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Mildura Arts Centre Collections Policy Policy
Mildura Arts Centre Collections Policy Policy – CP069 Prepared Reviewed Approved Date Council Minute No. July 2020 Arts & Culture Council February 2021 2021/0029 Development Manager Trim File: 18/02/01 To be reviewed: February 2026 Document Owner: Review Frequency: 5 Yearly Manager Community Futures 1. The purpose of this policy is: To provide guidelines for the considered collection of items for the Mildura Arts Centre Permanent Collection (the ‘Collection’) by purchase, gift/bequest, transfer or commission. Founded upon the bequest of R.D. and Hilda Elliott the Collection is a significant and valuable asset which is often referred to ‘as one of Victoria’s best kept secrets’. There are significant opportunities for our community and region through development and promotion of the Collection. Mildura Arts Centre is a leading regional arts, culture and heritage precinct which includes a public gallery, performing arts theatre, sculpture park, and Mildura’s most important heritage building, Rio Vista Historic House. This policy provides avenues for the Collection to be embraced on a local, national and international level, to preserve it and invest in cultural heritage. This policy provides guidance regarding acquisitions to the Collection which will enhance the cultural vitality and viability of our community. The Collection’s Areas of Significance are: Period: 1890s to 1930 approx. Work by Frank Brangwyn or William Orpen 1 British Art Work by artists associated with Brangwyn and Orpen Work associated with existing collection works 2 Historical Period: pre-1950s Australian Art Work depicting the Murray-Darling Region (the ‘Region’) Period: 1960 to early 1980s approx. Work by artists associated with the events collectively known as the Sculpture Triennials. -
Public Museums and Film Archive Under Management of Leisure and Cultural Services Department (In Sequence of Opening)
Appendix 1 Public Museums and Film Archive Under Management of Leisure and Cultural Services Department (in sequence of opening) Museum Year Location Opening Hours (Note 2) opened 1. Lei Cheng Uk Han 1957 41 Tonkin Street, Sham Shui Po, 10 am to 6 pm Tomb Museum Kowloon Closed on Thursday 2. Hong Kong Space 1980 10 Salisbury Road, Tsim Sha 1 pm to 9 pm for Museum Tsui, Kowloon week days 10 am to 9 pm for week ends and public holiday Closed on Tuesday 3. Sheung Yiu Folk 1984 Pak Tam Chung Nature Trail, 9 am to 4 pm Museum Sai Kung, New Territories Closed on Tuesday 4. Flagstaff House 1984 10 Cotton Tree Drive, Central, 10 am to 5 pm Museum of Tea Ware Hong Kong (inside Hong Kong Closed on Tuesday Park) 5. Hong Kong Railway 1985 13 Shung Tak Street, Tai Po 9 am to 5 pm Museum Market, Tai Po, New Territories Closed on Tuesday 6. Sam Tung Uk 1987 2 Kwu Uk Lane, Tsuen Wan, 9 am to 5 pm Museum New Territories Closed on Tuesday 7. Law Uk Folk Museum 1990 14 Kut Shing Street, Chai Wan, 10 am to 6 am Hong Kong Closed on Thursday 8. Hong Kong Museum 1991 10 Salisbury Road, Tsim Sha 10 am to 6 pm of Art (Note 1) Tsui, Kowloon Closed on Thursday 9. Hong Kong Science 1991 2 Science Museum Road, Tsim 1 pm to 9 pm for Museum Sha Tsui East, Kowloon week days 10 am to 9 pm for week ends and public holiday Closed on Thursday 10. -
Hong Kong Guide Hong Kong Guide Hong Kong Guide
HONG KONG GUIDE HONG KONG GUIDE HONG KONG GUIDE Hong Kong is one of the most important finan- Essential Information Money 4 cial and business centers in the world. At the same time, administratively it belongs to the Communication 5 People's Republic of China. It is a busy me- tropolis, a maze of skyscrapers, narrow streets, Holidays 6 department stores and neon signs and a pop- ulation of more than 7 million, making it one Transportation 7 of the most densely populated areas in the world. On the other hand, more than 40% of Food 11 its area is protected as country parks and na- ture reserves where rough coasts, untouched Events During The Year 12 beaches and deep woods still exist. Things to do 13 Hong Kong is a bridge between east and west – it’s a city where cars drive on the left, where DOs and DO NOTs 14 British colonial cuisine is embedded in the very fabric of the city, and every sign is in English, Activities 19 too. But at the same time, the street life is distinctively Chinese, with its herbal tea shops, . snake soup restaurants, and stalls with dried Chinese medicines. You will encounter rem- nants of the “old Hong Kong” with its shabby Emergency Contacts diners and run-down residential districts situ- ated right next to glitzy clubs and huge depart- General emergency number: 999 ment stores. Police hotline: +852 2527 7177 Hong Kong is a fascinating place that will take Weather hotline (Hong Kong Observatory): hold of your heart at your first visit. -
