DOCSLIB.ORG

Lighting Fires on the Beach: Learning in Art Galleries in New Zealand

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lighting Fires on the Beach: Learning in Art Galleries in New Zealand Lighting Fires on the Beach: Learning in Art Galleries in New Zealand Esther Helen McNaughton A thesis presented in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Education ____________________________ UNIVERSITY OF CANTERBURY 2019 For my father Howard Douglas McNaughton whose enduring dedication to scholarship has inspired me to pursue my own academic journey. Acknowledgements My heartfelt thanks to all the participants for their huge contribution to this research, generously sharing their perspectives and time. Without their support it would not have been possible. Over the period of 2016–2019 almost all gallery educators in New Zealand contributed in some way. The interest and commitment shown has helped me to appreciate the value of the project. Most particularly I would like express my gratitude to the case study participants who worked with me in an ongoing way, always helpful despite their busy schedules. Thank you for welcoming me into your galleries, sharing your practice and taking the time to talk with me regularly. The supervision team for my PhD was superlative and I am deeply grateful to Prof Janinka Greenwood, who provided her vast experience and wisdom, and Dr Joanna Cobley, especially for her fastidious attention to detail. I was extremely lucky to have had such a team guiding me. Besides my supervisors I would also like to thank Ian Bowell for meeting with me on several occasions, offering his insight and expertise in the area of art education. My time at the University of Canterbury was enriched by the wonderful community of doctoral students from the Research Laboratory for Creativity and Change. As a distance student I was always welcomed warmly, and I value the range of perspectives they provided the project. I also gratefully acknowledge the funding received towards my PhD from the William and Ina Cartwright Scholarship, and the University of Canterbury. A special thanks go to my family. During the process of my doctoral research I have had much support and encouragement from them. In particular I am grateful to Barbara Strang and Christina Stachurski, who read my draft and provided their respective insights. I would like to thank my gallery, The Suter Art Gallery te Aratoi o Whakatū, and specifically its director Julie Catchpole who has been very supportive throughout the process. Finally I would like to thank the art galleries who hosted me and allowed me to study the practice of their educators. I am also grateful to the gallery professionals who gave me invaluable assistance with the broader aspects of my PhD project, such as gaining permission to use images. They were, without exception, friendly and helpful with all my requests. i Abstract This national study examined New Zealand art gallery educators’ views on how they facilitate children’s thinking through interaction with visual arts during school trips. It was comprised of a comprehensive overview by survey and six practitioner case studies providing in-depth understandings. These were followed by two focus groups which helped to make sense of the findings. The purpose of the study was to demonstrate the special character of the field. As insider research, the researcher was also a gallery educator, and this reinforced her connection with the participants. Through this collaborative approach New Zealand art gallery educators were able to ask themselves what the important things are that they add to student learning. The main purpose of the research design was as a tool to enable this investigation, however a secondary consideration in its development was the enhancement of bonds within the research population. Its socio-constructivist approach enabled knowledge development within this community of practice, counteracting cited isolation and lack of professional development. The research was intended to indicate possible future directions for the group. Four main influences were seen to give art gallery education in New Zealand a distinct flavour: firstly, Learning Experiences Outside the Classroom (LEOTC) governmental funding, with its particular performance criteria; secondly, the fact that New Zealand art galleries are cultural institutions which operate within a constitutionally bi-cultural nation; thirdly, New Zealand art galleries are often situated in small, regional cities, and fourthly, that students are generally taught by professional educators rather than docents. Despite many participants citing isolation, a coherent praxis was demonstrated across New Zealand. This occurred within public art galleries, which are cultural institutions of local communities. These often memorable settings themselves were seen to activate students’ learning. The results demonstrate a specific national pedagogy, where student-centred learning using authentic artworks in the gallery context inspires thinking and creating, particularly around cultural identity and other significant themes. In particular nine recurring themes of art gallery education in New Zealand emerged which flowed throughout the study: Developing Ideas in Art; Engagement: The Senses, Motivation, Emotions and Prior Experience; Artmaking; Flexibility; Collaboration; Communication; Mediation; Belonging, Ownership and Community; and Professionalism. Compared to in-school education, gallery educators believed they were freer to use flexible approaches, and to cover significant subject matter relating to society, communities and the individual students themselves. In particular they stressed democratic