Curriculum Vitae
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Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
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. -
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. -
Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting. -
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ e w rite r free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 THE INFUSION OF AFRICAN AMERICAN ART FROM EIGHTEEN-EIGHTY TO THE EARLY NINETEEN-NINETIES FOR MIDDLE AND HIGH SCHOOL ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ronald Wayne Claxton, B.S., M.A.E. -
Defining Community Art : Theoretical and Practical Reconstruction
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Visual Studies 2016 Defining community art : theoretical and practical reconstruction Kei Shun, Samson WONG Follow this and additional works at: https://commons.ln.edu.hk/vs_etd Part of the Visual Studies Commons Recommended Citation Wong, S. K. S. (2016). Defining community art: Theoretical and practical reconstruction (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/vs_etd/10/ This Thesis is brought to you for free and open access by the Department of Visual Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. DEFINING COMMUNITY ART: THEORETICAL AND PRACTICAL RECONSTRUCTION WONG SAMSON KEI SHUN PhD LINGNAN UNIVERSITY 2016 DEFINING COMMUNITY ART: THEORETICAL AND PRACTICAL RECONSTRUCTION WONG SAMSON KEI SHUN 王基信 A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Visual Studies LINGNAN UNIVERSITY 2016 ABSTRACT Defining Community Art: Theoretical and Practical Reconstruction By WONG Samson Kei Shun Doctor of Philosophy This research investigates the area of practice commonly known as community art, defined to be where a gathering of people participates in facilitated collaborative art making aimed to be increasing their autonomy in generating artistic and social satisfaction and enrichment. This definition is a result of integrating existing research, literature, interviews with practitioners and analyses of their work. -
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. -
I “BOYS SHOULDN't HAVE to JUST BE BOYS”: the ROLE of ART
“BOYS SHOULDN’T HAVE TO JUST BE BOYS”: THE ROLE OF ART THERAPY IN HELPING ADOLESCENT MALES TO OVERCOME HARMFUL PARADIGMS OF MASCULINITY NIA NEUMANN A Research Paper in The Department of Creative Arts Therapies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts Concordia University Montreal, Quebec, Canada AUGUST 2020 © NIA NEUMANN 2020 i CONCORDIA UNIVERSITY School of Graduate Studies This research paper prepared By: Nia Neumann Entitled: “Boys shouldn’t have to just be boys”: The role of art therapy in helping adolescent males to overcome harmful paradigms of masculinity and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Creative Arts Therapies; Art Therapy Option) complies with the regulations of the University and meets the accepted standards with respect to originality and quality as approved by the research advisor. Research Advisor: Heather McLaughlin, MA, RMFT, ATR-BC, ATPQ Department Chair: Guylaine Vaillancourt, PhD, MTA August 2020 ii ABSTRACT “BOYS SHOULDN’T HAVE TO JUST BE BOYS”: THE ROLE OF ART THERAPY IN HELPING ADOLESCENT MALES TO OVERCOME HARMFUL PARADIGMS OF MASCULINITY NIA NEUMANN Studies of masculinity and its construction have been the subject of gender studies for decades; however, perspectives on its nature and value are evolving. Masculine denotes a particular and celebrated way of being in the world for boys, and is perpetuated through institutions, families, peers and the media. But what about those individuals who identify as male and do not represent stereotypical qualities of masculinity? How does this incongruence complicate their sense of identity or authenticity, and affect their relationships with others? The common trope “boys will be boys” has reverberated through Western society, dismissing male behavior as a simple and harmless inevitability of biology. -
Antarctic Animation: Gestures and Lines Describe a Changing Environment
