DOCSLIB.ORG

ABR for Doran 253 August

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ABR for Doran 253 August ADVANCES Vale Glen Tomasetti Good Works Glen Tomasetti (born in 1929) — author, poet and folksinger Australian author–illustrator Bob Graham has won this year’s — died on June 25. Tomasetti’s 1976 novel, Thoroughly Kate Greenaway Medal for his illustrations in the picture book Decent People, was the first book published by McPhee Jethro Bryde, Fairy Child. This is the UK’s leading award for Gribble (the second was Helen Garner’s Monkey Grip). Her illustrators. Laudably, Graham has donated his prize money novel Man of Letters was adapted for the ABC by (£5000) to groups assisting asylum seekers and refugees in Alma de Groen. Tomasetti continued to write poetry into Australia and the UK. her last months. Her uncompleted biography of Hepzibah Menuhin was almost twenty years in the making. Off to Shep Readers in northern Victoria and southern New South Wales will be interested in the 2003 Country Festival of … and Clem Christesen Writing, which will be held at the Goulbourn-Ovens Institute C.B. (‘Clem’) Christesen — founding Editor of Meanjin — of TAFE, Shepparton, from September 5 to 7. Presenters will died on June 28, aged ninety-two. Christesen established the include Morag Fraser, Michael McGirr and Aileen Kelly. journal in Brisbane at the end of 1940, and relocated it to Contact Pat or Bev Crudden on (03) 5821 8217 or write to Melbourne in 1945. Ever since, it has been based at the PO Box 2155, Shepparton 3632. University of Melbourne. Bimonthly at first, it has been quarterly since 1943. National Australian Maritime Museum Oceans of Stories: Illustrations from Australian Children’s … and Oriel Gray Books is a new exhibition assembled by the National Aust- Oriel Gray, a pioneer and stalwart of Australian theatre, died ralian Maritime Museum and the Children’s Book Council. on June 30, aged eighty-three. In 1955 Gray’s The Torrents The theme, Oceans of Stories, will apply to Children’s Book was voted the best play by the Playwrights’ Advisory Board, Week in August this year. The exhibition, featuring more sharing this award with Ray Lawler’s Summer of the Seven- than 100 works by nineteen leading Australian children’s teenth Doll. Gray also wrote for radio and television, and book illustrators, runs until November 2. published a memoir, Exit Left: Memoirs of a Scarlet Woman (1985), and a novel, The Animal Shop (1990). My Life As a Celebrity Author Andreas Gaile reviews Peter Carey’s new novel on page 10. The author will discuss My Life As a Fake at the Seymour A Second Salt-lick Centre on August 18, at 7 p.m. On August 25, at the same time, The second issue (‘Winter 2003’) of this bright new poetry but this time at its bookshop, Gleebooks will also feature quarterly looks every bit as impressive as the first, with Annie Proulx, back in Australia to take part in the Melbourne poems by Thomas Shapcott, Anthony Lawrence, Jill Jones Writers’ Festival. and Judith Beveridge (one of our two featured poets this month), among many others. Now all Salt-lick needs to do is This issue has been produced at a time of some difficulty. I am to clear that notorious third-issue hurdle. Help it over indebted to Anne-Marie Thomas (working on her first issue by subscribing: 104 Rennie Street, East Coburg, or e-mail: as Assistant Editor) and Dianne Schallmeiner for all their [email protected]. support in recent weeks. Ed. Archived at Flinders University: dspace.flinders.edu.au AUSTRALIAN BOOK REVIEW AUGUST 2003 1 Contents ADVANCES 1 LETTERS Chris Goddard, John Thompson, Peta Tait, Liezl Shnookal, Kevin Gillam 4 CONTRIBUTORS 8 COMMENTARY Sir William Deane 9 FICTION Peter Carey: My Life As a Fake Andreas Gaile 10 Tom Keneally: The Tyrant’s Novel Peter Pierce 12 Penelope Sell: The Secret Burial Danielle Wood: The Alphabet of Light and Dark Christina Hill 47 Antigone Kefala: Summer Visit: Three Novellas Antigone Kefala: The Island Stathis Gauntlett 48 Janette Turner Hospital: North of Nowhere, South of Loss Bronwyn Rivers 50 Jane Downing: The Trickster Michael McGirr 51 POEMS Peter Porter 13 Judith Beveridge 31 Judith Beveridge 39 POLITICS Margaret Simons: The Meeting of the Waters Kerryn Goldsworthy 14 Marilyn Dodkin: Bob Carr Neal Blewett 16 Rawdon Dalrymple: Continental Drift Allan Gyngell and Michael Wesley: Making Australian