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Seren Hafren – Mehefin 2020
Seren Hafren Papur Bro Dyffryn Hafren Rhifyn 407 MEHEFIN 2020 60c Y Seren nesaf: Cyfraniadau: Mehefin 20 Papur Allan: Gorffennaf 1af DIOLCH YN FAWR I’R HOLL WEITHWYR ALLWEDDOL ALLAN YN EIN CYMUNEDAU Mae ein dyled i holl weithwyr allweddol allan yn ein cymunedau yn aruthrol. Maent yn gweithio ddydd a nos i gadw’r wlad i droi a’i phobl yn saff. Y nyrsys a’r meddygon yn GIG /NHS; y gweithwyr eraill o fewn yr ysbytai; y gofalwyr yn ein cartrefi gofal; y siopau a’r archfarchnadoedd a’i holl staff sydd yn gweithio yn ddygn i cadw nwyddau ar eu silffoedd; y gyrrwyr sy’n dosbarthu y nwyddau; y ffermwyr sydd yn gweithio i dyfu y llysiau ac edrych ar ôl eu hanifeiliaid; y plismyn sydd yn cadw trefn; y postmyn sydd yn dod a llythyron a pharseli i’n tai yn ddyddiol; y dynion sbwriel sydd eto yn casglu sbwriel yn wythnosol o’n carterfi; y gwleidyddion sydd yn gorfod gwneud penderfyniadau heriol ac anodd; ac i bawb ohonoch chi sydd yn cadw at reolau ynysu er mor anodd ydy hynny ar adegau. DIOLCH I BAWB DIOLCH 2 Seren Hafren Mehefin 2020 Myfyrdod y Mis Gadewch i mi egluro. Rydyn Yn fwy na dim gadewch i ni ni wedi sylwi ers ddangos harddwch cariad blynyddoedd fod tri neu Crist, fel blodau hardd gan Y Parch. Edwin O. bedwar planhigyn yn yr ymhlith pobl. Fydd pethau Hughes ardd yn ddewr a gwydn ddim yr un fath, a bydd yn “Ystyriwch y lili, pa iawn. Mae eu hadau yn rhaid i ni sicrhau y bydd y fodd y maent yn tyfu: nid gallu disgyn i’r agen gulaf normal newydd yn well na’r ydynt yn llafurio nac yn bosibl, rhwng y llwybr a syl- hen normal. -
An Interpretive Case Study of the Design of the Emerging Cultural Landscape
Design Research Society DRS Digital Library DRS Biennial Conference Series DRS2004 - Futureground Nov 17th, 12:00 AM Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape. Vince Dziekan Monash University Follow this and additional works at: https://dl.designresearchsociety.org/drs-conference-papers Citation Dziekan, V. (2004) Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape., in Redmond, J., Durling, D. and de Bono, A (eds.), Futureground - DRS International Conference 2004, 17-21 November, Melbourne, Australia. https://dl.designresearchsociety.org/drs- conference-papers/drs2004/researchpapers/22 This Research Paper is brought to you for free and open access by the Conference Proceedings at DRS Digital Library. It has been accepted for inclusion in DRS Biennial Conference Series by an authorized administrator of DRS Digital Library. For more information, please contact [email protected]. Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape. Vince Dziekan Position Statement Monash University In response to the call to “address the emerging context, which acknowledges that in recent years, media and information-technology shifts have changed the cultural landscape of design and designing”, this paper will contribute to the discourse of design’s fluid interrelationship with cultural activity and production by focussing on the resulting formation of art, new technology and the design of its institutions. If art since the advent of Modernism can be characterized by any single quality it would have to be its diversity… however, across the breadth of such aesthetic and stylistic difference remains its common, primary destination: the Museum. -
Annual Report Contents About Museums Australia Inc
Museums Australia (Victoria) Melbourne Museum Carlton Gardens, Carlton PO Box 385 Carlton South, Victoria 3053 (03) 8341 7344 Regional Freecall 1800 680 082 www.mavic.asn.au 08 annual report Contents About Museums Australia Inc. (Victoria) About Museums Australia Inc. (Victoria) .................................................................................................. 2 Mission Enabling museums and their Training and Professional Development President’s Report .................................................................................................................................... 3 services, including phone and print-based people to develop their capacity to inspire advice, referrals, workshops and seminars. Treasurer’s Report .................................................................................................................................... 4 Membership and Networking Executive Director’s Report ...................................................................................................................... 5 and engage their communities. to proactively and reactively identify initiatives for the benefit of existing and Management ............................................................................................................................................. 7 potential members and links with the wider museum sector. The weekly Training & Professional Development and Member Events ................................................................... 9 Statement of Purpose MA (Vic) represents -
PETER ANDERSON Conceptual and Perceptual: the Early Artists’ Books of Robert Jacks1
