1915 - 2008 Title: Papers of Grahame King Date Range: 1967-1990 Reference Number: MS 20 Extent: 1 Box Prepared By: Peta Jane Jones
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
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. -
Annual Report 2010–11
ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 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. -
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. -
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. -
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. -
Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton 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. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting. -
Printmaking and the Language of Violence
PRINTMAKING AND THE LANGUAGE OF VIOLENCE by Yvonne Rees-Pagh Graduate Diploma of Arts (Visual Arts) Monash University Master Of Visual Arts Monash University Master of Fine Arts University of Tasmania Submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy University of Tasmania MARCH 2013 This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. YVONNE REES-PAGH MARCH 2013 i This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. YVONNE REES-PAGH MARCH 2013 ii ACKNOWLEDGEMENTS I would like to acknowledge and thank my supervisors Milan Milojevic and Dr Llewellyn Negrin for their advice, assistance and support throughout the project. I am eternally grateful to my partner in life Bevan for his patience and encouragement throughout the project, and care when I needed it most. DEDICATION I dedicate this project to the memory of my dearest friend Olga Vlasova, the late Curator of Prints, Russian Museum, St Petersburg. Printmaking brought us together in a lasting friendship that began in Tomsk, Siberia in 1990. iii CONTENTS Abstract ............................................................................................. 01 Introduction ....................................................................................... 02 Chapter One: The Central Argument Towards violence ..................................................................... 07 Violence and the power of etching .......................................... -
Annual Report 98-99.Qxd
annual report 1998–99 annual report 1998–99 national gallery of australia Annual Report 1998–99 © National Gallery of Australia 1999 ISSN 1323-5192 All rights reserved. No part of this publication may 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. Produced by the Publications Department of the National Gallery of Australia, Canberra. Printed in Australia by Goanna Print, Canberra. National Gallery of Australia GPO Box 1150, Canberra ACT 2601 Telephone (02) 6240 6411 Facsimile (02) 6240 6529 Website: www.nga.gov.au Cover: Arthur Boyd Reflected Bride I 1958 Purchased with funds from the Nerissa Johnson Bequest 1999 Reproduced with the permission of Bundanon Trust 17 September 1999 The Honourable Peter McGauran MP Minister for the Arts and the Centenary of Federation Parliament House CANBERRA ACT 2600 Dear Minister I have pleasure in providing to you the Annual Report of the National Gallery of Australia for 1998–99, as required under the National Gallery Act 1975 and the Commonwealth Authorities and Companies Act 1997. The report follows the Guidelines for the Content, Preparation and Presentation of Annual Reports by Statutory Authorities (1982) and the Commonwealth Authorities and Companies Orders for Report of Operations (August 1998). Kerry Stokes AO Chairman of Council iii annual report 1998–99 Contents Letter of Transmission iii Chairman’s Foreword 1 Director’s Report 2 Corporate Overview 6 Performance 1998–99 Developing the Collection 11 Maintaining the Collection 16 Providing Access and Information 18 Managing Resources 26 Appendixes 1. -
An Investigation of the Role of Place and Identity in Artistic Thought and Practice
Placing identity, identifying place: An investigation of the role of place and identity in artistic thought and practice. Shelley Margaret Hannigan BFA (Painting), Graduate diploma (Teaching), MEd (Creative arts therapies) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of Music Shelley Hannigan, PhD Abstract This thesis explores the phenomena of place and identity in the visual artistic practices of four artists and myself. Using narrative case study and autoethnography, three research questions were investigated and answered: 1. What can be understood about each artist’s account of place and identity? 2. How do the artists encounter, use, or draw on, themes of place and identity in their creative practice, products, and thinking? 3. In what ways do the artists’ places influence their constructions of identity? Methods and techniques used to investigate these questions were interview, observation and artefact analysis. Hermeneutic philosophy was compatible with the investigation of individual insights and experiences of five artists due to its focus on the interpretation of verbal and non-verbal communication. Methodologies of qualitative narrative research were used to foreground artists’ explanations and interpretations of their own artworks and encourage storying of themselves. I investigated my own place, identity and artistic practice through autoethnography. Heidegger’s contribution to place philosophy is discussed as this along with other theories contributed to notions of place as experience. Notions of space and place are reviewed that include historical developments such the spatial turn. This turn challenged the way space and place were understood within disciplines and inspired a turn toward more interdisciplinary understandings of place and space. -
The James Gleeson Oral History Collection
research library Painted in words: the James Gleeson oral history collection It doesn't matter how the paint is put on, as long as something is said. Jackson Pollock Rosemary Madigan Eingana 1968 The Research Library at the National Gallery of Australia Oral history has an interesting place in a museum carved English lime wood collects catalogues raisonn•, auction catalogues, rare serials context. It revolves around the power and reliability of 61.0 x364.8 x30.4cm and books and other printed and pictorial media relating memory and the spoken word in an environment that National Gallery of Australia, Canberra to the visual arts. In addition to bibliographic collections, more often values the written word, the document, the Purchased 1980 the library keeps manuscripts and documentary material image and the object. Spoken words have a number of Murray Griffin such as diaries, photographs and ephemera. It also holds qualities that make them different from other ways of Rabbit trapper's daughter 1936 communicating. They are able to capture the emotions linocut, printed in colour, from a collection of ninety-eight recorded interviews and multiple blocks behind what it means to be a person who is living printed image 35.0 x 27.8 cm transcripts with Australian artists created in the late 1970s, and making art at a particular time in history. And the National Gallery of Australia, before the National Gallery of Australia was built. Canberra storytelling in the interview captures both the pleasures of The interviews were conducted by the well-known memory and the act of creativity. -
Picture Paradise # Richard Larter # Gleeson Interviews
artonview artonview artonview ISSUE No.54 ISSUE No.54 winter 2008 W I N T E R 2008 NATIONAL Richard Larter Sliding easy 1970 (detail) synthetic polymer paint on composition board National Gallery of Australia, Canberra Purchased 1970 G A L L E R Y O F AUSTRALIA a retrospective Canberra only 20 June – 14 September 2008 The National Gallery of Australia is an Australian Government Agency PICTURE PARADISE ¬s¬RICHARD LARTER ¬s¬¬',%%3/.¬).4%26)%73 Jan JanBillycan Billycan (Djan (Djan Nanundie) Nanundie) Yulparija Yulparija people people All the All Jilathe Jila2006 2006 acrylic acrylic binder binder with withlangridge langridge dry pigmentdry pigment and andmarble marble dust dust on plyboard on plyboard National National Gallery Gallery of Australia, of Australia, Canberra Canberra Purchased Purchased 2007 2007 © Jan © BillycanJan Billycan (Djan (Djan Nanundie) Nanundie) A.W.W.A.W.W. Plâté Plâtéand Co & Co Sinhalese Sinhalese man man c. 1920c. 1920 (detail) (detail) gelatin gelatin silver silver photograph photograph Collection: Collection: David David Knaus, Knaus, California California A NATIONALA NATIONAL GALLERY GALLERY OF OF AUSTRALIA AUSTRALIA TRAVELLING TRAVELLING EXHIBITION EXHIBITION PICTUREPICTURE PARADISEPARADISE ArtArt Gallery Gallery of Southof South Australia, Australia, Adelaide, Adelaide, SA, SA, 20 June20 June – 31 – August31 August 2008 2008 ArtArt Gallery Gallery of Westernof Western Australia, Australia, Perth, Perth, WA, WA, 20 September20 September – 23 – November23 November 2008 2008 GalleryGallery of Modernof Modern