DOCSLIB.ORG

Heide Museum of Modern Art 2015 Annual Report Heide Museum of Modern Art 2015 Annual Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Heide Museum of Modern Art 2015 Annual Report Heide Museum of Modern Art 2015 Annual Report HEIDE MUSEUM OF MODERN ART 2015 ANNUAL REPORT Heide Museum of Modern Art 2015 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 21 5.3 Membership 22 5.4 Event Hire 22 5.5 Café Vue at Heide 22 6. COLLECTION 25 6.1 Acquisitions 27 7. FacILITIES 37 7.1 Maintenance 37 7.2 Gardens 38 8. MarKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Heide Director’s Circle 48 9.3 Grants 48 9.4 Development Committee 49 9.5 Heide Fellow 49 9.6 Annual Fundraising Dinner 49 9.7 Corporate Partnerships 50 9.8 Local Government Support 50 9.9 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 Cover image Gareth Sansom DIRECTORS’ DECLARATION 97 Religiosity á la Mode 2000 (detail) oil and enamel on canvas INDEPENDENT AUDIT REPORT 98 183.5 × 213.5 cm Heide Museum of Modern Art, Melbourne gift of Lion Capital Pty Ltd 2010 © the artist All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2015 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. Honorary Appointments Heide Museum of Modern Art 2015 Annual Report 2. HONORARY Patrons APPOINTMENTS Terry Bracks Barbara Tucker (1934–2015) Sir Rupert Hamer AC KCMG (1916–2004) Fellows H. Norman B Wettenhall AM (1915–2000) 1988 Georges Mora (1913–1992) 1989 Maria Prendergast OAM 1990 Baillieu Myer AC 1992 Loti Smorgon AO (1919–2013) 1993 Victor Smorgon AC (1913–2009) 1993 Barrett Reid AM (1926–1995) 1994 Tom Quirk 1995 Maudie Palmer AO 1997 The Hon. Mr Justice Charles 1998 Christine Collingwood 1999 Albert Tucker AO (1914–1999) 2000 Barbara Tucker (1934–2015) 2000 Tom Lowenstein 2002 William J. Forrest AM 2005 John Gollings AM 2006 Inge King AM 2006 Neil Everist (1929–2016) 2007 Mirka Mora 2008 David Walsh 2009 Craig Kimberley AM 2010 Connie Kimberley 2010 Lady Mary Nolan 2011 Mark Newman 2012 Hyeon-Joo Newman 2012 Joan Clemenger AO 2013 Richard Haese 2014 John Downer AM 2015 Rose Downer 2015 2 3. Chairman & Director's Report Heide Museum of Modern Art 2015 Annual Report 1 3. CHAIRMAN & DIRECTOR’S In 2015 Heide Museum of Modern Art again In 2015 Heide received funding for the second presented a dynamic series of exhibitions year as one of the ten Lead Organisations REPORT of modern and contemporary art, alongside within the State Government’s Organisations outstanding publications and education and Investment Program (OIP). Acknowledging public programs. The year exemplified the Heide’s contribution to Victoria’s rich cultural diversity and ambition of Heide’s program, life, the OIP provides three years of annual combining exhibitions of modern art and funding with a commitment to funding of artists associated with John and Sunday Reed $1,370,400 per annum for 2014–16. There is a at Heide, with a focus on the Heide Collection strong alignment between Heide’s Strategic and important contemporary practitioners. Plan 2014–2016 and the three public benefit Attendance figures for the year attest to the areas identified in the State Government’s OIP, broad relevance of the program, as well as which highlight benefits to the artistic and the continuing interest that exists in Heide’s cultural sector, as well as social and economic distinctive offering of art, architecture, social benefits. Heide is therefore well placed to history and gardens. contribute to Government’s goals through the continuation and development of its role During 2015, the second year of Heide’s as a leading organisation within the Victorian Strategic Plan 2014–2016, staff activities were museum sector. again focused within the four key areas it identifies: Artistic Leadership, Optimisation of Following the completion in 2014 of the Place, Securing the Future and People Love Conservation Management Plan (CMP), which Heide. Defining the key elements of Heide’s provides Heide with a heritage framework to operations, these focus areas also provide a guide future conservation and management solid framework for future development. Each of its unique site, Creative Victoria funded a was highlighted during 2015, with Heide’s Strategic Assessment of the museum and acknowledged excellence in the field of its operations. Against the backdrop of the exhibition programming, publishing, education Strategic Plan 2014–2016 and its ‘Securing the and public programs working alongside Future’ agenda, this project seeks to identify initiatives that aimed to optimise the museum’s and analyse strategies to ensure the long-term unique characteristics, develop opportunities sustainability of the museum in a financial and for ongoing financial support and sponsorship, operational context. This process will continue and build on the esteem in which Heide is so into 2016 with the possibility of a business widely held. case being developed to inform a future bid to government for additional funding. 