Annual Report 2015
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BACKFLIP: Feminism and Humour in Contemporary Art
BACKFLIP: Feminism and Humour in Contemporary Art BACKFLIP: Feminism and Humour in Contemporary Art BACKFLIP: Feminism and Humour in Contemporary Art Catherine Bell Melanie Bonajo Brown Council Catherine or Kate Patty Chang Guerrilla Girls Hotham Street Ladies Alice Lang Louise Lawler Tracey Moffatt nat&ali Frances (Budden) Phoenix Pushpamala N Hannah Raisin Pipilotti Rist Mika Rottenberg Christian Thompson Paul Yore Curator: Laura Castagnini Introduction Feminist art practice is becoming increasingly well documented within an international context, and recent Australian discourse has focussed around exhibitions such as Contemporary Australia: Women at the Queensland Art Gallery | Gallery of Modern Art, the artist run initiative Level’s Food for Thought project for the 2012 Next Wave Festival (in fact, Level’s programs more broadly), A Dinner Party: setting the table at West Space, to name just a few. The Margaret Lawrence Gallery also has contributed to this dialogue through such exhibitions as Bird Girls and A Time Like This after which Laura Castagnini approached me, in mid-2011, about the possibility of working together on a project she was researching around humour in contemporary feminist art practice. We had met a few times previously, beginning several conversations about the current state of feminism – but without really having an opportunity to take the discussions further – and we were certainly interested in one another’s perspectives on an issue in which we both felt deeply invested; in this instance, Laura was specifically interested in how humour within feminist practices was often marginalised, misread or overlooked altogether. The Curator Mentorship Initiative administered by NAVA (the National Association for the Visual Arts) seemed the perfect platform for Laura and I – as women from different generations and contexts, and at different stages in our professional lives – to formalise a relationship and commence working together. -
Next Witness, Julie Fragar—TEACHER NOTES
Next Witness, Julie Fragar—TEACHER NOTES Level year: Year 11 Worksheet number: 5.0.2 Curriculum context Related worksheets Legal Studies 2019 (General Senior Syllabus): Worksheet 1.1.2 • Criminal Unit 1: Beyond reasonable doubt, Topic 3: Worksheet 1.3.0 trial process In 2016 and 2017 Brisbane based artist Dr Julie Fragar attended two trials at the Supreme Court of Queensland. Based on this experience, Fragar created a collection of artworks entitled Next Witness. The collection was motivated by her desire to better understand the way that courts’ legal and aesthetic structures interact with its human participants. Learning objective Learners will: • explain the key personnel involved in a criminal trial • explain the attributes of a fair trial • learn how to evaluate information Focus question • How does the criminal justice system and its citizens interact? Key concepts • Barrister • Criminal law • Crown • Crown Prosecutor • Evidence • Judge • Judgment • Jury • Legal representation • Media • Murder • Trial • Witness Further information • Dr Karen Crawly, Artist as Witness: Painting a Criminal Trial – app.secure.griffith.edu.au/news/2018/10/26/artist-as-witness-painting-a-criminal-trial/ Next witness, Julie Fragar (worksheet 5.0.2) 1 About the exhibition In 2016 and 2017 Dr Julie Fragar sat in the public gallery of a murder trial in the Supreme Court of Queensland in Brisbane. Based on this experience, Fragar created a series of artworks entitled Next Witness. Each artwork examines the courtroom as a very specific social and architectural space. It also examines the structure of a trial using a narrative and biographical history perspective. Each artwork also investigates the conflicting relationship between the public interest and people’s privacy. -
Heide Museum of Modern Art 2007 Annual Report Heide Museum of Modern Art 2007 Annual Report
