DOCSLIB.ORG

Exhibitions and Public Programs August–December 2019 Exhibition Dates

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibitions and Public Programs August–December 2019 Exhibition Dates Exhibitions and public programs August–December 2019 Exhibition dates 1–18 August 12–29 September 24th Annual B’nai B’rith Victoria Robyn Cottew Jewish Youth Art Competition Icons of Japan 1–18 August 3–27 October Art Collection showcase: Glen Eira City Council Small sculptures, jewellery Youth Services and ceramics 2019 Youth Art Exhibition Gallery Annexe 3–27 October 22 August–8 September Glen Eira Libraries Twenty Melbourne Painters My Brother Jack Awards Society Gallery Annexe 22 August–8 September 2 November–15 December Glen Eira Artists’ Society Stories in clay: Portraits Arthur Merric Boyd Pottery Gallery Annexe 12–29 September Phil Kreveld A landscape of memories Front cover image: Inside front cover image: Arthur Merric Boyd Pottery, Murrumbeena, Arthur Merric Boyd Pottery, Murrumbeena, Melbourne (manufacturer) (manufacturer) Arthur Boyd (potter and decorator) Neil Douglas (potter and decorator) Tea service 1948 (detail) Decanter c.1950 Earthenware Earthenware National Gallery of Victoria, Melbourne (a-b) 42.0 x 12.0 x 10.0 cm (overall) Purchased from Admission Funds, 1983 National Gallery of Victoria, Melbourne (D26.a-h-1983) Kenneth Hood Bequest Fund, 2012 (2012.27 a-b) ©Arthur Boyd’s work reproduced with the permission of Bundanon Trust 1–18 August 24th Annual B’nai B’rith Victoria Jewish Youth Art Competition The Jewish Youth Art Competition and Exhibition aims to develop and enhance the artistic abilities of youth aged 11 to 18. This important annual exhibition showcases the innovative artworks created by talented Jewish youth, including drawings, paintings, multimedia, sculpture, digital media and photography. Dion Fibishenko I left my kippah at home 2017 Oil on wood Winner of the first prize for drawing and painting. 2018 Jewish Youth Art Competition, 16–18 age group Bialik College 1–18 August Gallery Annexe Art Collection showcase: Small sculptures, jewellery and ceramics A diverse selection of small sculptures, jewellery and ceramics from Council’s Art Collection are featured in this exhibition. Dating from the 1970s through to 2011, this dynamic group of works by Australian artists were acquired by Council through purchase, gift or donation. Robert Baines Hey True Blue, Brooch 2011 Silver, powdercoat, electroplate, paint 6.8 x 12.0 x 7.5 cm Glen Eira City Council Art Collection 22 August–8 September Twenty Melbourne Painters Society The 101st annual exhibition of this prestigious group of traditional realist painters promises to generate great interest amongst collectors and the public. This year’s major exhibition will feature works of excellence in tonal realism and impressionism for the enjoyment of Gallery visitors. Presented by Jenny Pihan Fine Art. Joseph Zbukvic Forum Theatre 2019 Watercolour on paper 52 x 35cm 22 August–8 September Gallery Annexe Glen Eira Artists’ Society Portraits Portrait works by Glen Eira Artists’ Society (GEAS) members are featured in this exhibition. Celebrating the 10th year anniversary of the Society, the exhibition includes paintings, drawings, photography, and other mediums. Around one hundred local artists and supporters, past and present, are acknowledged for their contribution to the art group. Characters from public life, the GEAS individual artists, and people from assisting groups such as the Rotary Club of Caulfield are depicted. A multimedia display surveys the extensive activities GEAS engage with in the local community. Gillian Schofield Jack Campbell, MBE, Rotarian 2016 Camp-fired willow charcoal on canvas 40 x 40 cm 12–29 September 12–29 September Phil Kreveld Robyn Cottew A landscape Icons of Japan of memories Phil Kreveld Robyn Cottew In 1954 I wanted to be an artist 2019 Maiko 2019 Oil on linen Washi and Chiyogami paper 71 x 61 cm 70 x 50 cm This exhibition features paintings and drawings by local artist Phil A journey through the traditions, culture and icons of Japan, seen through Kreveld which address themes of personal history, identity and memory. a unique Japanese cutting art technique. Using traditional Japanese As the artist describes: ‘Memories are part of the mind’s eye, gaining a papers and fabrics, the artist explores Japanese cultural identity through life of their own. My diaries, filled with sketches, stories and annotations, themes of old and new, traditions, architecture and gardens, festivals and re-read and looked at, become paintings. In their execution, I relive icons. Popular and also lesser known icons of Japan will be referenced, distant encounters and see markers along the road I left behind.’ along with stories to inform and capture the audience. Artist’s floor talk Artist’s floor talk Friday 20 September at midday Friday 27 September at 12.30pm Join Phil Kreveld for a discussion about the themes addressed in his Join Robyn Cottew for a talk about her exhibition and the traditional practice and the artworks included in the exhibition. Japanese cutting techniques used in her work. 3–27 October 3–27 October Gallery Annexe Glen Eira City Council Youth Services Glen Eira Libraries 2019 Youth Art Exhibition My Brother Jack Awards 2019 Ella Smart (aged 20) and father Steven Smart Life. Be in it 2018 Pastel on paper Winner of the Senior Award Category 2018 Youth Art Exhibition The 2019 Youth Art Exhibition is your chance to see the amazing talents of emerging young artists in the City of Glen Eira. This annual event, hosted by Glen Eira Youth Services, brings together all mediums of art into an exciting display open to family, friends and the wider community. Children, youth and families are welcome to drop into the Gallery during the exhibition and engage in creative paper art activities. A display showcasing the winning short stories, poems and photographs of the 2019 My Brother Jack Awards. Floor talk Friday 11 October at midday Members of the Youth Leadership Team will discuss what goes on behind the scenes in the development of the Youth Art Exhibition. Arthur Merric Boyd Pottery, Murrumbeena, Melbourne (manufacturer) 2 November–15 December John Perceval (potter and decorator) Coffee service 1956 (detail) Earthenware National Gallery of Victoria, Melbourne Gift of Alex and Edward Rose, 1990 (D31. a-h-1990) Stories in clay: Arthur Merric Boyd Pottery ©John Perceval/Copyright Agency, 2019 This exhibition celebrates the creative achievements of Arthur Merric Boyd (AMB) pottery one of Australia’s most innovative, significant and vibrant post-war potteries. Established in 1944 by artists Arthur Boyd and John Perceval together with philosopher and artist Peter Herbst, the pottery was located at 500 (now 502) Neerim Road, Murrumbeena until it closed in the early 1960s. Commencing with the manufacture of functional domestic ware to meet post-war demands, the focus of the studio changed by the late 1940s with the production of more colourful, experimental and vibrant one-off earthenware pieces. Coffee and tea sets, bowls, carafes, plates, jugs, Decanter sets, vases and tiles applied to coffee tables, often decorated with angels, beasts, portraits, and Australian flora and flora motifs emerged out of this collaborative, exuberant and creative environment. Works by major Australian artists Arthur Boyd, John Perceval, Neil Douglas, Yvonne Boyd and associated potters are on loan from the National Gallery of Victoria, Heide Museum of Modern Art, Shepparton Art Museum — SAM and many private collections. A selection of earthenware tiles and ceramic sculptures by Arthur Boyd, John Perceval’s expressive ceramic angel sculptures conceived at AMB Pottery, bowls and other related works are included in this exhibition. Curator: Diane Soumilas Stories in clay: Arthur Merric Boyd Pottery Arthur Merric Boyd Pottery, Murrumbeena, Melbourne (manufacturer) — public programs Arthur Boyd (decorator) Decanter set 1948 (detail) Earthenware National Gallery of Victoria, Melbourne Floor talks Gift of John Perceval, 1987 (D32.a-f-1987) ©Arthur Boyd’s work reproduced with the permission of Bundanon Trust Free admission. Bookings essential and open from 1 October. Book online at www.gleneira.vic.gov.au/gallery or contact 9524 3333. Diane Soumilas — Curator Wednesday 6 November at midday Glen Eira City Council Gallery Curator Diane Soumilas will present an engaging talk about the exhibition and offer an insight into the creative achievements of the Arthur Merric Boyd (AMB) Pottery, Murrumbeena. Polly Boyd and Sally Boyd — Artists Friday 8 November at midday Join artists Polly Boyd (daughter of Arthur Boyd and Yvonne Boyd) and Sally Boyd (daughter of Guy Boyd) for a walk through the exhibition and a unique insight into the stories and history of the Arthur Merric Boyd (AMB) Pottery and the artists who worked there. Stories in clay: Arthur Merric Boyd Pottery — public programs Floor talks Free