Tasmania’s quality wines are made from grapes grown in climates similar to those of the famous European wines – with mild summers and long autumn days that ripen the grapes slowly and surely.
Tasmania’s first vineyard was planted at New Town, a Hobart suburb, in 1821. In 1848, its white wine won an award at the Paris Exhibition. Tasmania now produces such elegant cool climate wines as pinot noir, riesling, chardonnay, sauvignon blanc, cabernet sauvignon, pinot gris and sparkling wines.
Most vineyards and wineries are small with many offering tastings at their cellar door outlets. Several wineries have beautifully situated restaurants offering vineyard or water views.
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My next exploring tour started back in the center of Hobart at the main pier where I intended to catch a ferry to the world famous "old and new" art gallery MONA.
The Museum of Old and New Art (MONA) is an art museum located within theMoorilla winery on the Berriedale peninsula in Hobart, Tasmania, Australia. It is the largest privately funded museum in Australia. The museum presents antiquities, modern and contemporary art from the David Walsh collection. Walsh has described the museum as a "subversive adult Disneyland."
MONA was officially opened on 21 January 2011, coinciding with the third MONA FOMA festival. The afternoon opening party was attended by 1,350 invited guests. 2,500 members of the public were selected by random ballot for the evening event which included performances by True Live, The Scientists of Modern Music, Wire,Health and The Cruel Sea.
The precursor to MONA, the Moorilla Museum of Antiquities, was founded in 2001 by Tasmanian millionaire David Walsh. It closed in 2007 to undergo $75 million renovations. The new museum, designed by Melbourne architect Nonda Katsalidis and built by Hansen Yuncken, is a three level structure built into the cliffs around the Berriedale peninsula. The decision to build it largely underground was taken, according to Walsh, to preserve the heritage setting of the two Roy Groundshouses on the property. Walsh has also said that he wanted a building that "could sneak up on visitors rather than broadcast its presence ... 'a sense of danger' that would enliven the experience of viewing art".[6] It is generally regarded as best approached by ferry up the River Derwent. There are no windows and the atmosphere is intentionally ominous. On entering the museum, visitors descend a "seemingly endless flight of stairs", an experience one critic compared with "going down intoPetra". To see the art, the visitor must work back upwards towards the surface, a trajectory that has been contrasted with the descending spiral that visitors must follow in New York's Guggenheim Museum.
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