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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. -
List of Works
4 JANUARY – 22 MARCH 2020 Margaret's Gift acknowledges and celebrates the generous legacy of Margaret Olley AC (1923-2011). Olley was a preeminent artist who had more than 90 solo exhibitions during her lifetime. Using funds from her own exhibition sales Olley would purchase fellow artists works, which she would then in turn donate to numerous galleries. She was also an entrepreneur who invested wisely in residential properties, that in turn brought in a steady income. This put her in a unique position in which she could, not only focus on her own artistic practice but she had the time and means to paint, travel, acquire and donate. The working relationships and life-long friendships she developed with gallery curators, directors and fellow artists are testament to her unwavering support of art and culture within this country. Throughout her lifetime, Olley continued to donate and provide funds to various institutions. This approach enabled institutions to acquire significant works of art. Many of these works are now considered collection highlights, spanning national, state, regional and university art collections. The Margaret Olley Art Trust was established in 1990. This legacy continues today, with the ongoing support of the trustees of the Margaret Olley Art Trust, through both donation of work or funds allocated to a specific project. This exhibition is the second in a series of three that has the generous support of the Margaret Olley Art Trust. Curated by Renée Porter, the exhibition presents over 60 works from collections in Queensland, New South Wales and the ACT and include works by European masters, Australian artists and ceramics from Papua New Guinea which were her earliest known gifts. -
ANSWERS to QUESTIONS on NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General
Senate Finance and Public Administration Legislation Committee 2005-06 Supplementary Budget Hearings ANSWERS TO QUESTIONS ON NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General QUESTION: PM1 Senator Crossin asked: “..How many times this year has a government member represented the Governor- General and given a message on his behalf?” QUESTION: PM2 Senator Crossin asked: “… At Uluru—Ayers Rock. It was the 20th anniversary of the hand back. You probably do not have the answer with you but can you take on notice who invited the Governor-General to that?” QUESTION: PM3 Senator Crossin asked: “…Can you also please take on notice for me whom his message was given to and why?” QUESTION: PM4 Senator Crossin asked: “In an instance where the Governor-General cannot attend, is there any protocol that suggests that the message should be given to the House of Representatives member to read out rather than to some other member of parliament? …. Could you have a look at that, please, and answer this question: if the government is the body issuing the invitation and the Governor-General is unable to go, is it custom and practice that the local House of Representatives member reads the Governor-General’s message rather than anybody else?” Response: The response to Senator Crossin’s questions PM1 to PM4 is set out below. There is no written protocol or guideline for how the Governor-General is to be represented at an event or function that he is unable to attend. Messages are not sent to the Governor or Administrator of a State or Territory unless it was they who had invited the Governor-General. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
Art and Artists in Perth 1950-2000
ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997. -
344 CHAPTER XIII Decolonising Thoas in 1855, One Year Into The
Preprint of Hall, E. in Adventures with Iphigenia in Tauris (OUP 2013) CHAPTER XIII Decolonising Thoas In 1855, one year into the Crimean War, a North American discussion of the history of the Crimea penetrated straight to the heart of the relationship between Iphigenia in Tauris and Athenian colonialism. The journalist suggested that it was the establishment of Black Sea colonies that led the tragedians ‘to make use of a Tauric legend in the plays they offered to Athenian audiences, as Shakespeare made a comedy from the Bermudas, and as a playwright of ours, if we had any, would be glad of a Kanzan tradition’. He asks his readers to understand the relationship of Euripides’ Taurians to their Athenian audiences in the same terms as Shakespeare’s Caliban in The Tempest to the English who had colonized Bermuda in 1609, or the native Kansa Sioux in the (newly created) state of Kansas to the reader of the