admission. Bookings essential and open from 1 October. Book online at www.gleneira.vic.gov.au/gallery or contact 9524 3333. Kendrah Morgan — Senior Curator Friday 15 November at midday Join Heide Museum of Modern Art Senior Curator Kendrah Morgan for an engaging overview of the Arthur Merric Boyd (AMB) Pottery, Murrumbeena and the works in the collection of Heide Museum of Modern Art. John Perceval, Arthur Merric Boyd (AMB) Pottery Coffee pot c.1950 painted and glazed stoneware 28 x 27 x 22 cm Heide Museum of Modern Art, Melbourne Gift of Barbara Blackman AO 2014 ©John Perceval/Copyright Agency 2019 Stories in clay: Arthur Merric Boyd Pottery — public programs Talks and tours Free admission. Bookings essential and open from 1 October. Book online at www.gleneira.vic.gov.au/gallery
Load more

Recommended publications
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • Affairs of the Art Inside Heide, the Creative Crucible That Transformed Australia’S Cultural Landscape
    Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip APRIL 9-10 2016 Affairs of the art Inside Heide, the creative crucible that transformed Australia’s cultural landscape DESTINATION EUROPE WINE DINING GLORIA STEINEM TOP CHATEAUS, BEST MAX ALLEN ON THE FEMINISM, POLITICS AND VILLAGES, SUPER DEALS NEW BREED OF BAR A LIFE ON THE ROAD TRAVEL & INDULGENCE LIFE REVIEW V1 - AUSE01Z01AR Copyright Agency Limited (CAL) licenced copy Page 1 of 6 AUS: 1300 1 SLICE NZ: 0800 1 SLICE service@slicemedia.com Ref: 573001374 Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip THE ROARING 40S support and collect. After the Angry Penguins Art historian Richard Haese, whose 1981 study of Heide was seminal in establishing their put down their fertile intellectual and personal relationships in the public imagination — his book’s title, Rebels and roots in staid, stolid Precursors, was taken from a 1962 Heide group exhibition of the same name at the National Melbourne, the art world Gallery of Victoria — says their influence has been profound. “They’re immensely import- in Australia would never ant,” he says. “The Angry Penguin artists have retained a central position in Australian art and be quite the same again, our perception of Australian art is based on these artists. it FionaFi G rub er Haese points out how their work forms part writes of a broader grouping: “Alongside the artists you have the supporters and champions, writ- ow you experience Heide depends ers, poets and jazz musicians.” There have been on where you park.
    [Show full text]
  • Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
    HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton 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. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting.
    [Show full text]
  • Manmade Modernism: Mythical Space in Australian Painting, 1940-1970 Copyright Offuli Text Rests with the On" I Copyn'ght Gm
    Manmade Modernism: Mythical Space in Australian Painting, 1940-1970 Copyright ofFulI Text rests with the on" I copyn'ght gm. owner and, except as permitted unci th ~opyright LAURIE DUGGAN Act 1968, copying this copyright n: ,e I ~s prohibi~ed ~thout the Permission ofthe own:;'~ Brisbane, Queensland ~:~X~:;ghh~~ee or aLi~~t or by way ofa licence . gency mlted. For infonnation a.bo ~t such lIcences contact Copyright A ene ~:;ted on (02) 93947600 (ph) or (02) 9~94?t;01 HE RECEIVED STORY OF AUSTRALIAN ART, WHETHER same year, the battle to defend figuration against the it appears in the general histories ofBernard Smith non-objective seemed all but lost. T- (1962), and Robert Hughes (1966), or in more This is the Australian art story as it has often been told. specialised studies like Richard Haese's Rebels and Developments since 1970 have taken the art of this coun­ Precursors (1981) tells us ofa change brought about in the try in different directions, yet the art ofthe preceding peri­ pressurised atmosphere of the second world war. The story od is still often viewed through a lens of its own making. usually mentions the show of"French and British Modem When Bernard Smith produced the first edition of his Art" sponsored by Sir Keith Murdoch and the Melbourne book Australian Painting he followed William Moore's Herald in 1939, which contained a large variety of work example, entitling the chapters covering work from the from Ceranne through to some of the Surrealists (notably Heidelberg School up until the 1930s after books of the Salvador Dali and Max Ernst).
