DOCSLIB.ORG

Meet the Artist : DOUGLAS ROBERTS : Principal SASA 1964-1976

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Meet the Artist : DOUGLAS ROBERTS : Principal SASA 1964-1976 Friends of the South Australian School of Art, Inc. Newsletter PATRON: DR JEFFREY S M A R T A O A B O U T T H E VOLUME 1, ISSUE 1 APRIL/MAY 2013 FRIENDS OF S A S A , I N C The Friends of the South Australian School of Art 50 years ago @ the South Australian School of Art (SASA) aim to promote the work, or some members of As long serving Senior history, and development of F Friends SASA it may Lecturer at SASA, John the South seem like only yesterday Copeland has written, ‘This Australian School that you were on the move building was designed with of Art, using the from the derelict (but much almost no input from outstanding expertise, loved) Exhibition Building School of Art staff or experience and on North Terrace to the students. No in-built View of interior courtyard , collegial nature of Demolition begins at the rear new purpose-built campus heating. No air- SASA, Stanley Street Campus. SASA Prospectus, its past and of the Exhibition Building, on Stanley Street, North conditioning. No lifts. No present scholars North Terrace, 1962. SLSA 1967. and staff. Archives. Adelaide. The reality is that wheelchair access to upper it is now almost exactly 50 floors. No possibility for I N S I D E years since this significant event occurred. Such future expansion. No THIS significance lies in the fact that it was the first time in parking area for students’ ISSUE the one hundred years of the school’s operation, that cars. Small parking area for Friends 2 SASA Board it was to be housed in a building specifically designed staff cars only. Lecture Report: Pamela for its purpose. theatre on top floor was Karran>>> Professor Kay Built in the 1960s in conservative Adelaide, the very hot in summer Sale of ceramic works in the Lawrence school’s modern design attracted much public months’. courtyard of Stanley Street appointed Adjunct Campus. 1975 Torrens CAE Professor, UniSA comment. Leading English critic and art educator, Sir However, John did Herbert Read, who visited the almost completed comment favourably on the Report. Vale Bert 3 Flugelman>>> campus a month building’s ‘pleasant central courtyard for display of Email from before it was first students’ sculpture and ceramic works’, and its ‘quite Vincent de Gouw occupied on July 11th, good gallery area’. He also noted that, ‘despite its SASA Graduates 4 achieve success @ 1963—thought it many faults the building created a unified entity’. Helpmann ‘better designed and Of particular importance here is the fact that the Academy better equipped than school could at last boast a Gallery or exhibition Awards>>> South Australian School of Art, Jacqueline Hick @ Stanley Street, North Adelaide. This any art school’ he had space of its very own. Neither of the buildings in Carrick photograph shows the ‘box-like’ ever seen.1 which the school had been previously housed—the Hill>>>Jack Cross structure of the building and the made AM unusual exterior ‘grille’ which was Others found the South Australian Institute Building and the Exhibition made of 18000 triangular concrete school’s design less Building—had allowed for such an important facility. ‘50 years @ SASA 5 (cont)>>>Friends blocks. SASA Prospectus, 1963. than satisfactory. Continued page 5>>> SASA Board Report (Cont) Friends SASA evening with Greg Royal South Australian Society of Arts Portrait Prize Johns @ Bradley Forum Meet the Artist: 6 T he Inaugural RSASA Other components of this prize include: Douglas Roberts Portrait Prize is one with a inviting entrants to respond to the following ‘Why I (1919-1976) difference. Open to all artists in would like to have my portrait painted’. ‘Meet the Artist: 7 Douglas Roberts all mediums, it encourages Portrait demonstrations in the RSASA Gallery with (Cont) artists to think beyond the up to four artists working on portraits of sitters. Calendar of Events 8 human face. The exhibition runs A Portrait Trail at the Art Gallery of South Australia. 2013>>>Heysen at the RSASA Gallery from June An invitation to school children to create portraits Sculpture Biennial 2014>>>Artist 23 to July 14, 2013. Entries are of their favourite character which will be displayed News from due May 31. Prizes include $1,000 First Prize and on screens in the foyer to the RSASA Gallery. Greenaway Gallery $500 Second Prize (sponsored by Friends SASA). The exhibition will be opened Sunday June 23 at Entry forms are available from the RSASA website or 2.00 pm by Nick Mitzevich, Director of the Art via email to [email protected]. Gallery of South Australia. P A G E 2 Friends SASA Board Report : Pamela Karran ear Friends ... smooth succession into the future. Several Board D I write to you as Vice President and also members will be ending their current tenures at our Acting President of FSASA. As most of you AGM this year and some