Mirka Mora: Pas De Deux - Drawings and Dolls

Total Page:16

File Type:pdf, Size:1020Kb

Mirka Mora: Pas De Deux - Drawings and Dolls MIRKA MORA: PAS DE DEUX - DRAWINGS AND DOLLS Be an art detective and spell out the mystery words with this fun activity for kids and parents or carers to do together. Follow the directions and use the clues to discover the answer. Suitable for children and adults of all ages. DIRECTION SOMETHING TO THINK ABOUT CLUE ANSWER 1. Start at the big Mirka and her husband Georges Can you see angels in the sky photograph of the artist Mora arrived in Melbourne from playing instruments? One is Mirka Mora at the France in 1951. Since this time playing a pink guitar and the entrance and turn right. Mirka’s art has filled the city with others are playing green Look at the wall of joy and colour! She created __ __ __ __ P __ T __ drawings to your right for paintings, mosaics, soft an artwork with three sculptures, dolls, embroidery, Fill in the blanks in this word. crowned men in an orange murals and many drawings. Write the fourth letter of this boat. “Mirka the hard worker” liked to word in the ANSWER box -> draw for three hours or more This is your first clue! every day! 2. Walk along this wall and Mirka said that the serpent in her The title of this artwork has look for a drawing of a drawings is a symbol of two meanings. This spelling of person and their pet called knowledge or wisdom. She drew “Tale” refers to the pet having My Pet has a Serpent’s it when she felt she understood a “tale” (or a story) about a Tale. something. serpent, but the image refers Sometimes it represents the to the pet having a “tail” like a serpent that tempted Adam and serpent. Eve to eat a forbidden apple in What is another name for a the Garden of Eden. Mirka’s serpent? response to this story was always __ __ __ K__ “I have to eat that apple!” Write the third letter of this word in the ANSWER box -> This is your second clue! 3. Walk into the purple room This artwork looks like many little One of these drawings is of a nearby and search for an windows. Did you know that piece of furniture. What is this artwork comprising of 16 Mirka Mora painted a mural on piece of furniture called? small square drawings. the sunroom windows of the Heide I cottage in 2010? __ __ __ __ __ You can still see this mural if you visit Heide I whilst at the Heide The fourth letter of this word Museum today! is your next clue. Write it here -> DIRECTION SOMETHING TO THINK ABOUT CLUE ANSWER 4. Leave this room and Mirka Mora often made artworks Look at label for this artwork. re-enter the large room. showing two figures conjoined Mirka has used two different This time look on the wall (attached to each other). drawing mediums in this to your right for a drawing Sometimes these figures are artwork. Pastel and of two figures with a pink people and sometimes they are __ __ __ R __ __ __ L and yellow background. animals or mythical creatures. To The second to last letter of Mirka, being conjoined this word is your next clue. represented closeness, friendship Write this letter here -> and love. 5. Walk into the next large Mirka began making dolls in the Two of these sculptures depict room and into a world of 1970’s. They were three a single-horned creature. dolls! On your left is a wall dimensional versions of her What do we call a mythical of soft sculptures on drawings. horse with a horn on its shelves. Mirka loved to play with her dolls forehead? and said they were her friends. __ __ __ C __ __ __ The fifth letter of this creature is your next clue. 6. Turn right to see a large Before Mirka came to Australia Read the wall text for these purple clown sculpture she was a student at the Jean- two artworks to learn the hanging on the wall and a Louis Barrault theatre school in name of the clown character, drawing of the same clown Paris where she studied drama played by Marcel Marceau. with angel’s wings. and mime. The famous mime Write this below. artist and actor, Marcel Marceau was her teacher and the clown ___ ___ ___ doll was created by Mirka and The middle letter of this word painted by Marceau when they is your next clue. Write this met up again in later life. letter here -> 7. Turn around and look for a Mirka had a cheeky sense of Walk around the sculptures on round table full of puppet- humour and loved laughter. One the table to answer the below like sculptures. Some of day on her birthday she was sitting question. these sculptures look like in a restaurant with all of her What is U for? court jesters or the joker friends when the waiter presented card from a deck of cards. her with a huge decorated ___ ___ D ___ ___ E Notice that some of these birthday cake. As soon as he put it sculptures have a rolled up on the table, Mirka plunged her The repeated letter of this newspaper or old books face right in the middle of it and girl’s name is your next clue. for a body! came up smiling with a face full of Write this letter here -> chocolate and cream! 