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CLUNES Excel Print Copy.Xlsx
Contents ART - FROM AROUND THE WORLD......................................................................................................................................................................... 2 AUSTRALIAN HISTORY .............................................................................................................................................................................................. 5 CINEMA .......................................................................................................................................................................................................................... 13 INDIGENOUS .................................................................................................................................................................................................................. 16 MILITARY ....................................................................................................................................................................................................................... 17 OTHER STATES - NSW, TAS, QLD, SA, WA, & NT ............................................................................................................................................... 21 AUSTRALIAN RAILWAYS ............................................................................................................................................................................................... 25 SKETCH BOOKS ............................................................................................................................................................................................................ -
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 -
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. -
Annual Report Contents About Museums Australia Inc
Museums Australia (Victoria) Melbourne Museum Carlton Gardens, Carlton PO Box 385 Carlton South, Victoria 3053 (03) 8341 7344 Regional Freecall 1800 680 082 www.mavic.asn.au 08 annual report Contents About Museums Australia Inc. (Victoria) About Museums Australia Inc. (Victoria) .................................................................................................. 2 Mission Enabling museums and their Training and Professional Development President’s Report .................................................................................................................................... 3 services, including phone and print-based people to develop their capacity to inspire advice, referrals, workshops and seminars. Treasurer’s Report .................................................................................................................................... 4 Membership and Networking Executive Director’s Report ...................................................................................................................... 5 and engage their communities. to proactively and reactively identify initiatives for the benefit of existing and Management ............................................................................................................................................. 7 potential members and links with the wider museum sector. The weekly Training & Professional Development and Member Events ................................................................... 9 Statement of Purpose MA (Vic) represents -
KATHRYN RYAN Lives and Works in Warrnambool VIC
KATHRYN RYAN Lives and works in Warrnambool VIC SOLO EXHIBITIONS 2018 : South West Coast, Flinders Lane Gallery Melbourne ( May22- June 16) 2017 : Shifting Light, Olsen Gallery Sydney 2016: New Works : Olsen Irwin Works on Paper Gallery, Sydney 2016: New Works, Flinders Lane Gallery, Melbourne 2015: A Quiet Place, Paintings & Drawings 1995 – 2015 Warrnambool Art Gallery 2015: New Works: Olsen Irwin Works on Paper Gallery, Sydney, 2013: Shadow & Light, Flinders Lane Gallery Melbourne, 2012 : New Paintings, Tim Olsen Gallery , Sydney 2011 : Winter Landscapes, Flinders Lane Gallery, Melbourne 2010: New Paintings, Tim Olsen Gallery, Sydney 2009: New Paintings, Flinders Lane Gallery, Melbourne 2008: Recent Paintings, Tim Olsen Gallery, Sydney 2007: The Pines, Flinders Lane Gallery, Melbourne 2005: The South West, Flinders Lane Gallery, Melbourne 2003: Panmure Paddocks, Flinders Lane Gallery, Melbourne 2001: A Quiet Place, Flinders Lane Gallery, Melbourne 1999: Works on Paper, The Continental, Melbourne 1996: Paintings, Dianne Tanzer Gallery, Fitzroy AWARDS / PRIZES The Wynne Prize AGNSW : Finalist 2007, 2004, 2000 Salon des Refuses Wynne Selection: Finalist 2018 , 2017 , 2016, 2001, 1996, 1995 Lyn McCrea Memorial Drawing Prize, Noosa Regional Gallery QLD, Finalist 2018 Paul Guest Prize: Bendigo Art Gallery , Finalist 2016 Geelong Contemporary Art Prize: Finalist 2012 The John Leslie Art Prize for Landscape: Finalist 2012, 2018 Fleurieu Art Prize: Finalist 2011 Tattersall’s Club Art Prize for Landscape: Finalist 2017, 2016, 2015, 2014, 2013, -
Strategic Plan Geelong Gallery
