DOCSLIB.ORG

Ann Stephen, Narelle Jubelin, Cannibal Tours

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ann Stephen, Narelle Jubelin, Cannibal Tours Heide Heide Museum of Museum of Modern Art Modern Art Narelle Jubelin Cannibal Tours Ann Stephen Foreword Heide Museum of Modern Art is which draws on the Heide Collection 9–9 delighted to present Narelle Jubelin: and an iconic image associated with Cannibal Tours, the sixth exhibition Heide: Sidney Nolan’s Boy and the moon. to be held in the Albert & Barbara Alongside Trade Delivers People Jubelin Tucker Gallery and the first to presents eleven of her BOXED.SET extend into the adjacent Kerry works, typically exquisite petit-point Gardener & Andrew Myer Project renditions of photographs provided Gallery. Cannibal Tours is also the by artist friends that represent their first exhibition in the Tucker Gallery childhood encounters with modernism series to contextualise an aspect — from Jacky Redgate’s Mondrian of Albert Tucker’s practice with dress to Rafaat Ishak’s family’s the work of a contemporary artist. modernist apartment in Cairo. These Based in Madrid since 1997, Narelle are juxtaposed with Albert Tucker’s Jubelin graduated from Alexander photographs from his travels in Europe Mackie College of Fine Arts in Sydney and America, signalling an Australian in 1982 and has been exhibiting expatriate experience of modernism. extensively since 1989. Her projects are Cannibal Tours has been curated realised through a process of intensive by Ann Stephen, Senior Curator, research in which she sources objects University Art Collection, University with complex histories and re-creates of Sydney. Stephen has a long-standing them: sometimes literally, as petit- association with Jubelin, and Heide point renditions, at other times in appreciates their collaboration in combinations that refer to the historical, realising Cannibal Tours. The project cultural and geographical heritage of has been conceived specifically for the site in which they are presented. Heide as a contemporary adjunct to In 1990 Jubelin made her international the Powerhouse Museum travelling debut at the Venice Biennale in the exhibition Modern Times: The Untold Aperto section. Jubelin presented Trade Story of Modernism in Australia, and Delivers People, a conceptually layered it has been coordinated meticulously installation which met the challenge by Heide Curator Kendrah Morgan. of making her work accessible to an Narelle Jubelin’s work has been international audience by interrogating little seen in Melbourne, and it has issues of global colonisation and the been a privilege to work closely with shifting meanings of artefacts deriving her on the presentation of her inspired from cultural migration and exchange. and incisive art. The Museum also Following the Venice exhibition, thanks the public institutions and the multiple components of Trade private collectors who have lent their Delivers People were divided, added treasured works to Cannibal Tours: to and re-assembled, resulting in two National Gallery of Australia, National new versions of the work and a small Gallery of Victoria, Heide Patron Barbara Tucker, Jeff Hall and Sharon Opposite number of individual pieces. Cannibal Narelle Jubelin BOXED.SETS Grey, Jan McCulloch, Simon and 14 – 24 2005, and Albert Tucker Tours reunites all these elements photographs c.1939–60 for the first time, from public and Catriona Mordant, Mori Gallery, Installation view, Heide Museum Sydney, and Penelope Seidler, as of Modern Art, 2009 private collections. It offers a unique well as private donors for their support Overleaf opportunity to consider this ongoing Left: Photographer unknown, of the exhibition catalogue. Albert Tucker in Venice, project in its entirety, together August 1954 with a new incarnation of the work Right: Albert Tucker, Jason Smith Demi-mondaines, Paris c.1949 conceived specifically for Heide, Director Ann Stephen Ann Stephen Face-to-Face 16 Narelle Jubelin Opposite of ModernArt,2009 HeideMuseum Installation view, and Everisttablec.1967 14 –24 Narelle Jubelin Previous and Everisttable c.1967 .BLACK 1. Narelle Jubelin email to the author, 4. During the 1970s feminist artists including 17 December 2008. Culos al aire Marie McMahon, Frances Budden 2005,onMcGlashan translates literally as ‘bottoms and Toni Robertson, members of the 2005,onMcGlashan to the air’. Domestic Needlework Collective, staged a number of exhibitions of women’s BOXED.SETS BOXED.SETS BOXED.SETS Dennis O’Rourke, Cannibal Tours, 1988. 