8. Odd one out game! 1. Look at the window side of this room to see some teddy bear paintings on the wall. Look for a teddy called “Wolfy” and stand in front of this artwork. 2. Now turn around and look at the round table closest to you. 3. Can you find the sculptures below on the table in front of you? 4. One of the below sculptures is NOT on this table. The letter in the box with the sculpture you can NOT see on this table is your next clue! ANSWER 5. Write this letter in this box here -> DIRECTION SOMETHING TO THINK ABOUT CLUE ANSWER 9. Move two tables to To Mirka a mermaid meant Look at the mermaid sculptures your left to find a “escape”. She believed that and find the words to complete table full of fish- everyone needed to escape and the text below: tailed mermaid have some time alone to think sculptures. about things. She said that this __ W __ __ __ was a “nice escape”. However, it is __ __ S __ __ __ __ E also important to make sure that you come back! Mirka said, “The The last letter of the first word mermaid does not escape to is your next clue! disappear, but to return”. 10. Turn around and The dogs that appear in Mirka’s Look for a hanging sculpture of look up. In the air works are based on her friend’s a dog with a bird on its head. behind you, you will real life dogs called Ambrose and Count how many faces in total see a mobile of Percy. The birds that appear in her can you see on this sculpture? hanging sculptures. works are there to watch Write this number below everybody but Mirka siad they can also cause mischief. A bird “tells F __ __ __ you things if you listen to him. He is your friend really, even when he The second letter of this word is a trouble maker.” is your next clue! 11. Turn right and go to When Mirka Mora was pregnant Look at the shape and details of the wall on the left with her third baby, her good this sculpture and you will side of the doorway. friend, the artist Charles Blackman notice that it is the same as Again you will find asked her “Why do you always another sculpture on this wall. some soft sculptures draw little angels with four toes?” on shelves. Mirka replied “That’s how my What colour shirt is the colour hand does it I can’t do anything version of this sculpture Look for a sculpture about it!” When her baby was wearing? that is almost born, a very strange thing completely coloured happened. The baby had only four __ __ __ K black! toes on one of its feet! The third letter of this word is your final clue! Write down the letters you have collected, un-jumble them and use them to find the answer to the missing word in this wonderful quote by Mirka Mora below. (We have already put some letters in to get you started) “ART IS THE CHILD OF __ M __ __ I __ __ T __ __ __ AND GIVES LIFE” (HINT* You can check your answer to this puzzle on the ramp outside this gallery) BONUS CHALLENGE: Take inspiration from Mirka’s artworks and her quote above to create your own mythical landscape by adding to the symbols below. BONUS HIDE AND SEEK GAME! Can you find the artworks below in this room? They might be on a table, on the wall or even hanging from the ceiling! If you need a hint, we have provided one for you for each artwork. Tick the “FOUND” box once you have found them! 1. FACE THE BIG WINDOW AND SEARCH THE LEFT SIDE OF THE ROOM FOR THESE ARTWORKS. DIFFICULTY CAN YOU FIND? HINT FOUND! EASY An orange snake with two Look on the table next to the mermaid you found in heads question 9 MEDIUM A white-winged devil Look on a table next to the sculptures you were finding in question 8 EASY A flower with blue petals and Look on the table next to the mermaid you found in a green face on one side question 9 MEDIUM A big mermaid with a yellow Look on the wall where you found the unicorn tail and green hair sculptures in question 5 MEDIUM A black “bat-cat” with green Look on the table next to the mermaid you found in hands and a red rectangle on question 9 its body HARD A very small angel with black Look for a table with many small babies and angels near hair, a red jumper and one the large entrance to this room blue wing with white spots MEDIUM A Siamese cat with blue eyes Look on the table closest to the window with cat sculptures on it 2.
Recommended publications
  • 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.
