Important Australian Art Sydney | 22 April 2021
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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 -
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. -
List of Works
4 JANUARY – 22 MARCH 2020 Margaret's Gift acknowledges and celebrates the generous legacy of Margaret Olley AC (1923-2011). Olley was a preeminent artist who had more than 90 solo exhibitions during her lifetime. Using funds from her own exhibition sales Olley would purchase fellow artists works, which she would then in turn donate to numerous galleries. She was also an entrepreneur who invested wisely in residential properties, that in turn brought in a steady income. This put her in a unique position in which she could, not only focus on her own artistic practice but she had the time and means to paint, travel, acquire and donate. The working relationships and life-long friendships she developed with gallery curators, directors and fellow artists are testament to her unwavering support of art and culture within this country. Throughout her lifetime, Olley continued to donate and provide funds to various institutions. This approach enabled institutions to acquire significant works of art. Many of these works are now considered collection highlights, spanning national, state, regional and university art collections. The Margaret Olley Art Trust was established in 1990. This legacy continues today, with the ongoing support of the trustees of the Margaret Olley Art Trust, through both donation of work or funds allocated to a specific project. This exhibition is the second in a series of three that has the generous support of the Margaret Olley Art Trust. Curated by Renée Porter, the exhibition presents over 60 works from collections in Queensland, New South Wales and the ACT and include works by European masters, Australian artists and ceramics from Papua New Guinea which were her earliest known gifts. -
The Blot on the Landscape: Fred Williams and Australian Art History
The blot on the landscape: Fred Williams and Australian art history Keith Broadfoot There is a blot on the Australian landscape. It has been there for a long time, but its existence only really became apparent with a defining shift in Australian art historiography which occurred with Bernard Smith’s 1980 Boyer Lecture series, The Spectre of Truganini. Seeing the exclusion of an Aboriginal presence in Australian art through the ideas of Sigmund Freud, Smith proposed in his pivotal text that the history of Australian art was a history of repression. After Smith, contemporary art historian Ian McLean has developed the most detailed account of the history of Australian art according to this methodology. This essay examines the work of the modern Australian artist Fred Williams in relation to both Smith and McLean’s understanding of the history of Australian art but to expand on their work I argue that, rather than Freud alone, it is Jacques Lacan’s refiguring of Freud that offers us the most insight into Williams’s work. Further, insofar as I argue that the history of Australian art is the very subject matter of Williams’s work, his work stands in for a wider project, the writing of a history of Australian art according to Lacan’s proposal of a foundational split between the eye and the gaze. But first, to that blot. From colonial melancholy to a modern uncanny In a brilliant observation, Ian McLean, in drawing attention to emigrant artist John Glover’s attempt to control the disorderly dispersion of gums across the hillsides in the background of some of his paintings, suggests that therein could be found the origin to the art of Fred Williams. -
The La Trobe Journal No. 95 March 2015 End Matter
