DOCSLIB.ORG

ABSOLUTELY Press Kit Aug 25

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ABSOLUTELY Press Kit Aug 25 1 ABSOLUTELY MODERN A NEW Film BY PHILIPPE MORA “Modern paintings are like women, you'll never enjoy them if you try to understand them.” Freddie Mercury PRESS KIT Inquiries: morafilms@ gmail.com https://www.facebook.com/pages/Absolutely- Modern/429822753746917 2 ABSOLUTELY MODERN is "Absolutely funny, fresh and thought- provoking. Philippe Mora at his best." Piotr Czerkawski, Film Critic Wroclaw “..there is a genuine heart and soul to the film that is something of a passion project for Mora.” Laurence Boyce Screen Daily “The creation here (of Lord Steinway) is definitely a masterpiece.” Anna Tatarska FRED Radio, The Festival Insider “Mora’s films break all conventions, combine different styles and are nearly always saturated with rebellious, surrealistic humor.” Adam Kruk Film Critic, New Horizons “Mora tells perhaps one of his most personal stories to date as he examines art and modernism. Mora, who casual fans would most likely know from such films as Communion and cult classic The Return of Captain Invincible, unsurprisingly does not tell the tale with any regard for the norms of convention..” Screen International “Philippe Mora…French Australian director legend.” Der Spiegel May 2013 3 SYNOPSIS OF THE FILM This story of Modernism, muses and the role of sexuality in art are told by famed art critic Lord Steinway. When a soccer player, confronts Steinway as his son, the story takes a modernist twist itself. This comedy hit at the 2013 New Horizons International Film Festival takes the form of a hybrid of fact and fiction about Lord Steinway, the “Method” art critic, making his television show THE EPIC OF CIVILIZATION. Obsessed with the role of the female muse in art for Degas, Lautrec and others, he now focuses on a famous Australian muse, Sunday Reed and her ménage a trois with her husband John and her young protégé Sidney Nolan. Under their patronage Nolan produces the most famous series of Australian paintings based around Ned Kelly, an iconic outlaw, also the subject of the first feature film ever made (1907). The story becomes dramatic when Nolan decides to leave the ménage after 10 years. Steinway uses his own directed “re-enactments” to highlight these moments. Sunday adopts a child, Sweeney, who grows up without his real father. The multi-layered story takes a startling turn when reality intrudes into Steinway’s musings with the discovery and arrival of his lost son, Jack, 29. He reveals he was born in Suriname and has tracked down his father. The two bond by teaching each other about their respective interests art, and for the son, soccer. As Steinway explains, art and life have now become so intertwined he sometimes can’t tell the difference. 4 CAST AND CREW Hard Drive Pictures Presents A Philippe Mora Film ABSOLUTELY MODERN Dedicated to Sweeney Reed THE PLAYERS Jack Steinway Mario Melchiot Lord Steinway Philippe Mora Regina Uber Muse Rena Riffel Ern Malley Austen Tayshus Faux John Reed Brad Wilson Mirka Mora Herself William Mora Himself The Real Ern Malley Tiriel Mora Rafaella Fano Anni Blackhurst Helene Absinthe Eleni Symeonides Koko Lautrec Anna Rosh Jacqueline Provence Anna De Nicola Young Nolan Georges Mora Jack’s mother Anna Taquila Mockingbird Winston Churchill John Apicella Noel Coward John Jack Rodgers Flaming June Sonia Alexandria Suriname Dancer Madeleine Mora Flashback Dancer Alexia Du Basso Directed by Philippe Mora Producers Philippe Mora Pamela Mora Script by Philippe Mora 5 Additional dialogue by the cast Production Design Ken St. Kilda Original music by Adrian Konarski Harald Grosskopf Churchill and Coward sing from “The Sound of Spying.” Lyrics by Philippe Mora Music by Adrian Konarski Sung by Michael Straker Additional vocalizations Marek Balata Music by Adrian Konarski Co Producer Kristina Ivanova Cinematography by Bruno Pheasantry Editor Kristina Ivanova Associate Producer Carlos Gonzalez Original artwork Philippe Mora Thanks to the following for