C Harles N Odrum G Allery

Total Page:16

File Type:pdf, Size:1020Kb

C Harles N Odrum G Allery CHARLES NODRUM GALLERY 267 C HURCH STREET RICHMOND MELBOURNE VICTORIA 3121 AUSTRALIA www.charlesnodrumgallery.com.au g a l le r y@c harlesnodrumgallery.com.au ABN 22 007 380 136 T EL (61 3) 9427 0140 Hours: Tues – Sat 11 – 6 GEORGE JOHNSON 1926 Born Nelson, New Zealand 1951 Arrived Australia EDUCATION 1943-47 Wellington Technical College, New Zealand 1955-56 Certificate of Art, RMIT 1966-68 Diploma of Art, RMIT 1964-65 Technical Teachers Certificate, Melbourne Teachers College. SOLO EXHIBITIONS 1948 Hitchings Gallery, Wellington, NZ 1956 Tasmanian Government Tourist Bureau Gallery, Melbourne 1962 Argus Gallery, Melbourne Terry Clune Gallery, Sydney 1965 Argus Gallery, Melbourne 1966 Barry Stern Gallery, Sydney 1967 Barry Stern Gallery, Sydney 1968 Pinacoteca, Melbourne Ararat Art Gallery, Ararat 1970 City of Hamilton Art Gallery, Hamilton Shepparton Art Gallery, Shepparton 1972 Gallery A, Melbourne 1975 Stuart Gerstman Galleries, Melbourne 1977 RMIT Gallery, Storey Hall, Melbourne 1978 Ray Hughes Gallery, Brisbane Susan Gillespie Galleries, Canberra 1983 Realities, Melbourne 1984 Rudy Komon Gallery, Sydney 1986 Brooker Gallrey, Wellington, NZ 1987 Charles Nodrum Gallery, Melbourne 1988 Coventry Gallery, Sydney 1989 Charles Nodrum Gallery, Melbourne Coventry Gallery, Sydney 1992 Charles Nodrum Gallery, Melbourne 1995 Coventry Gallery, Sydney 2001 George Johnson: 50 years of Abstract Art 1952-2002, Ballarat Fine Art Gallery 2006 Charles Nodrum Gallery, Melbourne 2009 Charles Nodrum Gallery, Melbourne 2011 Charles Nodrum Gallery, Melbourne 2014 Abstraction by Three, Nancy Sever Gallery, Canberra 2016 90th Birthday Show, Charles Nodrum Gallery, Melbourne GROUP EXHIBITIONS 1956 ‘Contemporary Australian Painting: The Pacific Loan Exhibition 1958 Survey 1, National Gallery of Victoria Modern Australian Art, Museum of Modern Art, Melbourne 1962 Inaugural Exhibition, Gallery A, Melbourne 1963 Helena Rubenstein Scholarship Exhibition, Sydney 1964 Young Australian Painters, Tokyo 1965 George’s Invitation Art Prize, Melbourne Survey, National Gallery of Victoria (Crawford, French, Kemp, Johnson & Senbergs) 1966 Felton Bequest Acquisitions Exhibition, National Gallery of Victoria 1967 Benalla Art Gallery Acquisitive Award 1968 Tenth Sao Paulo Biennale 1970 George’s Invitation Art Prize, Melbourne 1975 George’s Invitation Art Prize, Melbourne McCaughey Prize, National Gallery of Victoria 1976 Caulfield Invitation Exhibition, City of Caulfield Art Gallery 1981 ‘Animals and Animism in Australian Art, RMIT Gallery 1983 ‘Abstract Art in Australia’, RMIT Gallery 1986 Abstract Painting in Melbourne from the Mid 1950s to Mid 1960s, RMIT Gallery Charles Nodrum Gallery, Melbourne 20 Years of Abstraction, Part 2. Ivan Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney 1988 Modern Australian Painting, Charles Nodrum Gallery 1989 Modern Australian Painting, Charles Nodrum Gallery Consciousness, David Jones Art Gallery, Sydney 1990 Modern Australian Painting, Charles Nodrum Gallery 1994 First Australian Artists’ Books Fair, Queensland State Library, Brisbane 1995 Circle, Line and Square: Aspects of Geometry, Campbelltown City Art Gallery, touring to Newcastle Region Art Gallery, Albury Regional Art Centre and New England