Marian Drew CV TINF 2015
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Queensland Art Gallery
Nationally Significant 20th-Century Architecture Revised date 27/05/2011 Queensland Art Gallery Address Stanley Place, South Bank, Brisbane , Qld Practice Robin Gibson & Partners Designed 1973 Completed 1982 History & Located southwest of the Brisbane CBD, overlooking Queen Description Elizabeth II Park to the northeast & the Brisbane River beyond, the Queensland Art Gallery was the first building designed in the extensive Queensland Cultural Centre. The gallery originated from a limited competition in 1973. Soon after, in 1975, the state government resolved to construct the much larger integrated Queensland Cultural Centre & to include a performing arts centre, museum & library. The site, adjacent to the busy Grey Street & South east view towards entry. railway line to the south west, was extended along the river bank. The complex of three buildings was designed by Robin Gibson in conjunction with the Queensland Department of Works. The gallery, constructed externally & internally in bush-hammered off-white insitu concrete, has a stepped horizontal form opening out to the river & the view of the city to the north east while turning its back to Grey Street. The horizontal theme is enhanced with extended planting along the ‘terraces’ & the longitudinal water feature, the Water Mall, which crosses the site, extending through & beyond the building. Water is introduced as a series of audible & kinetic elements externally, which contrasts with the more placid setting of the three-level high central interior space of the Water Mall. This impressive three-dimensional central space separates the galleries from the administration, education & library areas & is South view along Water Mall. naturally lit through a glazed roof supported by ‘pergola like’ pre- Source: R. -
QUEENSLAND CULTURAL CENTRE Conservation Management Plan
QUEENSLAND CULTURAL CENTRE Conservation Management Plan JUNE 2017 Queensland Cultural Centre Conservation Management Plan A report for Arts Queensland June 2017 © Conrad Gargett 2017 Contents Introduction 1 Aims 1 Method and approach 2 Study area 2 Supporting documentation 3 Terms and definitions 3 Authorship 4 Abbreviations 4 Chronology 5 1 South Brisbane–historical overview 7 Indigenous occupation 7 Penal settlement 8 Early development: 1842–50 8 Losing the initiative: 1850–60 9 A residential sector: 1860–1880 10 The boom period: 1880–1900 11 Decline of the south bank: 1900–1970s 13 2 A cultural centre for Queensland 15 Proposals for a cultural centre: 1880s–1960s 15 A new art gallery 17 Site selection and planning—a new art gallery 18 The competition 19 The Gibson design 20 Re-emergence of a cultural centre scheme 21 3 Design and construction 25 Management and oversight of the project 25 Site acquisition 26 Design approach 27 Design framework 29 Construction 32 Costing and funding the project 33 Jubilee Fountain 34 Shared facilities 35 The Queensland Cultural Centre—a signature project 36 4 Landscape 37 Alterations to the landscape 41 External artworks 42 Cultural Forecourt 43 5 Art Gallery 49 Design and planning 51 A temporary home for the Art Gallery 51 Opening 54 The Art Gallery in operation 54 Alterations 58 Auditorium (The Edge) 61 6 Performing Arts Centre 65 Planning the performing arts centre 66 Construction and design 69 Opening 76 Alterations to QPAC 79 Performing Arts Centre in use 80 7 Queensland Museum 87 Geological Garden -
Download the 2018 Catalogue
2018 “And then I saw a new heaven and a new earth; for the first heaven and the first earth had passed away, and the sea was no more. And I saw the holy city, the new Jerusalem, coming down out of heaven from God, prepared as a bride adorned for her husband.” (Rev 21:1-2) Turner Galleries, Perth June 1 – 30 2018 Finalists Corinne Barton Julie Davidson Benedict Juniper Sonia Payes Bec Bigg-Wither Robert Davis Jennifer Keeler-Milne Rachel Peters Godfrey Blow Paul Drok Alice Linford Forte Julian Poon Bob Booth Kris-Ann Ehrich Jane Lyons Suzanne Rivera Libby Byrne Silvana Ferrario Aliesha Mafrici Brian Robinson Charlotte Campbell Thomas Gibbs Elizabeth Marruffo Laura Siryj Laura Castelijn Alicia Gorey Simon & Naomi McGrath Alexandra Spargo Mikaela Castledine Naomi