DOCSLIB.ORG

Sydney Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sydney Culture Sydney 6 C Culture— Galleries and museums Must-see collections Culture — Diving into the arts scene Sydney used to undersell itself when it came to its cultural assets, preferring to talk up its natural beauty rather than its intellectual offering. Not any more. A jam-packed calendar of large-scale public events, a slew of world-beating museums and an artistic community brimming with creativity make the city a delight for the culture hungry. You’ll find a city Australian Museum, Darlinghurst chock-full of galleries, Back to nature live-music venues and independent cinemas. The aim of Australia’s first public As in most cities, some museum, when it was green-lit in of the more interesting 1827, was to gather rare specimens artistic ventures are of natural history and miscellaneous curiosities. Today its collection found in outlying suburbs boasts more than 18 million cultural a few steps off the and scientific exhibits, showcases well-trodden tourist Australian history from Aboriginal track. Carriageworks, archaeology to artefacts from its for instance, a mixed- greatest explorers, and has a world- use cultural space, has leading research programme. brought life to Eveleigh, A 2015 upgrade dramatically an otherwise-sleepy expanded the floorspace. It also added the first new permanent suburb, while previously exhibition space in more than 50 overlooked Waterloo is years: the Wild Planet Gallery now home to several highlights global biodiversity pioneering commercial through the more than 400 animal art galleries. Here’s a specimens on display. For your tight portrait of the best own bird’s-eye view, head up to the museum’s terrace: the balcony this artful city has to I call offers stunning 180-degree this ‘The offer when it comes panoramic views of Hyde Park to culture, from the Strangled and the Woolloomooloo area. Cat’ famous hotspots to the 1 William Street, 2010 hidden masterpieces. 161 (0)2 9320 6000 australianmuseum.net.au 093 Sydney Sydney 6 C Culture— —Culture C Ambush Gallery, Chippendale -use s ed p Street art for all x a i — c e M The gallery Bill Dimas and John Wiltshire have also presents been pushing the cultural envelope films and live music since 2007 (their Outpost Project at Cockatoo Island in 2011 was one of the biggest street-art festivals in the southern hemisphere). After the success of the original Ambush Gallery in Waterloo’s industrial district the duo opened this second 1,000-capacity venue in 2015 in Chippendale’s landmark Central Park Sydney building. The space houses urban art from emerging talents across three galleries as well as on-site event and project spaces. Level 3, Central Park, 28 Broadway, 2008 161 (0)2 8008 8516 ambushgallery.com Brett Whiteley Studio, Surry Hills SH Ervin Gallery, The Rocks Artist workspace National treasures You could walk past artist Brett Housed in the National Trust Whiteley’s former studio in Surry Centre perched atop Observatory Hills and not know you’d done so. Hill, the SH Ervin Gallery The only giveaway is a miniature overlooks Sydney’s historic The wall-mounted version of his piece Rocks precinct. But don’t let the “Almost Once”: two matchsticks, Museum of Contemporary Art somewhat laborious schlep up the one charred, the other intact. There Australia, The Rocks hill discourage you. This gallery is an 8-metre version behind the Art Make it modern is dedicated to flaunting the best Gallery of nsw (see left). of Australian art, from historical Whiteley is known for works that Since 1999 this public gallery to contemporary. Exhibitions, challenge notions of life and death; has been under the leadership of public talks from curators and sadly he died of a drug overdose in director Elizabeth Ann Macgregor, artist presentations fill the busy 1992. His studio is now this gallery, who piloted a major au$53m programme. The adjoining Trust Art Gallery of NSW, CBD which opens between 10.00 and White Rabbit Gallery, Chippendale refurbishment of the five-storey Café provides a fittingly refined Prize artwork 16.00 from Friday to Sunday. Chinese cognisance building by architect Sam Marshall pit-stop after a morning’s wander 2 Raper Street, 2010 (see pages 112) in 2012. This through the exhibitions. The Art Gallery of New South Wales 161 (0)2 9225 1881 In 2009 the White Rabbit Gallery saw the exhibition space double, 2 Watson Road, 2001 was established in 1871 opposite artgallery.nsw.gov.au/brett- was opened to display Judith widening the scope for large-scale 161 (0)2 9258 0173 the Royal Botanic Garden Sydney whiteley-studio Neilson’s vast collection of 21st- touring exhibitions by the likes of shervingallery.com.au in a classical building designed by century Chinese art: almost 2,000 Anish Kapoor and Grayson Perry. Walter Liberty Vernon. It’s home to a works by more than 500 artists, from