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Escape Artists Education
ESCAPEartists modernists in the tropics education kit INTRODUC TION & H TEAC ERS NOTES Almost two years in development, Escape Artists: Modernists in the Tropics is the first exhibition by Cairns Regional Gallery to tour nationally. In this exhibition, you and your students will see how the tropical north of Australia has influenced Australia’s greatest artists, some of whom you will be familiar with, others less familiar. The artists featured in the exhibition are: • Harold Abbott • Valerie Albiston • Douglas Annand • Yvonne Atkinson • John Bell • Yvonne Cohen • Ray Crooke • Lawrence Daws • Russell Drysdale • Ian Fairweather • John Firth-smith • Donald Friend • Bruce Goold • Elaine Haxton • Frank Hinder • Frank Hodginson • Sydney Nolan • Alan Oldfield • Margaret Olley • John Olsen • Tony Tuckson • Brett Whitely • Fred Williams • Noel Wood The lure of an exotic, untouched, tropical paradise has a tradition in modern art beginning with Gaugin in Tahiti. It was this desire to discover and explore new worlds which attracted these artists to the Far North - a part of Australia like no other they had seen. Here they found a region of extraordinary, abundant natural beauty and a cultural pot pourri of indigenous inhabitants and people from all over the world. This exciting mixture of important artworks was assembled from major private and public collections by Gavin Wilson,curator of the successful Artists of Hill End exhibition at The Art Gallery of News South Wales. Escape Artists provides a significant look at the cultural and historic heritage of North Queensland and the rest of northern Australia. You and your students will find some pleasant surprises among the works in the exhibition. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
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. -
AUSTRALIAN COLONIAL Good Hardback Copy in Illustrated Boards
SAINSBURY’S BOOKS PTY LTD Architecture 12. GEHL, Jan and GEMZOE, Lars. NEW CITY SPACES. The Danish Architectural Press, Copenhagen. 2000. Landscape 4to, 263pp. With colour illustrations. A very good hardback copy in like dust jacket. Inscription to title page. $100 13. GREENE & GREENE: BOSLEY, Edward R. and MALLEK, Anne E. (Edited by) A NEW AND NATIVE BEAUTY. The Art and Craft of Greene & Greene. Merrell Publishers, London. 2008. 4to. 265pp, black and white and colour illustrations. A near fine hardback copy in like dust jacket. $50 14. GRIFFIN, Walter Burley: JOHNSON, Donald Leslie. THE ARCHITECTURE OF WALTER BURLEY GRIFFIN. Macmillan, 1977. Oblong 8vo., 163pp, Black and white and colour illustrations. A very good hardback copy in like dustjacket. $30 15. GRIMSHAW AND PARTNERS. GRIMSHAW: ARCHITECTURE: 1. BELL, Michael and BUCKLEY, Craig (editors). PERMANENT THE FIRST 30 YEARS. Prestel, Munich. 2011. Large 4to. Illustrated in CHANGE: PLASTICS IN ARCHITECTURE AND ENGINEERING. colour. A near fine hardback copy in like dust jacket. $30 Princeton Architectural Press. 2014. 4to, 271pp, with colour illustrations. A near fine hardback copy in illustrated boards. $30 16. HELLIWELL & SMITH: BODDY, Trevor. (Edited by) BLUE SKY LIVING. The Architecture of Helliwell & Smith. Images Publishing. 2013. 2. BLUEPRINTS FOR MODERN LIVING. History and Legacy of the 4to. 148pp. colour illustrations. A near fine hardback copy in like dust jacket. Case Study Houses. MIT, Cambridge. 1989. Landscape 4to, 256pp. With $15 black & white and colour illustrations. A very good hardback copy in like dust jacket. With previous owner's unsigned bookplate. $120 17. IMAGINE ARCHITECTURE. Artistic Visions of the Urban Realm. -
John Cruthers
MENZIES AUSTRALIAN & INTERNATIONAL FINE ART & SCULPTURE Sydney 24 September 2015 Several of the best works in this sale are well above the buying budgets of my clients, so as usual I have not written about them. This is a shame, because if any of you has a spare $350,000, Ian Fairweather’s Fascismo is a superb late painting and easily museum standard. But overall it’s an interesting sale containing some unusual and offbeat items. So I have taken the opportunity to introduce some new artists I’ve not previously recommended, and to reiterate my enthusiasm for a couple of others I’ve had little success with. Other works I’ve not recommended because I have no-one collecting in the area, for example the two terrific 1973 prints by US pop master