2016 ANNUAL REPORT a Year of Growth and Impact
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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. -
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. -
Stories, Reviews, Poems, Articles
a quarterly review price one dollar registered at gpo perth for transmission by post as a periodical - Category '8' STORIES, POEMS, REVIEWS, ARTICLES westerly a quarterly review• EDITORS: Bruce Bennett and Peter Cowan EDITORIAL COMMI'ITEE: Bruce Bennett, Peter Cowan, Patrick Hutchings, Leonard Jolley, Margot Luke Westerly is published quarterly by the English Department, University of Western Australia, with assistance from the Literature Board of the Australia Council. The opinions expressed in Westerly are those of individual contributors and not of any member of the above Committee. Correspondence should be addressed to the Editorial Committee, Westerly, Department of English, University of Western Australia, Nedlands, Western Australia 6009 (telephone 80 3838). Unsolicited manuscripts not accompanied by a stamped self-addressed envelope will not be returned. All manuscripts must show the name and address of the sender and should he typed (double-spaced) on one side of the paper only. Whilst every care is taken of manu scripts, the Editorial Committee can take no final responsibility for their return; contributors are consequently urged to retain copies of all work submitted. Minimum rates for contributions -poems $7.00; prose pieces $7.00; reviews, articles $15.00; short stories $30.00. It is stressed that these are minimum rates, based on the fact that very brief contributions in any field are acceptable. In practice the Committee aims to pay more, and will discuss payment where required. Subscriptions: $4.00 per annum, plus postage (Australasia 80c per annum, Overseas $1.60 per annum); $7.00 for 2 years (postage Australasia $1.60, Overseas $3.20). -
Ray Marginson, Interviewed by Robyn Sloggett
Sculpture in the grounds, with some memories of things that got away Ray Marginson, interviewed by Robyn Sloggett This is the fourth and fi nal instalment back-plates in the lifts. These were in a series of interviews with Ray removed in the last renovations to Marginson by Robyn Sloggett.1 that building. There is a great story about the Robyn Sloggett: The university’s Ernest Fries Progress of medicine sculptures certainly range from the enamel in the foyer of the medical intimate to the monumental. I know tri-radiate building.2 Its backing is there are a number of sculptures that made of marble panels—some of may surprise people by their decorative the original tops of the tables in or historical signifi cance. Perhaps you the old anatomy dissecting room in could talk about some of these small but Swanston Street. When I announced very interesting objects. to the Buildings Committee the intention to use them for this Robyn Sloggett: Your reference Ray Marginson: One such owes purpose, Professor Wright was to what would probably be seen by much to the fl air for decoration greatly opposed on the grounds Property and Campus Services as of the then staff architect Rae of the possible health danger. He a form of vandalism of university Featherstone. He engaged Clifford vowed that he would culture bacteria property raises another interesting issue Last to do the large cast aluminium from scrapings from their surface. from a conservation point of view: that handles for the doors of the Raymond It was a legitimate point, as the of damage to works in the grounds. -
Mid-Century Modern
Season 4 October 2012 — June 2013 Mid-century Modern AUSTRALIAN POTTERY A T B E M B O K A F E A T U R E S O F M O D E R N I S T 1956 Arts Festival CERAMICS Functional stoneware and the sented at the exhibition, only now called mid-century mod- Natural shapes philosophies of Bernard Harold Hughan was an expo- ernism - developments in ar- Simplicity of Leach dominated most of the nent of stoneware at that chitecture and design in design decade”, wrote Frances Mor- time, while NSW was repre- Europe from around 1933 to Bright colours gan of the 1960s in Pottery in 1965 that found fertile Australia, 40/3, Sep 2001. ground in post-war Mel- Abstract decoration This may have been true of bourne. In housing, it re- Sydney, but Melbourne re- sulted in buildings with open Diversity mained an important centre floor plans and large areas of Playfulness for earthenware until the late glass; in interior decoration, 1960s. in clean, unembellished lines Eclecticism Reg Preston (1917-2000). and neutral or primary col- Practitioners bridging the war Bowl. Oct 1956 ours. included John Barnard Knight, who ran the ceramics By 1956, the year of the Mel- sented by Ivan Englund, classes at Melbourne Techni- bourne Olympic Games, the Mollie Douglas, Ivan cal College and produced a great mass of new housing McMeekin and Peter Rush- domestic line under the label was lighter and simpler, and forth, all converts to Leach’s ‘Janet Gray’, Klytie Pate, Eric furnishing these homes with philosophies. -
