National Art School 2019–2025 Strategic Plan Executive Summary
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
MCA, Qantas and Tate Announce First Series of Australian Artwork Acquisitions
MCA, Qantas and Tate announce first series of Australian artwork acquisitions [Sydney, 13 May 2016] The Museum of Contemporary Art Australia (MCA), Qantas and Left: Vernon Ah Kee, Tate have today revealed the first five artworks in their International Joint Acquisition tall man 2010 four-channel video Program for contemporary Australian art. The Program promotes Australian art globally, installation, sound, Tate helping Australian artists reach new audiences. and the Museum of Contemporary Art Australia, purchased jointly These joint acquisitions by MCA and Tate include two large video installations, one by with funds provided by the Susan Norrie (Transit 2011) and another by Vernon Ah Kee (tall man 2010), two paintings Qantas Foundation, 2016, image courtesy Museum of by Gordon Bennett (Possession Island (Abstraction)) 1991 and Number Nine 2008) and an Contemporary Art Australia artist book by Judy Watson consisting of sixteen etchings with chine collé (a and Milani Gallery, Brisbane © the artist, photograph: preponderance of aboriginal blood 2005). Carl Warner Right: Gordon Bennett Three of these artworks will be on display in the MCA Collection Galleries starting this Gordon Bennett, Possession month, and two more will be included in the new MCA Collection exhibition opening in Island (Abstraction), 1991, oil and acrylic on canvas, September. The artworks will then head to Tate to be displayed in the UK in the near Tate and the Museum of future. Contemporary Art Australia, purchased jointly with funds provided by the Made possible through a $2.75 million corporate gift from the Qantas Foundation, this Qantas Foundation, 2016, ground-breaking collaboration is enabling an ambitious five-year joint program through image courtesy Museum of Contemporary Art Australia which a range of major artworks by contemporary Australian artists will be acquired for and Milani Gallery, Brisbane the collections of MCA and Tate, owned and displayed by both institutions. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
2020 Archibad Prize Media
2020 ARCHIBALD PAUSTRALIA’SRIZ FAVOURITEE PORTRAIT PRIZE 26 SEP 2020 – 10 JAN 2021 ARCHIE FACTS ARCHIBALD, WYNNE & 2020 SULMAN ENTRIES 2565 ARCHIBALD, WYNNE & SULMAN FINALISTS 18 50 181 64 1768 107 53 48 59 396 8 FEMALE MALE 27 ARCHIBALD PRIZE FINALISTS ARCHIBALD PRIZE ENTRIES 55 1068 RECORD YEAR WYNNE PRIZE WYNNE PRIZE FINALISTS 782 ENTRIES 34 SULMAN PRIZE ENTRIES SULMAN PRIZE FINALISTS 715 RECORD YEAR 18 OVER YOUNG ARCHIE ENTRIES FINALISTS YOUNG ARCHIE 40 COMPETITION 1800 FIRST-TIME (40%) ARCHIBALD SMALLEST FINALISTS 22 ARCHIBALD PRIZE ENTRY 25 x 20.5 cm Yuri Shimmyo Carnation, lily, Yuri, rose FIRST-TIME (50%) WYNNE FINALISTS 17 LARGEST FIRST-TIME (33%) ARCHIBALD PRIZE ENTRY SULMAN FINALISTS 6 250 x 250 cm Blak Douglas Writing in the sand NUMBER OF ARTISTS WHO ARE FINALISTS IN MORE THAN ONE PRIZE Abdul Abdullah and Benjamin Aitken (Archibald and Sulman) Lucy Culliton and Guy Maestri (Archibald and Wynne) 6 Caroline Rothwell and Gareth Sansom (Wynne and Sulman) SITTERS IN ARCHIBALD PRIZE ARCHIBALD, WYNNE AND SULMAN PRIZE FINALIST WORKS TOP 3 SUBJECTS WORKS BY INDIGENOUS ARTISTS WORKS BY INDIGENOUS ARTISTS 12 SELF-PORTRAITS 26 RECORD YEAR ARCHIBALD PRIZE WORKS WITH 9 OTHER ARTISTS INDIGENOUS SITTERS 10 RECORD YEAR 8 PERFORMING ARTS Join the conversation #archibaldprize Keep up to date on Facebook, Twitter & Instagram @artgalleryofnsw ANNOUNCEMENTS Announcement of the Archibald, Wynne and Sulman Prize 2020 finalists; Young Archie finalists and honourable mentions; and Packing Room Prize winner Thursday 17 September, 11am Announcement of the winners of the Archibald, Wynne and Sulman Prizes 2020 Friday 25 September, 12 noon Announcement of winners of the Young Archie 2020 competition Saturday 24 October, 10am ANZ People’s Choice winner announcement Wednesday 16 December, 11am EXHIBITION DATES Archibald, Wynne and Sulman Prizes 2020 Art Gallery of New South Wales Saturday 26 September 2020 – Sunday 10 January 2021 Ticketed Due to COVID-19 capacity restrictions, tickets are $20 adult dated and timed. -