Grant Antoinette McSharry Courtney Spence Madeleine Clear Beric Henderson Alan Morrison Nicole Steenhof Emilio Cresciani Ian Johnston Michael Vincent Murphy Monique Tippett The Mandorla Art Award for contemporary religious art is Australia’s most significant thematic Christian art prize, attracting some of the country’s finest artists since its 1985 inception. Mandorla (MAN-dor-la) is an Italian word Past winners include John Coburn (1996); meaning almond. It refers to an almond- Nigel Hewitt (1991, 1992); Brian McKay shaped halo or aura that we find around (1986, 2002); and Julie Dowling (2000) the images of Jesus or Mary in Christian art who was named the most collectible artist and particularly in icons. It represents the in Australia shortly after her win. Another 2018 Theme: light that emanates from a divine being, notable winner was the much beloved A New Heaven and a New Earth or one very close to a divine being. -
Speculations on History's Futures
WHAT IF? WHAT NEXT? SPECULATIONS ON HISTORY’S FUTURES SESSION 1B MODES OF ARCHITECTURAL HISTORY Architectural History Through Technology and Material Culture TO CITE THIS PAPER | Lloyd Jones and Annalise Varghese. “Lifting the Veil: Examining the Proposed New Performing Arts Venue for the Queensland Performing Arts Centre.” In Proceedings of the Society of Architectural Historians Australia and New Zealand: 37, What If? What Next? Speculations on History’s Futures, edited by Kate Hislop and Hannah Lewi, 100-110. Perth: SAHANZ, 2021. Accepted for publication December 11, 2020. PROCEEDINGS OF THE SOCIETY OF ARCHITECTURAL HISTORIANS AUSTRALIA AND NEW ZEALAND (SAHANZ) VOLUME 37 Convened by The University of Western Australia School of Design, Perth, 18-25 November, 2020 Edited by Kate Hislop and Hannah Lewi Published in Perth, Western Australia, by SAHANZ, 2021 ISBN: 978-0-646-83725-3 Copyright of this volume belongs to SAHANZ; authors retain the copyright of the content of their individual papers. All efforts have been undertaken to ensure the authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editors. LIFTING THE VEIL: EXAMINING THE PROPOSED NEW PERFORMING ARTS VENUE FOR THE QUEENSLAND PERFORMING ARTS CENTRE Lloyd Jones | University of Queensland Annalise Varghese | University of Queensland This paper examines tensions between the heritage status of the Queensland Performing Arts Centre (QPAC), designed by Robin Gibson & Partners, and the recently approved extension to it, the New Performing Arts Venue (NPAV). When built, the NPAV design by local firm Blight Rayner and international practice Snøhetta (won through competition) will be the first major alteration to a component of the Queensland Cultural Centre since the complex was added to the State Heritage Register in 2015. -
Education Kit 8 Sculpture by the Sea, Case Study
EDUCATION KIT 8 SCULPTURE BY THE SEA, CASE STUDY Image: Kids Choice 2017, James Dive, 'What a Tasty Looking Burger', Sculpture by the Sea, Bondi 2017. Photo Clyde Yee. SCULPTURE BY THE SEA: AN OVERVIEW “The idea of Sculpture by the Sea was simple… to stage a large free to the public sculpture exhibition along the spectacular 2km Bondi Coastal walk for the people of Sydney and its visitors to enjoy.” David Handley, Founding Director. Sculpture by the Sea’s mission is to provide a major, free to the public, sculpture exhibition that transforms beautiful and popular coastal locations into temporary, large-scale outdoor exhibition spaces for all to enjoy. The exhibition aims to broaden audience engagement and understanding of sculpture. Sculpture by the Sea continues to grow each year in both scale and diversity, providing more opportunities for a wide range of local, interstate and international artists to showcase their remarkably varied outdoors works. HISTORY Sculpture by the Sea, Bondi In 1995, Sculpture by the Sea’s Founding Director, David Handley, was living and working in Prague. During this time, he visited an outdoor sculpture park in Klatovy, Northern Bohemia, and felt inspired to begin something similar in Australia. Upon his return to Sydney in 1996, David took the Bondi to Tamarama coastal walk and noticed a myriad of natural plinths in the landscape. With this inspiring location at hand, and the idea of creating an outdoor, free to the public, visual arts event, Sculpture by the Sea was born! Carolyn Holloway, Angela Femia, Carolyn Hunter, counterpoint, Sculpture by the The first Sculpture by the Sea exhibition was held in May, Sea, Bondi 2001. -