have indicated that they will will recall we are actually without an elected not be re-nominating. Therefore, I encourage you to president since Jack Condous retired from the consider nominating either yourself or others for a position in August 2012. Consequently, our position on the Board. Board has had to develop an alternative way of Special Thankyou’s. Acting President & Vice operating. We now work as a cooperative with To Michael Scarpantoni of Scarpantoni Wines President of Friends each board member taking on a specific management who has donated 12 dozen wines once again for us to SASA, Pamela Karran role which we believe has resulted in a very successful use at our functions throughout the year. with artist and long-time working team. To members, Jack Condous, Nicola Semmens, staff member at the South Australian School Denice Daou is Secretary and has become a huge Garrie Hisco and Gareth Thomas who spotted an of Art, Geoff Wilson. asset to the team. She is based at the City West opportunity to hang a city exhibition thus earning $300 Both are pictured at the Campus of the University of South Australia and as a which they generously donated to FSASA. recent Friends SASA fundraising event held at result has been able to expedite our operations within Our next major fundraiser The Third of the the Bradley Forum the Art School. Nicola Semmens is in her second Friends – The 20x20 Show at the Prospect Gallery is (Tuesday April 9) where year as Treasurer and has shown huge commitment to to be opened by Vickie Chapman MP on July 7, 2013. Greg Johns spoke on the theme of' ‘Public the task. Gloria Goddard oversees all exhibitions The entry fee is $25 per work and as a new initiative, Sculpture: Place, and is currently mentoring the “Third of the Friends” the Friends SASA are offering a $500 cash prize for the Meaning & Journey. For exhibition team and Bente Andermahr is our best work. For further information contact Lois Turner report and pics see p 5. Photograph courtesy advertising and photographic manager. at [email protected]. Bente Andermahr. Andrew Hill represents the SA School of Art; We have determined to continue our collaboration Barb Tanner manages our student scholarships and with the Royal Adelaide Show Art Purchase 20 Mark Fischer liaises with Jenny Aland, who Exhibition. Our former President Jack Condous produces our newsletter and manages our website continues in his coordination role and several of our and Facebook page. Lyn Robins is our official FSASA members assist as stewards. We also contribute a representative at art events about town and Trish $150 prize. Members please consider submitting Wozniak is our Membership Officer. works. I have also retained the role of Events Coordinator This year, the Board has also agreed to sponsor the as well as my leadership role. I sincerely thank the Inaugural Royal South Australian Society of Arts Board for their continued support. Portrait Prize Exhibition. The first prize is $1500 I feel that it is important to understand that we are (non-acquisitive) and the second prize is $500, an organisation of volunteers constantly striving to sponsored by Friends SASA. The exhibition is designed balance work, family and social lives along with our to give South Australian artists their own portrait prize. commitment to ensure that Friends SASA continues to The exhibition is open to RSASA members and fulfill its aims. nonmembers. The venue will be the RSASA Gallery Most importantly, your Board relies on the strong and the exhibition will be opened by Nick Mitzevich, participation and support of members so I urge you to Director, Art Gallery of South Australia on Sunday, 23 become involved in our functions and exhibitions June 2013 at 2 pm. Anna Platten, Chris Orchard and wherever possible and to encourage new members in Sam Hill-Smith have agreed to be exhibition judges. order to refresh our organisation and to ensure a Report continues Page 5>>> FRIENDS SASA NEWSLETTER Professor Kay Lawrence appointed Adjunct Professor e recently received the and theory, that she has won over $1.6 million in Editor: Dr Jenny Aland Postal Address: W following message from grants and produced over 20 publications in addition Friends SASA Professor Mads Gaardboe, Head to her teaching and Higher Degree Research (HDR) of the School of Art, Architecture & supervision. SA School of Art Adjunct Professor University of South Kay Lawrence AM Design. I am particularly pleased that we will continue to Australia Colleagues: It is my great pleasure to see Kay around the School in the future, where she GPO Box 2471 inform you that our former Head of SASA and will maintain her office, and I am sure that you will all Adelaide SA 5001 subsequently Director of SASA Kay Lawrence who join me in offering her our warmest congratulations.
Load more

Recommended publications
  • Emu Island: Modernism in Place 26 August — 19 November 2017
    PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program.