77 PETER ANDERSON Conceptual and perceptual: the early artists’ books of Robert Jacks1 In 1980, the New York artists’ book distribution company Printed Matter Inc. released a catalogue promoting a select collection of some 200 titles, ‘artists’ books that are excellent representatives of the field’.2 The Heart collection was selected by the organisation’s staff and board from Printed Matter’s inventory of some 2500 titles and, as the introduction to the catalogue explained, the aim was to provide libraries, museums and collectors with a ‘seed collection encompassing the many facets of the artists’ book movement’. Included amongst the works in the Heart collection was Robert Jacks’s Color Book – Hand Stamped (1975), described briefly as ‘rubber-stamped grids with that endearing homemade quality’.3 Printed Matter began in 1976 as an artists’ book distribution company, with an initial inventory of just 450 titles. Also established that year was Franklin Furnace, a multi-arts venue that also had a focus on artists’ books and what were called ‘artist readings’. While initially selling artists’ books through its bookstore, Franklin Furnace later focused on the development of an artists’ book archive.4 An early, undated eight-page catalogue for the Franklin Furnace Bookstore listed a range of ‘book-like works by artists’, including five titles by Jacks: three rubber stamp books, the offset printed book Red Diagonals (1976) and ‘five envelopes, unbound rubber stamped’.5 Like the early Printed Matter catalogues, the Franklin Furnace catalogue listed prices for individual books, 78 T e La T obe Jou a No. 95 Ma c 2015 as well as offering ‘package deals’, with ‘literally everything’ in the catalogue available for US$1200. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
2018-Annual-Report.Pdf
2018 ANNUAL REPORT GROWING TODAY. BUILDING New Fishermans Bend Campus 2022* Southbank Campus Redevelopment 2019* New Student Precinct 2022* THE IDEAS OF Engineering ideas for the 21st century Melbourne’s new creative centre Bringing the campus community together The University is creating a world-class engineering school for the This ambitious $200 million project, including the new Melbourne Co-created with students, the New Student Precinct at Parkville will 21st century, including a new purpose-built engineering campus Conservatorium, brings music and fine arts students together at the provide a place for students to connect, engage and innovate. TOMORROW at Melbourne’s Fishermans Bend – Australia’s newest design and heart of the Melbourne Arts Precinct. It supports the Faculty of Fine Arts This vibrant precinct will bring together student services with study engineering precinct. and Music’s standing as a world-leading arts education institution with spaces, arts and cultural facilities with food and retail outlets; all in close cutting-edge facilities and strong industry links. proximity to the Parkville campus. Science Gallery Melbourne 2020* Old Quadrangle Redevelopment 2019* Western Edge Biosciences Parkville 2019* Werribee Campus Redevelopment 2019* Growing minds in arts and science Reaffirming the heart of the University Where modern facilities meet our living Victoria’s world-class home for veterinary The newest addition to an acclaimed international network with eight Following an extensive restoration and the incorporation of cultural and heritage education and animal treatment nodes worldwide, the landmark Science Gallery Melbourne will be event spaces, the Old Quad will be reaffirmed as the University’s cultural, Bringing three faculties together for the first time, our Western Edge Through a $63 million investment, the University is expanding its embedded in the University of Melbourne ’s new innovation precinct, civic and ceremonial heart. -
News from the Collections
News from the collections Grainger Museum reopening Melbourne Conservatorium of The Grainger Museum officially Music; Dr Peter Tregear of Monash re-opened on Friday 15 October, University; and Brian Allison and following a seven-year closure. Astrid Krautschneider, Curators of Over the past few years substantial the Grainger Museum. conservation works were carried out The Grainger Museum is located on the heritage-registered building on Royal Parade, near Gate 13, under the supervision of conservation Parkville Campus. The opening architects Lovell Chen, along with hours are Tuesday to Friday 1pm to improvements to the facilities for 4.30pm and Sunday 1pm to 4.30pm. visitors, collections and staff. The new Closed Monday and Saturday, public suite of exhibitions, curated by the holidays and Christmas through Grainger Museum staff and designed January. Percy’s Café is open 8am to by Lucy Bannyan of Bannyan Wood 5pm, Monday to Friday. For further Design, explore Grainger’s life, times information or to join the mailing list and work. Funding was provided see www.grainger.unimelb.edu.au. by the University, the University Library, the University Annual MacPherson, Ormond Professor of G.W.L. Marshall-Hall: Appeal, bequests and donors. The Music and Director of the Melbourne A symposium guest speaker at the launch was Conservatorium of Music. Professor The collections of the Grainger Professor Malcolm Gillies, Vice- Gillies’ keynote paper ‘Grainger Museum provide an invaluable Chancellor of London Metropolitan 50 years on’ explored Percy Grainger’s research resource that extend far University and a leading Grainger current place in both the world of beyond the life and music of Percy scholar. -
The La Trobe Journal No. 95 March 2015 End Matter