help, permissions and/or inspiration in the making of this work: Mirka Mora, Jasmine O’Donnell, G.R Lansell, Barry Krost, Michael Blaha, Los Angeles County Museum of Art, Heide Museum of Modern Art of Australia, National Film and Sound Archive of Australia, Stella Adler Academy of Acting, Hollywood, Steve Saragossi, Jewish Film Foundation of Australia, William Mora Galleries, Melbourne, Clayton Watson, Mora Family Collection, Mora Papers Film and Sound Collection, Griffiths Park 6 Observatory, Los Angeles, City of Los Angeles, City of Melbourne, Film Victoria, Barbara Tucker, Pablo Picasso, Sidney Nolan, Albert Tucker, Orson Welles, Gary Grossman, Michael Heizer for Levitated Mass, Seward Johnson for Forever Marilyn, Toulouse Lautrec, Marcel Duchamp, Edgar Degas, Luis Bunuel, Joy Hester, Eric Clapton, Arthur Rimbaud, John Jack Rodgers, Antonio Vivaldi Filmed on Location in Melbourne, Los Angeles and around the world. A Riff On History Production. Copyright © 2013 Philippe Mora All Rights Reserved. WRITER/DIRECTOR PHILIPPE MORA BIO Based in West Hollywood, Philippe Mora is an acclaimed French Australian writer, director, actor and artist. He has made over thirty films internationally in all genres, which makes him hard to categorize. He has made documentaries used in universities internationally. Simultaneously his cult films still delight fans around the world. He has filmed dramas, science fiction and historical films, including BROTHER CAN YOU SPARE A DIME, SWASTIKA, COMMUNION, SNIDE AND PREJUDICE, THE GERTRUDE STEIN MYSTERY OR SOME LIKE IT ART, THE RETURN OF CAPTAIN SINVINCIBLE, HOWLING 2 & 3, GERMAN SONS, CONTINUITY and DEATH OF A SOLDIER. Born in Paris in 1949, he grew up in Melbourne, where he was one of the pioneers of the modern Australian film industry with MAD DOG MORGAN, and he started the magazine Cinema Papers. His parents, Georges and Mirka Mora, were key figures in the Modernist art world of Australia. His godfather was mime Marcel Marceau. He had a retrospective of his artwork showing in London at England & Co. Gallery in 2008, opened by Eric Clapton. New Horizons Film Festival, Wroclaw, held a 7 film retrospective in 2010 7 and he has been returning ever since with deep family links to the city. His stories for the Sydney Morning Herald on FBI files received worldwide attention. He is a member of the Directors Guild of America and the Academy of Motion Picture Arts and Sciences. His art and films are represented in museums and archives internationally, and the National Archives of the United States has established the Philippe Mora Collection. The National Film Archives of Australia has an extensive collection of his work. He has completed his film on Modernism, ABSOLUTELY MODERN. He is working on a Dali inspired film; THE SURREALIST. His graphic non- fiction book, SIXTIES APOCALYPSE, was recently published on Amazon.com. Archivists were recently surprised to find he made the first film for the Internet in 1996, a version of Shakespeare’s Richard III. Apple interviewed him at the time regarding the future of the Internet. He lives in Los Angeles with his wife, Pamela and three children. He is currently filming his musical about the Cold War with Polish composer Adrian Konarski, THE SOUND OF SPYING. ADDITIONAL BACKGROUND LINKS There are many related links to the historical story of Australian modernists, and to the cast and the filmmakers. These are some useful highlights: https://www.facebook.com/pages/Absolutely- Modern/429822753746917 http://www.imdb.com/title/tt2164404/fullcredits?ref_=tt_cl_sm#ca st http://en.wikipedia.org/wiki/Philippe_Mora 8 http://www.theage.com.au/articles/2002/03/18/101590992327 4.html http://www.imdb.com/name/nm1596281/ http://en.wikipedia.org/wiki/Rena_Riffel http://en.wikipedia.org/wiki/Mirka_Mora http://www.squidoo.com/sundayreed?utm_source=google&utm_m edium=imgres&utm_campaign=framebuster http://www.abc.net.au/classic/content/2013/05/07/3750015.ht m http://en.wikipedia.org/wiki/Sunday_Reed http://en.wikipedia.org/wiki/Mario_Melchiot http://en.wikipedia.org/wiki/Austen_Tayshus http://en.wikipedia.org/wiki/Tiriel_Mora http://www.abc.net.au/dynasties/txt/s1518726.htm http://en.wikipedia.org/wiki/The_Story_of_the_Kelly_Gang http://en.wikipedia.org/wiki/John_Reed_(art_patron) http://www.adriankonarski.com/ http://www.moragalleries.com.au/ 9 7 FAQ 1. Is the story of the Australian artists and patrons that Lord Steinway explores true? Yes, this was a famous ménage a trois that changed modern art history in Australia. 