutruwita (Tasmania). Visit our website to learn more about our judges: www.johnglover.com.au/about-us/judges-2021

23.01.2022 The official announcement of the Glover Prize 2021

23.01.2022 Glover Prize Finalist 2020 Artist: Leah Thiessan Title: A place of magic 150 x 123 cm... I have a deep affinity for the land, it’s a place for immersion, to experience and be absorbed. I have fond memories of Cradle Mountain, with its alpine heaths, overland tracks, rugged terrain, as well as its diverse flora and fauna. My work taps into the emotional gravity of this place, its memory, its pulse, its rawness and power. For me the paintings communicate a deep-felt relationship with the earth, embodying a spirit of place and its atmosphere. See more of Leah Thiessan's artwork: www.instagram.com/leahthiessen_/

22.01.2022 Glover Prize Finalist 2020 Artist: Luke Wagner Title: The Chaplin's Garden, Wybalena, Flinders Island Oil and wax on linen (two stretchers framed)... 122 x 183 cm Wybalena was established in 1834 as a so called Aboriginal Settlement by George Augustus Robinson for the purpose of making the inhabitants Civilised and Christianised Many died there I visited Flinders Island in November 2019 and spent two days at Wybalena The indigenous presence is palpable A chapel remains and the remnants and foundations of other buildings I found the brick footprint of the Chaplin’s house This is his garden See more of Luke Wagner's artwork: https://www.facebook.com/lukewagnerartist/

22.01.2022 That's a wrap on the Glover Prize 2021! We'd like to extend a huge thank you to our partners for their ongoing support of our event, which is what makes the Glover Prize possible! Thanks to our Principal Partner, the Federal Group, and our Major Partners: at+m marketing and Victoria's Cosmetic Medical Clinic.

22.01.2022 Glover Prize Finalist 2020 Artist: Chyrstal Rimmer Title: Stability in Entropy Discarded plastic bags... 65 x 30 cm Dedicated to a greater understanding of nature and the human condition my practice uses the landscape as a vehicle to engage with the contemporary discourse of art and natural philosophy. Intrigued by future geology and concepts such as the Anthropocene and the Capitalocene my practice is particularly concerned with the inherent inclusion of trash and entropy as descriptors of the contemporary landscape in art. Including the dismantling of unconstrained individualism heavily adopted within Modernism my practice is centred around a disciplinary critique of the value placed on nature perpetuated by tropes of landscape painting. Aiming to dismantle problematic ideologies including natures oversimplification as an entity in opposition to man my practice aims to contend with this outdated dogma by exploring ‘the post post-natural’, nostalgia , ideology and misrepresented sentiments of ‘wilderness’ and the ‘pristine’. It is the poetic use of junk as a painterly medium which arises as the defining thread in elaborating my hypothesis of nature; The inherent presence of trash in the landscape stands for a marker in dissolving nostalgic ideologies of object and subject. As plastic is found abundantly in all current landscapes including Tasmania , sourcing plastic is easyplastic becomes synonymous with nature, like the flowering Swamp Gum, plastic is abundant and gathers wherever there is life. Trash, loaded with history and meaning, moves beyond ideology to stand for inclusion. Junk as a cultural commodity in art becomes an actant for cultural critique, with the power to reflect current philosophies of thought in art, science and politics. Born from this hypothesis is a personal fascination with waste, plastic in particular, as a painterly medium. By collecting plastic form the landscape and transforming it into landscape ‘paintings’ I am able to utilise a man-made material as a platform to challenge old ideas and circulate new visions of a truly contemporary landscapethe intermingled flux of synthetic and organic matter. See more of Chyrstal Rimmer's artwork: https://www.instagram.com/chrystal.rimmer

21.01.2022 Glover Prize Finalist 2011 Artist: Leigh Steven Title: Cape Peron Relic ... Acrylic on paper | 90 x 142 cm The overview of south Maria Island evokes a scene of early exploration with evidences of relics and fragments in time. This relic identifies with historical elements associated with the Cape Peron landscape.

19.01.2022 Glover Prize 2016 Hanger's Choice Winner Artist: Rachel Howell Title: Enigmatic Atmospheres (Western Arthurs) Oil on canvas... 91 x 150 cm It’s remote, enigmatic inhospitable, rarely trodden. We claim familiarity with wilderness but we don’t truly know it. There are no pathways, no ways to go. The landscape offers no shelter. I wish to take people where they can’t easily go physically. A recognition of the relative place of a modern day walker in this land formed in history in another time. When we see such a timeless, stark environment, we accept our relative unimportance. Accept with awe.

