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Which Feature, Place Or View Is Significant, Scenic Or Beautiful And
DPCD South West Victoria Landscape Assessment Study | CONSULTATION & COMMUNITY VALUES Landscape Significance Significant features identified were: Other features identified outside the study area were: ▪ Mount Leura and Mount Sugarloaf, outstanding ▪ Lake Gnotuk & Lake Bullen Merri, “twin” lakes, near volcanic features the study area’s edge, outstanding volcanic features Which feature, place or view is ▪ Mount Elephant of natural beauty, especially viewed from the saddle significant, scenic or beautiful and ▪ Western District Lakes, including Lake Terangpom of land separating them why? and Lake Bookar ▪ Port Campbell’s headland and port Back Creek at Tarrone, a natural waterway ...Lake Gnotuk and the Leura maar are just two examples of ▪ Where would you take a visitor to the outstanding volcanic features of the Western District. They give great pleasure to locals and visitors alike... show them the best view of the Excerpt from Keith Staff’s submission landscape? ▪ Glenelg River, a heritage river which is “pretty much unspoilt” ▪ Lake Bunijon, “nestled between the Grampians and rich farmland in the west, the marsh grasses frame the lake as a native bird life sanctuary” ▪ Botanic gardens throughout the district which contain “weird and wonderful specimens” ▪ Wildflowers at the Grampians The Volcanic Edge Booklet: The Mt Leura & Mt Sugarloaf Reserves, Camperdown, provided by Graham Arkinstall The Age article from 1966 about saving Mount Sugarloaf Lake Terangpom Provided by Brigid Cole-Adams Photo provided by Stuart McCallum, Friends of Bannockburn Bush, Greening Australia 10 © 2013 DPCD South West Victoria Landscape Assessment Study | CONSULTATION & COMMUNITY VALUES Other significant places that were identified were: Significant views identified were: ▪ Ditchfield Road, Raglan, an unsealed road through ▪ Views generally in the south west region ▪ Views from summits of volcanic craters bushland .. -
Heide Sculpture Park Discovering Art in Outdoor Spaces
HEIDE EDUCATION Heide Sculpture Park Discovering art in outdoor spaces Anish Kapoor Inge King In The Presence of Form II 1993 (Foreground) Rings of Saturn 2005-2006 (Background) carved Portland stone stainless steel 174 x 170 x 110 cm 450 x 450 x 450 cm Untitled 1993 (Front) Heide Museum of Modern Art carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. © Heide 2011 For personal use only – do not store, copy or distribute Page 1 of 21 HEIDE EDUCATION Sculptures in the Park Dennis Oppenheim (1953–2011) Basket and Wave (From Dreams and Nightmares. Journey of a Broken Weave) 1984 Materials: _________________________ 488 x 549 x 792 cm Heide Museum of Modern Art Gift of the artist and Diana Gibson 1985 Current location: Connie Kimberley Sculpture Park At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer. Displaying sculptures throughout the park would take full advantage of the Museum's unique location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981 "The landscape is an integral part of Heide and most important in its ethos. -
Objection to Scoria Quarry in Leura Maar
National Trust of Australia (Victoria) ABN 61 004 356 192 Tasma Terrace 23 December 2015 4 Parliament Place East Melbourne Victoria 3002 Greg Hayes Email: [email protected] Manager, Planning and Building Web: www.nationaltrust.org.au Corangamite Shire Council 181 Manifold Street T 03 9656 9800 F 03 9656 5397 Camperdown VIC 3260 Dear Mr Hayes, Re: Permit Application Number: PP2001/160.A Subject Land: Titan Willows’ Rock and Scoria Quarry, Princes Highway, Camperdown Lot 1 TP 667906P, Parish of Colongulac The National Trust has advocated for the protection of the Leura Maar, within which the subject land sits, since the 1970s. Mt Sugarloaf was saved from destruction in an unprecedented conservation battle - nowhere else in Australia had local people taken direct action to save a natural landmark. Local residents actually sat in front of a bulldozer during the battle to save the mount in 1969. The National Trust purchased the land in 1972 to prevent any further quarrying of the scoria and to guarantee the preservation of the remaining mount. Today Mt Sugarloaf is considered the best example of a scoria cone in the Western District, and is cared for by Corangamite Shire Council, the Management Committee and the Friends of Mt Leura. The Mount Leura complex is one of the largest maar and tuff volcanoes in Victoria, and is a prominent feature in the Kanawinka Geopark, part of the global geoparks network. Following this international recognition, the educational value of the Leura Maar is growing, thanks to local volunteers who have installed a geocaching trail and volcanic education centre in addition to the existing interpretive trails, signs and lookouts. -
