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Full Programme of Abstracts and Biographies
AAANZ 2019 Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies AAANZ Conference, Auckland, 3-6 December, 2019 Owen G. Glenn Building, The University of Auckland 12 Grafton Road, Auckland 1010 & Te Noho Kotahitanga Marae, Unitec Institute of Technology 139 Carrington Road, Mount Albert, Auckland 1025 & Auckland Art Gallery Toi o Tāmaki Corner Kitchener and Wellesley Streets, Auckland 1010 Full Programme of Abstracts and Biographies The AAANZ Conference 2019 is supported by the Te Noho Kotahitanga Marae, and the School of Architecture, Unitec Institute of Technology, Waipapa Marae, Elam School of Fine Arts and the Faculty of Arts at the University of Auckland, ST PAUL St Gallery and the Faculty of Design and Creative Technologies at Auckland University of Technology, Whitecliffe College of Art and Design, the Auckland Art Gallery Toi o Tāmaki and the Chartwell Trust. The University of Auckland is proud to acknowledge Ngāti Whātua Ōrākei as mana whenua and the special relationship they have with the University of Auckland City Campus. Mana whenua refers to the iwi and hapū who have traditional authority over land. We respect the tikanga (customs) of Ngāti Whātua Ōrākei as mana whenua and recognise their kaitiakitanga (stewardship) role over the land the City Campus is located on. 1 AAANZ 2019 Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies NAU MAI HAERE MAI! Welcome to AAANZ 2019 Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies in Tāmaki Makaurau! The theme for this year’s conference had as its starting point a critique of the Ministry for Culture and Heritage’s Tuia Encounters 250th commemorations taking place in Aotearoa in 2019: the notion of encounter was one to conjure with. -
Art Gallery of New South Wales Annual Report 2007–08
Art Gallery of New South Wales Annual Report 2007–08 Contents The Hon Nathan Rees 2 Vision, purpose, pledge of service ART Premier and Minister for the Arts GALLERY Year in brief Parliament House NSW 4 Highlights Macquarie Street 6 Performance summary SYDNEY NSW 2000 7 Corporate plan and outcomes 12 President’s foreword 14 Director’s statement Dear Minister, 18 Collections 30 Exhibitions and audiences It is our pleasure to forward to you for presentation 40 Educational, community and regional activities to the New South Wales Parliament the Annual 50 Publications Report for the Art Gallery of NSW for the year 54 Building and environmental management ended 30 June 2008. 56 Individual giving This report has been prepared in accordance with the provision of the Annual Reports 57 Business development (Statutory Bodies) Act 1984 and the Annual Corporate governance Reports (Statutory Bodies) Regulations 2005. 58 Board of Trustees 61 Other Gallery entities 62 Senior management Yours sincerely, 64 Organisation structure Appendices 70 Sponsorship and philanthropy 71 Art prizes and scholarships 71 AGNSW publications for sale 72 Visitor numbers Steven Lowy Edmund Capon 73 Exhibition listings President Director 74 Aged and disability access programs and services 75 Aboriginal and Torres Strait Islander programs and services 76 Ethnic affairs priorities statement 20 October 2008 77 Overseas travel 78 Collection – purchases 81 Collection – gifts 85 Collection – loans 91 Staff, volunteers and interns listings 94 Staff publications, presentations and -
The Influences of Taoist Philosophy and Cultural Practices on Contemporary Art Practice
1 Change and Continuity: the Influences of Taoist Philosophy and Cultural Practices on Contemporary Art Practice Bonita Ely Doctor of Philosophy 2009 University of Western Sydney 2 The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. ....................................................... 3 Many thanks to my supervisors, Dr. Peter Dallow, Dr. Noelene Lucas and David Cubby for their support, knowledge and guidance. The Chinati Foundation, Marfa Texas, and the College of Fine Arts, University of New South Wales gave essential support to this research. Thanks also to Marina Grounds Ely, Huy Ky Do, Sandy Edwards and Sue Goldfish, and my colleagues, Allan Giddy, Sylvia Ross, Martin Sims and Emma Price for their support. 4 5 TABLE OF CONTENTS CHAPTER 1: INTRODUCTION .....................................................................................10 CHAPTER 2: A HISTORY OF DISCOURSE – EAST WEST AND BACK AGAIN.........23 RHIZOME #1: Chinoiserie and Zen, installation art and earthworks......................................................25 KU – NOTHINGNESS, THE VOID ...........................................................................................................35 MA – THE IN-BETWEEN ZONE ..............................................................................................................35 WABI SABI – SOLITUDE AND AUSTERITY, -