learning and believed empowerment to be beneficial for their students, essentially creating engaged citizens able to actively express themselves. This research shows how art education can have a role in developing collective understandings which are of ultimate benefit to society. ii Table of Contents Acknowledgements .................................................................................................................................. i Abstract ................................................................................................................................................... ii Table of Contents ................................................................................................................................... iii List of Figures ......................................................................................................................................... v List of Tables ........................................................................................................................................ vii Terms ................................................................................................................................................... viii Glossary of Māori Terms ..................................................................................................................... viii List of Abbreviations ........................................................................................................................... viii Chapter One: Introduction .................................................................................................................. 1 Situating the Research: Themes from the Literature........................................................................... 1 The New Zealand Perspective ............................................................................................................ 6 Summary of the Introductory Literature ........................................................................................... 12 The Shape of the Thesis .................................................................................................................... 13 Chapter Two: Methodology ............................................................................................................... 15 Introduction ....................................................................................................................................... 15 Research Questions ........................................................................................................................... 16 Conceptual Framework of the Methodology .................................................................................... 17 Six Methodological Frameworks which Influenced the Research .................................................... 18 Theoretical Prior Assumptions.......................................................................................................... 24 The Role of the Researcher ............................................................................................................... 24 Ethics ................................................................................................................................................ 24 Overview of the Method ................................................................................................................... 26 Survey Methodology ......................................................................................................................... 27 Case Study Methodology .................................................................................................................. 35 Focus Group Methodology ............................................................................................................... 42 Summary ..........................................................................................................................................
Load more

Recommended publications
  • Tauranga Art Gallery Trust Our Year in Review 2014 – 15 2 |
    Tauranga Art Gallery Trust Our Year in Review 2014 – 15 2 | Cover: Matthew Smith (Australia), Sailing by. Photo: Natural History Museum, London Tauranga Art Gallery Trust Our Year in Review 2014-15 | 1 1.0 Introduction 2.0 Highlights Contents 3.0 Governance 3.1 Chairperson report 4.0 Exhibitions 4.1 Touring with TAG 5.0 Education and Visitor Programmes 5.1 Education Programme 5.2 Public Programmes 6.0 Venue Hire & Events 7.0 Communications 8.0 Friends of the Gallery 9.0 Sponsors/Stakeholders 10.0 Staff 11.0 Financial Performance 12.0 Financial Statements and Audit Report 2 | 1.0 Introduction The principal activity of The Tauranga Art Gallery Trust (‘TAGT’ or ‘the Trust’) is to govern a public art gallery in Tauranga. The Tauranga Art Gallery (‘TAG’ or ‘the Gallery’) researches and presents exhibitions of historical, modern and contemporary art. This is the 17th Year in Review publication of the TAGT since its establishment in 1998. This report outlines the activities of the TAGT for the year ending 30 June 2015. Elizabeth Thomson, Invitation to Openness — Substantive and Transitive States (detail). Photo: Tauranga Art Gallery Tauranga Art Gallery Trust Our Year in Review 2014 – 15 | 3 2.0 Highlights 3.0 Governance 66,270 visitors The Trustees as at 30 June 2014 were: Peter Anderson (Chairperson) MCR, IMD, Laussane Sonya Korohina B.A. Grad. Dip in Arts 23 exhibitions Management. Judith Stanway M Soc Sci, BBS, FCA, AF Inst D. 4 exhibitions Mary Stewart Grad Dip Mgt. touring Mary Hackett Dip Bus Studies, RGON. simultaneously Deborah Meldrum BA (Hons), Dip Tchg.
