Kedumba Drawing Award 2007 28 October to 2 December 2007
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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. -
Tauranga Art Gallery Trust Our Year in Review 2014 – 15 2 |
Tauranga Art Gallery Trust Our Year in Review 2014 – 15 2 | Cover: Matthew Smith (Australia), Sailing by. Photo: Natural History Museum, London Tauranga Art Gallery Trust Our Year in Review 2014-15 | 1 1.0 Introduction 2.0 Highlights Contents 3.0 Governance 3.1 Chairperson report 4.0 Exhibitions 4.1 Touring with TAG 5.0 Education and Visitor Programmes 5.1 Education Programme 5.2 Public Programmes 6.0 Venue Hire & Events 7.0 Communications 8.0 Friends of the Gallery 9.0 Sponsors/Stakeholders 10.0 Staff 11.0 Financial Performance 12.0 Financial Statements and Audit Report 2 | 1.0 Introduction The principal activity of The Tauranga Art Gallery Trust (‘TAGT’ or ‘the Trust’) is to govern a public art gallery in Tauranga. The Tauranga Art Gallery (‘TAG’ or ‘the Gallery’) researches and presents exhibitions of historical, modern and contemporary art. This is the 17th Year in Review publication of the TAGT since its establishment in 1998. This report outlines the activities of the TAGT for the year ending 30 June 2015. Elizabeth Thomson, Invitation to Openness — Substantive and Transitive States (detail). Photo: Tauranga Art Gallery Tauranga Art Gallery Trust Our Year in Review 2014 – 15 | 3 2.0 Highlights 3.0 Governance 66,270 visitors The Trustees as at 30 June 2014 were: Peter Anderson (Chairperson) MCR, IMD, Laussane Sonya Korohina B.A. Grad. Dip in Arts 23 exhibitions Management. Judith Stanway M Soc Sci, BBS, FCA, AF Inst D. 4 exhibitions Mary Stewart Grad Dip Mgt. touring Mary Hackett Dip Bus Studies, RGON. simultaneously Deborah Meldrum BA (Hons), Dip Tchg. -
Art Almanac April 2018 $6
Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, -
Issue 543 Contents
המרכז HaMerkazACT Jewish Community Magazine December 2018 | Tevet 5779 Issue 543 Contents A: 31 National Circuit, Forrest ACT P: PO Box 3105, Manuka ACT 2603 T: 02 6295 1052 E: [email protected] REGULAR REPORTS W: actjc.org.au 04 2018 PRESIDENT’S FAREWELL MESSAGE: Yael Cass 05 OUR INCOMING PRESIDENT: New President, Veronica Leydman 06 FROM THE RABBI’S DESK: Rabbi Eddi’s Chanukah message. 07 EVERY ENCOUNTER: Rabbi Robuck’s contribution. SPECIAL ARTICLES 10 ORTHODOX SHUL: Adele Rosalky writes on the design sources. 13 REMEMBRANCE DAY: Gai Brodtmann’s speech. Issue 543 22 PHOTOS FROM REMEMBRANCE DAY 24 CANBERRA TIMES: RUTH LANDAU: Ruth’s story of survival. 30 EARLE HOFFMAN LIBRARY: Updates from Leonie Webb. 32 HOLOCAUST SURVIVAL: Peter Witting’s escape. DECEMBER 2018 38 DEAR COMMUNITY: From Shay and Shir. 40 HISTORY & FOOD: Chanukah traditions. 41 CHANUKAH RECIPES: Four tempting recipes. 46 THE NEW YORK TIMES ARTICLE: Submitted by Karen Tatz. 47 BOOK: JEWISH IN AMERICA: Submitted by Karen Tatz. The views expressed in HaMerkaz by individual authors do not necessarily reflect the views or policy of the ACT Jewish Community Inc. COMMUNITY AND OTHER REPORTS 06 CONVERSATIONS: Submitted by Bill Arnold. 12 AJHS: Adele Rosalky. COPYRIGHT 2018. 17 NCJWA: A report from the Canberra Section. 27 WELCOME COMMITTEE: News on the group activities. All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photocopying, EVENTS recording, or by any information storage and retrieval system, without 08 YOUNG ADULTS’ CHANUKAH: From Tamsin Sanderson. permission in writing from an 17 WIZO: Visit by WIZO representatives. -
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. -
International Student Science Conference A
