Important Australian Art Sydney | 26 June 2019
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Escape Artists Education
ESCAPEartists modernists in the tropics education kit INTRODUC TION & H TEAC ERS NOTES Almost two years in development, Escape Artists: Modernists in the Tropics is the first exhibition by Cairns Regional Gallery to tour nationally. In this exhibition, you and your students will see how the tropical north of Australia has influenced Australia’s greatest artists, some of whom you will be familiar with, others less familiar. The artists featured in the exhibition are: • Harold Abbott • Valerie Albiston • Douglas Annand • Yvonne Atkinson • John Bell • Yvonne Cohen • Ray Crooke • Lawrence Daws • Russell Drysdale • Ian Fairweather • John Firth-smith • Donald Friend • Bruce Goold • Elaine Haxton • Frank Hinder • Frank Hodginson • Sydney Nolan • Alan Oldfield • Margaret Olley • John Olsen • Tony Tuckson • Brett Whitely • Fred Williams • Noel Wood The lure of an exotic, untouched, tropical paradise has a tradition in modern art beginning with Gaugin in Tahiti. It was this desire to discover and explore new worlds which attracted these artists to the Far North - a part of Australia like no other they had seen. Here they found a region of extraordinary, abundant natural beauty and a cultural pot pourri of indigenous inhabitants and people from all over the world. This exciting mixture of important artworks was assembled from major private and public collections by Gavin Wilson,curator of the successful Artists of Hill End exhibition at The Art Gallery of News South Wales. Escape Artists provides a significant look at the cultural and historic heritage of North Queensland and the rest of northern Australia. You and your students will find some pleasant surprises among the works in the exhibition. -
Personal Structures Culture.Mind.Becoming La Biennale Di Venezia 2013
PERSONAL STRUCTURES CULTURE.MIND.BECOMING LA BIENNALE DI VENEZIA 2013 PALAZZO BEMBO . PALAZZO MORA . PALAZZO MARCELLO ColoPHON CONTENTS © 2013. Texts by the authors PERSONAL STRUCTURES 7 LAURA GURTON 94 DMITRY SHORIN 190 XU BINg 274 © If not otherwise mentioned, photos by Global Art Affairs Foundation PATRICK HAMILTON 96 NITIN SHROFF 192 YANG CHIHUNg 278 PERSONAL STRUCTURES: ANNE HERZBLUTh 98 SUH JEONG MIN 194 YE YONGQINg 282 All rights reserved. No part of this publication may be reproduced, stored THE ARTIsts 15 PER HESS 100 THE ICELANDIC YING TIANQI 284 in a retrieval system, or transmitted in any form or by any means, CHUL HYUN AHN 16 HIROFUMI ISOYA 104 LOVE CORPORATION 196 ZHANG FANGBAI 288 electronic, mechanical, photocopying, recording or otherwise, without YOSHITAKA AMANO 20 SAM JINKS 106 MONIKA THIELE 198 ZHANG GUOLONg 290 permission of the editor. ALICE ANDERSON 22 GRZEGORZ KLATKA 110 MICHELE TOMBOLINI 200 ZHANG HUAN 292 Jan-ERIK ANDERSSON 24 MEHdi-GeorGES LAHLOU 112 ŠtefAN TÓTh 202 ZHENG CHONGBIN 294 Print: Krüger Druck + Verlag, Germany AxEL ANKLAM 26 JAMES LAVADOUR 114 VALIE EXPORT 204 ZHOU CHUNYA 298 ATELIER MORALES 28 Edited by: Global Art Affairs Foundation HELMUT LEMKE 116 VITALY & ELENA VASIELIEV 208 INGRANDIMENTO 301 YIFAT BEZALEl 30 www.globalartaffairs.org ANNA LENZ 118 BEN VAUTIER 212 CHAILE TRAVEL 304 DJAWID BOROWER 34 LUCE 120 RAPHAEL VELLA 218 FAN ANGEl 308 FAIZA BUTT 38 Published by: Global Art Affairs Foundation ANDRÉ WAGNER 220 GENG YINI 310 GENIA CHEF 42 MICHELE MANZINI 122 in cooperation with Global Art Center -
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. -
Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 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. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts 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 2011 to 30 June 2012. -
Course Number and Title: CAS AH 374 Australian Art and Architecture