2. domestic crafts, such as The D’Oyley 3. Miwon Kwon, ’One Place after Show, which toured Australia from 1979. Another: Notes on Site Specificity’, 5. Svetlana Alpers, The Vexations of Art, October, Vol. 80, 1997, pp. 95, 100. Yale University Press, New Haven, Conn., 2005, pp. 168–80. 1960 We areallexposed We Artists invent their own histories theirown invent Artists Cannibal Tours fuses several fusesseveral Cannibal Tours For Melbourne this has come to Melbournethishascome For and sites hallowed the around poke to the spectacle and routines ofdisplay androutines the spectacle Narelle Jubelin crisscrosses these Jubelincrisscrosses Narelle Dennis O’Rourke’s disturbing Dennis O’Rourke’s Miwon Kwon characterises thisartof characterises Kwon Miwon stories. One concerns tourism, tourism, concerns One stories. to think through what it is we do do we is it what through think to would sayinthisattemptto overlapping theme is modernism’s modernism’s is theme overlapping interesting contemporary art returns artreturns contemporary interesting its museums,someofthemost encounters. intimate into them transforms and expansion imperial of narratives complex up theSepikRiver. indicated by its borrowed title from from title borrowed its by indicated engagement with archival sources sources engagement witharchival installations, to led investigations museum.Thesein themodernist institutional critique as an attempt ‘to critiqueasanattempt institutional and despite successive efforts to efforts successive and despite up toapublicconversation. and esoteric forms of knowledge. ofknowledge. forms and esoteric academicart thathadanalmost collaborative and interdisciplinary and movement originates inthelate originates movement ofthis mean Heide.Thegenealogy modernism. ruins oftwentieth-century not only whatqualifiedasartbut not only mark thedemiseofmodernismand performances, site-specific practices, practices, site-specific performances, by the passage oftheartist’. by thepassage practice… specificity as anomadic site reinvent and how we came to it to came we how and describe Australianmodernism, global traffic. In a remarkable way, remarkable Ina traffic. global documentary ofaluxurycruisedocumentary culos alaire Narelle Jubelin s when artists began to question beganto s whenartists whose pathisarticulated astheSpanish 2 The otherand …with our …opened …opened 3 1 Jubelin is one such nomadic practice, Jubelin isonesuchnomadicpractice, The art of the Australian expatriate The artoftheAustralian Alpers who observed, inherstudy whoobserved, Alpers A thread, as it is pulled and woven andwoven asit is pulled A thread, She noted that: ‘a tapestry isdifficult that:‘atapestry She noted for its nemesis, the amateur, domestic itsnemesis,theamateur, for thread is an obdurate material that material isanobdurate thread It was the art historian Svetlana It wasthearthistorian In to make out. The problem in legibility legibility in problem The out. make to ofneedlework. effects the abstracting Michael Johnson and Sydney Ball, Ball, Sydney and Johnson Michael trained as a formalist painter herself, painter asaformalist trained stitched flecks of colour that colour flecksof stitched salvaging narratives of exile, travel travel exile, of narratives salvaging she later renounced the rhetoric of of rhetoric the renounced later she vernacular traditions