MS 49 Papers of the Print Council of Australia Australian Prints and Printmaking Collection
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Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum
Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum Author Douglas, Craig Cameron Published 2005 Thesis Type Thesis (PhD Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/2966 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365856 Griffith Research Online https://research-repository.griffith.edu.au Thesis title: CULTIVATING THE [NEW] COUNTRY: DISCLOSING THROUGH CURATORSHIP THE CULTURAL AND ECONOMIC DEVELOPMENT POTENTIAL OF THE AUSTRALIAN REGIONAL ART MUSEUM. Craig Cameron Douglas MA (Arts Admin) City University London, BA University of Queensland, Grad Dip (Special Ed) Griffith University Queensland College of Art, Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 11 March 2005 1 SYNOPSIS This study utilising a “theory into practice” methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions. 2 THESIS CONSTRUCTION: This doctoral study is comprised of five (5) interrelated parts and should be read in the following sequence: Part 1: The written thesis Part 2: The DVD / CD (Chapter 7, the final chapter of the thesis) that contains: • User instructions and Introduction • A four- minute audiovisual presentation on curatorship titled: The Art of Exhibiting Ideas. • A 35- minute audiovisual documentary exploring the exhibition Pride of Place: the CS Energy Gift & City of Ipswich Collection This exhibition was shown at Global Arts Link Ipswich from 23 July - 29 August 1999. -
FEM-Affinity Exhibition Publication Online PDF Here
1 — FEM—aFFINITY — 2 FEM—aFFINITY Fulli Andrinopoulos / Jane Trengove Dorothy Berry / Jill Orr Wendy Dawson / Helga Groves Bronwyn Hack / Heather Shimmen Eden Menta / Janelle Low Lisa Reid / Yvette Coppersmith Cathy Staughton / Prudence Flint A NETS Victoria & Arts Project Australia touring exhibition, curated by Catherine Bell Cover Prudence Flint Feed 2019 oil on linen 105 × 90 cm Courtesy of the artist, represented by Australian Galleries, Melbourne BacK Cover Eden Menta & Janelle Low Eden and the Gorge 2019 inkjet print, ed. 1/5 100 × 80 cm Courtesy of the artists; Eden Menta is represented by Arts Project Australia, Melbourne — Co-published by: National Exhibitions Touring Support Victoria c/- The Ian Potter Centre: NGV Australia Federation Square PO Box 7259 Melbourne Vic 8004 netsvictoria.org.au and Arts Project Australia 24 High Street Northcote Vic 3070 artsproject.org.au — Design: Liz Cox, studiomono.co Copyediting & proofreading: Clare Williamson Printer: Ellikon Edition: 1000 ISBN: 978-0-6486691-0-4 Images © the artists 2019. Text © the authors, NETS Victoria and Arts Project Australia 2019. The views and opinions expressed here are those of the authors. No material, whether written or photographic, may be reproduced without the permission of the artists, authors, NETS Victoria and Arts Project Australia. Every effort has been made to ensure that any text and images in this publication have been reproduced with the permission of the artists or the appropriate authorities, wherever it is possible. 3 — Lisa Reid Not titled 2019 -
37 48' Project Outline
• 37° 48ʹ S: artists navigate MELBOURNE is an exciting and provocative visual art project exploring the cultural diversity of contemporary Australia as exemplified by life in Melbourne. Street-art practices and traditional printmaking techniques are on an equal footing as twelve diverse, exceptional Melbourne artists consider the cultural, natural and built environments of their city. • The twelve 37° 48ʹ S: artists navigate MELBOURNE project artists are: Angela Cavalieri, Bindi Cole, Carmel Wallace, Cat Poljski, Debra Luccio, Eolo Paul Bottaro, Heather Shimmen, Regan Tamanui aka HA! HA! Judy Holding, Marco Luccio, Rona Green, Rone • A new network of artists whose work collectively presents a unique perspective of life in Melbourne will be established. • The large format, limited edition suite of prints created by these twelve artists will be previewed in Melbourne before journeying to New York where it will join a complementary body of work created by the New York Society of Etchers in response to their city. The resulting dialogue will highlight similarities, differences and crosscurrents between the two cities of Melbourne and New York. Exhibitions will follow in other cities. 37° 48′ S: artists navigate MELBOURNE is a visual art project co-curated by artist, writer and curator, Dr Carmel Wallace, and Dianna Gold, an independent curator, arts consultant and former Director of Gallery 101 (a leading gallery in Melbourne from 1989 until 2010). In 2004, at the invitation of the New York Society of Etchers, Dianna and Carmel co-curated the exhibition Surface Tension: Twenty-One Contemporary Australian Printmakers and successfully presented this exhibition at the National Arts Club, Gramercy Park, Manhattan as part of a major cultural exchange. -
Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
Art Almanac April 2018 $6
Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
Albert Tucker: the Futile City Albert And
Albert Tucker: The Futile City 25 June to 9 October 2011 Albert and Barbara Tucker Gallery Curators: Lesley Harding and Jason Smith Albert Tucker The Futile City 1940 oil on cardboard 44.5 x 54.5 cm Heide Museum of Modern Art Purchased from John and Sunday Reed 1980 The Futile City derives its theme from Albert Robert Boynes, Louise Forthun, Richard Giblett Tucker’s iconic 1940 painting of the same title and Jeffrey Smart each use imagery of the city in Heide’s Collection. The exhibition juxtaposes as a means to examine aspects of the human images of the city painted by Tucker over his condition and the rituals of urban existence, lifetime with those by several contemporary and to suggest the place and power (or power- artists for whom the city and its structures lessness) of the individual in the city’s physical, provide rich and complex source material. political and social structures. Inspired by T.S. Eliot’s elegiac poem ‘The Waste Other artists like Susan Norrie and David Jolly Land’ (1922), which is both a lament and search invoke some of the unpredictable psychic states for redemption of the human soul, Tucker’s The to which the claustrophobia and dystopia of Futile City reflects a mood of personal despair the city give rise. Teasing out tensions between and anxiety in the face of the realities and social private and public domains, reality and fantasy, crisis of World War II. Tucker recognised in Eliot and the vulnerability and intimacy of the a ‘twin soul’ who painted with words images of body and mind, their images present stark horror, futility and prophecies of doom, to all of counterpoints to the immensity of the urban which Tucker had a heightened sensitivity. -
Shimmen Full CV 2019
HEATHER SHIMMEN Born 1957, Melbourne 78. BA Fine Art (Painting), RMIT, Melbourne 2010 Artists in residence, RMIT, Melbourne , Vic 2013 Artist in residence, The Art Vault, Mildura, VIC SOLO EXHIBITIONS 2019. ‘Ladies of the Pleiades’, Sale Regional Gallery, Sale 2017. 'Time Warps',Australian Galleries,Melbourne 2014. 'Insectivoria', Australian Galleries, Melbourne 2011. ‘The Swamp Maidens Tale’, Australian Galleries, Smith Street, Melbourne 2008. ‘Betwixt’, Gallery 101, Melbourne 2006 ‘I Dreamt I Dwelt in Marble Halls’, Stonnington Stables Museum of Art, Deakin University, Melbourne ‘Whispers’ Adele Boag Gallery, Adelaide 2005 ‘Figment, Fragment’, Gallery 101, Melbourne 2002 ‘Things That Float In The Air’, Joshua McClelland Print Room, Melbourne 1999. ‘The Sutured Heart’, Bulle Gallery, Melbourne 1997. ‘The Invisible Hand of the Future’, Lyall Burton Gallery, Melbourne 1996. Lyall Burton Gallery, Melbourne Adelaide Central Gallery, Adelaide 1993 Adelaide Central Gallery, Adelaide Lyall Burton Gallery, Melbourne 1991. Realities Gallery, Melbourne 1990. Realities Gallery, Melbourne 1986. Realities Gallery, Melbourne 1984 Bitumen River Gallery, Canberra 1983. Anthill Theatre, Melbourne 1982. Drummond Street Gallery, Melbourne GROUP EXHIBITION 2020. ‘Let All the Birds Fly- the hybrid print’,Maitland Regional Galleries,NSW ‘Fem -aFfinity’, Devonport Regional Art Gallery Tas Benalla Art GalleryVic Noosa Regional Art Gallery Qld Horsham Regional Art Gallery Vic Bunjil Place Gallery Vic Riddoch Art GallerySA 2019 ‘Paper Made’, Australian Galleries, Melbourne ‘Fem-aFfinity’, Arts Project, Melbourne ‘Beyond the Veil’,Art for the World Gallery, Cannaregio, Biennale de Venetzia, Venice,Italy ‘Beyond the Veil’,Memoire de L’Avenir Espace cultures pluridisciplinairl, Paris, France ‘2019 Ulsan International Woodcut Biennale’ South Korea ‘Round About’ Gecko Gallery, Fish Creek,VIC ‘Sydney Contemporary Art Fair’Sydney,NSW ‘Art Meets Nature’,WAMA, Sofitel,Melbourne ‘A Fine Line’, Bright Space, Melbourne 2018. -
Library Board of Victoria Annual Report 2016