Foreign Policy Allan Patience 17 HISTORY Hsu-Ming Teo and Richard White (eds): Cultural History in Australia Stuart Macintyre 19 Bain Attwood: Rights for Aborigines Tony Barta 20 Colin Brown: A Short History of Indonesia John Monfries 22 Stuart Macintyre and R.J.W. Selleck: A Short History of the University of Melbourne R.J.W. Selleck: The Shop: The University of Melbourne Ian Morrison 24 Ross Fitzgerald: The Pope’s Battalions Heather Nash 26 Denis Murphy et al.: The Premiers of Queensland Martin Crotty 27 Richard Woldendorp, Roger McDonald and Amanda Burdon: Wool: The Australian Story Libby Robin 28 Robert Holden: The Devil and the Deep Blue Sea Gillian Dooley 29 DIARY Patrick McCaughey 30 BIOGRAPHY Anne Whitehead: Bluestocking in Patagonia Jennifer Strauss 32 John Little: The Man Who Saw Too Much Bridget Griffen-Foley 34 Michael Duffy: Man of Honour Alan Atkinson 35 2 AUSTRALIAN BOOK REVIEW AUGUST 2003 Archived at Flinders University: dspace.flinders.edu.au CONTENTS AUTOBIOGRAPHY Dennis Lillee: Lillee Warwick Hadfield 37 GALLERY NOTES Chris Wallace-Crabbe 38 ART Gillian Forwood: Lina Bryans Sarah Thomas 40 Charlotte Benton, Tim Benton and Ghislaine Wood (eds) Art Deco: 1910–1939 Chong Weng-ho 41 REFERENCE Susanna de Vries: The Complete Book of Great Australian Women Clare Wright 42 LAW G.D. Woods: A History of Criminal Law in New South Wales Hugh Dillon 44 MEDIA Jock Given: Turning Off the Television Hugh Mackay: Media Mania Prue Torney-Parlicki 45 CRIME FICTION Peter Corris: Master’s Mates Garry Disher: Kittyhawk Down Shane Maloney: Something Fishy Don Anderson 52 CULTURAL Mark Wakely: Dream Home Alice Spigelman 54 STUDIES Paul Salzman: Literary Culture in Jacobean England Marion J. Campbell 55 POETRY Jordie Albiston: The Fall Lisa Gorton 56 PHILOSOPHY M.R. Bennett and P.M.S. Hacker: OF SCIENCE Philosophical Foundations of Neuroscience Damian Grace 57 NATURAL David Owen: Thylacine HISTORY Robert Paddle: The Last Tasmanian Tiger Christopher Bantick 58 Archived at Flinders University: dspace.flinders.edu.au AUSTRALIAN BOOK REVIEW AUGUST 2003 3 Letters ABR welcomes letters from our readers. Correspondents should note that letters may be edited. Letters and e-mails must reach us by the middle of the current month, and must include a telephone number for verification. Ali Ismail Abbas I wonder if you felt free to use his photograph, as others Dear Editor, have done, because he is twelve years old and because he is There is a terrible irony in the title of Raimond Gaita’s an Iraqi. After all, that is how he came to lose his arms, skin, La Trobe University Essay, ‘Only As a Last Resort’ (ABR, parents, family and home. I wonder if anyone anywhere has May 2003). His title should surely have been the phrase that thought to ask his permission to use him in this way. Perhaps guided the choice of accompanying stills. Gaita’s admirable we use his photograph rather than that of a wounded adult piece contained much to ponder and praise. The Reuters because we do not have to ask a child. Perhaps some of us photograph (by Faleh Kheiber) of Ali Ismail Abbas dimin- believe that, after all he has lost, he will not miss his dignity ished those reflections. and privacy. We will all retain images of the invasion of Iraq. There is I also reflect upon our sensitivities to photographs of the shot of a dead child, taken by Akram Saleh (also of ‘our’ soldiers, wounded or as prisoners. Perhaps that is why Reuters), his or her face like porcelain, completely intact and you chose the other shot, Frank Hurley’s image of the morn- apparently at peace, but the rest of the head and body bound ing after Passchendaele, our wounded viewed at a suitable, together, as if to stop all the bits falling out. There is the blood respectful distance. appearing on a BBC cameraman’s lens. The cruelty and catas- Raimond Gaita wrote of the distinction between respect trophe of war has become something we cannot avoid. We are for human life and contempt for it, of crimes against humanity, assaulted by the images even when we try to avoid them. and of ‘the unalienable preciousness of every human being’. Susan Moeller describes us all as ‘passive receivers of Your choice of photograph (I trust it was not Gaita’s) images’, which is akin to blaming the victim. The images home diminished his reflections and demeaned us all. in on us, no matter how much we duck and weave. They