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2018 Adelaide Biennial of Australian Art
DIVIDED ART GALLERY OF SOUTH AUSTRALIA WORLDS 2018 ADELAIDE BIENNIAL OF AUSTRALIAN ART The cat sits under the dark sky in the night, watching the mysterious trees. There are spirits afoot. She watches, alert to the breeze and soft movements of leaves. And although she doesn’t think of spirits, she does feel them. In fact, she is at one with them: possessed. She is a wild thing after all – a hunter, a killer, a ferocious lover. Our ancestors lived under that same sky, but they surely dreamed different dreams from us. Who knows what they dreamed? A curator’s dream DIVIDED WORLDS ART 2018 GALLERY ADELAIDE OF BIENNIAL SOUTH OF AUSTRALIA AUSTRALIAN ERICA GREEN ART ARTISTS LISA ADAMS JULIE GOUGH VERNON AH KEE LOUISE HEARMAN ROY ANANDA TIMOTHY HORN DANIEL BOYD KEN SISTERS KRISTIAN BURFORD LINDY LEE MARIA FERNANDA CARDOSO KHAI LIEW BARBARA CLEVELAND ANGELICA MESITI KIRSTEN COELHO PATRICIA PICCININI SEAN CORDEIRO + CLAIRE HEALY PIP + POP TAMARA DEAN PATRICK POUND TIM EDWARDS KHALED SABSABI EMILY FLOYD NIKE SAVVAS HAYDEN FOWLER CHRISTIAN THOMPSON AMOS GEBHARDT JOHN R WALKER GHOSTPATROL DAVID BOOTH DOUGLAS WATKIN pp. 2–3, still: Angelica Mesiti, born Kristian Burford, born 1974, Waikerie, 1976, Sydney Mother Tongue, 2017, South Australia, Audition, Scene 1: two-channel HD colour video, surround In Love, 2013, fibreglass reinforced sound, 17 minutes; Courtesy the artist polyurethane resin, polyurethane and Anna Schwartz Gallery Melbourne foam, oil paint, Mirrorpane glass, Commissioned by Aarhus European Steelcase cubicles, aluminium, steel, Capital of Culture 2017 in association carpet, 261 x 193 x 252 cm; with the 2018 Adelaide Biennial Courtesy the artist photo: Bonnie Elliott photo: Eric Minh Swenson DIRECTOR'S 7 FOREWORD Contemporary art offers a barometer of the nation’s Tim Edwards (SA), Emily Floyd (Vic.), Hayden Fowler (NSW), interests, anxieties and preoccupations. -
Germaine Greer on Shakespeare's Wife >>P 2
FREE MARCH 2008 Readings Monthly 9/52).$%0%.$%.4"//+ -53)#!.$$6$.%73,%44%2s%6%.43s.%72%,%!3%3s2%6)%73 IMAGE FROM GERMAINE GREER’S SEE EVENT P2 SHAKESPEARE’S WIFE (BLOOMSBURY) Germaine Greer on Shakespeare’s Wife >>p 2 March book, CD & DVD new releases. More inside >> POP CD CLASSICAL Nick Cave and Vivaldi Concerti and Cantate the Bad Seeds. Polverelli/L’Astree Normally $29.95 Normally $34.95. FICTION NON-FICTION NON-FICTION DVD Our price $24.95 Our price $12.95 Normally $29.95 Normally $49.95 Normally $89.95 Control >>p28 >>p30 Our price $24.95 Our price $39.95 Our price $69.95 $29.95 >>p8 >>p8 >>p18 >>p25 March event highlights. More Readings events inside >> TONI JORDAN MARK SEYMOUR THE VERY HUNGRY AT READINGS AT READINGS CATERPILLAR HAWTHORN CARLTON AT READINGS PORT MELBOURNE !,,3(/03/0%.$!93sCARLTON 309 LYGON 34sHAWTHORN 701 GLENFERRIE RD 9819 1917 s MALVERN 185 GLENFERRIE RD 9509 1952 s PORT MELBOURNE 253 BAY ST 9681 9255 s ST KILDA 112 ACLAND ST 9525 3852 s WWW.READINGS.COM.AU s EMAIL [email protected] Readings Events in March All our events are free, unless otherwise stated. For more information, please call the shop where the event is to be held, or the booking number provided. 5 MYER BLOOM 6 SIRI HUSTVEDT Shakespeare’s Wife (Bloomsbury, cation. The Incoming Tide (John Le- LAUNCH & PAUL AUSTER PB, $35), we are honoured to have onard, PB, $24.95) was shortlisted Germaine with us in our celebra- for the 2007 Queensland Premier’s Myer Bloom has interviewed many IN CONVERSATION WITH tion of International Women’s Literary Awards. -
Greer's 'Bad Sex' and the Future of Consent