    [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]
  • 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]
  • 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]
  • Heide Museum of Modern Art 2014 Annual Report Heide Museum of Modern Art 2014 Annual Report
    HEIDE MUSEUM OF MODERN ART 2014 ANNUAL REPORT Heide Museum of Modern Art 2014 Annual Report CONTENTS 1.S TATEMENT OF PURPOSE & VALUES 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTOR’S REPORT 3 4. CULTURAL PROGRAMMING 7 4.1 Exhibitions 7 4.2 Public Programs 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 18 5.1 Store 18 5.2 Visitor Services 21 5.3 Membership 22 5.4 Café Vue at Heide 22 6. COLLECTION 23 6.1 Acquisitions 25 7. FACILITIES 39 7.1 Maintenance 39 7.2 Gardens 40 8. MARKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Grants 48 9.3 Development Committee 49 9.4 Heide Fellow 49 9.5 Fundraising Campaigns 49 9.6 Corporate Partnerships 50 9.7 Local Government Support 50 9.8 Sponsored Exhibitions 51 10. GOVERNANCE 56 10.1 Board 57 10.2 Heide Board Sub-Committees 59 10.3 Board Directors & Senior Management Personnel 60 11. STAFF & VOLUNTEERS 63 12. FINANCIAL STATEMENTS 66 13. NOTES TO THE FINANCIAL STATEMENTS 79 DIRECTORS’ DECLARATION 97 INDEPENDENT AUDIT REPORT 98 Cover image Installation view, Emily Floyd: Far Rainbow Heide III, 2014 All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2014 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history. VALUES Creativity in cultural programming, audience development and profiling of the Museum Sustainability of cultural, financial and environmental operations Integrity in governance, leadership and museum management 1 2.
    [Show full text]
  • 101 Collins Newsletter
    101 Renaissance - Refining Perfection Christmas Competitions and Celebrations Chill Out at The Golden Door Where Is Email Taking Us Dying Words ohn Hoerner Photo: J Mark Strizic Summer 09 Flinders Lane 1956 Mark Strizic From the Inside am pleased to now be able to formally an- There was enormous interest in this ex- nounce that a program will commence hibition as it was clearly of great interest to in early January 2010 which will provide a not only tenants within 101 but also visitors Peter Calwell number of enhancements to the main building to the building. ground floor entry foyer and associated areas. I would like to thank Dianna Gold from year Anglicare supports many thousands of This is an exciting development which Gallery 101 for the considerable time and ef- children with foster care, emergency food will result in rejuvenation within the ground fort that she devoted to organising this very aid, disability support and residential care. floor and entry amenity whilst preserving the successful event. The Anglicare food and toy appeal will be inherent nature of this iconic zone within In February 2010 the Australian Conser- officially launched on Tuesday 1st December. the building. It is also another step in the vation Foundation and Peregrine Adventures At the launch entertainment will be provided advancement in our sustainability objectives who sponsor an Albatross conservation pro- by the Freehills Choir and the Ivanhoe Gram- and long term goals. gram called “Get Albatross off the Hook” will mar Girls Choir. All tenants within 101 are I encourage you to read the article enti- be holding an exhibition of photographs from warmly invited to join us for this event.
    [Show full text]
  • (Tolarno Mural) 1966 Oil on Paper on Plywood Heide Museum of Modern
    All artwork by Mirka Mora, unless indicated otherwise. Soundscape written and designed by Madeleine Flynn and Tim Humphrey. 1. Untitled (Tolarno Mural) 9. From left to right 1966 Mirka’s maternal grandmother Mirka (Sima) oil on paper on plywood Gelbein Heide Museum of Modern Art c. 1938 Purchased with funds raised by the Mirka for Mirka Mora papers Melbourne campaign 2019 Heide Museum of Modern Art Archive Purchased 2019 2. Mirka Mora 1985 Mirka’s father Leon Zelik Henry Talbot Paris, France Donated by Henry Talbot November 1948 Jewish Museum of Australia Collection, 796 Courtesy The Estate of Mirka Mora 3. Mirka’s handwritten statement Mirka’s maternal grandparents Meyer and Mirka 1963 Gelbein with her aunt Mimi Courtesy The Estate of Mirka Mora 1920 © The Estate of Mirka Mora Mirka Mora papers Heide Museum of Modern Art Archive 4. The Whisper Purchased 2019 2002 oil on canvas Baby Mirka with her mother Celia Zelik née Private collection Gelbein © The Estate of Mirka Mora Paris, France 1928 5. Mirka’s paint brushes, belt and jar of art tools with Mirka Mora papers porcelain doll busts, doll and cup Heide Museum of Modern Art Archive Heide Museum of Modern Art Purchased 2019 Purchased with funds raised by the Mirka for Melbourne campaign 2019 Mirka with her mother Celia (Tsipa) c. 1930s 6. In the Grass Courtesy The Estate of Mirka Mora 2012 oil on canvas 10. Cart with collection of teddy bears and doll Courtesy William Mora Galleries Heide Museum of Modern Art © The Estate of Mirka Mora Purchased with funds raised by the Mirka for Melbourne campaign 2019 7.