19.01.2022 Finalists of the 2020 Archibald Prize have been announced. Amongst them is Meyne Wyatt, who has been awarded the 2020 Archibald Packing Room Prize for his self-portrait, entitled 'Meyne'. Which artwork is your favourite?... View them all here: https://www.artgallery.nsw.gov.au/prizes/archibald/2020/

16.01.2022 Glover Prize Finalist 2020 Artist: Melissa Smith Title: Without a Sound - Lake Sorell Oil based ink on paper... 96 x 188 cm 'Refiguring the Silence of Euro-Australian Landscapes', an essay by Nicholas Kankahainen identifies the linguistic disjunctions that underpinned descriptions of the country as 'silent', and explores the way 'silence' was used as a means of obscuring the uncertainties that emerged as a result. He argues however, that this silence is not one that necessarily needs to be broken. He references the work of poet Judith Wright, to show how more ecologically-sensitive approaches to the landscape have led to a re-figuring of this silence as a signifier of meaning and complexity that lies beyond the grasp of language. He states that the perceived silence of some aspects of nature is an integral part of our experience of it. Lake Sorell on the Central Plateau of Tasmania is a landscape, which has a silence but not one associated with absence. Just as Wright identifies in her poem titled ‘Scribbly Gum’ the ‘written track’ of the scribbly gum moth revealed beneath the bark of the eucalypt cannot be deciphered: rhetorical silence is replaced by a network of communicative noise. Through listening to this landscape a greater sense of peace and understanding can be found. See more of Melissa Smith's artwork: http://www.melissasmith.net.au/

16.01.2022 Glover Prize Finalist 2020 Artist: Carol Thomson Title: Nature's Entanglement Watercolour canvas... 760 x 610 cm Living in Strahan, Tasmania for the past 3 years I take pleasure in exploring local landscapes & photographing subjects from fungi to forests. I enjoy capturing close up details showing the perfection of design in nature. Then to stand and admire the surrounding abundance of fascinating forms vigorously thriving all around one cannot help but have an endless supply of inspiration With my abundance of photos it is a big decision as to how many subjects I can successfully include in just one composition! Watercolour’s vibrancy & free flowing character gives me a passion for working in this medium. I love the challenge of experimenting to create different textural effects to incorporate into my paintings. It is always exciting to observe the somewhat unpredictable result as the paint dries and hopefully reveals a pleasing surprise! I continue to explore and discover the amazing elements of both nature and art as I endeavour to paint a worthy impression.

15.01.2022 Every year, the attendees of our exhibition cast their votes on their favourite painting to award the People's Choice. We are pleased to announce that the 2021 People's Choice Award winner is Peter Gouldthorpe for his entry 'Inside the Snowdome'. Congratulations to Peter! The People's Choice Award is proudly sponsored by Victoria's Cosmetic Medical Clinic... Inside the Snowdome Oil on linen 138 x 153 cm : The classic shape of Cradle Mountain is imprinted in people’s minds as the view from Dove Lake. This is a view of its turreted western side in mid-winter, a sight unfamiliar to most. On this day I was enjoying the wild nip of winter and the tracery of snow on the plants but disappointed not to be seeing anything beyond fifty metres. With an easing of the wind, came an opening of the scene, before it was swallowed once more by blizzard.

15.01.2022 Glover Prize 2013 Hanger's Choice Winner Artist: Linda Keough Title: Introduced Species Oil on canvas... 120 x 120 cm This work is a reference to the introduction of non-endemic plants, people, and pests, each occupying their own space, albeit granted by questionable means. Each in its own separate way, exists to survive, but threatens the natural beauty in which it lives.

