Tracey Moffatt Exhibitions
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Peta Clancy Christopher Day Destiny
Peta Clancy Christopher Day Destiny Deacon Michaela Gleave Nasim Nasr Sara Oscar Julie Rrap Khaled Sabsabi Yhonnie Scarce Angela Tiatia Christian Thompson Kawita Vatanajyankur Daniel von Sturmer Justene Williams William Yang Under the sun: Reimagining Max Dupain’s Sunbaker Published to accompany the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker presented at The State Library of New South Wales 18 February – 17 April 2017 Monash Gallery of Art 6 May – 6 August 2017 Australian Centre for Photography Director Cherie McNair Curator Claire Monneraye Exhibition Partners Curatorial Assistant Casuarina Bird Education & Public Programs Manager Antoinette Clements ACP acknowledges the key contribution of Catherine Baldwin, Interim Director to the project development and completion. ACP thanks all the staff members from the State Library of New South Wales and Monash Gallery of Art that have contributed to the development of this project. Commissioning Partners Funding Partners John and Kate Armati Andrew and Kate Jerogin Lisa Paulsen Neill and Jane Whiston Medich Foundation This project has been assisted by the Australian government through the Department of Communication and the Arts’ Catalyst—Australian Arts and Culture Fund. Graphic Design Kirk Palmer Design Printer Shepson Printing ISBN 978-0-6480417-0-2 @ Australian Centre for Photography Message from the Minister What better way to celebrate Australian contemporary photography than to attend Under the sun: Reimagining Max Dupain’s Sunbaker, an innovative and thought-provoking exhibition in which 15 leading artists respond to Max Dupain’s iconic image, Sunbaker. In Under the sun, each newly-commissioned work represents a unique interpretation of the 1937 photograph and incorporates a wide range of techniques, showcasing the talent and diversity of the participating artists. -
Koorie Heritage Trust Annual Report 2015 – 2016 Contents
Koorie Heritage Trust Annual Report 2015 – 2016 Contents Page 2 Wominjeka/Welcome: Vision and Purpose Page 5 Chairperson’s Report Page 6 Chief Executive Officer’s Report Page 12 Our Programs Koorie Family History Service Cultural Education Retail and Venue Hire Collections, Exhibitions and Public Programs Page 42 Activities Page 43 Donors and Supporters Page46 Governance Page 48 Staff Page 50 Financial Report www.koorieheritagetrust.com ABN 72 534 020 156 The Koorie Heritage Trust acknowledges and pays respect to the Traditional Custodians of Melbourne, on whose lands we are located. Warning: Aboriginal and Torres Strait Islanders are advised that this document may contain the names and/or images of people who have passed away. Cover Image: Koorie Heritage Trust, view from level 2, Yarra Building. Photo James Murcia, 2015 Terminology Design: Darren Sylvester The term Koorie is commonly used to describe Aboriginal people of Southeast Australia; Editor: Virginia Fraser however, we recognise the diversity of Aboriginal people living throughout Victoria including Publication Co-ordinator: Giacomina Pradolin Koories and other Aboriginal and Torres Strait Islander (ATSI) people from around Australia. We Text: Koorie Heritage Trust staff have used the term Aboriginal in parts of the report to include all people of ATSI descent. Wominjeka/Welcome: Vision and Purpose Our Vision To live in a society where Aboriginal culture and history are a fundamental part of Victorian life. Our Purpose To promote, support and celebrate the continuing journey of the Aboriginal people of South Eastern Australia. Our Motto Gnokan Danna Murra Kor-ki/Give me your hand my friend. Our Values Respect, honesty, reciprocity, curiosity. -
Two Revelatory Exhibitions Upend Our Understanding of Black Models in Art