Trickle Down Effect: Sculpture and Land Kim Williams University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2012 Trickle down effect: sculpture and land Kim Williams University of Wollongong Recommended Citation Williams, Kim, Trickle down effect: sculpture and land, Master of Creative Arts - Research thesis, Faculty of Creative Arts, University of Wollongong, 2012. http://ro.uow.edu.au/theses/3803 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] University of Wollongong MASTER OF CREATIVE ARTS (RESEARCH) 2012 EXEGESIS TRICKLE DOWN EFFECT: SCULPTURE AND LAND Kim Williams 2012 CERTIFICATION OF ORIGINAL WORK I, Kim Williams, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Master of Creative Arts (Research), in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Signature 1 TABLE OF CONTENTS List of Illustrations 3 Abstract 5 Acknowledgments 6 1….. Overview 7 2….. Looking back 10 3….. Mapping the territory 14 4….. Planning an expedition 18 5….. Making a mark 21 6….. The lie of the land 27 7….. Streams of thought 30 8….. Relationships 33 9….. Catchment 37 10… Bringing the outside in 39 11… Reflection 43 12… Trickle-down effect 46 Bibliography 49 Image sources 53 Appendix: Kim Williams Darling Diary 2012 DVD (48 mins) 2 LIST OF ILLUSTRATIONS page 8 Map of the Murray-Darling Basin page 11 Ludwig Becker Portrait of Dick, the Brave and Gallant Native Guide, Darling Depot 1860 Watercolour, brush and ink on paper, 14 x 22 cm page 12 Helena Forde Red Sandstone Cliffs above “Cutthro” J. -
Interview with Marr Grounds 30 March 2015
ART GALLERY OF NEW SOUTH WALES ARCHIVE BALNAVES FOUNDATION AUSTRALIAN SCULPTURE ARCHIVE PROJECT Interview with Marr Grounds 30 March 2015 This is an edited transcript of an interview with Marr Grounds on 30 March 2015 at Tanja, NSW, by Deborah Edwards, senior curator of Australian art at the Art Gallery of New South Wales, for the Balnaves Foundation Australian Sculpture Archive Project. The project focuses on significant Australian sculptors and sculptural practice. It was developed with a grant from the Balnaves Foundation in 2010, which supported the recording and transcription of interviews with artists and other figures in Australian art as well as the acquisition of important archival material. About Marr Grounds Marr Grounds (born 1930) is a sculptor and pioneer of environmental and ‘habitable’ art. He also lectured in architecture and was involved in establishing the Tin Sheds workshop at the University of Sydney. This is an edited transcript of a recorded interview. Some adjustments, including deletions, have been made to the original as part of the editing process; however, the accuracy of all statements has not been verified and errors of fact may not have been corrected. The views expressed are those of the participants and do not represent those of the Art Gallery of New South Wales. Unedited audio files of this interview are in the Gallery’s archive. © Art Gallery of New South Wales ART GALLERY OF NEW SOUTH WALES ARCHIVE BALNAVES FOUNDATION AUSTRALIAN SCULPTURE ARCHIVE PROJECT: Interview with Marr Grounds Interview on 30 March 2015 Marr Grounds (MG): What always amazed me concerning the stuff I made was that a place like Watters [Gallery, Sydney] or art galleries would buy it. -
Naturally Disturbed