The City of St. John's
Th e City of St. John’s Arts Space: Demand and Needs Analysis Phase 1A & 1B Report City Arts Study - Report_15March2013.indd i 3/22/2013 1:58:30 PM Prepared by Sheppard Case Architects & Schick Shiner Associates For Th e City of St. John’s November, 2012 City Arts Study - Report_15March2013.indd ii 3/22/2013 1:58:40 PM Table of Contents: 1.0 Executive Summary and Conclusions 1. Executive Summary and Conclusions .......................................................................................................................................2 PHASE - 1A DEMANDS & NEEDS ANALYSIS 2.0 Introduction 1. Executive Summary and Conclusions .......................................................................................................................................2 2. Project Goal ...........................................................................................................................................................................14 3. Methodologies ........................................................................................................................................................................14 4. Business Plan .........................................................................................................................................................................15 5. Precursory Reports .................................................................................................................................................................16 6. Th e Forum ..............................................................................................................................................................................17 -
15Invitati Ons15years Marysia Le Wandowska Apr May 15
15INVITATI ONS15YEARS MARYSIA LE WANDOWSKA APR MAY 15 MARYSIA LEWANDOWSKA PROPERTY PROTEST COMMO NS WORKING LEXICON Artist Marysia Lewandowska, 2014/15 AAA resident contributed Property, Protest, Commons, and the Alternative Economies of Art, a series of public workshops co-organised with curator Esther Lu, and co-presented with Taipei Contemporary Art Center (TCAC). Leading towards Made in Public, a collectively generated project and publication, participants interrogated the relationship between art, property, protest, and the commons in the context of recent cultural and political events in Asia. A third workshop took place at TCAC 18–20 September 2015. Marysia Lewandowska Property, Protest, Commons and the Alternative Economies of Art April–May 2015 PROPERTY PROTEST COMMONS Working Lexicon The Property Protest Commons dossier Addressing recent histories and aims at composing a speculative proposing alternative readings of lexicon, acting as a provisional tool the archive are important steps in useful for rethinking the economies taking possession of intellectual of sharing in the context of current terrain from which many artists have cultural and political events in Asia. been excluded. Institutions often While exposing connections between impose exclusive access and restrict the three distinct terms and tracing knowledge of the analogue past; their less rehearsed trajectories, a we ought to intensify our efforts distributed set of images and texts in supporting distributed networks points to the role translation plays by way of integrating physical and in the exchange. The considerations digital assemblies. All archives of placement and shared use of the threaten to reveal what we are unable folder, together with the design of to anticipate—the sediment of the the pages, introduce ruptures and missing, the hostile shadow of the slippages into experience. -
Strategic Plan 2021 2026
