Art Gallery of New South Wales Annual Report 2007–08
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 -
Olympic Memorabilia89
OLYMPIC MEMORABILIA89 MAIL BID AUCTION 89: APRIL 24, 2021 INGRID O’NEIL Lot 11 Third Place Winner’s Diploma Awarded for 50 Kilometer Skiing to M. J. Grothumsbraaten from Norway at the Chamonix 1924 First Winter Olympic Games Cover Illustrations Lot 1 Participation Medal struck in Gold for Stockholm 1912 President Viktor Balck – the Third Known Gold Medal for the Stockholm 1912 Olympic Games, the First Two Medals belonging to the Swedish King and the Crown Prince Lot 2 The Badge for the Emperor of Japan and the Imperial Family at the Tokyo 1964 Olympic Games Back Cover Illustration Lot 3 Original Painting “Atlanta 1996” by Famous Painter Michel Delacroix Commissioned by the IOC and the USOC for the Centennial Olympic Games in Atlanta 1996 OLYMPIC GAMES MEMORABILIA 1896–2020 Mail Bid Auction No. 89 Closing at 8 pm Pacific Time (Los Angeles) Saturday, April 24, 2021 The Auction will take place Online at auctions.ioneil.com www.ioneil.com Bids by Email, Phone, Mail and Fax are Welcome Ingrid O’Neil Auctions, Inc. Sports and Olympic Memorabilia P.O. Box 265 Tel: (949) 715-9808 Corona Del Mar, CA 92625 USA Fax: (949) 715-1871 Email: [email protected] ©2021 Ingrid O’Neil Auctions, Inc. Sports and Olympic Memorabilia INGRID O’NEIL AUCTIONS, INC. MAIL BID AUCTION 89 Tel: (949) 715-9808 Sports and Olympic Memorabilia Saturday, April 24, 2021 Fax: (949) 715-1871 P.O. Box 265 Online Auction www.ioneil.com Email: [email protected] Corona Del Mar, CA 92625 USA auctions.ioneil.com Bids by Email, Phone, Mail and Fax accepted TERMS OF SALE (Please read carefully before bidding.) The auction will be conducted in accordance with the terms set forth below. -
The Art of Philip Wolfhagen a Newcastle Art Gallery and Tasmanian NEWCASTLE ART GALLERY, NSW Museum and Art Gallery Travelling Exhibition
Photographer: Tristan Sharp Philip Wolfhagen studio in Tasmania (2012) ABOUT THESE PAGES FOR EXHIBITION DATES PLEASE SEE THE TOUR SCHEDULE BELOW. This webpage supports the exhibition, Illumination The art of Philip Wolfhagen A Newcastle Art Gallery and Tasmanian NEWCASTLE ART GALLERY, NSW Museum and Art Gallery travelling exhibition. 22 June - 11 August 2013 Designed in conjunction with the Illumination The art of TASMANIAN MUSEUM AND ART GALLERY, TAS Philip Wolfhagen Education kit, this webpage provides 13 September - 1 December 2013 insight into the materials, artists, music and places that are important to Wolfhagen, and is recommended as an ad- THE AUSTRALIAN NATIONAL UNIVERSITY DRILL HALL GAL- ditional resource for teachers and students or for general LERY, ACT public use. 20 February - 6 April 2014 Surveying the twenty five year career of Australian painter CAIRNS REGIONAL GALLERY, QLD Philip Wolfhagen, Illumination The art of Philip Wolfhagen 9 May - 6 July 2014 explores the artist’s enchantment with the Australian land- scape, the tactility and intimacy of his painting process, his TWEED RIVER ART GALLERY, NSW command of colour and use of signature devices such as 8 August - 12 October 2014 the split picture plane. HAMILTON ART GALLERY, VIC Wolfhagen’s work is held in major public and corporate 15 November 2014 - 1 February 2015 collections in Australia and in private collections nationally and internationally, with the largest national public col- GIPPSLAND ART GALLERY, VIC lection of his work currently owned by the Newcastle Art 14 February - 12 April 2015 Gallery. Newcastle Art Gallery strongly supports experience-based learning and advises that this webpage be used in conjunc- tion with a visit to the exhibition. -
Sabine Cotte Education Professional Experience
Sabine Cotte Paintings Conservation 31, Niagara Lane Melbourne Vic 3000 M: 04 02 843 543 E: [email protected] W: www.sabinecotte.com Nationalities: French and Australian. Arrived in Australia in 2001. Since 1990, works for mu- seums, galleries and private collectors in France, Australia and the Himalayas. Cultural Conservation Expert for UNESCO since 1997, focus on South East Asia Honorary fellow, University of Melbourne, Faculty of Arts, Grimwade Centre for Cultural Ma- terials Conservation Education 2017 PhD Arts, ‘Art in the making: Mirka Mora’s techniques and materials and their meaning in conservation’ University of Melbourne. 