Sexuality & Culture https://doi.org/10.1007/s12119-019-09671-x ORIGINAL PAPER Greer’s ‘Bad Sex’ and the Future of Consent Victoria Brooks1 © The Author(s) 2019 Abstract Germaine Greer’s polemic ‘On Rape’ has proved controversial and has served to further divide feminist opinion on the way to move forward from #MeToo in consent reform. Greer’s work, along with other second wave feminists, has been rejected by third wave feminist scholarship for simultaneously minimising the harm caused to victims of sexual violence and claiming that rape is not ‘catastrophic’, with Naomi Wolf being Greer’s most vocal and powerful opponent. Yet, I claim that in maintain- ing this position in opposition to Greer we are missing the real transformative power of Greer’s revival of second-wave arguments in relation to reforming our laws on consent post #MeToo. The consent framework and the defnition of consent under the Sexual Ofences Act 2003 has been readily criticised for its vague defnition of ‘freedom’ and ‘capacity’ in that such a defnition misses the subtler, yet powerful, ways in which victims are coerced and abused—those which are most insidious, since they are embedded within the fabric of our society, and within the ‘tissue’ of heterosex. Greer’s position that rape is ‘bad sex’ may well hold some truth— since bad sex for women has long been accepted as part of life albeit reduced to suferance and duty. Inevitably, this leads us to the conclusion that there are many more instances of rape than we thought, and many more women sufering, than we thought. -
Safer Spaces DELLER, Ruth A
Safer spaces DELLER, Ruth A. <http://orcid.org/0000-0003-4935-980X> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/24485/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version DELLER, Ruth A. (2019). Safer spaces. In: KINNA, Ruth and GORDON, Uri, (eds.) Routledge handbook of radical politics. New York, Routledge. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk 2.6 SAFER SPACES Ruth A. Deller Introduction In this chapter, I explore the notions of ‘safer spaces’ – places where people from different marginalised groups can gather, speak and be resourced in safety. Safer spaces can be physical, but they are also cultural – framed by a series of boundaries, principles and practices designed to support members of the group(s) needing the safer space. I explore here some of the moti- vations and underlying principles of safer spaces, and the roles they can play in radical politics. This chapter focuses predominantly on examples relating to gender, sex, ethnicity, health and dis/ability although the cultivation of safer spaces can also include practices such as creating equality and diversity policies; providing appropriate dietary options for vegetarians, vegans, members of different faith groups and those with food allergies or other medical conditions; health and safety policies that ensure the physical safety of events and organisations, and ethics policies that ensure appropriate research and professional conduct in a variety of con- texts. -
Jill Bilcock: Dancing the Invisible
JILL BILCOCK: DANCING THE INVISIBLE PRESS KIT Written and Directed by Axel Grigor Produced by Axel Grigor and Faramarz K-Rahber Executive Produced by Sue Maslin Distributed by Film Art Media Production Company: Distributor: Faraway Productions Pty Ltd FILM ART MEDIA PO Box 1602 PO Box 1312 Carindale QLD 4152 Collingwood VIC 3066 AUSTRALIA AUSTRALIA Email: [email protected] Phone: +61 3 9417 2155 faraway.com.au Email: [email protected] filmartmedia.com BILLING BLOCK FILM ART MEDIA, SOUNDFIRM, SCREEN QUEENSLAND and FILM VICTORIA in association with SCREEN AUSTRALIA, THE AUSTRALIAN BROADCASTING CORPORATION and GRIFFITH UNIVERSITY present JILL BILCOCK: DANCING THE INVISIBLE Featuring CATE BLANCHETT, BAZ LUHRMANN, SHEKHAR KAPUR and RACHEL GRIFFITHS in a FARAWAY PRODUCTIONS FILM FILM EDITORS SCOTT WALTON & AXEL GRIGOR DIRECTOR OF PHOTOGRAPHY FARAMARZ K-RAHBER PRODUCTION MANAGER TARA WARDROP PRODUCERS AXEL GRIGOR & FARAMARZ K-RAHBER EXECUTIVE PRODUCER SUE MASLIN © 2017 Faraway Productions Pty Ltd and Soundfirm Pty Ltd. TECHNICAL INFORMATION Format DCP, Pro Res File Genre Documentary Country of Production AUSTRALIA Year of Production 2017 Running Time 78mins Ratio 16 x 9 Language ENGLISH /2 LOGLINE The extraordinary life and artistry of internationally acclaimed film editor, Jill Bilcock. SHORT SYNOPSIS A documentary about internationally renowned film editor Jill Bilcock, that charts how an outspoken arts student in 1960s Melbourne became one of the world’s most acclaimed film artists. SYNOPSIS Jill Bilcock: Dancing The Invisible focuses on the life and work of one of the world’s leading film artists, Academy award nominated film editor Jill Bilcock. Iconic Australian films Strictly Ballroom, Muriel’s Wedding, Moulin Rouge!, Red Dog, and The Dressmaker bear the unmistakable look and sensibility of Bilcock’s visual inventiveness, but it was her brave editing choices in Baz Luhrmann’s Romeo+Juliet that changed the look of cinema the world over, inspiring one Hollywood critic to dub her editing style as that of a “Russian serial killer on crack”. -
Who's Got It, Who's Lost It, and Who's Behind the Scenes
Trump v the swamp Mike Baird Ninja Warriors Leaks flood the White House Why I quit politics TV’s hit machine brothers OCTOBER 2017 POWER 2017 Who’s got it, who’s lost it, and who’s behind the scenes 8 LEAH PURCELL Actor, playwright, director Because: She allows white audiences to see from an Aboriginal perspective. Her radical adaptation of Henry Lawson’s The Drover’s Wife broke new ground for Australian theatre. Among its string of awards was the NSW Premier’s Literary Award for best drama, whose judges described it as “a declaration of war on Australia’s wilful historical amnesia”. Purcell, a Goa-Gunggari-Wakka Wakka Murri woman, uses the full arsenal of drama to tell new stories. In 2016 she co-directed Cleverman, which screened on ABC TV and meshed Aboriginal dreamtime stories into contemporary sci-fi genre. She also co-directed The Secret Daughter, which screened on Seven Network last year and has now been signed for a second series. Starring Jessica Mauboy, it marks the first time a commercial network has put an Indigenous Australian as the lead in a drama series. Season one was the second-highest rating drama for the year. What the panel says: She’s an Indigenous woman with a very political view. The Drover’s Wife was an incredible achievement and will make for a brilliant film. She also has two mainstream TV series on air and she’s winning every single award. – Graeme Mason The Drover’s Wife told the story in a completely different way to which it has been told before. -
Max Meldrum and the Australian
Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels Misty moderns: Max Meldrum and the Australian Tonalists Tracey Lock-Weir 2 / 3 March 2011 Introduction: This lecture will focus on the distinctive school of Australian tonalism, which flourished during the twentieth-century interwar period. It will outline the beginnings of this painting movement from when it was first pioneered in 1915 by the controversial artist, teacher and art theorist, Max Meldrum (1875-1955). Despite being widely condemned, Max Meldrum had an impact on the development of a young generation of Australian artists. Several of these artists became leading figures of the modern art movement in Melbourne and Sydney. Some of Meldrum’s other followers became known as the Meldrumites. Working in