GPG MENTORSHIP PROGRAM: expressions of interest open for second semester program
Deadline: Sunday 14 August
The GPG Mentorship Program sees students teamed up with a mentor, who provides feedback, assistance and guidance through regular in person or online meetings.
The mentorship program is student-led, and students are expected to have a general idea of a project, areas of practice or professionalism that they seek assistance with. This can be as specific as a series of new paintings, or as open-ended as how to organise a group exhibition.
The mentorship program is extra-curricular, and not designed to assist students with their course work for assessment.
The duration of the mentorship and frequency of meetings will be agreed on by the mentor and student, according to the student’s availability and needs. It is imagined that the mentorship will include at least four meetings.
Students are required to submit an Expression of Interest via the form below. EOIs are to be submitted to email@example.com.
The deadline for submitting EOIs is Sunday 14 August.
GPG MENTORSHIP PROGRAM EXPRESSION OF INTEREST Word doc
GPG MENTORSHIP PROGRAM EXPRESSION OF INTEREST PDF
We recommend you consult the GPG MENTORSHIP GUIDELINES before applying.
The GPG Mentorship Program is open to all currently enrolled University of Melbourne students. If you have any questions email firstname.lastname@example.org.
Please contact us directly if you require any access provisions. Accessibility is important to Arts Programs and we aim to accommodate everyone.
Submissions will be considered against the skills, knowledge and experience of the GPG mentors. At present the mentors include Arts Programs staff members Sandie Bridie, Coordinator and Director of the George Paton Gallery, and Channon Goodwin, Arts Projects Officer.
Information on the mentors can be found below.
Mentee from 2021, Christina Darras exhibition in Entrance Gallery, GPG semester 1 2022
Sandra Bridie’s work straddles individual practice, collaboration, exhibition curation, teaching, gallery management, writing, and the interview as documentation of individual and collective artistic practice in Melbourne. Sandra has coordinated a series of spaces and projects including; Fictional and Actual Artists Space (1995-6), Talk Artists Initiative (1997-2000) six conjectural modules (2002-3). Sandra was also a founding member of the artist’s group Ocular Lab, which ran from 2003-2010 and through this involvement hosted a series of international, national and local artist’s residencies in the Ocular Lab space.
Bridie’s individual practice involves the invention of fictional artists presented via a suite of art works from a range of media including film, sculpture, performance, painting and conceptual art. These works. as seen in her 2017 publication Sandra Bridie, b.19–: Eight fictions, are usually accompanied by a published ‘interview’ with the fictional artist describing the journey towards the work seen.
Since 2004, Sandra has held the position of director of the George Paton Gallery.
Channon Goodwin is an artist and artsworker whose work engages with collective, collaborative, and artist-run practice and forms of artist-led organisation building. Channon is the founding Director of Composite Moving Image Agency & Media Bank, and Convener of All Conference, an organising network comprised of 17 artist-led, experimental and cross-disciplinary arts organisations from around Australia. From 2012–2021, he was Director of Bus Projects, one of Narrm/Melbourne's longest-running Artist-Run Initiatives. He aggregates his various collaborative and independent videography work under Fellow Worker. In 2019, Channon was awarded an Australia Council for the Arts International Residency at ACME in London, where he examined the lineages of artists’ video and filmmaking cooperatives. He also edited Permanent Recession: a Handbook on Art, Labour and Circumstance (2019), published through Onomatopee Projects. This book is an enquiry into the capitals and currencies of experimental, radical and artist-run initiatives in Australia and the labour conditions of working artists. Channon is currently undertaking a PhD at RMIT focused on artists’ collective, participatory, and activist activities and the new forms of social, cultural, and economic value they create.