Antarctic Animation: Gestures and lines describe a changing environment By Lisa Roberts A thesis submitted for the degree of Doctor of Philosophy College of Fine Arts, The University of New South Wales. October 2010 Dedication I dedicate this work with love to my children Josef and Katherine, grandchildren Joshua and Benjamin, and to my teachers Lenton Parr, Simon Pockley and Kathryn Yeo. i Abstract The need to engage the public with accurate information about climate change is urgent. Antarctica has become the focus of research for scientists and artists who seek to understand the complex forces at work. Different perceptions of Antarctica are surveyed. These perceptions are expressed through data sets, art works, dances, words, tones of voice and gestures. An iconography of primal gestural forms is iden- tified that has been used since pre-history to make visible expressions of connection to the natural world. The primary research methodology is practice-based. Interviews with expedi- tioners, online responses and improvised movement workshops are used as sources for animations and art works. Animated forms arise from circling, spiraling, and crossing gestures. These ancient choreographies describe the dynamic structures that shape the Antarctic ecosystem and reflect structures within the body through which they are generated. Animations are presented at international conferences and exhibitions of Antarc- tic arts and sciences. An online log is used to display the animations and invite responses. The responses are evaluated. Archetypal gestural forms are found to expand the meaning of climate change data. Recognition of these primal forms (as body knowledge) is found to add a dimension of meaning to scientific information that is an essential component of accurate communication. -
Printmaking As an Expanding Field in Contemporary Art Practice
Printmaking as an Expanding Field in Contemporary Art Practice: A Case Study of Japan, Australia and Thailand Marjorie Anne Kirker Dip.F.A. (Hons), University of Auckland; M.A. Art History, Courtauld Institute of Art, London Doctor of Philosophy Submission for Final Examination Creative Industries Faculty Department of Visual Arts Queensland University of Technology 2009 1 Statement of original authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except where due reference is made. Marjorie Anne Kirker Signature: Date: 2 TABLE OF CONTENTS Acknowledgments .......................................................................................................... 6 Abstract ........................................................................................................................... 7 Chapter 1 THE PROBLEM AND ITS CONTEXT .............................................................. 10 1.1 The Research Problem and Its Significance ............................................................. 10 1.2 Key Research Questions to Be Addressed ................................................................ 15 1.3 Objectives of the Research ...................................................................................... 16 Chapter 2 LITERATURE INFORMING RESEARCH PROBLEM .................................... -
Prints, Printmaking and Philanthropy a Symposium Celebrating 50 Years of the Harold Wright and the Sarah and William Holmes Scholarships
Prints, Printmaking and Philanthropy A symposium celebrating 50 years of The Harold Wright and The Sarah and William Holmes Scholarships 30 September – 2 October, 2019 Forum Theatre, Arts West, The University of Melbourne Prints, Printmaking SYMPOSIUM and Philanthropy PROGram A symposium celebrating 50 years of The Harold Wright and The Sarah and DAY ONE Monday 30 September William Holmes Scholarships 8.30 – 9.00 am Registration Presented by the Australian Institute of Art History 9.00 – 9.15 am Introduction and Welcome Professor Su Baker, Pro Vice-Chancellor, Community and Cultural Partnerships, with assistance from The University of Melbourne’s and Director of Centre of Visual Arts (CoVA), The University of Melbourne Students and Scholarly Services Associate Professor Christopher Marshall, Chair, The Harold Wright and 30 September – 2 October, 2019 The Sarah & William Holmes Scholarships Selection Committee, The University of Melbourne 9.15 – 10.15 am Session One – Prints & Experimentation Chair: Julie Irving, Lecturer, Faculty of Fine Arts and Music, The University of Melbourne Dr Jane Eckett, Art History Program, School of Culture and Communication, The University of Melbourne Can a visionary act of philanthropy transform print scholarship and curatorial practice? This symposium will Hirschfeld-Mack’s monotypes as an index of modernist migration explore this question. Celebrating 50 years of The Harold Wright and The Sarah and William Holmes Scholarships, Dr Anna Parlane, Art History Program, School of Culture and Communication, Prints, Printmaking and Philanthropy will focus on three broad themes: print exhibitions, print collections and The University of Melbourne “Collapse of Mirror City”: Fact, fabrication and the newspaper print in Michael print presses – and also seek to trace the influence of philanthropy in shaping Australasian print culture.