S T E P H E N L I T T L E
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
An Interpretive Case Study of the Design of the Emerging Cultural Landscape
Design Research Society DRS Digital Library DRS Biennial Conference Series DRS2004 - Futureground Nov 17th, 12:00 AM Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape. Vince Dziekan Monash University Follow this and additional works at: https://dl.designresearchsociety.org/drs-conference-papers Citation Dziekan, V. (2004) Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape., in Redmond, J., Durling, D. and de Bono, A (eds.), Futureground - DRS International Conference 2004, 17-21 November, Melbourne, Australia. https://dl.designresearchsociety.org/drs- conference-papers/drs2004/researchpapers/22 This Research Paper is brought to you for free and open access by the Conference Proceedings at DRS Digital Library. It has been accepted for inclusion in DRS Biennial Conference Series by an authorized administrator of DRS Digital Library. For more information, please contact [email protected]. Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape. Vince Dziekan Position Statement Monash University In response to the call to “address the emerging context, which acknowledges that in recent years, media and information-technology shifts have changed the cultural landscape of design and designing”, this paper will contribute to the discourse of design’s fluid interrelationship with cultural activity and production by focussing on the resulting formation of art, new technology and the design of its institutions. If art since the advent of Modernism can be characterized by any single quality it would have to be its diversity… however, across the breadth of such aesthetic and stylistic difference remains its common, primary destination: the Museum. -
National Art School 2019–2025 Strategic Plan Executive Summary
National Art School 2019–2025 Strategic Plan Executive Summary The National Art School (NAS) sits on one of the most significant sites in Australia – a meeting place for the Gadigal people, the site of the oldest gaol in Australia – and since 1922 the National Art School has called this site home. Over 185 years since our founding, and 96 years on this site, we have had a dynamic history, with many of Australia’s leading artists studying and teaching here. National Art School alumni have framed late 19th Century and 20th Century Australian art practice. They have formed a significant part of the Art Gallery of NSW’s exhibitions and collection acquisitions. One in five Archibald Prize winners has come from the National Art School. But our future is in preparing contemporary artists to be well equipped for the 21st Century. At the leading art fair in the Asia Pacific – the 2018 Sydney Contemporary Art Fair, 56 out of 337 artists were NAS alumni – that is one in 6, more than any other art institution. The National Art School is Australia’s leading independent fine art school; a producer of new art; a place to experience and participate in the arts; and a presentation venue. Our future vision is for a vital and energetic arts and education precinct. A place where art is made, rehearsals take place, art is seen and most importantly people can experience and participate in art. We will partner with other NSW arts organisations to deliver valuable ACDP objectives for the engagement and participation with people living and/or working in regional NSW, people living and/or working in Western Sydney, Aboriginal people, people from culturally and linguistically diverse (CALD) backgrounds, people with disability, and young people. -
MCA, Qantas and Tate Announce First Series of Australian Artwork Acquisitions
MCA, Qantas and Tate announce first series of Australian artwork acquisitions [Sydney, 13 May 2016] The Museum of Contemporary Art Australia (MCA), Qantas and Left: Vernon Ah Kee, Tate have today revealed the first five artworks in their International Joint Acquisition tall man 2010 four-channel video Program for contemporary Australian art. The Program promotes Australian art globally, installation, sound, Tate helping Australian artists reach new audiences. and the Museum of Contemporary Art Australia, purchased jointly These joint acquisitions by MCA and Tate include two large video installations, one by with funds provided by the Susan Norrie (Transit 2011) and another by Vernon Ah Kee (tall man 2010), two paintings Qantas Foundation, 2016, image courtesy Museum of by Gordon Bennett (Possession Island (Abstraction)) 1991 and Number Nine 2008) and an Contemporary Art Australia artist book by Judy Watson consisting of sixteen etchings with chine collé (a and Milani Gallery, Brisbane © the artist, photograph: preponderance of aboriginal blood 2005). Carl Warner Right: Gordon Bennett Three of these artworks will be on