The mca also holds more than masterful collection of international In the picture Ai Weiwei to Yang Fudong. “Judith 4,000 works by Australian artists in and homegrown works: the Grand — realised there was so much to say its permanent collection, including Courts showcase old masters, while For more than 40 years the that wasn’t being said,” says gallery an important catalogue of pieces there are galleries dedicated to not-for-profit Australian Centre manager David Williams. “She felt by contemporary Aboriginal and Aboriginal art and contemporary for Photography has been the Chinese were misunderstood: Torres Strait Islander artists. Be Australian pieces. With an introducing the public to like everyone, they have hopes, fears sure to head to the balcony on the exceptional in-house restaurant dynamic and often-challenging and a sense of humour. She wanted fourth floor to soak in the views (see page 29) offering fine food and photography by national and to show this on the world stage.” of the harbour. The shop is also sweeping views of Sydney Harbour, international artists. In 2016 This unmissable spot is housed in a worthy stop-in for artist-made the gallery is worth taking time to the group relocated from a former Rolls-Royce depot and has goodies, limited-edition prints peruse – even on a sunny day. Paddington to Darlinghurst. a charming on-site tea house. and a stellar selection of art books. Art Gallery Road, 2000 acp.org.au 30 Balfour Street, 2008 140 George Street, 2000 161 (0)2 9225 1744 161 (0)2 8399 2867 161 (0)2 9245 2400 artgallery.nsw.gov.au whiterabbitcollection.org mca.com.au 094 095 Sydney Sydney 6 C Culture— —Culture C Commercial galleries Arty business Gallery 9, Darlinghurst China Heights Gallery, Surry Hills Talent spotters Aiming high Emerging artists the world over China Heights Gallery began as a have a tough time getting their work studio for artists Edward Woodley, on display. Gallery 9 opened its Michael Sharp and Mark Drew. It doors in 2006 in an unprepossessing quickly evolved into an exhibition terrace house in the inner-city space and work hub for a host of suburb of Darlinghurst with the resident artists, photographers and aim of helping fledgling artists – designers. “We looked to other young painters, sculptors, ceramicists and creative studios in New York, London photographers – get their work on and other cities,” says Woodley. walls and into the hands of private China Heights is set on the patrons. The gallery is an intimate third floor of a former light- affair that is committed to a small industrial building in between stable of emerging and mid-career Surry Hills and Chinatown (hence artists, many Sydney born and bred, Firstdraft, Woolloomooloo the name) and is easy to miss. and encourages them to experiment Building block Over the years the outfit has beyond their usual range. supported young up-and-coming 9 Darley Street, 2010 Despite reaching the ripe old artists including Mark Whalen 161 (0)2 9380 9909 age of 30 in 2016, the Firstdraft and Paul Davies, who have both gallery9.com.au gallery is anything but staid. The since moved to the US and seen artist-run organisation moved to their careers blossom. “One of the its squat red-brick premises in most important things about China Chippendale Creative Precinct Woolloomooloo in 2014. Curators, Heights is that we’ve always been artists and writers can bid for independent,” says Woodley. “We This Inner West hotspot has exhibition rooms and wall space are a satellite to the art scene and become a magnet for the within the two-storey gallery and not dependent on funding.” creative industry. Here are the results are always enlivening, 16-28 Foster Street, 2010 some favourites to head to. despite sometimes lacking polish. chinaheights.com Firstdraft is a vital stepping 01 Kensington stone for emerging artists and 2 Danks Street, Waterloo Contemporary 1 and 2: its longevity is testament to its Concrete hub These sister galleries ongoing role in Sydney’s vibrant are housed in salvaged arts scene. When this arts complex – and workers’ terraces along 13-17 Riley Street, 2011 its ever-popular adjoining bistro redeveloped Kensington 161 (0)2 8970 2999 – opened 15 years ago, it helped Street. Expect modern firstdraft.org.au put Waterloo on the map as a works in petite spaces. place for creative types. The chippendalecreative.com low-slung concrete structure is 02 Verge Gallery: This hip Roslyn Oxley9, Paddington a vast space divided into eight not-for-profit arts space Raising the stakes private contemporary galleries, is run by the University of dedicated to exhibiting art from Sydney Union. It holds Roslyn and husband Tony Oxley around the world. regular exhibitions, live are well known to any collector One of the galleries, Utopia music events and has an serious about Australian art; they Art Sydney, showcases the work excellent zine library.