    [Show full text]
  • JOHN PERCEVAL (1923 – 2000) the HULL, WILLIAMSTOWN, 1956 Oil on Composition Board 61.0 X 71.0 Cm Signed Lower Left: Perceval
    JOHN PERCEVAL (1923 – 2000) THE HULL, WILLIAMSTOWN, 1956 oil on composition board 61.0 x 71.0 cm signed lower left: Perceval John Perceval’s paintings of Williamstown from the 1950s are amongst the most sought after in Australian art and key examples now reside in the collections of the National Gallery of Victoria, National Gallery of Australia, Queensland Art Gallery, Bendigo Art Gallery, Newcastle Art Gallery and the Tarrawarra Museum of Art. Vibrant, swirling, blustery and above all superbly painted, the series depicts the working port as a source of fascinating contrasts. Although some harbour and dock drawings by the artist have been noted from as early as 1949, it was his purchase of a second-hand Volkswagen Beetle in the mid-1950s that transformed his ability to travel further distances from his family base in the eastern suburbs. With Charles Blackman, Arthur Boyd and Hal Hattam as occasional companions, Perceval explored Williamstown describing the experience as ‘like finding Venice.’1 This, of course, was the stuff of pure romance for the artist who had yet to travel overseas; nonetheless, it is an indication of his creative instinct that he could perceive such a poetic similarity amidst the working tugs, gulls, spilled fuel and battered hulks. In The Hull, 1956 an aging vessel is moored at the docks, its stern a patchwork of metal plates of differing heritage and condition. Two wharf workers tug at the lines, smoke pollutes the air and bilge water spills out from near the Plimsoll line. It is a painting that almost begs to have a smell, one of salt, oil, soot and toil.
    [Show full text]
  • HALCYON DAYS: HEIDE in the 1940S
    MEDIA RELEASE 28 May 2015 HALCYON DAYS: HEIDE IN THE 1940s Opening on 20 June 2015, Halcyon Days: Heide in the 1940s celebrates highlights of Heide Museum of Modern Art’s collection from the 1940s, a heady period of extraordinary creative achievement and cultural change in the history of Heide. Throughout the 1940s, John and Sunday Reed’s home, Heide, formed a focal point for some of Australia’s most avant- garde artists, who rejected conventional ways of living and learning and spearheaded the modernist movement in Melbourne. This constellation of rising talent included the young Sidney Nolan, cerebral painter Albert Tucker and his partner Joy Hester, the quiet yet passionate Arthur Boyd and free-spirited John Perceval. Each developed a distinctive practice and came to hold an undisputed place in the canon of Australian art. Such was John and Sunday’s belief in this group that they supported them financially and materially and in some instances formed close attachments to them. As poet Barrett Reid observed, the Reeds provided a ‘total concentration of life’ at Heide, which not only gave rise to unprecedented experimentation and attainment, but witnessed a drama of human relationships. 1 MEDIA RELEASE The 1940s saw the creation of many much-loved Heide icons and the selection displayed in Halcyon Days will include Ned Kelly and St Kilda images by Nolan, some of Hester’s compelling psychological portraits, and surrealist images by Tucker. In addition, a remarkable major portrait group by Boyd makes its debut, a recent donation to the Museum by the Estate of Beverly Brown.
    [Show full text]
  • Christie's Repatriate Early John Perceval Paintings
    PRESS RELEASE For Immediate Release Monday 4 April 2005 Contact: Julie King 0412 666 300 Robert Parsons 0412 566 300 CHRISTIE’S REPATRIATE EARLY JOHN PERCEVAL PAINTINGS FROM EUROPE FOR MELBOURNE AUCTION John Peter Russell’s ‘Portofino’ – For Sale for the First Time Ever Christie’s Director and Head of Australian & International Paintings, Jon Dwyer says the company’s April 19 auction catalogue showcases significant works by leading modern Australian painters. One of the highlights being, John Perceval’s ‘Nativity I’ painted in 1947. The auction is further enhanced by Brett Whiteley’s iconic landscape ‘The Meeting Place’ (1981), a number of important works by the foremost contemporary artists in Australia and the inclusion of a major work by impressionist John Peter Russell never previously offered for sale, consigned by the artist’s great grandson. “A hallmark of this sale is the number of works Christie’s have been able to secure for sale from international collectors of Australian art. We have consignments from clients in Europe, Asia and the United States. In most cases they are paintings which have seldom been available to the market, in some instances it is the first time they have been offered at auction. An undoubted highlight is ‘Nativity I’ which Perceval painted in 1947 but retained personally until 1986, when it was acquired by the current vendor. Other internationally consigned works are by Ray Crooke, Hans Heysen, Tim Maguire, Sidney Nolan, Charles Condor, George Peacock, John Glover, Sali Herman and Arthur Boyd. The inclusion of John Peter Russell’s ‘Portofino’ is simply a remarkable once-in-several-lifetimes opportunity to purchase a rare and important painting.” said Jon Dwyer.
    [Show full text]
  • Australian Art
    Australian Art Selected works of art from the Art Gallery of South Australia Education Services Resource The following selection of key works within the Elder Wing are designed to introduce students to aspects of Australian art. Due to the rotating nature of Gallery displays, please note that Education Services is unable to guarantee that all works of art included in this resource are currently on view. Please contact Education Services to book your visit and discuss whether particular works are on display. Mark Fischer DECD Eduation Manager Art Gallery of South Australia e: agsa.education@artgallery.sa.gov.au ph: 08 8207 7033 Image: A break away!, 1891, Tom ROBERTS, Australia,1856-1931, Elder Bequest Fund 1899 Outreach Education is a team of specialist DECD teachers based in major public organisations. Each teacher creates and manages curriculum-focused learning programs for early years to senior students and teachers using the expertise, collections and events at their unique site. SMALL TALK EDUCATION RESOURCE Gallery 1 A View of the artist’s house and garden, in Mills Plains, Van Diemen’s Land, 1835, Tasmania JOHN GLOVER Britain/Australia, 1767-1849 Morgan Thomas Bequest Fund 1951 English artist John Glover migrated to Tasmania from his home in London in 1830. He bought land and set up a farm near Launceston. Glover’s Tasmanian landscapes often showed his liking for the natural bushland, and his interest in the disappearing indigenous peoples who once lived on the land he now owned. This painting shows a summer’s day at Glover’s new farm. A shingle- roofed stone house and wooden studio look out onto his extensive cottage garden full of flowering plants.
    [Show full text]
  • Sidney Nolan's Materials and Techniques
    Sidney Nolan’s Materials and Techniques: A case study of three Pebble monotypes Katie Wood*, Briony Pemberton and Sophie Lewincamp ABSTRACT As a prominent Australian artist, Sidney Nolan’s paintings are well researched and collected both internationally and within Australia. Less well known are his works on paper, in particular his monotypes, held in collections such as the National Gallery of Australia, the Art Gallery of New South Wales, the National Gallery of Victoria and Heide Museum of Modern Art. Three monotypes made by Nolan in the 1940s will be investigated to better understand the materials used and methods of application. Nolan is known for his use of unorthodox materials and these works were created during an era of intense experimentation. A technical art history methodology will be employed, involving primary and secondary source research and examination and analysis of the monotypes. This research has implications for both treatment and long-term preservation of Nolan paper collections. The research contained within this article was enabled by the long-term treatment collaboration between the Centre for Cultural Materials Conservation and Heide Museum and greatly informed by minor thesis research of one of the authors. Keywords Sidney Nolan, monotypes, materials and techniques, techinical art history, microscpy, lakedyes, madder INTRODUCTION MONOTYPES Sidney Nolan (1917–1992) is arguably Australia’s most A monotype is a print, yet unlike any other printmaking famous artist. His paintings challenge and influence the techniques it does not produce multiple identical images. way in which the landscape is viewed and interpreted, It involves painting onto a plain surface and transferring and his significance as an artist stems from his contribution the paint to another surface (Rasmusen 1960, pp.