Two revelatory exhibitions upend our understanding of black models in art washingtonpost.com/entertainment/museums/two-revelatory-exhibitions-upend-our-understanding-of-black-models-in- modern-art/2018/12/10/90806580-f7d1-11e8-863c-9e2f864d47e7_story.html www.facebook.com/sebastian.smee Frederic Bazille’s “Young Woman With Peonies,” 1870, oil on canvas. (National Gallery of Art) By Sebastian Smee Art critic December 10 The most famous painting in the Musée d’Orsay — and probably the second-most famous painting in Paris after the “Mona Lisa” — is Édouard Manet’s “Olympia.” What does this 1863 painting show? A pale-skinned prostitute in satin slippers, a black cat and . what else? Oh, yes, a black maid holding a bouquet of flowers. Such is the response, in swift summary, of most of the art historians who have written about “Olympia,” a fountainhead of modern art and a painting as enigmatic as it is arresting. When you consider that the black maid dominates the entire right side of the painting, the lack of attention paid to her is baffling. 1/6 Unlike most black servants depicted in 19th century French art, she is clothed. We also know her name: Laure. But that was about it. Now, thanks to Denise Murrell, an art historian with a background in finance, Laure has emerged from the shadows. We find her in the company, what’s more, of dozens of other black models in modern art. Mickalene Thomas’s “Racquel Reclining Wearing Purple Jumpsuit,” 2015, rhinestones, glitter, flock, acrylic and oil on wood panel. (The Rachel and Jean-Pierre Lehmann Collection/Mickalene Thomas/Artist Rights Society) “Olympia” itself rarely leaves Paris, so it is not among the works in “Posing Modernity: The Black Model From Manet and Matisse to Today” at Columbia University’s Miriam and Ira D. -
26 March 2017 EXHIBITION WALL LABELS Drafted by Max Dela
SOVEREIGNTY Australian Centre for Contemporary Art 17 December 2016 – 26 March 2017 EXHIBITION WALL LABELS Drafted by Max Delany, Paola Balla and Stephanie Berlangieri BROOK ANDREW Born 1970, Sydney Wiradjuri Lives and works in Melbourne Against all odds 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Black and White: Special Cut 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Maralinga clock 2015 inkjet and metallic foil on linen 280.0 x 160.0 x 120.0 cm Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels The weight of history, the mark of time (sphere) 2015 coated nylon, fan, LED 500.0 cm (diameter) Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels Brook Andrew’s practice encompasses bold inter-disciplinary projects that explore the ongoing histories, image cultures and effects of colonialism and modernity. Presented in Sovereignty is a selection of works from over the past decade. Andrew’s silkscreen prints, from the Hope and Peace series of 2005, deftly connect the traditions of pop art and political posters in a form of agit-pop. Alongside these are presented two sculptural works: a large, soft sculpture Maralinga clock 2015, based on a souvenir clock in the collection of Sydney’s Powerhouse Museum which commemorates the British nuclear test explosions on the desert homelands of the Tjarutja people; and The weight of history, the mark of time (sphere) 2015, a living, breathing balloon form adorned with a distinctive design inspired by the artist’s Wiradjuri heritage. -
Two Revelatory Exhibitions Upend Our Understanding of Black Models In
Museums Review Two revelatory exhibitions upend our understanding of black models in art By Sebastian Smee The most famous painting in the Musée d’Orsay — and probably the second- most famous painting in Paris after the “Mona Lisa” — is Édouard Manet’s “Olympia.” What does this 1863 painting show? A pale-skinned prostitute in satin slippers, a black cat and . what else? Oh, yes, a black maid holding a bouquet of flowers. Such is the response, in swift summary, of most of the art historians who have written about “Olympia,” a fountainhead of modern art and a painting as enigmatic as it is arresting. When you consider that the black maid dominates the entire right side of the painting, the lack of attention paid to her is baffling. Unlike most black servants depicted in 19th century French art, she is clothed. We also know her name: Laure. But that was about it. Now, thanks to Denise Murrell, an art historian with a background in finance, Laure has emerged from the shadows. We find her in the company, what’s more, of dozens of other black models in modern art. “Olympia” itself rarely leaves Paris, so it is not among the works in “Posing Modernity: The Black Model From Manet and Matisse to Today” at Columbia University’s Miriam and Ira D. Wallach Art Gallery. (It will, however, be the centerpiece of an expanded version of the show traveling to the Musée d’Orsay in March.) However, a little-known portrait by Manet of Laure is included — it is the show’s capstone. -
Your Place Or Mine?