andthemuseum. traditions vernacular informs Jubelin’s process asshe process Jubelin’s informs constitute a single petit point. In fact, fact, In point. petit single a constitute thanthesmall, piecemeal is more objects and textual citations invarious citations objects andtextual out of various tenuous connections. connections. tenuous out ofvarious of the threads thatshape anddescribe of thethreads assertiveness the and making its of court, Spanish the and Velasquez of assembles, bitbybit,hertinynets assembles, weaving ofabstract form a fragmented architectural, photographic and photographic architectural, themwithreadymade and entangled and displacement from modernism, from and displacement a world’. and then recently retrieved feminist feminist retrieved and thenrecently individualism heightened and authority made to serve suchends.Nothing serve made to whenitis themimetic,even resists mixed to a liquid consistency to make to aliquidconsistency to mixed how it looked inthe itlooked how painterly encounters. encounters. painterly results from the piecemeal nature nature thepiecemeal from results met local disciples of late modernism oflate disciples met local by American formalist painting. While painting.While formalist by American medium ofneedlework. when taught by such artists as bysuchartists when taught who were from a generation transfixed transfixed ageneration from who were different colours, tones and textures, textures, and tones colours, different decades Jubelin has stitched renditions renditions Jubelin hasstitched decades 1979 as a Sydney art student she artstudent asaSydney 5 Unlike paint that can be paintthatcan Unlike 1980 4 s. For over two over s. For Orthatwas 15–15 16 of Australia © NationalLibrary Victoria1968 Templestowe, Sunday Reed’shousein Johnand Heide IIstudy, Sievers,
Load more

Recommended publications
  • Constellation & Correspondences
    LIBRARY CONSTELLATION & CORRESPONDENCES AND NETWORKING BETWEEN ARTISTS ARCHIVES 1970 –1980 KATHY ACKER (RIPOFF RED & THE BLACK TARANTULA) MAC ADAMS ART & LANGUAGE DANA ATCHLEY (THE EXHIBITION COLORADO SPACEMAN) ANNA BANANA ROBERT BARRY JOHN JACK BAYLIN ALLAN BEALY PETER BENCHLEY KATHRYN BIGELOW BILL BISSETT MEL BOCHNER PAUL-ÉMILE BORDUAS GEORGE BOWERING AA BRONSON STU BROOMER DAVID BUCHAN HANK BULL IAN BURN WILLIAM BURROUGHS JAMES LEE BYARS SARAH CHARLESWORTH VICTOR COLEMAN (VIC D'OR) MARGARET COLEMAN MICHAEL CORRIS BRUNO CORMIER JUDITH COPITHORNE COUM KATE CRAIG (LADY BRUTE) MICHAEL CRANE ROBERT CUMMING GREG CURNOE LOWELL DARLING SHARON DAVIS GRAHAM DUBÉ JEAN-MARIE DELAVALLE JAN DIBBETS IRENE DOGMATIC JOHN DOWD LORIS ESSARY ANDRÉ FARKAS GERALD FERGUSON ROBERT FILLIOU HERVÉ FISCHER MAXINE GADD WILLIAM (BILL) GAGLIONE PEGGY GALE CLAUDE GAUVREAU GENERAL IDEA DAN GRAHAM PRESTON HELLER DOUGLAS HUEBLER JOHN HEWARD DICK NO. HIGGINS MILJENKO HORVAT IMAGE BANK CAROLE ITTER RICHARDS JARDEN RAY JOHNSON MARCEL JUST PATRICK KELLY GARRY NEILL KENNEDY ROY KIYOOKA RICHARD KOSTELANETZ JOSEPH KOSUTH GARY LEE-NOVA (ART RAT) NIGEL LENDON LES LEVINE GLENN LEWIS (FLAKEY ROSE HIPS) SOL LEWITT LUCY LIPPARD STEVE 36 LOCKARD CHIP LORD MARSHALORE TIM MANCUSI DAVID MCFADDEN MARSHALL MCLUHAN ALBERT MCNAMARA A.C. MCWHORTLES ANDREW MENARD ERIC METCALFE (DR. BRUTE) MICHAEL MORRIS (MARCEL DOT & MARCEL IDEA) NANCY MOSON SCARLET MUDWYLER IAN MURRAY STUART MURRAY MAURIZIO NANNUCCI OPAL L. NATIONS ROSS NEHER AL NEIL N.E. THING CO. ALEX NEUMANN NEW YORK CORRES SPONGE DANCE SCHOOL OF VANCOUVER HONEY NOVICK (MISS HONEY) FOOTSY NUTZLE (FUTZIE) ROBIN PAGE MIMI PAIGE POEM COMPANY MEL RAMSDEN MARCIA RESNICK RESIDENTS JEAN-PAUL RIOPELLE EDWARD ROBBINS CLIVE ROBERTSON ELLISON ROBERTSON MARTHA ROSLER EVELYN ROTH DAVID RUSHTON JIMMY DE SANA WILLOUGHBY SHARP TOM SHERMAN ROBERT 460 SAINTE-CATHERINE WEST, ROOM 508, SMITHSON ROBERT STEFANOTTY FRANÇOISE SULLIVAN MAYO THOMSON FERN TIGER TESS TINKLE JASNA MONTREAL, QUEBEC H3B 1A7 TIJARDOVIC SERGE TOUSIGNANT VINCENT TRASOV (VINCENT TARASOFF & MR.