1 Kirsty Grant, Heide Director and CEO and Steven Skala AO, Chairman of the Board, 2016 Photograph: Jeremy Weihrauch 3 3. Chairman & Director's Report Heide Museum of Modern Art 2015 Annual Report 2 Heide presented twelve exhibitions in 2015, public art museum, with the presentation of Circle support the major exhibition program including one artist performance, and the remarkable Barbara Tucker Gift in 1999, and acquisitions, contributing in 2015 to these are detailed further in this report. followed by her investiture as Heide Fellow the purchase of an important watercolour Continuing Heide’s dual focus on modern (2000), Life Benefactor (2004) and Co-Patron by Joy Hester, as well as the Joy Hester & and contemporary art, the year presented (2005). A memorial celebrating her life was held Gray Smith Papers. a series of exhibitions that elaborated on at Heide in September, alongside the exhibition, Philanthropy is crucial to Heide and we are aspects of early and mid-twentieth century In Fond Memory: The Barbara Tucker Gift. deeply appreciative of the individuals and art history, including the work of artists who Barbara’s legacy lives on at Heide in many organisations who support our core activities were associated with or part of the Heide ways, most importantly through the Gift, and special projects. In 2015 the Copland circle. The diversity of contemporary practice which encompasses a collection of nationally Foundation continued its support of the was also highlighted in the ongoing series of significant works of art, and we look forward Optimisation and Interpretation of Heide I, a exhibitions in the Kerry Gardner & Andrew to continuing this important relationship two-year project that enabled the preservation Myer Project Gallery and an all-of-site with Barbara’s family who represent the and presentation of works of art and archival exhibition that highlighted contemporary works Tucker Estate. material used in Heide I exhibitions and from the collection. Heide Deputy Director/ Heide’s 2015 Business Plan sought to continue related public and education programs. Senior Curator Linda Michael also curated the delivery of quality programming within The Copland Foundation also provided seed Fiona Hall’s exhibition Wrong Way Time for a limited budget and tightly controlled funding towards the acquisition of the Joy the 2015 Venice Biennale. operational expenditure. The complexities of Hester & Gray Smith Papers. The Lord Mayor’s Two printed and four electronic catalogues Heide’s site, which incorporates three distinct Charitable Foundation supported the second were published in association with the exhibition buildings across 6.8 hectares, with of a two-year project which focused on the exhibitions. In addition, the double biography a changing annual program of exhibitions, conservation of collection works by Melbourne of Heide’s founders, John and Sunday requires the organisation’s commercial modernist women artists. The Merlyn Myer Reed, Modern Love, written by our curators operations and development streams to Fund also supported Heide’s focus on Lesley Harding and Kendrah Morgan was contribute substantially to the financial support significant modernist women artists through published by Melbourne University Publishing of day-to-day activities. Retail, Membership the conservation of key collection works which in partnership with Heide and the State Library and Venue Hire all generated revenue above were displayed in exhibitions throughout of Victoria. Launched in October to significant the budgeted targets in 2015 and Development the year. acclaim, Modern Love was subsequently raised funds through Government, corporate We were delighted in November to announce shortlisted in the non-fiction category of the and philanthropic support in an increasingly John Downer AM and Rose Downer as the 2015 Victorian Premier’s Literary Award. competitive field. 2015 Heide Fellows, in acknowledgement of The staff and broader Heide community With the aim of building a broad base of their longstanding relationship with Heide. was saddened by the death of Heide Patron individual supporters of the museum, the In addition to recognising the significant and long-term supporter, Barbara Tucker, Heide Director’s Circle was launched in March. financial support they have given to major in May 2015. Barbara had a long and very The inaugural members of the Director’s Circle building projects at Heide, this award also close association with Heide, firstly as a participated in a range of tailored activities, acknowledged John’s service to the Heide personal friend of John and Sunday Reed including artist and curator tours of Heide’s Board as Director from 2004 to 2013.
