DOCSLIB.ORG

Heide Sculpture Park Discovering Art in Outdoor Spaces

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Heide Sculpture Park Discovering Art in Outdoor Spaces HEIDE EDUCATION Heide Sculpture Park Discovering art in outdoor spaces Anish Kapoor Inge King In The Presence of Form II 1993 (Foreground) Rings of Saturn 2005-2006 (Background) carved Portland stone stainless steel 174 x 170 x 110 cm 450 x 450 x 450 cm Untitled 1993 (Front) Heide Museum of Modern Art carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. © Heide 2011 For personal use only – do not store, copy or distribute Page 1 of 21 HEIDE EDUCATION Sculptures in the Park Dennis Oppenheim (1953–2011) Basket and Wave (From Dreams and Nightmares. Journey of a Broken Weave) 1984 Materials: _________________________ 488 x 549 x 792 cm Heide Museum of Modern Art Gift of the artist and Diana Gibson 1985 Current location: Connie Kimberley Sculpture Park At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer. Displaying sculptures throughout the park would take full advantage of the Museum's unique location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981 "The landscape is an integral part of Heide and most important in its ethos. It provides the opportunity and responsibility to develop a gallery in a setting, the like of which is rare anywhere in the world'. Inspiration was taken from international sculpture parks visited by Palmer during the early 1980s including the Kröller-Müller Museum in Otterlo, the Netherlands; Louisiana Museum in Humlebæk, Denmark; Storm King in the state of New York, USA; and the gardens of the Maeght Foundation in Saint-Paul-de-Vence , France. In 1981, two outdoor works placed within the grounds by John and Sunday Reed remained: Ron Upton's Three Forms (1964) and David Tolley's Man/Woman (c.1966) and these provided a starting point for the development of the sculpture park which today has over thirty pieces. The main focus for outdoor sculpture was on Australian art but with the selective inclusion of significant works by international artists. In 1985 Palmer commissioned renowned American artist Dennis Oppenheim to make a large work for the park called Basket and Wave (from Dreams and Nightmares. Journey of a Broken Weave) (1984). A site was carefully chosen for the work, midst a clearing surrounded by tall trees. Sue Cramer Heide Curator © Heide 2011 For personal use only – do not store, copy or distribute Page 2 of 21 HEIDE EDUCATION Fiona Hall A Native Rockery Garden 2009 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details. Fiona Hall (1953—) A Native Rockery Garden 2009 Materials: _________________________ variable dimensions Heide Museum of Modern Art Current location: Tony and Cathie Hancy Sculpture Plaza Circle the words that best describe this sculpture: smooth even hollow polished colourful irregular dull pointy energetic bright abstract rough realistic slick grimy hard round grainy lifeless organic hairy abrasive itchy natural solid List some other words: ____________ ____________ ____________ ____________ How has and will weather and the passage of time changed A native rockery garden’s appearance? Does it made the sculpture more interesting or not? How might it look in 20 years from now? This sculpture requires different care to other sculptures at Heide. How do you imagine that Heide takes care of and maintains this artwork? Does this alter our understanding of what can be called art? Do you think this artwork could be moved to another site? How? © Heide 2011 For personal use only – do not store, copy or distribute Page 3 of 21 HEIDE EDUCATION In this artwork Fiona Hall acknowledges John and Sunday Reed’s commitment from the early 1960s to plant only native species on the property. Hall researched the Reeds’ library and considered their interests in the work of influential historical gardeners such as Edna Walling, and international figures Eleanour Sinclair Rohde, Vita Sackville-West and Gertrude Jekyll. These are some of the plants Fiona Hall has used in this garden; Banksia blechnifolia, Eremophila glabra 'Kalbarri Carpet', Grevillea linearifolia weeping, Lasiopetalum indutum, Casuarina glauca prostrate, Eucalyptus caesia (Silver Princess), Leucophyta brownii (Cape le Grande), Lomandra glauca (Aussie Blue Grass), Xanthorrhoea johnsonii, Leucophyta brownie, Themeda triandra 'Mingo' (Kangaroo Grass), Actinotus helianthi (Flannel Flower), Geleznowia verrucosa and Swainsona formosa (Sturt's Desert Pea), Anigozanthos 'Bush Diamond' and Anigozanthos 'Bush Fury' (varieties of Kangaroo Paw) Sketch two views to create a map for a garden sculpture in the spaces below. What sorts of plants would you use? Do they hold special significance to you or other people? What textures and colours would you look for? If you don’t know the names of plants, how could you find them out? In addition to the sculptural objects and installations for which she is acclaimed, Fiona Hall has made some temporary and permanent gardens which reflect her interest in botany and its evolutionary, social and political histories. Environmental fragilities and our increasingly fractured relationship with the natural world are concerns which underpin much of her work. Fiona Hall’s garden is the second artist’s garden commissioned by Heide, the first being the now well established Karakarook’s Garden (2005-06) by Lauren Berkowitz which is located near the Oak tree at the back of Heide I. © Heide 2011 For personal use only – do not store, copy or distribute Page 4 of 21 HEIDE EDUCATION Neil Taylor Theoretical Matter 1999-2000 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details. Neil Taylor (1945—) Theoretical Matter 1999-2000 Materials: _________________________ 304 x 390 x 320 cm Heide Museum of Modern Art Mapping and Reflection: A Garden Transformed, initiated through Arts Victoria's Victoria Commissions Program, funded by the Community Support Fund of the Victorian Government Current location: Connie Kimberley Sculpture Park This sculpture was constructed by one person with the help of an engineering firm who bent the steel. Describe the materials and techniques used to construct this work. Where else have you seen these materials used? Can you see a natural form in the surrounding environment that resembles this sculpture? What is it? What are the similarities? What are the differences? How has weather and the passage of time changed its appearance? Has it made the sculpture more interesting or not? © Heide 2011 For personal use only – do not store, copy or distribute Page 5 of 21 HEIDE EDUCATION Do you think the care and preservation of this sculpture is an issue for Museum staff or for visitors? Why or why not? What is the job title of the person who looks after art works in a museum? If you were given a total budget of $1,000 per year to maintain this sculpture, decide which of the following services you would purchase for next year. Provide reasons for your choice. SERVICE RECOMMENDED COST YES/NO REASON Surface clean Every 6 months $200 Trim surrounding Every 3 months $100 hedges Coat with Once per year $1,000 rustproof sealer Remove wooden Every 4 months $200 debris Total costs to maintain this sculpture over a year: $_____ As a student Neil Taylor was interested in American Abstract Expressionist painting and started working with grids and colour patches. Taylor became increasingly frustrated with paint as a medium – ‘it yields so readily’. He wanted to use his ‘full strength, rather than just a wrist action with painting’, so switched to sculpture. He likes the ‘toughness’ of the materials he uses – ‘I struggle with them – it's like the mind, lively, engaging, suggestive, evocative every minute’. This is one of two works commissioned under the title ‘Mapping and Reflection: a Garden Transformed’, the other work being Stein Path by Janet Burchill. Stein Path is the same length as the holly hedge and runs along its southern side. The hedge was planted by John Reed, Sunday Reed and Sidney Nolan in 1946 to protect the bird life from Sunday Reed’s cats. The location of Theoretical Matter , close to the northern side of the hedge, led the artist to refer to it as an ‘industrial holly hedge’. The two works can be thought of as mapping and reflecting the hedge. Theoretical matter was constructed in a warehouse, which was a ‘big, grimy industrial space’, and according to the artist, ‘it felt right there’. But when