Heide Museum of Modern Art 2007 Annual Report Heide Museum of Modern Art 2007 Annual Report page CONTENTS 1. vision & mission 3 2. honorary appointments 4 3. chairman & director’s report 5 4. cultural programming 8 4.1 exhibitions 4.2 heide public programs 4.3 heide education 5. commercial operations 20 5.1 heide store 5.2 visitor services 5.3 heide membership 5.4 heide café 6. heide collection 22 6.1 acquisitions 6.2 outward loans 7. facilities 27 7.1 maintenance 7.2 gardens 8. communications & marketing 29 9. development 31 9.1 heide foundation 9.2 heide partnerships 10. governance 37 10.1 board 10.2 human resources 10.3 risk management 10.4 board directors & senior management personnel 11. staff & volunteers 42 12. financial statements 45 Front and back cover: Heide III & Tony & Cathie Hancy Sculpture Plaza Heide Museum of Modern Art Photographer: John Gollings 2007 © John Gollings & Heide Museum of Modern Art 2 1. Vision & Mission Heide Museum of Modern Art 2007 Annual Report 1. VISION & MISSION Vision The vision for Heide is to be a significant national and international public museum of modern and contemporary art, respected as a unique ‘must-see’ cultural destination combining art, architecture, landscape and heritage, as well as an innovative site for the generation of new ideas and special exhibitions. Mission The mission of Heide Museum of Modern Art is three-fold: – To provide high quality stewardship and development of Heide’s assets comprising its Collection, architecture, landscape and heritage – To provide public access to and enjoyment of a unique cultural destination – To generate and present new ideas in modern and contemporary culture 3 2. -
2019 – Spring Newsletter
News From Red Hill Published By the Patrick Henry Memorial Foundation — Brookneal, VA Ribbon Cutting and Grand Opening On April 26th, the long-awaited day finally arrived for the grand unveiling of Red Hill’s newly completed Eugene B. Casey Education and Events Center. Celebrations began Thursday evening with a VIP preview of the building for members of the Patrick Henry Descendants’ Branch and special guests. Friday marked the main event with the official ribbon cutting and a catered party and presentations in (continued on page 2) Celebrating The Life of In This Issue... Mrs. Edith Poindexter On the morning of March including her son Cole Poindexter, Red Hill Collection 11, 2019, Edith Cabaniss Poindexter, who has inherited her role as Henry Page 3 91, went to be with her husband Geneaologist. Ms. Marstin shared Jack Robinson Poindexter. that Miz P., “told me many times PHDB Reunion Edith Poindexter—or Miz she wanted some of her ashes to be Page 4 P., as she was affectionately known scattered at this place so precious to at Red Hill—was honored at a cel- her. She deserves to be here, she has Living History Series ebration of life ceremony at the Red earned the right to be here, and I am Page 4 Hill Scatter Garden on April 26th. so happy she will always be a part Those gathered together were able of Patrick Henry’s Red Hill. Let our Alexi Garrett Essay to share stories and memories of the hearts find comfort in this and let Page 6 formidable woman and historian us hold onto our memories of her as whose work was so vital to Red Hill precious gifts.” Faces of Red Hill for many, many years. -
Empire of Tea
Empire of Tea Empire of Tea The Asian Leaf that Conquered the Wor ld Markman Ellis, Richard Coulton, Matthew Mauger reaktion books For Ceri, Bey, Chelle Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx, uk www.reaktionbooks.co.uk First published 2015 Copyright © Markman Ellis, Richard Coulton, Matthew Mauger 2015 All rights reserved No part of this publication 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 publishers Printed and bound in China by 1010 Printing International Ltd A catalogue record for this book is available from the British Library isbn 978 1 78023 440 3 Contents Introduction 7 one: Early European Encounters with Tea 14 two: Establishing the Taste for Tea in Britain 31 three: The Tea Trade with China 53 four: The Elevation of Tea 73 five: The Natural Philosophy of Tea 93 six: The Market for Tea in Britain 115 seven: The British Way of Tea 139 eight: Smuggling and Taxation 161 nine: The Democratization of Tea Drinking 179 ten: Tea in the Politics of Empire 202 eleven: The National Drink of Victorian Britain 221 twelve: Twentieth-century Tea 247 Epilogue: Global Tea 267 References 277 Bibliography 307 Acknowledgements 315 Photo Acknowledgements 317 Index 319 ‘A Sort of Tea from China’, c. 1700, a material survival of Britain’s encounter with tea in the late seventeenth century. e specimen was acquired by James Cuninghame, a physician and ship’s surgeon who visited Amoy (Xiamen) in 1698–9 and Chusan (Zhoushan) in 1700–1703. -
