21St Biennale of Sydney Unveils Artistic Program
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Australian Painting from One of the World's Greatest Collectors Offered
Press Release For Immediate Release Melbourne 3 May 2016 John Keats 03 9508 9900 [email protected] Australian Painting from One of the World’s Greatest Collectors Offered for Auction Important Australian & International Art | Auction in Sydney 11 May 2016 Roy de Maistre 1894-1968, The Studio Table 1928. Estimate $60,000-80,000 A painting from the collection of one of world’s most renowned art collectors and patrons will be auctioned by Sotheby’s Australia on 11 May at the InterContinental Sydney. Roy de Maistre’s The Studio Table 1928 was owned by Samuel Courtauld founder of The Courtauld Institute of Art and The Courtauld Gallery, and donor of acquisition funds for the Tate, London and National Gallery, London. De Maistre was one of Australia’s early pioneers of modern art and The Studio Table (estimate $60,000-80,000, lot 127, pictured) provides a unique insight into the studio environment of one of Anglo-Australia’s greatest artists. 1 | Sotheby’s Australia is a trade mark used under licence from Sotheby's. Second East Auction Holdings Pty Ltd is independent of the Sotheby's Group. The Sotheby's Group is not responsible for the acts or omissions of Second East Auction Holdings Pty Ltd Geoffrey Smith, Chairman of Sotheby’s Australia commented: ‘Sotheby’s Australia is honoured to be entrusted with this significant painting by Roy de Maistre from The Samuel Courtauld Collection. De Maistre’s works are complex in origins and intricate in construction. Mentor to the young Francis Bacon, De Maistre remains one of Australia’s most influential and enigmatic artists, whose unique contribution to the development of modern art in Australia and Great Britain is still to be fully understood and appreciated.’ A leading exponent of Modernism and Abstraction in Australia, The Studio Table was the highlight of Roy de Maistre’s solo exhibition in Sydney in 1928. -
Call for Applications – CIMAM Travel Grants, Singapore | C-E-A
4/7/2017 Call for applications – CIMAM Travel Grants, Singapore | C-E-A < Tous les articles de la catégorie Annonces Call for applications – CIMAM Travel Grants, Singapore avril 24, 2017 // Catégorie Annonces, News Deadline to submit applications – 30th June 2017 24:00 CET Thanks to the generous support of the Getty Foundation, MALBA–Fundación Costantini, the Fubon Art Foundation and Alserkal Programming, CIMAM offers around 25 grants to support the attendance of contemporary art museum professionals to CIMAM’s 2017 Annual Conference The Roles and Responsibilities of Museums in Civil Society that will be held in Singapore, 10–12 November 2017. Grants are restricted to modern and contemporary art museum or collection directors and curators in need of financial help to attend CIMAM’s Annual Conference. Researchers and independent curators whose field of research and specialization is contemporary art theory, collections and museums are also eligible. Applicants should not be involved in any kind of commercial or for profit activity. While curators of all career levels are encouraged to apply, priority is given to junior curators (less than 10 years’ experience). More information http://c-e-a.asso.fr/call-for-applications-cimam-travel-grants/ 1/2 HOME Search MOBILITY NEWS By Topic 02.06.2017 Most Popular News By World Region CIMAM 2017 Conference in Singapore > Travel 03.01.2018 By Deadlines grants Plovdiv 2019 Foundation > artist in residence: ADATA AiR (Bulgaria) MOBILITY FUNDING CIMAM, International Committee for Read more » Museums and Collections of Modern 28.12.2017 MOBILITY HOT TOPICS Art, holds its 2017 Annual Conference December 2017 Cultural Mobility in Singapore, 10-12 November 2017. -
Fiona Tan Coming Home