Load more

Recommended publications
  • The Architecture of Scientific Sydney
    Journal and Proceedings of The Royal Society of New South Wales Volume 118 Parts 3 and 4 [Issued March, 1986] pp.181-193 Return to CONTENTS The Architecture of Scientific Sydney Joan Kerr [Paper given at the “Scientific Sydney” Seminar on 18 May, 1985, at History House, Macquarie St., Sydney.] A special building for pure science in Sydney certainly preceded any building for the arts – or even for religious worship – if we allow that Lieutenant William Dawes‟ observatory erected in 1788, a special building and that its purpose was pure science.[1] As might be expected, being erected in the first year of European settlement it was not a particularly impressive edifice. It was made of wood and canvas and consisted of an octagonal quadrant room with a white conical canvas revolving roof nailed to poles containing a shutter for Dawes‟ telescope. The adjacent wooden building, which served as accommodation for Dawes when he stayed there overnight to make evening observations, was used to store the rest of the instruments. It also had a shutter in the roof. A tent-observatory was a common portable building for eighteenth century scientific travellers; indeed, the English portable observatory Dawes was known to have used at Rio on the First Fleet voyage that brought him to Sydney was probably cannibalised for this primitive pioneer structure. The location of Dawes‟ observatory on the firm rock bed at the northern end of Sydney Cove was more impressive. It is now called Dawes Point after our pioneer scientist, but Dawes himself more properly called it „Point Maskelyne‟, after the Astronomer Royal.
    [Show full text]
  • Graham Clifton Southwell
    Graham Clifton Southwell A thesis submitted in fulfilment of the requirement for the degree of Master of Arts (Research) Department of Art History Faculty of Arts and Social Sciences University of Sydney 2018 Bronze Southern Doors of the Mitchell Library, Sydney A Hidden Artistic, Literary and Symbolic Treasure Table of Contents Abstract Acknowledgements Chapter One: Introduction and Literature Review Chapter Two: The Invention of Printing in Europe and Printers’ Marks Chapter Three: Mitchell Library Building 1906 until 1987 Chapter Four: Construction of the Bronze Southern Entrance Doors Chapter Five: Conclusion Bibliography i! Abstract Title: Bronze Southern Doors of the Mitchell Library, Sydney. The building of the major part of the Mitchell Library (1939 - 1942) resulted in four pairs of bronze entrance doors, three on the northern facade and one on the southern facade. The three pairs on the northern facade of the library are obvious to everyone entering the library from Shakespeare Place and are well documented. However very little has been written on the pair on the southern facade apart from brief mentions in two books of the State Library buildings, so few people know of their existence. Sadly the excellent bronze doors on the southern facade of the library cannot readily be opened and are largely hidden from view due to the 1987 construction of the Glass House skylight between the newly built main wing of the State Library of New South Wales and the Mitchell Library. These doors consist of six square panels featuring bas-reliefs of different early printers’ marks and two rectangular panels at the bottom with New South Wales wildflowers.
    [Show full text]
  • AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
    AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours.
    [Show full text]
  • From Track to Tarmac
    History Walk Building a Marine Introduction Suburb The name Neutral Bay was given by Governor Phillip who in the early days of Sydney A walking tour of Neutral Bay settlement declared the bay a neutral harbour, isolated from the penal settlement where foreign including the history of the ships could take on water and make repairs. Neutral Bay Land Company The first land grant in this area was acquired by Lt Alfred Thrupp. Distance: 3 km Approximate time: 2-3 hours Thrupp acquired 700 acres as a result of Grading: low to medium marrying the daughter of Captain John Piper who he had met on the ship in 1814 heading for the colony. According to the historical record, Thrupp never lived on the land spending most of his time in Tasmania. However, his name still lives on in the area through Thrupp Street and Thrupps Point. The land went eventually back into the control of Captain Piper. However, Piper was bankrupted in 1826 and the land was sold and purchased by Daniel Cooper Snr and Solomon Levey. Levey returned to England and died 1833. By 1852 Daniel Cooper was the sole owner of the estate. In 1853 he died. In his will Daniel bequeathed the estate to his young nephew John Cooper the elder. According to the historian L F Mann, John Cooper is said to have resided at Neutral Bay for many years. The Cooper family held ownership of the land until the 19th century (1850s) when they started releasing allotments under 99 year leases towards the Neutral Bay foreshore and along Kurraba Point.
