DOCSLIB.ORG

Art Almanac April 2018 $6

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, 2004, [email protected] synthetic polymer paint, red ochre, glitter and Digital Editor – Melissa Pesa metallic paint on canvas, 120 x 100cm [email protected] State Art Collection, Art Gallery of Western Editorial Assistant – Penny McCulloch Australia [email protected] Gift of Brigitte Braun, 2017 Editorial Intern – Marlena Batchelor © Julie Dowling/Copyright Agency, 2018 Accounts – Penny McCulloch Courtesy the artist and Art Gallery of Western [email protected] Australia, Perth T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au 5 Art in Australia News and Books – Art Almanac team 15 Waqt al-tagheer: Time of change – Thomas Capogreco 26 Steve Carr, Echo – Elli Walsh 30 Julie Dowling, Babanyu (Friends for life) – Laetitia Wilson 32 Suburbia – Giselle Stanborough 34 Celeste Chandler, be my eyes – Sophia Cai 36 Heath Franco, LIFE IS SEXY – Melissa Pesa 40 Select exhibition previews – Art Almanac team 44 Art & Industry Artist Opportunities and Awards 53 Submissions and Proposals 56 Internships and Fellowships 57 Studio Spaces 58 Materials 58 Services 60 Consultants and Valuers 62 Member Organisations 62 Training 63 Publications 64 What’s On Gallery Index 67 Melbourne 72 Victoria 100 Sydney 108 New South Wales 137 Australian Capital Territory 145 Tasmania 150 South Australia 154 Western Australia 158 Northern Territory 162 Queensland 165 Artist Index 174 6 Artist talk: 2pm Saturday 21 April 2018 RONA GREEN 28 Derby Street Collingwood VIC 3066 Open 7 days 10am to 6pm T 03 9417 2422 [email protected] The thrill of it all australiangalleries.com.au 27 March - 22 April 2018 Member Art Galleries Association of Australia A G Image: King of Punchbowl 2018 USTRALIAN ALLERIES hand coloured linocut 108 x 76 cm edition 17 MELBOURNE geelonggallery.org.au orld according ildren’s books h—27 May 2018 Gallery In collaboration Presenting partners ZHOU XIAOPING The Cross Cultural Influences of Chinese and Indigenous Art , Back to Back, Portrait of Jimmy and Xiaoping Back Back, of Jimmy to Portrait synthetic polymer on rice paper laid down on canvas, 207 x 154 cm 207 on canvas, paper laid down polymer on rice synthetic Zhou Xiaoping, Zhou Xiaoping, 3 MARCH - 21 APRIL 2018 Zhou Xiaoping has created a unique artistic style by incorporating his training in traditional Chinese classic painting with his experiences of Indigenous Australia – its landscape, people and art – generating a new aesthetic and telling his story through his cross cultural paintings which have been the subject of over 30 exhibitions worldwide. Preview the exhibition on our website: www.diggins.com.au Art in Australia 14 21st Biennale of Sydney The latest iteration of the Biennale of Sydney presents the work of 70 artists and artist collectives from Africa, Asia, Australia, North America, South America and Europe at seven venues across the city: the Art Gallery of NSW (AGNSW), Artspace, Carriageworks, Cockatoo Island, Museum of Contemporary Art Australia (MCA), Sydney Opera House and 4A Centre for Contemporary Asian Art until 11 June 2018. The works form personal responses to the curatorial theme ‘SUPERPOSITION: Equilibrium & Engagement’, which focuses on multi-layered perspectives of the world and its histories that simultaneously interact and create balance. Among the highlights are Ai Weiwei’s Crystal Ball (2017) at Artspace, examining the complex future of our world in the face of the current global humanitarian crisis; Marco Fusinato’s Constellations (2015/2018) at Carriageworks inviting visitors to hit a home run by striking a baseball bat against a white wall as microphones transmit 120db through the gallery space – intensifying the impact and emotion; Tom Nicholson’s addition to Untitled wall drawing (2009- 2018) – a matrix of painstakingly handwritten words narrating a geopolitical history of the 20th century at the MCA; Oliver Beer’s ongoing ‘Resonance Project’ at Sydney Opera House exploring the complex relationship between sound and space; and Akira Takayama’s ‘Our Songs – Sydney Kabuki Project’ at 4A Centre for Contemporary Asian Art – a recording of volunteers aged 5-94 years who expressed their stories through song and prose in different languages. Public programs include daily guided-tours, artist and curator-led talks, lectures, workshops, performances, panels and screenings as well as after-hours events. Marco Fusinato, Constellations, 2015, installation view (2015), Institute of Contemporary Art, Singapore, baseball bat, chain, purpose-built wall with internal PA system at 120+ decibels, 300 x 4000 x 150cm Photograph: Olivia Kwok Courtesy the artist and Anna Schwartz Gallery, Melbourne 15 Fecund: Fertile Worlds Katherine-based curator Clare Armitage presents m)HFXQG)HUWLOH:RUOGVnWKHíUVWH[KLELWLRQIURP the SPARK NT Emerging Curator Program initiated by Artback NT. Drawing on the connotations of fecundity, Armitage has selected works that are connected by notions of fertility in the natural world. This exhibition brings together artists from the Northern Territory and Australia, presenting a collective response to life, death and renewal. Talitha Kennedy’s anthropomorphic leather PDQJURYHVFRQîDWHWKHKXPDQDQLPDODQGSODQW while Nikala Bourke’s macroscopic photographs evince the otherworldliness of nature. Djirrajirra Wunungmurra’s Yukuwa yam paintings juxtapose the erotic works of Pony Express as sounds from &ODLUH%ULGJHnVíOPSHUPHDWHWKHVSDFH6KRZLQJDW Northern Centre for Contemporary Art until 14 April and touring the Northern Territory until March 2019. netsaustralia.org.au artbacknt.com.au Patricia Casey, Ebb and Flow, 2015, photography on cotton with embroidered detail, 72 x 90cm Courtesy the artist and Artback NT, Northern Territory 2018 Creative Exchanges Asialink Arts has announced a suite of creative exchange projects for 2018 through its Global Project Space (GPS) initiative. Chosen from an open call, 27 Australian artists and arts SURIHVVLRQDOVKDYHEHHQDZDUGHGRSSRUWXQLWLHVLQ$VLDZKLOHíYH$VLDQEDVHGDUWLVWVZLOOKHDG to Australia. Each recipient has been linked with one of over 40 global collaborators – spanning publishing houses, galleries, theatres, universities and arts residency spaces – to develop new works, expand their professional networks and strengthen Australia’s artistic reputation. Many of the projects explore pressing VRFLRHQYLURQPHQWDOLVVXHVDFURVVíOP performance, sound, visual art and writing. Director Sarah Bond comments, ‘the work being undertaken by the selected 2018 artists offers a subtle experiential approach to global engagement and alternate ways to look at everyday things anew.’ asialink.unimelb.edu.au Antony Hamilton and Melanie Lane in ‘New Creation’, Lucy Guerin Inc residency 2016 Photograph: Dian McLeod Courtesy the artists and Asialink Arts, Melbourne 16 APY Gallery opens in Sydney With shared ideas of creating new and lasting opportunities for Indigenous artists from remote communities of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands located in the Far North of South Australia, the APY Art Centre Collective of ten Indigenous owned and governed enterprises have recently launched the new APY Gallery at 45 Burton Street, Darlinghurst. This Aboriginal cooperative aims to support emerging APY artists to further develop their artistic skills and practices, engage with audiences on a broader scale, build strong networks within the arts, and provide them with the tools needed to work towards successful careers in their chosen íHOGVrFDUU\LQJZLWKWKHPWKHNQRZOHGJHSDVVHGRQE\WKHLUJUDQGSDUHQWVWKHVHQLRUPHQDQG women of the APY Lands. Throughout the year the APY Gallery’s exhibition program will showcase paintings, traditional punu (wood) carving, weaving, textiles, new media and digital photography. This month, until 14 April, ‘Malatja tjutangku ara irititja kunpungku kanyini – Old Knowledge, Young Blood’ presents a selection of artworks from across the APY Lands. Then from 19 April to 12 May ‘A Cowboy Story’ by artist, country
Recommended publications
  • Heide Museum of Modern Art 2013 Annual Report Heide Museum of Modern Art 2013 Annual Report