Load more

Recommended publications
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • MEDIA RELEASE 17 June 2021
    MEDIA RELEASE 17 June 2021 Heide Museum of Modern Art reopens this Friday 18 June with adjusted exhibition program Melbourne, Australia: Heide Museum of Modern Art is delighted to be reopening this Friday 18 June following Victoria’s recent circuit breaker lockdown. As a result of the museum’s closure and COVID-19 related delays in international shipping an adjusted program will be presented including major surveys of key Australian artists and presentations reflecting the significance of Heide to the artistic community since its inception. Visitor Information can be found at: https://www.heide.com.au/visit/covid-visiting- information Heide Artistic Director Lesley Harding said, “It’s wonderful to welcome the public back to Heide! Although we’ve had to defer the much-anticipated Bruce Munro: From Sunrise Road exhibition until 2022, we are happily extending the major survey of Robert Owen’s diverse oeuvre ahead of launching the first solo retrospective of pioneering modernist sculptor Margel Hinder. In Heide Cottage a number of works by women artists associated with Heide are presented for the first time, and within the iconic Heide Modern building we are recreating the interior as it was when the Reeds lived there, including the recently restored furniture and artwork from their personal collection.” MEDIA RELEASE 17 June 2021 Revised Exhibition Program across Heide Museum of Modern Art Blue Over Time: Robert Owen—A Survey Extended until 11 July Heide Galleries Showcases the 60-year practice of eminent Australian artist Robert Owen. Grounded in geometry and abstraction, Owen’s art is inspired by his diverse interests—encompassing philosophy and psychology, science and mathematics, music and literature—and reflect his incessant curiosity about the world.
    [Show full text]
  • On Site : Installations by Tom Arthur
    ON SITE INSTALLATIONS BY TOM ARTHUR JULIE BROWN ELIZABETH GOWER HOSSEIN VALAMANESH Tasmanian School of Art Gallery, This exhibition was assisted by the University of Tasmania, Commonwealth Government through the Visual Mt Nelson Campus, Hobart, Arts Board, Australia Council. September 4 - October 27, 1984 ISBN 0 85901 258 1 p.l PREFACE Fundamental to the Tasmanian School of Art Gallery Committee's exhibition policy is the commitment to exhibit work from outside Tas­ mania. Normally the selected works are re­ ceived in crates, unpacked and displayed. Occasionally the artist may be present to install the work or to participate in con­ current lectures/seminars. The latter can give greater meaning to the completed work, but rarely is there an opportunity to witness the work in progress. The Gallery exists within an art school, and this exhibition was intended to extend the normal educative role of exhibitions. Each artist spent approximately two weeks "in residence", developing and completing a work. The piece didn't have to be "site specific", so preliminary work could commence prior to arrival. However, it was essential that further evolution took place on site. There was no intended thematic link between the four artists; buf what they had in common was a body of work which illustrated an ability to participate within the exhibition's frame­ work and an involvement in a range of disciplines (without any being easily cate­ gorized within any particular discipline). The diversity proved to be a considerable asset. Not only did the audience gain an insight into the range of conceptual posi­ tions of four professional artists, but also into the individual pre-occupations and idio­ syncracies of their particular art practice.
    [Show full text]
  • 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.