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 -
Collective Identity(Ies): This Is That Time
EDUCATION RESOURCE KIT A CASE STUDY COLLECTIVE IDENTITY(IeS): THIS IS THAT TIME 1 INTRODUCTION With the education strategies written by Kate Caddey, the exhibition text prepared by Lisa Corsi and published by Lake Macquarie City Art Gallery, this education kit is designed to assist senior secondary Visual Arts teachers and students in the preparation, appreciation and understanding of the case study component of the HSC syllabus. The gallery is proud to support educators and students in the community with an ongoing series of case studies as they relate to the gallery’s exhibition program. This education resource kit is available directly from the gallery, or online at www.artgallery.lakemac.com.au. A CASE STUDY A series of case studies (a minimum of FIVE) should be undertaken with students in the HSC course. The selection of content for the case study should relate various aspects of critical and historical investigations, taking into account practice, the conceptual framework Cover: and the frames. Emphasis may be given to a particular Gordon Bennett aspect of content although all should remain in play. The Nine Ricochets (Fall down black fella, jump up white fella) 1990 Case studies should be 4–10 hours in duration in the oil and synthetic polymer paint HSC course. on canvas and canvas boards 220 x 182cm image courtesy the artist and NSW Board of Studies, Visual Arts Stage 6 Syllabus, 2012 Milani Gallery, Brisbane. photo Carl Warner private collection, Brisbane CONTENTS ABOUT THIS EDUCATION RESOURCE KIT COLLECTIVE IDENTITY(IeS) ESSAY -
2020 NAS Annual Report Contents Welcome Strategy and Governance 3 Directors’ Biographies 5 Year at a Glance 6 Chair’S Report 9 Director’S Report 10
2020 NAS Annual Report Contents Welcome Strategy and Governance 3 Directors’ Biographies 5 Year at a Glance 6 Chair’s Report 9 Director’s Report 10 Academic Degree Programs and Statistics 14 The Student Experience 16 NAS Connect 18 NAS Corona Quilt 19 NAS Artist Achievements 20 Prizes and Scholarships 22 Staff Profile 25 Faculty Achievements 26 Art Forum 27 Library 29 Staff List 30 Art, Artists and Community Creative Precinct and Community Activation 35 Graduate Profile 36 Education Outreach 38 Public Programs 40 NAS Gallery 42 Archive and Collection 46 Commercial and Development Venue Hire 50 Print Lab 51 Philanthropy 52 Supporter Engagement 53 Support 54 Donors 55 Financial Report 56 NAS Gallery re-imagined as a drawing studio during COVID-19. Photo: Peter Morgan. Strategy and Governance Welcome Vision To become the leading Welcome fine art school in the Asia-Pacific. Mission Started in 1843, the National Art School (NAS) provides outstanding visual arts education centred on learning through practice and critical enquiry under the guidance of experienced artists and educators. NAS builds on its success as Australia’s leading independent fine art school to develop our international reputation at the forefront of 21st century studio- based education. Through our art school and site, we educate and inspire students and audiences by creating innovative, accessible arts programs to make lively and meaningful contributions to Context a global society. NAS is Australia’s leading independent fine art school; a producer of new art; Values a place to experience and participate We honour the significant artistic in the arts; and a presentation venue. -
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE Andrew W Mellon