    [Show full text]
  • Conservation Management Framework For
    MOSMAN POLICE STATION CONSERVATION MANAGEMENT FRAMEWORK 09.1322 PREPARED FOR: MOSMAN COUNCIL AND NSW POLICE Architectural Projects Pty Ltd . Architects Studio 1, The Foundry, 181 Lawson Street, Darlington, NSW 2008 Ph: +61 (0) 2 9319 1122 Fax: +61 (0) 2 9319 1128 Email: [email protected] 23 December 2009 Version No 4 TABLE OF CONTENTS EXECUTIVE SUMMARY....................................................................................................................1 1 INTRODUCTION .......................................................................................................................7 1.1 BACKGROUND ..................................................................................................................................................7 1.2 SITE LOCATION AND DESCRIPTION....................................................................................................................7 1.3 AUTHORSHIP.....................................................................................................................................................7 1.4 LIMITATIONS .....................................................................................................................................................7 1.5 METHODOLOGY................................................................................................................................................7 1.6 TERMINOLOGY AND DEFINITIONS.....................................................................................................................7
    [Show full text]
  • Planning Proposal
    PLANNING PROPOSAL ‘Landsdowne’ - 3 Anderson Street, Neutral Bay 12 August 2015 Planning Proposal – 3 Anderson Street, Neutral Bay 1 INTRODUCTION North Sydney Council (Council) has prepared a Planning Proposal to amend North Sydney Local Environmental Plan 2013 (NSLEP 2013). The primary intent of the Planning Proposal is to identify 3 Anderson Street, Neutral Bay as a heritage item under NSLEP 2013. In particular, the proposed amendment seeks to include a new item within Schedule 5 – Environmental Heritage and identify the subject site as a general heritage item on the Heritage Map to NSLEP 2013. The need for the Planning Proposal has arisen from the recommendations to a heritage assessment of the property prepared in response to the issuing of an Interim Heritage Order (IHO) over the property by the Minister for Environment and Heritage on 21 May 2015. The Planning Proposal has been prepared in accordance with Section 55 of the Environmental Planning and Assessment Act, 1979 (EP&A Act) and the Department of Planning and Environment’s (DPE) document “A guide to preparing planning proposals” (October 2012). 2 Planning Proposal – 3 Anderson Street, Neutral Bay 2 BACKGROUND The potential significance of 3 Anderson Street, Neutral Bay was first identified in 2013 during Council’s assessment of DA 337/13, which sought approval for the erection of a new residential flat building at 3 Raymond Road, Neutral Bay. At the time, the matter was referred to Council’s Strategic Planning division for consideration in a future amendment to NSLEP 2013. On 24 March 2014, the applicant to DA 337/13 informally sought planning advice as to whether Council might favourably consider the amalgamation of 3 Anderson Street with 3 Raymond Road, demolition of the two existing dwellings and the construction of a stepped 4 storey residential flat building across both sites.
    [Show full text]
  • With City W Alking T
    WITH CITY WALKING TOUR ‘This is IMPACTFUL ARCHITECTURE, BOTH FUNCTIONAL AND INSPIRATIONAL, providing a greater public good than just the sum of individual buildings.’ – Peter Poulet, 23rd NSW Government Architect, 2016 FOREWORD For 200 years New South Wales weaving together plans, images wrote despairingly that has been shaped by the ideas and other items, applying his he hoped soon ‘there will and imaginings of a unique group inimitable knowledge of this state’s be a new Government of architects. The legacy of their architectural and social history. Architect and may be a service as government architects It is a story and an exhibition new and less “pigheaded” lies in the design and realisation that touches us all. It is hard to Principal Librarian’. of many thousands of buildings. imagine our towns, our cities and In addition to the Not all survive; not all were our lives without the ubiquitous Government Architect and even built, existing today only public buildings created by our his staff, we acknowledge in description or perhaps in government architects. It is a story the support of a number plans. Yet as today’s Government that touches us as we walk our of our partner cultural institutions Architect, Peter Poulet, comments, streets, visit towns, go to school, which have generously lent items, their legacy is architecture with attend court, seek medical aid, read in particular, State Records NSW, enormous impact that amounts in a library. the Museum of Applied Arts to far more than the sum of the It is fitting to hold this exhibition & Sciences, the National Archives individual buildings, an impact that in the State Library as our buildings of Australia, the Australian Institute continues in our cities and towns.