    [Show full text]
  • Heide Sculpture Park Discovering Art in Outdoor Spaces
    HEIDE EDUCATION Heide Sculpture Park Discovering art in outdoor spaces Anish Kapoor Inge King In The Presence of Form II 1993 (Foreground) Rings of Saturn 2005-2006 (Background) carved Portland stone stainless steel 174 x 170 x 110 cm 450 x 450 x 450 cm Untitled 1993 (Front) Heide Museum of Modern Art carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art 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. © Heide 2011 For personal use only – do not store, copy or distribute Page 1 of 21 HEIDE EDUCATION Sculptures in the Park Dennis Oppenheim (1953–2011) Basket and Wave (From Dreams and Nightmares. Journey of a Broken Weave) 1984 Materials: _________________________ 488 x 549 x 792 cm Heide Museum of Modern Art Gift of the artist and Diana Gibson 1985 Current location: Connie Kimberley Sculpture Park At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer. Displaying sculptures throughout the park would take full advantage of the Museum's unique location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981 "The landscape is an integral part of Heide and most important in its ethos.
    [Show full text]
  • The Iconography of Arthur Boyd Lecturer: Kendrah Morgan 29/30 August 2018
    Art Appreciation Lecture Series 2018 The Hidden Language of Art: Symbol and Allusion. Lecture title: The Iconography of Arthur Boyd Lecturer: Kendrah Morgan 29/30 August 2018 Lecture summary: Acclaimed artist Arthur Boyd (1920–1999) was a master in a range of media but most widely recognised for the extraordinary allegorical paintings that he produced in series across the course of his long career. This lecture focuses on how Boyd developed his distinctive and deeply personal symbolic language, exploring the evolution and meaning of specific motifs and how he applied and extended these in key sequences of paintings to create images of universal and lasting relevance. While Boyd’s work is stylistically diverse, his iconography is remarkably consistent, allowing us to identify what inspired and drove him, and made him one of the most important Australian artists of the twentieth century. Slide list: Joshua Reynolds, 1. (Title image) Arthur Boyd, Wedding Group 1957-8, oil and tempera on composition board, 130 x 160 cm, private collection, Melbourne. 2. (Clockwise from left) Arthur Boyd, Self Portrait in Red Shirt 1937, oil on canvas on cardboard, 51.5 x 45.4 cm, National Gallery of Australia, Canberra, The Arthur Boyd Gift 1975; Merric Boyd with Arthur and Lucy at Open Country, Murrumbeena (detail) c.1922, photographer unknown, Bundanon Trust Archive, NSW; Doris Boyd with her children 1929, photographer unknown, Bundanon Trust Archive, NSW. 3. (Left) Arthur Boyd, Untitled Landscape c.1934, 75.5 x 65.5 cm, Heide Museum of Modern Art, Melbourne, gift of Dr John Green 2017; (Right)Albert Tucker, Arthur Boyd in his studio c.1945, gelatin silver photograph, 40.6 x 30.6 cm, Heide Museum of Modern Art, Melbourne, gift of Barbara Tucker 2001.
    [Show full text]
  • Goanna 8/8/06
    17 of Nolan’s provincialism: ‘This need for solution, the optimistic belief that man can understand and master the confusion of life, is surely at variance with our 20th century despair of finding a cohesive pattern.’ He asked why all the faces in Nolan’s paintings based on Shakespeare’s Sonnets were so ‘enigmatically, unpredictably Australian.’ Agreeing that his Shakespeare ‘looked like a swagman,’ Nolan wondered whether it wasn’t part of the ungovernable egoism of creativity that Shakespeare, indeed the world, would be seen in terms of one’s own experience? — ‘In saying something powerful about yourself poetically, you become reconciled to it.’32 To Spencer, Nolan’s ‘outsidedness is really the equation of his Australianness.’ To Nolan, on the other hand, ‘outsidedness’ was a condition of creativity.33 **** Arthur Boyd, the second creative fellow represented in this exhibition, spent the five months of his fellowship (21 September 1971 – 29 February 1972) in Canberra.1 His home base since 1959 had been London, where Australian artists and writers had been having the effect of an ‘antipodean’ new wave. Their art was raw and uncompromising, and it expressed Australian realities that were exotic to international audiences yet touched on universal human myths. When Boyd was approached by the Australian National University in early May 1970 he was fifty. Events during the past two or three years had put him in the position of considering the tenor of his art and life. In 1967 a first monograph, written by Franz Philipp, had pointed to the meaningful recurrence of motifs and stories in his work.