    [Show full text]
  • HEIDE MUSEUM of MODERN ART 2016 ANNUAL REPORT Heide Museum of Modern Art 2016 Annual Report
    HEIDE MUSEUM OF MODERN ART 2016 ANNUAL REPORT Heide Museum of Modern Art 2016 Annual Report CONTENTS 1. STATEMENT OF PURPOSE & VALUES 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTOR’S REPORT 3 4. CULTURAL PROGRAMMING 7 4.1 Exhibitions 7 4.2 Public Programs 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 19 5.1 Store 19 5.2 Visitor Services 20 5.3 Membership 20 5.4 Venue Hire 20 5.5 Café Vue at Heide and Café Heide 20 6. COLLECTION 23 6.1 Acquisitions 24 7. FACILITIES 31 7.1 Maintenance 31 7.2 Gardens 32 8. MARKETING & COMMUNICATIONS 35 9. DEVELOPMENT 37 9.1 Heide Foundation 37 9.2 Heide Director’s Circle 40 9.3 Grants 40 9.4 Development Committee 40 9.5 Heide Foundation Board 40 9.6 Annual Fundraising Dinner 41 9.7 Corporate Partnerships 41 9.8 Local Government Support 41 9.9 Sponsored Exhibitions 43 10. GOVERNANCE 46 10.1 Board 47 10.2 Heide Board Sub-Committees 49 10.3 Board Directors & Senior Management Personnel 50 11. STAFF & VOLUNTEERS 53 12. FINANCIAL STATEMENTS 56 13. NOTES TO THE FINANCIAL STATEMENTS 68 DIRECTORS’ DECLARATION 85 INDEPENDENT AUDIT REPORT 86 Cover image: Georgia O’Keeffe Ram’s Head, Blue Morning Glory 1938 (detail) oil on canvas 50.8 x 76.2 cm Georgia O’Keeffe Museum, Santa Fe Gift of the Burdett Foundation (2007.01.024) © Georgia O’Keeffe Museum ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2016 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history.
    [Show full text]
  • Art Conservation with Mirka Mora
    ‘DESTINS CROISÉS’ IN AUSTRALIA: ART CONSERVATION WITH MIRKA MORA SABINE COTTE Introduction Mirka Mora is a Melbourne icon, whose artworks feature in many Australian public and private collections; her art is particularly evident in Melbourne where she has lived and worked since her arrival from France in 1951. Now a long integrated and celebrated immigrant, she is a powerful incarnation of the cross-cultural fascination exerted by a young and free spirited French artist on Melbourne’s conservative society of the time. Although her art and lifestyle would hardly qualify as ‘avant-garde’ in today’s Australia, it is for introducing and incarnating throughout her life this quintessential French bohème that she remains one of the most cherished celebrities in Melbourne. Today aged 84, Mirka still paints daily and is currently represented by her son’s gallery, William Mora Galleries, in Richmond. Her work spans a wide range of media: pen and ink drawings, oil paintings, mosaics, soft sculptures, embroidery and even a tram decoration design. During her career she has received several public commissions that over time have become heritage-listed city landmarks. The National Trust listed her large mural at Flinders Street Station in 1994 (shortly after its completion) and in 2009 the Heritage Council added St Kilda’s Tolarno Hotel with her famous murals to the Victorian Heritage Register, in recognition of their artistic and historic significance. This article relates my encounter and subsequent relationship with Mirka through the conservation of several of her public artworks in the city. An art conservator born and trained in France, I moved to Australia in 2000 after working for more than ten years in French museums and have set up here professionally.