Fiona Tan Sherman Art Foundation Contemporary Coming Home Fiona Tan Coming Home Sherman Contemporary Art Foundation Contents in association with the National Art School 12 Preface Anita Taylor Fiona Tan 14 Introduction Gene Sherman Coming Home 19 Colour Plates A Lapse of Memory 47 Disorient 74 Essay Infinite Crossroads Juliana Engberg 82 Production Credits 84 Artist Biography 88 Artist Bibliography 92 Contributors 94 Acknowledgements 13 It is with enormous pleasure that the National The extension of the project to include the Preface Art School (NAS) joins with Sherman NAS Gallery is a direct outcome of discussions Contemporary Art Foundation (SCAF) to involving the Deans/Directors of the three present ‘Fiona Tan: Coming Home’. The major art schools in Sydney in May 2009, held proposal to extend the project – commissioned at the invitation of Dr Gene Sherman, in which Anita Taylor by SCAF – across our two venues represents a Gene and her team at SCAF proposed an Director significant new partnership for NAS. I believe ongoing dialogue to explore opportunities to National Art School the opportunity afforded by this collaboration engage more extensively with the art students establishes an exciting new direction for both of Sydney. Most importantly, SCAF and NAS our organisations. share a commitment to supporting outstanding The two Sydney venues are each hosting a exhibitions that underscore the value of art and separate body of work: Disorient, 2009, first culture in our society. shown to great acclaim in the Dutch Pavilion at The hard work, commitment and dedication the 53rd Venice Biennale, is screening at SCAF in of a number of individuals are required to Paddington, and A Lapse of Memory, 2007, is deliver an exhibition of this scope. -
Tiffany Chung: Scratching the Walls of Memory
TIFFANY CHUNG scratching the walls of memory scratching the walls of memory TIFFANY CHUNG FOReWORD TYLeR ROLLINS It is with great pleasure that we welcome back Tiffany Chung for her second solo exhibition at Tyler Rollins Fine Art. In the two years since her last show with us, Play (2008), she has been very active on the international scene, participating in exhibitions on four continents. In 2009, she was featured in So Close Yet So Far Away: Incheon International Women Artists’ Biennale in Incheon, South Korea; A Starting Point: Intrude 36 – Dynamics of Change and Growth at Zendai MoMA, Shanghai; and in group shows in Hong Kong, Kuala Lumpur, and Milan. So far in 2010, her work has been shown in Ascending Dragon: Contemporary Vietnamese Arts at the Armory Center for the Arts in Pasadena, California; The River Project at the Campbelltown Arts Centre in Sydney, Australia; and in a solo exhibition in Berlin. She has been selected to participate in the Singapore Biennale in 2011. For her current exhibition, scratching the walls of memory, Chung presents a new body of work inspired by maps of urban regions, featuring embroidery and appliqué works on canvas. Chung has long been fascinated with maps, not only for their graphic possibilities but also for what they say about our relation to the past and our visions of the future. Over the past few years, she has produced an ongoing series of works on paper based on urban planning maps that evoke the utopian visions and often harsh dislocations of our rapidly developing world. -
Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and Works in Long Island City, Queens, NY
JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and works in Long Island City, Queens, NY EDUCATION Arturo Michelena School of Fine Arts, Venezuela SELECTED SOLO EXHBITIONS 2016 To Have Done with the Judgment of God, Koenig & Clinton, New York 2014 Shadow Play, curated by Mirjam Varanidis, Kunsthaus Zürich, Switzerland Games are forbidden in the labyrinth, Walter and McBean Galleries, San Francisco Art Institute, CA Games are forbidden in the labyrinth, REDCAT Gallery, co-produced with Kadist Art Foundation, Los Angeles, CA 2013 Praise of Folly, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium The Conquest of Mexico, Figge von Rosen Galerie, Cologne, Germany 2012 Ungesehen und unerhört II: Javier Téllez, Museum Sammlung Prinzhorn, Heidelberg, Germany Rotations, Galerie Peter Kilchmann, Zürich, Switzerland 2011 Letter on the Blind for the Use of Those Who See, Arthouse at the Jones Center, Austin, TX O Rinoceronte de Dürer, Fruits, Flowers, and Clouds, Museum for Applied Arts, Vienna, Austria Letter on the Blind for the Use of Those Who See, Museum of Contemporary Art Cleveland, OH O Rinoceronte de Dürer, Galerie Arratia Beer, Berlin, Germany 2010 Vasco Araújo/Javier Téllez - Larger than Life, curated by Isabel Carlos, Museo de Arte Contemporánea, Vigo, Spain Vasco Araujo/Javier Téllez - Larger than Life, Museu Calouste Gulbenkian, Lisbon, Portugal 2009 41⁄2, curated by Hilke Wagner, Kunstverein Braunschweig, Germany Mind The Gap, curated by Sabine Schaschl, Kunsthaus Baselland, Switzerland Javier Téllez: International Artist -
