Elsewhere the International Journal of Self-Taught and Outsider Art
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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 Almanac April 2018 $6
Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, -
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. -
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
The Artist Character : a Study of the Visual Artist in Popular Fiction
Master of Art Theory University of New South Wales College of Fine Arts THE CHARACTER: A STUDY OF THE VISUAL ARTIST IN POPULAR FICTION , --- . .. ,- By Gabriella Holok 2003© ORIGl'.'iAI.ITY ST ATDIE!\T · 1 hereby declare that 1h1s subm1ss1on 1s my own work and to the best of my knowledge 11 contains no malenals previously published or wnllcn by another person. or subs1an11al proportions of malcnal which have been ac.epted for the award of any other degree or diploma al UNSW or any other educatwnal mslltullon. except where due acknowledgement 1s made 1n the 1hes" Any contnbu11on made to the research by others. w11h whom I have worked at UNSW or elsewhere. is exphc11ly acknowledged m the thesis. I also declare that the mlelkctual conlenl of this thesis is the product of my own work. except 10 the extent that assistance from others m the project's design and concepllun or m style, presentat,on and linguistic expression 1s Abstract This is a study of the artist as a character in popular literature, film and television. I have outlined three models of depiction in the evolution of the fictional artist character: the maudlin artist of early popular literature, the clownish and suspicious artist of the screen and the ironically distanced artist of late twentieth century film and television. In the course of this study I argue that all configurations of the artist in these examples of popular fiction are constructs (positively or negatively) informed by standard patterns of representation. I term this construction the fictional generic artist. I locate this study in notions of the artist in the media, a relatively recent and largely unexplored field of inquiry, in addition to the expansive art historical and theoretical discourse on the myth of the artist, an oft chartered territory that art history has largely left barren in the wake of unprecedented demystification in the 1960s. -
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. -
Bad Rhetoric: Towards a Punk Rock Pedagogy Michael Utley Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 8-2012 Bad Rhetoric: Towards A Punk Rock Pedagogy Michael Utley Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Rhetoric and Composition Commons Recommended Citation Utley, Michael, "Bad Rhetoric: Towards A Punk Rock Pedagogy" (2012). All Theses. 1465. https://tigerprints.clemson.edu/all_theses/1465 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. BAD RHETORIC: TOWARDS A PUNK ROCK PEDAGOGY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Professional Communication by Michael M. Utley August 2012 Accepted by: Dr. Jan Rune Holmevik, Committee Chair Dr. Cynthia Haynes Dr. Scot Barnett TABLE OF CONTENTS Page Introduction ..........................................................................................................................4 Theory ................................................................................................................................32 The Bad Brains: Rhetoric, Rage & Rastafarianism in Early 1980s Hardcore Punk ..........67 Rise Above: Black Flag and the Foundation of Punk Rock’s DIY Ethos .........................93 Conclusion .......................................................................................................................109 -
Artists-Information