PLC SYDNEY BIANNUAL MAGAZINE ISSUE 12: SUMMER 2014 INTERNATIONAL STUDENT SCIENCE CONFERENCE A SUCCESSFUL SNOW SEASON INTERTWINED EXHIBITION YEAR 12 GRADUATION PARENT SEMINARS DISNEY COMES TO PLC SYDNEY 1 From the Principal 17 Creative writing workshops Connect magazine is printed on Sovereign Offset. It is a FSC certified paper and 2 Outstanding young writer recognised 18 Intertwined exhibition contains fibre sourced only from responsible 3 St Aloysius’ College and PLC Sydney 20 Parent seminars forestry practices and made with elemental chlorine free pulps. Special Concert 21 Pipe Band Tour to Perth 2015 Cover image: Taking a break at the entrance to the 4 International Student Science Conference 22 Rising star on the hockey field Athenian Acropolis in Greece during the Ancient History Tour. 5 SMART Tree project 23 Sleek geeks Editor: Mrs Nicole Paull 6 Living the dream 24 Self-defence day Contributors: Dr Paul Burgis, Ms Carolyn Lain, 7 Disney comes to PLC Sydney 25 Textiles technology students inspired Gwendalyn Dabaja, Ms Fiona Clouston, Emma 8 The end of Year 12 by upcycling trend Carnuccio, Isabelle Hooton, Catherine Taylor, 10 The East Timor story so far 26 The serious business of scientific fun Natalie Teh, Hayley Ng, Averlie Wang, Madeleine Maloof, Cailin Pascoe, Mrs Fiona Hendriks, 11 Sydney Eisteddfod results 27 Year 2 Camp Claire Protas, Madeline Panos, Isabella Cordaro, 12 Ancient History Tour 28 Year 12 graduation: Giving thanks Leila Bunguric, Sophie Hayman, Mr Adam Bold, Claire Sharman, Ms Jenny Clarke, Mrs Melissa 13 Central -
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. -
Education Resource
Education Resource This education resource has been developed by the Art Gallery of New South Wales and is also available online An Art Gallery of New South Wales exhibition toured by Museums & Galleries NSW DRAWING ACTIVITIES Draw with black pencil on white paper then with white pencil on black paper. How does the effect differ? Shade a piece of white paper using a thick piece of charcoal then use an eraser to draw into the tone to reveal white lines and shapes. Experiment with unconventional materials such as shoe polish and mud on flattened cardboard boxes. Use water on a paved surface to create ephemeral drawings. Document your drawings before they disappear. How do the documented forms differ from the originals? How did drawing with an eraser, shoe polish, mud and water compare to drawing with a pencil? What do you need to consider differently as an artist? How did handling these materials make you feel? Did you prefer one material to another? Create a line drawing with a pencil, a tonal drawing with charcoal and a loose ink drawing with a brush – all depicting the same subject. Compare your finished drawings. What were some of the positive and negatives of each approach? Is there one you prefer, and why? Draw without taking your drawing utensil off the page. What was challenging about this exercise? Draw something from observation without looking down at your drawing. Are you pleased with the result? What did you learn? Create a series of abstract pencil drawings using colours that reflect the way you feel. -
View of Maitland from the Riverbank (With Apologies to Jan Vermeer and View of Delft) Published June 2006 to Accompany the Exhibition
View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) published June 2006 to accompany the exhibition View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) 1 july - 20 august 2006 publisher maitland regional art gallery 230 high street maitland, nsw australia 2320 ISBN 0-9758369-2-7 paintings photographed by Michel Brouet © artists and maitland regional art gallery This catalogue is copyright apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act. 230 high tel email street (02) artgallery@ maitland 4934 maitland. maitland of nsw 2320 9859 nsw.gov.au city the arts po box fax web placing heart into maitland 220 (02) mrag 2005 - 2007 maitland 4933 .org nsw 2320 1657 .au View of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) 1 july - 20 august 2006 maitland regional art gallery the artists archer suzanne fitzjames michael frost joe lohmann emma macleod euan martin claire mckenzie alexander pinson peter robba leo ryrie judith walker john r white judith Maitland Sixth City of the Arts 2005 - 2007 iew of Maitland from the riverbank (with apologies to Jan Vermeer and View of Delft) is an exhibition which has been developed at Maitland Regional Art Gallery for a Vvariety of reasons. Last year, in the James Gleeson retrospective exhibition at the National Gallery of Australia, I came across Gleeson’s painting of Delft, with homage to Jan Vermeer. I had seen this painting earlier in a private collection, and felt that Gleeson had not only captured his vision of Delft but also created an amazingly surreal new image of Delft which was a unique painting in its own right and not merely an adjunct to another artist’s creation. -