the sculpture was moved to Heide's garden setting, Taylor was surprised by how its ‘rhythms’ and ‘perforated quality worked comfortably with the surrounding foliage’. © Heide 2011 For personal use only – do not store, copy or distribute Page 6 of 21 HEIDE EDUCATION Rick Amor Running Man 1996-2005 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details. Rick Amor (1948—) Running Man 1996-2005 Materials: __________________________ 180 x 175 x 65 cm Current location: Connie Kimberley Sculpture Park Heide Museum of Modern Art Purchased with funds donated by an anonymous donor and Christine Collingwood 1995 Current location: Connie Kimberley Sculpture Park Make the pose that the figure is in, with your own body. Describe how it feels to stand like this.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Diggens Sculpture
    The Elements within Sculpture - 4 June to 15 July 2011 L A U R A I N E · D I G G I N S · F I N E · A R T The Elements within Sculpture Such Diversity e have travelled a long way! The distance between the sculpture of Sir Bertram Mackennal (1863-1931) and the extraordinarily diverse works W produced by contemporary Australian sculptors is virtually immeasurable. Some fascinating links, nevertheless, remain. Bertram Mackennal was the first Australian artist to achieve great success overseas.* For most of his career he was resident in London where he was accepted by the establishment and enjoyed royal patronage. Furthermore, he was the first Australian elected to the Royal Academy, the first to have a work purchased by the Tate Gallery and the first Australian artist to be knighted. Influenced by Rodin, he became part of the New Sculpture movement in the UK where he practiced an idealised DEL KATHRYN BARTON 1972 - I am loving you like this (version 2), 2008 naturalism, which gave a new life to the classical tradition. bronze edition 3/3 Essentially a modeller in clay, many of his works were subsequently cast in bronze, 100 x 34 x 36 cm while others were carved in marble. Relying heavily on commissions and patronage, he produced a great number of portrait busts, memorials such as the regal Queen Victoria Memorial, 1897-1901, at Ballarat and a wonderful series of very sensuous female nudes: the National Gallery of Victoria has his arresting Circe of 1893 in their collection. The sexuality was made palatable to the attitudes of his period by the use of classical references, as with Vesta, 1900, in this exhibition.
    [Show full text]
  • Deakin University Melbourne Burwood Campus Sculpture Walk
    irritation, he made a series of sculptures steel pipes and coiled wire, but they read INGE KING towers 15 metres above the pavement. DEAN BOWEN DEAKIN 7 11 using the emblems but holding them up as exotic plants that have unexpectedly Born Berlin 1915* Deakin’s Marathon Man, however, is Born Maryborough, Victoria, 1957. UNIVERSITY to laughter and ridicule. In his so-called grown from the lawn; they suggest that Arrived Australia 1951. human in scale and appears to stride Lives and works in Melbourne. MELBOURNE Maquette For Public Monument (2003), nature can still survive in an architectural Lives in Melbourne. vigorously forward, as though joining BURWOOD the silhouette of the kangaroo stands setting. the passing pedestrians. Dean Bowen has had numerous solo CAMPUS on its head. Originally apprenticed to a woodcarver exhibitions and participated in many SCULPTURE in Berlin, Inge King attended the Berlin group shows throughout Australia PETER D COLE Academy of Fine Arts before moving to AUGUSTINE DALL’AVA as well as in Paris, London, Geneva, 9 WALK BRUCE ARMSTRONG 5 Born Gawler, South Australia, 1947. London, where she became a student at Born Grenoble, France, 1950. Tokyo, Osaka and Kyoto. 3 Born Melbourne 1957. Lives and works in Kyneton, the Royal Academy. Later she enrolled Arrived Australia 1955. FEATURED WORKS Lives and works in Melbourne. Victoria. at the Glasgow School of Art and was Lives and works in Melbourne. Bowen looks at the world with the eyes Text prepared by Ken Scarlett OAM awarded both a Diploma and Post of a child, delighting in birds and bees, Massive Red Gum figures and imaginative Whereas landscape has been a Diploma in 1943.