Bushells Blue Label Tea Leaves 3Kg, CON 62252008 Rev 2
Page 1 of 3 Product Data Sheet Specification: CON_62252008 Revision: 2 Description: CON BLUE LABEL PACKET TEA 3kg Date Created: 27-Sep-2016 Date: 13-Feb-2017 General Information Description Label and customer information for Bushells Blue Label tea 3kg IMPORTANT NOTICE: The product information provided is for the latest product on the market. However, to ensure you have the correct information, related to the product you are currently using, ALWAYS REFER TO THE PRODUCT LABEL. Product Name Country Brand Name Product Name Australia Bushells Blue label 3kg Legal Description Country Descriptive Name Note Australia Bushells Blue label 3kg The tea of flavour General Function and Purpose Black tea Additional Customer Info Unilever product code: 62052008 ( formerly 03001001 ) TUN 19310062030012 APN 19310062030012 Number of units per shipper: 1 Shipper Dimensions: 186 x 241 x 241 (L x W x H in mm) Gross shipper weight: 3.4kg Number ofshippers per layer: 30 Number of shippers per pallet: 120 Ingredient Declaration Ingredients Declaration Black tea Claims and Declarations Declarations Property Value UOM Comment Weight 3 kg Date Marking Text (Best Before Date) DDMMYY, HHMM Page 2 of 3 Product Data Sheet Specification: CON_62252008 Revision: 2 Description: CON BLUE LABEL PACKET TEA 3kg Date Created: 27-Sep-2016 Date: 13-Feb-2017 Shelf Life Property Conditions Value UOM Comment Shelf Life Total 24 month(s) Product Origin Property Of Manufacture Of Packing Comment Country Indonesia Indonesia Blended and packed in Indonesia from local and imported teas Risk of Cross Contamination during Processing Information captured in the following property groups relates to the total allergen status of a product i.e. -
Salicylate Food and Product Shopping Lists Last Updated: January 31 2021
p. 1 Salicylate Food and Product Shopping Lists Last Updated: January 31 2021 Formatted for shopping convenience from The Low-Sal Life Go to the website at https://low-sal-life.com/food-product-lists#products for more data on each item, the year and sources for that data, and their complete and awesome list of citations, studies and research: “There have been five major studies testing salicylates in food over the last forty years. I will categorize food by the highest study's levels which includes Free + Bound Salicylic Acid levels, but also include all the historical results. Please take caution while trying new foods. Also note, that the food industry has changed and scientific methods improved in 40 years which may be a few reasons why salicylate levels have changed. Malakar et al. reports all levels with free plus bound salicylic acid, not just free like Swain et al. 1985. This may explain why levels are higher than before. Kęszycka also reports both free and bound, but provides the levels separately. This is why white rice is no longer in the negligible list - it has a low level when including bound salicylic acid. While it's not known how the body metabolizes bound salicylates, it's good to know what the full potential is. The best way to use this list is to search for the food item with your browser search - look for ALL the mentions. For example, figs are listed in three categories depending on how they are preserved. Also, some foods were not included in the five research articles, so I've included items like the St. -
List of Works
