DOCSLIB.ORG

Artist Statements

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Artist Statements Artists Statements & Curriculum Vitae Contents Steven Alderton 01 Tony Pepe 22 Joshua Andree 02 Rodney Pople 23 Anne Brennan 03 Jennifer Riddle 24 Jane Burton Taylor 04 Darryl Brian Rogers 25 Faridah Cameron 05 Luisa Romeo 26 Tim Coad 06 Otto Schmidinger 27 Jason Cordero 07 the naughty see monkey 28 Richard Dunlop 08 V.I.D Singh 29 Josh Foley 09 Peta-Jayne Smith 30 Sebastian Galloway 10 Paul Snell 31 Fabien Garcia 11 Neil Taylor 32 Peter Gouldthorpe 12 Thomas Thorby-Lister 33 Elaine Green 13 Irene Torres 34 Leanne Halls 14 Guy Trinquet 35 Karen Hammat 15 Annette van Betlehem 36 Robyn Harman 16 Craig Waddell 37 Rachel Howell 17 James Walker 38 Melissa Kenihan 18 John Waller 39 Laurence King 19 Peter Watts 40 Keith Lane 20 Anthony White 41 Robert O’Connor 21 Lee Wilkes 42 Glover Prize 2021 Steven Alderton NSW 01 Little Blue Lake Pigmented inks and acrylic on canvas 172 x 190 cm $11,000 My work is about the enduring horizon line and the visual environment. When you are in nature you are looking, absorbing, seeing and experiencing the vast complex surrounds. Within the landscape, you always have a point of focus and direction, yet everything else that is not part of your focus forms part of the visual environment - these paintings are about rolling up the experience of the whole visual environment, beyond your focus, and looking to the horizon line beyond the immediate. The energy of nature, great beauty and the sublime are found at the horizon line; it is limitless and ongoing, and linked to the definition of nature keeps changing, then it was turned into a mine, future and to destiny. and our relationship with it shifts. now turned back into nature Nature is powerful, violent, I painted Little Blue Lake in through repatriation. The beauty brutal, cruel and chaotic, yet Tasmania as it is a vivid, bejeweling is extraordinary, it is natural and abundant, giving and eternal. It colour that lights up the landscape. unnatural, sublime in its beauty and is a work in flux, where the It was once untouched nature, alchemic in its colour. Glover Prize 2021 Steven Alderton Artist CV Education 1990 Bachelor of Arts in Fine Art, Major in Painting Queensland College of Art (Griffith University) Fellowship 2010 AsiaLink Fellow, The Arts Council of Mongolia Selected Group Exhibitions 2015 Just Paper Maitland Regional Art Gallery 2012 Margaret Olley: Home Museum of Sydney 2012 Inspiring Artists Maitland Regional Art Gallery 1995 New Bellas Gallery Brisbane 1994 Here Not There Umbrella Studio’s Townsville 1993 Here Not There Institute of Modern Art Brisbane 1992 Evolute and Create Umbrella Studio’s Townsville 1992 Move Over Space Plentitude Brisbane 1992 Matter Space Plentitude Brisbane 1991 The Ideal Copy NAVA No Vacancy project Brisbane 1991 Strine Space Plentitude Brisbane 1991 The Colour of Air Galerie Brutal Brisbane 1991 Against Pure War Institute of Modern Art Brisbane 1991 Filth Space Plentitude Brisbane 1990 ‘No’ Michael Milburn Gallery Brisbane 1990 Out Now Museum of Contemporary Art Brisbane 1990 491 Galerie Brutal Brisbane 1990 Mean Galerie Brutal Brisbane Selected Solo Exhibitions 1997 Black Light Ploetz Gallery Brisbane 1995 And Now The End Is Near Isnt Gallery Brisbane 1994 Dining On The Abdomen First Draft West Sydney 1993 Destruction