Boston-based literary journal. The Kansa Sioux had notoriously proved resistant to all the attempts of Methodist missionaries to make them live in permanent housing and convert to Christianity. The author of the article was correct. Euripides’ IT is very nearly a definitive text in the archive of colonial literature. This chapter will explore the radical revisions that 20th- and 21st-century authors and directors have performed upon the text in order to make it speak to a world struggling to recover from centuries of European domination of the planet. For IT ticks almost all the boxes in the conceptual repertoire of postcolonial theory associated with the work of the Palestinian Edward Said, and the Indians Gayatri Chakravorty Spivak and Homi Bhabha. -
Lauraine · Diggins · Fine ·
5 Malakoff Street, North Caulfield, Vic, 3161 Telephone: (61 3) 9509 9855 Facsimile: (61 3) 9509 4549 Email: [email protected] Website: www.diggins.com.au ABN19006 457 101 L A U R A I N E · D I G G I N S · F I N E · A R T ASPECTS OF AUSTRALIAN MODERNISM Showing until 10th November 2018 Modernism, as a cultural phenomenon, covers an expansive time period usually linked to the turn of the century and reflects a conscious departure from the past to seek new forms of expression and experimentation. The advances in industrialisation, science, technology, philosophy, politics, urban growth and the impact of the First World War had enormous effects on society worldwide. Modernism in the arts is characterised by a shift in imagery and the accepted notions of perspective, composition and colour, along with the development of materials and techniques. In Australia, modern art tends to refer to the post-war period until the mid 1960s, which encompasses a diverse range of artists and their practices. Australian modernism is also largely about looking in; examining Australia as a culture; and celebrating what is relevant to our own society. Several artists embraced an Australian vernacular in their creative work, establishing a quintessential idiom, perhaps most significantly Russell Drysdale whose isolated outback figures and desert landscapes became ingrained in the perception of Australian identity. Other artists to famously establish the Australian story through now iconic visual representation include Arthur Boyd, Donald Friend, Sidney Nolan and Albert Tucker. Important contemporaries of Drysdale were Donald Friend and William Dobell. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
1 Margaret ACKLAND Tate ADAMS Martha AITCHISON Olle ALBERIUS
Margaret ACKLAND Garry BISH Leonie CASBOLT Tate ADAMS Cameron BISHOP Karen CASEY Martha AITCHISON Graham BLACKER Judy CASSAB Olle ALBERIUS Charles BLACKMAN Len CASTLE Douglas ALEXANDER Stan BLACKSHAW John CATO Anne ALGAR Julien BLAINE Jon CATTAPAN Mary ALLEN Les BLAKEBROUGH Angela CAVALIERI Eva ALMEBERG Peter BLIZZARD Neil CHENERY Ricardo ALVES-FERREIRA Yvonne BOAG Janangoo CHEREL Rick AMOR Sonja BOEHM Jeong Hwa CHOI John ANDERSON Bernard BOLES Henri CHOPIN Fernando ANDOLCETTI Chris BOND Dadang Christanto Len ANNOIS Russell BONE John CHRISTIE Jean APUATIMI Chris BOOTH Greg CLARK Bruce ARMSTRONG Peter BOOTH Tony CLARK Ian ARMSTRONG John BORRACK Kerry CLARKE Raymond ARNOLD Anna BOSCHI Maree CLARKE George ASLANIS Abraham BOSSE Peter CLARKE David ASPDEN Paul BOSTON Sue CLIFTON Rosalind ATKINS G W BOT Robert CLINCH John AUDUBON Dean BOWEN Jock CLUTTERBUCK Bill BACHMAN Arthur BOYD Ewen COATES Norman BAGGALEY David BOYD Victor COBB Robert BAINES Guy BOYD John COBURN Jimmy BAKER Lynne BOYD Yvonne COHEN Maringka BAKER Kathleen BOYLE Peter COLE George BALDESSIN John BRACK Rosemary COLEMAN Sydney BALL Godwin BRADBEER Cresside COLLETTE Stephen BAMBURY Stephen BRAM Peter COLLINGWOOD David BAND Barbara BRASH Patricia COLLINS Tina BANITSKA William BREEN Kevin CONNOR Bashir BARAKI Warren BRENINGER Alan CONSTABLE Terence BARCLAY Angela BRENNAN Simon COOPER Roberto BARNI Rodney BROAD Martina COPLEY Vittore BARONI Aileen BROWN Kim CORBEL Geoffrey BARTLETT JOSEPH BROWN Noel COUNIHAN Geoffrey BAXTER Lyndell BROWN Jack COURIER Richard BECK Norma BULL Vicki -
….../ Cardholders Name