    [Show full text]
  • Just a Feeling Selected Works 1987–2005
    Brent Harris Just a feeling Selected works 1987–2005 i Brent Harris Just a feeling Selected works 1987–2005 Contents 4 Foreword Dr Chris McAuliffe 6 Just a feeling: Brent Harris, selected works 1987–2005 Bala Starr 9 The passion of Brent Harris Sarah Thomas 15 Demonology Jonathan Nichols 19 Singapore paper pulp works James Mollison, AO 24 Plates 34 List of works in the exhibition 40 Brent Harris—biography and bibliography When speaking of Brent Harris’s work, especially his Grotesquerie paintings, there’s a tendency to use words like ‘elegant’, or even ‘decadent’. Those are appropriate enough as descriptive terms; they do capture something of the aesthetic tone of the work. But for the artist himself, different words are required. Words like ‘diligent’ or ‘adventurous’; the very antithesis of the languid and agoraphobic artists of the fin-de-siècle period. Brent Harris is an artist who has often worked programmatically, using a sequence of paintings or prints to systematically hunt down an idea, a form or a quality of his medium. With this persistence comes a willingness to learn, to explore, to renew. What this exhibition amounts to, I think, is a testimony to the hard graft of art. Behind the pristine refinement of the works displayed are accumulated layers not only of studio craft but of reading, reflection, looking and travelling. Surprising new works combine artistic ambition with a willingness to accept the challenge of innovative processes. Familiar works reclaim their subtlety as the resonances threading through an accumulated oeuvre become apparent. The job of being an artist, and the rewards that this offers us as viewers, are both writ large.
    [Show full text]
  • 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.
    [Show full text]
  • The Blot on the Landscape: Fred Williams and Australian Art History
    The blot on the landscape: Fred Williams and Australian art history Keith Broadfoot There is a blot on the Australian landscape. It has been there for a long time, but its existence only really became apparent with a defining shift in Australian art historiography which occurred with Bernard Smith’s 1980 Boyer Lecture series, The Spectre of Truganini. Seeing the exclusion of an Aboriginal presence in Australian art through the ideas of Sigmund Freud, Smith proposed in his pivotal text that the history of Australian art was a history of repression. After Smith, contemporary art historian Ian McLean has developed the most detailed account of the history of Australian art according to this methodology. This essay examines the work of the modern Australian artist Fred Williams in relation to both Smith and McLean’s understanding of the history of Australian art but to expand on their work I argue that, rather than Freud alone, it is Jacques Lacan’s refiguring of Freud that offers us the most insight into Williams’s work. Further, insofar as I argue that the history of Australian art is the very subject matter of Williams’s work, his work stands in for a wider project, the writing of a history of Australian art according to Lacan’s proposal of a foundational split between the eye and the gaze. But first, to that blot. From colonial melancholy to a modern uncanny In a brilliant observation, Ian McLean, in drawing attention to emigrant artist John Glover’s attempt to control the disorderly dispersion of gums across the hillsides in the background of some of his paintings, suggests that therein could be found the origin to the art of Fred Williams.