Notes 115 Notes Des Cowley, Robert Heather and Anna public – books, serials, pamphlets, music Welch: Editors’ introduction scores – but also works published in 1 Johanna Drucker, The Century of Artists’ other formats such as CD and DVD. The Books, New York: Granary Books, 1995, p. 1 Northern Territory, Tasmania and Western Australia include web-based publications. Helen Cole: Public collections of artists’ books 10 trove.nla.gov.au in Australia 11 Noreen Grahame was the first gallerist in Australia to actively promote artists’ 1 Any discussion of artists’ books is dogged books. Her first major exhibition of by the question of definition. This article artists’ books was in 1991 and, at this adopts a broad definition that includes time, she encouraged artists represented unique works, limited and commercial by the gallery to create their first artists’ editions, codexes, altered books, book books for the show. She organised five objects and everything in-between. It does Artists’ Books and Multiples fairs in not include zines, however, as institutions generally treat these separately. Brisbane, in 1994, 1996, 1998, 2001 and 2 Noreen Grahame, ‘The gallerist’s 2007, and presented Australian artists’ perspective’, paper presented at ‘The books at the Sydney Works on Paper Trouble with Artists’ Books’, Siganto Fair and the London Artists’ Books Foundation seminar, State Library of Fair. In 1994 Grahame extended into Queensland, 4 May 2013. A podcast of the publishing catalogues and artists’ books. seminar is available at: www.slq.qld.gov. Her catalogues for exhibitions and artists’ au/_slqmedia/video_and_audio_content/ books fairs constitute the most important art-and-design/siganto-seminar, accessed 21 sources of documentation of artists’ books November 2014 in Australia of this time. -
2018 Annual Report
2018 annual report 1 AMaGA Victoria Contents About Australian Museums and Galleries Association Victoria About the Australian Museums and Galleries Association Victoria ......................................................2 Mission: Enabling museums and their Treasurer’s Report ..................................................................................................................................3 President’s Report ..................................................................................................................................4 people to develop their capacity to inspire Executive Director’s Report ................................................................................................................ 5-6 and engage their communities. Management ....................................................................................................................................... 7-8 Awards, Forum and Events .............................................................................................................. 9-10 Statement of Purpose Membership Forum in Melbourne. Both are curated to Communications ...................................................................................................................................11 Australian Museums and Galleries AMaGA Victoria represents approximately appeal to a broad audience, from large Association Victoria, provides professional one third of AMaGA’s total membership. It State institutions to small volunteer-run INSITE ...................................................................................................................................................12 -
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. -
The Grainger Museum in Its Museological and Historical Contexts
THE GRAINGER MUSEUM IN ITS MUSEOLOGICAL AND HISTORICAL CONTEXTS Belinda Jane Nemec Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy February 2006 The Australian Centre The University of Melbourne Produced on archival quality paper ABSTRACT This thesis examines the Grainger Museum at the University of Melbourne in the context of the history of museums, particularly those in Europe, the United States and Australia, during the lifetime of its creator, Percy Aldridge Grainger (1882–1961). Drawing on the collection of the Grainger Museum itself, and on both primary and secondary sources relating to museum development in the late nineteenth and first half of the twentieth centuries, the thesis demonstrates that the Grainger Museum reflects many of the concerns of museums of Grainger’s day, especially of the years prior to his relocation to the United States in 1914. Many of those concerns were products of the nationalistic endeavours arising from political upheavals and redefinitions in nineteenth-century Europe, the imperialism which reached its zenith by the First World War, and the racialist beliefs, hierarchies and anxieties accompanying that imperialism. In particular, Grainger’s lifelong concern with racial identity manifested in hierarchical and evolutionary museum interpretations typical of his earlier years. I explore the paradox of Grainger’s admiration for the musical and material culture of the racial ‘other’ and his racially supremacist views, and the way he presented these two apparently conflicting ideologies in his Museum. In elucidating Grainger’s motives for establishing a museum, I argue that Grainger was raised in a social and cultural milieu in which collecting, classifying and displaying cultural material was a popular practice.