2. Is it true that writer director Philippe Mora knew these people as a child? Yes, his family was close friends with the Reeds and his parents Georges and Mirka Mora were instrumental in creating the Museum of Modern Art of Australia with the Reeds. Sweeney Reed, their adopted son from artists Joy Hester and Albert Tucker, was best friends with Philippe and William Mora. 3. Was Ned Kelly a real person? Ned Kelly, a bushranger, (June 1854 or 1855 – 11 November 1880) is a real historical figure in Australian history, and has mythical and legendary significance as an anti-Colonial and anti- establishment outlaw. The first feature film ever made in 1906 was about him, The Story of the Kelly Gang. His life has captured the imagination of Australians for over a century. The Reeds encouraged Nolan to paint about him in the 1940’s. One of Nolan’s portraits of him sold for nearly $5 million dollars in 2010. SEE: http://news.bbc.co.uk/2/hi/asia-pacific/8588377.stm 4. How did Mora end up casting former soccer star Mario Melchiot as a lead? He was introduced to Melchiot by a dialogue coach in Hollywood and Mora took an immediate liking to him. He wanted to be an actor and Mora recognized his natural charm and charisma, and decided to cast him. Mora, who has directed actors including Alan 10 Arkin, Christopher Lee, Dennis Hopper and Christopher Walken enjoys introducing new talent, and experimenting with acting techniques.
Load more

Recommended publications
  • 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.
    [Show full text]
  • A Dark New World : Anatomy of Australian Horror Films
    A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream.
    [Show full text]
  • Sabine Cotte Education Professional Experience
    Sabine Cotte Paintings Conservation 31, Niagara Lane Melbourne Vic 3000 M: 04 02 843 543 E: [email protected] W: www.sabinecotte.com Nationalities: French and Australian. Arrived in Australia in 2001. Since 1990, works for mu- seums, galleries and private collectors in France, Australia and the Himalayas. Cultural Conservation Expert for UNESCO since 1997, focus on South East Asia Honorary fellow, University of Melbourne, Faculty of Arts, Grimwade Centre for Cultural Ma- terials Conservation Education 2017 PhD Arts, ‘Art in the making: Mirka Mora’s techniques and materials and their meaning in conservation’ University of Melbourne. 2011 Masters by Research. ‘Tibetan paintings in Australia: conservation of a living heritage’ University of Melbourne (First Class Honours) 1994 Certificate in Mural Paintings Conservation International Centre for the Preser- vation of Cultural Property in Rome (ICCROM) 1986-1990 Masters in Conservation and Restoration Institut National du Patrimoine (INP- IFROA) Paris. Easel painting conservation (High Distinction, Congratulations of the jury) 1982-1986 Honours Bachelor in Fine Arts, Ecole Nationale des Beaux-Arts, Paris, Screen- printing and Lithography (High Distinction). 1982-1986 Honours Bachelor in Art History. University of Paris I, History of Art and Ar- chaeology Professional experience Collaboration with contemporary artists Consultation with the artists, research and documentation of methods and materials. Work with Mirka Mora, Lara Merrett, David Keeling, Peter Booth, Paul Boston and Philip Wolf- hagen, Daniel Buren, Jean Pierre Raynaud, Pierre Soulages and Christian Boltanski. Survey of collections and condition reports Documentation, risk assessment, prioritisation of needs, preventive conservation recommen- dations and planning, condition assessment. Clients include museums, auction houses and art dealers.