STRATEGIC PLAN 2021 2026 Letter from the Chief Executive Officer and We want to see more communities across our country recognizing and celebrating the contributions made by artists with disabilities, not just in Board Liaison, Strategic Planning the visual arts but across disciplines. To do that, we need to be a leader nationally, setting out high standards in program design and delivery, and giving our artists the right space and stage to properly showcase their At the time of writing, the world is still grappling with the COVID-19 talent and inspire others to follow. pandemic, and anxiety is dominating so many of our lives. Ultimately, what we are talking about is making Calgary and Alberta the What has remained unchanged, however, is Indefinite Arts Centre’s epicentre of our country’s disability arts movement. And we have all resiliency and adaptability in ensuring that we provide the platforms the ingredients to make this happen. and supports necessary to our growing community of artists living with disabilities. Through a combination of both virtual and mail-in We have an amazing team of staff and volunteers. By welcoming our programs, we continue to engage with more than 95% of our artist sister organizations Artistic Expressions and Momo Movement into community. More importantly, we are giving our artists the tools and our fold, we are now equipped with the infrastructure to expand our supports needed to continue their journey – as artists. program disciplines. Most importantly, we have public and private sector partners – and a growing community of donors – who believe in Though COVID-19 has made many things unclear, one unmistakable the work that we do and invest in our artists and our organization. -
15Invitati Ons15years Walid Raad Jun Sep 16
15INVITATI ONS15YEARS WALID RAAD JUN SEP 16 WALID RAAD SECTION 39_INDEX XXXVII: TRABOULSI Following his 2014 residency at AAA, New York-based artist Walid Raad developed Section 39_Index XXXVII: Traboulsi. The project stemmed from his research into AAA’s Ha Bik Chuen Archive and consisted of several ‘sculptural spaces’ built by Raad’s fictional collaborator, Suha Traboulsi, who creates reproductions of canonical modern paintings by Arab artists. Walid Raad Section 39_Index XXXVII: Traboulsi June–September 2016 5 Section 39_Index XXXVII: Traboulsi Walid Raad 21 Jun–3 Sep 2016 AAA Project Team Ingrid Chu Claire Hsu Hammad Nasar, Inviter Chantal Wong AAA Project Coordinator Holly Leung Special Thanks Vivian Poon Michelle Wong Credits Editing by Ingrid Chu Editing assistance by Lucia Kim, Maloy Lukian, and Grace Tsoi. All photography and images courtesy of Asia Art Archive unless otherwise noted. Additional photography by Walid Raad (p 4) and Kitmin Lee (pp 2-3, 6-7). Design Hani Charaf, Kemistry Design ISBN 978-988-13427-8-2 © 2017 Asia Art Archive All rights reserved 8 Asia Art Archive marks its 15th Asia Art Archive is an independent year by extending 15 Invitations non-profit organisation initiated to creative practitioners to in 2000 in response to the look within and beyond the urgent need to document and organisation as an archive, a make accessible the multiple collection of material, a digital recent histories of art in the platform, and a node in a wider region. With one of the most collective network. 15 Invitations valuable collections of material take various sizes, forms, and on art freely available from its creative directions—literary, website and on-site library, AAA polemic, political, sonic, physical, builds tools and communities to and digital—and function collectively expand knowledge as a series of ‘drop pins’ to through research, residency, and alternatively navigate where AAA educational programmes. -
(WKCD) Development M+ in West Kowloon Cultural District