    Heide Museum of Modern Art 2013 Annual Report Heide Museum of Modern Art 2013 Annual Report

    HEIDE MUSEUM OF MODERN ART 2013 ANNUAL REPORT Heide Museum of Modern Art 2013 Annual Report CONTENTS 1. STATEMENT 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 14 4.3 Education 15 5. COMMERCIAL OPERATIONS 17 5.1 Store 17 5.2 Visitor Services 19 5.3 Membership 20 5.4 Café Vue at Heide 20 6. COLLECTION 21 6.1 Acquisitions 22 7. FACILITIES 29 7.1 Maintenance 29 7.2 Gardens 30 8. MARKETING & COMMUNICATIONS 31 9. DEVELOPMENT 35 9.1 Heide Foundation 35 9.2 Grants 38 9.3 Development Committee 39 9.4 Heide Fellow 39 9.5 Fundraising Campaigns 39 9.6 Corporate Partnerships 40 9.7 Sponsored Exhibitions 41 10. GOVERNANCE 45 10.1 Board 46 10.2 Heide Board Sub-Committees 48 10.3 Board Directors & Senior Management Personnel 49 11. STAFF & VOLUNTEERS 52 12. FINANCIAL STATEMENTS 55 13. NOTES TO THE FINANCIAL STATEMENTS 69 DIRECTORS’ DECLARATION 87 INDEPENDENT AUDIT REPORT 88 Cover image Fiona Hall Love Me Tender 2009–11 20 × 15 × 4 cm (irreg.) Private Collection, Sydney All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2013 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.
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker

    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker

    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
  • Issue 543 Contents

    Issue 543 Contents

    המרכז HaMerkazACT Jewish Community Magazine December 2018 | Tevet 5779 Issue 543 Contents A: 31 National Circuit, Forrest ACT P: PO Box 3105, Manuka ACT 2603 T: 02 6295 1052 E: [email protected] REGULAR REPORTS W: actjc.org.au 04 2018 PRESIDENT’S FAREWELL MESSAGE: Yael Cass 05 OUR INCOMING PRESIDENT: New President, Veronica Leydman 06 FROM THE RABBI’S DESK: Rabbi Eddi’s Chanukah message. 07 EVERY ENCOUNTER: Rabbi Robuck’s contribution. SPECIAL ARTICLES 10 ORTHODOX SHUL: Adele Rosalky writes on the design sources. 13 REMEMBRANCE DAY: Gai Brodtmann’s speech. Issue 543 22 PHOTOS FROM REMEMBRANCE DAY 24 CANBERRA TIMES: RUTH LANDAU: Ruth’s story of survival. 30 EARLE HOFFMAN LIBRARY: Updates from Leonie Webb. 32 HOLOCAUST SURVIVAL: Peter Witting’s escape. DECEMBER 2018 38 DEAR COMMUNITY: From Shay and Shir. 40 HISTORY & FOOD: Chanukah traditions. 41 CHANUKAH RECIPES: Four tempting recipes. 46 THE NEW YORK TIMES ARTICLE: Submitted by Karen Tatz. 47 BOOK: JEWISH IN AMERICA: Submitted by Karen Tatz. The views expressed in HaMerkaz by individual authors do not necessarily reflect the views or policy of the ACT Jewish Community Inc. COMMUNITY AND OTHER REPORTS 06 CONVERSATIONS: Submitted by Bill Arnold. 12 AJHS: Adele Rosalky. COPYRIGHT 2018. 17 NCJWA: A report from the Canberra Section. 27 WELCOME COMMITTEE: News on the group activities. All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photocopying, EVENTS recording, or by any information storage and retrieval system, without 08 YOUNG ADULTS’ CHANUKAH: From Tamsin Sanderson. permission in writing from an 17 WIZO: Visit by WIZO representatives.
  • Emu Island: Modernism in Place 26 August — 19 November 2017

    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.
  • Executive Board Meeting 11 Aug 2009