    [Show full text]
  • 2. Summary History of the Development of the University of Sydney
    2. SUMMARY HISTORY OF THE DEVELOPMENT OF THE UNIVERSITY OF SYDNEY A fuller history of the development of the university, upon which the analysis of significance in this report was based, is located at Appendix A. This summary provides a very brief overview of the history of the place. The maps and development charts or matrixes following (at 2.2 and 2.3) show the development sequence of the university and the major development areas within the university grounds. 2.1 SUMMARY HISTORY The University grounds are on part of a broad ridge system which forms the watershed between Port Jackson and Botany Bay. An arm of the ridge system extends north from the watershed down between Blackwattle Bay and Rozelle Bay and their respective tributaries. These broad ridge tops are capped with Wianamatta shales, underlain by Hawkesbury sandstone. However, there is no outcropping sandstone within the university campus. The geology of the University grounds is important as the absence of Hawkesbury sandstone means that Aboriginal sites that are most commonly found associated with sandstone formations would not have been present. There is potential for the presence of silcrete, one of the most commonly used rock types for making small flaked implements in the Sydney region, associated with the Wianamatta shales in the grounds, but this has not been demonstrated by finds identified in the grounds to date. The upper reaches of several creeks running into Port Jackson have their headwaters within the university grounds. Blackwattle Creek, which runs into Blackwattle Bay, began in a swampy area where Darlington School now stands, and another tributary began in Victoria Park.
    [Show full text]
  • Background Information for the Productivity Commission Re Pettit & Sevitt Exhibition Centre No
    BACKGROUND INFORMATION FOR THE PRODUCTIVITY COMMISSION RE PETTIT & SEVITT EXHIBITION CENTRE NO. 1 (INCLUDING 400 MONA VALE ROAD), ST. IVES, NSW NSW HERITAGE OFFICE BACKGROUND The group of homes in Richmond Avenue (numbers 17 to 29) and 400 Mona Vale Road, St Ives was built during 1964-65 by merchant builders Pettit & Sevitt as the firm’s first Exhibition Home Centre (as distinct from the several individual display homes) in NSW. The group is known as the Pettit & Sevitt Exhibition Centre No. 1. A second display village, Exhibition Centre No. 2, was subsequently constructed by Pettit & Sevitt in St Ives. The location of Exhibition Centre No. 1 is at the northern end of a ‘peninsula’ of suburban development and thus close to the bushland of Ku-ring-gai Chase National Park and Davidson Park State Recreation Area. Pettit & Sevitt were regarded as market leaders in project house design and in the use of well-known architects to design and furnish their exhibition houses. The village was widely visited by architects and builders as well as prospective owners, and was the most influential exhibition centre of its type in the 1960s, inspiring merchant builders in Melbourne and similar operations in Brisbane and Perth. All houses in the group were designed in the ‘Sydney Regional’ style and are early examples of the domestic work of architect Ken Woolley. As a group of 1960s project homes they can be considered to be a significant group-example of the Sydney School of domestic architecture. The Pettit & Sevitt Display Village is also noteworthy as an example of the then innovative ideas of the prominent landscape-architect Bruce Mackenzie of preserving and using the site's natural landscape and flora in association with development and setting of the display village.
    [Show full text]
  • Appendix A: University of Sydney Overview History
    APPENDIX A: UNIVERSITY OF SYDNEY OVERVIEW HISTORY THE PHYSICAL DEVELOPMENT OF BUILDINGS AND GROUNDS Prepared by Rosemary Kerr (Sue Rosen & Associates) ______________________________ With PRE-COLONIAL HISTORY AND DESCRIPTION by Dr Val Attenbrow, Australian Museum, and Cheryl Stanborough ______________________________ SUMMARY OF PLANNING AND BUILT FORM DEVELOPMENT by Donald Ellsmore ______________________________ OVERVIEW OF THE DEVELOPMENT OF AUSTRALIAN UNIVERSITIES by Duncan Marshall University of Sydney Grounds Conservation Plan —October 2002 Page A1 Table of Contents 1. Introduction 1.1 Authorship 1.2 Using the History as a Management Tool 2. Pre-Colonial Inhabitants and Land Use 2.1 People – The Original Inhabitants 2.2 Subsistence and material culture 2.3 Locational Details And Reconstruction Of Pre-1788 Environment 3. Early History of Grose Farm and Darlington 3.1 Church, School and Crown Land 3.2 Grose Farm 3.3 Surrounding Area 3.4 Female Orphan Institution 3.5 Subdivision 3.6 Pastoralism 3.7 Darlington Area 3.8 Subdivision and Residential Development 3.9 Institute Building and Darlington School 3.10 University Extension into Darlington 4. University of Sydney Foundation and Early Development 1850-1880 4.1 Background to Foundation 4.2 Establishment of University at Grose Farm 4.3 Initial Building Program 4.4 Great Hall and East Wing of Main Building 4.5 Development of Colleges 4.6 Grounds and Sporting Facilities 5. Development of Medicine and the Sciences 1880-1900 5.1 Expansion of Curriculum 5.2 Challis Bequest 5.3 Establishment of a Medical School 5.4 The Macleay Museum 5.5 ‘Temporary’ Buildings for Sciences and Engineering 5.6 Student Facilities 5.7 Sporting Facilities 5.8 Grounds 6.