are wrapped around our newspapers, inserted into our television Chris Goddard, Clayton, Vic. programmes and placed in the middle of Gaita’s essay. Ali Ismail Abbas was at home when a US rocket arrived ABR, as it always does, selected the images that accompa- and destroyed his house, his father, his pregnant mother and nied our La Trobe University Essay, not our essayist. We several other relatives. After the terrible explosion, Ali awoke, did so mindful of the international controversy over the use soaked in blood, his sheets on fire. The Times of London of images of Ali Ismail Abbas, and conscious, we trust, of reported that Jon Lee Anderson, the New Yorker correspond- our moral responsibilities. No one here enjoyed reproduc- ent who saw him in hospital, was shown a photograph of Ali ing that image, just as it would be impossible for anyone to before his treatment, his body blackened, one of his hands look at that page without horror or unease.
Load more

Recommended publications
  • The Founding of Aboriginal History and the Forming of Aboriginal History
    The founding of Aboriginal History and the forming of Aboriginal history Bain Attwood Nearly 40 years ago an important historical project was launched at The Australian National University (ANU). It came to be called Aboriginal history. It was the name of both a periodical and a historiographical movement. In this article I seek to provide a comprehensive account of the founding of the former and to trace something of the formation of the latter.1 Aboriginal history first began to be formed in the closing months of 1975 when a small group of historically-minded white scholars at ANU agreed to found what they described as a journal of Aboriginal History. At that time, the term, let alone the concept of Aboriginal history, was a novel one. The planners of this academic journal seem to have been among the first to use the phrase in its discursive sense when they suggested that it ‘should serve as a publications outlet in the field of Aboriginal history’.2 Significantly, the term was adopted in the public realm at much the same time. The reports of the Committee of Inquiry on Museums and National Collections (the Pigott Report) and the Planning Committee on the Gallery of Aboriginal Australia, which were the outcome of an inquiry commissioned by the Whitlam Labor Government in order to articulate and give expression to a new Australian nationalism by championing a past that was indigenous to the Australian continent, both used the term.3 As 1 I wish to thank Niel Gunson, Bob Reece and James Urry for allowing me to view some of their personal
    [Show full text]
  • 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.
    [Show full text]
  • Notes on Contributors Has Had Poems Published in Australian Women's
    Notes on Contributors Notes on Contributors Chris Adler lives in Elvina Bay, an off-shore community iust outside Sydney. She was born in Mill Valley, California and moved to Australia in 1994 to study at the University of Wollongong. She has been writing poems since she was a child as a way of capturing life on the page, similar to a photo or painting. She has had poems published in Australian Women's Book Review, The West Pitt.'ater Perspective, POETALK (Berkeley, California) and others. Jordie Albiston was born in Melbourne in 1961. Her first poetry collection Nervous Arcs (Spinifex 1995) won first prize in the Mary Gilmore Award, second in the Anne Elder Award, and was shortlisted for the NSW Premier's Award. Her second book was entitled Botany Bay Document: A Poetic History of the Women of Botany Bay (Black Pepper 1996). Her most recent collection, The Hanging of Jean Lee (Black Pepper 1998), explores the life and death of the last woman hanged in Australian in 1951. Jordie was recipient of the Dinny O'Hearn Memorial Fellowship in 1997. She holds a PhD in literature and has two teenage children. Lucy Alexander grew up in a family of English teachers, with too many books in their lives. As a result she began to write from an early age. It seemed like the only alternative to teaching. She was encouraged in her endeavours by becoming a finalist in the Sydney Morning Herald Young Writer of the Year Award in 1992. At the end of her university degree she was published by Five Island Press in Fathoms a collection of the poetry of three student writers.
