Curriculum Vitae: Juan Davila
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Trying to Live Now Chronotopic Figures in Jenny Watson’S a Painted Page Series
Vol 3, No 1 (2014) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2014.98 http://contemporaneity.pitt.edu Trying to Live Now Chronotopic Figures in Jenny Watson’s A Painted Page Series Chris McAuliffe Abstract Between late 1979 and early 1980, Australian artist Jenny Watson painted a sequence of six works, each with the title A Painted Page. Combining gridded, painted reproductions of photographs, newspapers and department store catalogues with roughly painted fields of color, the series brought together a range of recent styles and painterly idioms: pop, photorealism, and non-objective abstraction. Watson’s evocation of styles considered dated, corrupted or redundant by contemporary critics was read as a sign of the decline of modernism and the emergence of a postmodernism inflected with irony and a cool, “new wave” sensibility. An examination of the Painted Pages in the context of Watson’s interest in autobiography and her association with the women’s art movement, however, reveals the works to be subjective, highly personal reflections on memory, self and artistic aspiration. Drawing on Bahktin’s model of the chronotope, this paper argues for a spatio-temporal reading of Watson’s Painted Pages rather than the crude model of stylistic redundancy and succession. Watson’s source images register temporal orders ranging across the daily, the seasonal and the epochal. Her paintings transpose Bahktin’s typology of quotidian, provincial and “adventuristic” time into autobiographical paintings of teenage memories, the vicissitudes of the art world and punk subcultures. Collectively, the Painted Pages established a chronotopic field; neither an aggregation of moments nor a collaged evocation of a period but a point at which Watson closed off one kind of time (an art critical time of currency and succession) and opened up another (of subjectivity and affective experience). -
No Place Like Home: Australian Art History and Contemporary Art at the Start of the 1970S
No place like home: Australian art history and contemporary art at the start of the 1970s Heather Barker and Charles Green This‖essay‖considers‖an‖emergent‖Australian‖art‖history’s‖dramatically‖changing‖ impact on art criticism in the late 1960s and, in turn, as a key part of a wider perspective on the intersection of contemporary art and art history in Australia from the early 1960s into the 1980s. The change in Australian art history was evident in the development of modes of professional competence modelled on formalism and a tendentious neo-Marxism in transition towards an affectless postmodernism, already strands in international art history as a discipline. So, during the period, seminal Australian art historian Bernard Smith's battle against what he saw as American cultural imperialism was well and truly lost. Young art historians writing on contemporary art from the late 1960s on, including art historians Patrick McCaughey and Terry Smith, were convinced that the centre of world art was now New York. This idea of world art did not, however, diminish the Australian preoccupation with nation, national identity and the position—and therefore the category—of Australian art.‖Rather,‖it‖was‖to‖result‖in‖key‖writings,‖from‖Terry‖Smith’s‖articles‖to‖Paul‖ Taylor’s‖postmodern‖polemics‖in‖Art and Text, all of which above all sought to locate Australian art in relation to international (which largely remained American) art. Here, we shall focus on the turn from the 1960s into the 1970s. It has been our belief, since Green wrote the conclusion -
Art Gallery of NSW 5 September – 29 November 2009
ART Art Gallery of NSW GALLERY NSW 5 September – 29 November 2009 TACKLING THE FIELD 2 Tackling The Field Natalie Wilson The Event It was billed as the gala occasion of 1968, if not the decade. The lavish and much anticipated opening of the magnificently re-sited National Gallery of Victoria was held on the brisk winter evening of Tuesday, 20 August that year. The new building on St Kilda Road – the first phase of the $20 million Victorian Arts Centre complex – boasted a collection valued over $25 million, with its most valuable paintings, including works by Rembrandt, Tiepolo and Cézanne, acquired through the magnanimous bequest of industrialist Alfred Felton. In the towering Great Hall, intended for State receptions and banquets, the multi- hued glass ceiling by the Melbourne artist Leonard French – one of the world’s largest pieces of suspended stained glass – shimmered with radiant flashes of brilliant colour. As Evan Williams reported in the Sydney Morning Herald the following day, ‘with a candle-lit banquet, special exhibitions and seminars, a symphony concert, a trumpet fanfare composed for the occasion, it is some 1 opening’. The Field, National Gallery of Victoria, 1968 Left to right: on floor, Nigel Lendon Slab construction 11; Eric Shirley Encore; Tony However, it was the unveiling of the new temporary McGillick Polaris; Vernon Treweeke Ultrascope 5; Col Jordan Daedalus series 6 and on exhibition gallery a night later, on 21 August, which really floor Knossus II; Dick Watkins October; Robert Rooney Kind-hearted kitchen-garden IV. AGNSW Archives: image from The Bulletin, 12 Oct 1968 set the hearts of the art world racing. -