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. -
DAVID BOYD HIS WORK, HIS LIFE, HIS FAMILY 17 August – 23 September 2012 S.H
DAVID BOYD HIS WORK, HIS LIFE, HIS FAMILY 17 August – 23 September 2012 S.H. Ervin Gallery in partnership with Eva Breuer Art Dealer (List organised chronologically by artist’s birth year; then by artworks in chronological order.) The exhibition David Boyd: his life, his work, his family was conceived through a series of conversations with Boyd before his death and is presented in association with Eva Breuer Art Dealer. David Boyd OAM (1924‐2011) passed away last year at the age of 87 years and this exhibition celebrates his life’s work, along with four generations of Boyd family paintings, drawings, sculptures and ceramics. This exhibition will present not only works by David Boyd but will also include works by the members of his extended family ‐ from his grand‐parents through four generations to his own children. Many of the over 130 works in David Boyd: his life, his work, his family are from the David and Hermia Boyd collection, along with works from public and private collections. Born in 1924, David Boyd was one of five children to potters Merric and Doris Boyd. His brothers Arthur and Guy, and sisters Lucy and Mary, all carried on the family’s artistic traditions as painters, potters, sculptors, ceramic artists and photographers. Mary Boyd was also married to artist John Perceval and then to Sidney Nolan. David began his professional career in music before turning to pottery, collaborating with his wife Hermia, in a partnership that was to receive international acclaim while influencing the development of ceramic art in Australia. His painting career commenced when he created a series on the Australian explorers in the 1950s and he exhibited almost annually until 2001. -
The Gazette, the University of Newcastle, Vol. 20, October 1988
The University ofNewcastle VOLUME NO. 20 OCTOBER 1988 The GAZETTE AND CONVOCATION NEWS B OUR COVER- Dr. Elizabeth Evatl, President of Section of the Hunter Tapestry and Mary and Larry the Australian Law Reform Beeston at work on the tapestry in their studio at Commission, hasbeenChancellor NEWCASTLE SPECIAL RESEARCH Kilaben Bay. of the University since early this year. Graduation Dayceremonies The Friends of the University officially presented the opened with the admission ofthe tapestry, which comprises 12 panels, to the University newChancelJor(previously Chief CENTRE - $2,100,000 INITIALGRANT (as a gift for the Bicentenary) at a ceremony held in the Judge of the Family Law Court) presence of the Governor, Sir lames Rowland, on 10 an honorary doclOrate and her August 6. installation in the highest office in This year sees the new Centre for Industrial the University. Control Science (CICS) established in the Department of Electrical and Computer Engineering. The Department gained "centre of excellence" status when the Federal Government announced large on-going grants to seven Australian universities under the aegis of the Universities Special Research Centres Program. The Commonwealth has assured funding of $670,000 a year each year until 1990, to carry out research in general area of control systems design. In addition, the research team will be Software for adaptive control is used for many applications including robot joint control e.g. robots to shearsheep. Some seeking support from other sources including of the members of the Control centre team are: L-R (back row) Car/os de Souza, Iven Maree/, Bflan Cook, Rick industry and expects to operate on an annual Middleton and /an Webster. -
The Contribution of the Low Show Group of Artists MARGARET
CHANGING THE ART CULTURE OF NEWCASTLE: The contribution of the Low Show Group of artists MARGARET MCBRIDE Dip Art, BAVA, Grad Dip Art, Grad Dip Ed. (University of Newcastle) School of Drama, Fine Art and Music University of Newcastle Submitted in full requirement of the degree of Doctor of Philosophy January 2010 i STATEMENT OF ORIGINALITY This thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this thesis is the result of original research, the greater part of which was completed subsequent to admission of candidature for the degree. ii ACKNOWLEDGEMENTS To Emeritus Professor Elizabeth Ashburn I owe my special thanks for her support, scholarly advice and enthusiasm during the preparation of this thesis. As well I thank Emeritus Professor John Ramsland for his enthusiasm and guidance and the Newcastle Region Art Gallery for allowing me access to their files and providing me with copies of artworks from their collection. Finally I must thank my husband, Brian Cox, for his constant support, care and encouragement. iii CONTENTS Title Page i Declaration ii Acknowledgement iii Contents iv Abstract viii List of Plates x Introduction ........................................................................................................ -
BACKGROUND INFORMATION – Signadou and Blackfriars Precinct, Australian Catholic University