Survey of Post-War Built Heritage in Victoria: Stage One
Survey of Post-War Built Heritage in Victoria: Stage One Volume 1: Contextual Overview, Methodology, Lists & Appendices Prepared for Heritage Victoria October 2008 This report has been undertaken in accordance with the principles of the Burra Charter adopted by ICOMOS Australia This document has been completed by David Wixted, Suzanne Zahra and Simon Reeves © heritage ALLIANCE 2008 Contents 1.0 Introduction................................................................................................................................. 5 1.1 Context ......................................................................................................................................... 5 1.2 Project Brief .................................................................................................................................. 5 1.3 Acknowledgements....................................................................................................................... 6 2.0 Contextual Overview .................................................................................................................. 7 3.0 Places of Potential State Significance .................................................................................... 35 3.1 Identification Methodology .......................................................................................................... 35 3.2 Verification of Places .................................................................................................................. 36 3.3 Application -
Corangamite Heritage Study Stage 2 Volume 3 Reviewed
CORANGAMITE HERITAGE STUDY STAGE 2 VOLUME 3 REVIEWED AND REVISED THEMATIC ENVIRONMENTAL HISTORY Prepared for Corangamite Shire Council Samantha Westbrooke Ray Tonkin 13 Richards Street 179 Spensley St Coburg 3058 Clifton Hill 3068 ph 03 9354 3451 ph 03 9029 3687 mob 0417 537 413 mob 0408 313 721 [email protected] [email protected] INTRODUCTION This report comprises Volume 3 of the Corangamite Heritage Study (Stage 2) 2013 (the Study). The purpose of the Study is to complete the identification, assessment and documentation of places of post-contact cultural significance within Corangamite Shire, excluding the town of Camperdown (the study area) and to make recommendations for their future conservation. This volume contains the Reviewed and Revised Thematic Environmental History. It should be read in conjunction with Volumes 1 & 2 of the Study, which contain the following: • Volume 1. Overview, Methodology & Recommendations • Volume 2. Citations for Precincts, Individual Places and Cultural Landscapes This document was reviewed and revised by Ray Tonkin and Samantha Westbrooke in July 2013 as part of the completion of the Corangamite Heritage Study, Stage 2. This was a task required by the brief for the Stage 2 study and was designed to ensure that the findings of the Stage 2 study were incorporated into the final version of the Thematic Environmental History. The revision largely amounts to the addition of material to supplement certain themes and the addition of further examples of places that illustrate those themes. There has also been a significant re-formatting of the document. Most of the original version was presented in a landscape format. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
Diggens Sculpture
The Elements within Sculpture - 4 June to 15 July 2011 L A U R A I N E · D I G G I N S · F I N E · A R T The Elements within Sculpture Such Diversity e have travelled a long way! The distance between the sculpture of Sir Bertram Mackennal (1863-1931) and the extraordinarily diverse works W produced by contemporary Australian sculptors is virtually immeasurable. Some fascinating links, nevertheless, remain. Bertram Mackennal was the first Australian artist to achieve great success overseas.* For most of his career he was resident in London where he was accepted by the establishment and enjoyed royal patronage. Furthermore, he was the first Australian elected to the Royal Academy, the first to have a work purchased by the Tate Gallery and the first Australian artist to be knighted. Influenced by Rodin, he became part of the New Sculpture movement in the UK where he practiced an idealised DEL KATHRYN BARTON 1972 - I am loving you like this (version 2), 2008 naturalism, which gave a new life to the classical tradition. bronze edition 3/3 Essentially a modeller in clay, many of his works were subsequently cast in bronze, 100 x 34 x 36 cm while others were carved in marble. Relying heavily on commissions and patronage, he produced a great number of portrait busts, memorials such as the regal Queen Victoria Memorial, 1897-1901, at Ballarat and a wonderful series of very sensuous female nudes: the National Gallery of Victoria has his arresting Circe of 1893 in their collection. The sexuality was made palatable to the attitudes of his period by the use of classical references, as with Vesta, 1900, in this exhibition. -