Jim Dine, or the 1976 screenprint by Bridget Riley, the major figure in the international op art movement. I hope you enjoy seeing some new artists and, as always, I am very pleased to discuss any works of interest to you that I have not included in the presentation. JOHN CRUTHERS rococo pop pty ltd In a recent sale I recommended a painting by Albert Tucker called Woman 1950, of a prostitute standing in a doorway in a bombed-out looking Paris. I commented that the years Tucker spent overseas, roughly 1947-60, represented a highpoint in his work. He saw a lot of great art, worked hard and strove to produce work that measured up to the best contemporary art he was seeing. The current work is a study in which Tucker tries a variety of stylistic devices borrowed from late cubism to depict the female form in interior space. -
Important Australian Art Sydney | 26 June 2019
Important Australian Art Sydney | 26 June 2019 Important Australian Art Sydney | Wednesday 26 June 2019 at 6pm MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Como House Online bidding will be available Merryn Schriever - Director OF LOTS IN THIS AUCTION Williams Rd & Lechlade Ave for the auction. For further Australian and International Art PLEASE NOTE THAT THERE South Yarra VIC 3141 information please visit: Specialist IS NO REFERENCE IN THIS www.bonhams.com +61 (0) 414 846 493 mob CATALOGUE TO THE PHYSICAL Friday 14 – Sunday 16 June [email protected] CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to INTENDING BIDDERS MUST read the important information Alex Clark SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Australian and International Art TO THE CONDITION OF ANY 36 – 40 Queen St to bidding, payment, collection, Specialist LOT AS SPECIFIED IN CLAUSE Woollahra NSW 2025 and storage of any purchases. +61 (0) 413 283 326 mob 14 OF THE NOTICE TO [email protected] BIDDERS CONTAINED AT THE Friday 21 – Tuesday 25 June REGISTRATION END OF THIS CATALOGUE. 10am – 5pm IMPORTANT NOTICE Francesca Cavazzini Please note that all customers, Aboriginal and International Art As a courtesy to intending AUCTION irrespective of any previous Art Specialist bidders, Bonhams will provide a 36 - 40 Queen Street activity with Bonhams, are +61 (0) 416 022 822 mob written indication of the physical Woollahra NSW 2025 required to complete the Bidder francesca.cavazzini@bonhams. condition of lots in this sale if a Registration Form in advance of com request is received up to 24 Wednesday 26 June at 6pm the sale. -
Collections6.Pdf
University of Melbourne Issue 6, June 2010 COLLECTIONS University of Melbourne Collections Issue 6, June 2010 University of Melbourne Collections succeeds University of Melbourne Library Journal, published from 1993 to December 2005. University of Melbourne Collections is produced by the Cultural Collections Group and the Publications Team, University of Melbourne Library. Editor: Dr Belinda Nemec Assistant editor: Stephanie Jaehrling Design concept: 3 Deep Design Design implementation: Jacqueline Barnett Advisory committee: Shane Cahill, Dr Alison Inglis, Robyn Krause-Hale, Jock Murphy, Associate Professor Robyn Sloggett Published by the University Library University of Melbourne Victoria 3010 Australia Telephone (03) 8344 0269 Email [email protected] © The University of Melbourne 2010 ISSN 1835-6028 (Print) ISSN 1836-0408 (Online) All material appearing in this publication is copyright and cannot be reproduced without the written permission of the publisher and the relevant author. The views expressed herein are those of individuals and not necessarily those of the University of Melbourne. Note to contributors: Contributions relating to one or more of the cultural collections of the University of Melbourne are welcome. Please contact the editor, Belinda Nemec, on (03) 8344 0269 or [email protected]. For more information on the cultural collections see www.unimelb.edu.au/culturalcollections. Additional copies of University of Melbourne Collections are available for $20 plus postage and handling. Please contact the editor. Subscription to University of Melbourne Collections is one of the many benefits of membership of the Friends of the Baillieu Library, Grainger Museum Members and Members of the Ian Potter Museum of Art. See www.unimelb.edu.au/culturalcollections/ links/friends.html Front cover: Illustration from Violet Teague and Geraldine Rede, Night fall in the ti-tree (illustrated book, designed, illustrated, printed and hand-bound by the artists; colour woodcut; 32 pages, printed image 24.4 x 17.4 cm), London: Elkin Matthews, 1906. -