Naturally Disturbed A Critical Inquiry into Pastoralist Memory and Environmental History as Realised Through Visual Art Susan Kneebone BSc, BFA (Hons), MFA Exegesis in partial fulfilment of the requirements for the award of Doctor of Philosophy by Major Studio Project 2010 South Australian School of Art Department of Art, Architecture and Design University of South Australia Principal Supervisor: Associate Professor John Barbour Co-supervisor: Professor Ian North Author’s Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; and any editorial work, paid or unpaid, carried out by a third party is acknowledged. Susan Kneebone 1 Acknowledgements This project could not have come to fruition without the support of various individuals and organisations. I am grateful for the assistance provided by the South Australia Museum, in particular the contribution to the exhibition by Dr Philip Jones and the help of David Kerr, David Stemmer and Maya Penck. I would like to give thanks to Mike Turner and members of the South Australia Museum Aboriginal Advisory Group. Thank you to Andrew Starkey and members from the Kokotha Mula Nations Land Council for their interest, consent, and advice with respect to the display of Aboriginal material culture from the Gawler Ranges. I am grateful to Sandy Morris of Yardea Station for sharing his hospitality and historical knowledge of the station. -
AAANZ-2016-E-Booklet.Pdf
AAANZ 2016 THE WORK OF ART ART ASSOCIATION OF AUSTRALIA AND NEW ZEALAND ANNUAL CONFERENCE 1-3 December 2016 school of art, australian national university, canberra, australia CONFERENCE ABSTRACTS & BIOGRAPHIES ACKNOWLEDGEMENTS The Australian National University and the AAANZ 2016 Conference Committee acknowledge and celebrate the First Australians on whose traditional lands we meet, and pay our respect to the elders of the Ngunnawal people past and present This event was generously supported by the ANU College of Arts and Social Sciences through their Conference funding scheme and by the Research School of Humanities and the Arts External Visitors funding scheme. The AAANZ 2016 Conference Committee very much appreciate this contribution. The Committee would also like to acknowledge the support of the School of Art, Australian National University (ANU) and our event partners the National Gallery of Australia (NGA) and the National Portrait Gallery (NPG). We thank the NGA, in particular its Director, Gerard Vaughan, and staff Edith Young and Dr Shaune Lakin for their assistance in hosting Dr Melissa Chiu’s keynote address. We thank the NPG, in particular its Director Angus Trumble, Dr Christopher Chapman and other staff for hosting the Conference ‘party’ on their premises. The involvement of AAANZ was greatly appreciated, with particular thanks to Dr Anthony White, Giles Simon Fielke and Dr Katrina Grant for assistance with communications, web and other support. The Head of the ANU School of Art, Associate Professor Denise Ferris, generously provided ten student bursaries to support current and recent postgraduate student participation in this year’s AAANZ conference. Dr Sarah Scott played an instrumental role in the conceptual development, organisation and management of the Postgraduate Student Day. -
Discontinued Narratives of Migration and an Art Practice with Earth E. A
Discontinued Narratives of Migration and an Art Practice with Earth E. A. Day Doctorate of Creative Arts September 2011 UNIVERSITY OF WESTERN SYDNEY This paper is dedicated to my parents George and Margaret Day and to the land where we lived at Otago Bay, Tasmania. It is also for Beatrice, Claire and Violet. ii ACKNOWLEDGEMENTS Especially with thanks to the resources and support of the University of Western Sydney, Department of Writing and Society in the School of Communications. The funding from Writing and Society enabled me to attend the Glocal Imaginaries Conference in Manchester U.K in 2009 and also to return to in 2010 to exhibit at St Georges Hall, Liverpool. With huge thanks to Dr Anna Gibbs and Dr Noelene Lucas, my two supervisors whose guidance has been crucial in bringing together this work. Anna Gibbs has allowed me to be the writer I suspected I might be, by trusting that I could do it and allowing me to step into ficto-criticism and develop the relationship that existed between the writing and the artwork. Research has opened up new worlds. Noelene Lucas has also given exceptional support in demonstrating how a sculptor became a writer. Her assistance with the structuring of this document has been immeasurably helpful, and her thoroughness in going over my texts as I was writing has also been invaluable and really fundamental in my getting it together. I would also like to thank Casula Powerhouse who supported the Liverpool N.S.W. end of my exhibition, especially then Director, Nick Tsoutas who gave the project initial support back in 2007. -