    [Show full text]
  • Art and Language 14Th November – 18Th January 2003 52 - 54 Bell Street
    Art and Language 14th November – 18th January 2003 52 - 54 Bell Street Lisson Gallery is delighted to announce an exhibition by Art & Language. Art and Language played a key role in the birth of Conceptual Art both theoretically and in terms of the work produced. The name Art & Language was first used by Michael Baldwin, David Bainbridge, Harold Hurrell and Terry Atkinson in 1968 to describe their collaborative work which had been taking place since 1966-67 and as the title of the journal dedicated to the theoretical and critical issues of conceptual art. The collaboration widened between 1969 and 1970 to include Ian Burn, Mel Ramsden, Joseph Kosuth and Charles Harrison. The collaborative nature of the venture was conceived by the artists as offering a critical inquiry into the social, philosophical and psychological position of the artist which they regarded as mystification. By the mid-1970s a large body of critical and theoretical as well as artistic works had developed in the form of publications, indexes, records, texts, performances and paintings. Since 1977, Art and Language has been identified with the collaborative work of Michael Baldwin and Mel Ramsden and with the theoretical and critical collaboration of these two with Charles Harrison. The process of indexing lies at the heart of the endeavours of Art and Language. One such project that will be included in the exhibition is Wrongs Healed in Official Hope, a remaking of an earlier index, Index 01, produced by Art & Language for the Documenta of 1972. Whereas Index 01 was intended as a functioning tool in the recovery and public understanding of Art and Language, Wrongs Healed in Official Hope is a ‘logical implosion’ of these early indexes as conversations questioning the process of indexing became the material of the indexing project itself.
    [Show full text]
  • Conceptual Art in Britain 1964–1979 Art & Language Large Print Guide
    Conceptual Art in Britain 1964–1979 12 April – 29 August 2016 Art & Language Large Print Guide Please return to exhibition entrance Art & Language 1 To focus on reading rather than looking marked a huge shift for art. Language was to be used as art to question art. It would provide a scientific and critical device to address what was wrong with modernist abstract painting, and this approach became the basis for the activity of the Art & Language group, active from about 1967. They investigated how and under what conditions the naming of art takes place, and suggested that meaning in art might lie not with the material object itself, but with the theoretical argument underpinning it. By 1969 the group that constituted Art & Language started to grow. They published a magazine Art-Language and their practice became increasingly rooted in group discussions like those that took place on their art theory course at Coventry College of Art. Theorising here was not subsidiary to art or an art object but the primary activity for these artists. 2 Wall labels Clockwise from right of wall text Art & Language (Mel Ramsden born 1944) Secret Painting 1967–8 Two parts, acrylic paint on canvas and framed Photostat text Mel Ramsden first made contact with Art & Language in 1969. He and Ian Burn were then published in the second and third issues of Art-Language. The practice he had evolved, primarily with Ian Burn, in London and then after 1967 in New York was similar to the critical position regarding modernism that Terry Atkinson and Michael Baldwin were exploring.
    [Show full text]
  • The Making of Indigenous Australian Contemporary Art
    The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]
  • 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.