    [Show full text]
  • Ssh.Com.Au Phone Lyn 0400 008 338 Network (FDN) Held Its Annual GEOFF TURNBULL for 28 Days
    ‘OUR BELOVED GOVERNOr’ FIRST EVER SoULFEST ExclusivE intErviEw — page 8 rEviEw — pages 9-10 NUMBER ONE HUNDRED AND THIRTY-0NE NOVEMBER ’14 CIRCULATION 22,000 ALEXANDRIA BEACONSFIELD CHIPPENDALE DARLINGTON ERSKINEVILLE EVELEIGH GLEBE KINGS CROSS NEWTOWN PADDINGTON REDFERN SURRY HILLS WATERLOO WOOLLOOMOOLOO ZETLAND Jamie Parker and Verity Firth (centre) with winners of the Overview Glebe community photo competition, celebrating the diversity of the Glebe community Photo: Claire Mahjoub Housing in the heart of the city Movement at the station Lyn Turnbull people ... [The Glebe Project aims] number of people on the waiting SamueL CLark some concerned that it was yet another to avoid the sudden displacement list from the previous year, with case of a press release not materialising. JUST OVER a week before Gough ... sympathetically rehabilitate it." more than 59,000 households REDFERN: THE recent closures of Laura Kelly from the community Whitlam’s death, about 60 Glebe She continued: “In the 40 years across NSW now waiting for social platforms six and seven are the group Lift Redfern maintained that “we community members gathered since that decision we have seen housing assistance. The waiting first signs of the promised lift being will continue to lobby for full equality to celebrate the 40th anniversary exactly that happen to Glebe. As a time is four years on average installed at Redfern station. in access and the complete re-furbish of of his government saving large local resident I love the way our and up to 10 years for popular the Redfern station, however, we can swathes of Glebe from demolition community remains so diverse, with locations in the inner city.
    [Show full text]
  • Annual Report 2010–11
    ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher.
    [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]
  • Diggens Sculpture
    The Elements within Sculpture - 4 June to 15 July 2011 L A U R A I N E · D I G G I N S · F I N E · A R T The Elements within Sculpture Such Diversity e have travelled a long way! The distance between the sculpture of Sir Bertram Mackennal (1863-1931) and the extraordinarily diverse works W produced by contemporary Australian sculptors is virtually immeasurable. Some fascinating links, nevertheless, remain. Bertram Mackennal was the first Australian artist to achieve great success overseas.* For most of his career he was resident in London where he was accepted by the establishment and enjoyed royal patronage. Furthermore, he was the first Australian elected to the Royal Academy, the first to have a work purchased by the Tate Gallery and the first Australian artist to be knighted. Influenced by Rodin, he became part of the New Sculpture movement in the UK where he practiced an idealised DEL KATHRYN BARTON 1972 - I am loving you like this (version 2), 2008 naturalism, which gave a new life to the classical tradition. bronze edition 3/3 Essentially a modeller in clay, many of his works were subsequently cast in bronze, 100 x 34 x 36 cm while others were carved in marble. Relying heavily on commissions and patronage, he produced a great number of portrait busts, memorials such as the regal Queen Victoria Memorial, 1897-1901, at Ballarat and a wonderful series of very sensuous female nudes: the National Gallery of Victoria has his arresting Circe of 1893 in their collection. The sexuality was made palatable to the attitudes of his period by the use of classical references, as with Vesta, 1900, in this exhibition.
    [Show full text]
  • Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
    Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases.
    [Show full text]