    [Show full text]
  • Vic O'connor – a Social Realist in Changing Times
    Vic O’Connor – a Social Realist in Changing Times By Joe Pascoe Later in life Vic O’Connor described himself as an autobiographical artisti . Many of the most interesting artists have lived the lives of their subjects and so it was with Vic. Born in working class Preston, just two weeks after the end of WWI, Vic O’Connor lived a full 91 years. He experienced early promise as an artist and enjoyed an extensive exhibition practice throughout his lifeii. However, changing artistic fashions and a crossroads in his professional life as a lawyer, made the pathway difficult. Though, in rising to such challenges, Vic created an oeuvre impressive across its entire span. Vic O’Connor enjoyed painting and drawing and gathering people around himiii. A story teller in both words and paint, he produced many artworks of great sensitivity. Art was for him a way of connecting with his environment, thus he imbued his art with an emotive atmosphere that can be read as code for his emotional state and how he felt about his subjects. Mostly self-taught, his personalised use of the mediums he was using, cast the viewer as an engaged spectator. Even when the works were relatively private, in a sketchbook, they were always purposeful. His figurative approach bordered on the impressionistic, though nature was less of a muse to him than cityscapes. One could summarize Vic O’Connor’s approach to art making as combining a romantic use of materials and an intellectually considered idea of being an artist. Light would often be used metaphorically and the physicality of the art object itself would occupy a privileged space.
    [Show full text]
  • Art Trail Booklet
    COASTAL TRAILS ART Bayside Coastal Art Trail map overleaf 76 Royal Avenue, Sandringham PO Box 27 Sandringham VIC 3191 T (03) 9599 4444 enquiries@bayside.vic.gov.au www.bayside.vic.gov.au Get the Bayside Walks & Trails App Bayside Coastal Trail Network Bayside City Council has developed four affiliated trails stretching across the 17 kilometers of the coastline adjacent to Beach Road between Brighton and Beaumaris. The Bayside Coastal Art Trail The Bayside Coastal Art Trail signs celebrate the lives and artworks of notable Australian artists who painted the bayside coast in years past and feature more than 50 artworks on signs along the 17km of coastline. For more information about these art works and the artists, visit www.bayside.vic.gov.au/trails Thomas Clark Red Bluff, c1860s 01 Collection: Port Phillip City Collection In this painting, we see Point Ormond, also known at that time as ‘Little Red Bluff’ as a cliff of ironstone. This oil on canvas was painted c1860s. Today Point Ormond is a much less prominent topographical feature; a grassy hill, reduced in size, that still has a navigation beacon at the summit. Sheep grazing on the flat grassy summit, the depiction of the navigation beacon at the summit and the figures attending to a wooden sailing boat on the Elwood beach, in the foreground, add to the charm of this painting. Oil on canvas 43.0 x 68.0 cm pp1996.18.245 Charles Douglas (C.D.) Richardson 02 Playthings of the Wind, Middle Brighton Beach Private Collection: Courtesy Lauraine Diggins Fine Art This watercolour was painted by local artist and sculptor Charles Douglas (C.D.) Richardson in 1911.
    [Show full text]
  • Heide Museum of Modern Art 2014 Annual Report Heide Museum of Modern Art 2014 Annual Report
    HEIDE MUSEUM OF MODERN ART 2014 ANNUAL REPORT Heide Museum of Modern Art 2014 Annual Report CONTENTS 1.S TATEMENT OF PURPOSE & VALUES 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTOR’S REPORT 3 4. CULTURAL PROGRAMMING 7 4.1 Exhibitions 7 4.2 Public Programs 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 18 5.1 Store 18 5.2 Visitor Services 21 5.3 Membership 22 5.4 Café Vue at Heide 22 6. COLLECTION 23 6.1 Acquisitions 25 7. FACILITIES 39 7.1 Maintenance 39 7.2 Gardens 40 8. MARKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Grants 48 9.3 Development Committee 49 9.4 Heide Fellow 49 9.5 Fundraising Campaigns 49 9.6 Corporate Partnerships 50 9.7 Local Government Support 50 9.8 Sponsored Exhibitions 51 10. GOVERNANCE 56 10.1 Board 57 10.2 Heide Board Sub-Committees 59 10.3 Board Directors & Senior Management Personnel 60 11. STAFF & VOLUNTEERS 63 12. FINANCIAL STATEMENTS 66 13. NOTES TO THE FINANCIAL STATEMENTS 79 DIRECTORS’ DECLARATION 97 INDEPENDENT AUDIT REPORT 98 Cover image Installation view, Emily Floyd: Far Rainbow Heide III, 2014 All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2014 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history. VALUES Creativity in cultural programming, audience development and profiling of the Museum Sustainability of cultural, financial and environmental operations Integrity in governance, leadership and museum management 1 2.
    [Show full text]