Children Fall Catalogue 2020
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Schools Reconciliation Challenge E
Introduction 2 How to Enter 2 About the NSW Reconciliation Council 3 Schools Reconciliation Challenge 4 Why Reconciliation? 5 Why Art? 5 2011 Artwork Gallery 6 Exploring the theme: Our Place 7 Sample Art Lessons 8 Culturally Appropriate Teaching 12 Strategies for teaching Aboriginal Students 13 Terminology 13 Lift Out Reconciliation Timeline 16 Fact Sheets 14 Reconciliation 14 Aboriginal NSW 21 Australian Aboriginal and Torres Strait Islander Peoples 25 2011 Schools Reconciliation Honour Roll 29 Entry Form 31 Terms and Conditions 32 "#$%&'&()*'+)&, The Schools Reconciliation Challenge is an art competition for young This kit has been people in NSW aged 10–16. This resource is a teaching kit which endorsed and is builds upon the objectives outlined in the NSW Creative Arts Syllabus supported by the K-6 and NSW Visual Arts Syllabus 7–10. Aboriginal Education Activities contained within help students to explore the relationship Consultative Group NSW between artist, artworks, the audience and the world, whilst developing (AECG NSW) their own artmaking practice by creating work to submit in the competition. Aboriginal and Torres Strait Islander readers are warned that this publication may contain references to deceased persons. Effort has been undertaken to ensure that the information contained in this book is correct, and the NSW Reconciliation Council regrets any offence that errors or omissions may cause. ! .(/'01($$2*'3/1$41)2)5&)$4'6(522/47/'8 ./9:'!;'-<!- .(/'59&'$='9/1$41)2)5&)$4'>'&(9$%7('&(/'/?/*'$='?$%47'@/$@2/ The Schools Reconciliation Challenge is an annual art competition for young people aged 10–16, running for the duration of Term 1 (closing on April 5 2012). -
Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015
Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015 These paintings all come from artists working in Warmun, a community of about 400 people located 200 kilometres south of Kununurra in the Kimberley region of far north Western Australia. The Warmun Art Centre there was founded by Queenie McKenzie, Madigan Thomas, Hector Jandany, Lena Nyadbi, Betty Carrington and Patrick Mung Mung, members of the contemporary painting movement that began in the mid-1970s. Warmun Art Centre is owned and governed by the Gija people, its income returned to the community. Today some 50 emerging and established Gija artists work there. The works are by Warmun artists Mabel Juli, David Cox, Lena Nyadbi, Churchill Cann, Gordon Barney, Phyllis Thomas and Shirley Purdie. In these paintings the material is the work; they are earth and mineral as well as images. While they are stylistically very different in approach, all share the ochre, charcoal and natural earth pigments that typify contemporary Aboriginal painting in the Kimberley region. Coloured by iron oxide, ochre ranges from subtle yellow to deep red-brown. Mawandu or white ochre (extensively used in Mabel Juli’s work, alongside black ochre) is distinctive to the Kimberley area. This is a naturally occurring white clay that forms deep in the ground along certain riverbeds. Mixing natural pigments with mawandu provides range of colours including lime greens, greys, and a rare pink, all of which are produced at Warmun and traded with art centres across the region. ‘I don’t paint another country, I paint my own’, says Mabel Juli. -
Framing the Crimes of Colonialism Critical Images of Aboriginal Art and Law
Chapter 8 Framing the crimes of colonialism Critical images of aboriginal art and law Chris Cunneen ‘Painting is our foundation. White man calls it art’ Galarrwuy Yunupingu (quoted in Isaacs, 1999: xi). Introduction This chapter considers images of crime and law, and what we, through the lens of cultural criminology, might learn of the nature and experiences of crime represented through the image. Cultural criminology opens a new space for understanding crime, especially where the image is produced by those who are victims of crime and simultaneously without access to other channels of communication within mainstream social and political institutions. The images considered in this chapter are particular: Australian Aboriginal art. These art- works function on two levels, as an expression of Aboriginal law and, more extensively, as a critique of the imposed colonial law. Both in traditional and contemporary society, Aboriginal art is a powerful medium for expressing Aboriginal law and culture. Aboriginal art plays a special role in understanding law in a society that did not rely on the written text. In this context, the image has sacred standing quite distinct from the commodity status of art in contemporary capitalist societies. Art also provides an important material expression and critique of the colonizing process, both as an historical record of events such as massacres, segregation and the denial of civil and political rights, and as an ongoing contemporary postcolo- nial critique of the outcomes of colonization, dispossession and racial discrimina- tion. Aboriginal artists are constantly engaging colonialism, law and the criminal justice system as subject matter for their art. -
