KHS March 2021 Newsletter
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Art Gallery of Ballarat Annual Report 10-11 Annual Report
Art Gallery of Ballarat Annual Report 10-11 Annual Report 2010-11 ISSN 0726-5530 Chair’s Report .................................................................................................4 Art Gallery of Ballarat ACN: 145 246 224 Director’s Report .........................................................................................6 ABN: 28 145 246 224 Association Report .....................................................................................8 40 Lydiard Street North Ballarat Victoria 3350 Women’s Association Report ............................................................10 T 03 5320 5858 F 03 5320 5791 Gallery Guides Report ...........................................................................11 [email protected] Acquisitions ...................................................................................................13 www.artgalleryofballarat.com.au Outward Loan ..............................................................................................27 Exhibitions ......................................................................................................31 Public Programs ........................................................................................35 Education Visits and Programs ..........................................................37 Adopt an Artwork ......................................................................................40 Donations, Gifts and Bequests .........................................................41 Gallery Staff and Volunteers -
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 -
Contents X.·~ •'' Pres
.. Australian Institute for the Conservation of Cultural Material (Inc.) ISSN 1834-0598 No 129 November 2014 ;fi . ~I· · /'!. Contents x.·~ •'' Pres . ~ : 3 iden t's Report .' t~':. 5 Publications update it \~ AICCM Student of the ,, 7 i· Year Awards 2014 i 8 Review - ICOM-CC " 1 7'h Triennial - Conference t 11 Review - IIC Hong Kong Congress 13 Environmental Guidelines- IIC and ICOM-CC Declaration :. ' 14 R~v i e w - iPRES20 14: 11 ehInt ernational Conference on Digital Preservation 15 Review - Conservation of Phot ographs Mas terclass ' 16 Review - Sy mposium and Workshop 18 Na tional Trust ACT Iiio., He ritage Awards 2014 19 Open Palace .~-•. - Programme \. 20 Workshop: Recons truction of ~. ... cloth case bindings 21 SIG News 22 The Social Pages 23 Division News 24 The Retiring Type: Farewell, lan Ba tterham 25 Profess ional News Masterclass: Conservation IIC Hong Kong Congre Open Palace program of Photographs STERILISATION AS A CONSERVATION TOOL Around the world, museums, universities, galleries and libraries are increasingly using industrial sterilisation techniques, such as irradiation, to strengthen their protections against mould, pest infestations and bacteria. Irradiation is widely used in the medical, pharmaceutical and agricultural industries and is at the front line of Australia's quarantine system. lt is a physical means of sterilisation whereby products are exposed to gamma rays. These rays act as a source of ionising energy that eliminates bacteria, pests and other pathogens, while having minimal impact on the treated item. STERITECH BENEFITS OF IRRADIATION Steritech is a member of the Australian Institute for the Conservation of Cultural Materials and we would welcome Steritech is a proud Australian family owned company and the Steritech has worked with a number of major Australian the opportunity to discuss opportunities to help Australian leading contract sterHisation processor in the Asia-Pacific region universities and State libraries to help manage pest and mould conservators protect their materials. -
Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
Danks News Final
Artworks where Resale Royalty is not applicable Artworks under $1,000 and so exempt from Resale Royalty Collectible Australian artists in this category include: consider works on paper including prints, smaller works, works by less mainstream or emerging artists, decorative arts Robert Clinch 1957 - Black and White 2008 suite of eight lithographs 19 x 20.5 cm each, edition of 40 These lithographs are available individually or in matching numbered sets. Troy Pieta Alice Ali Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm David and Goliath Empire Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm Richard III Alien Artworks where Resale Royalty is not applicable Deceased Artists who have been deceased for more than 70 years Collectible Australian artists