    [Show full text]
  • Inge King Eulogy
    Inge King Memorial Service NGV Great Hall, Monday 9 May 2016, 10:30 am I’m deeply honoured to be speaking today about Inge’s extraordinary career. I’m conscious of there being many others eminently qualified to speak, including Professors Judith Trimble and Sasha Grishin, each of whom have published eloquent monographs on Inge, and Professors Margaret Plant and Jenny Zimmer, who have both written informed, extended essays for two of Inge’s earliest survey exhibitions. In addition the NGV’s curator of Australian art, David Hurlston, and former NGV curator and recently retired director of the Geelong Gallery, Geoffrey Edwards, have both worked closely with Inge in the sensitive presentation of two retrospectives held here at the gallery, in 1992 and 2014. In the presence of such a wealth of knowledge and experience, I’m frankly humbled to have been asked to speak. I’d like to briefly mention how I came to know Inge, if only to contextualise my appearance here. Inge was arguably the best-known member of the Centre Five group, which forms the subject of my PhD thesis. I began reading about her work in 2008, while still living in Ireland and planning a return to Australia after a nine-year absence. The reading prompted faint memories of seeing her work at the Queensland Art Gallery while still a student in Brisbane. The following year, six months after embarking on doctoral studies at Melbourne University, I finally met my appointed supervisor, Professor Charles Green, who had until then been on sabbatical. One of the first things he said to me at that meeting was: ‘Now, you do know I’m Inge King’s godson, don’t you?’ Well, no, I didn’t.
    [Show full text]
  • Annual Report 2014–15
    Annual Report 2014–15 Annual Report 2014–15 Published by the National Gallery of Australia Parkes Place, Canberra ACT 2600 GPO Box 1150, Canberra ACT 2601 nga.gov.au/aboutus/reports ISSN 1323 5192 © National Gallery of Australia 2015 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Prepared by the Governance and Reporting Department Edited by Eric Meredith Designed by Carla Da Silva Pastrello Figures by Michael Tonna Index by Sherrey Quinn Printed by Union Offset Printers Cover: The 2015 Summer Art Scholars with Senior Curator Franchesca Cubillo in the Indigenous Urban gallery, 14 January 2015. 16 October 2015 Senator the Hon Mitch Fifield Minister for Communications Minister for the Arts Minister Assisting the Prime Minister for Digital Government Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s annual report covering the period 1 July 2014 to 30 June 2015. This report is submitted to you as required by section 39 of the Public Governance, Performance and Accountability Act 2013. It is consistent with the requirements set out in the Commonwealth Authorities (Annual Reporting) Orders 2011, and due consideration has been given to the Requirements for Annual Reports approved by the Joint Committee of Public Accounts and Audit under subsections 63(2) and 70(2) of the Public Service Act 1999 and made available by the Department of the Prime Minister and Cabinet on 25 June 2015.
    [Show full text]
  • 1915 - 2008 Title: Papers of Grahame King Date Range: 1967-1990 Reference Number: MS 20 Extent: 1 Box Prepared By: Peta Jane Jones
    MS 20 Papers of Grahame King Australian Prints and Printmaking Collection Summary Administrative Information Biographical Note Associated Content Acronyms Used Box Description Folder Description Summary Creator: King, Grahame 1915 - 2008 Title: Papers of Grahame King Date range: 1967-1990 Reference number: MS 20 Extent: 1 box Prepared By: Peta Jane Jones Overview Artist and teacher Grahame King was the fist President of the Print Council of Australia (PCA). In 1989, Roger Butler, the then President of the Print Council, and Curator of Australian Prints at the National Gallery of Australia invited Grahame King to speak at the First Australian Print Symposium. His presentation concerned the early history of the Print Council. In later discussions with Roger Butler he offered his papers relating to the formation and running of the Print Council to the National Gallery of Australia. This small collection includes papers that document Grahame King’s activities with the PCA, the adult education classes he taught and lectures he gave for university courses. The majority of documents comprising this collection are administrative and relate to the PCA; other material includes correspondence, newspaper clippings, financial records and copies of published articles. The collection has been described to item level. Keywords - 1 - Australian Printmaking; Prints; Print Council of Australia; National Gallery of Australia; Visual Arts Board (Victoria); National Print Symposium 1989 Key Names Grahame King; Roger Butler Administrative Information Access Contact the National Gallery of Australia Research Library reference desk librarians. Phone +61 2 6240 6530 Email [email protected] Provenance The papers were received by the Gallery in 1994 and lodged with the NGA Research Library as part of the Prints and Printmaking Research Collection in 2007.