    [Show full text]
  • Interview with Tony Coleing 20 July 2011 and 22 April 2015
    ART GALLERY OF NEW SOUTH WALES ARCHIVE BALNAVES FOUNDATION AUSTRALIAN SCULPTURE ARCHIVE PROJECT Interview with Tony Coleing 20 July 2011 and 22 April 2015 This is an edited transcript of interviews with Tony Coleing on 20 July 2011 at the Art Gallery of New South Wales and 22 April 2015 at the National Art School in Sydney, NSW, by Deborah Edwards, senior curator of Australian art at the Art Gallery of New South Wales, for the Balnaves Foundation Australian Sculpture Archive Project. The project focuses on significant Australian sculptors and sculptural practice. It was developed with a grant from the Balnaves Foundation in 2010, which supported the recording and transcription of interviews with artists and other figures in Australian art. About Tony Coleing Tony Coleing (born 1942) first attracted national attention as a sculptor with his works in the 1968 exhibition The field. In 1980, he represented Australia at the Venice Biennale with a series of installations characterised by humour and social comment. He is also a prolific printmaker as well as producing paintings and drawings. This is an edited transcript of a recorded interview. Some adjustments, including deletions, have been made to the original as part of the editing process; however, the accuracy of all statements has not been verified and errors of fact may not have been corrected. The views expressed are those of the participants and do not represent those of the Art Gallery of New South Wales. Unedited audio files of this interview are in the Gallery’s archive. © Art Gallery of New South Wales ART GALLERY OF NEW SOUTH WALES ARCHIVE BALNAVES FOUNDATION AUSTRALIAN SCULPTURE ARCHIVE PROJECT: Interview with Tony Coleing Interview on 20 July 2011 Deborah Edwards (DE): Apologies about being pedantic, but what is your exact date of birth? Tony Coleing (TC): July 1st 1942.
    [Show full text]
  • Issue 3, 2005
    VOL. 27, No. 3 DECEMBER 2005 Registered by Australian Post, Publication No. VBH 7236 Registered Museum Under the Patronage of “Yad Vashem” Jerusalem 13-15 Selwyn Street, Elsternwick, Victoria 3185, Australia, Phone: (03) 9528 1985 Fax: (03) 9528 3758 Email: [email protected] Website: http://www.arts.monash.edu.au/affiliates/hlc/ The Jewish Holocaust Museum and Research Centre is an Institution dedicated to the memory of the six million Jews who were murdered by the Nazis and their collaborators between 1933 and 1945. We consider the finest memorial to all victims of racist policies to be an educational program which aims to combat anti-Semitism, racism and prejudice in the community and fosters understanding between people. Holocaust Centre Executive COMBATING EVIL IS A President: Shmuel Rosenkranz Vice-Presidents: COOPERATIVE MUST Alex Dafner & Silvana Layton By Stan Marks Forward Planning: Pauline Rockman, Secretary: Allen Brostek Treasurer: Abram Goldberg Foundation: Helen Mahemoff Police Commissioner Christine Nixon and 26 top members of the Public Officer: Stan Marks Victorian police force spent four hours at the Centre recently. This Foundation Patrons was followed up with a talk about racism by the Centre’s Director of Sir William Deane, Sir Gustav Nossal, Education and Research Bernard Korbman to 220 police cadets at Steven Spielberg, Professor Yehuda Bauer, police headquarters. The Centre and Chabad ran two separate series Mrs. Diane Shteinman AM, Mr. Marc Besen AO, of seminars on a the approach to the Holocaust, there was a Mrs. Eva Besen. quickening of schools’ visits and plans for diverse lectures (including Centre News by TBI’s Rabbi Fred Morgan) and numerous projects at the Editor: Stan Marks Centre and in the general community by Centre volunteers and staff.
    [Show full text]