History News Issue.346 February 2020
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ABSOLUTELY Press Kit Aug 25
1 ABSOLUTELY MODERN A NEW Film BY PHILIPPE MORA “Modern paintings are like women, you'll never enjoy them if you try to understand them.” Freddie Mercury PRESS KIT Inquiries: morafilms@ gmail.com https://www.facebook.com/pages/Absolutely- Modern/429822753746917 2 ABSOLUTELY MODERN is "Absolutely funny, fresh and thought- provoking. Philippe Mora at his best." Piotr Czerkawski, Film Critic Wroclaw “..there is a genuine heart and soul to the film that is something of a passion project for Mora.” Laurence Boyce Screen Daily “The creation here (of Lord Steinway) is definitely a masterpiece.” Anna Tatarska FRED Radio, The Festival Insider “Mora’s films break all conventions, combine different styles and are nearly always saturated with rebellious, surrealistic humor.” Adam Kruk Film Critic, New Horizons “Mora tells perhaps one of his most personal stories to date as he examines art and modernism. Mora, who casual fans would most likely know from such films as Communion and cult classic The Return of Captain Invincible, unsurprisingly does not tell the tale with any regard for the norms of convention..” Screen International “Philippe Mora…French Australian director legend.” Der Spiegel May 2013 3 SYNOPSIS OF THE FILM This story of Modernism, muses and the role of sexuality in art are told by famed art critic Lord Steinway. When a soccer player, confronts Steinway as his son, the story takes a modernist twist itself. This comedy hit at the 2013 New Horizons International Film Festival takes the form of a hybrid of fact and fiction about Lord Steinway, the “Method” art critic, making his television show THE EPIC OF CIVILIZATION. -
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. -
101 Collins Newsletter Summer 2008
Summer 2008 Christmas Competitions The Age Of Turbulence - Alan Greenspan Our Neighbour - The Grand Hyatt Proustian Interview - John Curtis Freehills Get Over It And Get On With It- David Williams Is Architecture Art From the Inside Peter Calwell ince the last edition of the 101 Magazine ongoing and it has given us much confidence GM 101 there have been two art exhibitions held that there will be a significant commitment within the ground floor foyer of the building from building tenants to the pursuit of both of which were very successful. Firstly, sustainability in general and to the specific in August the exhibition by Japanese sculptor programs that have been, and will be, imple- facilities is due for completion in early De- Takahiro Kondo and secondly, the exhibition mented by 101 Collins Street. cember 2008. The completion of this project in September by Yarramunua one of Austral- It is also pleasing that the Tenant Sustain- represents a significant increase in our bike ia’s most prominent indigenous artists. ability Performance Survey has now been storage capacity and I feel sure that all tenants The feedback following both of these released and is accessible via our web site. will be very pleased with the high quality of exhibitions was very positive and as always This survey is open to all those who work the shower/bathroom facilities that will soon commentary from tenants concerning these at 101 Collins Street and I would encourage be available. events is very welcome. everyone to participate. As in past years 101 Collins Street will be Fashion week also came to 101 Collins Aside from assisting us to understand supporting the Anglicare Christmas Appeal Street on 1 September 2008 and once again more fully how tenants within the building and will be purchasing toys and food that will the response was very supportive and the perform in the areas of energy consumption, be placed under the building Christmas tree. -
Chapter 4. Australian Art at Auction: the 1960S Market