    [Show full text]
  • Making 18 01–20 05
    artonview art o n v i ew ISSUE No.49 I ssue A U n T U o.49 autumn 2007 M N 2007 N AT ION A L G A LLERY OF LLERY A US T R A LI A The 6th Australian print The story of Australian symposium printmaking 18 01–20 05 National Gallery of Australia, Canberra John Lewin Spotted grossbeak 1803–05 from Birds of New South Wales 1813 (detail) hand-coloured etching National Gallery of Australia, Canberra nga.gov.au InternatIonal GallerIes • australIan prIntmakInG • modern poster 29 June – 16 September 2007 23 December 2006 – 6 May 2007 National Gallery of Australia, Canberra National Gallery of Australia, Canberra George Lambert The white glove 1921 (detail) Art Gallery of New South Wales, Sydney purchased 1922 photograph: Jenni Carter for AGNSW Grace Crowley Painting 1951 oil on composition board National Gallery of Australia, Canberra Purchased 1969 nga.gov.au nga.gov.au artonview contents 2 Director’s foreword Publisher National Gallery of Australia nga.gov.au 5 Development office Editor Jeanie Watson 6 Masterpieces for the Nation appeal 2007 Designer MA@D Communication 8 International Galleries Photography 14 The story of Australian printmaking 1801–2005 Eleni Kypridis Barry Le Lievre Brenton McGeachie 24 Conservation: print soup Steve Nebauer John Tassie 28 Birth of the modern poster Designed and produced in Australia by the National Gallery of Australia 34 George Lambert retrospective: heroes and icons Printed in Australia by Pirion Printers, Canberra 37 Travelling exhibitions artonview ISSN 1323-4552 38 New acquisitions Published quarterly: Issue no. 49, Autumn 2007 © National Gallery of Australia 50 Children’s gallery: Tools and techniques of printmaking Print Post Approved 53 Sculpture Garden Sunday pp255003/00078 All rights reserved.
    [Show full text]
  • Dorrit Black the Bridge
    Dorrit Black The Bridge Interpretive Resource Australian modernist Dorrit Black The Bridge, 1930 was Australia’s first Image (below) and image detail (cover) (1891–1951) was a painter and printmaker cubist landscape, and demonstrated a Dorrit Black, Australia, who completed her formal studies at the new approach to the painting of Sydney 1891–1951, The Bridge, 1930, Sydney, oil on South Australian School of Arts and Crafts Harbour. As the eye moves across the canvas on board, 60.0 x around 1914 and like many of her peers, picture plane, Black cleverly combines 81.0 cm; Bequest of the artist 1951, Art Gallery of travelled to Europe in 1927 to study the the passage of time in a single painting. South Australia, Adelaide. contemporary art scene. During her two The delicately fragmented composition years away her painting style matured as and sensitive colour reveals her French she absorbed ideas of the French cubist cubist teachings including Lhote’s dynamic painters André Lhote and Albert Gleizes. compositional methods and Gleizes’s vivid Black returned to Australia as a passionate colour palette. Having previously learnt to supporter of Cubism and made significant simplify form through her linocut studies contribution to the art community by in London with pioneer printmaker, Claude teaching, promoting and practising Flight, all of Black’s European influences modernism, initially in Sydney, and then in were combined in this modern response to Adelaide in the 1940s. the Australian landscape. Dorrit Black – The Bridge, 1930 Interpretive Resource agsa.sa.gov.au/education 2 Early Years Primary Responding Responding What shapes can you see in this painting? What new buildings have you seen built Which ones are repeated? in recent times? How was the process documented? Did any artists capture The Sydney Harbour Bridge is considered a this process? Consider buildings you see national icon – something we recognise as regularly, which buildings do you think Australian.