opposition to established tastes, these artists produced some of the most abbreviated and abstractly well-designed landscapes in Australian art. During the 1950s Meldrum’s ideas also had an enduring influence on a second generation of young Australian artists. Aspects of these influences will be demonstrated and discussed. Slide List 1. Max Meldrum, Portrait of Ida , 1910, oil on canvas, AGSA 2. Photograph of Max Meldrum 3. Margaret Preston, The tea urn , c.1909, oil on canvas, AGSA 4. Arnold Shore, Blue hydrangeas , 1921, oil on canvas, AGWA 5. Photograph of Meldrum’s painting technique from The Science of Appearances , 1950 6. Percy Leason , At the campfire , San Remo , c1934, oil on canvas, QAG 7. John Farmer, Peking , 1921, oil on board, CAGHM 8. Photograph of Studio Group, 1896 9. Photograph of Max Meldrum in his Paris studio, c.1901 * 10. -
The Vagrant Spaces of the Malls, Enclave Estates, the Filmic and the Televisual
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2001 Imagineering the community: The vagrant spaces of the malls, enclave estates, the filmic and the televisual Dennis Wood Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Sociology Commons Recommended Citation Wood, D. (2001). Imagineering the community: The vagrant spaces of the malls, enclave estates, the filmic and the televisual. https://ro.ecu.edu.au/theses/1029 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1029 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
WPATH 2018 Symposium Schedule
WPATH 2018 Symposium Schedule Saturday, November 3, 2018 17:00 - 19:30 Pacifico A Opening Session Mayor of Buenos Aires - Horacio Rodriguez Larreta Deputy Mayor of Buenos Aires - Diego Santilli Argentinian Federal Minister of Health - Adolfo Rubinstein President’s Plenary 18:00 - TRANSGENDER GLOBAL HEALTH Gail Knudson 18:30 - OPPORTUNITY DENIED: EXAMINING EMPLOYMENT DISCRIMINATION AGAINST TRANS PEOPLE Sam Winter 19:00 - TRANS LEGAL HISTORY IN LATIN AMERICA Tamara Adrian Sunday, November 4, 2018 8:30 - 10:00 Atlantico B Mini-Symposia – Education 8:30 - TALKING SCIENCE WITH TRANSGENDER CLIENTS Laura Erickson-Schroth, MA, MD1; Jaimie Veale, PhD2; Rachel Levin, PhD3; E. Edmiston, PhD4 1Columbia University Medical Center, New York, NY, USA; 2University of Waikato, Hamilton, New Zealand; 3Pomona College, Claremont, CA, USA; 4University of PittsburGh, PittsburGh, PA, USA Atlantico C Oral – Medicne Adult: Effects of Cross Sex Hormone Treatment 8:30 - MORTALITY IN TRANSGENDER PEOPLE RECEIVING HORMONE TREATMENT: RESULTS OF A NATIONWIDE COHORT STUDY Christel De Blok, MD; Chantal Wiepjes, MD; Annemieke Staphorsius, MS; Martin Den Heijer, MD, PhD VU University Medical Center, Amsterdam, Netherlands Oral – Medicne Adult: Effects of Cross Sex Hormone Treatment 8:45 - SUBJECTIVE COMPLAINTS DURING HORMONE TREATMENT OF TRANSGENDER INDIVIDUALS - RESULTS FROM THE EUROPEAN NETWORK FOR THE INVESTIGATION OF GENDER INCONGRUENCE - Dennis Van Dijk, MD1; Marieke Dekker, MD, PhD1; Kasper Overbeek, MD2; Maartje Klaver, MD1; Alessandra Fisher, MD, PhD3; Guy T'Sjoen4; -
The Rise and Fall of Australian Maoism
The Rise and Fall of Australian Maoism By Xiaoxiao Xie Thesis submitted for the degree of Doctor of Philosophy in Asian Studies School of Social Science Faculty of Arts University of Adelaide October 2016 Table of Contents Declaration II Abstract III Acknowledgments V Glossary XV Chapter One Introduction 01 Chapter Two Powell’s Flowing ‘Rivers of Blood’ and the Rise of the ‘Dark Nations’ 22 Chapter Three The ‘Wind from the East’ and the Birth of the ‘First’ Australian Maoists 66 Chapter Four ‘Revolution Is Not a Dinner Party’ 130 Chapter Five ‘Things Are Beginning to Change’: Struggles Against the turning Tide in Australia 178 Chapter Six ‘Continuous Revolution’ in the name of ‘Mango Mao’ and the ‘death’ of the last Australian Maoist 220 Conclusion 260 Bibliography 265 I 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 in a submission in my name, 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. -