15.01.2022 Glover Prize 2020 Finalist Artist: Stephan Pleban Title: Cradle 1 Oil and wax on linen... 152 x 168 cm 'Cradle 1' extends upon other paintings I have constructed over the last 3 years that focus on humans connecting and responding to the landscape. The works react to concerns about climate change and focus on the uncertainty of our altering relationship with the natural world. As a painter, I tangle with the landscape tradition and apply highly worked layers of paint and wax in my exploration of formal elements. I celebrate a deep engagement with the physicality of painting. 'Cradle 1' is influenced by Kate Legge's beautifully researched and moving recent book 'Kindred: A Cradle Mountain Love Story' based on the life histories and achievements of Gustav Weindorfer and Kate Cowle who were science and nature enthusiasts in the early 1900s. They were central to the establishment of Cradle Mountain, Lake St Clair National Park. Gustav and Kate found their devotion to Cradle Mountain and to one another almost simultaneously. As botanists they gathered specimens of flora and fauna on field trips and had a deep respect for animals who provided companionship, protection and transport. While I have never ventured to Cradle Mountain, it exists as an imaginative, spiritual space in my mind and on the canvas. Legge's book, that explores the couple's fight to preserve the wilderness reminds me that the connections between humans and the land are deep, poetic, ongoing and always open to intimate exploration. See more of Stephan Pleban's artwork: https://www.instagram.com/stephenpleban

14.01.2022 Congratulations to Jason Cordero, winner of this year's Hanger's Choice, who has also been awarded Highly Commended in the Glover Prize 2021 for his work 'The Expedition of the Artificer'. Oil on linen 85 x 95 cm... : We are individuals of artifice and change. Expeditions from our built environments to the wild trace filaments from which tendrils leading to the alteration of the explored inevitably extend. Here I have recalled Tasmanian places I have visited which are seemingly wild but bear the mark of our activity; that I could be in those places is, in itself, a mark of such change. With a shift in perspective, that which is introduced is filtered and becomes normalised. The intrusions, while not necessarily having their origin forgotten, become a part of the wild, establishing a cycle as the Artificer’s expeditions continue into and extend from those which came before.

14.01.2022 Glover Prize Finalist 2011 Artist: William Rhodes Title: Charles St 13th Oct 1:53 P.M... Oil & Wax on canvas | 180 x 180 cm This work explores electricity upon the landscape in both the wild natural form of a storm and the controlled conduct of domesticity.

11.01.2022 Glover Prize Finalist 2020 Artist: Deborah Walker Title: Cypress Isle (Maria) oil on linen... 90 x 120 cm An island for me embodies mythical memories. Be it from ancient times of gods like Ariadne symbolically left sleeping on its shores or the romantic narratives of the furthest reaches of the world. Living on a large mainland island and then imagining a smaller island inside another island like Maria, reminds me of the Russian Matryoshka dolls that continue to reveal more. I think of the Darlington Reserve on Maria as being the final tiny doll ultimately revealed. See more of Deborah Walker's artwork: https://www.instagram.com/w_deborah_walker

11.01.2022 Glover Prize Finalist 2020 Artist: James Walker Title: Four Pines Acrylic on canvas... 74 x 120 cm My father pretty much claimed ownership of an airline when he started working for TAA in 1979 at Launceston airport as a baggage handler, or porter as it was called at the time. He worked at that location for 30 years with the airline eventually becoming Qantas, but during that time he defined himself through this role. It didn’t take long for his ears became finely tuned to the sound of jet engines and the aircraft they belonged to. Regardless of where you were, he would be quick to point out that that was one of ours with a check of his watch to make sure it was running on time. It was always one of ours or one of theirs if Ansett happened to be occupying our airspace. The airline and the airport defined our entire family too. It was a location our family felt some title over. We knew the people, the lingo and the little secrets and wonders the place held. For 10 years I ended up working for the same airline in the same position and at the same location as my father but I never felt he connection he did, although I still look for landscape markers, specific trees, folds in the hills and traces on the tarmac of a life once lived. I left Tasmania, my home, two years ago but I come back regularly to visit my parents. Launceston airport is the gateway to many of my memories and I always feel comfort when I track the length of the Tamar River, particularly if I fly home on the Dash, that’s Mum’s plane, according to Dad anyway See more of James Walker's artwork: www.instagram.com/jameswalkerfineart/

11.01.2022 Glover Prize 2015 Hanger's Choice Winner Artist: Jason Cordero Title: Between the Shadows Oil on linen... 84 x 183 cm Balanced between the physical and the mythic the Mountain and the Lake are liminal places, lenses through which thoughts and memories, both real and imagined, coalesce to form a primordial lucid world. This is a place of the unseen, of the uncontrolled and the transient, where between the shadows glimpses can be found of that which is beyond reach.