Your Place or Mine? Curatorial approaches to place through the prism of home Felicity Fenner A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy August 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: FENNER First name: FELICITY Other namels: MITCHELL Abbreviation for degree as given in the University calendar: PhD School: ART & DESIGN Faculty: ART & DESIGN Title: Your Place or M1ne? Curatonal approaches to place through the prism of home. A bstract 350 w ords maximum: (PLEASE TYPE) The outward image of the place we ca ll home- Australia - histori ca lly dominates and subsumes personal experiences of home in exhibitions of Australian art. The thesis argues, and demonstrates through a series of curatorial projects, that exhibiti ons can, alternatively, embody inti mate experiences of place that more accurately describe the experience of 2 'I " century Austral ia. Citing recent Austral ian socio-political and literary cu lture as a backdrop, it is shown that the prism of home is an effective curatorial device through which to transmit and receive new insights into aspects of this place we call horne, Australia. The conceit of 'home' is adopted in the thesis both as a curatorial theme and as a framework for engagement. The research reveals how reference to home can guide viewers from simply ' understanding' meaning to 'inhabiting' (being at home within) the intellectua l and sensory space of artworks and exhibitions. When the idea of home is embedded in the cura torial approach, artists' knowledge and experience - particu larly those at odds with mainstrea m perceptions of Austra lian cu lture - can be articu lated. -
Pulitzer Prize Winners and Finalists
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70 -
Destiny Deacon
DESTINY DEACON Not Just Fun and Games 30 AUGUST - 30 SEPTEMBER 2017 ROSLYN OXLEY9 GALLERY PTY LIMITED ACN 087 467 543 ABN 62 087 467 543 ROSLYN OXLEY9 GALLERY 8 SOUDAN LANE (OFF HAMPDEN ST) PADDINGTON NSW 2021 SYDNEY AUSTRALIA PHONE: +61 2 9331 1919 FAX: +61 2 9331 5609 EMAIL: [email protected] WWW. ROSLYNOXLEY9.COM.AU DESTINY DEACON 1. Escape, 2017 lightjet print 127 x 102 cm (framed) Edition of 5 + AP 2 2. Grandstanding, 2017 lightjet print 102 x 127 cm (framed) Edition of 5 + AP 2 3. Smile, 2017 lightjet print 102 x 127 cm (framed) Edition of 5 + AP 2 4. Two fishes out of water, 2017 lightjet print 127 x 102 cm (framed) Edition of 5 + AP 2 5. Fish out of water (A), 2017 lightjet print 98 x 79.5 cm (framed) Edition of 5 + AP 2 6. Fish out of water (B), 2017 lightjet print 98 x 79.5 cm (framed) Edition of 5 + AP 2 DESTINY DEACON 7. Fish out of water (C), 2017 lightjet print 98 x 79.5 cm (framed) Edition of 5 + AP 2 8. Dolly Lips (A), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 9. Dolly Lips (C), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 10. Dolly Lips (D), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 11. Dolly Lips (E), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 12. Dolly Lips (B), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 DESTINY DEACON Not Just Fun and Games, 2017 Fishes, fins, lips and loose heads in two bodies of work – one of them also a work of body parts. -
Boonatung Ngargee Yulenj
City of Port Phillip Boonatung Ngargee Yulenj: Place Action Knowledge – Aboriginal and Torres Strait Islander Arts Strategy 2014/2017 Yalukit Wilum Country Acknowledgments The City of Port Phillip would like to acknowledge the support and input given during the development of its Aboriginal and Torres Strait Islander Arts Strategy to the following community members and organisations. Aunty Carolyn Briggs, Sarah Bond, Marree Clarke, Rondon D’Antoine, Karen Derschow, Judy Hanley, Aunty Judith ‘Jacko’ Jackson, Tom Mosby, Naomi Prior, Bo Svoronos, and Christine Ward. The Boon Wurrung Foundation, Inner South Urban Local Indigenous Network, Koorie Heritage Trust, Inner South Community Health Service, Port Phillip Citizens for Reconciliation, The Wilin Centre for Indigenous Arts and Cultural Development, City of Melbourne, Moreland City Council, Bayside City Council, and The Salvation Army Crisis Service, Access Health and Linden Centre for Contemporary Art. City of Port Phillip officers who gave input and support to the development of this strategy include Todd Condie Indigenous Policy Officer, Sharyn Dawson Art Development Officer, Adele Denison Producer, St Kilda Festival, St Kilda Film Festival, Sophie Fernandes Team Leader Festivals Program Development, Dorela Gerardi Collections Registrar, Sandra Khazam Art & Heritage Team Leader, Louisa Scott Curator, and Simone Ubaldi Festivals Marketing Manager. 1 Local governments that value and embrace the contribution of Indigenous people and culture, both within their organisation and the wider community, will be more likely to be considered an ‘employer of choice’ and a welcoming environment for Indigenous participation. Reconciliation in Local Government Project Action Research Report (p. 56, 2011) Strong cultural identity is fundamental to Indigenous health, social and wellbeing and to building healthy, safe and supportive communities. -
Curated by Djon Mundine OAM and Natalie King 04