Working Paper Series
WORKING PAPER SERIES Women in marine science: The efficacy of ecofeminist theory in the wake of historical critique BY SAM PERRIN AND RAPTI SIRIWARDANE-DE ZOYSA Working Paper #3 ISSN 0000-0000 August, 2017 DOI: 10.21244/zmt.2017.004 Photo: Lucy G. Gillis 1 Abstract Ecofeminism at its simplest is the combination of ecological and feminist principles with a strong grounding in social movements. As in the case of most philosophical paradigms and socio-political agendas, it has also been the subject of criticism from feminists of diverse schools of thought since its conception in the 1970s. As the offspring of a social movement as diverse as feminism, this is not unexpected. As it came to prominence in the seventies, an era in which second-wave feminism flourished, it shared many of the same criticisms. It was seen as vague and poorly defined, often only explained as the sum of its parts, and also as appealing mainly to white, middle-class women. It also struggled with criticisms of essentialism – in this context the notion that “woman” (in its singularity) shares an affinity with nature and is therefore better positioned to speak on its behalf. These criticisms and conflicts have, however, helped ecofeminism to evolve into a conceptual framework, grounded in ecological principles and feminist theory combined with local perspectives. Pressing forward, we examine the value of this conceptual framework through surveying a selection of diverse female marine scientists based in Germany, and show that ecofeminism is a valuable scholarly lens through which to view contemporary forms of androcentrism and of gendered discrimination in the marine scientific community, among others. -
Migration in Britain
MIGRATION IN BRITAIN: WhAT ARe OuR CulTuRAl IdeNTITIes? This learning resource for teachers and students of Secondary Art and A Level Art focuses on a selection of portraits from the Collection of the National Portrait Gallery, London. The resource could also be relevant for those studying Art History, History and Citizenship. Camila Batmanghelidjh by Dean Marsh oil on plywood panel, 2008 NPG 6845 2/32 MIGRATION IN BRITAIN ABOuT ThIs ResOuRCe This resource tackles the question of what British cultural identities can mean and how people who constitute that sector of our society have and do contribute to it in a variety of different ways. This resource relates to another resource in on our website entitled Image and Identity. See: www. npg.org.uk/learning Each portrait is viewed and examined in a number of different ways with discussion questions and factual information relating directly to the works. The material in this resource can be used in the classroom or in conjunction with a visit to the Gallery. Students will learn about British culture through the ideas, methods and approaches used by portrait artists and their sitters over the last four hundred years. The contextual information provides background material that can be fed into the students' work as required. The guided discussion gives questions for the teacher to ask a group or class, it may be necessary to pose further questions around what culture can mean today to help explore and develop ideas more fully. Students should have the opportunity to pose their own questions, too. Each section contains the following: an introduction to each portrait, definitions, key words, questions and two art projects.