    [Show full text]
  • View of Maitland from the Riverbank (With Apologies to Jan Vermeer and View of Delft) Published June 2006 to Accompany the Exhibition
    View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) published June 2006 to accompany the exhibition View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) 1 july - 20 august 2006 publisher maitland regional art gallery 230 high street maitland, nsw australia 2320 ISBN 0-9758369-2-7 paintings photographed by Michel Brouet © artists and maitland regional art gallery This catalogue is copyright apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act. 230 high tel email street (02) artgallery@ maitland 4934 maitland. maitland of nsw 2320 9859 nsw.gov.au city the arts po box fax web placing heart into maitland 220 (02) mrag 2005 - 2007 maitland 4933 .org nsw 2320 1657 .au View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) 1 july - 20 august 2006 maitland regional art gallery the artists archer suzanne fitzjames michael frost joe lohmann emma macleod euan martin claire mckenzie alexander pinson peter robba leo ryrie judith walker john r white judith Maitland Sixth City of the Arts 2005 - 2007 iew of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) is an exhibition which has been developed at Maitland Regional Art Gallery for a Vvariety of reasons. Last year, in the James Gleeson retrospective exhibition at the National Gallery of Australia, I came across Gleeson’s painting of Delft, with homage to Jan Vermeer. I had seen this painting earlier in a private collection, and felt that Gleeson had not only captured his vision of Delft but also created an amazingly surreal new image of Delft which was a unique painting in its own right and not merely an adjunct to another artist’s creation.
    [Show full text]
  • Euan Macleod
    Euan Macleod Figure in a dissolving landscape Euan Macleod Figure in a dissolving landscape Euan and well known New Zealand photographer Craig Potton spent a few nights together near the top of the Tasman Glacier early this year. This is an extract from what is hoped will be a book and joint exhibition of their work based on the Southern Alps of New Zealand. “Euan and I have gone to the mountains for the last fifty years but only recently have we gone together. Although we sought out the same valleys and peaks we never actually met which is not surprising given that the Southern Alps is huge. Rather I remember the day, just a decade ago when I saw one of Euan’s paintings of an oversized climber on a summit ridge looking to the valley below. I already knew Euan’s work; his often solitary figures in wild landscapes with simple equipment, ice axes, ropes and boots all fused with intense energy into the oil-scapes, mindscapes of land, sea and sky that poured from his heart brush. Vivid pictures that stayed with me and one painting in particular of a man standing looking tentatively down from the summit of a mountain. He’d climbed so high. Where the hell was he to go from here? He was at the end of the line, literally, on his companion’s climbing rope and he had found a summit; and also he was now bound to make his next move. But what would be his next step in this beautiful blue but dangerous world of ice, sky and rock? How much did he long for the valley below?” Craig Potton 4 EUAN MACLEOD EUAN MACLEOD 5 Climb The sepia shadows that punctuate the alpine ridges which resembles a thread from an unstitched blanket and slopes in Euan Macleod’s recent paintings strike — an umbilical cord linking him to where he has been a familiar note with followers of his work on the far and, possibly, where he is going.
    [Show full text]
  • White Rabbit's Beyond the Frame
    Artwrite 47 ISSN: 1038-3719 Thank you to... Anna Lutkajtis Sub Editor The Art of Corporate Identity Joanna Mendelssohn Anna Lumsden Gokcen Altinok Short Pieces Co Editor PDF Team Sub Editor Sub Editor Australia Could Benefit From Some Ther- apy David Lyndon PDF Team Aleema Ash Sub Editor Why Art Goes Underground Copyright Team Sub Editor When Past and Present Goes Hand In Elka Okawa Hand Sub Editor Del Kathryn Barton - Satellite Fade-Out Amy Bortolazzo Nina Pether Image Team Whip Sub Editor A World of Unknown Becomes Everyone’s Sub Editor Politics on Display Story Renay Ringma Maragrett Cortez Copyright Team Image Team Sub Editor The Real National Cultural Policy Debate Sub Editor Performance Artist Runs Rings Around the Rest Dale