Isnt Gallery Brisbane 1992 Oscilate And Retrieve Space Plentitude Brisbane 1991 Bull NAVA No Vacancy project Brisbane 1991 Decomp Space Plentitude Brisbane 1990 Morbid Moral Sober Institute of Modern Art Brisbane 1990 The Demolition of Light QCA Library Brisbane Steven Alderton 0467 717 760 [email protected] Joshua Andree TAS 02 Storm Bay (Brought to you by) The Atlantic salmon industry in that. It’s a complex environment Oil on canvas Tasmania is worth an estimated 497 with rich cultural and social 122 x 153 cm million dollars annually. 497 million history. Further, it is inherently $2,850 is the dollar value that is placed scarred by the presence of pens upon the purchase of an ageless that just don’t belong. landscape. It would be easy to paint An eloquent allegory for the a nice landscape of Storm Bay with presence in the landscape of pretty blue sky and puffy clouds those and their ancestors who reflected in calm waters. But it’s not impart them. Glover Prize 2021 CV Joshua Andree Date of Birth: 14/9/1992 Place of Birth: Tasmania, Australia Email: [email protected] Education 2011-2015: Bachelor of Fine Arts (Hons. Research) Tasmanian College of the Arts, University of Tasmania Solo Exhibitions 2012: Entrepot Gallery, Hobart 2015: Continuation; An Exhibition of Paintings - Arts Factory, Hobart 2016: Liquid Worlds; Henry Jones Art Hotel 2017: Have we Found What we Are Looking for? ; Shmorgassbaag, Hobart 2018: New Suburban Playground; Henry Jones Art Hotel Group Exhibitions 2012: Gestalt - Entrepot Gallery, Hobart 2012: Open Doors- Long Gallery, Hobart 2013: Utas Painting Society Annual Show- Long Gallery Hobart 2013: Graduate Exhibition- Tasmanian College of the Arts 2014: Contemporary Art Tasmania 2015: Honours Research Graduate Show- Plimsoll Gallery 2017: Artist in Residence Exhibition, Plimsoll Gallery Prizes: 2013: RACT Tasmanian Portraiture Prize (Finalist) 2015: RACT Tasmanian Portraiture Prize (Finalist) 2016: RACT Tasmanian Portraiture Prize (Finalist) 2017: RACT Tasmanian Portraiture Prize (Finalist) Curatorial Projects 2013: In Paint and Ink - Long Gallery Hobart 2014: Nowish - Contemporary Art Tasmania Residencies 2014: Residency, Broken Hill, NSW and Outback South Australia 2016: AiR (artist in residence) program; University of Tasmania Travel, Further Study & Other Projects 2013-2015: Technical staff, Plimsoll Gallery, Hobart 2015: The Hot House - Dark Mofo, Hobart 2016-2018: Faux Mo- Mona FOMA,Hobart 2018: Vibrance Festival (Festival Coordinator), Hobart Anne Brennan VIC 03 Horizontal forest Acrylic on canvas 147 x 100 cm $3,000 I have been painting humanlike tree limbs for several years now. In this painting, I have invoked the stories my mother told me when I was a child, driving up the West coast to visit family in Zeehan. She spoke about horizontal forests which, she said, formed dense impenetrable mats over gullies where the lost fell, never to escape. I believed these cautionary tales she had been told as a child. Yet, most of the forests around Zeehan and Queenstown had been long axed to feed the railways or poisoned by sulphuric mine fumes: the only forests around the towns were small remnants. Now I understand that horizontal forests are easily penetrated. They are part of a web that forms a protective mat over the world. Not to be feared and destroyed but appreciated and preserved. I have re-imagined