    Executive Board Meeting 11 Aug 2009

    Executive Board Meeting 11 Aug 2009 Agenda item no. 9 Prepared by: Don McMichael, Membership Secretary Date: 7 August 2009 Topic: Membership Report 1. Recommendations 1.1 That the new members admitted by the Membership Secretary, listed in Attachment 1, be approved by the Board; 1.2 That the Board decide what course of action it wishes to follow in relation to new PIMA Board members; and 1.3 That the membership statistics in Attachment 2 be noted. 2. Background 2.1 Dr Joanna Wills did not seek re-election as Membership Secretary at the Annual General Meeting. Do Don McMichael was elected to this position. 2.2 Processing of membership applications and renewals, banking of subscriptions, issuing of receipts and dispatch of stickers to renewing members continues to be done efficiently by Office Manager Ms Lee Scott. Persons/Institutions applying for membership for the first time are referred to the Membership Secretary for approval before being invoiced. Upon payment of their subscription, a new member’s details are advised to ICOM headquarters, from where ICOM cards and current year stickers are issued. 2.3 Membership is down by about 70 from the 2008 total, but some additional renewals and new memberships are in process and more will probably come in during the next few months, especially as unfinancial or lapsed members plan their overseas travel for the summer. The numbers as at 31 July 2009 compared with the numbers at end 2008 are set out in the table at Attachment 2. 3. Issues 3.1 Because the ICOM Rules for National Committees require admissions to membership of ICOM to be approved by the Executive of the National Committee, the names and details of new members admitted by the Membership Secretary since the April 2009 are set out in Attachment 1.
  • JON PLAPP We Are Australian

    JON PLAPP We Are Australian

    Optics, with Andrew Christofides, Liz Coats, Col Jordan, David Aspen, John Vickery, John Aslanidis and Cathy Blanchflower, Sir Herman Black Gallery, University of Sydney, 1998. The Bryan Niland Collection , Penrith Regional Gallery and the Lewers Bequest, Emu Plains,1998. The Enduring Tradition: drawings by nine contemporary artists, with Alun Leach-Jones, Andrew Christofides, Maurice Cockrill, Peter Griffen, John McLatchie, Colin Lanceley, Brian Plummer, Aida Tomescu. Toowoomba Regional Art Gallery, 1998-1999 (travelling to Gladstone, Rockhampton,Dalby, Bundaberg, Thuringowa and Cairns). JON PLAPP We Are Australian. Exhibition presented by We Are Australian Art Inc. and the Melbourne Festival in Association with the Victorian Arts Centre. 1999- 2000 It’s A Guitar Shaped World 6. Tamworth City Gallery, 2000 Exposition collective. Cite Internationale des Arts, Paris, 2000 A Studio in Paris: Australian Artists at the Cite. S H Ervin Gallery, Sydney, 2001 Collage. Stephanie Burns Fine Art, Canberra, 2001 Stephane Jacob. Carrousel du Louvre, Paris, 2001 Public and Corporate Collections Allen, Allen, & Hemsley, Sydney, Artbank Australia. Baker McKenzie, Sydney. Bliss Hospital, St Louis, USA. Burnie Art Gallery, Tasmania.Devonport Gallery, Tasmania. Hincks Treatment Centre, Toronto, Canada. Holmes á Court Collection, Perth. Mallesons, Melbourne. University of Sydney Union National Gallery of Australia, Canberra. Western Mining Corporation, Melbourne. University of Toronto, Toronto, Canada. The Robert McLaughlin Gallery, New England Regional Art Museum, Armidale Civic Centre, Oshawa, Ontario, Canada. AMP Collection, Sydney. Agnes Etherington Art Gallery, Queens University, Kingston, Ontario, Canada Press Reviews Sandra McGrath: Australian, May 19-20, 1979. Sandra McGrath: Australian, February 7-8, 1981. Nancy Borlase: Sydney Morning Herald, February 14, 1981.
  • MS 65 Papers of Studio One