A Different Temporality: Feminist Art, 2011
MONASH UNIVERSITY MUSEUM OF ART Education KIT A Different Temporality: Aspects of Australian Feminist Art Practice 1975-1985 13 October - 17 December 2011 Guest Curator: Dr Kyla McFarlane THE EXHIBITION THE Artists A Different Temporality brings together feminist approaches to temporality in the visual arts, with a focus on late 1970s and early 1980s Australia. Micky Allan Rather than an encyclopaedic summation of feminist practice at that time, selected works reflect prevalent debates and modes of practice; with a Janet Burchill and Jennifer McCamley focus upon the dematerialisation of the art object, the role of film theory, and the adoption of diaristic and durational modes of practice, including Bonita Ely performance, photography and film. Spanning a decade within two decades, and marking a significant time for Sue Ford feminist art practice in Australia, A Different Temporality presents a materially Helen Grace and politically diverse selection of works by selected artists that engage with temporality as both metaphor and subject. Whilst their respective works may not openly exemplify an overriding logic, their durational emphasis Lyndal Jones brings together feminist approaches to history and experience, as well as conceptual investigations of cinematic time and montage, ephemerality and Jenny Watson event, repetition and flow - forms and ideas which continue to resonate in the present. A Different Temporality continues MUMA’s commitment to considering the recent history of contemporary art since the 1960s and is presented in association with the 2011 Melbourne Festival. Ground Floor, Building F www.monash.edu.au/muma Janet Burchill and Jennifer McCamley Monash University, Caulfield Campus Telephone +61 3 9905 4217 Soft geometry 1982 [email protected] 35mm slide projection 900 Dandenong Road courtesy the artists and Anna Schwartz Tues – Fri 10am – 5pm; Sat 12 – 5pm Caulfield East VIC 3145 Australia Gallery, Melbourne and Sydney MONASH UNIVERSITY MUSEUM OF ART A DIFFERENT Temporality MICKY Allan Born Melbourne, 1944, lives and works Canberra. -
La Trobe Art Institute Art Collection Project Significance Assessment
La Trobe Art Institute Art Collection Project Significance Assessment Prepared by Belinda Nemec November 2016 – March 2017 Prepared for La Trobe University at the request of the La Trobe Art Institute, by Dr Belinda Nemec, November 2016 – March 2017. © Copyright La Trobe University 2016–17 and individual copyright holders of artworks illustrated and sources cited. The views expressed in this report are those of the author, Belinda Nemec, or of individuals and written sources cited. They are not necessarily the views of La Trobe University, the La Trobe Art Institute, or individual La Trobe staff. This Report was edited by LAI staff in August 2017 to remove any information that may compromise the security of the University Collections. Areas of redacted content are indicated through the use of this symbol: Further information regarding this decision can be sought by contacting the La Trobe Art Institute. Cover image: ‘Spring’, one of four panels from Leonard French, The four seasons, 1975. La Trobe University Art Collection, purchased 1978. Photograph: La Trobe University Media Library, 2006. ii iii Australian collections are the memory bank of the nation and a key to its future. They embody the people, history, cultures, science and environment of Australia, and they show the creativity of Australians in all dimensions. Collections give a sense of our place in the world, and explain how the land and nation have evolved.* Significance is the values and meanings that items and collections have for people and communities. Significance helps unlock the potential of collections, creating opportunities for communities to access and enjoy collections, and to understand the history, cultures and environments of Australia.† The founders of La Trobe University believed it important that students be surrounded by art.