them from below, as I once did as a child, but entwined them to form a woven pattern. I wanted this painting to be beautiful and disorientating as are the depths of real forests. Glover Prize 2021 C.V. and PERSONAL INFORMATION Anne Maree Brennan Address: 55 Thompson St, Williamstown, 3016 Email address: [email protected] Instagram: a.brennan Phone: 0411388303 DOB:18/11/1957 RELEVANT ACADEMIC QUALIFICATIONS 1994-1996 Bachelor of Arts, (Fine Art) RMIT Australia, not completed 1990 Bachelor of Arts, The University of Melbourne, completed. EXHIBITIONS 2006 and 2007: Art in Public Spaces, Williamstown, Victoria 2016 and 2017: St Kevin’s Art Show, Victoria. Jane Burton Taylor NSW 04 Court House Wallpaper Collage: cotton rag on cotton rag paper 99 x 66 cm $3,000 Court House Wallpaper is a re- imagined wallpaper presenting a symbolic landscape. It bears witness to the dramatic impact of colonialism on the Tasmanian landscape. The artwork is based on an 1880s wallpaper salvaged from a Court House that was once part of the colonial military complex at Oatlands, in the southern midlands of Tasmania. In the 19th century Australian colonists often installed wallpapers decorated with wildflowers from their homeland. They were following a painterly tradition dating back through French scenic wallpaper to Roman wall frescoes, of bringing the outer landscape inside. But in Australia, this seemingly harmless pursuit had an inherent nostalgia for the place before; a turning away from a recognition of the indigenous. This work seeks to incorporate the indigenous within the colonial. Physically, the work is scaled to reference wallpaper samplers of the day. The floral pattern of the historic original is re-formed by the painted roots of lantana. The twisting roots of this introduced species frame carefully observed, drawn and painted colonial depictions of fauna now classified as extinct, endangered or vulnerable in Tasmania. In this re-imagined landscape, two extinct species face downwards, while the others animals move upwards, from sea to sky. Glover Prize 2021 Curriculum Vitae JANE BURTON TAYLOR www.janeburtontaylor.com.au #jane_burtontaylor +61 412154709/ [email protected] EDUCATION 2018 Master of Fine Art, Sculpture, National Art School 2016 Bachelor of Fine Art, Sculpture, National Art School 2014 Master of Art, Photography/ Sculpture, UNSW Art & Design SELECTED SOLO SHOWS 2014 Qui e Li and Earth, Nuvole Gallery, Palermo, Sicily. 2013 Grove, Barometer Gallery, Paddington. 2012 Earth, Photo Access Gallery, Canberra. SELECTED GROUP EXHIBITIONS 2020 Fishers Ghost Art Prize, Campbelltown Art Centre. 2020 Home, House Conspiracy, Brisbane. 2020- Meroogal Women’s Art Prize, Meroogal, Nowra. 2020 Unfolding, Incinerator Art Space, Willoughby. 2020 Frolic Freeze, Articulate Project Space, Leichhardt. 2019 Emanate, New England Regional Museum, Armidale. 2019 Finest Drop, Fairfield City Museum and Gallery, Fairfield. 2018 AT8, Articulate Space, Leichhardt. 2017 Harbour Sculpture, Woolwich. 2016 Sustainable Waste 2 Art Prize, Ryde, 2015 Articulate Project Space, Leichhardt. 2014 Grove, Edmund Pearce Gallery, Melbourne. 2013 Hidden- Rookwood Sculpture Walk, Rookwood. 2013 In Situ 13, Mosman Art Gallery, Mosman. 2012 -2013 Queensland Centre for Photography, Brisbane. 2012 Blacktown City Art Gallery Prize, Blacktown. 2012 Blake Prize Director’s Cut, on-line.