Deakin University Melbourne Burwood Campus Sculpture Walk
irritation, he made a series of sculptures steel pipes and coiled wire, but they read INGE KING towers 15 metres above the pavement. DEAN BOWEN DEAKIN 7 11 using the emblems but holding them up as exotic plants that have unexpectedly Born Berlin 1915* Deakin’s Marathon Man, however, is Born Maryborough, Victoria, 1957. UNIVERSITY to laughter and ridicule. In his so-called grown from the lawn; they suggest that Arrived Australia 1951. human in scale and appears to stride Lives and works in Melbourne. MELBOURNE Maquette For Public Monument (2003), nature can still survive in an architectural Lives in Melbourne. vigorously forward, as though joining BURWOOD the silhouette of the kangaroo stands setting. the passing pedestrians. Dean Bowen has had numerous solo CAMPUS on its head. Originally apprenticed to a woodcarver exhibitions and participated in many SCULPTURE in Berlin, Inge King attended the Berlin group shows throughout Australia PETER D COLE Academy of Fine Arts before moving to AUGUSTINE DALL’AVA as well as in Paris, London, Geneva, 9 WALK BRUCE ARMSTRONG 5 Born Gawler, South Australia, 1947. London, where she became a student at Born Grenoble, France, 1950. Tokyo, Osaka and Kyoto. 3 Born Melbourne 1957. Lives and works in Kyneton, the Royal Academy. Later she enrolled Arrived Australia 1955. FEATURED WORKS Lives and works in Melbourne. Victoria. at the Glasgow School of Art and was Lives and works in Melbourne. Bowen looks at the world with the eyes Text prepared by Ken Scarlett OAM awarded both a Diploma and Post of a child, delighting in birds and bees, Massive Red Gum figures and imaginative Whereas landscape has been a Diploma in 1943. -
Inge King Eulogy
Inge King Memorial Service NGV Great Hall, Monday 9 May 2016, 10:30 am I’m deeply honoured to be speaking today about Inge’s extraordinary career. I’m conscious of there being many others eminently qualified to speak, including Professors Judith Trimble and Sasha Grishin, each of whom have published eloquent monographs on Inge, and Professors Margaret Plant and Jenny Zimmer, who have both written informed, extended essays for two of Inge’s earliest survey exhibitions. In addition the NGV’s curator of Australian art, David Hurlston, and former NGV curator and recently retired director of the Geelong Gallery, Geoffrey Edwards, have both worked closely with Inge in the sensitive presentation of two retrospectives held here at the gallery, in 1992 and 2014. In the presence of such a wealth of knowledge and experience, I’m frankly humbled to have been asked to speak. I’d like to briefly mention how I came to know Inge, if only to contextualise my appearance here. Inge was arguably the best-known member of the Centre Five group, which forms the subject of my PhD thesis. I began reading about her work in 2008, while still living in Ireland and planning a return to Australia after a nine-year absence. The reading prompted faint memories of seeing her work at the Queensland Art Gallery while still a student in Brisbane. The following year, six months after embarking on doctoral studies at Melbourne University, I finally met my appointed supervisor, Professor Charles Green, who had until then been on sabbatical. One of the first things he said to me at that meeting was: ‘Now, you do know I’m Inge King’s godson, don’t you?’ Well, no, I didn’t. -
Annual Report 2014–15