Regional Art Museum, Armidale The Situation Now: A Survey of Local Non-Objective Art, University Art Museum, LaTrobe University, Melbourne 1996 Non-Objective Presence, Australian Galleries, Sydney 1997 Australia Comes of Age, Museum of Modern Art at Heide Geometric Painting in Australia 1941-1997, University Art Museum, The University of Queensland, Brisbane 1998 The Niland Collection, Penrith Regional Gallery and Lewer Bequest 2004 Fresh Fields: Charles Nodrum Collection, touring Ballarat Fine Art Gallery & Benalla Art Gallery 2005 Abstraction 4, Charles Nodrum Gallery 2007 Abstraction/Architecture/Space, RMIT University New Abstraction: 1965 to 1985, Crawford, Johnson & King, RMIT Gallery 2009 Drawing Folio, Block Projects, Melbourne 2010 Abstraction 9, Charles Nodrum Gallery 2012 Melbourne Art Fair, Charles Nodrum Gallery 2013 Abstraction 12, Charles Nodrum Gallery 2014 The less there is to see, the more important it is to look, Ian Potter Museum of Art, University of Melbourne, curated by Vince Alessi 2015 Art & Furniture II, Charles Nodrum Gallery 2017 Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art PUBLIC COLLECTIONS National Gallery of Australia National Gallery of Victoria Art Gallery of New South Wales Museum of Contemporary Art, Brisbane Art Gallery of the Northern Territory MOMA Heide University of Melbourne Ballarat Fine Art Gallery Ballarat Teachers’ College Benalla Art Gallery Bendigo Teachers College Geelong Art Gallery German High Commission, Melbourne City of Hamilton Art Gallery Newcastle City Art Gallery Warrnambool Art Gallery RMIT Art Collection Artbank Chartwell Collection, Auckland Art Gallery, Toi o Tamaki, New Zealand AWARDS 1966 Albury Art Prize 1971 Orange Art Prize 1973 Visual Arts Board of the Australia Council Grant 1975 George’s Invitation Art Purchase Prize 1977 Visual Arts Board of the Australia Council Grant SELECTED BIBLIOGRAPHY CRAMER, S. & HARDING, L. et al. Call of the Avant-Garde: Constructivism and Australian Art, exhibition catalogue, Heide MOMA, illus p. 119 HAMMONDS, L., WAITE, J. et al. Gordon Walters: New Vision, exhibition catalogue, Auckland Art Gallery & Dunedin Public Art Gallery, 2018, pp 25, 140, 224 HEATHCOTE, Christopher & ZIMMER, Jenny. Goerge Johnson – World View, MacMillan, Melbourne 2006 JOHNSON, George H. ‘Art and the World Around Us: An Essay on Experimental Art’, Parent and Child (Wellington, N.Z.) Vol. 3, No. 6, August 1957 JOHNSON, George H. ‘Art Education: A Viewpoint’ Art Craft Teachers’ Association Magazine, (Victoria) No. 16, August 1973 McCULLOCH, Alan, Encyclopedia of Australian Art, Hutchinson, Melbourne 1987 REED, John (Ed.) New Painting 1952-62. The Arts in Australia Series. Longmas 1963 REID, Barrie (Ed.) Modern Australian Art: A Melbourne Collection of Paintings and Drawings, Museum of Modern Art of Australia Publications No. 1, Melbourne 1958 SMITH, Bernard, Australian Painting 1788-1970. Oxford University Press, Melbourne 1958 ZIMMER, Jenny. ‘Recent Australian Paintings and Sculpture. The Influence of Aboriginal Culture and the Landscape. Journal of the Royal Society of Arts (London), Vol. CXXX, No. 5307 ZIMMER, Jenny, George Johnson and ineluctable abstraction Art and Australia Vol 24. No. 2, Summer 1986 .
Recommended publications
  • Thesis Title
    Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art.