James Gleeson Interviews: Treania Smith
JAMES GLEESON INTERVIEWS: TREANIA SMITH 8 March 1979 JAMES GLEESON: Now, Treania, weʼve got a long way to go; right back to the beginning of your recollections of the Macquarie Galleries. That takes us back into, when, the twenties or the thirties? TREANIA SMITH: Oh, not till the thirties because I was in the Edinburgh College of Art in the late twenties. JAMES GLEESON: Tell us a bit about your own background first, where you studied and so on. TREANIA SMITH: Well, when I first left school I studied with Max Meldrum. He was a friend of my fatherʼs and I was fascinated by the fancy studio, a huge place in Bourke Street, and I wanted to stay there and I wanted to study, so I did. At that time I was boarding with Harry Harrison and Daisy Darr, his wife, in the old McCubbin house on the Yarra in Melbourne. Louis McCubbin was occupying half of it. JAMES GLEESON: So you were involved with the art world right from the beginning? TREANIA SMITH: Yes, very much, yes. JAMES GLEESON: Were other members of your family interested in art? TREANIA SMITH: Oh, my father, you see, was an architect, and also in his young days had drawn for The Bulletin and also for Steele Ruddʼs magazine. JAMES GLEESON: Oh well, you were right in the thick of things right from early childhood. TREANIA SMITH: Yes. He was a member of a group in Melbourne which I think was called the T Square Club, and the Lindsayʼs and Max Meldrum and all sorts of people were members–Harry Harrison particularly, and so on. -
BOOKFARE 14 the Newsletter of the Australian & New Zealand Association of Antiquarian Booksellers
BOOKFARE 14 The newsletter of the Australian & New Zealand Association of Antiquarian Booksellers ANZAAB The Australian & New Zealand Association of Antiquarian Booksellers Ltd www.anzaab.com Queries, or for information about ANZAAB, contact: Rachel Robarts, Secretary [email protected] ANZAAB is affiliated with the International League of Antiquarian Booksellers www.ilab.org BookFare is edited by Fiona Kells Letters, news, ideas and anything else you’d like to share should be addressed to the Editor at [email protected] Cover: Stout Men’s Models. Fashion for men by J. L. Taylor & Co. Latest pure wool fabrics. Chromolithograph, 28 cm x 36 cm. c.1921 (Brighton Antique Prints & Maps antiqueprints.com.au) BOOKFARE The newsletter of the Australian & New Zealand Association of Antiquarian Booksellers July 2015 Well spin me round, round, baby, right round…it’s offer, follows. More information can also be found almost Melbourne Rare Book Week! ANZAAB, in at www.rarebookfair.com. partnership with Melbourne’s foremost literary Melbourne Rare Book Fair also coincides institutions, historical societies, libraries and with the annual Open House Melbourne (OHM) bookshops, will present a stimulating and diverse program, with the Book Fair venue, Wilson Hall, array of lectures, presentations and exhibitions as being included in the OHM event. part of this year’s Rare Book Week program, culminating in the ANZAAB Australian Antiquarian Book Fair at the University of PENGUIN AND THE LANE BROTHERS: Melbourne’s historic Wilson Hall. And best of The Untold Story of a Publishing Revolution all—admission to all events is free. by Stuart Kells Melbourne Rare Book Week runs from Black Inc 9781863957571 Thursday, 16 July through to Sunday, 26 July. -
Dianne Reilly – Lina Bryans, Portrait of Tristan Buesst
92 Lina Bryans, Portrait of Tristan Buesst Pictures Collection H89.207 Acquired 1983 Tristan Noël Marchand Buesst (1894–1982) was one of a dedicated group of collectors and historians who joined forces, in 1966, to form the Friends of the La Trobe Library, a support group for the new wing of the then State Library of Victoria. The La Trobe Library, opened in 1965, was built to commemorate the courage and enterprise of the state’s pioneers1 and to act as the state’s principal repository for Australiana. Tristan Buesst acted as provisional president of the Friends, its first meeting held on 29 November 1966 at his apartment in South Yarra.2 He was duly elected president and held the position until April 1972. Born into a cultured and affluent Melbourne family, Tristan Buesst was educated at the University of Melbourne before enlisting