11.01.2022 Calling all artists! It's only one month until entries open for the Glover Prize 2021. Do you have any ideas for your entry? Visit our website for more info: Glover Prize: John Glover and Prize https://www.johnglover.com.au/about/john-glover

10.01.2022 Glover Prize 2020 Finalist Artist: Susan O'Doherty Title: Mathinna and Lady Jane Franklin at Ancanthe in the Foothills of Mount Wellington Acrylic on canvas... 167 x 182 cm This painting of the landscape around Hobart depicts the Aboriginal girl Mathinna and Lady Franklin in front of ‘Ancanthe’, the art museum modelled after a Greek temple that Lady Franklin had built at the base of Mount Wellington in 1843 in present day Lenah Valley. On a patterned ground representing the rigid domination of British rule, Lady Franklin’s imposing blue dress takes centre stage next to Mathinna’s red dress looking back towards the hills. The sky is filled with the red shoes said to have been worn by Mathinna. In a fragment of a letter left behind, she wrote ‘ I have got a red frock like my father. I have got sore feet and shoes and stockings and I am very glad’. Taken from her family, Mathinna was adopted when she was 6 years old by Lieutenant-Governor John Franklin and his wife Lady Jane Franklin. When the Franklins returned to England in 1843 she was abandoned and left in the Queen’s orphan school, ferried back and forth between Flinders Island and Hobart. She died at the Aboriginal settlement at Oyster Cove aged 17 or 18, accounts of the time saying she drowned as a result of drunkenness. See more of Susan O'Doherty's artwork: https://www.instagram.com/susanodoherty3/

08.01.2022 Glover Prize Finalist 2011 Artist: Tony Sowersby Title: A Meditation on the nature of reality - and vice versa ... Acrylic on canvas | 125 x 186 cm The grass, the tree, the sheep and the people are all relatively recent arrivals and the grass and the sheep are actually the result of years of human intervention. The rock on the other hand I am fairly positive has been here for a while.

07.01.2022 Glover Prize 2014 Hanger's Choice Winner Artist: Michael McWilliams Title: White Invaders Acrylic on linen... 170 x 180 cm Although we often choose to ignore the conflict between the indigenous inhabitants of Tasmania and the first white colonialists, the effects and results on the people and the land were enormous. Aboriginal people managed the land using fire, skillfully burning undergrowth and grasses to encourage regeneration. By taking into account the life cycles of native plants, they ensured a plentiful supply of wildlife and plant foods throughout the year. European settlers’ approach was vastly different. They attempted to convert the newly invaded foreign land into a little Britain, introducing domesticated animals and exotic plants, building fences and clearing land. Aboriginal populations were pushed out and eventually expelled from their ancestral homes. Unlike the Aborigines, we as white settlers do not harmonise and blend into the landscape we are much like the white cows in this painting, obvious, demanding attention and perhaps a little unsure of what the Australian landscape should look like.

07.01.2022 Glover Prize Finalist 2020 Artist: Stephen Yates Title: Changing of the Guard Pastels and pastel pencils on pastel paper... 83 x 103.5 cm I have found, when travelling around Tasmania during the last few years, more and more forest ravens (Corvus Tasmanicus) scavenging roadkill. The increasing number of forest ravens has seen a change in our Tasmanian fauna landscape. This has occurred with the decline in Tasmanian Devil (Sarcophilus harrisii) numbers. In fact, 80% of the wild Devil population has been reduced by the facial tumour. Disease free Tasmanian Devils which have been released into the wild have, unfortunately, become roadkill. Tasmanian Devils were the pre-eminent and efficient scavenger; however, Forest ravens have now become the dominant scavenger in Tasmania. Forest ravens forage in pairs or groups of up to ten birds, though they may gather in much larger numbers if there is an abundant food source, such as a large carcass. This painting represents the changing Tasmanian landscape with both the obvious road cutting through the middle of the scenery as well as the subtle way nature changes. Presenting these concepts in a quirky, picture postcard way underscores the irony of the ravens scavenging a recent roadkill - a Tasmanian Devil. For the viewer, it appears that the Ravens are casting an accusing eye as if in an Edgar Allan Poe poem.