    [Show full text]
  • Scientists' Houses in Canberra 1950–1970
    EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 MILTON CAMERON Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Cameron, Milton. Title: Experiments in modern living : scientists’ houses in Canberra, 1950 - 1970 / Milton Cameron. ISBN: 9781921862694 (pbk.) 9781921862700 (ebook) Notes: Includes bibliographical references and index. Subjects: Scientists--Homes and haunts--Australian Capital Territority--Canberra. Architecture, Modern Architecture--Australian Capital Territority--Canberra. Canberra (A.C.T.)--Buildings, structures, etc Dewey Number: 720.99471 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Sarah Evans. Front cover photograph of Fenner House by Ben Wrigley, 2012. Printed by Griffin Press This edition © 2012 ANU E Press; revised August 2012 Contents Acknowledgments . vii Illustrations . xi Abbreviations . xv Introduction: Domestic Voyeurism . 1 1. Age of the Masters: Establishing a scientific and intellectual community in Canberra, 1946–1968 . 7 2 . Paradigm Shift: Boyd and the Fenner House . 43 3 . Promoting the New Paradigm: Seidler and the Zwar House . 77 4 . Form Follows Formula: Grounds, Boyd and the Philip House . 101 5 . Where Science Meets Art: Bischoff and the Gascoigne House . 131 6 . The Origins of Form: Grounds, Bischoff and the Frankel House . 161 Afterword: Before and After Science .
    [Show full text]
  • 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]
  • Artists Statement for Me the Nature of Colour Is the Colour of Nature
    David Aspden Born Bolton, England, arrived Australia 1950 1935 - 2005 COLLECTIONS Aspden is represented in National Gallery of Australia, Art Gallery of New South Wales, Art Gallery of Western Australia, Museums and Galleries of the Northern Territory, National Gallery of Victoria, Art Gallery of South Australia, and other state galleries. His work is found in regional galleries including Bathurst, Newcastle, Wollongong, Gold Coast, Orange, Armidale, Ballarat, Benalla, Muswellbrook, Manly, Stanthorpe and Geelong. Aspden’s paintings are hung in New Parliament House, Canberra and the NSW State Parliament. His work is in the collections of Artbank, Heide, Tarrawarra Museum of Art, Macquarie University, National Bank of Australia, Macquarie Bank, St George Bank, The Australian Club, Festival Hall Adelaide, Allens Arthur Robinson, Clayton Utz, Melbourne Casino, Fairfax, News Limited, University of Western Australia, Monash University, Beljourno Group, Shell Company of Australia Limited, and numerous corporate and private collections. Individual Exhibitions 1965 Watters Gallery, Sydney 1966 Watters Gallery, Sydney - March and November 1967 Watters Gallery, Sydney Strines Gallery, Melbourne 1968 Farmers' Blaxland Gallery, Sydney Gallery A, Melbourne 1970 Rudy Komon Art Gallery, Sydney 1971 Rudy Komon Art Gallery, Sydney 1973 Rudy Komon Art Gallery, Sydney 1974 Rudy Komon Art Gallery, Sydney 1975 Solander Gallery, Canberra 1976 Monash University, Victoria Rudy Komon Art Gallery, Sydney 1977 Rudy Komon Art Gallery, Sydney 1981 Rudy Komon Art Gallery,
    [Show full text]
  • Fred Williams
    FRED WILLIAMS Born: 1927, Melbourne, Australia Died: 1982 SELECTED EXHIBITIONS 1947 Figure And Portrait Exhibition, Victorian Artists Society, Melbourne 1951 Ian Armstrong, Fred Williams, Harry Rosengrave, Stanley Coe Galleries, Melbourne Australian Arts Association Exhibition, Royal Watercolour Society Gallery, London. 1952 Group Exhibition, Australian Artists' Association 1957 Fred Williams, Oil Painting And Gouache, Australian Galleries, Melbourne Fred Williams, Etchings, Gallery Of Contemporary Art, Melbourne 1958 Fred Williams, Landscapes, Australian Galleries, Melbourne Fred Williams - Etchings, Gallery Of Contemporary Art, Melbourne May Day Art Show, Lower Town Hall, Melbourne A Critic's Choice, Selected By Alan Mcculloch, Australian Galleries, Melbourne 2nd Anniversary Exhibition, Australian Galleries, Melbourne Crouch Prize, Ballarat Art Gallery, Victoria 1959 Fred Williams, Recent Landscapes And Still Life, Australian Galleries, Melbourne 18 Recent Acquisitions..., Museum Of Modern Art, Melbourne 1960 Fred Williams, Australian Galleries, Melbourne Helena Rubenstein Travelling Art Scholarship, (By Invitation), National Gallery Of Victoria, Melbourne Drawings And Prints, Australian Galleries, Melbourne 1960 Perth Art Prize, Art Gallery Society, Western Australia, Art Gallery Of W.A., Perth Mccaughey Memorial Art Prize, National Gallery Of Victoria, Melbourne Drawings, Paintings And Prints Up To 45 Gns, Australian Galleries, Melbourne 1961 Fred Williams, Paintings, Australian Galleries, Melbourne Fred Williams, The Bonython Art