Fashioning Arkley
Fashioning Howard Arkley Keywords: Arkley / fashion / self-fashioning Abstract Melbourne painter Howard Arkley (1951-99) is best known for his images of suburban houses, but during his twenty-five-year-long career he explored a wide range of themes, including the human body and its embellishment. Fashion and textile design interested Arkley as forms of contemporary visual culture with popular, everyday and ‘functional’ dimensions. In the later 1970s, he recycled patterns derived from fabric and other everyday sources, as part of his investigation of the parallels and contradictions between abstraction and domestic decoration. In the early 1980s, he turned to figuration, incorporating references to Punk, graffiti, tattooing and other signs of ‘subcultural’ style; the body, in these works, became the site for contradictory forces. In 1984, Arkley made extensive plans for his own ‘Fashion Show’, and, even though this exhibition never eventuated, a clear sense of the works he planned for it may be gained from his detailed notes and sketches, and relevant source material extant in his studio collection. With these ideas still fresh in his mind, he came across the special fashion issue of Domus magazine, published in March 1985, which provided him with further inspiration. Alessandro Mendini’s Domus editorial, treating fashion as a medium whereby everyone can behave as an artist, surely struck a chord with Arkley, in light of his long-standing interest in dissolving distinctions between art and the everyday, and his own taste for idiosyncratic clothing and masquerade. Finally, Arkley’s own ‘self-styling’ is discussed, in connection with various images of and by him; and some consideration is given to the theoretical issue of ‘fashioning the self’ and its relationship to the construction of identity. -
Melbourne-Metropolitan-Tramways-Board-Building- 616-Little-Collins-Street-Melbourne
Melbourne Metropolitan Tramway Study Gary Vines 2011 List of surviving heritage places Contents Horse Tramways ...................................................................................................... 2 Cable Tram engine houses..................................................................................... 2 Cable Tram car sheds ............................................................................................. 6 Electric Tram Depots .............................................................................................. 8 Waiting Shelters ...................................................................................................... 12 Substations .............................................................................................................. 20 Overhead and electricity supply ............................................................................ 24 Sidings and trackwork ............................................................................................ 26 Bridges ..................................................................................................................... 29 Workshops ............................................................................................................... 32 Offices ...................................................................................................................... 32 Recreation buildings ............................................................................................... 33 Accommodation -
Portrait Report
IMMERSIVE ART PEDAGOGY: (RE)CONNECTING ARTIST, RESEARCHER AND TEACHER A project submitted in fulfilment of the requirements for the degree of PhD Geraldine M. Burke M.A. School of Education, College of Design and Social Context, RMIT University June 2013 Declaration DECLARATION I declare that: a) except where due acknowledgement has been made, the work is that of the author alone; b) the work has not been submitted previously, in whole or in part, to qualify for any other academic award; c) the content of the project is the result of work carried out since the official commencement date of the approved research program; d) any editorial work, paid or unpaid, carried out by a third party is acknowledged; e) ethics procedures and guidelines have been followed. Geraldine M. Burke 30 June 2013 ii Acknowledgements ACKNOWLEDGEMENTS Sincere thanks go to my