Pedigree and Panache a history of the art auction in australia Pedigree and Panache a history of the art auction in australia Shireen huda 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/pedigree_citation.html National Library of Australia Cataloguing-in-Publication entry National Library of Australia Cataloguing-in-Publication entry: Author: Huda, Shireen Amber. Title: Pedigree and panache : a history of the art auction in Australia / Shireen Huda. ISBN: 9781921313714 (pbk.) 9781921313721 (web) Notes: Includes index. Bibliography. Subjects: Art auctions--Australia--History. Art--Collectors and collecting--Australia. Art--Prices--Australia. Dewey Number: 702.994 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 Teresa Prowse Cover image: John Webber, A Portrait of Captain James Cook RN, 1782, oil on canvas, 114.3 x 89.7 cm, Collection: National Portrait Gallery, Canberra. Purchased by the Commonwealth Government with the generous assistance of Robert Oatley and John Schaeffer 2000. Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface ..................................................................................................... ix Acknowledgements -
Heide Museum of Modern Art 2014 Annual Report Heide Museum of Modern Art 2014 Annual Report
HEIDE MUSEUM OF MODERN ART 2014 ANNUAL REPORT Heide Museum of Modern Art 2014 Annual Report CONTENTS 1.S TATEMENT 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 18 5.1 Store 18 5.2 Visitor Services 21 5.3 Membership 22 5.4 Café Vue at Heide 22 6. COLLECTION 23 6.1 Acquisitions 25 7. FACILITIES 39 7.1 Maintenance 39 7.2 Gardens 40 8. MARKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Grants 48 9.3 Development Committee 49 9.4 Heide Fellow 49 9.5 Fundraising Campaigns 49 9.6 Corporate Partnerships 50 9.7 Local Government Support 50 9.8 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 DIRECTORS’ DECLARATION 97 INDEPENDENT AUDIT REPORT 98 Cover image Installation view, Emily Floyd: Far Rainbow Heide III, 2014 All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2014 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history. VALUES Creativity in cultural programming, audience development and profiling of the Museum Sustainability of cultural, financial and environmental operations Integrity in governance, leadership and museum management 1 2. -
2005 Annual Report Heide Museum of Modern Art 2005 Annual Report
����� ���������� ���������� Heide Museum of Modern Art 2005 Annual Report Heide Museum of Modern Art 2005 Annual Report PAGE Contents 1. Mission Statement 3 2. Honorary Appointments 4 3. Chairman’s & Director’s Report 5 4. Corporate Governance 8 4.1 Board of Directors 10 4.2 Senior Management 11 & Company Members 5. Programming & Collections 12 5.1 Exhibitions 12 5.2 Education & Public Programs 14 5.3 Heide Collection 15 6. Communications & Development 20 6.1 Communications 20 6.2 Heide Foundation 22 6.3 Heide Partnerships 25 7. Redevelopment Program 26 7.1 Gardens 28 8. Staff & Volunteers 29 9. Concise Financial Report 31 2 1. Mission Statement Heide Museum of Modern Art 2005 Annual Report 1. Mission Statement Heide Museum of Modern Art supports the development and discussion of contemporary culture, and reviews and critically evaluates modernism in Australia and internationally, building on the unique vision, heritage and environment provided by its founders, John and Sunday Reed. 3 2. Honorary Appointments Heide Museum of Modern Art 2005 Annual Report 2. Honorary Appointments Heide Patrons Mrs Terry Bracks Mrs Barbara Tucker Sir Rupert Hamer AC KCMG (1916–2004) Heide Fellows Dr H Norman B Wettenhall AM 1988 (1915–2000) Georges Mora 1989 (1913–1992) Maria Prendergast 1990 Baillieu Myer AC 1992 Loti Smorgon AO 1993 Victor Smorgon AO 1993 Dr Barrett Reid AM 1994 (1926 –1995) Dr Tom Quirk 1995 Maudie Palmer AO 1997 The Hon. Mr. Justice Charles 1998 Christine Collingwood 1999 Albert Tucker AO 2000 (1914 –1999) Barbara Tucker 2000 Tom Lowenstein 2002 William J Forrest AM 2005 4 3. -
(Tolarno Mural) 1966 Oil on Paper on Plywood Heide Museum of Modern