    [Show full text]
  • Adelaide Festival Centre’S Adelaide French Festival 11–13 Jan 2019
    ADELAIDE FESTIVAL CENTRE’S ADELAIDE FRENCH FESTIVAL 11–13 JAN 2019 MUSIQUE THÉÂTRE DANSE GASTRONOMIE FAMILLE ADELAIDE FESTIVAL CENTRE’S ADELAIDE WELCOME FRENCH FESTIVAL 11–13 JAN 2019 CONTENTS Welcome to the second South Australia and We’re thrilled to welcome edition of Adelaide French France share a friendly some of the very best Festival, a celebration association dating back artists from France as we 2 Win a Trip to Brittany 22 French Perfume of creativity and to the peaceful meeting in celebrate the return of 3 Ladylike Lily Masterclass collaboration between 1802 of Matthew Flinders Adelaide French Festival Junior Sous Chef France and Australia. and Nicolas Baudin at in 2019. 3 The Midnight Revolution 23 Workshop French culture has helped Encounter Bay. The program will feature 4 Monchichi shape the modern world Our maritime connection an eclectic program of 23 A Taste of Brittany and, enriched by its great has grown into a powerful music, theatre, dance, 6 L'après-midi d'un foehn Zero Dimension ethnic diversity, France economic partnership food, wine, art, fashion and - Version 1 24 continues to be a leading as we prepare to build film, including a number 8 Lumières! 24 Soleil-Cherrueix creative powerhouse. the next generation of of exclusive performances 24 14 Juillet To align with the State’s Australian Defence Force just for Adelaide. 9 Revêrie Électronique critical relationship submarines in Adelaide. In its second year, we are 10 The Piping Shrike 24 Terrarium with Brittany, Adelaide We could not build this excited to announce the Brass Band 25 Out of Silence: Festival Centre has been relationship with France 2019 festival will shine a working closely with without including a light on the beautiful 11 Bon Vivant Dinner Marcel Marceau local government, arts celebration of the arts of French region of Brittany.
    [Show full text]
  • ACCESS GUIDE Contents
    26 FEB – 14 MAR 2021 ACCESS GUIDE Contents Access Information ................................................................. 1 Website Information ................................................................. 2 Booking Tickets ........................................................................... 3 Venue Facilities ........................................................................... 4 Access Ticket Prices ................................................................. 5 Auslan Interpreted Events ....................................................... 6 Audio Described Events ......................................................... 8 Sensory/Tactile Tour Events ............................................... 9 Events With Highly Visual Content ................................... 10 Events With Assistive Listening ............................................. 13 Venues With Wheelchair Access ............................................. 15 Open House ..................................................................................... 19 Adelaide Writers’ Week Access ............................................. 21 Calendar of Events ................................................................. 22 Map ............................................................................................... 25 Sponsor Thanks ........................................................................... 27 Access Information We make every effort to ensure Adelaide Festival events are accessible to our whole audience. Please check
    [Show full text]
  • Carrick Hill Trust
    Carrick Hill Trust Financial report for the year ended 30 June 2019 INDEPENDENT AUDITOR'S REPORT ~ Government of South Australia ~"M,,1~ Auditor-General's Department Level 9 State Administration Centre 200 Victoria Square Adelaide SA 5000 DX 56208 Victoria Square Tel +618 8226 9640 Fax +618 8226 9688 ABN 53 327 061 410 [email protected] .gov.au www.audit.sa.gov.au To the Chair Carrick Hill Trust As required by section 31(1)(b) of the Public Finance and Audit Act 1987 and section 18(3) of the Carrick Hill Trust Act 1985, I have audited the financial report of the Carrick Hill Trust for the financial year ended 30 June 2019. Opinion In my opinion, the accompanying financial report gives a true and fair view of the financial position of the Carrick Hill Trust as at 30 June 2019, its financial performance and its cash flows for the year then ended in accordance with the Treasurer's Instructions issued under the provisions of the Public Finance and Audit Act 1987 and Australian Accounting Standards. The financial report comprises: a Statement of Comprehensive Income for the year ended 30 June 2019 a Statement of Financial Position as at 30 June 2019 a Statement of Changes in Equity for the year ended 30 June 2019 a Statement of Cash Flows for the year ended 30 June 2019 notes, comprising significant accounting policies and other explanatory information a Certificate from the Chair and the Acting Director. Basis for opinion I conducted the audit in accordance with the Public Finance and Audit Act 1987 and Australian Auditing Standards.
    [Show full text]
  • Annual Report 2014-2015
    SOUTH AUSTRALIA _____________________ THIRTY-FIFTH ANNUAL REPORT OF THE HISTORY TRUST of SOUTH AUSTRALIA D (History SA) FOR THE YEAR ENDED 30 JUNE 2015 History SA Directorate Torrens Parade Ground Victoria Drive Adelaide SA 5000 GPO Box 1836 Adelaide SA 5001 DX 464 Adelaide Telephone: +61 8 8203 9888 Facsimile: +61 8 8203 9889 Email: [email protected] Websites: History SA: www.history.sa.gov.au Migration Museum: www.migration.history.sa.gov.au National Motor Museum: www.motor.history.sa.gov.au South Australian Community History: www.community.history.sa.gov.au South Australian Maritime Museum: www.maritime.history.sa.gov.au Adelaidia: www.adelaidia.sa.gov.au About Time: South Australia’s History Festival: www.abouttime.sa.gov.au A World Away: www.southaustraliaswar.com.au Bound for South Australia: www.boundforsouthaustralia.com.au History as it Happens www.historyasithappens.com.au SA History Hub: www.sahistoryhub.com.au This report is prepared by the Directorate of History SA ABN 17 521 345 493 ISSN 1832 8482 ISBN 978 0 646 91029 1 CONTENTS LETTER OF TRANSMITTAL ................................................................................................................ 1 BACKGROUND......................................................................................................................................... 2 ROLE AND PRINCIPAL OBJECTIVES ............................................................................................................... 2 VISION ............................................................................................................................................................