Maxwell-Smith PDF Team Elisha Donath Sub Editor We’ve Lost Our Good Old Mama Articles for Children Editor Sub Editor Sophie Todd Letters Editor Amalie Frederiksen Sub Editor The Mad Square: The Impact of the Nazis Sub Editor Addressing the Problem of an Empty Life in a Developed Consumer Economy Marietta Zafirakos Letters Editor Skye Gibson Sub Editor Beyond the Storage Space: White Rabbit’s Short Pieces Co Editor Beyond The Frame Sub Editor The Sculptor Who Challenged Everything Special Acknowledgements Simonette Gill Sub Editor The Contemporary Art Gallery: Equal Dean Sewell, Tamara Dean, White Rabbit Gallery, Access for All? Art Gallery of New South Wales, Roslyn Oxley9, Sydney, Bronek Kozka, Niagara Galleries (Melbourne), Megan Hillyer Serial Space, Fran Barrett, Tom Smith, Valentina Whip Schlute, Arthouse
    [Show full text]
  • Surface Tension: the Art of Euan Macleod 1991 - 2009 …………………………………………………………………………………………………
    Surface Tension: the art of Euan Macleod 1991 - 2009 …………………………………………………………………………………………………. A Tweed River Art Gallery touring exhibition, curated by Gavin Wilson EDUCATION RESOURCE …………………………………………………………………………………………………. Prepared by Kent Buchanan This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. Surface Tension: the art of Euan Macleod 1991 – 2009 1/25 EDUCATION RESOURCE ………………………………………………………………………………………………… This resource provides biographical, analytical and art-historical information about and relating to the work of Euan Macleod for the exhibition Surface Tension: the art of Euan Macleod 1991-2009. The exhibition, curated by freelance curator Gavin Wilson for the Tweed River Art Gallery, presents a selection of paintings from various bodies of work, collected as a curatorial statement about the ongoing artistic practice of Euan Macleod. The resource features activities / questions / discussion topics for the K-12 Visual Arts Curricula for New South Wales, Victoria and Queensland. The exhibition will tour to six venues throughout 2010 - 11. S.H. Ervin Gallery, Sydney, NSW 12 November – 19 December 2010 Tweed River Art Gallery, Murwillumbah, NSW 28 January – 27 March 2011 Orange Regional Gallery, Orange, NSW 29 April – 12 June 2011 Mornington Peninsula Regional Gallery, Mornington, VIC 30 June – 7 August 2011 Newcastle Region Art Gallery, Newcastle, NSW 27 August – 16 October 2011 The University of Queensland Art Museum, Brisbane, QLD 29 October – 11 December 2011 The Resource also includes a blog (www.srfctnsn.wordpress.com), which is to be utilised by teachers and students as a portal for discussion about the practical and theoretical aspects of practice.
    [Show full text]
  • The Art of Euan Macleod 1991 - 2009 …………………………………………………………………………………………………
    Surface Tension: the art of Euan Macleod 1991 - 2009 …………………………………………………………………………………………………. A Tweed River Art Gallery touring exhibition, curated by Gavin Wilson EDUCATION RESOURCE …………………………………………………………………………………………………. Prepared by Kent Buchanan, Curator, Western Plains Cultural Centre This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. Surface Tension: the art of Euan Macleod 1991 – 2009 1/25 EDUCATION RESOURCE ………………………………………………………………………………………………… This resource provides biographical, analytical and art-historical information about and relating to the work of Euan Macleod for the exhibition Surface Tension: the art of Euan Macleod 1991-2009. The exhibition, curated by freelance curator Gavin Wilson for the Tweed River Art Gallery, presents a selection of paintings from various bodies of work, collected as a curatorial statement about the ongoing artistic practice of Euan Macleod. The resource features activities / questions / discussion topics for the K-12 Visual Arts Curricula for New South Wales, Victoria and Queensland. The exhibition will tour to six venues throughout 2010 - 11. S.H. Ervin Gallery, Sydney, NSW 12 November – 19 December 2010 Tweed River Art Gallery, Murwillumbah, NSW 28 January – 27 March 2011 Orange Regional Gallery, Orange, NSW 29 April – 12 June 2011 Mornington Peninsula Regional Gallery, Mornington, VIC 30 June – 7 August 2011 Newcastle Region Art Gallery, Newcastle, NSW 27 August – 16 October 2011 The University of Queensland Art Museum, Brisbane, QLD 29 October – 11 December 2011 The Resource also includes a blog (www.srfctnsn.wordpress.com), which is to be utilised by teachers and students as a portal for discussion about the practical and theoretical aspects of practice.