2011 Masters by Research. ‘Tibetan paintings in Australia: conservation of a living heritage’ University of Melbourne (First Class Honours) 1994 Certificate in Mural Paintings Conservation International Centre for the Preser- vation of Cultural Property in Rome (ICCROM) 1986-1990 Masters in Conservation and Restoration Institut National du Patrimoine (INP- IFROA) Paris. Easel painting conservation (High Distinction, Congratulations of the jury) 1982-1986 Honours Bachelor in Fine Arts, Ecole Nationale des Beaux-Arts, Paris, Screen- printing and Lithography (High Distinction). 1982-1986 Honours Bachelor in Art History. University of Paris I, History of Art and Ar- chaeology Professional experience Collaboration with contemporary artists Consultation with the artists, research and documentation of methods and materials. Work with Mirka Mora, Lara Merrett, David Keeling, Peter Booth, Paul Boston and Philip Wolf- hagen, Daniel Buren, Jean Pierre Raynaud, Pierre Soulages and Christian Boltanski. Survey of collections and condition reports Documentation, risk assessment, prioritisation of needs, preventive conservation recommen- dations and planning, condition assessment. Clients include museums, auction houses and art dealers. -
EAST AFRICA & UGANDA ======EAST AFRICA & UGANDA, BRITISH PROTECTORATE of BIRMINGHAM MINT ======25 CENTS 18MM .800 FINE 2.916 GRAMS ======
Modern Dime Size Silver Coins of the World EAST AFRICA & UGANDA ====================================================================== ====================================================================== EAST AFRICA & UGANDA, BRITISH PROTECTORATE of BIRMINGHAM MINT ====================================================================== 25 CENTS 18MM .800 FINE 2.916 GRAMS ====================================================================== (1911) 1910 200,000 ¿OV: Head of Edward VII, facing right EDWARD VII, KING & left EMPEROR right / DES under bust. ¿RV: Lion passant guardant and Mt.Kilimanjaro (African landscape) 25 / CENTS / 1910 / H (mintmark), EAST AFRICA & UGANDA PROTECTORATES around. EDGE: Reeded MINT: H = THE MINT, BIRMINGHAM LTD. DESIGNER: DES = George William DeSalles REFERENCE: Y-7, KM-3 POPULATION: Esat Africa - 1910 - 4,000,000 including 25,000 asiatics. FOOTNOTE: This issue was struck by the Birmingham mint in 1911 with the date of 1910 on the coinage. FOOTNOTE: The colonial coinage listed here for the British Protec- torate of East Africa was produced by both the Royal Mint, London 1914 - 25 CENTS - OBVERSE starting in 1906, with the next issue dated 1910 contracted from ====================================================================== The Mint, Birmingham, Ltd. minted in 1911. The next two years the EAST AFRICA & UGANDA, BRITISH PROTECTORATE of 25 cents denomination was minted again by London, while the BIRMINGHAM MINT final dates of 1914, 1918 and 1920 were again ordered from ====================================================================== Birmingham. The listings are arranged in mint order. 25 CENTS 18MM .800 FINE 2.916 GRAMS ====================================================================== FOOTNOTE: The inland Uganda Protectorate lying west of Kenya Colony, is the former Kingdom of Uganda. It was declared a British 1914 80,000 Protectorate in 1894. 1918 40,000 rare ¿OV: Head of George V, facing left GEORGIVS V REX ET IND: IMP: (George V King and Emperor of India) around / B.M. -
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 ................................................................................................ -
G Eelong G Allery Annual Report
Geelong Gallery annual report 2009–2010 Geelong Gallery Little Malop Street Geelong 3220 T 03 5229 3645 Open daily 10am–5pm Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday www.geelonggallery.org.au Geelong Gallery annual report 2009–2010 01 Contents President’s report 02 Director’s report 04 Honorary Secretary’s report 08 The Geelong Art Gallery Foundation 16 The Geelong Gallery Grasshoppers 18 Friends of the Geelong Gallery 20 Collections report 21 Financial statements for 30 the year ended 30 June 2010 Government partners and sponsors 44 Geelong Gallery annual report 2009–2010 02 President’s report Since the Gallery’s last AGM, my predecessor Overall, I’m delighted to confirm that the year’s as President of the Geelong Gallery, Michael programs and initiatives went successfully to Cahill, has stepped down from the role, having plan, with all the Key Performance Indicators served in different capacities on Gallery boards that underpin the Gallery’s funding