in the British Army in 1916 and serving on the Western Front.3 After the war, he continued his studies in law at New College, Oxford. On his return to Melbourne, he completed his LLB and was admitted to the Supreme Court of Victoria in 1925 as a barrister and solicitor. In 1933, he married Marie Mackinnon, niece of artist Rupert Bunny. In addition to Buesst’s donation of many paintings to the Library’s Pictures Collection over the years,4 the Tristan Buesst Fund, established in 1971 for the acquisition of historical pictures, has made possible numerous important purchases for years to come.5 A serious book collector, Buesst presented his collection of about 300 foreign-language Australiana volumes, mainly works published in the late 18th and 19th centuries, to the State Library in 1974. -
Convergence the Art of Zhou Xiaoping in Aboriginal Australia Convergence the Art of Zhou Xiaoping in Aboriginal Australia
CONVERGENCE THE ART OF ZHOU XIAOPING IN ABORIGINAL AUSTRALIA CONVERGENCE THE ART OF ZHOU XIAOPING IN ABORIGINAL AUSTRALIA This catalogue collates the works presented at: Museum of Chinese Australian History (Melbourne) 25 June – 3 August 2020 ACIAC Western Sydney University (Sydney) 27 July --- 16 October 2020 Live in Art (Sydney) 10 October – 20 November 2020 ACAE Gallery (Melbourne) 3 – 24 December 2020 AUSTRALIAN CHINESE ART RESEARCH INSTITUTE Produced in 2020 by Xiaoping Studio in collaboration with Australia-China Institute for Arts and Culture of Western Sydney University First edition: June 2020 © Zhou Xiaoping All rights reserved. This book is copyright. Apart from the purpose of private study, research, criticism or review, no part may be reproduced by any process without prior written permission. Inquiries: Xiaoping Studio, 3 Caroline Crescent Blackburn North VIC 3130 Australia Email: [email protected] Website: www.xiaopingart.com Text of essays © the individual authors National Library of Australia Cataloguing-in-publication data Convergence: The Art of Zhou Xiaoping in Aboriginal Australia ISBN: 978-0-9876170-1-9 Editor: Keith McLennan Associate editors: Mabel Lee, Jing Han, Damian Smith Contributors: Yin Cao Damian Smith Lyndon Ormond-Parker Mabel Lee Coordinator: Lindsay Liu Designer: Yichen Wan, Zhou Xiaoping Photography: Jack Zheng, Jason Li Supported by the City of Melbourne COVID-19 Arts Grants Sponsors: Australia-China Institute for Arts and Culture Western Sydney University Artist Zhou Xiaoping at his Melbourne -
Visible Art, Invisible Artists? the Incorporation of Aboriginal Objects and Knowledge in Australian Museums
Vibrant Virtual Brazilian Anthropology v10n1 | 2013 Cultural Heritage and Museums Visible art, invisible artists? The incorporation of aboriginal objects and knowledge in Australian museums Ilana Seltzer Goldstein Translator: David Rogers Publisher Associação Brasileira de Antropologia Electronic version Printed version URL: http://vibrant.revues.org/936 Number of pages: 269-293 ISSN: 1809-4341 Electronic reference Ilana Seltzer Goldstein, « Visible art, invisible artists? », Vibrant [Online], v10n1 | 2013, Online since 12 October 2013, connection on 05 October 2016. URL : http://vibrant.revues.org/936 The text is a facsimile of the print edition. © ABA Visible art, invisible artists? The incorporation of Aboriginal objects and knowledge in Australian museums Ilana Seltzer Goldstein Abstract The creative power and the economic valorization of Indigenous Australian arts tend to surprise outsiders who come into contact with it. Since the 1970s Australia has seen the development of a system connecting artist coopera- tives, support policies and commercial galleries. This article focuses on one particular aspect of this system: the gradual incorporation of Aboriginal ob- jects and knowledge by the country’s museums. Based on the available bib- liography and my own fieldwork in 2010, I present some concrete examples and discuss the paradox of the omnipresence of Aboriginal art in Australian public space. After all this is a country that as late as the nineteenth century allowed any Aborigine close to a white residence to be shot, and which un- til the 1970s removed Indigenous children from their families for them to be raised by nuns or adopted by white people. Even today the same public enchanted by the indigenous paintings held in the art galleries of Sydney or Melbourne has little actual contact with people of Indigenous descent.