Load more

Recommended publications
  • Tom Carment Born Sydney 1954 Studies Julian Ashton Art School
    Tom Carment Born Sydney 1954 Studies Julian Ashton Art School, Sydney, 1973 Solo Exhibitions 2007 Depot Gallery, Sydney 2006 Council House 2, Melbourne 2005 Depot Gallery, Sydney 2003 Depot Gallery, Sydney 2000 King Street gallery, Sydney 1998 King Street Gallery on Burton, Sydney 1997 King Street Gallery on Burton - Landscapes King Street Gallery‘ - ‘Friends, Family, Places’ 1995 King Street Gallery on Burton 1993 King Street Gallery on Burton 1991 Julie Green Gallery, Sydney 1989 Robin Gibson Gallery, Sydney - Landscapes Robin Gibson Gallery – Portraits 1988 Robin Gibson Gallery 1987 Galerie Cannibal Pierce, Paris 1985 Mori Gallery, Sydney 1983 Hogarth Gallery, Sydney 1980 Robin Gibson Gallery 1978 38 Oxford Street, Sydney 1976 Nicholson Street Gallery, Sydney Group Exhibitions 2007 Salon des Refuses S.H. Ervin Gallery, Sydney Just Imagine, Wollongong City Art Gallery Mosman Art Prize, Mosman Regional Gallery Hula Dreaming, Gallery East Clovelly Artist’s Books, King’s Cross Book Fair 2006 Archibald Prize, Art Gallery of N.S.W. Salon des Refuses, S.H. Ervin Gallery, Sydney May Day, The Cross Art Projects Art on the Rocks, Sydney Archibald Prize Regional Tour, NSW & VIC Fireworks, Regional Tour Paddington Art Prize, Sydney 2005 Paddington Art Prize, Sydney 2005 The Year in Art. S.H. Ervin Gallery, Sydney Kedumba Drawing Prize, Wentworth Falls, NSW Art on the Rocks, Sydney Mosman Art Prize, Mosman Regional Art Gallery (winner) Tattersall's Art Prize, Brisbane Australian Icons, National Trust, Sydney Salon des Refuses, S.H. Ervin Gallery, Sydney Small Offerings: Sri Lankan and Australian artists exhibition for Tsunami Relief in Sri Lanka, The Cross Art Projects, Sydney Fireworks, Mackay Regional Art Gallery and Museum and touring regional galleries in Queensland, New South Wales and Victoria Dugongs of Hinchinbrook Art Show, Centre of Contemporary Arts, Cairns 2004 Archibald Prize.
    [Show full text]
  • PORTRAITURE and the PRIZE ART an Education Kit for K–6 Creative Arts with KLA Links GALLERY and 7–12 Visual Arts NSW
    PORTRAITURE AND THE PRIZE ART An education kit for K–6 Creative Arts with KLA links GALLERY and 7–12 Visual Arts NSW ARCHIBALD.PRIZE.2010 ART GALLERY OF NEW SOUTH WALES Toured by Museums & Galleries New South Wales www.thearchibaldprize.com.au PORTRAITURE AND THE PRIZE Contents General: the Archibald Prize and portraiture Who was JF Archibald? The Archibald Prize 1 A chronology of events Controversy and debate Portraiture as a genre: an overview Portraiture and the Prize: a selection of quotes List of winners since 1921 Syllabus connections: the Archibald Prize and portraiture Suggested case studies Years 7–12 Conceptual framework: the art world web Years 7–12 Framing the Archibald: questions for discussion Years 7–12 2 Portraiture: general strategies Years K–6 Vocabulary: portraiture Artists: portraiture References Syllabus connections: 2010 Archibald Prize Framing the Archibald: K–6 and 7–12 discussion questions and activities Analysing the winner K–6: Visual Arts and links with key learning areas 3 Years 7–12: The frames Focus works: K–6: Visual Arts and links with key learning areas 7–12: Issues for discussion 2010 Archibald Prize: selected artists Education kit outline This education kit has been prepared by the Public Programs Department of the Art Gallery of New South Wales in conjunction with Museums & Galleries New South Wales, to accompany the annual Archibald Prize exhibition. It has been designed to assist primary and secondary students and teachers in their enjoyment and understanding of the Archibald exhibition and the issues surrounding it, at the Art Gallery of NSW or throughout the 2010 Archibald Prize Regional Tour.
