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Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ................... -
STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series. -
Becoming Art: Some Relationships Between Pacific Art and Western Culture Susan Cochrane University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 Becoming art: some relationships between Pacific art and Western culture Susan Cochrane University of Wollongong Recommended Citation Cochrane, Susan, Becoming art: some relationships between Pacific ra t and Western culture, Doctor of Philosophy thesis, , University of Wollongong, 1995. http://ro.uow.edu.au/theses/2088 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. BECOMING ART: SOME RELATIONSHIPS BETWEEN PACIFIC ART AND WESTERN CULTURE by Susan Cochrane, B.A. [Macquarie], M.A.(Hons.) [Wollongong] 203 CHAPTER 4: 'REGIMES OF VALUE'1 Bokken ngarribimbun dorlobbo: ngarrikarrme gunwok kunmurrngrayek ngadberre ngarribimbun dja mak kunwarrde kne ngarribimbun. (There are two reasons why we do our art: the first is to maintain our culture, the second is to earn money). Injalak Arts and Crafts Corporate Plan INTRODUCTION In the last chapter, the example of bark paintings was used to test Western categories for indigenous art. Reference was also made to Aboriginal systems of classification, in particular the ways Yolngu people classify painting, including bark painting. Morphy's concept, that Aboriginal art exists in two 'frames', was briefly introduced, and his view was cited that Yolngu artists increasingly operate within both 'frames', the Aboriginal frame and the European frame (Morphy 1991:26). This chapter develops the theme of how indigenous art objects are valued, both within the creator society and when they enter the Western art-culture system. When aesthetic objects move between cultures the values attached to them may change. -
Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
The Making of Indigenous Australian Contemporary Art
The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................ -
Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30
Art Aborigène, Australie Samedi 10 décembre 2016 à 16h30 Expositions publiques Vendredi 9 décembre 2016 de 10h30 à 18h30 Samedi 10 décembre 2016 de 10h30 à 15h00 Expert Marc Yvonnou Tel : + 33 (0)6 50 99 30 31 Responsable de la vente Nathalie Mangeot, Commissaire-Priseur [email protected] Tel : +33 (0)1 48 00 94 24 / Port : +33 (0)6 34 05 27 59 En partenariat avec Collection Anne de Wall* et à divers collectionneurs australiens, belges, et français La peinture aborigène n’est pas une peinture de chevalet. Les toiles sont peintes à même le sol. L’orientation des peintures est le plus souvent un choix arbitraire : c’est à l’acquéreur de choisir le sens de la peinture. Des biographies se trouvent en fin de catalogue. Des certificats d’authenticité seront remis à l’acquéreur sur demande. * co-fondatrice du AAMU (Utrecht, Hollande) 2 3 - - Jacky Giles Tjapaltjarri (c. 1940 - 2010) Eileen Napaltjarri (c. 1956 - ) Sans titre, 1998 Sans titre, 1999 Acrylique sur toile - 45 x 40 cm Acrylique sur toile - 60 x 30 cm Groupe Ngaanyatjarra - Patjarr - Désert Occidental Groupe Pintupi - Désert Occidental - Kintore 400 / 500 € 1 300 / 400 € - Anonyme Peintre de la communauté d'Utopia Acrylique sur toile - 73 x 50,5 cm Groupe Anmatyerre - Utopia - Désert Central 300/400 € 4 5 6 - - - Billy Ward Tjupurrula (1955 - 2001) Toby Jangala (c. 1945 - ) Katie Kemarre (c. 1943 - ) Sans titre, 1998 Yank-Irri, 1996 Awelye; Ceremonial Body Paint Design Acrylique sur toile - 60 x 30 cm Acrylique sur toile - 87 x 57 cm Acrylique sur toile Groupe Pintupi - Désert Occidental Groupe Warlpiri - Communauté de Lajamanu - Territoire du Nord 45 x 60 cm Cette toile se réfère au Rêve d’Emeu. -
Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners
Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners Bond University would like to thank Dr Patrick Corrigan AM and the following companies for their generous contributions. Scholarship Partners Corporate Partners Supporting Partners Event Partners Gold Coast Professor Elizabeth Roberts Jingeri Thank you for you interest in supporting the valuable Indigenous scholarship program offered by Bond University. The University has a strong commitment to providing educational opportunities and a culturally safe environment for Indigenous students. Over the past several years the scholarship program has matured and our Indigenous student cohort and graduates have flourished. We are so proud of the students who have benefited from their scholarship and embarked upon successful careers in many different fields of work. The scholarship program is an integral factor behind these success stories. Our graduates are important role models in their communities and now we are seeing the next generation of young people coming through, following in the footsteps of the students before them. It is my honour and privilege to witness our young people receiving the gift of education, and I thank you for partnering with us to create change. Aunty Joyce Summers Bond University Fellow 3 Indigenous Gala Patron Dr Patrick Corrigan AM Dr Patrick Corrigan AM is one of Australia’s most prodigious art collectors and patrons. Since 2007, he has personally donated or provided on loan the outstanding ‘Corrigan’ collection on campus, which is Australia’s largest private collection of Indigenous art on public display. Dr Corrigan has been acknowledged with a Member of the Order of Australia (2000), Queensland Great medal (2014) and City of Gold Coast Keys to the City award (2015) for his outstanding contributions to the arts and philanthropy. -
Big Hart the NAMATJIRA PROJECT the IMPACT of the ARTS in REGIONAL AUSTRALIA
STATS AND STORIES - CASE STUDY 4 CIVIC PRIDE Big hART THE NAMATJIRA PROJECT THE IMPACT OF THE ARTS IN REGIONAL AUSTRALIA RUTH RENTSCHLER AND KERRIE BRIDSON DEAKIN UNIVERSITY JODY EVANS MELBOURNE BUSINESS SCHOOL WE WOULD LIKE TO ACKNOWLEDGE THE OVERVIEW WESTERN ARANDA PEOPLE OF THE CENTRAL STATS AND STORIES: AUSTRALIAN DESERT. PLEASE BE ADVISED THE IMPACT OF THE ARTS IN REGIONAL AUSTRALIA THAT THIS CASE STUDY REFERENCES ABORIGINAL PEOPLE WHO ARE DECEASED. Stats and Stories: The Impact of the Arts in The research project was undertaken by academic Regional Australia is a ground breaking project staff at Deakin University in the Business School. funded by Regional Arts Australia and The The project was led by Professor Ruth Rentschler, TABLE OF CONTENTS Australia Council for the Arts that calls for new and Dr Kerrie Bridson at Deakin University, as well ways to identify and respond to Australia’s vast as Associate Professor Jody Evans at Melbourne OVERVIEW 1 land, diversity and differences, including its Business School. Research support was provided challenges and opportunities in regional Australia, by Claudia Escobar, Emma Winston and Nick INTRODUCTION 2 using the arts as the vehicle. Cooke. BACKGROUND 5 The Stats and Stories project covers five themes For more information about the project please and five case studies. The five themes were contact John Oster, Executive Director, Regional ACHIEVEMENTS 9 developed from the literature on the regional Arts Australia [email protected] END NOTES 14 impact of the arts. One case study is written on each of the five themes. The five themes are: 1. -
Annual Report 98-99.Qxd
annual report 1998–99 annual report 1998–99 national gallery of australia Annual Report 1998–99 © National Gallery of Australia 1999 ISSN 1323-5192 All rights reserved. No part of this publication may 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. Produced by the Publications Department of the National Gallery of Australia, Canberra. Printed in Australia by Goanna Print, Canberra. National Gallery of Australia GPO Box 1150, Canberra ACT 2601 Telephone (02) 6240 6411 Facsimile (02) 6240 6529 Website: www.nga.gov.au Cover: Arthur Boyd Reflected Bride I 1958 Purchased with funds from the Nerissa Johnson Bequest 1999 Reproduced with the permission of Bundanon Trust 17 September 1999 The Honourable Peter McGauran MP Minister for the Arts and the Centenary of Federation Parliament House CANBERRA ACT 2600 Dear Minister I have pleasure in providing to you the Annual Report