Course Number and Title: CAS AH 374 Australian Art and Architecture Instructor/s Name/s: Peter Barnes Course Dates: Spring Semester, Fall Semester Office Location: BU Sydney Programs, Australia, a division of BU Study Abroad Course Time: Two sessions per week in accordance with class schedule: one session of 4 + hours and one session of 2 hours in a 7-8 week teaching half of a semester. Location: Classrooms, BU Sydney Academic Centre, Sydney, Australia, and multiple out-of-classroom field trips as scheduled, one of which is a 12 hour day long field trip outside the city to Canberra, Australia’s national capital and home to National Art Galleries, and Museums. Course Credits: 4 BU credits plus 2 BU Hub units Contact Information: [email protected] Office Hours: 15 minutes prior to and following course delivery or by appointment. TA/TF/Learning Assistant information, if relevant: 0 Principal Lecturers: Peter Barnes Guest Lecturers: Vary in accordance with available artists. One example is: Tom Carment, a working artist Question-driven Course Description: *How have European art traditions influenced the art practice of Australia’s indigenous peoples and how in turn has Aboriginal culture impacting the art of non-indigenous Australians? *The 18th century voyages to the southern ocean placed artists in a prominent role as practitioners of the new science of observation and experimentation promoted by the Royal Society. How does this differ from the idealist aesthetics of the Royal academy and what impact did this have on art in Australia during -
Art and Artists in Perth 1950-2000
ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997. -
The Drunken Buddha
Ian Fairweather: The Drunken Buddha 1 The Drunken Buddha, Ian Fairweather’s illustrated translation of a popular Chinese tale, published by University of Queensland Press (UQP) in 1965, is a rare example of a serious book-length translation from Chinese to English by an established artist. It is one of a number of translations from Chinese undertaken by Fairweather, evidence of an unusual pastime that arose from his fascination with the Chinese language. For Fairweather the publication of The Drunken Buddha was the culmination of years of work and making up for various frustrated earlier efforts to see it into print. The book was greeted by critics as a curiosity, something to add to the list of bizarre events associated with the life of the Scottish-born artist who since 1953 had lived on his own terms in a self-made hut on Bribie Island and in 1962 was declared ‘Australia’s greatest living artist.’1 Writing in 1995, Sinologist Pierre Ryckmans [Simon Leys] lamented that what should be regarded as one of UQP’s ‘proudest productions’ had been long out of print and questioned why no-one had ever asked Fairweather, while he was alive, what had motivated him to do it. ‘No sensitive and reflective artist can approach China without being profoundly affected by that experience. Fairweather’ he wrote, ‘ was certainly no exception to this rule and, for all his reticence and elusiveness, he left convincing evidence that China played an important role in his artistic and spiritual development.’2 Twenty years later, in 2015, a 50th anniversary edition of The Drunken Buddha was published by UQP to celebrate ‘Fairweather’s creative legacy. -
Down to Earth
Down to Earth 23 MAY - 9 AUGUST 2017 This exhibition of ceramics from the University of Western Australia Art Collection and the Cruthers Collection of Women’s Art, in partnership with the City of Perth Library, is a UWA Away Project. Stewart Scambler, Column, 2013, woodfired stoneware, 37 x 14 cm, The University of Western Australia Art Collection, Gift of the Friends of the Lawrence Wilson Art Gallery, 2013 Guy Grey-Smith, untitled (platter with bobtail lizard design), n.d, hand-painted slip on earthenware, 28 cm, The University of Western Australia Art Collection, Gift of Cherry Lewis, 2014 DOWN TO EARTH Despite originating from different countries, namely Australia, particularly in the sky and tree trunks. Grey-Smith’s untitled work, China and Thailand, the ceramics displayed in Down to Earth are featuring blue/purple bobtail lizards against a harmonious