Supervisors, Associate Professor Geoff Shacklock and Professor David Forrest. Together they offered considered and thoughtful advice while also challenging me to extend my research capacity within the parameters of the study. I thank them for their ongoing support across the years of my study. Thanks also to Professor Karen Malone, whose supervision in the early stages of my candidature encouraged me to take on this study in the first instance. Appreciation is also extended to the research participants whose generosity led to the sharing of artwork and stories that, in turn, made the study all the more meaningful. My gratitude is also extended to the project team with whom I worked while undertaking the Creative Junction Project. The project would not have been possible without their professionalism and dedication. -
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. -
LAUREN BLISS the Cinematic Body in View of the Antipodes: Philip Brophy’S Body Melt As the Bad Copy
Lauren Bliss, The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy LAUREN BLISS The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy ABSTRACT Through a wide ranging study of Philip Brophy's academic and critical writings on horror cinema, this essay considers how Brophy's theory of the spectator's body is figured in his only horror feature Body Melt (1993). Body Melt is noteworthy insofar as it poorly copies a number of infamous sequences from classical horror films of the 1970s and 1980s, a form of figuration that this essay will theorise as distinctly Antipodean. Body Melt will be related as an antagonistic 'turning inside out' of the subjectivity of the horror movie spectator, which will be read in the light of both the usurped subject of semiotic film theory, and the political aesthetics of Australian exploitation cinema. Philip Brophy’s Body Melt, made in 1993, is a distinctly antipodean film: it not only copies scenes from classic horror movies such as The Hills Have Eyes (1977), Alien (1979), The Thing (1982) and Scanners (1981), it also copies the scenes badly. Such copying plays on and illuminates the ‘rules’ of horror as the toying with and preying upon the spectator’s expectation of fear. Brophy’s own theory of horror, written across a series of essays in academic and critical contexts between the 1980s and the 1990s, considers the peculiarity of the spectator’s body in the wake of the horror film. It relates that the seemingly autonomic or involuntary response of fear or suspense that horror movies induce in a viewer is troubled by the fact that both film and viewer knowingly intend this response to occur from the very beginning. -
(Un) Australian Art History: Writing for the New World
University of Wollongong Research Online Faculty of Creative Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 1-1-2006 The necessity of (un) Australian art history: writing for the New World Ian A. McLean University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/creartspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation McLean, Ian A.: The necessity of (un) Australian art history: writing for the New World 2006, 51-55. https://ro.uow.edu.au/creartspapers/377 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] 1111111111111111111111111111111111111111111111111111111 200604039 I >ian mclean I /~'--. ---- /" --...... //-_·_·.. ·-·_~=.:~~;;_c~-..:~~,;:- ---- -', r/ /"'--l--~ / /~-- .\'..... x-···-------___. ~----.-.,- " I ,/ ,.- -', ....', --..><"._.~._._ I -0.. ) /' -~",cf-""Ift\L/(~1~·~lle>\f.\ece~~·it)/~9f:·:;5' .......... /'" ,-- ..... ,>Z, --- ---.. "',,'-•• _-~~-,._._---) 1 \. G;--. -",-~,,=:\-. ~ . - .", "'< .....-". \:-;,/ \..: ,] ....:.-=:.,.. '!:::: -' ., '-', ' / I I ( / --"":;'--' ... ~. ";: ":"'...... ...,.J/III'!"-"t,., - :..---....'\ ,· ....... " ::::.: ., ,- - .' \ / \ (/' I.) ....... .,->-~. f"o... '_ _--" .... --_.~ , (S~~~~~~~_~.p"dU1".f§"o;i'jf(:"~=y :; ;~. .:! ~--;,:,~'5 ; t- ,~:~' '~::,/F~-?:;.:~: ;~ ; ~~-": :~ ';~'-;~:-:>~~~) ~tsIf w,Australia~-c,h_~A(:Jeris.ti~f~ef~6-f1fo-·:::Sg:':::._.-_------[Aul'''''',n,) J> .- hi-st~'y ·11 rJff:--- ) aTt '. Importance...!2!ement Greenoerg'-----.., "'..... .// -~ 1 /TJ(;gre~tlndu' //[1/ ) '""1' '.'-------- writing for the new world I" / J .'.} mversa )In art and in criticism / I a ways anses from close'ob . I .( w'th I 1/ ..... - . _,.- servatlOn and sympathy '" __/ \ 1 oca;·surround111gs..." Bernard Sm' 2 ',- // Ith The Australian artworld has never looked -.. / better. There are more art journals, exhibition spaces and art graduates than ever. -
Making It up As We Went