WKCD-546 Legislative Council Subcommittee on West Kowloon Cultural District (WKCD) Development M+ in West Kowloon Cultural District Purpose This paper seeks to give a full account of the proposal to develop a forward-looking cultural institution with museum functions - M+ as a core arts and cultural facility in the West Kowloon Cultural District (“WKCD”). Background 2. In September 2003, the Government launched the “Invitation for Proposals” (“IFP”) for developing WKCD as a world-class arts, cultural, entertainment and commercial district. The IFP had specified a cluster of four museums with four themes (moving image, modern art, ink and design) commanding a total Net Operating Floor Area (“NOFA”) of at least 75 000 m², and an art exhibition centre as Mandatory Requirements of the project. 3. After the IFP for WKCD was discontinued, the Government appointed the Museums Advisory Group (“MAG”) under the Consultative Committee on Core Arts and Cultural Facilities of WKCD in April 2006 to advise on the need for the four museums previously proposed and their preferred themes, the need to include museums with other themes, the scale and major requirements of each museum and the need for and major specifications of the Art Exhibition Centre. MAG’s deliberations process 4. The MAG conducted a public consultation exercise from mid-May to mid-June 2006 to solicit views on the proposed museum in WKCD. During the period, two open public forums, one focus group meeting and three presentation hearings were held apart from wide publicity arranged through advertisements, radio announcements, press release and invitation letters. 28 written submissions and 30 views were received during the consultation period. -
Flo Maak Education 2004-09 Fine Arts, Städelschule, Frankfurt/M., Class Of
Flo Maak Education 2004-09 Fine Arts, Städelschule, Frankfurt/M., class of Wolfgang Tillmans and Willem de Rooij 2007 Visual Arts, Cooper Union, New York City 2001–09 Art History, Philosophy and Sociology, J.W.Goethe University, Frankfurt/M. Teaching 2013-17 assistant professor for fine art photography, Chung-Ang University, Seoul, Rep. af Korea Solo Exhibitions 2021 Collected Stories, gallery Bernhard Knaus, Frankfurt/M 2019 Escribiendo lo publico, Goethe-Institut, Mexico City 2018 Friendly Patterns III (in collaboration with Sascha Pohle), Amsterdam 2017 Technologies of the Kitchen (in collaboration with Lasse Lau), Pro Arts, Oakland The Doubled Non-Place (in collaboration with Jonas Kasper Jensen and Rebecca Ann Tess), Huset for Kunst og Design, Holstebro (Denmark) Friendly Patterns II (in collaboration with Sascha Pohle) gallery Bernhard Knaus, Frankfurt/M 2016 Friendly Patterns (in collaboration with Sascha Pohle), space one, Seoul Flo Maak, space 291, Seoul 2015 CAPTCHA, gallery Bernhard Knaus, Frankfurt/M danger, Corner Art Space, Seoul 2013 untitled, gallery Bernhard Knaus, Frankfurt/M untitled, von Cirne, Cologne 2011 Living in the Lobby, gallery Bernhard Knaus, Frankfurt/M Humidity Control, von Cirne, Cologne 2009 Nichts tun wie ein Biest, Bielefelder Kunstverein, Bielefeld Flo Maak, Art Colelction Deutsche Börse, Frankfurt/M. 2008 Trompe-l’œil Polizei, in cooperation with Free Class Frankfurt, Frankfurter Kunstverein, Frankfurt/M 2007 soft skills, in cooperation with Jeronimo Voss, haus nummer 11, Frankfurt/M Durchschrift, Presse- und Informationsamt, Frankfurt/M. 2006 silent specters, JET, Berlin 2005 untitled, Nomaden Oase, Hamburg Group Exhibitions (selection) 2020 Keep your eyes peeled, aff Galerie, Berlin silver lining, gallery Bernhard Knaus, Frankfurt, Germany 2019 Keine Wiedererkennung, Schloss Agathenburg, Agathenburg 2018 Escribiendo al Publico, Relaciones Inesparadas, Tijuana, Mexico 2017 Europe in China / Opus II, Quingdao Museum, Quingdao, China department of, HbK Braunschweig 2016 Nanjing Art Festival, Nanjing 2014 Field Works. -
School of Art ∙ Mcclure Gallery 350, Victoria Avenue, Montreal (Quebec) H3Z 2N4 514-488-9558 [email protected]
Visual Arts Centre School of Art ∙ McClure Gallery www.visualartscentre.ca 350, Victoria avenue, Montreal (Quebec) H3Z 2N4 514-488-9558 [email protected] Fall 2020 1 Visual Arts Centre Welcome to the Visual Arts Centre, a thriving cultural community of artists, teachers, and students. We’ve been part of Montreal’s artistic fabric for almost 75 years. Our School of Art is Canada’s largest bilingual independent art school. Our McClure Gallery offers exciting exhibitions, and educational programming. Our outreach program—ARTreach—reaches out into the community to creatively engage with the broader public. Our Mandate: To offer excellence and accessibility in the education and presentation of the visual arts. To provide a welcoming and stimulating environment that encourages the development of skill and creativity in each student. To nurture a sense of community