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PORTRAITURE and the PRIZE ART an Education Kit for K–6 Creative Arts with KLA Links GALLERY and 7–12 Visual Arts NSW
PORTRAITURE AND THE PRIZE ART An education kit for K–6 Creative Arts with KLA links GALLERY and 7–12 Visual Arts NSW ARCHIBALD.PRIZE.2010 ART GALLERY OF NEW SOUTH WALES Toured by Museums & Galleries New South Wales www.thearchibaldprize.com.au PORTRAITURE AND THE PRIZE Contents General: the Archibald Prize and portraiture Who was JF Archibald? The Archibald Prize 1 A chronology of events Controversy and debate Portraiture as a genre: an overview Portraiture and the Prize: a selection of quotes List of winners since 1921 Syllabus connections: the Archibald Prize and portraiture Suggested case studies Years 7–12 Conceptual framework: the art world web Years 7–12 Framing the Archibald: questions for discussion Years 7–12 2 Portraiture: general strategies Years K–6 Vocabulary: portraiture Artists: portraiture References Syllabus connections: 2010 Archibald Prize Framing the Archibald: K–6 and 7–12 discussion questions and activities Analysing the winner K–6: Visual Arts and links with key learning areas 3 Years 7–12: The frames Focus works: K–6: Visual Arts and links with key learning areas 7–12: Issues for discussion 2010 Archibald Prize: selected artists Education kit outline This education kit has been prepared by the Public Programs Department of the Art Gallery of New South Wales in conjunction with Museums & Galleries New South Wales, to accompany the annual Archibald Prize exhibition. It has been designed to assist primary and secondary students and teachers in their enjoyment and understanding of the Archibald exhibition and the issues surrounding it, at the Art Gallery of NSW or throughout the 2010 Archibald Prize Regional Tour. -
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. -
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. -
Margaret Olley: a Life in Paint
Margaret Olley: A Life in Paint © ATOM 2012 A STUDY GUIDE BY MArguerite O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-188-1 http://www.theeducationshop.com.au Yellow Room Great art picks up where nature ends. – Marc Chagall introduction Margaret Olley: A Life in Paint is an intimate one-hour documentary about one of Australia’s best loved painters. A well-known figure from the time she was painted by William Dobell in 1948, Olley’s celebrity status tended to overshadow her life as a painter. This documentary puts Margaret OIley the painter on centre stage. Many believe her last works – those painted in the eighteen months leading up to her death on 26 July 2011 – were amongst her finest. SCREEN EDUCATION © ATOM 2012 © ATOM SCREEN EDUCATION 2 Synopsis: Margaret Olley, an Australian painter, died in July 2011 aged 88 as she was putting the finishing touches to what would be her final exhibition. She was a remarkable artist and a generous supporter of other artists. This documentary gives viewers an insight into the life and work of this greatly admired Australian painter through the recollections of those who knew her and were familiar with her work. We see Margaret Olley painting and talking about her Place Clockwise from top left: Kilim Rug and Pomegranates; work and learn about her early life Emeritus Curator Olley kitchen; Olley painting and the artists who influenced her Barry Pearce calls the Sydney house in which distinctive style. Much of the film, Margaret lived ‘the including interviews with her friends inner sanctum’ and paintings; we see her working on some of these and with Olley herself, is shot inside it is the house that works in the latter years of her life. -
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. -
The MOSMAN ART PRIZE Turning 65 Years in July 2012! Prize Exhibition 21 July – 26 August