Queensland Cultural Centre Conservation Management Plan
QUEENSLAND CULTURAL CENTRE CONSERVATION MANAGEMENT PLAN Background CMP development and consultation In 2015, some of the original buildings of the The CMP was developed by a team of specialist Queensland Cultural Centre on the Cultural heritage consultants led by Brisbane-based Precinct at South Brisbane were heritage listed architectural practice Conrad Gargett and in clearly demonstrating its historic, rare, cultural, consultation with the Queensland Premier’s aesthetic, technical and social significance. The Cultural Precinct Design and Heritage nomination for heritage listing received 1254 Roundtable, established to provide independent public submissions – an exceptional result advice throughout development of the CMP. for a single nomination in the history of the Extensive consultation was undertaken in the Queensland Heritage Act. development of the CMP, including engagement The heritage listing includes the original with key industry body the Australian Institute of buildings and integrated landscape design by Architects, other key stakeholders and through a the late Robin Gibson AO for the Queensland period of public consultation during January and Art Gallery, Queensland Museum, Queensland February 2017. Performing Arts Centre and The Edge at the State Library of Queensland built in stages from 1976. CMP methodology and key elements The CMP uses the method of investigation and Queensland Cultural Centre Conservation analysis established by the Burra Charter, an Management Plan (CMP) internationally endorsed standard for heritage The CMP, commissioned by Arts Queensland, conservation practice. provides a framework to understand and manage The Burra Charter emphasises the importance of the Cultural Centre’s heritage values, guide future a logical and systematic approach to undertaking infrastructure planning and ensure it thrives and a plan for conserving heritage places by outlining adapts into the future. -
180620 Paparazzi Dog All.Pdf
AT&T External Affairs • 430 Bush Street • Suite 500 • San Francisco, CA 94108 May 24, 2018 Letter of Support for Union Square Paparazzi Dog Art Installation Project To Whom It May Concern: As the Director of External Affairs with AT&T and Board Member with the Union Square Business Improvement District (USBID), I am in full support of the “Paparazzi Dog” Art Installation Project. I sit on the USBID’s Streetscapes and Public Realm Advisory Committee who put forth this project. When the public realm is activated in a positive way such as with public art, it creates a sense of place. In this case, we want those who work, play, and live around Union Square to have a positive experience. I firmly believe this art installation will enhance their experience. I urge the City and County of San Francisco’s Art Commission to support this project as it would celebrate the rich diversity of the Union Square District. Sincerely, Cammy Blackstone Director of External Affairs AT&T May 25, 2018 © 2018 AT&T Intellectual Property. All rights reserved. AT&T and the Globe logo are registered trademarks of AT&T Intellectual Property. Gillie and marc BIO SELECTED SOLO EXHIBITIONS 2017 Live, Love and Together, Ode to Art Gallery, Singapore 2016 Paparazzi Dogs, Ruth Wittenberg Triangle, Greenwich Village, New York, USA 2016 Paparazzi Dogs, Pearl Street Triangle & Anchorage Place (Manhattan Bridge), Dumbo Improvement District, NYC 2015 Some things you can’t explain, Gallery One, QLD 2015 Kiss Me, Linton and Kay Contemporary, Perth, WA 2013 Coffee with friends, -
AMICUS March 2021Vol 49 No 1 Journal of the BSHS Past Students’ Associa�On Inc