    [Show full text]
  • INGE KING 1 INTERPRETIVE RESOURCE | Learning at the Gallery | Art Gallery of South Australia Artgallery.Sa.Gov.Au/Learning
    INTERPRETIVE RESOURCE INTERPRETIVE INGE KING Blue and yellow KINGINGE Inge King (1915–2016) was a leading Australian sculptor. Born in Berlin, King migrated to Melbourne, Australia in 1951 after studying in London and New York, where she was influenced by other abstract artists such as | Alexander Calder, Robert Klippel, Henry Moore and Learning at the Gallery Mark Rothko. King began making sculptural works of art from wood and stone. Early in her career she made jewellery as a means to generate an income. However, after purchasing a welder in 1959 she taught herself how | to weld and began creating works of art from steel Art Gallery and aluminium. Although her initial sculptures were rough and textural, King soon simplified her forms and refined her surfaces. As well as exhibiting regularly, King of South Australia produced numerous public commissions in Australia, including Forward Surge (1974) at Melbourne’s Victorian Arts Centre, Sentinel (2000) on the Eastern Freeway in Melbourne and Rings of Saturn (2006) at Heide Museum of Modern Art, in Victoria. artgallery.sa.gov.au/learning Migrating to Australia had a profound effect on King both personally and professionally. Although she image: Inge King, Australia, 1915–2016, Blue and yellow, 1985, thrived when experimenting with new materials Melbourne, polychrome steel, aluminium, 35.0 x 60.0 x 18.0 cm; South Australian Government Grant 1997, Art Gallery of South and techniques, she found the Australian cultural Australia, Adelaide environment challenging. King was fascinated by the harsh and unfamiliar Australian bush, which in turn inspired her to create bold monumental forms that contrasted with her new environment.
    [Show full text]
  • Heide Museum of Modern Art 2015 Annual Report Heide Museum of Modern Art 2015 Annual Report
    HEIDE MUSEUM OF MODERN ART 2015 ANNUAL REPORT Heide Museum of Modern Art 2015 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 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 19 5.1 Store 19 5.2 Visitor Services 21 5.3 Membership 22 5.4 Event Hire 22 5.5 Café Vue at Heide 22 6. COLLECTION 25 6.1 Acquisitions 27 7. FacILITIES 37 7.1 Maintenance 37 7.2 Gardens 38 8. MarKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Heide Director’s Circle 48 9.3 Grants 48 9.4 Development Committee 49 9.5 Heide Fellow 49 9.6 Annual Fundraising Dinner 49 9.7 Corporate Partnerships 50 9.8 Local Government Support 50 9.9 Sponsored Exhibitions 51 10. GOVERNANCE 56 10.1 Board 57 10.2 Heide Board Sub-Committees 59 10.3 Board Directors & Senior Management Personnel 60 11. STAFF & VOLUNTEERS 63 12. FINANCIAL STATEMENTS 66 13. NOTES TO THE FINANCIAL STATEMENTS 79 Cover image Gareth Sansom DIRECTORS’ DECLARATION 97 Religiosity á la Mode 2000 (detail) oil and enamel on canvas INDEPENDENT AUDIT REPORT 98 183.5 × 213.5 cm Heide Museum of Modern Art, Melbourne gift of Lion Capital Pty Ltd 2010 © the artist All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2015 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history.