Media information 5 July 2012 The MOSMAN ART PRIZE Turning 65 Years in July 2012! Prize Exhibition 21 July – 26 August The 65th annual Mosman Art Prize opens on Saturday 21 July at Mosman Art Gallery, NSW. The Mosman Art Prize is the longest running and most prestigious municipal art prize in Australia. Winning entries form the basis of the Mosman Art Collection, a valuable and historic collection that surveys Australian painting since 1947. The Mosman Art Prize is an acquisitive award of $30,000 sponsored by Mosman Council. Previous winners form a roll call of Australian Art luminaries: Grace Cossington Smith, Weaver Hawkins, Francis Lymburner, Nancy Borlase, Lloyd Rees, Guy Warren, John Caldwell, Frank Hinder, Elwyn Lynn, Margo Lewers, Peter Laverty, Earle Backen, Ken Reinhard, Jenny Sages, Noel McKenna, Dong Wang Fan, Elisabeth Cummings, Tim Johnson, Guan Wei, Adam Cullen, Tom Carment, Nicholas Harding, Jasper Knight, Lucy Culliton and Craig Waddell. Margaret Olley was the inaugural winner in 1947. Kerrie Lester was awarded the Mosman Art Prize in 2011. Each year close to 900 entries are received in one very long day at the Mosman Art Gallery. The artworks are then selected for a finalist exhibition that extends across the entire top two levels of the Gallery for five weeks. The 2012 Mosman Art Prizes will be judged by Anne Flanagan, Assistant Director, Art Gallery of New South Wales. Past adjudicators include notable Australian art figures such as Margaret Preston, John Olsen, Tim Storrier, Jenny Sages, Edmund Capon, Margaret Olley, John McDonald and last year, arts patron, Reg Richardson AM. -
344 CHAPTER XIII Decolonising Thoas in 1855, One Year Into The
Preprint of Hall, E. in Adventures with Iphigenia in Tauris (OUP 2013) CHAPTER XIII Decolonising Thoas In 1855, one year into the Crimean War, a North American discussion of the history of the Crimea penetrated straight to the heart of the relationship between Iphigenia in Tauris and Athenian colonialism. The journalist suggested that it was the establishment of Black Sea colonies that led the tragedians ‘to make use of a Tauric legend in the plays they offered to Athenian audiences, as Shakespeare made a comedy from the Bermudas, and as a playwright of ours, if we had any, would be glad of a Kanzan tradition’. He asks his readers to understand the relationship of Euripides’ Taurians to their Athenian audiences in the same terms as Shakespeare’s Caliban in The Tempest to the English who had colonized Bermuda in 1609, or the native Kansa Sioux in the (newly created) state of Kansas to the reader of the Boston-based literary journal. The Kansa Sioux had notoriously proved resistant to all the attempts of Methodist missionaries to make them live in permanent housing and convert to Christianity. The author of the article was correct. Euripides’ IT is very nearly a definitive text in the archive of colonial literature. This chapter will explore the radical revisions that 20th- and 21st-century authors and directors have performed upon the text in order to make it speak to a world struggling to recover from centuries of European domination of the planet. For IT ticks almost all the boxes in the conceptual repertoire of postcolonial theory associated with the work of the Palestinian Edward Said, and the Indians Gayatri Chakravorty Spivak and Homi Bhabha. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
En EWSLETTER
ROYAL ART SOCIETY OF NEW SOUTH WALES eN E W S L E T T E R April 2017 No. 423 25-27 Walker Street, North Sydney NSW 2060 eMail: [email protected] Website: www.royalart.com.au Tel: (02) 9955 5752 Fax: (02) 9925 0064 Australia Post Publication No: 241613/00090 From the desk of the President - John Perkins FRAS Our Autumn Exhibition which incorporated The Thora Ungar Award is currently on display. This award was won by Paul McCarthy. Highly Commended went to Anthony Roth and Cilla Davis. Our judge Bernard Ollis was extremely complimentary with his comments about our Society and the standard of work submitted. I have extended congratulations to all the winners. The raffle painting, kindly donated by John Downton FRAS, was won by Ted McNamara. The Australian Society of Marine Artists has confirmed their booking of our gallery for October and we will again look forward to hosting this important exhibition. The Fellows’ Meeting and morning tea was held on Tuesday 21 March and those in attendance enjoyed the morning and the exhibition. Members were nominated for the possibility of elevation and the outcome will be notified in due course. Our Annual General Meeting was also held recently. Whilst there was poor attendance we can only hope that you are all satisfied with the performance of your Council over the past 12 months. Your Council will remain the same and we thank you for another term. Those who took time to attend were given a very extensive report by our Treasurer Steve Caldis and our Hon Auditor Elizabeth Whittle on our maintenance projects and the funds of the Society. -