    [Show full text]
  • Academy Initial Study for Reuse, May 24, 2013
    INITIAL STUDY ACADEMY MUSEUM OF MOTION PICTURES PROJECT CITY OF LOS ANGELES, CALIFORNIA MAY 2013 INITIAL STUDY ACADEMY MUSEUM OF MOTION PICTURES PROJECT CITY OF LOS ANGELES, CALIFORNIA Prepared for: City of Los Angeles Planning Department 200 N. Spring Street, Room 721 Los Angeles, CA 90012 Prepared by: PCR Services Corporation 201 Santa Monica Boulevard Suite 500 Santa Monica, CA 90401 MAY 2013 Table of Contents Page ENVIRONMENTAL CHECKLIST ATTACHMENT A ‐ PROJECT DESCRIPTION ................................................................................................................ A‐1 A. Introduction ........................................................................................................................................................................ A‐1 B. Project Location and Surrounding Uses .................................................................................................................. A‐2 C. Project Background and Existing Conditions ........................................................................................................ A‐5 D. Description of the Project .............................................................................................................................................. A‐7 E. Anticipated Project Approvals .................................................................................................................................. A‐19 ATTACHMENT B: EXPLANATION OF CHECKLIST DETERMINATIONS ............................................................
    [Show full text]
  • Thesis Title
    Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art.
    [Show full text]
  • Sidney Nolan's Ned Kelly
    Sidney Nolan's Ned Kelly The Ned Kelly paintings in the National Gallery of Australia With essays by Murray Bail and Andrew Sayers City Gallery_JWELLINGTON australia Te \Vliare Toi ■ national gallery of 7 © National Gallery of Australia 2002 Cataloguing-in-publication data This publication accompanies the exhibition Copyright of texts remains SIDNEY NOLAN'S NED KELLY SERIES with the authors Nolan, Sidney, Sir, 1917-1992. City Gallery Wellington, New Zealand Sidney Nolan's Ned Kelly: the Ned Kelly 22 February-19 May 2002 All rights reserved. No part of this publication paintings in the National Gallery of Australia. Part of the New Zealand Festival 2002 may be reproduced or transmitted in any form or by any means, electronic or Bibliography. mechanical, including photocopying, ISBN O 642 54195 7. Presented by recording or any information storage and retrieval system, without permission 1. Kelly, Ned, 1855-1880 - Portraits - Exhibitions. in writing from the publisher. 2. Nolan, Sidney, Sir, 1917-1992 - Exhibitions. EllERNST & YOUNG 3. National Gallery of Australia - Exhibitions. Co-published by the 4. Painting, Modern - 20th century - National Gallery of Australia, Canberra Australia - Exhibitions. 5. Painting, RUSSELL M�VEAGH and City Gallery Wellington, New Zealand Australian - 20th century - Exhibitions. I. Bail, Murray, 1941- . II. Sayers, Andrew. Produced by the Publications Department III. National Gallery of Australia. IV. Title. of the National Gallery of Australia Tele�erm NEW ZEALAND Designer Kirsty Morrison 759.994 Editor Karen
    [Show full text]
  • John ASHBERY, Poet (1927–2017)
    XXXXX SIZE: 170x170 Cuneiform tablet c. 2050 BCE Southern Mesopotamia (modern-day Iraq) RARES 099 C89 Cuneiform writing, developed by the ancient culture of Sumer, was one of the world’s first scripts. It was written on clay tablets using a wedged stick (cunea is Latin for ‘wedge’); the tablets were then sun-dried or fired. The earliest tablets (c. 3400 BCE) record economic transactions. This tablet records taxes paid in sheep and goats in the tenth month of the 46th year of Shulgi, second king of the Third Dynasty of Ur. BOOKS AND IDEAS ‘[T]he book is an extension of the eye …’ Marshall McLuha n The history of ideas is mirrored in the history of the book. Books have altered the course of history itself, through the dissemination of ideas that have changed how we think about the world and ourselves. In many cultures across different eras, books have played a highly symbolic and iconic role. There was a time when it was thought that the world’s knowledge could be collected between the covers of a book. The information explosion of recent times now makes it impossible to contain the world’s knowledge within one library, let alone in one book, yet books continue to be a powerful means of informing and inspiring new generations. XXXXX SIZE: 170x170 Leaf from an antiphonal showing the Office for Pope Gregory the Great England (?), c. 1400 Gift of Meredith Sherlock RAREP 782.324 C2862O CASE: XX SIZE: 150x 150 Claudius PTOLEMY (c. 100–170 CE) Ptolomaeus Almagestus (Ptolemy’s Greatest Work) Translated from Arabic into Latin by Gerardus Cremonensis Northern Italy, 1200–25 RARES 091 P95A Greek-born scholar Claudius Ptolemy lived in Roman-ruled Egypt, contributing significantly in the fields of philosophy, astronomy, mathematics and geography.