Making it up as we went MERRYN GATES he staircase to the Seaview Ballroom was an event in itself. TWide, grand and in disrepair it formed the perfect backdrop for the arrival of audiences to the thriving scene of Melbourne’s little bands in the early 1980s. Art and fashion students from every campus – Prahran, Preston, RMIT, VCA and Melbourne State College – joined with the film kids from Swinburne and the music boffins from Latrobe for the scene stealing gigs of The Birthday Party, or the more esoteric Essendon Airport or Laughing Hands. It was a time of do-it-yourself couture. Op Shops were commercial airplay. These bands might get their first gig at a RRR scoured for treasures, and worn in combinations that would make concert (I recall one in the car park behind Lygon Street shops in their original owners gasp in horror. The punk ethos of shock and Carlton: they started small) and then they might cut a 7-inch with confrontation was still paramount, tempered with a more Missing Link. 3RRR gave them a Melbourne-wide audience. And theatrical taste for costume. Each week would see a new subtle to further the dialogue, independent (there’s another term) variation of last week’s finery. There was a kind of street dialogue magazines started to appear for the emerging cultural theorists to going on, with people riffing off what others in their tribe were cut their teeth on: Virgin Press (1981, ed., Ashley Crawford), New doing, as much as responding to the inevitable international Music (1980, ed., Phillip Brophy), Art & Text (1981, ed., Paul trends. -
John Cruthers Presents
John Cruthers presents Australian art from the Re/production: 1980s and 1990s John Cruthers presents Re/production: Australian art from the 1980s and 1990s 29 August - 10 October 2020 -02 Narelle Jubelin Ian Burn Tim Johnson Tim Johnson & Clifford Possum Tjapaltjarri Stephen Bush Geoff Lowe Judy Watson Eliza Campbell & Judith Lodwick Mark Titmarsh Luke Parker Elizabeth Newman Peter Tyndall Janet Burchill Anne Ferran Linda Marrinon Vivienne Shark LeWitt John Nixon Pat Larter Juan Davila Howard Arkley Susan Norrie Angela Brennan Savanhdary Vongpoothorn David Jolly -03 -04 Bananarama Republic Catriona Moore Map Recall two enmeshed postmodern and dissipated to the academies (the tendencies, both claiming zeitgeist status university, museum and gallery). Those glory as landmark exhibitions, and seen at the days of postmodern theoretical merch saw a time to be diametrically opposed: ‘Popism’ flourishing moment for little magazines laden (NGV 1982) and the 5th Biennale of Sydney with translations, unreadable experiments in (AGNSW 1984). The first was was Pop- ficto-criticism and cheaply-reproduced, B&W inflected: cool with stylistic quotation, irony folios. On the more established art circuit, and ambivalent speculations; the second hot a growing file of (largely white male) curators and hitched to neo-expressionist painting: shuttled between the arts organisations, wild and bitter, hegemonic whilst stressing major galleries and definitive survey shows. a regional genius loci. Some felt that neo- The street became a place for parties, not expressionism was an international boys’ marches. club of juggernaut blockbusters (eg the Italian Transavantgardia; Berlin’s wild ones etc). Yet both tendencies claimed the image as art’s ‘go-to’ investigative platform - a retreat from feral 1970s postmodern forays: ‘twigs and string’ open-form sculpture and conceptual directives; the grungier depths of punk; and the nappy and tampon work of cutting-edge feminism. -
Ngv Ar 2015 16
ANNUAL REPORT 2015/16 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV ANNUAL REPORT 2015/16 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA CONTENTS NGV INTERNATIONAL OVERVIEW SUPPORT 180 St Kilda Road About the NGV 3 Affiliated groups 105 President’s foreword 4 2015/2016 Donors 107 Director’s review 6 NGV Foundation Members 111 THE IAN POTTER CENTRE: NGV AUSTRALIA Federation Square Strategic framework 10 Felton Society Members 117 Report against output targets 11 NGV Life Members 118 National Gallery of Victoria PO Box 7259 Emeritus Trustees and Foundation Board Members 119 Melbourne VIC 3004 2015/16 PERFORMANCE REPORT Partners 120 Australia +61 3 8620 2222 Bringing artworks to life 13 Connecting audiences 18 GOVERNANCE www.ngv.vic.gov.au Realising our potential 22 Council of Trustees 127 ISSN: 2206-4974 Sharing our vision 25 Council committees and working groups 129 Exhibitions 28 Organisational structure 130 Acquisitions 32 Staff statistics 131 ACCOUNTABLE OFFICER’S DECLARATION In accordance with the Financial Management Act 1994, Publications 48 Other corporate reports 133 I am pleased to present the Council of Trustees of the National Gallery of Victoria’s Annual Report for the year Additional information available on request 141 ending 30 June 2016. 2015/16 FINANCIAL REPORT Disclosure index 142 Five-year financial summary 55 Independent audit report 58 Financial statements 60 Notes to the financial statements 65 Janet Whiting AM President, Council of Trustees 25 August 2016 (front cover) Ai Weiwei with Forever Bicycles, 2015, at the media preview of Andy Warhol | Ai Weiwei. December 2015.