    MS 65 Papers of Studio One

    MS 65 Papers of Studio One Summary Administrative Information Scope and Content Biographical Note Series List and Description Box Description Folder Description Summary Creator: Studio One staff Title: Papers of Studio One Date range: 1985-2000 Reference number: MS 65 50 Boxes + 13 ring binders + 1 oversized Extent: box Administrative Information Access See National Gallery of Australia Research Library reference desk librarians. Provenance The papers were salvaged by Roger Butler, Senior Curator of Australian Prints and Drawing at the National Gallery of Australia in early 2000 after they were had been assigned for disposal. Scope and Content Series 1 of the collection comprises 42 boxes of material directly related to the administrative functions of a small, Canberra based, print editioning organisation and spans 17 years from 1985 to 2002. Within this series are 13 ring binders that contain a variety of media including negatives, photographs, slides and prints. Included in this series is an oversized box containing outsized material. Series 2 consists of financial records. The collection content includes correspondence; funding applications; board meeting agendas and minutes; reports; job cards (print editioning forms) and printing contracts, with financial records in the second series. Various artists represented in the National Gallery of Australia Collection used the Studio One editioning services. These include George Gittoes, Rosalie Gascoigne, Dennis Nona, Treahna Hamm, Jane Bradhurst, Pamela Challis, Ray Arnold, Lesbia Thorpe (Lee Baldwin) and Bruno Leti. This collection also documents, through records of correspondence, workshop details and job cards, the development of relationships with Indigenous artists through print workshops and print editioning as convened by Theo Tremblay and Basil Hall, including Melville Island, Munupi Arts and Crafts, Cairns TAFE, and Turkey Creek.
  • International Student Science Conference A

    International Student Science Conference A

    PLC SYDNEY BIANNUAL MAGAZINE ISSUE 12: SUMMER 2014 INTERNATIONAL STUDENT SCIENCE CONFERENCE A SUCCESSFUL SNOW SEASON INTERTWINED EXHIBITION YEAR 12 GRADUATION PARENT SEMINARS DISNEY COMES TO PLC SYDNEY 1 From the Principal 17 Creative writing workshops Connect magazine is printed on Sovereign Offset. It is a FSC certified paper and 2 Outstanding young writer recognised 18 Intertwined exhibition contains fibre sourced only from responsible 3 St Aloysius’ College and PLC Sydney 20 Parent seminars forestry practices and made with elemental chlorine free pulps. Special Concert 21 Pipe Band Tour to Perth 2015 Cover image: Taking a break at the entrance to the 4 International Student Science Conference 22 Rising star on the hockey field Athenian Acropolis in Greece during the Ancient History Tour. 5 SMART Tree project 23 Sleek geeks Editor: Mrs Nicole Paull 6 Living the dream 24 Self-defence day Contributors: Dr Paul Burgis, Ms Carolyn Lain, 7 Disney comes to PLC Sydney 25 Textiles technology students inspired Gwendalyn Dabaja, Ms Fiona Clouston, Emma 8 The end of Year 12 by upcycling trend Carnuccio, Isabelle Hooton, Catherine Taylor, 10 The East Timor story so far 26 The serious business of scientific fun Natalie Teh, Hayley Ng, Averlie Wang, Madeleine Maloof, Cailin Pascoe, Mrs Fiona Hendriks, 11 Sydney Eisteddfod results 27 Year 2 Camp Claire Protas, Madeline Panos, Isabella Cordaro, 12 Ancient History Tour 28 Year 12 graduation: Giving thanks Leila Bunguric, Sophie Hayman, Mr Adam Bold, Claire Sharman, Ms Jenny Clarke, Mrs Melissa 13 Central
  • G Eelong G Allery Annual Report

    G Eelong G Allery Annual Report

    Geelong Gallery annual report 2009–2010 Geelong Gallery Little Malop Street Geelong 3220 T 03 5229 3645 Open daily 10am–5pm Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday www.geelonggallery.org.au Geelong Gallery annual report 2009–2010 01 Contents President’s report 02 Director’s report 04 Honorary Secretary’s report 08 The Geelong Art Gallery Foundation 16 The Geelong Gallery Grasshoppers 18 Friends of the Geelong Gallery 20 Collections report 21 Financial statements for 30 the year ended 30 June 2010 Government partners and sponsors 44 Geelong Gallery annual report 2009–2010 02 President’s report Since the Gallery’s last AGM, my predecessor Overall, I’m delighted to confirm that the year’s as President of the Geelong Gallery, Michael programs and initiatives went successfully to Cahill, has stepped down from the role, having plan, with all the Key Performance Indicators served in different capacities on Gallery boards that underpin the Gallery’s funding agreements and committees for some two decades. So, with our local and state government partners it is with great pleasure that I place on record either comfortably met or, more often than here our sincere thanks to Michael for this not, substantially exceeded. remarkable commitment to the Board and to the Gallery, noting as I do so, and with real A wide-ranging exhibition program was satisfaction, that Michael retains a formal link delivered to critical acclaim, the Gallery’s with us as continuing Chair of the Gallery’s financial performance was sound, corporate Acquisitions committee. sponsorships were retained and extended, the collection grew through purchase, As usual on these occasions, brief outlines bequest, acquisitive prize, and gift with of the Gallery’s financial and general operating the Geelong Art Gallery Foundation keenly performance over the previous 12 months supportive throughout.
  • BORGELT-CV-2015.Pdf