06.01.2022 Glover Prize Finalist 2020 Artist: Tim Silver Title: Untitled (there's a flower thief in my backyard again) Mild steel, rust on metal brackets... 30 x 160 cm Untitled (there's a flower thief in my backyard again) 2020 consists of a landscape of fern fronds cast from mild steel and gradually patinated with rust. The fronds themselves are forever caught in that transformative moment, just about to unfurl into fern leaves in their own right - rather than just the suggestion of them.

05.01.2022 Glover Prize Finalist 2011 Artist: Jane Tangney Title: Squid Ink - Swansea ... Oil on canvas | 142 x 136 cm We rarely experience life as a series of well-composed stills. What we see is a composite of glances and blindspots which merge to form a visual impression. I remember the milky calm of Swansea with squid ink at my feet and the Hazards jutting out of the distant sea.

04.01.2022 Congratulations to Elaine Green Artist, awarded Highly Commended in the Glover Prize 2021 for her work 'April'. Oil on masonite 51 x 78 cm... : The thirty scenes depicted in this work reflect the thirty days in April 2020 of lockdown in Stanley Tasmania. The world had changed, helicopters flew over-head and roadblocks were erected to prevent us travelling far. No tourists came for the Easter break, the shops were all shut, the chairlift sat silent and the penguins were not visited. But the wind still blew, the rain still fell, the sun rose and set, the tide came in and out and the magnificence that is Stanley comforted my soul.

04.01.2022 Glover Prize 2012 Hanger's Choice Winner Artist: Leoni Duff Title: Saluten Veniet - (Still-life, the death of a Bennett Wallaby) Oil on canvas... 102 x 152 cm This painting is an expression of a paradox death and hope, dignity and humiliation, beauty and horror, worth and disdain of an animal who must die in this superb, horrific, exquisite, sad world.

03.01.2022 Glover Prize Finalist 2020 Artist: Russel Newman Title: Sheffield Fields, 2020 Oil on board... 50.5 x 58.5 cm I am pursuing my passion for painting out doors and exploring our beautiful country - and regularly visit to paint in Tasmania. Sheffield Fields is my response to rolling green hills, rich soils, dairy farming, artistic and creative farming practices encountered while exploring the area. Rich yellow and blue greens, red soils, brooding skies and distant violet blue hills. A perfect and peaceful part of Tasmania's mid north. See more of Russel Newman's artwork: https://www.facebook.com/rustybpainter/

03.01.2022 Glover Prize Finalist 2011 Artist: Caroline Rannersberger Title: D'Entrecasteaux's Rite of Passage ... Ink & watercolour on paper | 122 x 170 cm Through the continued process of observing, sketching, painting, recording, Bruny becomes a complex layering of explorative travels, geomorphological upheaval and climatic force.

02.01.2022 Congratulations to Sebastian Galloway - Artist, winner of the Glover Prize 2021, for his work titled 'View of Mt. Lyell through an Acid Raindrop'. Oil on copper, Sassafras 85 x 95 cm... : Although the environment of Queenstown is slowly healing, its Mars-like landscapes are as striking as ever; a persisting testament to over a century of copper mining. As the trees on the hills were felled for building and fire wood, acid rain, caused by sulphur dioxide emitted by the copper smelting process, fell to earth and further transformed the landscape. The barren hills of exposed rock remain as stark evidence of an environmental catastrophe, yet they bear a strange and otherworldly beauty and are captivating for many.

02.01.2022 Glover Prize Finalist 2020 Artist: Telly Tu'u Title: Stratocumulus Oil on polycotton... 137cm x 137cm I haven't visited Tasmania yet, so this isn't inspired by my time or feelings of a special place. My work is abstract, they're constructions of painterly marks and my paintings are becoming more atmospheric. There are a billion thoughts that went into making this work, many painting moves and multiple layers. My hope is that when looking at this painting, it engages some sense of responsibility to life in this moment. Also that the viewer is flooded with associations and interpretations... that drain away just as quickly. When looking at this painting in the context of The Glover Prize, one could sumise that I may have cherry picked colours and movement from disparate aspects of the Tasmanian landscape and devastating events. The painting speaks to the evolving nature of Tasmania’s dynamic landscape. The colours borrowed from the red tide, grass trees or huon pines in an abundance of clouds. This could of course, be completely upended by the next viewer or even when viewing this painting at another time. See more of Telly Tu'u's artwork: www.instagram.com/tellytuu/