All artwork by Mirka Mora, unless indicated otherwise. Soundscape written and designed by Madeleine Flynn and Tim Humphrey. 1. Untitled (Tolarno Mural) 9. From left to right 1966 Mirka’s maternal grandmother Mirka (Sima) oil on paper on plywood Gelbein Heide Museum of Modern Art c. 1938 Purchased with funds raised by the Mirka for Mirka Mora papers Melbourne campaign 2019 Heide Museum of Modern Art Archive Purchased 2019 2. Mirka Mora 1985 Mirka’s father Leon Zelik Henry Talbot Paris, France Donated by Henry Talbot November 1948 Jewish Museum of Australia Collection, 796 Courtesy The Estate of Mirka Mora 3. Mirka’s handwritten statement Mirka’s maternal grandparents Meyer and Mirka 1963 Gelbein with her aunt Mimi Courtesy The Estate of Mirka Mora 1920 © The Estate of Mirka Mora Mirka Mora papers Heide Museum of Modern Art Archive 4. The Whisper Purchased 2019 2002 oil on canvas Baby Mirka with her mother Celia Zelik née Private collection Gelbein © The Estate of Mirka Mora Paris, France 1928 5. Mirka’s paint brushes, belt and jar of art tools with Mirka Mora papers porcelain doll busts, doll and cup Heide Museum of Modern Art Archive Heide Museum of Modern Art Purchased 2019 Purchased with funds raised by the Mirka for Melbourne campaign 2019 Mirka with her mother Celia (Tsipa) c. 1930s 6. In the Grass Courtesy The Estate of Mirka Mora 2012 oil on canvas 10. Cart with collection of teddy bears and doll Courtesy William Mora Galleries Heide Museum of Modern Art © The Estate of Mirka Mora Purchased with funds raised by the Mirka for Melbourne campaign 2019 7. -
2007~2017 the Story So Far
2007~2017 The story so far... TRINH VU CYRUS TANG PHILIP BROPHY ROSS COULTER LINDA TEGG BROOK ANDREW & TRENT WALTER INEZ DE VEGA JAMES GEURTS CATHERINE EVANS GEORGES MORA FELLOWSHIP [email protected] www.georgesmorafellowship.org.au “Georges was really a acuity: sharpness & keenness of kind of emissary from the ” thought / vision / perception / humour continental world. — John Brack “Two things about Georges: His impact on Melbourne – he changed people’s view GEORGES of the world and this effect reverberates over time... His support of artists – he 1913–1992 encouraged artists and those in the arts continuum MORA to resist the erosion of daily Georges Mora led an exceptionally active life. Born in life in order to believe in Germany of Jewish-Polish heritage, he later became a their own voice and the refugee in Paris, a member of the Resistance and the necessity of change in Foreign Legion, a patent dealer and a French national. order to articulate this.” — Barbara Tucker On moving to Australia in the 1950s Georges became a famous restaurateur, art dealer, patron and mentor, and “Georges brought with an Australian. A catalyst in the Melbourne art and cultural his European culture a scene, he was pivotal in the re-establishment of the sense of the future, and Museum of Modern Art (at Heide) and was a strong voice no prejudices.” on issues around multiculturalism. — Charles Blackman Georges sold key works into national, state, regional and corporate collections and, for many years, was the Australian agent for Wildensteins, then the world’s most influential art dealer. -
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. -
HEIDE MUSEUM of MODERN ART 2016 ANNUAL REPORT Heide Museum of Modern Art 2016 Annual Report
HEIDE MUSEUM OF MODERN ART 2016 ANNUAL REPORT Heide Museum of Modern Art 2016 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 20 5.3 Membership 20 5.4 Venue Hire 20 5.5 Café Vue at Heide and Café Heide 20 6. COLLECTION 23 6.1 Acquisitions 24 7. FACILITIES 31 7.1 Maintenance 31 7.2 Gardens 32 8. MARKETING & COMMUNICATIONS 35 9. DEVELOPMENT 37 9.1 Heide Foundation 37 9.2 Heide Director’s Circle 40 9.3 Grants 40 9.4 Development Committee 40 9.5 Heide Foundation Board 40 9.6 Annual Fundraising Dinner 41 9.7 Corporate Partnerships 41 9.8 Local Government Support 41 9.9 Sponsored Exhibitions 43 10. GOVERNANCE 46 10.1 Board 47 10.2 Heide Board Sub-Committees 49 10.3 Board Directors & Senior Management Personnel 50 11. STAFF & VOLUNTEERS 53 12. FINANCIAL STATEMENTS 56 13. NOTES TO THE FINANCIAL STATEMENTS 68 DIRECTORS’ DECLARATION 85 INDEPENDENT AUDIT REPORT 86 Cover image: Georgia O’Keeffe Ram’s Head, Blue Morning Glory 1938 (detail) oil on canvas 50.8 x 76.2 cm Georgia O’Keeffe Museum, Santa Fe Gift of the Burdett Foundation (2007.01.024) © Georgia O’Keeffe Museum ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2016 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history. -