Timetable Day Monday to Friday Day Saturday Beginners Welcome Advanced students taught at own level ROCKS ENROLMENT TEN WEEK TERM ....… YEAR 20...... am 9.15 am - 12 noon 10 am - 12.45pm Individual tuition Progress at your own pace pm 12.45 pm - 3.30 pm 1.30pm - 4.15pm Name ...................................................................................... All Daytime classes have the same tutor- am and pm. Mastering Landscape Address.................................................................................... Day classes 1 — 7 COURSES AT ROCKS CAMPUS Explore composition, concept, tone, colour and ......................................................................Postcode……..….. perspective in oil paint with Paul Delprat Phone: Home..........................… Work .................................... Enjoy Painting “en Plein air” at the Harbour Email ………………………………………………………. 1 Basic Drawing 2 Life Drawing, Life Painting, Entrance at Georges Heights How did you hear about the school? ……………………………….…… and Painting and Portraiture Discount Fees: 10 day classes per week for four terms (1 year) are: Training coordination of hand and Saturday morning: Georges Heights studio $9990.00, 8 classes per week ($8640) and 6 classes per week ($7128) eye. Proportion, direction, form, Monday and Tuesday - Drawing: See Georges Heights Prospectus For term enrolment see schedule below - structure and perspective lead to Systematic analysis of anatomy from the Tonal Still life studies in graphic live model. Monday poses range from a 7 Fundamentals of MON TUE WED THU FRI SAT media and oil paint providing the few minutes to one day. Tuesday poses Life Drawing am 1 2 4 1 2 1 2 3 1 2 1 2 1 2 7 basis for tonal anatomical studies range from a few minutes to half an hour. and colour analysis. Achieve A structured course – from the basics pm 1 2 4 1 2 1 2 3 1 2 1 2 1 2 7 to advanced anatomy over 5 terms using confidence handling materials. -
Art Gallery of New South Wales Annual Report 2005 Art Gallery of New South Wales General Information
ART GALLERY ART GALLERY OF NEW SOUTH WALES NSW Art Gallery Road The Domain Sydney NSW 2000 Telephone: (02) 9225 1700 Information Line: (02) 9925 1790 Email (general): [email protected] For information on current exhibitions and events, visit the Gallery’s website www.artgallery.nsw.gov.au ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2005 ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION ACCESS RESEARCH LIBRARY AND GALLERY SHOP PUBLIC TRANSPORT The Gallery opens every day except ARCHIVE Open daily from 10am to 5pm and until Buses: the 441 bus route stops at the ‘I have been in many museums around the world. You have a Easter Friday and Christmas Day The Gallery’s Research Library and 8.45pm each Wednesday night, the Gallery en route to the Queen Victoria between the hours of 10am and 5pm. Archive is open Monday to Friday Gallery Shop offers the finest range of art Building. The service runs every 20 national treasure here. Very impressive.’ Gallery visitor, 27 Feb 05 The Gallery opens late each Wednesday between 10am and 4pm (excluding books in Australia and also specialises in minutes on weekdays and every 30 night until 9pm. General admission is public holidays) and until 8.45pm each school and library supply. The shop minutes on weekends. Call the STA on free. Entry fees may apply to a limited Wednesday night. The Library is located stocks an extensive range of art posters, 131 500 or visit www.131500.info for number of major temporary exhibitions. on ground floor level and has the most cards, replicas and giftware. -
Important Australian Art Sydney | 22 April 2021
Important Australian Art Sydney | 22 April 2021 Important Australian Art Sydney | 22 April 2021, 6:30pm COVID-19 RESTRICTIONS VIEWING ENQUIRIES PRESS ENQUIRIES Auction restrictions Melbourne Merryn Schriever Claire Martin Physical attendance at the live Wednesday 7 April Director +61 (0) 414 437 588 auction may be restricted and to Sunday 11 April +61 (0) 2 8412 2222 [email protected] capped based on availability. 10am to 4pm daily [email protected] 1130 High Street PHYSICAL CONDITION Armadale VIC 3143 Alex Clark OF LOTS IN THIS AUCTION Australian and International Please note that there is no Sydney Art Specialist reference in this catalogue to Thursday 15 April +61 (0) 3 8640 4088 the physical condition of any lot. to Tuesday 20 April [email protected] Intending bidders must satisfy 10am to 4pm daily themselves as to the condition of 36 - 40 Queen Street Francesca Cavazzini any lot as specified in clause 14 Woollahra NSW 2025 Aboriginal and International of the notice to bidders contained Art Specialist at the end of this catalogue. AUCTION +61 (0) 2 8412 2222 36 – 40 Queen Street francesca.cavazzini@bonhams. As a courtesy to intending Woollahra NSW 2025 com bidders, Bonhams will provide a written indication of the physical 22 April 2021 at 6:30pm CLIENT SERVICES condition of lots in this sale if a Sale number: 26917 Kate Floro request is received up to 24 +61 (0) 2 8412 2222 hours before the auction starts. CATALOGUE [email protected] This written indication is issued $30.00 subject to Clause 3 of the Notice Azura Nichols to Bidders.