The James Gleeson Oral History Collection
research library Painted in words: the James Gleeson oral history collection It doesn't matter how the paint is put on, as long as something is said. Jackson Pollock Rosemary Madigan Eingana 1968 The Research Library at the National Gallery of Australia Oral history has an interesting place in a museum carved English lime wood collects catalogues raisonn•, auction catalogues, rare serials context. It revolves around the power and reliability of 61.0 x364.8 x30.4cm and books and other printed and pictorial media relating memory and the spoken word in an environment that National Gallery of Australia, Canberra to the visual arts. In addition to bibliographic collections, more often values the written word, the document, the Purchased 1980 the library keeps manuscripts and documentary material image and the object. Spoken words have a number of Murray Griffin such as diaries, photographs and ephemera. It also holds qualities that make them different from other ways of Rabbit trapper's daughter 1936 communicating. They are able to capture the emotions linocut, printed in colour, from a collection of ninety-eight recorded interviews and multiple blocks behind what it means to be a person who is living printed image 35.0 x 27.8 cm transcripts with Australian artists created in the late 1970s, and making art at a particular time in history. And the National Gallery of Australia, before the National Gallery of Australia was built. Canberra storytelling in the interview captures both the pleasures of The interviews were conducted by the well-known memory and the act of creativity. -
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. -
Euan Macleod
Euan Macleod Figure in a dissolving landscape Euan Macleod Figure in a dissolving landscape Euan and well known New Zealand photographer Craig Potton spent a few nights together near the top of the Tasman Glacier early this year. This is an extract from what is hoped will be a book and joint exhibition of their work based on the Southern Alps of New Zealand. “Euan and I have gone to the mountains for the last fifty years but only recently have we gone together. Although we sought out the same valleys and peaks we never actually met which is not surprising given that the Southern Alps is huge. Rather I remember the day, just a decade ago when I saw one of Euan’s paintings of an oversized climber on a summit ridge looking to the valley below. I already knew Euan’s work; his often solitary figures in wild landscapes with simple equipment, ice axes, ropes and boots all fused with intense energy into the oil-scapes, mindscapes of land, sea and sky that poured from his heart brush. Vivid pictures that stayed with me and one painting in particular of a man standing looking tentatively down from the summit of a mountain. He’d climbed so high. Where the hell was he to go from here? He was at the end of the line, literally, on his companion’s climbing rope and he had found a summit; and also he was now bound to make his next move. But what would be his next step in this beautiful blue but dangerous world of ice, sky and rock? How much did he long for the valley below?” Craig Potton 4 EUAN MACLEOD EUAN MACLEOD 5 Climb The sepia shadows that punctuate the alpine ridges which resembles a thread from an unstitched blanket and slopes in Euan Macleod’s recent paintings strike — an umbilical cord linking him to where he has been a familiar note with followers of his work on the far and, possibly, where he is going.