Notes 115 Notes Des Cowley, Robert Heather and Anna public – books, serials, pamphlets, music Welch: Editors’ introduction scores – but also works published in 1 Johanna Drucker, The Century of Artists’ other formats such as CD and DVD. The Books, New York: Granary Books, 1995, p. 1 Northern Territory, Tasmania and Western Australia include web-based publications. Helen Cole: Public collections of artists’ books 10 trove.nla.gov.au in Australia 11 Noreen Grahame was the first gallerist in Australia to actively promote artists’ 1 Any discussion of artists’ books is dogged books. Her first major exhibition of by the question of definition. This article artists’ books was in 1991 and, at this adopts a broad definition that includes time, she encouraged artists represented unique works, limited and commercial by the gallery to create their first artists’ editions, codexes, altered books, book books for the show. She organised five objects and everything in-between. It does Artists’ Books and Multiples fairs in not include zines, however, as institutions generally treat these separately. Brisbane, in 1994, 1996, 1998, 2001 and 2 Noreen Grahame, ‘The gallerist’s 2007, and presented Australian artists’ perspective’, paper presented at ‘The books at the Sydney Works on Paper Trouble with Artists’ Books’, Siganto Fair and the London Artists’ Books Foundation seminar, State Library of Fair. In 1994 Grahame extended into Queensland, 4 May 2013. A podcast of the publishing catalogues and artists’ books. seminar is available at: www.slq.qld.gov. Her catalogues for exhibitions and artists’ au/_slqmedia/video_and_audio_content/ books fairs constitute the most important art-and-design/siganto-seminar, accessed 21 sources of documentation of artists’ books November 2014 in Australia of this time. -
Gunter Christmann's Profile
< Back to Gunter Christmann’s profile GUNTER CHRISTMANN Gunter Christmann (b. 1936 – d. 2013) was born in Berlin, Germany, arriving in Melbourne in February of 1959. He moved to Sydney and started painting in 1962. Christmann’s first exhibition in 1965 was a group show, 25 Young Painters, at the Argus Gallery in Melbourne. The following year he held his first solo exhibition at Central Street Gallery, Sydney exhibiting regularly since that time, both in Australia and overseas. Christmann showed at Niagara Galleries, Melbourne since 1984. A ground-breaking and subversive artist since the 1960s, Christmann resisted following any trend but instead found inspiration to create innovative new work from the objects and places that surrounded him. SOLO EXHIBITIONS 2015 The Commercial, Sydney 2014 Gunter Christmann: Now and Then, Heide Museum of Modern Art, Melbourne BEFORE, Niagara Galleries, Melbourne The Commercial, Sydney 2013 flexicuffstreets.com, Niagara Galleries, Melbourne The Commercial, Sydney Screening of slide projector works as part of Art Month Sydney, The Commercial, Sydney 2012 Eyes and Mind, East Sydney Doctors, Sydney AVEAGOYAMUG: Thus spoke Epimetheus, Niagara Galleries, Melbourne 2011 AVAGOYAMUG, Society, Sydney SIDE SHOW MAX, Niagara Galleries, Melbourne 2010 KOZMIX, Niagara Galleries, Melbourne 2008 Encore, Niagara Galleries, Melbourne 2007 Portrait d’Amour: Recent and Not So Recent Paintings, Niagara Galleries, Melbourne 2006 AXION JENNY 2006, Liverpool Street Gallery, Sydney 2005 AUTOMONTAGE, Niagara Galleries, Melbourne 2004 10gm OZKAR, Niagara Galleries, Melbourne 2003 T.O. Tranceporter, Liverpool Street Gallery, Sydney 2002 Christmann 2002, Niagara Galleries, Melbourne 2000 WYSIWYG @ niagara Y2K, Niagara Galleries, Melbourne 1999 OZKAR, Niagara Galleries, Melbourne 1997 G.C. -
ANSWERS to QUESTIONS on NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General
Senate Finance and Public Administration Legislation Committee 2005-06 Supplementary Budget Hearings ANSWERS TO QUESTIONS ON NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General QUESTION: PM1 Senator Crossin asked: “..How many times this year has a government member represented the Governor- General and given a message on his behalf?” QUESTION: PM2 Senator Crossin asked: “… At Uluru—Ayers Rock. It was the 20th anniversary of the hand back. You probably do not have the answer with you but can you take on notice who invited the Governor-General to that?” QUESTION: PM3 Senator Crossin asked: “…Can you also please take on notice for me whom his message was given to and why?” QUESTION: PM4 Senator Crossin asked: “In an instance where the Governor-General cannot attend, is there any protocol that suggests that the message should be given to the House of Representatives member to read out rather than to some other member of parliament? …. Could you have a look at that, please, and answer this question: if the government is the body issuing the invitation and the Governor-General is unable to go, is it custom and practice that the local House of Representatives member reads the Governor-General’s message rather than anybody else?” Response: The response to Senator Crossin’s questions PM1 to PM4 is set out below. There is no written protocol or guideline for how the Governor-General is to be represented at an event or function that he is unable to attend. Messages are not sent to the Governor or Administrator of a State or Territory unless it was they who had invited the Governor-General. -