GEELONG GALLERY STRATEGIC PLAN 2020–2023 0 GEELONG GALLERY STRATEGIC PLAN 2020 – 2023 Endorsed by Geelong Gallery Board 21 September 2020 CONTENTS 1. Our Purpose 3 2. Introduction 3 3. Organisational Background 4 4. Strategic Plan 6 1 GEELONG GALLERY STRATEGIC PLAN 2020 – 2023 Endorsed by Geelong Gallery Board 21 September 2020 1. OUR PURPOSE Geelong Gallery’s purpose is to provide an experience of art that will enrich people’s lives. PILLARS Geelong Gallery’s purpose is underpinned by four pillars: 1. Geelong Gallery will deliver artistic and cultural advancement for the community thus making Geelong a more liveable City; 2. Geelong Gallery will bring economic benefit to the region through tourism arising from its exhibitions and events; 3. Geelong Gallery will connect and empower people by promoting equity, diversity, inclusion, access and lifelong learning; 4. Geelong Gallery will expand its premises to provide greater access to its collections and exhibitions, in order to significantly enhance the delivery of its aims in the first, second and third pillars. 2. INTRODUCTION This document summarises the strategic direction of Geelong Gallery for the period 2020–2023. This Plan is endorsed by the Geelong Gallery Board and supported by six key sub-committees of the Board focussed on the Governance and guidance of Gallery operations. The plan is implemented by Senior Management via detailed annual business plans. While many Gallery activities delivered are quantifiable, the primary outcomes of the Gallery’s core business — across exhibitions, learning and public programs, and visitor experience — are qualitative: beyond conventional accounting and measurement, and reliant on peer, popular and critical response in the short and long term, and on the cumulative effects of learning, engagement and self-determination. -
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. -
ANNUAL REPORT 2013 / 2014 Page 1
Geelong Community Foundation ANNUAL REPORT 2013 / 2014 Page 1 Geelong Community Foundation Your Gift Working Forever Annual Report 2013/2014 OUR CORE PURPOSE Geelong Community Foundation ANNUAL REPORT 2013 / 2014 Page 2 The Geelong Community Foundation exists to make a positive and Our Structure lasting difference to people in the Geelong region. The Foundation has been endorsed by the Australian Tax Office as Our Role a charity. Donations to the Foundation’s Gift Fund are tax deductible The Geelong region has needs which are not being met from and the Foundation is exempt from tax. other funding sources. The Geelong Community Foundation The Foundation has been set up to support the people living in the encourages individuals, families, business and other organisations City of Greater Geelong, the Borough of Queenscliffe, the Surf to make donations to meet these needs, now and in the future. Coast Shire and the southern part of the Golden Plains Shire. These donations are retained as capital by the Foundation to build a perpetual and substantial fund for philanthropic purposes, with the The Foundation is governed by a volunteer board of Directors, with income from this capital used to make local community grants. a wide range of skills, experience and an extensive knowledge of the community. The Foundation is able to support charitable organisations across Our Major Aims the full spectrum of health and welfare services, as well as cultural • Manage and invest funds prudently to achieve fund growth and programs and environmental projects. good returns • Make grants for the long-term benefit of our community and evaluate their effectiveness • Provide a simple, cost effective way to make substantial donations to our community • Be part of new initiatives and achievements in community building • Maintain the highest professional standards, service and transparency to the community Geelong Community Foundation Tag Line The Foundation adopted a new Tag Line this year which is “Your Gift Working Forever”. -
'Something Is Wrong with Our Army…' Command, Leadership & Italian
Journal of Military and Strategic VOLUME 14, ISSUE 1, FALL 2011 Studies ‘Something is wrong with our army…’ Command, Leadership & Italian Military Failure in the First Libyan Campaign, 1940-41. Dr. Craig Stockings There is no question that the First Libyan Campaign of 1940-41 was an Italian military disaster of the highest order. Within hours of Mussolini’s declaration of war British troops began launching a series of very successful raids by air, sea and land in the North African theatre. Despite such early setbacks a long-anticipated Italian invasion of Egypt began on 13 September 1940. After three days of ponderous and costly advance, elements of the Italian 10th Army halted 95 kilometres into Egyptian territory and dug into a series of fortified camps southwest of the small coastal village of Sidi Barrani. From 9-11 December, these camps were attacked by Western Desert Force (WDF) in the opening stages of Operation Compass – the British counter-offensive against the Italian invasion. Italian troops not killed or captured in the rout that followed began a desperate and disjointed withdrawal back over the Libyan border, with the British in pursuit. The next significant engagement of the campaign was at the port-village Bardia, 30 kilometres inside Libya, in the first week of 1941. There the Australian 6 Division, having recently replaced 4 Indian Division as the infantry component of WDF (now renamed 13 Corps), broke the Italian fortress and its 40,000 defenders with few casualties. The feat was repeated at the port of Tobruk, deeper into Libya, when another 27,000 Italian prisoners were taken. -