Purnululu National Park
World Heritage Scanned Nomination File Name: 1094.pdf UNESCO Region: ASIA AND THE PACIFIC __________________________________________________________________________________________________ SITE NAME: Purnululu National Park DATE OF INSCRIPTION: 5th July 2003 STATE PARTY: AUSTRALIA CRITERIA: N (i)(iii) DECISION OF THE WORLD HERITAGE COMMITTEE: Excerpt from the Report of the 27th Session of the World Heritage Committee Criterion (i): Earth’s history and geological features The claim to outstanding universal geological value is made for the Bungle Bungle Range. The Bungle Bungles are, by far, the most outstanding example of cone karst in sandstones anywhere in the world and owe their existence and uniqueness to several interacting geological, biological, erosional and climatic phenomena. The sandstone karst of PNP is of great scientific importance in demonstrating so clearly the process of cone karst formation on sandstone - a phenomenon recognised by geomorphologists only over the past 25 years and still incompletely understood, despite recently renewed interest and research. The Bungle Bungle Ranges of PNP also display to an exceptional degree evidence of geomorphic processes of dissolution, weathering and erosion in the evolution of landforms under a savannah climatic regime within an ancient, stable sedimentary landscape. IUCN considers that the nominated site meets this criterion. Criterion (iii): Superlative natural phenomena or natural beauty and aesthetic importance Although PNP has been widely known in Australia only during the past 20 years and it remains relatively inaccessible, it has become recognised internationally for its exceptional natural beauty. The prime scenic attraction is the extraordinary array of banded, beehive-shaped cone towers comprising the Bungle Bungle Range. These have become emblematic of the park and are internationally renowned among Australia’s natural attractions. -
Warmun Art Exhibition Warmun Art
Warmun Art Exhibition Warmun Art Since its inception in 1998, Warmun Art Centre has been one of remote Australia’s most significant cultural institutions. Warmun Art Centre works with some of the most prominent contemporary painters in Australia. From the barramundi scales of Lena Nyadbi (which are now visible from the Eiffel Tower in Paris) to the vibrant imagery of Rammey Ramsey, the complex storytelling contained in Rusty Peters’ paintings and the now iconic Garnkiny doo Wardal (moon and star) by Mabel Juli. Warmun Art Centre is owned and governed by Gija people. The Art Centre has always had as a primary goal the conservation of culturally and socially significant objects and knowledge systems and has fostered the production of art as a powerful means of cultural continuity, transmission and innovation. Gija artists continue to hold a place among the nation’s leading contemporary practitioners. Their work is exhibited and held in important collections internationally and locally in the Country’s flagship art institutions such as the Art Gallery of Western Australia, Art Gallery of New South Wales, the National Gallery of Australia and National Gallery of Victoria as well as the Country’s top commercial galleries. Disclaimer: Lander & Rogers advises that this guide contains images or names of deceased Aboriginal and Torres Strait Islander people. Profiles, descriptions and images are courtesy of Warmun Art Centre. Front Cover: Images left to right: Patrick Mung Mung at Warmun Art Centre. 2 x Detail, artwork in progress, natural ochre and pigments on canvas. Phyllis Thomas at Warmun Art Centre. Ariel view near Warmun. -
Art Gallery of New South Wales Annual Report 2003 Table of Contents
ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2003 TABLE OF CONTENTS TRANSMISSION LETTER TO PREMIER INSIDE FRONT COVER PLEDGE OF SERVICE TO OUR VISITORS 1 OUR VISION; WHO WE ARE; WHAT WE DO 1 YEAR IN BRIEF 2 BUSINESS ANALYSIS 4 PRESIDENT’S FOREWORD 5 DIRECTOR’S STATEMENT 6 BUILDING EXTENSION PROJECT 10 YEAR IN REVIEW 14 PERFORMANCE – STRATEGIC PLAN AND OUTCOMES 36 CORPORATE GOVERNANCE 40 FINANCIAL STATEMENTS 52 APPENDICES 74 INDEX 100 GENERAL INFORMATION INSIDE BACK COVER Bob Carr MP Premier and Minister for the Arts Parliament House Macquarie Street SYDNEY NSW 2000 Dear Premier, It is our pleasure to forward to you for presentation to the New South Wales Parliament the Annual Report for the Art Gallery of New South Wales for the year ended 30th June 2003. This report has been prepared in accordance with the provisions of the Annual Reports (Statutory Bodies) Act and the Annual Reports (Statutory Bodies) Regulations. Yours sincerely, David Gonski Edmund Capon President Director 25 October, 2003 GENERAL INFORMATION ACCESS EXHIBITIONS / EVENT PHOTOGRAPHY CONTACT INFORMATION The Art Gallery opens every day INFORMATION Photography of the Gallery’s permanent Physical and postal address: except Easter Friday and Christmas The free tri-monthly publication, collection, with the exception of works Art Gallery of New South Wales Day between the hours of 10am and exhibitions/events, is available from in the Yiribana gallery, is allowed by Art Gallery Road 5pm. General admission is free. Entry the Gallery. This booklet details current members of the public providing no The Domain NSW 2000 fees may apply to a limited number of exhibitions, public programmes events flash or tripods are used. -
State Living Treasures 2015.Pdf
Western Australian State Living Treasures 2015 Department of Culture and the Arts Gordon Stephenson House 140 William Street Perth WA 6000 Telephone: +61 8 6552 7300 Toll Free (country WA callers only): 1800 199 090 TTY users phone 133 677 then ask for 08 6552 7300 Speak and Listen users phone 1300 555 727 then ask for 08 6552 7300 Internet relay users connect to the NRS www.iprelay.com.au/call/index.aspx then ask for 08 6552 7300 Email: [email protected] Website: www.dca.wa.gov.au About DCA The Department of Culture and the Arts (DCA) guides the delivery of culture and arts for Western Australia through the provision of policy development, coordination and support services to the Culture and Arts portfolio. DCA also supports the culture and the arts sector. This publication is current at October 2015 © Department of Culture and the Arts WA. All rights reserved. WESTERN AUSTRALIAN STATE LIVING TREASURES 2015 Western Australian State Living Treasures 2015 Faith Clayton Chrissie Parrott Stephanie Coleman Herbert Pinter Robert Drewe Nalda Searles Pippin Drysdale Lew Smith Alan Griffiths Miriam Stannage Joan London Dr Richard Walley Dr Mary McLean Dave Warner Noriko Nishimoto 1 WESTERN AUSTRALIAN STATE LIVING TREASURES 2015 About the State Living Treasures Awards The Western Australian State Living 2015 AWARD RECIPIENTS 2015 AWARDS PANEL Treasures Awards were inaugurated in 1998 to honour senior West The 2015 State Living Treasures The panel consisted of: Australian artists who have made a Award recipients were chosen from Mr Duncan Ord (Chair) – Director lifelong contribution to their art form across art forms, including visual art, General, Department of Culture and and their community. -
New Writing from Western Australia Fiction Poetry Essays Reviews In
Volume 61 Number 1, 2016 New Writing from In this Issue 61.1 Since 1956, Westerly has been publishing 61.1 Western Australia Kim Scott new writing from Western Australia. Fiction Tara June Winch Poetry Melissa Lucashenko Essays Bruce Pascoe & Reviews Wayne Barker Front cover image Bella Kelly, Untitled (Christmas Trees), c. mid 1960s. Watercolour and gouache on paper (33.5 x 44cm). Collection of Jean Burges. © Estate of the artist. ‘Both Hands Full’ Kim Scott I know an old man who likes to sit beside a little fire in his suburban backyard, little flames flickering brightly and tendrils of smoke almost invisible in the shade. It’s a small fire and strong winds flatten its tongues close to the earth, insisting they lie down. Of course they spring up again the instant the wind abates. With writing and ideas from Tara June Winch, Melissa Lucashenko, Bruce Pascoe, Wayne Barker, Pat Lowe, Brenda L. Croft, Cheryl Kickett-Tucker, MaryAnn Bin-Sallik, Edwin Lee Mulligan, Jacquie Wright, Dalisa Pigram, Clint Bracknell, Sandy Tousaint and Elfie Shiosaki ISBN 978-0-9873180-4-6 ISBN 978-0-9873180-4-6 61.1 9 780987 318091 AU$24.95, postage included (within Aus) www.westerlymag.com.au/shop9 780987 318091 ‘Remembering Artists’ Paul Collis ‘I sometimes imagine them old fullas with me when I see something clever or funny, nudging me in the side and whispering, “See that?” ’ Westerly acknowledges all Aboriginal and Torres Strait Islander peoples as First Australians, celebrating their culture, history, diversity and deep connection to the land. We celebrate the continuous living cultures of Indigenous people and their vital contributions within Australian society.