    [Show full text]
  • Prints, Printmaking and Philanthropy a Symposium Celebrating 50 Years of the Harold Wright and the Sarah and William Holmes Scholarships
    Prints, Printmaking and Philanthropy A symposium celebrating 50 years of The Harold Wright and The Sarah and William Holmes Scholarships 30 September – 2 October, 2019 Forum Theatre, Arts West, The University of Melbourne Prints, Printmaking SYMPOSIUM and Philanthropy PROGram A symposium celebrating 50 years of The Harold Wright and The Sarah and DAY ONE Monday 30 September William Holmes Scholarships 8.30 – 9.00 am Registration Presented by the Australian Institute of Art History 9.00 – 9.15 am Introduction and Welcome Professor Su Baker, Pro Vice-Chancellor, Community and Cultural Partnerships, with assistance from The University of Melbourne’s and Director of Centre of Visual Arts (CoVA), The University of Melbourne Students and Scholarly Services Associate Professor Christopher Marshall, Chair, The Harold Wright and 30 September – 2 October, 2019 The Sarah & William Holmes Scholarships Selection Committee, The University of Melbourne 9.15 – 10.15 am Session One – Prints & Experimentation Chair: Julie Irving, Lecturer, Faculty of Fine Arts and Music, The University of Melbourne Dr Jane Eckett, Art History Program, School of Culture and Communication, The University of Melbourne Can a visionary act of philanthropy transform print scholarship and curatorial practice? This symposium will Hirschfeld-Mack’s monotypes as an index of modernist migration explore this question. Celebrating 50 years of The Harold Wright and The Sarah and William Holmes Scholarships, Dr Anna Parlane, Art History Program, School of Culture and Communication, Prints, Printmaking and Philanthropy will focus on three broad themes: print exhibitions, print collections and The University of Melbourne “Collapse of Mirror City”: Fact, fabrication and the newspaper print in Michael print presses – and also seek to trace the influence of philanthropy in shaping Australasian print culture.
    [Show full text]
  • Education Kit
    EDUCATION KIT Ralph Balson Janet Dawson Lesley Dumbrell Rosalie Gascoigne Frank Hinder Michael Johnson Peter Kennedy Robert Klippel Bea Maddock Clement Meadmore Mick Namarari Tjapaltjarri Vernon Treweeke GALLERY A: THE EXHIBITION GALLERY A: CURRICULUM LINKS Gallery A Sydney 1964–1983 has been produced to explore an Suggested starting points for discussion of the exhibition might include: important aspect of Australia’s art history, with a specific focus on • Reflection on how lack of figurative representation in abstract art can abstraction. This exhibition quite literally illustrates the art, artists and offer new readings that challenge the dominant historical tradition of social context of Sydney from the 1960s to the 1980s through the the human form in art. history of Gallery A Sydney. • Ways in which artists use symbolism, shape, colour and line to Gallery A originated in Melbourne in 1959 when furniture designer communicate ideas and meanings. Max Hutchinson turned his showroom into a gallery for contemporary art. The success of this transformation led Hutchinson to relocate to a • Visual analysis of abstract artworks using interpretative frameworks, larger Melbourne premises and then to open a Sydney branch in 1964. appropriate terms and vocabulary. This second Gallery A, in Paddington, quickly established a reputation • How subjective interpretations of abstraction intersect with structural as one of the city’s leading galleries, ‘a home of the purest, most analysis; i.e., how the work appears compared with how the work i painterly painting’. makes you feel. Ann Lewis took over the official management of the gallery in 1970. • Exploration of how the simplicity of abstract forms and motifs can Eventually Gallery A developed a more international focus with the communicate a complex raft of ideas, observations, experiences Paddington gallery playing host to a number of abstract artists from and emotions.