2020 Archibad Prize Media
2020 ARCHIBALD PAUSTRALIA’SRIZ FAVOURITEE PORTRAIT PRIZE 26 SEP 2020 – 10 JAN 2021 ARCHIE FACTS ARCHIBALD, WYNNE & 2020 SULMAN ENTRIES 2565 ARCHIBALD, WYNNE & SULMAN FINALISTS 18 50 181 64 1768 107 53 48 59 396 8 FEMALE MALE 27 ARCHIBALD PRIZE FINALISTS ARCHIBALD PRIZE ENTRIES 55 1068 RECORD YEAR WYNNE PRIZE WYNNE PRIZE FINALISTS 782 ENTRIES 34 SULMAN PRIZE ENTRIES SULMAN PRIZE FINALISTS 715 RECORD YEAR 18 OVER YOUNG ARCHIE ENTRIES FINALISTS YOUNG ARCHIE 40 COMPETITION 1800 FIRST-TIME (40%) ARCHIBALD SMALLEST FINALISTS 22 ARCHIBALD PRIZE ENTRY 25 x 20.5 cm Yuri Shimmyo Carnation, lily, Yuri, rose FIRST-TIME (50%) WYNNE FINALISTS 17 LARGEST FIRST-TIME (33%) ARCHIBALD PRIZE ENTRY SULMAN FINALISTS 6 250 x 250 cm Blak Douglas Writing in the sand NUMBER OF ARTISTS WHO ARE FINALISTS IN MORE THAN ONE PRIZE Abdul Abdullah and Benjamin Aitken (Archibald and Sulman) Lucy Culliton and Guy Maestri (Archibald and Wynne) 6 Caroline Rothwell and Gareth Sansom (Wynne and Sulman) SITTERS IN ARCHIBALD PRIZE ARCHIBALD, WYNNE AND SULMAN PRIZE FINALIST WORKS TOP 3 SUBJECTS WORKS BY INDIGENOUS ARTISTS WORKS BY INDIGENOUS ARTISTS 12 SELF-PORTRAITS 26 RECORD YEAR ARCHIBALD PRIZE WORKS WITH 9 OTHER ARTISTS INDIGENOUS SITTERS 10 RECORD YEAR 8 PERFORMING ARTS Join the conversation #archibaldprize Keep up to date on Facebook, Twitter & Instagram @artgalleryofnsw ANNOUNCEMENTS Announcement of the Archibald, Wynne and Sulman Prize 2020 finalists; Young Archie finalists and honourable mentions; and Packing Room Prize winner Thursday 17 September, 11am Announcement of the winners of the Archibald, Wynne and Sulman Prizes 2020 Friday 25 September, 12 noon Announcement of winners of the Young Archie 2020 competition Saturday 24 October, 10am ANZ People’s Choice winner announcement Wednesday 16 December, 11am EXHIBITION DATES Archibald, Wynne and Sulman Prizes 2020 Art Gallery of New South Wales Saturday 26 September 2020 – Sunday 10 January 2021 Ticketed Due to COVID-19 capacity restrictions, tickets are $20 adult dated and timed. -
….../ Cardholders Name
Timetable Day Monday to Friday Day Saturday Beginners Welcome Advanced students taught at own level ROCKS ENROLMENT TEN WEEK TERM ....… YEAR 20...... am 9.15 am - 12 noon 10 am - 12.45pm Individual tuition Progress at your own pace pm 12.45 pm - 3.30 pm 1.30pm - 4.15pm Name ...................................................................................... All Daytime classes have the same tutor- am and pm. Mastering Landscape Address.................................................................................... Day classes 1 — 7 COURSES AT ROCKS CAMPUS Explore composition, concept, tone, colour and ......................................................................Postcode……..….. perspective in oil paint with Paul Delprat Phone: Home..........................… Work .................................... Enjoy Painting “en Plein air” at the Harbour Email ………………………………………………………. 1 Basic Drawing 2 Life Drawing, Life Painting, Entrance at Georges Heights How did you hear about the school? ……………………………….…… and Painting and Portraiture Discount Fees: 10 day classes per week for four terms (1 year) are: Training coordination of hand and Saturday morning: Georges Heights studio $9990.00, 8 classes per week ($8640) and 6 classes per week ($7128) eye. Proportion, direction, form, Monday and Tuesday - Drawing: See Georges Heights Prospectus For term enrolment see schedule below - structure and perspective lead to Systematic analysis of anatomy from the Tonal Still life studies in graphic live model. Monday poses range from a 7 Fundamentals of MON TUE WED THU FRI SAT media and oil paint providing the few minutes to one day. Tuesday poses Life Drawing am 1 2 4 1 2 1 2 3 1 2 1 2 1 2 7 basis for tonal anatomical studies range from a few minutes to half an hour. and colour analysis. Achieve A structured course – from the basics pm 1 2 4 1 2 1 2 3 1 2 1 2 1 2 7 to advanced anatomy over 5 terms using confidence handling materials.