    [Show full text]
  • 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
    [Show full text]
  • Art Gallery of New South Wales Annual Report 2012 – 13
    ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2012 – 13 1 CONTENTS 4 Vision and strategic direction 2010 – 15 5 President’s foreword 9 Director’s statement 13 At a glance 15 Access 15 Exhibitions and audience programs 19 Future exhibitions 21 Publishing 23 Engaging 23 Digital engagement 23 Community 30 Education 35 Outreach Regional NSW 40 Stewarding 40 Building and environmental management 42 Corporate Governance 58 Collecting 58 Major collection acquisitions 67 Other collection activity 70 Appendices 123 General Access Information 131 Financial statements 2 ART GALLERY OF NSW ANNUAL REPORT 12-13 The Hon George Souris MP Minister for Tourism, Major Events, Hospitality and Racing, and Minister for the Arts Parliament House Macquarie Street SYDNEY NSW 2000 Dear Minister It is our pleasure to forward to you for presentation to the NSW Parliament the annual report for the Art Gallery of NSW for the year ended 30 June 2013. This report has been prepared in accordance with the provisions of the Annual Report (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2010. Yours sincerely Steven Lowy Michael Brand President Director Art Gallery of NSW Trust 21 October 2013 3 VISION AND STRATEGIC DIRECTION 2010 – 2015 Vision The Gallery is dedicated to serving the widest possible audience, both nationally and internationally, as a centre of excellence for the collection, preservation, documentation, . interpretation and display of Australian and international art. The Gallery is also dedicated to providing a forum for scholarship, art education and the exchange of ideas. Strategic Directions Access To continue to improve access to our collection, resources and expertise through exhibitions, publishing, programs, new technologies and partnerships.
    [Show full text]
  • Janet Laurence
    JANET LAURENCE BIOGRAPHY Born Sydney 1947, Australia. Lives and works in Sydney, Australia. 2008–ongoing Visiting Fellow at COFA, UNSW 2007–09 Visual Arts Board, Australian Council 1996–2005 Trustee, Art Gallery of New South Wales, Sydney 1993 Master of Fine Art, College of Fine Arts, University of New South Wales 1977–81 Studied Sydney, Italy and New York ONGOING PROJECTS The Treelines Track, Bundanon, Australia. SOLO EXHIBITIONS 2019 Janet Laurence: After Nature, Museum of Contemporary Art, Sydney 2018 What Colour is the Sacred?, ARC ONE Gallery, Melbourne 2017 The Matter of The Masters, Art Gallery of New South Wales, Sydney Transplant: A forest for chlorophyll collapse, Momentum, Berlin Inside the Flower, IGA Berlin Lost Habitats, Nautilus Exhibition, Oldenburger, Germany Phytophilia, Hugo Michell Gallery, Adelaide 2016 The Pleasure of Love, October Salon, Belgrade The 13th Cuenca Biennial, Ecuador Habitat, Darling Harbour, Sydney, NSW Auftrag Landschaft, Schloss Biesdorf, Berlin, Germany Deep Breathing, Australian Musueum, Sydney. Habitat, Darling Harbour, Sydney, NSW H2O Water Bar, Paddington Water Reservoir, City of Sydney, NSW 2015 Deep Breathing: Resuscitation for the Reef, Grande Galerie de l’Evolution at Museum National d’Histoire Naturelle (MNHN), Paris. Antrhopocene, Fine Arts Society Contemporary, London, UK Momentum, Kuntsquartier Bethanien, Berlin 2014 Plants Eye View, Dominik Mersch Gallery, Sydney, NSW. A Case Study, Lake Macquarie City Art Gallery, Austrlaia. Residue, Hugo Mitchell Gallery, Adelaide. 2013 The Ferment, Fine Art Society Contemporary, London. Plants Eye View, Cat Street Gallery, Hong Kong. 2012 After Eden, Sherman Contemporary Art Foundation, Sydney. Avalanche, ARC ONE Gallery, Melbourne. Fabeled, BREENSPACE, Sydney. The Alchemical Garden of Desire, McClelland Gallery, VIC.