    [Show full text]
  • Chisolm's Restaurant, at Jenolan Caves, Is Now Award-Winning!
    www.jenolancaves.org.au Media Release – August 2010 Chisolm’s Restaurant, at Jenolan Caves, is now Award-Winning! Although Jenolan Caves is Australia’s most famous cave system, less known for nearly 100 years, is Jenolan’s historic restaurant - Chisolm’s. Now Chisolm’s has been honoured by a well-deserved award – for ‘Tourism Restaurants & Catering’ in the Blue Mountains Tourism Awards of Excellence 2010. The rambling 4-storey hotel, Jenolan Caves House, between Oberon and Lithgow, was designed in 1897, by Walter Liberty Vernon, in the Federation Arts & Crafts style, as a wilderness retreat for the rich. Vernon included an enormous dining room - now Chisolm’s Restaurant, named for a former housekeeper, who, rumour has it, still haunts the place. Chisolm’s caters for wedding receptions, special occasions, corporate dinners, romantic couples, families and tourists from all over Australia and the world. Everyone, from very supportive locals to celebrities and international visitors, expect high quality. The caves themselves are dazzling, with thrilling underground experiences. The heritage-listed hotel brims with atmosphere. Raising expectations even further, visitors step through Chisolm’s elegant entrance into another world. In graceful Victorian style, Chisolm’s grand features create a high expectation of the coming meal. Those expectations are met by new chef, Michael Frenett, trained in the restaurants of prestigious resorts such as the Park Hyatt in Colorado, Chateau Lake Louise in Alberta and Westin Whistler in British Columbia. Last year, Jenolan Caves Reserve Trust, decided to invest in training and staff who share a goal in returning Chisolm’s to her glory days.
    [Show full text]
  • Art Gallery of New South Wales Annual Report 2008–09 ANNUAL REPORT 200 8 REPORT ANNUAL – 09
    ART GALLERY OF NEW SOUTH WALES Art Gallery of New South Wales Annual Report 2008–09 ANNUAL REPORT 200 8 – 09 Art Gallery of NSW Art Gallery Road The Domain NSW 2000 Administration switchboard (02) 9225 1700 Information desk (02) 9225 1744 Recorded ‘What’s on’ information (02) 9225 1790 TTY (02) 9225 1808 General facsimile (02) 9225 1701 Email: [email protected] www.artgallery.nsw.gov.au With over 1.7 million visitors this year, the Art Gallery of NSW is one of Australia’s most popular art museums and a vital part of Sydney’s cultural life. Since the Gallery’s genesis in the 1870s, our objective has been to collect and present to the public the finest works of art available, with a special emphasis on the artistic traditions of Australia. The Gallery has been located at our present site in the Domain since 1885. The Grand Courts, designed by government architect Walter Liberty Vernon, were the very first rooms Principal sponsors of the Gallery, built between 1895 and 1899 in typically grand Victorian style and scale. These elegant rooms now house Sydney’s premier collections of both European art, from the Renaissance to Impressionism, and Australian art, from colonisation to the end of the 19th century, along with a selection of 20th-century Aboriginal art. The building extensions made to the Gallery in the 1970s and ’80s responded to the changing needs of both the collection and our audience, doubling the available exhibition space and celebrating the art Exhibition program partners of our time with extensive displays of modern and contemporary Australian, ART Aboriginal and Torres Strait Islander, and European art.
    [Show full text]