List of works SUSAN ANDREWS Dr Denise Hickey Studio, AGNSW 2000 Residue 2000 collage 57 x 41cm Courtesy of Legge Gallery, Sydney SUZANNE ARCHER Power Institute Studio 1979 Snow in Paris too 1979 mixed media 70 x 101cm paper size Courtesy of BBA Gallery, Sydney RAYMOND ARNOLD University of Tasmania Studio 1993-94 And for each sense there is an image II 1994 etching (2 plate) 160 x 90cm Courtesy of the artist IRENE BARBERIS Power Institute Studio 1980 Pont Marie embroidery and painted embroidery hoop Courtesy of the artist Untitled embroidery and painted embroidery hoop Courtesy of the artist CRAIG BENNETT College of Fine Arts, UNSW Studio 2000 Six cylinders 2000 collage and charcoal on paper on board 22 x 16cm Courtesy of the artist Burnt wine 2000 collage and charcoal on paper on board 22 x 16cm Courtesy of the artist IAN BETTINSON Moya Dyring Studio, AGNSW 1992 Guitar aluminum 65 x 18 x 25cm Courtesy of the artist GRAHAM BLONDEL Dr Denise Hickey Studio AGNSW 1995 WK ‘30 1995 acrylic on fabric 50 x 48cm Courtesy of the artist YVONNE BOAG Dr Denise Hickey Studio, AGNSW 1990 Church 1990 conte drawing on paper 15 x 10cm Courtesy of the artist Church with tree 1990 conte drawing on paper 15 x 10cm Courtesy of the artist YB Limited edition artist book lithographs 12 pages & presentation box edition of 7 Courtesy of the artist MOSTYN BRAMLEY-MOORE Power Institute Studio 1977-78 Eight days in 1978 acrylic on linen, hardboard and wood two panels, left panel 55 x 46cm right panel 55 x 114cm 55 x 160 overall dimension Courtesy of the artist LYNDELL -
Kosher Australia Pesach Guide
Serving the Jewish Community since 1968 GUIDE FOR PESACH & PESACH PRODUCTS 2021 / 5781 as at 7/3/21 81 Balaclava Road, Caulfield North 3161 AUSTRALIA T: +61 (3) 8317 2500, 1300KOSHER (within Australia) W: www.kosher.org.au © 2021 Kosher Australia Pty Ltd Not to be reproduced without permission. Information not to be reproduced without acknowledgement. RABBINIC ADMINISTRATOR: Rabbi Mordechai Gutnick, AM ADVISORY BOARD: Rabbi Danny Mirvis, Rabbi Yonason Johnson, Rabbi Menachem Sabbach BOARD OF MANAGEMENT Mr Stephen Shnider, Llb, Chairman ADMINISTRATION Mr Yankel Wajsbort, B.Sc, C.P.I.M., General Manager Mr Mordi Joseph, B.Bkp, Operations Manager Mr Naftoli Biber, Audit Admin Ms Nechama Ruschinek, Admin Ms Dina Rosenbaum, Admin Mr Eli Paneth, Accounts INVESTIGATIONS Rabbi Kasriel Oliver B.App.Sc., M.R.A.C.I., C.Chem, Chief Chemist Mrs Rose Mehlman B.Sc, Mr Mordechai Hoenders M.Sc, Mr Adam Ruschinek, B.App.Sc Rabbi Yossi Herbst Mr Pesachya Adelist FIELD SUPERVISION Rabbi Arieh Berlin, Rabbi Benjamin Kessly, Rabbi Menachem Sabbach, Rabbi Benyomin Serebryanski, Rabbi Shraga Telsner ACKNOWLEDGEMENTS: We are grateful for the assistance of the following in preparing this Guide: Chicago Rabbinical Council, Illinois USA Kof-K, New Jersey USA, London Beth Din, London UK Orthodox Union, New York USA Rabbi A. Adler, Gateshead UK Rabbi G. Bess, Kollel America, Los Angeles USA Star-K, Baltimore USA The Kashrut Authority of NSW, Australia Rabbi YM Levinger, Switzerland Rabbi Danny Moore, BIR, England 1 TABLE OF CONTENTS USING THIS GUIDE .......................................................................................................... 6 PESACH CALENDAR - MARCH 2021 – NISSAN 5781 ......................................................... 6 FOOD OUTLETS IN MELBOURNE ..................................................................................... 7 GENERAL WARNINGS .................................................................................................... -
Mfa Title Page
Puppy Love: Understanding Identity and Emotion Through the Dog/Human Bond Jaya Deva Fausch Submitted in partial fulfilment of the requirements of the degree of M. FINE ARTS (Visual Art) (by Research) November 2014 School of Art Faculty Of The Victorian College Of The Arts And The Melbourne Conservatorium Of Music The University of Melbourne Abstract The central research focus is an exploration of identity, my childhood and my mother, told through the story of Irma-Dream, my dog. It examines the symbiotic relationship between dogs and humans; the banality and comforts of home life; and the ubiquity of amateur aesthetics. The works are informed by photography, with varying manifestations including photographic books, videos and images brought together in installation. The studio practice is contextualised with reference to contemporary artists and contemporary research. 