    [Show full text]
  • Attachment A
    Attachment A Report Prepared by External Planning Consultant 3 Recommendation It is resolved that consent be granted to Development Application D/2017/1652, subject to the following: (A) the variation sought to Clause 6.19 Overshadowing of certain public places in accordance with Clause 4.6 'Exceptions to development standards' of the Sydney Local Environmental Plan 2012 be supported in this instance; and (B) the requirement under Clause 6.21 of the Sydney Local Environmental Plan 2012 requiring a competitive design process be waived in this instance; and (C) the requirement under Clause 7.20 of the Sydney Local Environmental Plan 2012 requiring the preparation of a development control plan be waived in this instance; Reasons for Recommendation The reasons for the recommendation are as follows: (A) The proposal, subject to recommended conditions, is consistent with the objectives of the planning controls for the site and is compatible with the character of the area into which it will be inserted. It will provide a new unique element in the public domain which has been specifically designed to highlight Sydney’s main boulevard and the important civic precinct of Town Hall and the Queen Victoria Building. (B) The proposed artwork is permissible on the subject land and complies with all relevant planning controls with the exception of overshadowing of Sydney Town Hall steps. While the proposal will result in some additional shadowing of the steps this impact will be minor and is outweighed by the positive impacts of the proposal. (C) The proposal is of a nature compatible with the overall function of the locality as a civic precinct in the heart of the Sydney CBD.
    [Show full text]
  • Emu Island: Modernism in Place 26 August — 19 November 2017
    PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program.
    [Show full text]
  • Thesis Title
    Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art.
    [Show full text]
  • With Fond Regards
    With Fond Regards PRIVATE LIVES THROUGH LETTERS Edited and Introduced by ELIZABETH RIDDELL ith Fond Regards W holds many- secrets. Some are exposed, others remain inviolate. The letters which comprise this intimate book allow us passage into a private world, a world of love letters in locked drawers and postmarks from afar. Edited by noted writer Elizabeth Riddell, and drawn exclusively from the National Library's Manuscript collection, With Fond Regards includes letters from famous, as well as ordinary, Australians. Some letters are sad, others inspiring, many are humorous—but all provide a unique and intimate insight into Australia's past. WITH FOND REGARDS PRIVATE LIVES THROUGH LETTERS Edited and Introduced by Elizabeth Riddell Compiled by Yvonne Cramer National Library of Australia Canberra 1995 Published by the National Library of Australia Canberra ACT 2600 © National Library of Australia 1995 Every reasonable endeavour has been made to contact relevant copyright holders. Where this has not proved possible, the copyright holders are invited to contact the publishers. National Library of Australia Cataloguing-in-Publication entry With fond regards: private lives through letters. ISBN 0 642 10656 8. 1. Australian letters. 2. Australia—Social conditions—1788-1900. 3. Australia—Social conditions—20th century. 4. Australia—Social life and customs—1788-1900. 5. Australia—Social life and customs— 20th century. I. Riddell, Elizabeth. II. Cramer, Yvonne. III. National Library of Australia. A826.008 Designer: Andrew Rankine Editor: Susan
    [Show full text]
  • 299 Elizabeth Street, Sydney, Australia
    299 Elizabeth Street, Sydney, Australia View this office online at: https://www.newofficeasia.com/details/offices-elizabeth-street-sydney-au This comfortable and well though out serviced business centre offers a complete solution to your office needs. With round the clock access and a fully featured security system you can be sure of a productive and safe working environment with a team of admin and IT support staff to ensure any issues are quickly dealt with. Transport links Nearest railway station: Museum Station Nearest road: Nearest airport: Key features 24 hour access Access to multiple centres world-wide Administrative support AV equipment Car parking spaces Close to railway station Conference rooms Conference rooms High speed internet High-speed internet IT support available Meeting rooms Modern interiors Near to subway / underground station Reception staff Security system Shower cubicles Telephone answering service Town centre location Unbranded offices Video conference facilities Location With the Law Courts, Hyde Park, Museum Station and the Downing Centre all in the immediate area you are perfectly placed for work, rest and travel. Sydney's CBD is a great place to work surrounded by other thriving businesses and numerous shops, restaurants and hotels. Town Hall and Central railway stations are both within easy reach and the airport is easily reachable by car in under 20 minutes thanks to this centre's proximity to the Cahil Expressway. Points of interest within 1000 metres The Australian Museum (museum) - 452m from business centre Capitol