    [Show full text]
  • 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.
    [Show full text]
  • The Drunken Buddha
    Ian Fairweather: The Drunken Buddha 1 The Drunken Buddha, Ian Fairweather’s illustrated translation of a popular Chinese tale, published by University of Queensland Press (UQP) in 1965, is a rare example of a serious book-length translation from Chinese to English by an established artist. It is one of a number of translations from Chinese undertaken by Fairweather, evidence of an unusual pastime that arose from his fascination with the Chinese language. For Fairweather the publication of The Drunken Buddha was the culmination of years of work and making up for various frustrated earlier efforts to see it into print. The book was greeted by critics as a curiosity, something to add to the list of bizarre events associated with the life of the Scottish-born artist who since 1953 had lived on his own terms in a self-made hut on Bribie Island and in 1962 was declared ‘Australia’s greatest living artist.’1 Writing in 1995, Sinologist Pierre Ryckmans [Simon Leys] lamented that what should be regarded as one of UQP’s ‘proudest productions’ had been long out of print and questioned why no-one had ever asked Fairweather, while he was alive, what had motivated him to do it. ‘No sensitive and reflective artist can approach China without being profoundly affected by that experience. Fairweather’ he wrote, ‘ was certainly no exception to this rule and, for all his reticence and elusiveness, he left convincing evidence that China played an important role in his artistic and spiritual development.’2 Twenty years later, in 2015, a 50th anniversary edition of The Drunken Buddha was published by UQP to celebrate ‘Fairweather’s creative legacy.
    [Show full text]
  • LIVINGS Edward-Thesis.Pdf
    OPEN SILENCE: AN APPLICATION OF THE PERENNIAL PHILOSOPHY TO LITERARY CREATION by EDWARD A R LIVINGS Principal Supervisor: Professor John McLaren Secondary Supervisor: Mr Laurie Clancy A thesis submitted in complete fulfilment of the requirements for PhD, 2006. School of Communication, Culture and Languages Victoria University of Technology © Edward A R Livings, 2006 Above the senses are the objects of desire, above the objects of desire mind, above the mind intellect, above the intellect manifest nature. Above manifest nature the unmanifest seed, above the unmanifest seed, God. God is the goal; beyond Him nothing. From the Kāthak Branch of the Wedas (Katha-Upanishad)1 1 Shree Purohit Swāmi and W B Yeats, trans., The Ten Principal Upanishads (1937; London: Faber and Faber, 1985) 32. 2 ACKNOWLEDGEMENTS I wish to acknowledge the efforts of my supervisors Professor John McLaren and Laurie Clancy and those of John Jenkins, Jordie Albiston and Joanna Steer, all of whom contributed, directly or indirectly, to the production of this thesis and to whom I am most grateful. I hope the quality of the dissertation reflects the input of these people, who have so ably assisted in its production. Any faults found within the thesis are attributable to me only. 3 ABSTRACT Open Silence: An Application of the Perennial Philosophy to Literary Creation is a dissertation that combines a creative component, which is a long, narrative poem, with a framing essay that is an exegesis on the creative component. The poem, entitled The Silence Inside the World, tells the story of four characters, an albino woman in a coma, an immortal wizard, a dead painter, and an unborn soul, as they strive to comprehend the bizarre, dream-like realm in which they find themselves.
    [Show full text]
  • 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.