Hans Haacke Biography
P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute -
All Our Relations: the 18Th Biennale of Sydney Connects Continents Mcmaster, Gerald
OCAD University Open Research Repository Faculty of Liberal Arts & Sciences 2012 All our relations: The 18th Biennale of Sydney connects continents McMaster, Gerald Suggested citation: McMaster, Gerald (2012) All our relations: The 18th Biennale of Sydney connects continents. Canadian Art, 29 (2). pp. 76-81. ISSN 0825-3854 Available at http://openresearch.ocadu.ca/id/eprint/2119/ Open Research is a publicly accessible, curated repository for the preservation and dissemination of scholarly and creative output of the OCAD University community. Material in Open Research is open access and made available via the consent of the author and/or rights holder on a non-exclusive basis. Since he took a leave of absence from the Art Gallery ofOntario (AGO) to work 011 the 18th Bie11nale of Syd11ey with atheri11e de Zegher, a former AGO colleag11e, Gerald McMa ter ha bee11 hard to pin dow11 for 11ews: he ha bee11 tral'elling the world a11rl looking at arti t for the show, which ope11s at the e11d ofJ1111e. We caught 11p with him via email a11d a ked a few q11e tion . Canadian Alt: What's your role in the 18th Biennale of Sydney? Gerald McMaster: Along with atherine de Zegher, I'm the arti tic director for the Biennale, which will open this June in Sydney, Au tralia. A collaborator , we began in conversation, with the idea that our dialogue would develop outward into other conver- sations. Essentially, we are a curatorial partner hip, omething that isn't new to me at all. Catherine and I had worked on an exhibition for the Drawing enter a Imo t ten year ago, and then we connected again for the rehang of the Canadian and European galleries at the Art Gallery of Ontario. -
Canada and Australia
CANADA AND AUSTRALIA: PROMOTING COLLABORATION IN CREATIVE INDUSTRIES Prepared by the Consulate General of Canada in Sydney 1 TABLE OF CONTENTS 3 Welcome & Introduction 4 Film & Television 11 Music 16 Literature 21 Performing Arts 25 Visual Arts 28 Digital Arts 30 Promoting Canadian Creators Globally 2 WELCOME & INTRODUCTION The creative industries represent an important part of In Australia, the demand in the creative industries Canada’s economy and exports however these times sector was booming pre-coronavirus and represented are unprecedented and present challenges never 6.2% of total Australian employment and employment. before seen for the sector. In light of current events, The creative industries were growing 40% faster than particularly the recent cancellations of cultural events, the Australian economy as a whole. Australia also the Consulate General of Sydney would like to reaffirm recognises the important role and positive impact of the government’s support for all the people affected, the arts in regional, rural and remote areas. This has directly or indirectly, by the coronavirus. We know that led to a growth in festivals, arts markets, concerts, 4 Film & Television times like these can be particularly difficult for self- performances and galleries expanding into these areas employed creative workers, community organizations, due to the positive impact on the community as well as and cultural organizations, among many others. the daily lives of Australians. 11 Music This report, written pre-coronavirus, may be a useful resource as the creative industries move from crisis to Canada and Australia share similar histories and values recovery and seek out new business opportunities. -
Report 18Th Biennale of Sydney