    [Show full text]
  • 2018 La Trobe Precinct Guide
    LA TROBE UNIVERSITY OPEN HOUSE MELBOURNE 2018 PRECINCT GUIDE SUNDAY 29 JULY 11AM – 4PM La Trobe celebrated its 50th Anniversary in 2017, and in 2018 is embarking on a major 10 year campus development plan, which will see the University transformed into a leading research and innovation University City. This will see a major Sports Park, a Health and Wellbeing Hub, new 600 bed student accommodation, a sustainable Key: 5 Thomas Cherry Building 12 Union Building 20 Centreway Eco-Corridor through the campus, and a Bart Sanciolo David Wilson Gillie and Marc Schattner Road Dante’s Divine Comedy Gateway 1975 Run for Your Life 2014 world-class Research and Innovation precinct. Car park 1980-1983 steel, timber bronze On July 29, 2018 however, we invite you to view bronze Purchased 1975 three forms, Toilets Gift of the Italian Community dimensions variable to the People of Australia. Gifted by Wonderment Walk some old and new buildings on the campus, 13 Moat Theatre Presented 1987 Victoria including the La Trobe Molecular Institute of Cafe Inge King Dialogue of Circles 1976 Science (LIMS), the central Agora and Borchardt Bus stop 6 Hooper Lecture Theatre 21 John Scott Meeting House welded steel, paint Heather B. Swann Library, the Sylvia Walton Building, the Trendall Janusz Kuzbicki Commissioned 1976 Tram stop 3 x 5 x 3 2006 Horned Night Walker 2003 Centre for Research, the Centre for AgriBiosci- steel and glass steel 14 Sylvia Walton Building ences and selected Mont Park precinct buildings. Trendall Walk Donated through the Australian Purchased 2003 – open building There are also some 20 sculptures located around Government Cultural Gifts Level 2 walkway Program by the artist 2010 22 Mont Park Precinct the campus, the collection representing every 15 A.D.
    [Show full text]
  • Tough and Dedicated
    ©WESTWICK-FARROW MEDIA feature REPRODUCED WITH PERMISSION Tough and dedicated KEN SCARLETT considers the fortitude of three sculptors who have devoted their lives to sculpture. This page: Right: May Barrie, Outcrop, 2009, Angaston pink marble, 30 x 30 x 30cm. Below: May Barrie wearing her favourite colours. Photograph Tori De Mestre. Opposite page: Top left: May Barrie, Pleiades, 2001, black granite, 160 x 570 x 360cm. Top right: May Barrie in front of her Balnaves Prize award-winning work, Sculpture by the Sea exhibition, Sydney, 2009. Photograph emarkably, three sculptors over ninety years that are both aesthetically pleasing and a delight to Nina van Ewijk. of age are all actively producing work and touch. The angular forms of the materials selected from Centre left: Erwin Fabian, Trigon, 2008, holding exhibitions. Working in stone or the quarry sites frequently lead to more assertive, more welded steel, 80 x 84 x 33cm. Centre right: Erwin Fabian, Omen, 2008, steel, as these artists do, demands a certain aggressive works, while the seams of ironstone in the welded steel, 118 x 73 x 40cm. Rphysical and psychological toughness; there are long local sandstone often suggest concavities, which she Bottom right: Erwin Fabian in his studio. hours in the studio, recognition often comes slowly and exploits. Photograph courtesy Australian Galleries. the income is frequently precarious. As an artist, she is the perfect example of the It takes an inner conviction and a continuing modernist philosophy of truth to material; at times she compulsion to create in order to succeed in this reveals the inner strength of the stone with forms that profession where the drop-out rate of younger sculptors are bursting with energy, at other times she produces is so high.