    [Show full text]
  • Download Abstraction Timeline (Pdf 108Kb)
    This timeline includes critical events in the development of abstraction, the contribution that women have made to its growth and expression, and key moments of socio-political history occurring concurrently with its evolution as a dominant tendency in the art of the twentieth century. 1844 In England, Joseph Mallord William Turner 1895–99 paints Rain, Steam and Speed. Paul Cézanne paints a series of proto cubist landscapes considered to be a bridge between 1875 Impressionism and Cubism at Bibémus Quarry, American artist James Abbott McNeill Aix-en-Provence. Whistler paints Nocturne in Black and Gold – http://artsearch.nga.gov.au/Detail.cfm?IRN=251113 the falling rocket. 1897 1885 In South Australia, Catherine Helen Spence Georges Seurat paints Le Bec du Hoc, becomes the first woman in the world to stand Grandcamp, now in the Tate Gallery, for election. London. The study was acquired by the NGA in 1984. The artist employs a scientific 1900 basis for this series known as Divisionism, Queen Victoria proclaims the Declaration of where he juxtaposes small brushstrokes of the Commonwealth of Australia to take effect colour to create light and shade to form the on 1 January 1901. composition. http://artsearch.nga.gov.au/Detail.cfm?IRN=92051 1901 Australia becomes an independent nation. 1877 Federation of Australia occurs and the French Impressionist artist Claude Monet Australian Federal Parliament opens in paints La Gare Saint-Lazare. Melbourne, the temporary capital. 1883 Author and feminist Stella Maria Miles In England, married women obtain the right to Franklin, also known as Miles Franklin, acquire their own property.
    [Show full text]
  • Art History's History in Melbourne
    Interrogating Joe Burke and His Legacy JAYNIE ANDERSON THE JOSEPH BURKE LECTURE 2005 Figure 1Joseph Burke at 10 Downing Street, London, then Secretary to the British Prime Minister Clement Atlee. 1943. Photograph. University of Melbourne Archives. Art history’s history in Melbourne began with the appointment of Joseph Burke (1913-1992) to the Herald Chair of Fine Arts in 1946. Burke made a number of remarkable appointments with Ursula Hoff, Franz Phillip, and Bernard Smith to create the seminal department of art history in Australia. Burke’s real field of expertise was in the English eighteenth century. Like many intellectuals of the diaspora, he transposed his scholarship to a different society. This article is based on Burke’s correspondence with Daryl Lindsay and Kenneth Clark. Burke’s support for Australian artists is analysed, notably Hugh Ramsay, Russell Drysdale and Sidney Nolan. In my formation as a scholar I encountered Joe Burke at three crucial points in my life. Initially, at the age of sixteen, as a first year undergraduate at the University of Melbourne, I heard him lecture on subjects such as Tiepolo’s Banquet of Antony and Cleopatra.1 Joe Burke (Fig. 1) remains in my Originally published in MAJ Melbourne Art Journal No 8, 2005, 89-99. memory as a remarkable lecturer, only comparable with Anthony Blunt, who exerted a similar charismatic effect on his audience. He was fluent, witty, would walk up and down, dressed elegantly in a 1940s pin stripe suit, and somehow communicated that art history was a very special intellectual experience, one that I and many of my contemporaries felt compelled to dedicate our lives to pursuing.
    [Show full text]
  • In the Years After the Second War Many Artists Found
    CHARLES NODRUM GALLERY 267 C HURCH STREET RICHMOND MELBOURNE VICTORIA 3121 AUSTRALIA www.charlesnodrumgallery.com.au [email protected] ABN 22 007 380 136 TEL (61 3) 9427 0140 F AX (61 3) 9428 7350 H OURS : TUES – SAT 11 - 6 STACHA HALPERN BIOGRAPHICAL DETAILS 1919 Born Zolkiev, Poland (now the Ukraine) 20 Oct. 1938/9 Attends the School of Commercial and Fine Art, Lvov. Nazi invasion of Poland. Stacha follows his brothers to Perth but soon moves to Melbourne 1941/2 Halpern by now practising as potter and painter. Yosl Bergner stays with him. 1944/5 Meets Arthur Boyd at Arthur Merric Boyd Pottery, Murrumbeena. Works at Greenways (commercial pottery) as a mould-maker. 1946/7 Sets up as a full-time potter at Surf Avenue, Beaumaris, selling through Primrose Pottery Shop. Becomes an Australian citizen. 1948/9 Attends the George Bell School - part time, with Fred Williams, Len French and Hal Peck. Studies sculpture at R.M.I.T. (evenings) for one term. Contact with the potter H.R. Hughan. 1950 Solo show: Ceramics, sculpture and paintings at Stanley Coe Gallery, Melbourne. 1951 Travels to England where he stays at the Abbey Arts Centre, Barnet, near London, (a traditional halfway house for Australian artists including Gleeson and Klippel). Visits art museums in England, Italy, Switzerland and France. 1952 Visits David and Hermia Boyd at their pottery studio, Tourettes-sur-Loup, Provence. Sam Atyeo and Peter Kaiser also living at Tourettes at this time. Visits and works in the Vence studio of Francine Delpierre and Albert Diotto, noted potters.