AMICUS March 2021Vol 49 No 1 Journal of the BSHS Past Students’ Associa�on Inc. GRADUATION 2020 A high energy celebration farewelled the 2020 Year 12 graduates who, in 2016, were the first cohort to commence secondary school in Year 7. Amanda Newbery (O’Chee), Class of 1990, dispensed some sage advice with a good dose of common sense on how to han- dle the opportunities that will arise in the future. As in previous years the graduation certificates were presented by past BSHS school cap- tains viz. Graeme Payne, 1960, Christine Grimmer and Otto Lechner, 1970, Jackie Witham and Lionel Hogg 1980, Nick Denham 2000, Cecelia Redfern and Dr Tom Wil- liams 2010. Cecelia and Tom assumed the MC duties. Executive Principal Wade Haynes reiterated that “Knowledge is Power” and advised the graduating class to use the school’s motto to their advantage to have an impact as they embark on the next stage of their development. CENTENARY LAUNCH On 29 January, State High’s Centenary was launched on the Kurilpa Roof Terrace, at- tended by distinguished guests, past students, staff and 2021 student leaders. Fourth generation State High student, Jade Bartholomeusz (Year 10), spoke of her fami- ly's significant history at our school, starting with her great grandmother Audrey Lis- combe (Smith), Class of 1931, Jade's grandfather Everard Bartholomeusz, Class of 1964, father Mark Bartholomeusz, Class of 1994, and family who attended this special occasion. CENTENARY PROGRAM 31 March Senior’s Morning Tea BSHS A Foundation event 23 April ANZAC Day Ceremony BSHS 4 July “Tour of State High” BSHS A BSHS PSA event 31 July State High Day BSHS A BSHS P and C event 19 July Foundation Day Assembly Brisbane Convention Centre September Centenary Showcase QPAC 15 October State High Golf Masters St Lucia A Foundation event Additional information and registration is available at: www.bshs100.com.au Register on www.statehighconnect.com.au to view all school magazines from 1921. -
Concrete Expressions Brutalism and the Government Buildings Precinct, Adelaide
CONCRETE EXPRESSIONS BRUTALISM AND THE GOVERNMENT BUILDINGS PRECINCT, ADELAIDE Kevin O’Sullivan Architecture Museum School of Architecture and Design University of South Australia Architecture Museum Monograph Series 07 O’Sullivan, Kevin. Concrete Expressions: Brutalism and the Government Buildings Precinct, Adelaide Contents First published in 2013 in Australia by the School of Art, Architecture and Design, 2 Foreword University of South Australia, 6 Introduction Adelaide, South Australia 4 Acknowledgements Series Editors: Christine Garnaut and Julie Collins 8 Background to Brutalism © Kevin O’Sullivan 18 Brutalism in Australia ISBN 978-0-9871200-4-5 24 The Government Buildings Precinct Monograph design: Jason Good and Leah Zahorujko 38 Buildings and Precinct Analysis Design direction: Fred Littlejohn School of Art, Architecture and Design, University of South Australia 42 Architectural Influences Print: Graphic Print Group Adelaide, South Australia 44 Conclusion 46 Endnotes Copies available from: Dr Christine Garnaut 50 Further reading Director, Architecture Museum School of Art, Architecture and Design 54 About the Author University of South Australia 56 About the Architecture Museum GPO Box 2471 Adelaide, South Australia 5001 Cover illustration: ‘P.B.D. in Tower of Strength’, Perspective: Public Buildings Department Journal, vol.3, no. 2, 1978, p. 19. Unless otherwise credited all illustrations are from the Architecture Museum’s own collections. All reasonable efforts have been made to trace the copyright holders of all images reproduced -
UQ Centenary Map: Improvement Around and Between Buildings
1910-1949 committee’s desires for the campus these words were well chosen. Effectively the architects had Smith building (administration, arts and law), the first two stories of the Duhlg library, and the Steele 1970 1980 architecture could contribute positive outdoor spaces to the campus, enhancing the relationship founding Hennessy Hennessy & Co plan. New thinking was required in facing up to a looming problem. NOTES dispensed with the strict quadrangle form favoured by the committee and replaced It with a grander building (chemistry) were the only buildings whose construction was completed at the opening. Two between buildings, their users and the campus landscape, The first project was the Therapies and The university sought further sites to develop on a campus that was already seen as filling up with 1 Pay! Venable Turner, Campus: An American Planning Tradition (Cambridge. Mass.: MIT Press, 1984). 167 \ 2 Malcolm CREATING THE GREAT COURT: The architectural and urban centerpiece of the St Lucia Campus - By the end of the 1960s, the perceived lack of space and the Increasing amount of vehicle traffic Through the 1980s the numbers of students attending university steadily grew and UQ continued its I Thornis, A Place of Light & Learning; The University of Queensland's First Seventy-Five Years (St. Lucia: University of Anatomy Building Stage 3. What might seem a relatively modest proposal today was actually a buildings. How could the university effectively plan for the development of its land without adversely UQ’s famous Great Court - clearly defines the University as a place. Its enclosing space makes a more open space. -