    [Show full text]
  • Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970S Sydney
    Heather Barker and Charles Green, Flight from the Object: Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970s Sydney HEATHER BARKER AND CHARLES GREEN Flight from the Object: Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970s Sydney ABSTRACT In the early 1970s, within the small art worlds of Melbourne and Sydney, the contributions of art theorist Donald Brook were as crucial to the innovation of Conceptual art as the art itself. He was an important, prescient but ultimately lonely participant in these developments, as were artists Peter Kennedy and Mike Parr, and alternative Sydney galleries Inhibodress and the University of Sydney workshop, Tin Sheds. Brook considered that national identity was irrelevant in art; was resolutely concerned with art but not at all concerned with “Australian art”. He was opposed to a methodology that excluded everything that did not fit into a preconceived and often teleological system, insisting that if a theory could not account for post-object art then the theory was flawed and not the art. While conceding that there may have been a basis for claims that post- object art was ‘simply not art’, he criticised conservatives for resisting post-object art, insisting that the issue was still to be argued. Introduction This essay examines the turn away from defensive nationalism to internationalist autobiography in the art and theories of contemporary art during the early 1970s. It is paradoxical that this turn occurred in the process of young artists’ disillusionment with an art movement that was the most truly globalised and the least tainted by nationalism or provincialism – Conceptual art.
    [Show full text]
  • Index to Papers Tabled - 1994
    1 HOUSE OF ASSEMBLY INDEX TO PAPERS TABLED - 1994 FIRST SESSION, FORTY EIGHTH PARLIAMENT PAPERS PAPER HOUSE NUMBER NUMBER Aboriginal Deaths in Custody, Royal Commission into - Implementation Report, April 1994(218) Abortions Notified in South Australia, Committee Appointed to Examine and Report on - Report, 1993 (218) 90 Audit Commission, South Australian - Report, April 1994 (159) Audit, Commission of - Terms of Reference (97) Auditor-General, Supplementary Report for the year ended 30 June 1993(159) 4B Auditor-General's Department - Report on Operations, 1992-93 (6) 4 Carrick Hill Trust - Report, 1992-93 (6) Charitable Funds, Commissioners for - Report, 1992-93 (218) 86 Classification of Publications Board - Report, 1992-93(14) 116 Coast Protection Board - Report, 1992-93 (160) 51 Committees - Economic and Finance - Response to Seventh Report by the Premier (27) Response to Eighth Report by the Premier (27) Environment, Resources and Development - Tenth Report - Southend Foreshore Erosion (8) 184 2 Eleventh Report - Development Act - Regulations (205) 172 Regulations under the Development Act - First Report (57) Legislative Review - Minutes of Evidence - City of Tea Tree Gully - By-laws - Various (168) Education Act - Alberton Primary School Council (39) Reports, Regulations - First to Sixteenth (17 (2), 27, 39, 57, 58, 83, 84(2), 97, 131 (2), 167, 168, 205 (2)) Social Development - Response to Second Report by the Minister of Health (50) Fourth Report - Rural Poverty in South Australia - Interim Report (167) 171 Consolidated Account, Statement of, for the Month of December 1993 (17) Consumer Affairs, Commissioner for - Report, 1992-93 (14) 75A Corporation By-laws - Adelaide - No.12 - Public Restaurants and Fish Shops (6) Mitcham - No.2 - Streets and Public Places (160) Noarlunga - No.