18TH BIENNALE OF SYDNEY 27 JUNE - 16 SEPT 2012 REPORT Contents A bout the Biennale of Sydney 2 Messages of Support 3 Chairman’s Message 4 CEO’s Report 5 Highlights 7 Art Gallery of New South Wales 12 Museum of Contemporary Art Australia 18 Pier 2/3 24 BENEFACTORS Cockatoo Island 26 Carriageworks 34 Artist Performances and Participatory Projects 36 Opening Week 38 Events and Public Programs 40 2 Biennale Bar @ Pier 2/3 44 Resources 46 Publications and Merchandise 48 Attendance and Audience Research 50 Media and Publicity 52 Marketing Campaign 54 Partners 56 Operations 60 Revenue and Expenditure 61 Artists 62 Official Guests 63 Board and Staff 64 Crew, Interns and Volunteers 65 Supporters and Project Support 66 Cultural Funding 69 Front cover Peter Robinson Gravitas Lite, 2012 Installation view of the 18th Biennale of Sydney (2012) at Cockatoo Island Courtesy the artist; Sutton Gallery, Melbourne; Sue Crockford Gallery, Auckland; and Peter McLeavey Gallery, Wellington This project was made possible with generous assistance from ART50 Trust; Kriselle Baker and Richard Douglas; The Bijou Collection; Jane and Mike Browne; Caffe L’affare; Chartwell Trust; Sarah and Warren Couillault; Sue Crockford Gallery; Kate Darrow; Dean Endowment Trust; Elam School of Fine Arts, The University of Auckland; Alison Ewing; Jo Ferrier and Roger Wall; Dame Jenny Gibbs; Susan and Michael Harte; Keitha and Connel McLaren; Peter McLeavey; Garth O’Brien; Random Art Group; David and Lisa Roberton; Irene Sutton, Sutton Gallery; and Miriam van Wezel and Pete Bossley -
Ocean to Outback: Australian Landscape Painting 1850–1950
travelling exhibition Ocean to Outback: Australian landscape painting 1850–1950 4 August 2007 – 3 May 2009 … it is continually exciting, these curious and strange rhythms which one discovers in a vast landscape, the juxtaposition of figures, of objects, all these things are exciting. Add to that again the peculiarity of the particular land in which we live here, and you get a quality of strangeness that you do not find, I think, anywhere else. Russell Drysdale, 19601 From the white heat of our beaches to the red heart of 127 of the 220 convicts on board died.2 Survivors’ accounts central Australia, Ocean to Outback: Australian landscape said the ship’s crew fired their weapons at convicts who, in painting 1850–1950 conveys the great beauty and diversity a state of panic, attempted to break from their confines as of the Australian continent. Curated by the National Gallery’s the vessel went down. Director Ron Radford, this major travelling exhibition is The painting is dominated by a huge sky, with the a celebration of the Gallery’s twenty-fifth anniversary. It broken George the Third dwarfed by the expanse. Waves features treasured Australian landscape paintings from the crash over the decks of the ship while a few figures in the national collection and will travel to venues throughout each foreground attempt to salvage cargo and supplies. This is Australian state and territory until 2009. a seascape that evokes trepidation and anxiety. The small Encompassing colonial through to modernist works, the figures contribute to the feeling of human vulnerability exhibition spans the great century of Australian landscape when challenged by the extremities of nature. -
Grace Cossington Smith
Grace Cossington Smith A RETROSPECTIVE EXHIBITION Proudly sponsored by This exhibition has been curated by Deborah Hart, Senior Curator, Australian Paintings and Sculpture at the National Gallery of Australia. Booking details Entry $12 Members and concessions $8 Entry for booked school groups and students under 16 is free Online teachers’ resources Visit nga.gov.au to download study sheets that can be used with on-line images – key works have been selected and are accompanied by additional text. Other resources available The catalogue to the exhibition: Grace Cossington Smith (a 10% discount is offered for schools’ purchases) Available from the NGA shop. Phone 1800 808 337 (free call) or 02 6240 6420, email [email protected], or shop online at ngashop.com.au Audio tour Free children’s trail Postcards, cards, bookmarks and posters Venues and dates National Gallery of Australia, Canberra 4 March – 13 June 2005 Art Gallery of South Australia, Adelaide 29 July – 9 October 2005 Art Gallery of New South Wales, Sydney 29 October 2005 – 15 January 2006 Queensland Art Gallery, Brisbane 11 February – 30 April 2006 nga.gov.au/CossingtonSmith The National Gallery of Australia is an Australian Government Agency GRACE COSSINGTON SMITH EDUCATION RESOURCE Teachers’ notes Grace Cossington Smith (1892–1984) is one of Australia’s most important artists; a brilliant colourist, she was one of this country’s first Post-Impressionsts. She is renowned for her iconic urban images and radiant interiors. Although Cossington Smith was keenly attentive to the modern urban environment, she also brought a deeply personal, intimate response to the subjects of her art.