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. -
A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice. -
1976 Monash University Calendar Part 1
MARIST COLLEGE ORMANBY ROAD MONASH Jp~ UNIVERSITY C'.S.I.R.O. SCALE IN METRES 0 21i liO 71i 100 121i 150 171i 200 HAllS OF RESIDENCE 30 ANIMAL KEY TO PLAN • HOUSES •• I. University club - 2. Religious centre MARSHAll RESERVE 3. Robert Blackwood Hall ENGINEERING 4. Main library 5. Krongold child training centre 6. The Alexander Theatre 7. Rotunda 8. Biomedical library 9. Biochemistry laboratories 10. Central science block SPORTS AREA II. Senior zoology 12. First year chemistry 13. Zoology lecture theatres 14. First year biology laboratory SPORTS AREA 15. Senior chemistry 16. Western science lecture theatres UJ :Jz 17. Eastern science lecture theatres UJ > 18. First year physics < UJ 19. Senior physics 8 0 20. Hargrave Library UJ = 21. Northern science lecture theatres 22. Mathematics and computer centre 23. Engineering lecture theatres 24. 25. 26. 27. Engineering school 28. Boiler-house 29. Botany experimental area VICE-CHANCEllOR'S RESIDENCE,.,. 30. Zoology environmental laboratories EDUCATION ,, ERECTED NON-COLlEGIATE HOUSING UNDER CONSTRUCTION MANNIX COLLEGE MONASH UNIVERSITY CALENDAR 1976 Published by Monash University Wellington Road, Clayton Victoria, Australia 3168 Telephone: 541 0811 Telegrams: Monashuni Melbourne Telex: Monlib AA31729 Printed and bound by Brown Prior Anderson Pty Ltd Melbourne CONTENTS (The contents of the Calendar have been brought up to date as at 5 January 1976 with the exception of the statutes and regulations which were those in force at 13 October 1975) PREFACE 9 SIR JOHN MONASH 11 COAT OF ARMS 13 DONATIONS -
Gunter Christmann (B
It is with great pleasure that The Commercial presents its third solo exhibition by Gunter Christmann (b. 1936, Berlin, d. 2013, Sydney). The exhibition comprises a group of late paintings alongside a group of small works on paper from 1975-77. The two bodies of work, created four decades apart, are linked by a common process: Christmann’s idiosyncratic shuffle box or water tank technique, simple devices for the creation of composition in painting. In addition to providing a system that allowed the universe to determine the arrangement of objects for the artist to paint, the small shuffle boxes, proportioned the same as the intended painting, perfectly housed the humble items -- bottle tops, cable ties, leaves, etc. -- offered up by the streets around the artist’s Darlinghurst home, urban refuse insignificant until incorporated into the body of the painting, its still life. The pull of gravity dictated Christmann’s technique involving the arrangement and rearrangement of small, street-scavenged things. This ground-consciousness developed out of the ‘sprankle’ paintings of the late 1960s/early 1970s in which paint was dropped onto the canvas on the ground from standing height ‘like rain’, such as the wonderful Over Orange (c. 1969) and Oktoberwald (1973) currently on display at the Art Gallery of Western Australia and Art Gallery of New South Wales respectively as part of those institutions’ permanent collections. Returning to his shuffle boxes in later years, as part of the general humility and self-sufficiency of Christmann’s studio practice, the group of paintings in the forthcoming exhibition are characterized by their sponged grounds, optically similar in their blending of colour to the early sprankle paintings though achieved through the compression of space between passive canvas and deliberate hand. -
Art and Artists in Perth 1950-2000
ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997.