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE www.terryesmith.net/web http://www.douban.com/group/419509/ Andrew W Mellon Professor of Contemporary Art History and Theory Henry Clay Frick Department of the History of Art and Architecture 104 FFA, University of Pittsburgh, Pittsburgh PA 15260 USA Tel 412 648 2404 fax 412 648 2792 Messages (Linda Hicks) 412 648 2421 [email protected] 3955 Bigelow Boulevard, #911, Pittsburgh, PA 15213 Tel. 412 682 0395 cell 919 683 8352 33 Elliott St., Balmain, NSW 2041 Australia, tel. 61 -2- 9810 7464 (June-August each year) 1. ACADEMIC RECORD 2. APPOINTMENTS 3. RESEARCH GRANTS, HONOURS AND AWARDS 4. PUBLICATIONS, INTERVIEWS, EXHIBITIONS 5. TEACHING AND ADMINISTRATION 6. HONORARY PROFESSIONAL POSITIONS 7. COMMUNITY SERVICE 8. GUEST LECTURES AND CONFERENCE PAPERS 9. RELATED ACTIVITIES 10. PROFILES 11. RECENT REVIEWS 1 1. ACADEMIC RECORD 1986 Doctor of Philosophy, University of Sydney (dissertation topic: “The Visual Imagery of Modernity: USA 1908-1939”) 1976 Master of Arts, University of Sydney, first class honours and University Medal (thesis topic: “American Abstract Expressionism: ethical attitudes and moral function”) 1973-74 Doctoral studies, Institute of Fine Arts, New York University (Professors Goldwater, Rosenblum, Rubin); additional courses at Columbia University, New York (Professor Schapiro), Whitney Museum of American Art, New York 1966 Bachelor of Arts, University of Melbourne 2. APPOINTMENTS 2011-2015 Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine -
Euan Macleod
EUAN MACLEOD Date de naissance : 1956 Lieu de résidence : Sydney Support : acrylique sur toile, eau-forte EXPOSITIONS PERSONNELLES 2005 • Watters Gallery, Sydney 2004 • Brooke / Gifford Gallery, Christchurch, Nouvelle-Zélande • Niagara Galleries, Melbourne, Australie • Euan Macleod and Leo Robba – Around Newcastle, Damien Minton Gallery, Newcastle 2003 • Bowen Galleries, Wellington, Nouvelle-Zélande • Inside going outside, Watters Gallery, Sydney • Twenty works on paper, Watters Gallery, Sydney 2002 • Wet & Wild, Niagara Galleries, Melbourne, Australie • Napeleon Reef Paintings 1992–2002, Bathurst Regional Art Gallery, New South Wales, Australie 2001 • Drawings, Ben Grady Gallery, Canberra, Australie • Figure Works from the 1980s, Victor Mace Fine Art Gallery, Brisbane, Australie • Bowen Galleries, Wellington, Nouvelle-Zélande • Works on Paper, Nick Mitzevich Gallery, Newcastle • Recent paintings, Watters Gallery, Sydney Biographie Euan MacLeod 1/06/05 1 ARTS D’AUSTRALIE • STEPHANE JACOB, PARIS 2000 • Euan Macleod Paintings : 1981-1999, University of the Sunshine Coast Library Gallery, Queensland, Australie • Niagara Galleries, Melbourne, Australie • Euan Macleod Paintings : 1984-2000, Cairns regional Gallery, Queensland, Australie • Brooke / Gifford Gallery, Christchurch, Nouvelle-Zélande 1999 • Recent paintings, Watters Gallery, Sydney • Bowen Galleries, Wellington, Nouvelle-Zélande • Paintings from Euan Macleod – 1981-1998, Newcastle Region Art Gallery, Australie 1998 • Brooke/Gifford Gallery, Christchurch, Nouvelle-Zélande • Niagara -
Andrew Sibley
Andrew Sibley From Wikipedia, the free encyclopedia Andrew John Sibley (9 July 1933 – 3 September 2015) was an English-born Australian artist. Sibley has been the subject of three books and is commonly listed in histories and encyclopedias of Australian art as a significant figurative painter of the mid and late 20th century. [1][2][3][4] 1 Personal history 2 Career overviews 2.1 Early career 2.2 Mid-career 2.3 Late career 3 Collections 4 References 5 External links Personal history Sibley was born in Adisham, Kent, England, the first child to John Percival and Marguerite Joan Sibley (née Taylor). With his family home bombed in the London Blitz, Sibley was relocated to Sittingbourne, Kent, then moving to Northfleet, Kent. In 1944 Sibley was awarded a scholarship at Gravesend School of Art, where he studied with fellow students including English artist Peter Blake. [4] In 1948, with his parents and two brothers, Sibley emigrated to Australia, where they lived and worked on an orchard in the rural town of Stanthorpe, Queensland. [5] He left the farm in 1951 to undertake National Service Training with the Royal Australian Navy, after which he spent a short time living and working in Port Moresby, Papua New Guinea. [6] After meeting his future wife Irena Sibley (née Pauliukonis) in Brisbane in 1967, Sibley followed her to Sydney, where they were married in 1968. The Sibley’s moved to Victoria, where he lived and worked until his death on 3 September 2015 at the age of 82. [7] Career overview From his early success in the 1960s Andrew Sibley consistently exhibited throughout Australia and internationally. -