Annual Report 2014–15 Annual Report 2014–15 Published by the National Gallery of Australia Parkes Place, Canberra ACT 2600 GPO Box 1150, Canberra ACT 2601 nga.gov.au/aboutus/reports ISSN 1323 5192 © National Gallery of Australia 2015 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Prepared by the Governance and Reporting Department Edited by Eric Meredith Designed by Carla Da Silva Pastrello Figures by Michael Tonna Index by Sherrey Quinn Printed by Union Offset Printers Cover: The 2015 Summer Art Scholars with Senior Curator Franchesca Cubillo in the Indigenous Urban gallery, 14 January 2015. 16 October 2015 Senator the Hon Mitch Fifield Minister for Communications Minister for the Arts Minister Assisting the Prime Minister for Digital Government Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s annual report covering the period 1 July 2014 to 30 June 2015. This report is submitted to you as required by section 39 of the Public Governance, Performance and Accountability Act 2013. It is consistent with the requirements set out in the Commonwealth Authorities (Annual Reporting) Orders 2011, and due consideration has been given to the Requirements for Annual Reports approved by the Joint Committee of Public Accounts and Audit under subsections 63(2) and 70(2) of the Public Service Act 1999 and made available by the Department of the Prime Minister and Cabinet on 25 June 2015. -
1915 - 2008 Title: Papers of Grahame King Date Range: 1967-1990 Reference Number: MS 20 Extent: 1 Box Prepared By: Peta Jane Jones
MS 20 Papers of Grahame King Australian Prints and Printmaking Collection Summary Administrative Information Biographical Note Associated Content Acronyms Used Box Description Folder Description Summary Creator: King, Grahame 1915 - 2008 Title: Papers of Grahame King Date range: 1967-1990 Reference number: MS 20 Extent: 1 box Prepared By: Peta Jane Jones Overview Artist and teacher Grahame King was the fist President of the Print Council of Australia (PCA). In 1989, Roger Butler, the then President of the Print Council, and Curator of Australian Prints at the National Gallery of Australia invited Grahame King to speak at the First Australian Print Symposium. His presentation concerned the early history of the Print Council. In later discussions with Roger Butler he offered his papers relating to the formation and running of the Print Council to the National Gallery of Australia. This small collection includes papers that document Grahame King’s activities with the PCA, the adult education classes he taught and lectures he gave for university courses. The majority of documents comprising this collection are administrative and relate to the PCA; other material includes correspondence, newspaper clippings, financial records and copies of published articles. The collection has been described to item level. Keywords - 1 - Australian Printmaking; Prints; Print Council of Australia; National Gallery of Australia; Visual Arts Board (Victoria); National Print Symposium 1989 Key Names Grahame King; Roger Butler Administrative Information Access Contact the National Gallery of Australia Research Library reference desk librarians. Phone +61 2 6240 6530 Email [email protected] Provenance The papers were received by the Gallery in 1994 and lodged with the NGA Research Library as part of the Prints and Printmaking Research Collection in 2007. -
Historic Places Special Investigation South-Western Victoria
1 LAND CONSERVATION COUNCIL HISTORIC PLACES SPECIAL INVESTIGATION SOUTH-WESTERN VICTORIA FINAL RECOMMENDATIONS January 1997 This text is a facsimile of the former Land Conservation Council’s Historic Places Special Investigation South-Western Victoria Final Recommendations. It has been edited to incorporate Government decisions on the recommendations made by Orders in Council dated 11 and 24 June 1997 and subsequent formal amendments. Added text is shown underlined; deleted text is shown struck through. Annotations [in brackets] explain the origin of changes. 2 MEMBERS OF THE LAND CONSERVATION COUNCIL D.S. Saunders, PSM, B.Agr.Sc.; Chairman. S. Dunn, B.Sc.(Hons.) Fisheries Science; Director, Fisheries, Department of Natural Resources and Environment. S. Harris, B.A., T.S.T.C. D. Lea, Dip.Mech.Eng; Executive Director, Minerals and Petroleum, Department of Natural Resources and Environment. R.D. Malcolmson, MBE, B.Sc., F.A.I.M., M.I.P.M.A., M.Inst.P., M.A.I.P. C.D. Mitchell, B.Sc.(Hons.), Ph.D. L.K. Murrell, B.A., Dip.Ed. R.P. Rawson, Dip.For.(Cres.), B.Sc.F.; Executive Director, Forestry and Fire, Department of Natural Resources and Environment. P.J. Robinson, OAM. M.W. Stone; Executive Director, Parks, Flora and Fauna, Department of Natural Resources and Environment. P.D. Sutherland, B.A., B.Sc.(Hons.); Executive Director, Agriculture and Catchment Management, Department of Natural Resources and Environment. ISBN: 0 7241 9290 5 3 CONTENTS Page 1. INTRODUCTION 6 2. GENERAL RECOMMENDATIONS FOR PROTECTION AND MANAGEMENT 18 General Public Land Management 18 Identification of New Historic Values 20 Managing Historic Places 21 Aspects of Use and Protection of Historic Places 31 General Recommendations on Specific Types of Historic Places 40 3.