Library Board of Victoria Victoria Library of Board Library Board of Victoria Annual Report 2016–17 Annual ReportAnnual 2016–17 Library Board of Victoria Annual Report 2016–17 Published by State Library Victoria 328 Swanston Street Melbourne VIC 3000 Australia Also published on slv.vic.gov.au © State Library Victoria 2017 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Authorised by the Victorian Government 328 Swanston Street Melbourne VIC 3000 Australia Typeset by Cannon Typesetting Cover photograph: The night garden, illumination created by Nick Azidis, Lisa Greenaway and Rose Staff for White Night Melbourne 2017. Photograph by James Braund. Contents 2 President’s report 4 Chief Executive Officer’s year in review 6 Vision and values 7 Report of operations 22 Financial summary 24 2016–17 key performance indicators 25 Service Agreement with the Minister for Creative Industries 26 Output framework 28 Acquisitions statistics 29 Library Board and corporate governance 33 Library Executive 34 Organisational structure 35 Occupational health and safety 37 Public sector values and employment principles 38 Statement of workforce data and merit and equity 40 Environmental performance 42 Diversity and Social Inclusion Plan 43 Freedom of information 44 Protected Disclosure Act 2012 44 Compliance with the Building Act 1993 45 Victorian Industry Participation Policy 45 National Competition Policy 46 Government advertising expenditure 46 Major contracts 47 Consultancies 48 Financial information 49 Risk attestation Financial statements 51 Auditor-General’s report 53 Library Board of Victoria letter 54 Financial report for year ended 30 June 2017 59 Notes to the financial statements 105 Disclosure index President’s report I am pleased to present my sixth report as the donated $2 million to establish Start Space, a new President of the Library Board of Victoria. -
James Turrell's Skyspace Robert Dowling Life, Death
HANS HEYSEN ROBERT DOWLING ROBERT LIFE, DEATH AND MAGIC AND MAGIC LIFE, DEATH JAMES TURRELL’S SKYSPACE SKYSPACE TURRELL’S JAMES ISSUE 62 • winter 2010 artonview ISSUE 62 • WINTER 2010 NATIONAL GALLERY OF AUSTRALIA The National Gallery of Australia is an Australian Government Agency Issue 62, winter 2010 published quarterly by 3 Director’s foreword National Gallery of Australia GPO Box 1150 exhibitions and displays Canberra ACT 2601 nga.gov.au 6 Robert Dowling: Tasmanian son of Empire ISSN 1323-4552 Anne Gray Print Post Approved 10 Life, death and magic: 2000 years of Southeast Asian pp255003/00078 ancestral art © National Gallery of Australia 2010 Copyright for reproductions of artworks is Robyn Maxwell held by the artists or their estates. Apart from 16 Hans Heysen uses permitted under the Copyright Act 1968, no part of artonview may be reproduced, Anne Gray transmitted or copied without the prior permission of the National Gallery of Australia. 20 Portraits from India 1850s–1950s Enquiries about permissions should be made in Anne O’Hehir writing to the Rights and Permissions Officer. 22 In the Japanese manner: Australian prints 1900–1940 The opinions expressed in artonview are not necessarily those of the editor or publisher. Emma Colton Produced the National Gallery of Australia Publishing Department: acquisitions editor Eric Meredith 26 James Turrell Skyspace designer Kristin Thomas Lucina Ward photography Eleni Kypridis, Barry Le Lievre, Brenton McGeachie, Steve Nebauer, 28 Theo van Doesburg Space-time construction #3 David Pang, -
Robert Boynes
ROBERT BOYNES Robert Boynes is a consummate master of both technique and observation. Consisting largely of studies of the human figure located within unspecified urban environments, his work focuses on the anonymity of much contemporary social interaction. A series of dots on a wall in Fremantle was the catalyst for recent works as he continues to explore the sounds, codes and cultural bonds found in our shared spaces and streetscapes. Rather than taking a moral perspective on this condition, Robert consciously maintains a critical distance from his subjects. As a result, his images incorporate a multiplicity of references to cinema, televised news coverage and closed circuit TV footage. Robert transposes this raw material into exhilarating paintings which remind us that modernity is an amalgam of the impersonal and the intimate. Images are screened onto the surface of the canvas before acrylic paint is applied and washed back, revealing hidden forms and colours. These paintings stay with us as flashes of memory, like rapid bursts of light that resonate after the eyes are closed. Peter Haynes, art consultant, critic and former Director of the Canberra Museum and Gallery, writes of Boynes’ work: “Robert is a painter of ideas. He constantly scrutinises his world – poetry, pictures, politics, sex, the attitudes of people and the auras those people carry within themselves – in order to decipher the cryptogram that is this world. That he has found a deeply compatible visual language to give voice to his scrutinies places him at the forefront of Australian art.” Born in Adelaide, Robert studied at the South Australian School of Art in the early 1960s and began teaching in 1964. -
Annual Report 2010–11
ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 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.