Annual Report 2013–14 Chair’S Report
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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 -
Pre-Contact Astronomy Ragbir Bhathal
Journal & Proceedings of the Royal Society of New South Wales, Vol. 142, p. 15–23, 2009 ISSN 0035-9173/09/020015–9 $4.00/1 Pre-contact Astronomy ragbir bhathal Abstract: This paper examines a representative selection of the Aboriginal bark paintings featuring astronomical themes or motives that were collected in 1948 during the American- Australian Scientific Expedition to Arnhem Land in north Australia. These paintings were studied in an effort to obtain an insight into the pre-contact social-cultural astronomy of the Aboriginal people of Australia who have lived on the Australian continent for over 40 000 years. Keywords: American-Australian scientific expedition to Arnhem Land, Aboriginal astron- omy, Aboriginal art, celestial objects. INTRODUCTION tralia. One of the reasons for the Common- wealth Government supporting the expedition About 60 years ago, in 1948 an epic journey was that it was anxious to foster good relations was undertaken by members of the American- between Australia and the US following World Australian Scientific Expedition (AAS Expedi- II and the other was to establish scientific tion) to Arnhem Land in north Australia to cooperation between Australia and the US. study Aboriginal society before it disappeared under the onslaught of modern technology and The Collection the culture of an invading European civilisation. It was believed at that time that the Aborig- The expedition was organised and led by ines were a dying race and it was important Charles Mountford, a film maker and lecturer to save and record the tangible evidence of who worked for the Commonwealth Govern- their culture and society. -
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. -
John Gould and David Attenborough: Seeing the Natural World Through Birds and Aboriginal Bark Painting by Donna Leslie*
John Gould and David Attenborough: seeing the natural world through birds and Aboriginal bark painting by Donna Leslie* Abstract The English naturalist and ornithologist, John Gould, visited Australia in the late 1830s to work on a major project to record the birds of Australia. In the early 1960s, around 130 years later, the English naturalist, David Attenborough, visited Australia, too. Like his predecessor, Attenborough also brought with him a major project of his own. Attenborough’s objective was to investigate Aboriginal Australia and he wanted specifically to look for Aboriginal people still painting in the tradition of their ancestors. Arnhem Land in the Northern Territory was his destination. Gould and Attenborough were both energetic young men, and they each had a unique project to undertake. This essay explores aspects of what the two naturalists had to say about their respective projects, revealing through their own published accounts their particular ways of seeing and interpreting the natural world in Australia, and Australian Aboriginal people and their art, respectively. The essay is inspired by the author’s curated exhibition, Seeing the natural world: birds, animals and plants of Australia, held at the Ian Potter Museum of Art from 20 March to 2 June 2013. An exhibition at the Ian Potter Museum of Art, Seeing the natural world: birds, animals and plants of Australia currently showing from 20 March 2013 to 2 June 2013, explores, among other things, lithographs of Australian birds published by the English naturalist and ornithologist John Gould [1804-1881], alongside bark paintings by Mick Makani Wilingarr [c.1905-1985], an Aboriginal artist from Arnhem Land in the Northern Territory (Chisholm 1966; McCulloch 2006: 471; Morphy 2012). -
The Journal of the Asian Arts Society of Australia