Bruce Thurrowgood — CV
bruce thurrowgood — CV handmark QUALIFICATIONS 1971-74 Diploma Art & Design (Painting and Printmaking), Gordon Institute of Technology, Geelong 1974 Sumie Painting, with Andre’ Sollier, Melbourne 1988 Diploma of Education, Hawthorn Institute of Education, Melbourne SOLO EXHIBITIONS 2020 Handmark Gallery, Hobart 2003 Qdos, Lorne 2001-2 Qdos, Lorne 2000 Wholefoods Cafe & Gallery, Geelong 1994 Lauraine Diggins Fine Art, Melbourne 1991-2 Qdos, Lorne 1985 Pinacotheca, Waltham Place, Richmond, Melbourne 1982 Pinacotheca, Waltham Place, Richmond, Melbourne 1976 Works Gallery, Geelong 1975 Flinders Gallery, Geelong GROUP EXHIBITIONS 2013-14 Qdos, Lorne 2001 Art Company of Australia, ‘Skin’, Ocean Grove 2000 Wall Street Exchange, ‘Realities’, Qantas Club Lounge, Melbourne 1996 Lauraine Diggins Fine Art, Garden’s House, Royal Botanic Gardens, Melbourne 1995 Lauraine Diggins Fine Art 1995 Lauraine Diggins Fine Art, ‘Different Views: Aspects of the Landscape’ 1993 Geelong Art Gallery, ‘Survey 14: Images of the Geelong Region’ 1991 Geelong Art Gallery, ‘Survey 12: A Regional Review’ 1990 Qdos, Lorne 1988 Pinacotheca, 'Pinacotheca Artists', Richmond 1987 Deakin University Gallery, Geelong 1985 Geelong Art Gallery, ‘Survey surveyed’ 1983 Geelong Art Gallery, 'Survey 6' 1980 Niagara Galleries, Melbourne 1977 Geelong Art Gallery, 'Didn’t you go to the Gordon?’ 1976 Mildura Art Gallery, ‘The Mask Show’ 1976 Geelong Art Gallery, ‘Heads’ handmark.com.au bruce thurrowgood — CV 02 GROUP EXHIBITIONS 1975 Age Gallery, Melbourne, ‘A Look at a Region’ 1975 Geelong -
Dragon Tails 2017 Hopes, Dreams and Realities
5th Australasian conference on Chinese diaspora history & heritage Dragon Tails 2017 Hopes, Dreams and Realities Conference program Golden Dragon Museum Bendigo, Victoria, Australia 23-26 November 2017 0 Contents Conference program 4 Program - Timetable at a glance 4 Program in detail 5 Abstracts and speaker profiles 8 List of participants 25 Event Partner Conference Sponsors La Trobe Asia The Asia Institute La Trobe University The University of Melbourne www.latrobe.edu.au/asia arts.unimelb.edu.au/asiainstitute Conference Contacts For questions or problems during the conference, please see the Registration desk. You should also feel free to speak to the convenors. In case of emergencies, call Nadia Rhook 0409 807 516, Leigh McKinnon 0407 303 518, Paul Macgregor 0418 571 572 www.dragontails.org.au [email protected] Twitter: @dragontailsconf Hashtag #dtails17 Dragon Tails 2017 Hopes, Dreams and Realities 5th Australasian conference on Chinese diaspora history & heritage Golden Dragon Museum, Bendigo, Victoria, Australia 23-26 November 2017 Hopes and dreams have profoundly shaped the histories of Chinese people and their descendants in Australasia and abroad. This central theme of “Dragon Tails 2017: Hopes, Dreams and Realities” highlights not only the role of imagination in shaping the actions of Chinese-Australasians, but also the realities and challenges that Chinese-Australasians have historically encountered in pursuing their hopes and dreams. The Dragon Tails conferences promote research into the histories and heritage of Chinese people, their descendants and their associates, in Australasia (Australia and New Zealand). The conferences also encourage awareness of the connections of Chinese in Australasia with the histories of Chinese people, their descendants and their associates in other countries. -
Artists Statement for Me the Nature of Colour Is the Colour of Nature
David Aspden Born Bolton, England, arrived Australia 1950 1935 - 2005 COLLECTIONS Aspden is represented in National Gallery of Australia, Art Gallery of New South Wales, Art Gallery of Western Australia, Museums and Galleries of the Northern Territory, National Gallery of Victoria, Art Gallery of South Australia, and other state galleries. His work is found in regional galleries including Bathurst, Newcastle, Wollongong, Gold Coast, Orange, Armidale, Ballarat, Benalla, Muswellbrook, Manly, Stanthorpe and Geelong. Aspden’s paintings are hung in New Parliament House, Canberra and the NSW State Parliament. His work is in the collections of Artbank, Heide, Tarrawarra Museum of Art, Macquarie University, National Bank of Australia, Macquarie Bank, St George Bank, The Australian Club, Festival Hall Adelaide, Allens Arthur Robinson, Clayton Utz, Melbourne Casino, Fairfax, News Limited, University of Western Australia, Monash University, Beljourno Group, Shell Company of Australia Limited, and numerous corporate and private collections. Individual Exhibitions 1965 Watters Gallery, Sydney 1966 Watters Gallery, Sydney - March and November 1967 Watters Gallery, Sydney Strines Gallery, Melbourne 1968 Farmers' Blaxland Gallery, Sydney Gallery A, Melbourne 1970 Rudy Komon Art Gallery, Sydney 1971 Rudy Komon Art Gallery, Sydney 1973 Rudy Komon Art Gallery, Sydney 1974 Rudy Komon Art Gallery, Sydney 1975 Solander Gallery, Canberra 1976 Monash University, Victoria Rudy Komon Art Gallery, Sydney 1977 Rudy Komon Art Gallery, Sydney 1981 Rudy Komon Art Gallery,