Curated by Djon Mundine OAM and Natalie King 04. Catalogue Essay: Conversations with a shadow 10. Forewords 12. Vernon Ah Kee 16. Bindi Cole 20. Brenda L. Croft 2.4 Destiny Deacon/Virginia Fraser 28. Fiona Foley 32. Gary Lee 36. Michael Riley 40. Ivan Sen 44. Christian Thompson 48. List of works 50. Credits When light shines on something or someone, a shadow is always cast. Sacred powerful representations of spirit entities are placed inside and A person can never desert its shadow and a shadow cannot leave its human revealed to initiates in revelatory performances. Initiates themselves, original. Every shadow has its own presence and absence. And no more so seen as sacred objects, are also laid inside this ‘shade’. To shade is to blind in this continent, Australia, full of ghosts and shadows honeycombing the or cover, light is its antonym. Wungguli, an Arnhem Land Djambarrpuyngu historical, social, and physical landscape. Each story is a ghost story loaded word, means spirit and shadow and came to describe a photographic image. with shadows – a kind of ‘Scar’ story. Shadowlife addresses these moments In 1960, Aboriginal singer Jimmy Little had a hit song with The Shadow of the of intensity through the photo/filmic-based practices of nine Aboriginal Boomerang, from the film of the same name. Some painters use shadows to artists (and one non-Indigenous collaborator). make an object or person appear solid or three-dimensional. When painted Frantz Fanon wrote that colonialism and racism are forms of violence shadows are deployed to enhance physical features, personal characteristics embedded in every facet of colonial cultural expression, so subtle and come into focus. -
Dana Schutz/Petzel Gallery and Contemporary Fine Arts)
Smee, Sebastian. ‘For Dana Schutz, a new show after her controversial painting of Emmett Till’. The Washington Post Online. 29 January 2018 “Deposition” by Dana Schutz. (Dana Schutz/Petzel Gallery and Contemporary Fine Arts) CLEVELAND — Feelings are still raw around the work of Dana Schutz, whose painting of Emmett Till in an open casket — hard to look at, even in reproduction — provoked uproar when it appeared last year in the Whitney Biennial. Why did she paint it? Schutz claimed to have been motivated by empathy, and an awareness of Till’s renewed relevance at a time when shootings of African American boys were so much in the news. But to many, this was no excuse. “Even well-intentioned artistic empathy,” wrote A.L. William in a letter to the New Yorker, “can become a form of trespass when it comes uninvited and replays the damage done to the people with whom the artist seeks to stand.” If you doubt that the controversy burns on, read the comments wall at Transformer Station, in Cleveland’s Ohio City neighborhood, where Schutz is showing 12 recent paintings and three charcoal drawings in a show, organized by the Cleveland Museum of Art, titled “Eating Atom Bombs.” Most of the comments are supportive. “Regarding the Emmett Till painting at the Whitney,” writes Wendy, “I think it’s good for us to be reminded of the atrocities in our country. Why can’t a Caucasian [Schutz is white] feel distress, horror, sadness about a horrible act against a person of any race. His mother wanted everyone to know what happened.” But two other commenters aren’t having it: “White privilege is painting Emmett Till, and collecting profit then having your work removed, and then opening a show in CLEVELAND like nothing happened,” writes one. -
BOSTON ATHENÆUM the ART of RIVALRY
BOSTON ATHENÆUMNOVEMBER-DECEMBER 2016 THE ART of RIVALRY Book Talk with Pulitzer Prize-winning art critic Sebastian Smee P R © Pat Greenhouse Monday, November 28, 6-7 pm with a contemporary of equal ambition, but sharply contrasting Registration begins November 14 at 9 am strengths and weaknesses, spurred creative output. P R Members $15 Non-members $30 Sebastian Smee has been the Boston Globe’s art critic since 2008. He won the Pulitzer Prize for Criticism in 2011. Smee Art critic Sebastian Smee’s new book tells joined the Globe’s staff from the Australian, where he worked the captivating story of four pairs of artists as a national art critic. Prior to that, Smee spent four years in — Manet and Degas, Picasso and Matisse, the UK, where he wrote for the Daily Telegraph, the Guardian, Pollock and de Kooning, and Freud and the Art Newspaper, the Independent, Prospect, and the Bacon — whose fraught, antagonistic friendships impelled Spectator. Smee is the author of six books: five on Lucian them to achieve new creative triumphs. Smee argues that Freud and one on Matisse and Picasso. He teaches nonfiction rivalry is at the heart of some of the most famous and fruitful writing at Wellesley College. artistic relationships in history. For these artists, competition DIRECTOR’S NOTE November, as Emily Dickenson noted, is a liminal month, whose “few prosaic Jaemin Ha, Gensler days” are poised “A little this side of the snow / And that side of the haze.” The Athenæum’s nuanced offerings suit this subtle mood. The ongoing exhibition Daniel Chester French: The Female Form Revealed explores a new aspect of the sculptor’s work, while a three-part series chronicles lesser-told stories of life, culture, and commerce in the burgeoning US nation.