VOLUME 19 VOLUME NO. 1 MARCH 2010 THE JOURNAL OF THE ASIAN ARTS SOCIETY OF AUSTRALIA TAASA Review CONTENTS Volume 19 No.1 March 2010 3 EDITORIAL TAASA REVIEW THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Josefa Green Abn 64093697537 • Vol. 19 No. 1, March 2010 ISSN 1037.6674 4 SERVING THE RESISTANCE: LACQUER PAINTING IN VIETNAM DURING THE FIRST INDOCHINA WAR Registered by Australia Post. Publication No. NBQ 4134 Phoebe Scott editoriAL • email: [email protected] 7 AN AFTERNOON IN AHMEDABAD: IN CONVERSATION WITH EMBROIDERY MASTER ASIF SHAIKH General editor, Josefa Green Carole Douglas PUBLICATIONS COMMITTEE Josefa Green (convenor) • Tina burge 9 WHEN THE SUN IS IN LINE WITH THE WATER BOTTLE Melanie Eastburn • Sandra Forbes • Ann MacArthur Ann Proctor Jim Masselos • Ann Proctor • Susan Scollay Sabrina Snow • Christina Sumner 12 AN AUSTRALASIAN CERAMICS MUSEUM IN FUPING, CHINA DESIGN/LAYOUT Janet Mansfield Ingo Voss, VossDesign PRINTING 14 ARTIST PROFILE: WON-SEOK Kim’S AUSTRALIAN BUNCHEONG WARE John Fisher Printing Min-Jung Kim Published by The Asian Arts Society of Australia Inc. 16 THE NAT YUEN COLLECTION OF CHINESE ANTIQUITIES AT THE UNIVERSITY OF QUEENSLAND PO Box 996 Potts Point NSW 2011 www.taasa.org.au Gordon Craig Enquiries: [email protected] 18 MOVING THE PAST TO THE PRESENT: A SIEM REAP-ANGKOR KHMER RESIDENCE TAASA Review is published quarterly and is distributed to members of The Asian Arts Society of Australia Inc. TAASA Review welcomes Darryl Collins submissions of articles, notes and reviews on Asian visual and performing arts. All articles are refereed. Additional copies and 21 IN THE PUBLIC DOMAIN: JAPANESE TREASURES AT THE NATIONAL LIBRARY OF AUSTRALIA subscription to TAASA Review are available on request. -
Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA
arts Article Cultural Tourism: Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA Marie Geissler Faculty of Law Humanities and the Arts, University of Wollongong, Wollongong, NSW 2522, Australia; [email protected] Received: 19 February 2019; Accepted: 28 April 2019; Published: 20 May 2019 Abstract: This paper explores how the appeal of the imagery of the Arnhem Land bark painting and its powerful connection to land provided critical, though subtle messaging, during the post-war Australian government’s tourism promotions in the USA. Keywords: Aboriginal art; bark painting; Smithsonian; Baldwin Spencer; Tony Tuckson; Charles Mountford; ANTA To post-war tourist audiences in the USA, the imagery of Australian Aboriginal culture and, within this, the Arnhem Land bark painting was a subtle but persistent current in tourism promotions, which established the identity and destination appeal of Australia. This paper investigates how the Australian Government attempted to increase American tourism in Australia during the post-war period, until the early 1970s, by drawing on the appeal of the Aboriginal art imagery. This is set against a background that explores the political agendas "of the nation, with regards to developing tourism policies and its geopolitical interests with regards to the region, and its alliance with the US. One thread of this paper will review how Aboriginal art was used in Australian tourist designs, which were applied to the items used to market Australia in the US. Another will explore the early history of developing an Aboriginal art industry, which was based on the Arnhem Land bark painting, and this will set a context for understanding the medium and its deep interconnectedness to the land. -
The Boomerang Effect. the Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6Pm
MEG Musée d’ethnographie de Genève Press 4 may 2017 The Boomerang Effect. The Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6pm White walls, neon writing, clean lines: the MEG’s new exhibition «The Boomerang Effect. The Aboriginal Arts of Australia» welcomes its visitors in a space evocative of a contemporary art gallery. Here the MEG unveils one of its finest collections and reveals the wealth of indigenous Australia's cultural heritage. Visiting this exhibition, we understand how attempts to suppress Aboriginal culture since the 18th century have ended up having the opposite of their desired effect. When James Cook landed in Australia, in 1770, he declared the country to be «no one’s land» (terra nullius), as he recognized no state authority there. This justified the island's colonization and the limitless spoliation of its inhabitants, a medley of peoples who had lived there for 60,000 years, societies which up until today have maintained a visible and invisible link with the land through a vision of the world known as the Dreaming or Dreamtime. These mythological tales recount the creation of the universe as well as the balanced and harmonious relation between all the beings inhabiting it. It is told that, in ancestral times, the Djan’kawu sisters peopled the land by naming the beings and places and then lying down near the roots of a pandanus tree to give birth to sacred objects. It is related that the Dätiwuy clan and its land was made by a shark called Mäna. -
Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
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. -
The Making of Indigenous Australian Contemporary Art
The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................ -
Dragon Tails 2017 Hopes, Dreams and Realities
5th Australasian conference on Chinese diaspora history & heritage Dragon Tails 2017 Hopes, Dreams and Realities Conference program Golden Dragon Museum Bendigo, Victoria, Australia 23-26 November 2017 0 Contents Conference program 4 Program - Timetable at a glance 4 Program in detail 5 Abstracts and speaker profiles 8 List of participants 25 Event Partner Conference Sponsors La Trobe Asia The Asia Institute La Trobe University The University of Melbourne www.latrobe.edu.au/asia arts.unimelb.edu.au/asiainstitute Conference Contacts For questions or problems during the conference, please see the Registration desk. You should also feel free to speak to the convenors. In case of emergencies, call Nadia Rhook 0409 807 516, Leigh McKinnon 0407 303 518, Paul Macgregor 0418 571 572 www.dragontails.org.au [email protected] Twitter: @dragontailsconf Hashtag #dtails17 Dragon Tails 2017 Hopes, Dreams and Realities 5th Australasian conference on Chinese diaspora history & heritage Golden Dragon Museum, Bendigo, Victoria, Australia 23-26 November 2017 Hopes and dreams have profoundly shaped the histories of Chinese people and their descendants in Australasia and abroad. This central theme of “Dragon Tails 2017: Hopes, Dreams and Realities” highlights not only the role of imagination in shaping the actions of Chinese-Australasians, but also the realities and challenges that Chinese-Australasians have historically encountered in pursuing their hopes and dreams. The Dragon Tails conferences promote research into the histories and heritage of Chinese people, their descendants and their associates, in Australasia (Australia and New Zealand). The conferences also encourage awareness of the connections of Chinese in Australasia with the histories of Chinese people, their descendants and their associates in other countries. -
Artists Statement for Me the Nature of Colour Is the Colour of Nature
David Aspden Born Bolton, England, arrived Australia 1950 1935 - 2005 COLLECTIONS Aspden is represented in National Gallery of Australia, Art Gallery of New South Wales, Art Gallery of Western Australia, Museums and Galleries of the Northern Territory, National Gallery of Victoria, Art Gallery of South Australia, and other state galleries. His work is found in regional galleries including Bathurst, Newcastle, Wollongong, Gold Coast, Orange, Armidale, Ballarat, Benalla, Muswellbrook, Manly, Stanthorpe and Geelong. Aspden’s paintings are hung in New Parliament House, Canberra and the NSW State Parliament. His work is in the collections of Artbank, Heide, Tarrawarra Museum of Art, Macquarie University, National Bank of Australia, Macquarie Bank, St George Bank, The Australian Club, Festival Hall Adelaide, Allens Arthur Robinson, Clayton Utz, Melbourne Casino, Fairfax, News Limited, University of Western Australia, Monash University, Beljourno Group, Shell Company of Australia Limited, and numerous corporate and private collections. Individual Exhibitions 1965 Watters Gallery, Sydney 1966 Watters Gallery, Sydney - March and November 1967 Watters Gallery, Sydney Strines Gallery, Melbourne 1968 Farmers' Blaxland Gallery, Sydney Gallery A, Melbourne 1970 Rudy Komon Art Gallery, Sydney 1971 Rudy Komon Art Gallery, Sydney 1973 Rudy Komon Art Gallery, Sydney 1974 Rudy Komon Art Gallery, Sydney 1975 Solander Gallery, Canberra 1976 Monash University, Victoria Rudy Komon Art Gallery, Sydney 1977 Rudy Komon Art Gallery, Sydney 1981 Rudy Komon Art Gallery,