    [Show full text]
  • The James Gleeson Oral History Collection
    research library Painted in words: the James Gleeson oral history collection It doesn't matter how the paint is put on, as long as something is said. Jackson Pollock Rosemary Madigan Eingana 1968 The Research Library at the National Gallery of Australia Oral history has an interesting place in a museum carved English lime wood collects catalogues raisonn•, auction catalogues, rare serials context. It revolves around the power and reliability of 61.0 x364.8 x30.4cm and books and other printed and pictorial media relating memory and the spoken word in an environment that National Gallery of Australia, Canberra to the visual arts. In addition to bibliographic collections, more often values the written word, the document, the Purchased 1980 the library keeps manuscripts and documentary material image and the object. Spoken words have a number of Murray Griffin such as diaries, photographs and ephemera. It also holds qualities that make them different from other ways of Rabbit trapper's daughter 1936 communicating. They are able to capture the emotions linocut, printed in colour, from a collection of ninety-eight recorded interviews and multiple blocks behind what it means to be a person who is living printed image 35.0 x 27.8 cm transcripts with Australian artists created in the late 1970s, and making art at a particular time in history. And the National Gallery of Australia, before the National Gallery of Australia was built. Canberra storytelling in the interview captures both the pleasures of The interviews were conducted by the well-known memory and the act of creativity.
    [Show full text]
  • National Portrait Gallery of Australia Annual Report 13/14
    National Portrait Gallery of Australia Annual Report 13/14 National Portrait Gallery of Australia Annual Report 13/14 © National Portrait Gallery of Australia 2014 issn 2204-0811 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical (including photocopying, recording or any information storage and retrieval system), without permission from the publisher. This report is also accessible on the National Portrait Gallery’s website portrait.gov.au National Portrait Gallery King Edward Terrace Canberra, Australia Telephone (02) 6102 7000 portrait.gov.au 24 September 2014 Senator the Hon George Brandis qc Attorney-General Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the National Portrait Gallery of Australia Board, I am pleased to submit the Gallery’s first independent annual report for presentation to each House of Parliament. The report covers the period 1 July 2013 to 30 June 2014. This report is submitted in accordance with the National Portrait Gallery of Australia Act, 2012 and the Commonwealth Authorities and Companies Act, 1997. The Performance Report has been prepared according to the Commonwealth Authorities (Annual Reporting) Orders 2011. The financial statements were prepared in line with the Finance Minister’s Orders made under the Commonwealth Authorities and Companies Act, 1997. Yours sincerely Dr Helen Nugent ao Chairman national portrait gallery of australia annual report 2013/14 i Contents Chairman’s letter 3 Director’s report 7 Agency overview 13 Accountability and management 17 Performance summary 23 Report against corporate plan 27 Financial statements 49 Appendices 1.
    [Show full text]
  • EVERYTHING IS FINE 16 — 20 October, 2019; Paris Internationale Curated by 1856, Nicholas Tammens
    EVERYTHING IS FINE 16 — 20 October, 2019; Paris Internationale Curated by 1856, Nicholas Tammens with PATRICIA L. BOYD Private interests, Publick benefits, 2018 Unique silver gelatin photogram 181 × 90 cm LAUREN BURROW Negative Content (“asshole” interrupted), 2019 Plaster, floral foam, aluminium 7.5 × 46 cm FRED LONIDIER Art Talk #1, Art Talk #2, Art Talk #3, 1975/2019 Framed Photographs [digital reproductions of silver gelatin photographs] 50.80 × 40.64 cm (20 × 16 inches) IAN BURN Critical Methodolatory, 1989 Lithograph 55 × 42 cm 1856 is a program of exhibitions and events presented at the Victorian Trades Hall, a trade union [syndicat] building in Melbourne, Australia. 1 EVERYTHING IS FINE As part of Paris Internationale 2019, 1856 presents “Everything is fine” with work by Patricia L. Boyd, Ian Burn, Lauren Burrow, and Fred Lonidier. The work of art is possibly one of the only commodities with equal claim to both private and civic space. It is due to how artworks are embedded in our social relations that we recognise their different values: as historical artefacts, as objects of appreciation (“beautiful” or sensible to taste), political critiques, private financial investments, modes of communication, public documents of the national imaginary—the list goes on. However, the line that divides private and civic has become ever more indiscernible in recent decades—for instance, the erosion of public infrastructure and state industry, private capitalisation on culture and entertainment, the withering of the 8 hour work day, the return of 19th century work conditions, and the ongoing enclosure of our personal lives by a new technological industrialism.
    [Show full text]