in this category include: Clarice Beckett, Merric Boyd, Penleigh Boyd, Henry Burn, Abram Louis Buvelot, Nicholas Chevalier, Charles Conder, David Davies, John Glover, William Buelow Gould, Elioth Gruner, Haughton Forrest, Emmanuel Phillips Fox, A.H. Fullwood, Henry Gritten, Bernard Hall, J.J. Hilder, Tom Humphrey, Bertram Mackennal, John Mather, Frederick McCubbin, G.P. Nerli, W.C. Piguenit, John Skinner Prout, Hugh Ramsay, Charles Douglas Richardson, Tom Roberts, John Peter Russell, J.A. Turner, William Strutt, Eugene Von Guerard, Isaac Whitehead, Walter Withers Bernard Hall 1859 - 1935 Model with Globe oil on canvas 67x 49 cm William Buelow Gould 1803 - 1853 Still Life of Flowers c.1850 oil on canvas 41 x 50 cm -
Saffron Newey Sullied Sublime
1 Paper prepared for the Third Euroacademia International Conference Identities and Identifications: Politicized Uses of Collective Identities Lucca, Italy 19 – 20 June 2015 This paper is a draft Please do not cite 2 Sullied Sublime; Art History and Identity in the Post Internet era Saffron Newey Royal Melbourne Institute of Technology (RMIT University), Melbourne, Australia Abstract My PhD (Fine Art) research interrogates the artist’s role in the reportage of history and the impact this has on cultural identity. It too considers how historical artworks are represented in our Post Internet era. This paper focuses on two migrant, European painters who influenced the perception of a cultural identity in the newly colonised Australia between 1850 and 1890: Swiss-born, Abram-Louis Buvelot (1814-1886) and Austrian, Eugene von Gerard (1811-1901). Both have been posthumously honoured as fathers of the Australian landscape and, conversely, criticised for their misrepresentation of Australian history. The paintings of Von Gerard and Buvelot make a departure from the first colonial portrayals of the Australian pastoral which were mainly scientific illustrations. The period of landscape painting that followed featured a Eurocentric gaze that resembled more a Claude Lorraine than the local environment. Buvelot and von Gerard however, approached the landscape with an unprecedented naturalism and ambience. To those at home in Europe, this new Australian landscape would tell the story of a bushy Shangri La; a romantic narrative, indeed. And yet, these images of majestic mountains and harmonious farmland belie Australia’s wretched past - as a penal colony, the genocide of indigenous peoples, its harsh climate and burgeoning, unmanageable population. -
Art Collectors in Colonial Victoria 1854 - 1892
ART COLLECTORS IN COLONIAL VICTORIA 1854 - 1892 : AN ANALYSIS OF TASTE AND PATRONAGE. Gerard Vaughan B.A. Honours Thesis 1976 Volume I. TABLE OF CONTENTS VOLUME 1 Introduction i - v Chapter 1 The Loan Exhibitions before 1880 1- 8 Chapter 11 The Taste for Prints 9 - 11 Chapter 111 The Collectors 12-47 Chapter 1V Collectors and the International 48 - 51 Exhibitions - A Resume Chapter V The Interest in Foreign Art 52-62 Chapter V1 The Dealers 63 - 78 Conclusion 79 - 82 VOLUME 11 Footnotes - Introduction Chapter 1 1- 4 Chapter 11 5- 7 Chapter 111 8-24 Chapter 1V 25-26 Chapter V 27 - 30 Chapter Vi and conclusion 31-37 Appendix A Holdings of Major Art Collections 38-59 Appendix B Furniture and Sculpture 60-62 Appendix C List of Illustrations 63 - 66 Appendix D A Note on Picture Galleries 67 Appendix E Patrons of Melbourne Artists in 68 - 86 the 1880s VOLUME 111 Illustrations ART.COLLECTORS IN COLONIAL VICTORIA 1854-1892; an analysis of taste and patronage. INTRODUCTION My examination of the holdings of private art collections in Victoria before 1892 is confined to British and European art. It was to Britain that taste was oriented, and the emerging group of Australian painters made little impact upon those patrons and collectors recognized as being the cultural leaders of the community. It would have been difficult to incorporate my research on collectors of Australian art in an essay of this length. I have therefore confined myself to a number of general observations set out in Appendix E. These may be useful in better understanding a part of the background against which British and European art was collected. -
Percy Leason (1889-1959)