    [Show full text]
  • RMIT Gallery Exhibition Program 2014 87
    RMIT Gallery Exhibition Program 2014 87 1 19 November 2013 — 23 February 2014 89 Music, Melbourne & Me: 40 Years of Mushroom and Melbourne’s Popular Music Culture This exhibition explores the relationships between a place, the music, those who make it and those who experience it, through the themes of memory, nostalgia and celebrity in popular music culture in Australia. Celebrating the last four decades of popular music represented through music, songs, posters, photographs, costumes, memorabilia and iconic rock venues, this journey into our communal musical past encapsulates the story behind the growth of the city’s music industry 10 11 23 May — 12 July and the success of Melbourne recording artists both nationally and internationally, Revelations: Sculpture from the RMIT University highlighting the trajectory of Mushroom Records, Australia’s biggest independent Art Collection record label. Curators Dr Kipps Horn and Suzanne Davies Public Program A selection of key works from the RMIT University Art Collection, including new Thursday 21 November: Mushroom, Music and Melbourne, Michael Gudinski and acquisitions on public view for the first time.Artists Bruce Armstrong, Peter Asel, Lee Simon. Tuesday 26 November: Where Were You? Music, Memory and Nostalgia, Robert Baines, Percival Ball, Geoffrey Bartlett, Peter Blizzard, Robert Bridgewater, Dr Kipps Horn and Ed Nimmervoll. Tuesday 3 December: Fame, Celebrity and Music, Maria Fernanda Cardoso, Jock Clutterbuck, Augustine Dall’Ava, Bill Fontana, Rosalie Dr Kipps Horn and Ella Hooper. Thursday 12 December: Sticky Carpets: Celebrating Gascoigne, Don Gore, Victor Greenhalgh, Anton Hart, Sam Jinks, Vincas Jomantas, Melbourne’s Music venues on International Roadies Day, Dr Kipps Horn and Graham Inge King, Juz Kitson, Alexander Knox, Hilarie Mais, Baluka Maymuru, Galuma ‘Scrooge’ Madigan.
    [Show full text]
  • Heide Museum of Modern Art 2009 Annual Report Heide Museum of Modern Art 2009 Annual Report
    Heide Museum of Modern Art 2009 Annual Report Heide Museum of Modern Art 2009 Annual Report PAGE CONTENTS 1. STATEMENT OF PURPOSE 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTor’s REPORT 3 4. CULTURAL PROGRAMMING 6 4.1 EXHIBITIONS 4.2 HEIDE PUBLIC PROGRAMS 4.3 HEIDE EDUCATION 5. COMMERCIAL OPERATIONS 14 5.1 HEIDE STORE 5.2 VISITOR SERVICES 5.3 HEIDE MEMBERSHIP 5.4 HEIDE CAFÉ 6. HEIDE COLLECTION 16 6.1 ACQUISITIONS 6.2 OUTWARD LOANS 7. FACILITIES 20 7.1 MAINTENANCE 7.2 GARDENS 8. COMMUNICATIONS & MARKETING 22 9. DEVELOPMENT 24 9.1 HEIDE FOUNDATION 9.2 HEIDE PARTNERSHIPS 10. GOVERNANCE 29 10.1 BOARD 10.2 HUMAN RESOURCES 10.3 RISK MANAGEMENT 10.4 BOARD DIRECTORS & SENIOR MANAGEMENT PERSONNEL 11. STAFF & VOLUNTEERS 35 12. FINANCIAL STATEMENTS 40 Front cover: Robert Rooney After Colonial Cubism (detail) 1993 Heide Museum of Modern Art, Melbourne Purchased through the Heide Foundation with the assistance of the Heide Foundation Collectors’ Group and the Robert Salzer Fund 2008 1. Vision & Mission Heide Museum of Modern Art 2009 Annual Report 1. STATEMENT Heide aims to offer an inspiring, educational OF PURPOSE and thought-provoking experience of modern and contemporary art, architecture and landscape. 1 2. Honorary Appointments Heide Museum of Modern Art 2009 Annual Report 2. HONORARY Heide Patrons APPOINTMENTS Terry Bracks Barbara Tucker Heide Fellows Dr H Norman B Wettenhall AM 1988 (1915–2000) Georges Mora 1989 (1913–1992) Maria Prendergast OAM 1990 Baillieu Myer AC 1992 Loti Smorgon AO 1993 Victor Smorgon AC 1993 Dr Barrett Reid AM 1994 (1926–1995) Dr Tom Quirk 1995 Maudie Palmer AO 1997 Stephen Charles 1998 Christine Collingwood 1999 Albert Tucker AO 2000 (1914 –1999) Barbara Tucker 2000 Tom Lowenstein 2002 William J Forrest AM 2005 John Gollings 2006 Inge King 2006 Neil Everist 2007 Mirka Mora 2008 David Walsh 2009 2 3.
    [Show full text]