pink intertwined in terms of both the themes that influenced their creators background, again pushes at the boundaries between European and the processes through which they were made. Within this abstraction of form and figurative representation of distinctly exhibition, observable links permeate the ceramics in several ways. Australian subject matter. The use of a hand-painted slip2 to describe Firstly, several of the works represent the local Western Australian the lizards has allowed for a painterly treatment of the subject matter landscape, through visual depiction or through processes that rely and abstraction of form into curvilinear brushstrokes. Juniper’s on local materials. Other Australian ceramists such as Milton Moon untitled ceramic landscape pushes abstraction even further, with a and Joan Campbell have used processes that reflect Zen Buddhism, considered focus on harmonising colour and simplifying forms in a in simplicity and natural asymmetry. -
AUSTRALIAN COLONIAL Good Hardback Copy in Illustrated Boards
SAINSBURY’S BOOKS PTY LTD Architecture 12. GEHL, Jan and GEMZOE, Lars. NEW CITY SPACES. The Danish Architectural Press, Copenhagen. 2000. Landscape 4to, 263pp. With colour illustrations. A very good hardback copy in like dust jacket. Inscription to title page. $100 13. GREENE & GREENE: BOSLEY, Edward R. and MALLEK, Anne E. (Edited by) A NEW AND NATIVE BEAUTY. The Art and Craft of Greene & Greene. Merrell Publishers, London. 2008. 4to. 265pp, black and white and colour illustrations. A near fine hardback copy in like dust jacket. $50 14. GRIFFIN, Walter Burley: JOHNSON, Donald Leslie. THE ARCHITECTURE OF WALTER BURLEY GRIFFIN. Macmillan, 1977. Oblong 8vo., 163pp, Black and white and colour illustrations. A very good hardback copy in like dustjacket. $30 15. GRIMSHAW AND PARTNERS. GRIMSHAW: ARCHITECTURE: 1. BELL, Michael and BUCKLEY, Craig (editors). PERMANENT THE FIRST 30 YEARS. Prestel, Munich. 2011. Large 4to. Illustrated in CHANGE: PLASTICS IN ARCHITECTURE AND ENGINEERING. colour. A near fine hardback copy in like dust jacket. $30 Princeton Architectural Press. 2014. 4to, 271pp, with colour illustrations. A near fine hardback copy in illustrated boards. $30 16. HELLIWELL & SMITH: BODDY, Trevor. (Edited by) BLUE SKY LIVING. The Architecture of Helliwell & Smith. Images Publishing. 2013. 2. BLUEPRINTS FOR MODERN LIVING. History and Legacy of the 4to. 148pp. colour illustrations. A near fine hardback copy in like dust jacket. Case Study Houses. MIT, Cambridge. 1989. Landscape 4to, 256pp. With $15 black & white and colour illustrations. A very good hardback copy in like dust jacket. With previous owner's unsigned bookplate. $120 17. IMAGINE ARCHITECTURE. Artistic Visions of the Urban Realm. -
John Cruthers
MENZIES AUSTRALIAN & INTERNATIONAL FINE ART & SCULPTURE Sydney 24 September 2015 Several of the best works in this sale are well above the buying budgets of my clients, so as usual I have not written about them. This is a shame, because if any of you has a spare $350,000, Ian Fairweather’s Fascismo is a superb late painting and easily museum standard. But overall it’s an interesting sale containing some unusual and offbeat items. So I have taken the opportunity to introduce some new artists I’ve not previously recommended, and to reiterate my enthusiasm for a couple of others I’ve had little success with. Other works I’ve not recommended because I have no-one collecting in the area, for example the two terrific 1973 prints by US pop master Jim Dine, or the 1976 screenprint by Bridget Riley, the major figure in the international op art movement. I hope you enjoy seeing some new artists and, as always, I am very pleased to discuss any works of interest to you that I have not included in the presentation. JOHN CRUTHERS rococo pop pty ltd In a recent sale I recommended a painting by Albert Tucker called Woman 1950, of a prostitute standing in a doorway in a bombed-out looking Paris. I commented that the years Tucker spent overseas, roughly 1947-60, represented a highpoint in his work. He saw a lot of great art, worked hard and strove to produce work that measured up to the best contemporary art he was seeing. The current work is a study in which Tucker tries a variety of stylistic devices borrowed from late cubism to depict the female form in interior space. -