    [Show full text]
  • Textiles on Parade
    www.pymblelc.nsw.edu.au VOLUME 37 NO. 2 OCT 2013 textiles on parade Contents Page college news Principal’s Pen 2 College News 3 - New technology learning space - MS Readathon launched at Pymble Ladies’ College Preparatory School 4-5 Junior School 6-7 Principal’s Community Service 8-9 - Sudanese refugees tutored - Biggest Morning Tea Pen - Students help in Red Shield Appeal Launching our vision for the future, Towards 2020 – Striving for the - Support for Hamlin Fistula highest, in December 2012 has provided an impetus for staff, students - Elliot Costello inspires students and members of the College community to embrace their Pymble - Pymble Social Justice group - Students knit 1197 squares for charity educational experience. This is seen in stories in the October issue of the Pymbulletin highlighting the magnificent achievements of our Performance and the Arts 10-11 New technology - Australian landscape explored at Year 11 Art Camp students in curricular and co-curricular activities and their passion when - Harpsichord concert a magical evening engaging in community service programs. - Outstanding artworks on display Under the banner of our four strategic signposts – personalised learning space - Spectacular designs on show at Textiles on Parade education, people and culture, community and sustainability – we are Justin Raymond, Director of Innovative Technologies - Year 11 production – a show of ‘Marpleous’ fun providing an education that is founded on worldwide research, best - Exceptional performances at Year 12 HSC showcase The Hub, Pymble’s new service and learning space, was practice and collaborative learning and teaching. The importance of At the opening of The Hub, from left: Mr David Sexton, Head of Operational Academic Opportunities 12 officially opened by the Principal, Mrs Vicki Waters on technology and communication in learning environments has been Services, Mrs Vicki Waters, Principal, Mr Justin Raymond, Director of Innovative - Good Food Week Wednesday 24 July.
    [Show full text]
  • Creative Arts Space in Hong Kong: Three Tales Through the Lens of Cultural Capital
    c Creative Arts Space in Hong Kong: Three Tales through the lens of Cultural Capital Hoi Ling Anne CHAN (0000-0002-8356-8069) A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In Faculty of Architecture, Building and Planning University of Melbourne February 2019 [Intended to leave blank] i Abstract The fact that culture and creativity are often instrumentalised in urban regeneration and/or development points to a pragmatic relationship between culture and the city. Hong Kong, like many post-colonial and post-industrial cities, faced challenges in economic restructuring and in the search of a new identity. Thus, culture came to the centre of the stage in the formulation of development strategies and started to accumulate cultural assets. The accumulation of cultural assets led to the emergence of various forms of cultural assets such as cultural district, infrastructure, projects in order to achieve various aims. However, most of the existing research focused on large-scale flagship projects from an economic or strategic perspective. A holistic understanding of those cultural projects is limited in the literature especially for the small-scale cultural projects. This research examines how the creative arts spaces interact with the host city, Hong Kong through the lens of cultural capital. Three creative arts spaces with different management models are chosen as case studies. Data were collected through field investigation and key informant interviews as well as from secondary sources such as archives and media. The data collected are analysed by executing thematic analysis procedures. The findings reveal that creative arts spaces are different from large-scale flagship projects in their relations to cities.
    [Show full text]