BACKGROUND INFORMATION – Signadou and Blackfriars Precinct, Australian Catholic University BACKGROUND INFORMATION Signadou and Blackfriars Precinct (Block 1 and Block 7 Section 49, Watson) At its meeting of 7 February 2019 the ACT Heritage Council decided that the Signadou and Blackfriars Precinct was eligible for registration. The information contained in this report was considered by the ACT Heritage Council in assessing the nomination for the Signadou and Blackfriars Precinct against the heritage significance criteria outlined in s10 of the Heritage Act 2004. Image 1. Blackfriars facade (ACU 2017). Image 2. Signadou and Blackfriars buildings shortly after construction, aerial image taken above Antill St and Phillip Ave intersection (Clarke 2013). 1 BACKGROUND INFORMATION – Signadou and Blackfriars Precinct, Australian Catholic University Concise History (http://www.acu.edu.au/about_acu/campuses/canberra/50/our_history) In 1959 Archbishop Eris O’Brien invited the Dominican Sisters of Australia to open a College in Canberra to prepare Sisters from a number of congregations as teachers for the rapidly expanding diocesan Catholic Primary School system. Negotiations for a site began. A large site in the new northern suburb of Watson was made available for a Dominican complex: and plans developed for two buildings in modern monastic style - a Priory and House of Studies for Dominican Priests, and the national headquarters for the Dominican Sisters (the Generalizia) in a building which would include the Teachers’ Training College - and a parish with both a church and primary school. HISTORY Under the administration of the National Capital Development Commission (NCDC), tasked with completing Canberra as the seat of government, Canberra grew from a population of 40,000 to 300,000, with this population boom accelerating in the late 1950s. -
Saturday 25Th & Sunday 26Th October 2008
Graham Lancaster Auctions - Auction Catalogue - October 2008 Payment is to be made on the day of sale by cash or cheque. Invoices forwarded to successful postal, telephone and Email bidders are to be settled by return mail within 14 days from invoice unless by prior agreement. The purchaser is to be the highest bidder. Any dispute arising as to the highest bidder is to be determined by the Auctioneer who may re-offer any disputed lot for sale. The Auctioneer reserves the right to refuse any bid or to bid on behalf of clients. Whilst every care is taken, the Auctioneer does not accept responsibility for items described incorrectly either in the catalogue or at the auction. Intending purchasers are encouraged to take advantage of the time given to view goods prior to the auction commencing. The Auctioneer is merely the agent of the vendor in respect of the sale of goods. The Auctioneer shall not be liable for any default of the purchaser or vendor. The Auctioneer shall not be liable for any loss or damage to the goods left in his care by vendors or purchasers. The Auctioneer gives no warranties in respect of these matters and no lots are to be returned to the Auctioneer. The Auctioneer will inspect any lots on behalf of bidders who wish to lodge their bids by post, telephone or Email to ensure that the lots are as described in the catalogue. As is the practice in many states of Australia, a buyers premium of 11% (which now includes 10% G.S.T. -
City of Bayside Inter-War & Post-War Heritage Study
City of Bayside Inter-War & Post-War Heritage Study Volume 2 of 2 The Lindsay House in Boxshall Street, Brighton, 1942 (Source: G Biers, Houses of Australia) Prepared for The City of Bayside May 2008 This Heritage Study has been undertaken in accordance with the principles of the Burra Charter adopted by ICOMOS Australia This document has been completed by David Wixted and Simon Reeves © The City of Bayside & heritage ALLIANCE 2008 Final approved version 11 May 2010 Volume 2 of 2 Datasheets for New Individual Heritage Places Appendix: Additional Places Identified 7.0 Individual Places of Heritage Significance No Place Street Address Suburb Page 7.01 Sandringham Masonic Centre 23 Abbott Street Sandringham 5 7.02 Black Rock Public Hall 574-576 Balcombe Road Black Rock 7 7.03 House and doctor’s clinic 32 Bay Street Brighton 9 7.04 House 46 Bay Street Brighton 11 7.05 House 242 Beach Road Black Rock 13 7.06 Houses (pair) 16 & 18 Berwick Avenue Brighton 15 7.07 Sandringham & District Hospital 191 Bluff Road Sandringham 17 7.08 House 207 Bluff Road Sandringham 19 7.09 Olive Phillips Free Kindergarten 28 Bodley Street Beaumaris 21 7.10 House 9 Boxshall Street Brighton 23 7.11 Fire station and flats (former) 10-14 Boxshall Street Brighton 25 7.12 Duplex 1 & 3 Burston Place Brighton 27 7.13 Maisonettes (Malaru Flats) 33, 35, 37 & 39 Campbell Street Brighton 29 7.14 House 60 Centre Road/2a Billson St Brighton East 31 7.15 Flats 8 Cole Street Brighton 33 7.16 House 21 Collins Street Brighton 35 7.17 House 245 Dendy Street Brighton East 37 7.18 St