    [Show full text]
  • Kedumba Drawing Award 2007 28 October to 2 December 2007
    Kedumba Drawing Award 2007 28 October to 2 December 2007 Judge: Guest of Honour: CHERRY HOOD JUSTICE RODERICK MEAGHER Born in Sydney. Studies in fine art; sculpture The Hon. Justice Roderick Meagher was educated (Perugia); painting (NAS); at SCA: BVA at St. Ignatius College (Riverview), Sydney and St. (Hons) (1998), MVA (2000). Recent group John’s College, Sydney University (BA, Ll.B). He exhibitions: Portia Geach, Dobell, ‘Scrubber’s was admitted to the New South Wales Bar in 1960, Revenge’, Penrith RG; ‘More Real than Life’, at the same time lecturing in the Faculty of Law Gertrude Contemporary Art Spaces; ‘Scratch at the University of Sydney. He was subsequently the Surface’, Canberra Contemporary Art Space; appointed Queen’s Counsel and served as Archibald Prize, AGNSW (Winner, 2002); President of the New South Wales Bar Association ‘Heimlich unHeimlich’, RMIT Gallery. Recent (1979–81) before being appointed, in 1989, a Judge solo exhibitions: Harold’s End, Deitch Projects, of the Supreme Court of New South Wales and New York; Ayesha’s Child, Arc One, Melbourne; Judge of the Court of Appeal, from which he is now ‘Family Matters’, Maroondah Gallery, Victoria; retired. He is the author and editor of a number of Brüder, Lehman, Leskiw + Schedler, Zurich, major legal works. He has a keen interest in art and Toronto; ‘Stranger than Fiction’ and ‘Interface’, his late wife Penny was a wonderful artist. Mori Gallery, Sydney. Her work is held in many private and public collections in Australia and overseas. Trustees Patrons Sponsors Maurice
    [Show full text]
  • 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
    [Show full text]
  • Gallipoli Centenary Exhibition
    Your friend the enemy GALLIPOLI CENTENARY EXHIBITION Your friend the enemy GALLIPOLI CENTENARY EXHIBITION ANU Drill Hall Gallery , Canberra 10 April to 17 May 2015 (selected by Terence Maloon and Tony Oates) http://dhg.anu.edu.au Your friend S. H. Ervin Gallery, Sydney 17 April to 24 May 2015 (selected by John McDonald and Jane Watters) http://www.shervingallery.com.au the enemy Bathurst Regional Art Gallery (BRAG) 19 June to 2 August 2015 www.bathurstart.com.au DEIRDRE BEAN ELISABETH CUMMINGS Pataka Art + Museum , NZ STEVE LOPES Pataka's exhibition of Your friend the enemy will be offi cially opened EUAN MACLEOD on Sunday 29th of November 2015 and run through to mid-February 2016 GUY MAESTRI www.pataka.org.nz IDRIS MURPHY MICHAEL NOCK Goulburn Art Gallery 13 March to 2 May 2015 PETER O’DOHERTY Jane Cush Director SUSAN O’DOHERTY www.grag.com.au STANLEY PALMER AMANDA PENROSE HART Artist Profi le Your friend the enemy: special edition LEO ROBBA (edited by John McDonald) LUKE SCIBERRAS On sale across the country on March 19 2015 MICHAEL SHEPHERD JONATHAN THROSBY Cover: Euan Macleod, Stanley, Russells Top 3/5/14 2014 (detail), oil on polyester, 53 x 65.5 cm Frontspiece: Deirdre Bean, Canterbury Mounted Rifles 2014 , watercolour and graphite on 300gsm Arches hot pressed paper, 20 x 20 cm JOHN WALSH Preface Dr Brendan Nelson Director The Australian War Memorial Your friend the enemy contributes substantially to answering the question Gallipoli asks of every Australian - ‘what does this mean to me?’ A century on from the cataclysm that unfolded from late 1914 and inspired by the courage of both Australians and Turks bound nonetheless by mutual respect, these artists have given us in these works the gift of understanding.