    [Show full text]
  • Frank Hodgkinson CV
    CHARLES NODRUM GALLERY 267 C HURCH STREET RICHMOND MELBOURNE VICTORIA 3121 AUSTRALIA Frank Hodgkinson Biography 1919 Born in Sydney 1936-38 Studied at Atelier, Sydney, under Datillo Rubbo 1939 Illustrator, The Herald, Melbourne 1940-46 Australian Imperial Forces in North Africa, Syria, New Guinea, and Borneo. Recorded assault landing at Balik-papan as a war artist 1947-53 Lived in London and Paris. Travelled extensively throughout Italy, Spain and France, absorbing collections in museums and church frescoes. Studied with Bernard Meninsky in London and at the Academie de la Grande Chaumiere, Paris. On-the-line Royal Academy, 1949 and 1950 1953-58 Lived in Sydney. Executed mural commissions; painted and exhibited throughout Australia. First abstractions exhibited in 1955 1958-59 Travelled on Rubinstein Scholarship through France, Spain and Germany 1960 Lived in Spain and painted for shows in Madrid and London 1961 Lived in Paris. Showed Salons Musee d'Art Moderne, Paris 1961-62 Lived in USA. Painted for shows in New York and Los Angeles 1962 Returned to Australia for exhibitions 1963-67 Lived in Spain. Travelled and exhibited throughout Europe 1968 Visited Australia for solo show for Festival of Perth, shown subsequently in Sydney, Melbourne and Adelaide. Journeyed through North-West Australia making notes of the Kimberleys for later work 1968-70 Lived in Rome 1971 Returned to Australia. Lived near south head of Trinity Bay, North Queensland 1972-73 Based near Melbourne, journeyed through Central Australia, South Australia and Queensland to study natural forms in the Olgas, the Flinders Ranges, the Glasshouse Mountains and the Coorong. Paintings shown at South Yarra Gallery.
    [Show full text]
  • Daniel Thomas, “Art Museums in Australia”
    ―ART MUSEUMS IN AUSTRALIA: A PERSONAL RETROSPECT”1 by DANIEL THOMAS2 From 1958 to 1990 I worked in art museums — first at the Art Gallery of New South Wales in Sydney as a multi-purpose curator, then at the fledgling National Gallery of Australia in Canberra as head of Australian art, and finally at the Art Gallery of South Australia in Adelaide as director. The art-museum world that I entered was very British, and rather unaware that it was run largely by artist directors and artist trustees for a small world of artists and collectors. Only the National Gallery of Victoria in Melbourne produced a good quantity of scholarly art-historical research; only the University of Melbourne then had a department of art history, and thus harboured colleagues for museum-based scholarship. All art-museum buildings were then poorly equipped for anything except collection display. I was the first-ever curator at the National Gallery of New South Wales (which dropped the anachronistic pre-Federation ‗National‘ the year I arrived). Apart from the revised nomenclature we were very backward: the roof leaked and the collections were mediocre compared with the wealthier state galleries in Adelaide and Melbourne, where curators existed and where there were huge private endowments for acquisitions — the 1897 Elder Bequest for South Australia and the 1904 Felton Bequest for Victoria. The state galleries of Western Australia in Perth and Queensland in Brisbane were even more primitive than that in Sydney. In Hobart the Tasmanian Museum & Art Gallery was, and still is, a multi- disciplinary museum for natural sciences, local history and art.
    [Show full text]