Annual Report 2014–15 Contents
Library Board of Victoria Annual Report 2014–15 Contents 2 Vision and values 3 President’s report 5 Chief Executive Officer and State Librarian’s year in review 7 Report of operations 22 Financial summary 24 2014–15 key performance indicators 24 Service Agreement with the Minister for Creative Industries 25 Output framework 27 Acquisitions statistics 2014–15 28 Library Board and corporate governance 33 Library Executive 34 Organisational structure 35 Reconciliation of executive officers 38 Public sector values and employment principles 39 Statement of workforce data and merit and equity 40 Environmental performance 41 Freedom of information 42 Disability Action Plan 42 Government advertising expenditure 43 Protected Disclosure Act 2012 44 Consultancies Financial statements 47 Risk attestation 48 Insurance attestation 49 Auditor-General’s report 51 Library Board of Victoria letter 52 Financial report for the year ended 30 June 2015 59 Notes to the financial statements 113 Glossary of terms 116 Disclosure index 2 Vision and values As expressed in our Corporate Plan 2013–16, the Library is guided by the following vision and values. VISION To be a place where all Victorians can discover, learn, create and connect; a cultural and heritage destination for Victorians; and a leader in the discovery of information, enabling the generation of new knowledge and ideas. VALUES The Library’s work in achieving this vision is informed by the following values: Innovation We recognise and embrace new technologies, ideas and opportunities to improve, grow and develop as individuals and as industry leaders in a challenging environment. Collaboration We work together and with partners, sharing knowledge and resources to advance universal access to information. -
Art Conservation with Mirka Mora
‘DESTINS CROISÉS’ IN AUSTRALIA: ART CONSERVATION WITH MIRKA MORA SABINE COTTE Introduction Mirka Mora is a Melbourne icon, whose artworks feature in many Australian public and private collections; her art is particularly evident in Melbourne where she has lived and worked since her arrival from France in 1951. Now a long integrated and celebrated immigrant, she is a powerful incarnation of the cross-cultural fascination exerted by a young and free spirited French artist on Melbourne’s conservative society of the time. Although her art and lifestyle would hardly qualify as ‘avant-garde’ in today’s Australia, it is for introducing and incarnating throughout her life this quintessential French bohème that she remains one of the most cherished celebrities in Melbourne. Today aged 84, Mirka still paints daily and is currently represented by her son’s gallery, William Mora Galleries, in Richmond. Her work spans a wide range of media: pen and ink drawings, oil paintings, mosaics, soft sculptures, embroidery and even a tram decoration design. During her career she has received several public commissions that over time have become heritage-listed city landmarks. The National Trust listed her large mural at Flinders Street Station in 1994 (shortly after its completion) and in 2009 the Heritage Council added St Kilda’s Tolarno Hotel with her famous murals to the Victorian Heritage Register, in recognition of their artistic and historic significance. This article relates my encounter and subsequent relationship with Mirka through the conservation of several of her public artworks in the city. An art conservator born and trained in France, I moved to Australia in 2000 after working for more than ten years in French museums and have set up here professionally.