Perpetual and Sculpture by the Sea Announce
Sculpture by the Sea Incorporated ABN 84 103 984 756 Trading as ‘Sculpture by the Sea’ PO Box 300, Surry Hills NSW 2010 Australia MEDIA RELEASE Telephone +61 2 8399 0233 EMBARGOED until Sunday September 27, 2020 Facsimile +61 2 8399 2322 [email protected] www.sculpturebythesea.com PERPETUAL AND SCULPTURE BY THE SEA Bondi ANNOUNCE RECIPIENTS OF PRESTIGIOUS $30,000 22 October - 8 November 2020 SCHOLARSHIPS FOR AUSTRALIAN ARTISTS (Postponed: New Dates TBC) Cottesloe 5 - 22 March 2021 **SCULPTURE BY THE SEA, BONDI 2020 EXHIBITION POSTPONED** Sydney Exhibition Patrons Michelle & Guido Belgiorno-Nettis AM Anita Belgiorno-Nettis AM Luca Belgiorno-Nettis AM Principal Sponsor Stephen King’s new work for Sculpture by the Sea, Bondi, ‘Gridlock’ Perpetual and Sculpture by the Sea are pleased to announce the recipients of this year’s three $30,000 Helen Lempriere Scholarships: Government Partners Senior Artist Stephen King (Walcha, NSW) Mid-Career Artist Andrew Townsend (Wapengo, NSW) Emerging Artist Jina Lee (Fremantle, WA) The Helen Lempriere Scholarships are designed to enable the artists to further their artistic development through travel, study and the purchase of important new equipment. The scholarships will also support the artists’ inclusion in Sculpture by the Sea, Bondi, which will be postponed from the previously announced 22 October date. Organisers are working with Waverley Council and NSW Government agencies, including NSW Health on whether it may be possible to stage the exhibition later in the spring. Major Partners The scholarships are gifted as part of the Helen Lempriere Bequest, a charitable trust managed by Perpetual, providing scholarships with the aim to foster and promote contemporary Australian sculpture. -
Support the Artists and the Future Sustainability of the Exhibition. Visit Our Office Located in Sculpture Inside, Cottesloe Surf Life Saving Club
Support the artists and the future sustainability of the exhibition. Visit our office located in Sculpture Inside, Cottesloe Surf Life Saving Club. Davina Corti Director Sculpture Sales [email protected] +61 400 216 258 Wang Shugang (China), man on ball, Sculpture by the Sea, Cottesloe 2015. Photo Clyde Yee THE EXHIBITION - SCULPTORS, THEIR WORKS AND SITE NUMBERS TANG WEI HSU 1 TAIWAN / USA Pocono Bud MATERIALS stainless steel, automotive paint DIMENSIONS 350 x 200 x 200cm PRICE $90,000 STATEMENT Lively plant contrasts with the serene ocean, makes the work full of imagination. The artist attempts to show the unknown plants he saw and reconstruct the vivid scene he felt in Pocono. BIOGRAPHY Council for Cultural Affairs Fellowship recipient 2011. Art@Renaissance artist residency New York 2013. Numerous solo and group exhibitions in Taiwan, Hong Supported by Kong, Japan and USA. Public commissions in New York. SONIA PAYES 2 VIC Re:Generation (2014) MATERIALS fibreglass, gelcoat, stainless steel bracing DIMENSIONS from 42-500 x 130-230 x 130-230cm PRICE Price on Application (edition of 3) STATEMENT The work imagines the emergence of a four-faced goddess who will lead humanity to regenerate the environment. A homage to all future generations. BIOGRAPHY Melbourne based photographer and multi-media artist. Numerous exhibitions and prizes nationally and internationally including Shanghai, London and Los Angeles. Achievement Prize McClelland Sculpture Survey 2014. Represented in Melbourne by Fehily Contemporary 27 3 KELD MOSEHOLM DENMARK Catch Me MATERIALS bronze, granite DIMENSIONS 205 x 50 x 80cm PRICE $115,000 (edition of 8) BIOGRAPHY Exhibited internationally for 50 years, including Bad Ragaz, Switzerland 2015 and Billund Art Association, Denmark 2014.