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. -
Sarah Cottier Gallery
JONNY NIESCHE b. 1972 Sydney, Australia. Lives and works Sydney, Australia. EDUCATION 2013 Master of Visual Arts, Mikala Dwyer, Sydney University, AU 2012 Heimo Zobernig Masters class, Academy Fine Arts, Vienna, AT 2008 Bachelor of Visual Arts, Honors (1st class), Sydney University, AU 2007 Bachelor of Visual Arts, Sydney University, AU SOLO EXHIBITIONS 2018 Solo presentation of work at Auckland Art Fair 2017 Cracked Actor, Peter Von Kant, London, UK Splitting Image, Zeller van Almsick, Vienna, AT Love-light, Sarah Cottier Gallery, Sydney 2016 Picture This, Station Gallery, Melbourne, AU Cosmos Cosmetics, Minerva Sydney, June, Sydney, AU New Jörg, New Jörg, New Jörg Kunstverein, Wien, AT 2015 Sundial, STATION, Melbourne, AU At length; Italian Baroque, As SLUSH collective, Minerva, Sydney, AU We refer to a thing but have no name for the smell, Cointemporary, online 2014 Nothing goes as deep as decoration, Station Gallery, Melbourne, AU Vegas Can Be, Minerva, Sydney, AU. 2013 Too Many Heroes, Firstdraft Gallery, Sydney, AU 2011 Stylin, Eastern Bloc Gallery, Sydney, AU 2010 The Glitter Stick, M.O.P. Gallery, Sydney, AU GROUP EXHIBITIONS 2018 CHROMA, Sarah Cottier Gallery, Sydney Robert Hunter with Patrick Lundberg and Jonny Niesche, Station Gallery, Melbourne Redlands Konica Minolta Art Prize, National Art School, Sydney 2017 GROUP SHOW #36, Sarah Cottier Gallery, Sydney Nice One Picasso, SCA Galleries, Sydney little league, Sarah Cottier Gallery, Sydney Superposition of Three Types, Artspace, Sydney 2016 Shut Up and Paint, National Gallery -
REDLANDS WESTPAC ART PRIZE 3 May – 2 August 2012 National Art School Gallery PREFACE
2012 REDLANDS WESTPAC ART PRIZE 3 May – 2 August 2012 National Art School Gallery PREFACE The National Art School is delighted to partner with Redlands School to deliver the prestigious 2012 Redlands Westpac Art Prize. This is the inaugural year of our collaboration and the first presentation of the annual exhibition in the National Art School Gallery after fifteen highly successful years of the exhibition being held at Redlands School and, more recently, the Mosman Art Gallery. The Redlands Westpac Art Prize provides a unique opportunity to view an artist-selected exhibition of established and emerging contemporary artists from Australia and New Zealand. The exhibition represents the work of those already well recognised in their fields and brings to the attention of a wider audience lesser known contemporary artists, providing a significant opportunity to support and reward excellence in the visual arts. This approach sits well with the ethos of the National Art School, an artist-led institution that provides exemplary studio-based training for the artists of the future. Importantly, the structure for the selection of artists for the exhibition, of the chosen established artists individually selecting an emerging artist, also reflects our central belief in professional artists contributing to the development, training and mentoring of the next generation. With the longest continuing history of an art school in Australia, the National Art School has an extraordinary group of alumni, many of whom are key figures in the history of Australian art and contemporary art practice. It is, of course, especially rewarding to see that the National Art School alumni and staff are well represented in the 2012 Redlands Westpac Art Prize selected by Lindy Lee.