    [Show full text]
  • What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
    What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]
  • Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
    HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting.
    [Show full text]
  • Modern Love: the Lives of John and Sunday Reed Pdf Free Download
    MODERN LOVE: THE LIVES OF JOHN AND SUNDAY REED PDF, EPUB, EBOOK Lesley Harding,Kendrah Morgan | 304 pages | 23 Sep 2015 | Melbourne University Press | 9780522862812 | English | Carlton, Australia Modern Love: The Lives of John and Sunday Reed PDF Book Filming and photography. Oct 13, Elaine rated it really liked it. Modern Love is about much more than just the Reeds and Sidney Nolan. This authorly bar-owner of Heartattack and Vine, near Readings in Carlton had the honour of having this, her first book, published by Affirm Press' new fiction list. Perhaps no one is better placed to write this illustrated tribute to the Reeds and company than Harding and Morgan. Added are some of the seminal works of art of the period. The contribution the Reeds made to Australian art, just as it was rediscovering its own uniqueness, was astronomical and fully examined here. Nov 20, Pauline Carrafa rated it it was amazing. Later a federal Member of Parliament, at the time he was on the Bench of the High Court of Australia — the youngest justice ever appointed. Ms Bitto's follow-up will be eagerly anticipated. I don't think I have read of so may suicides in one connected group of friends and family, it was very distressing but understandable - they were such passionate people throughout their lives so went out the same way. A solicitor with alternative views, John was strikingly handsome, with an aristocratic bearing and a calm disposition. With public gathering restricted during the Covid pandemic, we're keeping you connected with good conversation and meaningful ideas at home.
    [Show full text]
  • 101 Collins Newsletter Summer 2008
    Summer 2008 Christmas Competitions The Age Of Turbulence - Alan Greenspan Our Neighbour - The Grand Hyatt Proustian Interview - John Curtis Freehills Get Over It And Get On With It- David Williams Is Architecture Art From the Inside Peter Calwell ince the last edition of the 101 Magazine ongoing and it has given us much confidence GM 101 there have been two art exhibitions held that there will be a significant commitment within the ground floor foyer of the building from building tenants to the pursuit of both of which were very successful. Firstly, sustainability in general and to the specific in August the exhibition by Japanese sculptor programs that have been, and will be, imple- facilities is due for completion in early De- Takahiro Kondo and secondly, the exhibition mented by 101 Collins Street. cember 2008. The completion of this project in September by Yarramunua one of Austral- It is also pleasing that the Tenant Sustain- represents a significant increase in our bike ia’s most prominent indigenous artists. ability Performance Survey has now been storage capacity and I feel sure that all tenants The feedback following both of these released and is accessible via our web site. will be very pleased with the high quality of exhibitions was very positive and as always This survey is open to all those who work the shower/bathroom facilities that will soon commentary from tenants concerning these at 101 Collins Street and I would encourage be available. events is very welcome. everyone to participate. As in past years 101 Collins Street will be Fashion week also came to 101 Collins Aside from assisting us to understand supporting the Anglicare Christmas Appeal Street on 1 September 2008 and once again more fully how tenants within the building and will be purchasing toys and food that will the response was very supportive and the perform in the areas of energy consumption, be placed under the building Christmas tree.
    [Show full text]