    [Show full text]
  • Helen Garner's Monkey Grip and Its Feminist Contexts
    CHAPTER 8 ‘Unmistakably a book by a feminist’: Helen Garner’s Monkey Grip and its feminist contexts Zora Simic Helen Garner has written a book called ‘Monkey Grip’, about a woman called Nora who falls in love, passionately and most unwisely with a junkie. Hardly a ‘liberated plot’. Yet this is unmistakably a book by a feminist. Sue King, Vashti, 1978 For Sue King, writing in Vashti, the journal of Melbourne Women’s Liberation, Helen Garner’s book Monkey Grip (1977)—like some other critics, she stopped short of calling it a novel—was clearly a feminist read. Nora, she observed, is ‘not overtly “political” in the sense of working for political change on the macro level, or even consistently working out the politics of everything that happens to her’. Nor can she, as a denizen of a ‘rather strange sub-culture’ be properly described as an ‘everywoman’. Yet for King, Nora was also ‘clearly recognisable as a woman whose central identity is her own’. ‘It’s just so nice’, she enthused, ‘to read a story where no one is married or wants to be; where people may on occasion be jealous or dependent, yet feel no entitlement to do so’. King devoured the book in 24 hours, but while her review came with a strong personal recommendation, she did wonder whether anyone beyond ‘an arty little sub group’ would relate to it. She concluded on a note of uncertainty: ‘is this something we have to pass through on the way to … ?’1 1 Sue King, ‘Monkey Grip’, Vashti, no.
    [Show full text]
  • AUS079 Villainelles Program-FA.Indd
    Arts House The Villainelles is presented by Arts House, Arts House, North Melbourne Town Hall a City of Melbourne contemporary arts 521 Queensberry Street initiative which offers producing and North Melbourne 3051 presentation support, funding, brokers artshouse.com.au international and national opportunities for artists, hosts and partners festivals and other agencies, provides creative development residencies and commissions, develops and realises new artistic work. Each year Arts House presents a curated program of contemporary art featuring performances, exhibitions, live art, installations and cultural events which are programmed to inspire dynamic community engagement. The 2008 program, Beyond Bread and Circus, celebrates artists who are questioning artistic boundaries and challenging all of us to think and see in new ways. Beyond Bread and Circus continues a commitment to contemporary arts practices which question our values and preconceptions. In a complex global context, Arts House in 2008 refl ects a growing dissatisfaction with short term cultural, social and political fi xes and the fl eeting emptiness of high availability entertainment. ANDRÉE GREENWELL’S THE VILLAINELLES A Green Room Music Production Arts House, North Melbourne Town Hall 21 + 22 August 2008 BEYOND BREAD AND CIRCUS SEASON 2008 AUS079 Villainelles Program-FA.indd 1 21/8/08 1:34:56 PM Thankyous Green Room Music was founded by artistic Performers Creative Team Writers and Words Auspicious Arts, the Australian the Youth director and composer Andrée Greenwell in Voice: Andrée Greenwell + Donna Hewitt Composer: Andrée Greenwell Alison Croggon is a Melbourne writer. Orchestra, The Astra Choir, Urban Theatre 1998, to develop unique music performance Violin: Naomi Radom Words: Jordie Albiston, Alison Croggon and She is an award winning poet, and has Projects, Ben Hauptmann, Damien and screen projects from a music Cello: Jane Williams Andrée Greenwell after Kathleen Mary Fallon published nine collections of poetry.
    [Show full text]
  • 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.
    [Show full text]
  • Gibbons 2012.Pdf (854.1Kb)
    School of Media, Communication and Creative Arts “A Bag, A Beret and a Book of Poems”: A Verse Novel & An Exploration of Generic Hybridity: An Exegesis Maureen Gibbons This thesis is presented for the Degree of Doctor of Creative Arts of Curtin University June 2012 Declaration To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgement has been made. This thesis contains no material that has been accepted for the award of any other degree or diploma in any university. ______________________________ Maureen Gibbons ___________________ Date 2 Acknowledgments I would like to thank the following people, without whose help this thesis could never have been accomplished. First, to my principal supervisor, Dr Julienne van Loon, for her unparalleled belief in my ability to bring the creative component of this work to fruition; for her honesty, humour, scholarship and commitment to a collaborative working relationship. Heartfelt thanks also to Dr Ann McGuire, for her intellectual enthusiasm and sensitive guidance throughout all aspects of the theoretical inquiry underpinning the creative proJect. I am privileged to have such professional and respectful supervisors who have guided and challenged me throughout and shown me compassionate support. Sincere thanks to my late husband whose support and belief in my ability to be successful in anything I set out to do still inspires me. I am also extremely grateful to my family for their constant support, their respectful attitudes and their understanding of my commitment to study and writing. My sincere thanks to close friends who have been there with editorial advice or an encouraging word when needed.
    [Show full text]
  • 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.
    [Show full text]