2 Declaration This is to certify that (i) the thesis comprises only my original work towards the masters (ii) due acknowledgement has been made in the text to all other material used (iii) the thesis is 10,949 words In length, exclusive of tables, maps, bibliographies and appendices ………………………………………………….. (Jaya Deva Fausch) 3 Acknowledgements My most sincere thanks to my supervisor Cate Consandine. Your intelligence, talent and support has been a god send. Thank you to Stephen Haley and all the great staff at the VCA. Thank you to my Meredith Fuller, Brian Walsh and Atticus, Steph Hodson and Barry and all my family and friends. I would also like to express my deepest gratitude to Cienna Turpie. Your patience, understanding, quick wit and academic genius has been a life saver. -
Ly Ndell Brown Charles Green
LYNDELL BROWN Born: Melbourne, Australia, 1961 CHARLES GREEN Born: Melbourne, Australia, 1953 Since 1989, Lyndell Brown and Charles Green have worked in collaboration as one artist. They are based in Castlemaine, in regional Victoria. SOLO EXHIBITIONS 2016 Transformer, ARC ONE Gallery, Melbourne. 2015 Colour My World (with John Cattapan), curated by Shaune Lakin, National Gallery of Australia, Canberra. Lesson Plan: A Collaboration (with John Cattapan), Bruce Heiser Gallery, Brisbane. 2014 Spook Country: A Collaboration (with John Cattapan), ARC ONE Gallery and Station Gallery, Melbourne. 2013 Boat Adrift, Bruce Heiser Gallery, Brisbane 2011 The Dark Wood, ARC ONE Gallery, Melbourne. Lyndell Brown/Charles Green, Bruce Heiser Gallery, Brisbrane. 2010 Lyndell Brown/Charles Green, Greenaway Art Gallery, Adelaide. The Wire: Lyndell Brown/Charles Green, 2001-2007, Monash Gallery of Art, Melbourne. Reading Room: Lyndell Brown/Charles Green, 2001-2007, QUT Gallery, QUT University, Brisbane. 2009 The Gathering Storm: Paintings & Photographs, Arc One Gallery, Melbourne. 2008 Framing Conflict: Iraq and Afghanistan; Lyndell Brown and Charles Green, essay by curator Warwick Heywood, Ian Potter Art Museum, University of Melbourne exhibition of the Australian War Memorialm touring to art museums around Australia including the Australian War Memorial, Camberra, 2010 and Australian Embassy, Washington, 2011 (2008-). War, GRANTPIRRIE, Sydney. 2007 War, curated Peter Nagy, Nature Morte Gallery, New Delhi. The Painters’ Family, ARC ONE Gallery, Melbourne. 2006 Elemental Landscape, GRANTPIRRIE, Sydney. 2005 In Defence of Nature, ARC ONE Gallery, Melbourne. Lyndell Brown and Charles Green, Gibsone Jessop Gallery, Toronto, Canada. 2003 The Waves, GRANTPIRRIE, Sydney. Eldorado, Arc One Gallery, Melbourne Arcadia, curated by Anurendra Jagadeva, Monash University Faculty Gallery, Melbourne. -
The Persistence of Relief: Relief Sculpture in Contemporary Art
The Persistence of Relief: Relief Sculpture in Contemporary Art Author Reynolds, Bruce Published 2018-09 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/1491 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/382698 Griffith Research Online https://research-repository.griffith.edu.au The Persistence of Relief Relief Sculpture in Contemporary Art Bruce Reynolds September 2018 Candidate for a Doctorate of Visual Art Queensland College of Art, AEL, Griffith University Supervised by Dr Julie Fragar and Dr Rosemary Hawker All photographs by the author unless otherwise noted. ! ! Submitted in Partial fulfilment of the requirements of the degree of Doctor of Visual Arts. This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. 11th September, 2018 ! ! Acknowledgements Thank you to my supervisors, Dr. Julie Fragar and Dr. Rosemary Hawker who generously enabled me to benefit from their invaluable experience. Thank you to Isabella Reynolds and Genevieve Reynolds and Marian Drew for their patience and support. Thank you to all of the artists and students of art who continue to inspire and to The British School at Rome. ! III! Abstract Relief sculpture can be understood as a form in two and a half dimensions, between drawing or painting and sculpture. Relief is also a renewed area of artistic practice, long in decline and marginalized in the 20th Century.