    [Show full text]
  • Euan Macleod Catalogue Final.Pdf
    SELECTED ARTWORKS BY EUAN MACLEOD VIEWING BY APPOINTMENT ONLY Forever renegotiating his position, direction and even the very fact of his existence, Euan Macleod is himself the central figure in the vast majority of his paintings – marching, striding, studying the ground in front of him or the canvas that rises before him like a sail. Just as the painter prods the visual field with brush or palette knife, the walking figure tests the ground; he shifts earth and snow; he moves water with hand or oar. A mark is left in the sand, a ripple, a gesture in mid-air. With its echoes and reiterations, Euan Macleod’s art reminds us that as each painting leads inexorably to the next, each journey leads only to another journey. These works are part of a continuum, an on-going labour. Collectively, they amount to one vast, many chambered, constantly evolving self-portrait. Biographical note Born in Christchurch in 1956, Macleod completed a Diploma of Fine Arts (Painting) at Canterbury University in 1979. After moving to Sydney in 1981, he held his first solo exhibition in 1982 at Watters Gallery, East Sydney, where has remained until the present. Just as his works are infused with landscapes from both his birthplace and his adopted home, Macleod has exhibited on both sides of the Tasman throughout his career. Since his Self-portrait – head like a hole won Australia’s foremost portrait prize, the Archibald Prize, in 1999, he has received numerous awards, among them the Blake Prize for Religious Art in 2006 and the Gallipoli Prize in 2009.
    [Show full text]
  • Carla Dawn Hananiah
    The College of Fine Arts The University of New South Wales Master of Fine Arts Research Thesis 2012 Carla Dawn Hananiah Statement of Authorship I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged. i Acknowledgements I would like to acknowledge and thank Louise Fowler-Smith, my supervisor, for her ongoing support, contribution and advice; Eloise Minogue for her generosity in time spent both critically and creatively editing my writing with tireless patience; Neil Frazer for his role as mentor within my studio practice. A big thank you to my husband Isaac Hananiah for his complete and unwavering support, understanding, encouragement and assistance. Thank you Mum, for waking up extremely early for photo shoots and to all my family for encouraging, believing and investing in my dreams. ii Those living far away fear your wonders; where morning dawns and evening fades you call forth songs of joy.
    [Show full text]
  • Euan Macleod
    Above Diamond Harbour 2017 Arcylic on polyester 150 x 180cm Right Colossus 2013 Oil on polyester 180 x 137cm Cover Volcano Figure and Sky 2016 Oil on polyester 120 x 84cm (Detail) THE CLAYTON UTZ Above Lighting Fire (Christian) 2014 Oil and acrylic on polyester 120 x 84cm ART PARTNERSHIP - Image courtesy of Max Germanos EUAN MACLEOD Above Cloudman 2018 Oil and acrylic on polyester 150 x 180cm Forever renegotiating his position, direction and even Since his Self-portrait – head like a hole won Australia’s Above the very fact of his existence, Euan Macleod is himself foremost portrait prize, the Archibald Prize, in 1999, he Stepping Across Crevasse 2012 Oil on polyester 150 x 180cm the central figure in the vast majority of his paintings – has received numerous awards, among them the Blake marching, striding, studying the ground in front of him or Prize for Religious Art in 2006 and the Gallipoli Prize in The Clayton Utz Art Partnership the canvas that rises before him like a sail. Just as the 2009. He was also a finalist in the 2018 Archibald Prize. painter prods the visual field with brush or palette knife, The Clayton Utz Art Partnership brings together a the artwork in an intimate and innovative environment. the walking figure tests the ground; he shifts earth and A survey exhibition, Euan Macleod – Painter, is currently unique collaboration between two outstanding Complementing the exhibition is an Artist-in-Residence snow; he moves water with hand or oar. A mark is left in completing a three year tour of regional New Zealand.
    [Show full text]