Radical Craft: Alternative Ways of Making Historical Work Willem van Genk Angus McPhee Judith Scott Willem van Genk Angus McPhee 1927-2005, Belgium 1916-1997, UK Angus McPhee was raised in Eochar on perhaps to protect it from the elements. South Uist, an island in the Outer Hebrides. Consequently McPhee’s creations were not In common with other islanders, he was fully appreciated until they were discovered skilled in the traditional craft of creating in 1977 by visiting art therapist, Joyce horses’ bridles and rope woven from local Laing. The woven works were accessioned grasses. After having a breakdown during into her developing collection for The Art the war, McPhee was admitted to the Extraordinary Trust, now held in Glasgow Craig Dunain psychiatric hospital near Museums and Art Gallery. Inverness in 1946, where diagnosed with Laing continues to champion McPhee’s schizophrenia, he chose to remain mute for work which in addition to being widely 50 years. Throughout his stay in hospital, exhibited, has been documented in books, McPhee secretly knitted with only his fingers, a film and a play. Since the originals are numerous garments — vests, jackets, hats, now deemed too fragile for loan to touring shoes, socks — from grasses and other exhibitions, selected pieces are represented vegetation found in the grounds. These in Radical Craft by a photograph, film, and pieces were laced with sheep’s wool picked replicas commissioned from Scottish weaver, from barbed wire fences. He hid his work Joanne B Kaar. beneath bushes and in the undergrowth, Willem van Genk, Arnhem, photograph Guido Suykens courtesy of Museum Dr Guislain, Ghent Growing up in Voorburg, Van Genk home comprised complex collages inspired experienced a difficult childhood affected by his travels to the former Soviet Union, by mental health and behavioural issues. -
HOW BLACK IS BLACK METAL [JOURNALISMUS] Nachrichten Von Heute
HOW BLACK IS BLACK METAL [JOURNALISMUS] nachrichten von heute Kevin Coogan - Lords of Chaos (LOC), a recent book-length examination of the “Satanic” black metal music scene, is less concerned with sound than fury. Authors Michael Moynihan and Didrik Sederlind zero in on Norway, where a tiny clique of black metal musicians torched some churches in 1992. The church burners’ own place of worship was a small Oslo record store called Helvete (Hell). Helvete was run by the godfather of Norwegian black metal, 0ystein Aarseth (“Euronymous”, or “Prince of Death”), who first brought black metal to Norway with his group Mayhem and his Deathlike Silence record label. One early member of the movement, “Frost” from the band Satyricon, recalled his first visit to Helvete: I felt like this was the place I had always dreamed about being in. It was a kick in the back. The black painted walls, the bizarre fitted out with inverted crosses, weapons, candelabra etc. And then just the downright evil atmosphere...it was just perfect. Frost was also impressed at how talented Euronymous was in “bringing forth the evil in people – and bringing the right people together” and then dominating them. “With a scene ruled by the firm hand of Euronymous,” Frost reminisced, “one could not avoid a certain herd-mentality. There were strict codes for what was accept- ed.” Euronymous may have honed his dictatorial skills while a member of Red Ungdom (Red Youth), the youth wing of the Marxist/Leninist Communist Workers Party, a Stalinist/Maoist outfit that idolized Pol Pot. All who wanted to be part of black metal’s inner core “had to please the leader in one way or the other.” Yet to Frost, Euronymous’s control over the scene was precisely “what made it so special and obscure, creating a center of dark, evil energies and inspiration.” Lords of Chaos, however, is far less interested in Euronymous than in the man who killed him, Varg Vikemes from the one-man group Burzum. -
The Food and Folklore Reader Edited by Lucy M
Review of: The Food and Folklore Reader Edited by Lucy M. Long. New York: Bloomsbury Press, 2015. Pp. vii + 467, introduction, index, appendix. By: Hanna Griff-Sleven Folklorist Lucy M. Long has curated a textbook to serve as an introduction to folklore methods and theory as they apply to food culture. It is an ambitious undertaking: this book contains forty articles spanning the discipline of folklore. Long has culled the archives of the field, using seminal works that define folklore as well as articles that explore more contemporary issues such as food security and culinary tourism. The strength of a good reader relies on the choice of articles and an understanding of why the articles were chosen. This reader succeeds the most with Long’s comprehensive introductions to each of the book’s five parts. She does an admirable job covering diverse food cultures with examples from the many ethnic identities within the United States, Canada, Australia, Sweden, Jewish and Arab cultures, and many more. Also included are helpful questions for discussion and suggestions for further reading in order to encourage students to explore these ideas in their own work and/or future projects. However, the book is a lengthy one, and if one is using it in print, it is a heavy one. There are simply too many articles, and not all of the older ones need to be reprinted since they are easily available elsewhere. Food culture is so popular these days, with food blogs and articles appearing daily, perhaps a more critical editing of Long’s selections would make this book stronger. -