agreements and committees for some two decades. So, with our local and state government partners it is with great pleasure that I place on record either comfortably met or, more often than here our sincere thanks to Michael for this not, substantially exceeded. remarkable commitment to the Board and to the Gallery, noting as I do so, and with real A wide-ranging exhibition program was satisfaction, that Michael retains a formal link delivered to critical acclaim, the Gallery’s with us as continuing Chair of the Gallery’s financial performance was sound, corporate Acquisitions committee. sponsorships were retained and extended, the collection grew through purchase, As usual on these occasions, brief outlines bequest, acquisitive prize, and gift with of the Gallery’s financial and general operating the Geelong Art Gallery Foundation keenly performance over the previous 12 months supportive throughout. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can 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 Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012. -
MRAGM Newsletter March at 2Pm at MRAG
Feb/March maitland regional art gallery 1 2008 members (MRAGM) newsletter Maitland Regional Art Gallery Members’ (MRAGM) primary role is to promote public awareness of Maitland Regional Art Gallery (MRAG) and its activities. MRAGM is recognised by the art gallery as a vital ingredient to the growth of the Cultural Precinct. Exhibitions at MRAG “Heads Up! “showcases the work of prominent Australian artists Vicki Varvaressos and Richard Larter. Vicki Varvaressos started exhibiting in 1975. She has held over 28 solo exhibitions and has been included in numerous group shows. Prizes included winning the Portia Geach Memorial Award - winner in 2002. Varvaressos is represented in many important collections in Australia, including the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria and most Regional Galleries. She is also featured in overseas collections. Richard Larter came to Australia from London in 1962. He has been in many significant exhibitions and is well represented in the Australian National Gallery, State Galleries and numerous other collections. “Heads Up!” has been supported by Watters Gallery in Sydney – one of Australia’s most successful and longest running commercial art galleries. To complement this thought provoking exhibition MRAG has curated an exhibition of “Portraiture from the MRAG Collection” featuring unique paintings by Brett Whiteley and Charles Blackman. Other portrait paintings and works on paper by Peter Kingston, Salvatore Zofrea and Newcastle’s own Norma Allen are included in this exhibition along with a selection of photographs featuring famous Australian artists in their own homes such as Donald top: richard larter (detail) julie 143 2001 oil on Friend and Margaret Olley. -
Course Number and Title: CAS AH 374 Australian Art and Architecture
Course Number and Title: CAS AH 374 Australian Art and Architecture Instructor/s Name/s: Peter Barnes Course Dates: Spring Semester, Fall Semester Office Location: BU Sydney Programs, Australia, a division of BU Study Abroad Course Time: Two sessions per week in accordance with class schedule: one session of 4 + hours and one session of 2 hours in a 7-8 week teaching half of a semester. Location: Classrooms, BU Sydney Academic Centre, Sydney, Australia, and multiple out-of-classroom field trips as scheduled, one of which is a 12 hour day long field trip outside the city to Canberra, Australia’s national capital and home to National Art Galleries, and Museums. Course Credits: 4 BU credits plus 2 BU Hub units Contact Information: [email protected] Office Hours: 15 minutes prior to and following course delivery or by appointment. TA/TF/Learning Assistant information, if relevant: 0 Principal Lecturers: Peter Barnes Guest Lecturers: Vary in accordance with available artists. One example is: Tom Carment, a working artist Question-driven Course Description: *How have European art traditions influenced the art practice of Australia’s indigenous peoples and how in turn has Aboriginal culture impacting the art of non-indigenous Australians? *The 18th century voyages to the southern ocean placed artists in a prominent role as practitioners of the new science of observation and experimentation promoted by the Royal Society. How does this differ from the idealist aesthetics of the Royal academy and what impact did this have on art in Australia during