    BORGELT-CV-2015.Pdf

    M A R I O N B O R G E L T Biography Lives and works in Sydney 2007 Art Angels Residency Program, Perth 2006-07 Collaboration with Adriano Berengo Glass, Murano, Italy 1995 Collaboration with master printer Fred Genis for Sherman Genis Graphics, Sydney 1990 Collaboration with René Tazé etching atelier, Paris, France 1989–98 Lived and worked in Paris, France 1989 French Government Artist Residency, Paris, France 1979–80 New York Studio School, Postgraduate studies, New York, US 1977 Torrens College of Advanced Education, Adelaide, Graduate Diploma Secondary Art Teaching 1973–76 South Australian School of Art, Diploma of Fine Art, Painting 1954 Born Nhill, Victoria Solo Exhibitions 2014 Luminous Light, Allens Art Projects, Melbourne Full Circle Red, Karen Woodbury Gallery, Melbourne Marion Borgelt: Wabi-Sabi and Other Influences, Port Macquarie Glasshouse Regional Gallery, NSW 2013 So Near So Far, inaugural exhibition, Dominik Mersch Gallery, Sydney 2012 To see a world in a grain of sand…, Fehily Contemporary, Melbourne Musical Geometry, Turner Galleries, Perth 2011 Rhythms, Chords & Cadences, Jan Manton Art, Brisbane Heartbeat, Dominik Mersch Gallery, Sydney 2010 Marion Borgelt: Mind & Matter, A 15 Year Survey, Drill Hall Gallery, Australian National University, Canberra 2009 Exotic Particles, Turner Galleries, Perth Moonlight in my Veins, Dominik Mersch Gallery, Sydney 2007 Flux & Permanence, Sherman Galleries, Sydney 360º, inaugural exhibition, Turner Galleries, Perth 2006 Nothing is Invisible, Christine Abrahams Gallery, Melbourne 2005
  • Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le

    Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le

    Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases.
  • Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels Cubism and Australian Art from 1940 Lesley

    Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels Cubism and Australian Art from 1940 Lesley

    Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels Cubism and Australian art from 1940 Lesley Harding 8 / 9 June 2011 Lecture summary: This lecture will consider the impact of the revolutionary and transformative movement of Cubism on Australian art from the 1940s to the present day. Described in 1912 by French poet and commentator Guillaume Apollinaire as ‘not an art of imitation, but one of conception’, Cubism irreversibly altered art’s relationship to visual reality. ‘I paint things as I think them, not as see them’, Picasso said. By its very nature, Cubism is characterised by variation and change. Although there was no cubist movement in Australia per se, its appearance in Australian art parallels its uptake and re-interpretation by artists internationally. By viewing Cubism as a set of stylistic and conceptual discoveries, rather than as a style defined by a particular period, we can trace the adaptation and evolution of cubist ideas and influences over successive decades and uncover its ongoing relevance to Australian art. In the early years, an interest in Cubism signaled a desire to be modern, a vanguard position taken against the parochial predominance of landscape painting in Australia at that time. While early Cubism broke down the pictorial subject, resulting in fragmentary images with multiple viewpoints and overlapping planes, the later inclusion of collage elements such as newsprint and wallpaper into paintings (often referred to as Synthetic Cubism) was the beginning of the idea that real objects could be incorporated into artworks, which opened up new possibilities for the treatment of reality in art.