PERCY LEASON (1889-1959) Percy Alexander Leason was an Australian artist who was a major figure in the Australian tonalist movement. Percy was born on 23 February 1889 in rural Victoria, from a large family of famers, he was expected to carry on the family tradition of wheat farming or saddlery making, however, in his early adolescent years he demonstrated an interest in drawing. After attending art school at Nhill, Percy was apprenticed to Sands & McDougall in Melbourne as a lithographic artist in 1906. He soon transferred to the art department where he did illustrations for jam tin labels and department store advertisements. His first major illustration was a poster for Carlton Brewery in Melbourne of Sam Griffin, an itinerant miner, standing at a bar with a full pint, the caption of the poster “I allus has wan at Eleven”, became a famous trademark for Foster beer. During these years he studied at the National Gallery of Victoria Art School under the tutelage of Bernard Hall and Frederick McCubbin, upon completing his apprenticeship he began a somewhat bohemian lifestyle. Leason commenced his illustration career in 1914, later serving on the staff of the Sydney Bulletin as political cartoonist, at this time his career as a commercial painter was expanding as well, with artworks of Gallipoli and the Sturt expedition being bought by the War Memorial Museum in Canberra, and the National Library of Australia in Canberra respectively. He joined the Sydney Society of Artists and the Painters and Etchers Society, in 1918 his paintings and etchings were purchased by The Art Gallery of New South Wales, Sydney, and at that time he was the highest paid commercial artist in Australia. -
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. -
Immunity from Seizure
Immunity from Seizure THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Australia's Impressionists. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 Protection under the Act is sought for the objects listed below: Charles Conder (1868-1909) Purchased 1888 © AGNSW X9159 Departure of the Orient - Circular Quay 1888 Place of manufacture: Australia Oil on canvas Object dimensions: 45.1 × 50.1 cm Art Gallery of New South Wales, Sydney. -
'Impressions from Virtual Landscapes'
Cover Page RMIT University Melbourne Faculty of Art Design and Communication School of Art and Culture, Fine Art Exegesis Project Title: ‘Impressions from Virtual Landscapes’ Name of Candidate: Neil G McMasters Year of Completion: 2003 © Neil G McMasters 2003 Doctor of Fine Art ‘Impressions from Virtual Landscapes’ Exegesis ©Neil G McMasters Page 1 2003 Project Title: ‘Impressions from virtual landscapes’ Brief Description: The aim of this project is to build and render digital landscape models that reflect natural element characteristics and use the resulting data sets as source material for fine art investigation and production. The project will utilise 3D computer modelling techniques, selected output technology and studio facilities. Computer-generated virtual landscapes material will be incorporated into studio practice by providing observed environmental content for the development of works for exhibition. An accompanying exegesis will explore the relationship and tensions between digital landscape data sets and the broader use of landscape as a motif within an Australian context. Doctor of Fine Art ‘Impressions from Virtual Landscapes’ Exegesis ©Neil G McMasters Page 2 2003 Table of Contents COVER PAGE...........................................................................................................................................1 ‘IMPRESSIONS FROM VIRTUAL LANDSCAPES’ ...............................................................................1 Brief Description: .............................................................................................................................2 -
Chapter 4. Australian Art at Auction: the 1960S Market
Pedigree and Panache a history of the art auction in australia Pedigree and Panache a history of the art auction in australia Shireen huda Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/pedigree_citation.html National Library of Australia Cataloguing-in-Publication entry National Library of Australia Cataloguing-in-Publication entry: Author: Huda, Shireen Amber. Title: Pedigree and panache : a history of the art auction in Australia / Shireen Huda. ISBN: 9781921313714 (pbk.) 9781921313721 (web) Notes: Includes index. Bibliography. Subjects: Art auctions--Australia--History. Art--Collectors and collecting--Australia. Art--Prices--Australia. Dewey Number: 702.994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: John Webber, A Portrait of Captain James Cook RN, 1782, oil on canvas, 114.3 x 89.7 cm, Collection: National Portrait Gallery, Canberra. Purchased by the Commonwealth Government with the generous assistance of Robert Oatley and John Schaeffer 2000. Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface ..................................................................................................... ix Acknowledgements