of the National Gallery of Australia for 1998–99, as required under the National Gallery Act 1975 and the Commonwealth Authorities and Companies Act 1997. The report follows the Guidelines for the Content, Preparation and Presentation of Annual Reports by Statutory Authorities (1982) and the Commonwealth Authorities and Companies Orders for Report of Operations (August 1998). Kerry Stokes AO Chairman of Council iii annual report 1998–99 Contents Letter of Transmission iii Chairman’s Foreword 1 Director’s Report 2 Corporate Overview 6 Performance 1998–99 Developing the Collection 11 Maintaining the Collection 16 Providing Access and Information 18 Managing Resources 26 Appendixes 1. -
Outstations Through Art: Acrylic Painting, Self‑Determination and the History of the Homelands Movement in the Pintupi‑Ngaanyatjarra Lands Peter Thorley1
8 Outstations through art: Acrylic painting, self-determination and the history of the homelands movement in the Pintupi-Ngaanyatjarra Lands Peter Thorley1 Australia in the 1970s saw sweeping changes in Indigenous policy. In its first year of what was to become a famously short term in office, the Whitlam Government began to undertake a range of initiatives to implement its new policy agenda, which became known as ‘self-determination’. The broad aim of the policy was to allow Indigenous Australians to exercise greater choice over their lives. One of the new measures was the decentralisation of government-run settlements in favour of smaller, less aggregated Indigenous-run communities or outstations. Under the previous policy of ‘assimilation’, living arrangements in government settlements in the Northern Territory were strictly managed 1 I would like to acknowledge the people of the communities of Kintore, Kiwirrkura and Warakurna for their assistance and guidance. I am especially grateful to Monica Nangala Robinson and Irene Nangala, with whom I have worked closely over a number of years and who provided insights and helped facilitate consultations. I have particularly enjoyed the camaraderie of my fellow researchers Fred Myers and Pip Deveson since we began working on an edited version of Ian Dunlop’s 1974 Yayayi footage for the National Museum of Australia’s Papunya Painting exhibition in 2007. Staff of Papunya Tula Artists, Warakurna Artists, Warlungurru School and the Western Desert Nganampa Walytja Palyantjaku Tutaku (Purple House) have been welcoming and have given generously of their time and resources. This chapter has benefited from discussion with Bob Edwards, Vivien Johnson and Kate Khan. -
Caroline Rannersberger
Caroline Rannersberger QUALIFICATIONS 2012 Director’s Choice: 25th Anniversary, Despard Gallery,Hobart PhD Visual Arts Charles Darwin University, Northern Territory, 2007-2010 2012 Time and Space, Flinders Lane Gallery, Melbourne MA Visual Arts Charles Darwin University, Northern Territory, 2006 2012 New Artists, Despard Gallery, Hobart BA Visual Arts University of South Australia (studies) 2012 The Paper Room, Flinders Lane Gallery, Melbourne BA Interpreting & Translating; Edith Cowan University, WA / University of Vienna, Austria 2011 Visible/Invisible, Flinders Lane Gallery, Melbourne RSA/Cambridge Diploma in TESLA; Edith Cowan University, WA 2010 Agenda, Dominik Mersch Gallery, Sydney 2009 Hong Kong Art Fair, Dominik Mersch Gallery PROFESSIONAL APPOINTMENTS 2008 The other thing: a survey exhibition, Charles Darwin University Art Collection 2019 Creative Director BRUNY20 Fellowship for the Arts 2008 Melbourne Art Fair, courtesy Thirtyseven Degrees Contemporary Fine Art Gallery 2018 Curator and Project Manager BRUNY18 Art Prize 2008 Silvershot Gallery, Melbourne, courtesy Thirtyseven Degrees 2017 Founding Directors of the Bruny Island Foundation for the Arts 2008 Charles Darwin University Post Graduate in Progress, NT 2017 Pool of Peers, Australia Council 2006 Members’ Show, 24hr Art, Northern Territory Centre for Contemporary Art 2006 Darwin Visual Arts Association Terra, NT SELECTED SOLO EXHIBITIONS 1999 Robert Steele Gallery, Adelaide, SA 2018 Oblivion’s Flow, Flinders Lane Gallery, Melbourne, VIC 2018 Breath and other basics, Bett