    [Show full text]
  • Talking Art Library Audio Transcripts
    Talking Art Library Audio Transcripts Frederick McCubbin (1855-197), A Frosty Morning, 1910, oil on canvas, 49.5 x 75.0cm. The University of Melbourne Art Collection. Gift of Dr Samuel Arthur Ewing 1938 [1938.0014.000.000] Harold Weaver Hawkins (1893-1977), Another Day, 1954, oil on composition board, 71.0 x 91.0cm, The University of Melbourne Art Collection. Purchased 1954, [1954.0008.000.000] J.J Hilder (1881-1916), Children Playing, c.1909-14, watercolour on paper, 20.4 x 20.4cm, The University of Melbourne Art Collection. Gift of Dr Samuel Arthur Ewing 1938 [1938.0044.000.000]. Inge King AM (1915-2016), Sun Ribbon, 1980-82, black painted steel, The University of Melbourne Art Collection. Gift of Mrs Eileen Fox in memory of her parents Ernest and Fannie Kaye 1983. [1982.0023.000.000] Emanuel Philip Fox (1865 -1915), Lamplight, 1911, oil on canvas, 188.5 x 229.5cm, The University of Melbourne Art Collection. Gift of Mrs E. Phillips Fox 1939. [1939.0002.000.000] Thea Proctor (1879 -1966), The Bathers (Fan Design), c.1920s-1930s), watercolour on silk on card, The University of Melbourne Art Collection. Gift of Mrs Margaret Cutten, donated through the Australian Government’s Taxation Incentives for the Arts Scheme, 1983. [1983.0112.000.000] Jeffrey Smart (1921 – 2013), Hindmarsh Tannery, 1943, oil on canvas, 50.8 x 61.0cm, The University of Melbourne Art Collection. Gift of Sir John Medley 1950. [1950.0001.000.000] Lekythos Marathon Group, Class of Athens 581, ceramic, The University of Melbourne Art Collection.
    [Show full text]
  • Calendar Catalogue - 2018
    BLUE ISLAND PRESS - Calendar Catalogue - 2018 Blue Island Press 2018 Calendar Range in 3 sizes. www.blueislandpress.com Blue Island Press Calendars are printed and assembled in Australia. We use high quality Italian felted or chalk stocks which are archival grade. Each page has a framable image to keep after use. The main calendar range is the Wall Calendars which measure 320 x 230 mm. Each month has boxes for each day to record your diary dates. Calendars are twin loop wire bound and hang from the top. Large Wall Calendars measure 320 x 460 mm. These calendars have large diary boxes. They are twin loop wire bound and hang from the top. Desk calendars measure 155 x 170 mm. These calendars do not have diary boxes. They have a fold-out triangular centre to make them free standing. For wholesale customers please order in a minimum of 2 calendars per design. Display stands are available free on loan for the 320 x 230 mm Wall Calendars. Minimum purchase for a display stand is 72 calendars. The display stand takes 12 Wall Calendars, up to 6 of each design. We do not have display stands for the Large Wall Calendars or Desk Calendars. Each calendar design is individually barcoded. Calendars can be re-ordered all year round. All orders attract minimal freight charges. Enjoy! Wall Calendars 320 x 230 mm Clarice Beckett MASTERLY PAINTER – BRILLIANT ARTIST Clarice Beckett MASTERLY PAINTER – BRILLIANT ARTIST 2018 CALENDAR Clarice Beckett’s evocative paintings offer a view of Each page has a framable image printed Australia that celebrates modernity and the quiet on Italian archive paper, plus large boxes beauty of the city and the suburbs.
    [Show full text]
  • Newsletter September 2020
    September 2020 PRESIDENT’S REPORT In This Issue: • President’s Report We’re Back! • Programs Exciting news…. Term 4 activities will begin on Tuesday 13 October, at the Enfield Community Centre. SASSY Project (New) Jo Kemp, our Program Coordinator, and her Program Armchair Travel Team have been working to put together a modified Photography Course Term 4 program. Most courses are continuing, (New) although some tutors have decided to wait until next Introducing David Lindsay year before recommencing. We have two new activities on offer – photography and SASSY (Street Art Seniors • Seeking Group Leaders Staying Young). • Get Involved The Program Team are already working on the 2021 program and • Out & About Suggestions asking for volunteers to lead some new programs, particularly Out & • Newsletter Contributions About excursions (check the list of suggestion in this Newsletter), and sporting activities to make use of the wonderful stadium. • Important Information At the recent Management Team meeting, I stepped down as President. COVID Safe Pauline Kemp has filled the casual vacancy until the AGM, when the Requirements for ECC position will be declared open. Stepping down at this time enables the Enrolment Information new President to immediately put in place our official “Name Change” Programs Not Continuing requirements eg. bank signatories, phone plan. • Term 4 Program I have certainly enjoyed my time as President, and look back to • Useful Links to Stay September 2017, when we started and to where we are today, with a Connected sense of pride and achievement. Of course, it would not have happened without the tireless work of our Management Team.
    [Show full text]