in which all can learn from and value the support of fellow students, artists, and teachers. To promote and advocate for the visual arts in the broader society and to foster alliances that help bring the visual arts more fully into the centre of our lives. Our Administrative Team: The administrative team at the Visual Arts Centre is comprised of specialized members who are highly passionate about our cultural community. They work hard to offer a welcoming environment and ensure that your studio experiences are inspiring. Natasha S. Reid, Executive Director Natasha Reid is the Executive Director of the Visual Arts Centre, overseeing the School of Art, the McClure Gallery, and ARTreach. She holds a PhD in art education from Concordia University and comes to the Centre with diverse experiences in a variety of artistic contexts, including museums, universities, community settings, and artist-run centres in Montreal, Toronto, and the United States. -
The Golden Age: Cambodia, Laos, Vietnam TOPAZ ARTS, Inc
FOR IMMEDIATE RELEASE Paz: 718-505-0440 / email: [email protected] The Golden Age: Cambodia, Laos, Vietnam TOPAZ ARTS, Inc. P.O. Box 770150 presented by TOPAZ ARTS, Inc. and Woodside, NY 11377 Todd B. Richmond & Paz Tanjuaquio co-curated with Chương-Đài Võ Co-Founding Directors: Todd B. Richmond an exhibition by Frédéric Dialynas Sanchez Paz Tanjuaquio in collaboration with phone: 718-505-0440 Carol Cassidy, Lionel Descostes, Nic Ford, Joe Fyfe, Sébastien Gouju, email: Jean Sébastien Grill, Francis Morandini and Emma Perrochon [email protected] website: on view June 4 to 25, 2016 www.topazarts.org opening reception: Saturday, June 4, 3-6pm facebook/topazarts Join us for a talk at 3:00pm, Sat, June 4th: @topazartsinc a conversation with artist Frédéric Dialynas Sanchez, twitter | instagram art historian Jane DeBevoise (Asia Art Archive), moderated by Chương-Đài Võ TOPAZ ARTS Visual Arts Program is pleased to present The Golden Age: Cambodia, Laos, Vietnam – an exhibition by Frédéric Dialynas Sanchez, on view June 4 to 25, 2016. There will be an opening reception on Saturday, June 4, 3-6pm, with a talk at 3pm: a conversation with Frédéric Dialynas Sanchez with Jane DeBevoise (Asia Art Archive), moderated by Chương-Đài Võ. Admission is complimentary. TOPAZ ARTS is located at 55-03 39th Avenue in Woodside, Queens, NY. Directions: #7 to 61st/Woodside or R/M to Northern Blvd, see details at www.topazarts.org. Gallery hours are by appointment – please email [email protected] or phone 718-505-0440. The Golden Age: Cambodia, Laos, Vietnam is a “travelogue” and “experimental diary” of Frédéric Dialynas Sanchez’s artist residencies, projects and travels in Vietnam, Laos and Cambodia over the past decade. -
Caroline Yi Cheng
CAROLINE YI CHENG 1A, Lane 180 Shaanxi Nan Lu Shanghai, 200031, PR China Tel: (8621) 6445 0902 Fax: (8621) 6445 0937 China Mobile: 13818193608 Hong Kong Mobile: 90108613 Email: [email protected] SPECIAL EXHIBITION: 2012 “Spring Blossom” Installations for Van Cleef & Arpels in Paris, Hong Kong, Tokyo SOLO EXHIBITIONS: 2008 “China Blues” The Pottery Workshop Hong Kong 2002 “Glazing China” Grotto Gallery, Hong Kong 1999 “Made in China Blues” The Pottery Workshop, Hong Kong 1995 “Heroine” The Pottery Workshop, Hong Kong 1993 “Seeds of a New Civilization” The Pottery Workshop, Hong Kong 1992 “Made in Hong Kong” Modernology Gallery, San Francisco, USA 1991 “Essence of Goofy Figures” The Pottery Workshop, Hong Kong GROUP EXHIBITIONS: 2013 “New Blue and White” Boston Museum of Fine Arts, USA 2012 “China’s White Gold” Fitzwilliam Museum, Cambridge, UK “New Site-East Asian Contemporary Ceramics Exhibition” Yingge Ceramics Museum “Chinese Design Today” Themes and Variations Gallery, London, UK “Push Play” NCECA Invitational, Bellevue Art Museum Seattle The Pottery Workshop 25 Years Exhibition, NCECA Seattle “New ‘China’ Porcelain Art from Jingdezhen” The China Institute, New York City, USA Exhibition at the Westerwald Keramik Museum, Hohr-Grenhausen, Germany Korea Ceramic Exhibition, Hanyang University, Seoul New York Asia Week, Dai Ichi Arts “Eighth Ceramic Biennial”, Hangzhou China “Elements – Irish/Chinese Ceramic & Glass Exhibition” Shengling Gallery, Shanghai 2011 “Mirage-Ceramic Experiments with Contemporary Nomads” Duolun Museum of