display in the MCA Collection Galleries starting this Gordon Bennett, Possession month, and two more will be included in the new MCA Collection exhibition opening in Island (Abstraction), 1991, oil and acrylic on canvas, September. The artworks will then head to Tate to be displayed in the UK in the near Tate and the Museum of future. Contemporary Art Australia, purchased jointly with funds provided by the Made possible through a $2.75 million corporate gift from the Qantas Foundation, this Qantas Foundation, 2016, ground-breaking collaboration is enabling an ambitious five-year joint program through image courtesy Museum of Contemporary Art Australia which a range of major artworks by contemporary Australian artists will be acquired for and Milani Gallery, Brisbane the collections of MCA and Tate, owned and displayed by both institutions. -
Curatorial Assistant
Position Description – Curatorial Assistant Position Details Position Title: Curatorial Assistant Position Number: NEW Portfolio: Research & Innovation Portfolio School/Group: Research Office (Design Hub) Campus Location: Based at the City campus, but may be required to work at other campuses of the University. Classification: HEW 5 (Salary Schedule: http://www.rmit.edu.au/browse;ID=ewhtlt73t01) Employment Type: Continuing Time Fraction: 1.0 FTE (Tuesday–Saturday during exhibitions, Monday–Friday during non-exhibition periods) RMIT University RMIT is a global university of technology, design and enterprise in which teaching, research and engagement are central to achieving positive impact and creating life-changing experiences for our students. One of Australia’s original educational institutions founded in 1887, RMIT University now has 83,000 students including 12,000 at postgraduate level. The University enjoys an international reputation for excellence in professional and vocational education, applied and innovative research, and engagement with the needs of industry and the community. With three campuses in Melbourne (City, Brunswick and Bundoora), two in Vietnam (Hanoi and Ho Chi Minh City) and a centre in Barcelona, Spain, RMIT is a truly global university. RMIT also offers programs through partners in Singapore, Hong Kong, mainland China, Indonesia and Sri Lanka, and enjoys research and industry partnerships on every continent. RMIT prides itself on the strong industry links it has forged over its 130-year history. Collaboration with industry is integral to the University’s leadership in applied research and education, and to the development of highly skilled, globally focused graduates. We are a 5-Star university under the QS Stars international evaluation system, and are 16th in the world among universities less than 50 years old (2016–17 QS Top 50 Under 50 index). -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
Curriculum Vitae
CURRICULUM VITAE Lloyd Godman Page 1 Solo exhibitions Page 3 Group exhibitions Page 9 Performative works - Collaborative Work Page 10 Published writings and photographs by the artist Page 12 Magazine features, articles, reviews, news paper, etc. Page 15 Academic Page 17 Artworks in collections Page 18 Lectures, papers, artist talks etc. Page 20 Workshops Page 21 Art projects Page 22 Awards - Grants Page 23 Artist in residencies - Commissions & Proposals Page 23 Interviews Page 24 Air Plant Research project Hyperlinked to web page images of exhibition Hyperlinked to web page images from this project Hyperlinked to text or document Hyperlinked to video Hyperlinked to music or sound Lloyd Godman Web Site Solo Exhibitions Solo Exhibitions 2012 1992 • Entropy String, random infinite projection - Bayside Arts and Cultural Centre, Brighton, Vic. Aust • Drawing from Nature, combination photographs / drawings, Forester Gallery, Oamaru, N.Z. 2011 • Codes of Survival, B&W combination photograms/photographs, installation & sound by Peter Adams, Solutions Gallery, • Entropy, Photographs and projection - Australian Centre for Photography, Sydney, Australia Dunedin, N.Z 2009 •Drawing from Nature, combination photographs / drawings, Gerymouth Public Art Gallery, N.Z. • Carbon Obscura IV, as part of ReGenerating Community Arts, Community and Governance National Conference, 1991 Federation Square, Central Melbourne, Victoria, Australia • Drawing From Nature, combination photographs / drawings, Assay Gallery, Dunedin, N.Z. 2008 • Drawing from Nature, combination photographs / drawings, Aigantighe, Timaru, N.Z. • Carbon Obscura IV, La Trobe Regional Gallery, Victoria, Australia 1990 • Helios Selene - ANU Photospace gallery as part of VIVID photo festival - gallery exhibition and Carbon Obscura IV • Symbols, B&W photographs, Manawatu Art Gallery, Palmerston North, N.Z. -
The Pink Monochrome Project