Collections6.Pdf
University of Melbourne Issue 6, June 2010 COLLECTIONS University of Melbourne Collections Issue 6, June 2010 University of Melbourne Collections succeeds University of Melbourne Library Journal, published from 1993 to December 2005. University of Melbourne Collections is produced by the Cultural Collections Group and the Publications Team, University of Melbourne Library. Editor: Dr Belinda Nemec Assistant editor: Stephanie Jaehrling Design concept: 3 Deep Design Design implementation: Jacqueline Barnett Advisory committee: Shane Cahill, Dr Alison Inglis, Robyn Krause-Hale, Jock Murphy, Associate Professor Robyn Sloggett Published by the University Library University of Melbourne Victoria 3010 Australia Telephone (03) 8344 0269 Email [email protected] © The University of Melbourne 2010 ISSN 1835-6028 (Print) ISSN 1836-0408 (Online) All material appearing in this publication is copyright and cannot be reproduced without the written permission of the publisher and the relevant author. The views expressed herein are those of individuals and not necessarily those of the University of Melbourne. Note to contributors: Contributions relating to one or more of the cultural collections of the University of Melbourne are welcome. Please contact the editor, Belinda Nemec, on (03) 8344 0269 or [email protected]. For more information on the cultural collections see www.unimelb.edu.au/culturalcollections. Additional copies of University of Melbourne Collections are available for $20 plus postage and handling. Please contact the editor. Subscription to University of Melbourne Collections is one of the many benefits of membership of the Friends of the Baillieu Library, Grainger Museum Members and Members of the Ian Potter Museum of Art. See www.unimelb.edu.au/culturalcollections/ links/friends.html Front cover: Illustration from Violet Teague and Geraldine Rede, Night fall in the ti-tree (illustrated book, designed, illustrated, printed and hand-bound by the artists; colour woodcut; 32 pages, printed image 24.4 x 17.4 cm), London: Elkin Matthews, 1906. -
Margaret Goldrick Remembers Arthur Boyd
Vol. 9 No. 6 JulyI August 1999 $5.95 Tim Bonyhady on john McDonald and the state of Australian art criticism john Sendy on China 50 years after the Revolution Margaret Goldrick remembers Arthur Boyd Bill Garner on the great and disappearing art of camping Peter Mares reports on the Indonesian election Special Book Offer VOONG WHY WEREN'T WE TOLD? A personal search for the truth about our history by Henry Reynolds Why Weren't We Told~ is historian Henry Reynolds' account of his own journey to understanding the truth about our history. Drawing on personal experiences and historical observations, Reynolds looks at Australia's history of relations with indigenous people from colonisation to the present day, identifying the myths that were taught in the past and explaining why and how they cam e about. Thanks to Viking Books, Eureka Street has 10 copies of Why Weren't We Told! to give away, each worth $24.95 . Ju st put your name and address on the back of an envelope and send it to: Emel<a Street July/August Book Offer, PO Box 553, Richmond VIC 3121. Executive Director CHARLES STURT Australian Centre for U N V E R S T y Christianity and Culture Australian Centre for (Located at Canberra) Christianity and Culture The Australian Centre is an ecumenica l foundation. endo rsed b y the Natio nal Council of Churches and sponsored hy the Anglican Diocese of Ca nberra and Goulburn and Charles Srun University. The Centre is committed to the celebratio n and nourishment o f the encounter and dialogue between Christianity and all as pects o f modern Australian life.