Press Release
20 Years Under the Influence of Juxtapoz Guest Curators: Andrew Hosner (Thinkspace) & Gary Pressman (Copro Gallery) February 22nd - April 19th, 2015 Invitation Only Reception: Saturday, February 21st from 6-11PM *RSVP TO: [email protected] Public First View: Sunday, February 22nd 2-5PM On view: Sunday, February 22nd – April 19th, 2015 Gallery Hours 12-5PM, Thursday – Sunday ADDITIONAL PROGRAMMING: Saturday, March 14th 2PM: Curator / Juxtapoz Talk (with Andrew Hosner, Gary Pressman, Greg Escalante, Robert Williams, Suzanne Williams, Gwynn Vitello, Evan Pricco, and Jeff Soto) (Los Angeles) - The Los Angeles Municipal Art Gallery and Juxtapoz magazine are pleased to present 20 Years Under the Influence of Juxtapoz, a group exhibition to commemorate two decades of the magazine’s influential contribution to contemporary art and culture. On view at the Los Angeles Municipal Art Gallery, and curated by Andrew Hosner of Thinkspace Gallery and Gary Pressman of Copro Gallery, the exhibition features close to one hundred artists who have graced the publication’s pages and website, and showcases the diversity and breadth of the New Contemporary movement Juxtapoz has championed and helped to uphold. In 1994 in San Francisco, Robert Williams, Craig Stecyk, Greg Escalante, Eric Swenson and Fausto Vitello founded Juxtapoz with the intent of fostering the art and culture of the underground. Providing an alternative voice and narrative as a counterpart to the dominant New York-centric discourse of contemporary art, it featured artists who straddled “high” and “low” culture. Aligning itself with the aesthetics of contemporary street culture, figurative art, California car culture, gig posters, tattoos, graphics, psychedelia and comics, the publication became a conduit and forum for an entirely new generation of artists who were latching on to the visual vernacular of powerfully populist themes. -
Stedelijk Museum Amsterdam
STEDELIJK MUSEUM BIJLAGEN JAAR- VERSLAG 2019 AMSTERDAM BIJLAGEN JAARVERSLAG 2019 INHOUD 1. OVERZICHT TENTOONSTELLINGEN 2. PUBLIEKSPROGRAMMA 3. AANWINSTEN 4. UITGAANDE BRUIKLENEN 5. RESTAURATIES 6. EDUCATIE 7. PUBLICATIES 8. SPONSOREN, FONDSEN EN PARTICULIERE BEGUNSTIGERS 9. MEDEWERKERS 10. NEVENFUNCTIES 11. RAAD VAN TOEZICHT 12. VERANTWOORDING PRESTATIES SUBSIDIE 2019 BIJLAGE 1 OVERZICHT TENTOONSTELLINGEN In dit overzicht zijn zowel de in 2019 – Hybride sculptuur: hedendaagse geopende tentoonstellingen als de tentoon- beeldhouwkunst uit de collectie van het stellingen die in 2018 startten en doorliepen Stedelijk in 2019 opgenomen. 23 maart 2019 – 26 januari 2020 – Amsterdam Magisch Centrum: – Maria Lassnig – Ways of Being Kunst en tegencultuur 1967-1970 6 april – 11 augustus 2019 7 juli 2018 – 6 januari 2019 – Walid Raad, Let’s Be Honest, the – Echte Luxe… : schenkingen en aanwin- Weather Helped sten beeldende Kunst 2012 – 2018 18 mei – 13 oktober 2019 22 september 2018 – 17 februari 2019 – Welkom Today – Ad van Denderen, – Metahaven: EARTH Lebohang Tlali e.v.a. 6 oktober 2018 – 24 februari 2019 18 mei – 13 oktober 2019 – Lily van der Stokker – Friendly Good – Steffani Jemison – New Videos 27 oktober 2018 – 24 februari 2019 22 juni – 29 september 2019 – Raquel van Haver, Spirits of the Soil – Kleurrijk Japan, 226 affiches uit de collectie 25 november 2018 – 7 april 2019 7 september 2019 – 2 februari 2020 – Freedom of Movement: Gemeentelijke – Chagall, Picasso, Mondriaan e.a. – Kunstaankopen 2018 Migranten in Parijs 25 november 2018 – 17 maart 2019 21 september 2019 – 2 februari 2020 – Tino Sehgal: This Variation – De Best Verzorgde Boeken 2018 4 februari – 3 maart 2019 25 september – 30 oktober 2019 – Pinball Wizard: The Work and Life of – Wim Crouwel: Mr.