College of Fine Arts The University of New South Wales DOCTOR OF PHILOSOPHY 2010 THESIS The Pink Monochrome Project The transformation of monochrome painting since the 1980s By Christopher Dean June 2010 STATEMENT This volume is presented as a record of the work undertaken for the degree of Doctor of Philosophy at the College of Fine Arts, University of New South Wales. TABLE OF CONTENTS Statement ...........................................................................................................................2 Acknowledgments .............................................................................................................4 List of figures .....................................................................................................................5 Research question ...............................................................................................................6 Abstract ..............................................................................................................................7 Chapter One: Introduction ................................................................................................12 Chapter Two: Methodology and methods ...........................................................................20 Chapter Three: The rise of formalism and the theoretical interpretation of historical abstraction and monochrome painting, 1910-1970 ...................................................24 Chapter Four: Artists’ writings, 1910-1970 .......................................................................32 -
2020 NAS Annual Report Contents Welcome Strategy and Governance 3 Directors’ Biographies 5 Year at a Glance 6 Chair’S Report 9 Director’S Report 10
2020 NAS Annual Report Contents Welcome Strategy and Governance 3 Directors’ Biographies 5 Year at a Glance 6 Chair’s Report 9 Director’s Report 10 Academic Degree Programs and Statistics 14 The Student Experience 16 NAS Connect 18 NAS Corona Quilt 19 NAS Artist Achievements 20 Prizes and Scholarships 22 Staff Profile 25 Faculty Achievements 26 Art Forum 27 Library 29 Staff List 30 Art, Artists and Community Creative Precinct and Community Activation 35 Graduate Profile 36 Education Outreach 38 Public Programs 40 NAS Gallery 42 Archive and Collection 46 Commercial and Development Venue Hire 50 Print Lab 51 Philanthropy 52 Supporter Engagement 53 Support 54 Donors 55 Financial Report 56 NAS Gallery re-imagined as a drawing studio during COVID-19. Photo: Peter Morgan. Strategy and Governance Welcome Vision To become the leading Welcome fine art school in the Asia-Pacific. Mission Started in 1843, the National Art School (NAS) provides outstanding visual arts education centred on learning through practice and critical enquiry under the guidance of experienced artists and educators. NAS builds on its success as Australia’s leading independent fine art school to develop our international reputation at the forefront of 21st century studio- based education. Through our art school and site, we educate and inspire students and audiences by creating innovative, accessible arts programs to make lively and meaningful contributions to Context a global society. NAS is Australia’s leading independent fine art school; a producer of new art; Values a place to experience and participate We honour the significant artistic in the arts; and a presentation venue. -
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE Andrew W Mellon
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE www.terryesmith.net/web http://www.douban.com/group/419509/ Andrew W Mellon Professor of Contemporary Art History and Theory Henry Clay Frick Department of the History of Art and Architecture 104 FFA, University of Pittsburgh, Pittsburgh PA 15260 USA Tel 412 648 2404 fax 412 648 2792 Messages (Linda Hicks) 412 648 2421 [email protected] 3955 Bigelow Boulevard, #911, Pittsburgh, PA 15213 Tel. 412 682 0395 cell 919 683 8352 33 Elliott St., Balmain, NSW 2041 Australia, tel. 61 -2- 9810 7464 (June-August each year) 1. ACADEMIC RECORD 2. APPOINTMENTS 3. RESEARCH GRANTS, HONOURS AND AWARDS 4. PUBLICATIONS, INTERVIEWS, EXHIBITIONS 5. TEACHING AND ADMINISTRATION 6. HONORARY PROFESSIONAL POSITIONS 7. COMMUNITY SERVICE 8. GUEST LECTURES AND CONFERENCE PAPERS 9. RELATED ACTIVITIES 10. PROFILES 11. RECENT REVIEWS 1 1. ACADEMIC RECORD 1986 Doctor of Philosophy, University of Sydney (dissertation topic: “The Visual Imagery of Modernity: USA 1908-1939”) 1976 Master of Arts, University of Sydney, first class honours and University Medal (thesis topic: “American Abstract Expressionism: ethical attitudes and moral function”) 1973-74 Doctoral studies, Institute of Fine Arts, New York University (Professors Goldwater, Rosenblum, Rubin); additional courses at Columbia University, New York (Professor Schapiro), Whitney Museum of American Art, New York 1966 Bachelor of Arts, University of Melbourne 2. APPOINTMENTS 2011-2015 Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine -
Euan Macleod
EUAN MACLEOD Date de naissance : 1956 Lieu de résidence : Sydney Support : acrylique sur toile, eau-forte EXPOSITIONS PERSONNELLES 2005 • Watters Gallery, Sydney 2004 • Brooke / Gifford Gallery, Christchurch, Nouvelle-Zélande • Niagara Galleries, Melbourne, Australie • Euan Macleod and Leo Robba – Around Newcastle, Damien Minton Gallery, Newcastle 2003 • Bowen Galleries, Wellington, Nouvelle-Zélande • Inside going outside, Watters Gallery, Sydney • Twenty works on paper, Watters Gallery, Sydney 2002 • Wet & Wild, Niagara Galleries, Melbourne, Australie • Napeleon Reef Paintings 1992–2002, Bathurst Regional Art Gallery, New South Wales, Australie 2001 • Drawings, Ben Grady Gallery, Canberra, Australie • Figure Works from the 1980s, Victor Mace Fine Art Gallery, Brisbane, Australie • Bowen Galleries, Wellington, Nouvelle-Zélande • Works on Paper, Nick Mitzevich Gallery, Newcastle • Recent paintings, Watters Gallery, Sydney Biographie Euan MacLeod 1/06/05 1 ARTS D’AUSTRALIE • STEPHANE JACOB, PARIS 2000 • Euan Macleod Paintings : 1981-1999, University of the Sunshine Coast Library Gallery, Queensland, Australie • Niagara Galleries, Melbourne, Australie • Euan Macleod Paintings : 1984-2000, Cairns regional Gallery, Queensland, Australie • Brooke / Gifford Gallery, Christchurch, Nouvelle-Zélande 1999 • Recent paintings, Watters Gallery, Sydney • Bowen Galleries, Wellington, Nouvelle-Zélande • Paintings from Euan Macleod – 1981-1998, Newcastle Region Art Gallery, Australie 1998 • Brooke/Gifford Gallery, Christchurch, Nouvelle-Zélande • Niagara -
The Melbourne Dreaming, Which Later Inspired and Ancient History
Melbourne Dreaming A GUIDE TO IMPORTANT PLACES OF THE PAST AND PRESENT Meyer Eidelson i CONTENTS Dedication xx About the author xx About this book xx Foreword xx Acknowledgments xx Introduction xx Precincts xx Organisations xx Images xx Further reading xx Index xx Barak by Florence Ada Fuller, 1885. Reproduced with permission of the State Library of Victoria. Precinct contents City centre and surrounds 1. Birrarung (Yarra) art and heritage walk xx Of interest: Yarra Yarra Falls xx 2. Indigenous art collection xx Dedicated to William Barak, Ngurungaeta (clan leader) of the 3. Koorie Heritage Trust xx Wurundjeri, who died at Coranderrk, Healesville in 1903. As 4. Freedom Fighters execution site xx a boy, he was present at the signing of John Batman’s treaty 5. Old Melbourne Cemetery site xx (the Melbourne Treaty). An outstanding leader in the struggle 6. Bunjilaka Cultural Centre xx for Aboriginal rights and justice, he guided his people with 7. Billibellary’s Walk xx courage and wisdom through extraordinary times. 8. Fitzroy Gardens scarred tree xx 9. Melbourne Cricket Ground xx 10. Kings Doman Resting Place xx 11. Aboriginal reserve site xx and Aboriginal heritage walk ii iii East Morington Peninsula 12. Stonnington Indigenous History Trail xx 33. Baluk Arts xx 13. Ngargee (corroboree) tree xx 34. Collins Settlement xx Of interest: Wurundjeri Council xx 35. Bunjil’s Cave xx 14. Merri Creek Aboriginal School Native Police xx 36. Coolart xx and the Protectorate Station Of interest: Bunyips at Tooradin xx 15. Bolin Bolin Billabong xx 16. Scarred Tree xx 17. Dandenong Police Paddocks Reserve xx Inner north 18. -
Heide Museum of Modern Art 2014 Annual Report Heide Museum of Modern Art 2014 Annual Report
HEIDE MUSEUM OF MODERN ART 2014 ANNUAL REPORT Heide Museum of Modern Art 2014 Annual Report CONTENTS 1.S TATEMENT OF PURPOSE & VALUES 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTOR’S REPORT 3 4. CULTURAL PROGRAMMING 7 4.1 Exhibitions 7 4.2 Public Programs 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 18 5.1 Store 18 5.2 Visitor Services 21 5.3 Membership 22 5.4 Café Vue at Heide 22 6. COLLECTION 23 6.1 Acquisitions 25 7. FACILITIES 39 7.1 Maintenance 39 7.2 Gardens 40 8. MARKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Grants 48 9.3 Development Committee 49 9.4 Heide Fellow 49 9.5 Fundraising Campaigns 49 9.6 Corporate Partnerships 50 9.7 Local Government Support 50 9.8 Sponsored Exhibitions 51 10. GOVERNANCE 56 10.1 Board 57 10.2 Heide Board Sub-Committees 59 10.3 Board Directors & Senior Management Personnel 60 11. STAFF & VOLUNTEERS 63 12. FINANCIAL STATEMENTS 66 13. NOTES TO THE FINANCIAL STATEMENTS 79 DIRECTORS’ DECLARATION 97 INDEPENDENT AUDIT REPORT 98 Cover image Installation view, Emily Floyd: Far Rainbow Heide III, 2014 All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2014 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history. VALUES Creativity in cultural programming, audience development and profiling of the Museum Sustainability of cultural, financial and environmental operations Integrity in governance, leadership and museum management 1 2.