Art Books Published in Australia
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Director Deputy Director Research Officer Visiting Fellows THE
14/1986 10/1/86 THE AUSTRALIAN NATIONAL UNIVERSITY HUMANITIES RESEARCH CENTRE ANNUAL REPORT 1985 Director Professor C.I.E. Donaldson, BA Melb., MA Oxf., FAHA Deputy Director Professor G.W. Clarke, BA Oxf., MA NZ & Melb., LittD Melb., FAHA Research Officer Dr J.C. Eade, MA St And. & Adel., PhD ANU Visiting Fellows Professor A.D. Cameron, BA, MA Oxf. Dr J.K. Campbell, BA Camb., MA, D.Phil Oxf. Professor J.M. Crook, BA, D.Phil Oxf. Professor D. G~llop, BA, MA Oxf. Dr H.J. Gregory, BA Monash, PhD Lond. Professor A.C. Hamilton, BA Manitoba, MA Toronto, PhD Camb. Professor P. Herbst, BA, MA Melb., BA Oxf. Professor M.F. Herzfeld, MA Birmingham, D.Phil Oxf. Professor M.L. Jacobus, BA, MA, D.Phil Oxf. Mr R.H.A. Jenkyns, MA, M.Litt Oxf. Dr F.R.P. Just, BA, MA Melb., Dip. Soc. Anth. Oxf. Professor A.H.T. Levi, BA, D.Phil Oxf. Dr P. Magdalino, BA, D.Phil Oxf. Professor R. Parker, BA Princeton, BA, MA Oxf., PhD Harvard Mr D.W.R. Ridgway, BA Lond., Dip. Eur. Archeol. Oxf. Professor G.M. Sifakis, PhD Land. Professor S. Vyronis, BA Memphis, MA, PhD Harvard Dr P.B. Wilson, MA Edinburgh, D.Phil Oxf. 1 . Visiting Scholars Dr W.A. Krebs, BA Qld, MA, PhD Leeds Dr E.M. Perkins, BEd, BA, MA, PhD Qld Mr J.R. Rowland, BA Syd. Professor G. Seddon, BA Melb., MSc, PhD Minnestoa Dr J.G. Tulip, BA Qld, PhD Chicago Mrs N.D.H. Underhill, BA Bryn Mawr, MA Land. -
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. -
ABSOLUTELY Press Kit Aug 25
1 ABSOLUTELY MODERN A NEW Film BY PHILIPPE MORA “Modern paintings are like women, you'll never enjoy them if you try to understand them.” Freddie Mercury PRESS KIT Inquiries: morafilms@ gmail.com https://www.facebook.com/pages/Absolutely- Modern/429822753746917 2 ABSOLUTELY MODERN is "Absolutely funny, fresh and thought- provoking. Philippe Mora at his best." Piotr Czerkawski, Film Critic Wroclaw “..there is a genuine heart and soul to the film that is something of a passion project for Mora.” Laurence Boyce Screen Daily “The creation here (of Lord Steinway) is definitely a masterpiece.” Anna Tatarska FRED Radio, The Festival Insider “Mora’s films break all conventions, combine different styles and are nearly always saturated with rebellious, surrealistic humor.” Adam Kruk Film Critic, New Horizons “Mora tells perhaps one of his most personal stories to date as he examines art and modernism. Mora, who casual fans would most likely know from such films as Communion and cult classic The Return of Captain Invincible, unsurprisingly does not tell the tale with any regard for the norms of convention..” Screen International “Philippe Mora…French Australian director legend.” Der Spiegel May 2013 3 SYNOPSIS OF THE FILM This story of Modernism, muses and the role of sexuality in art are told by famed art critic Lord Steinway. When a soccer player, confronts Steinway as his son, the story takes a modernist twist itself. This comedy hit at the 2013 New Horizons International Film Festival takes the form of a hybrid of fact and fiction about Lord Steinway, the “Method” art critic, making his television show THE EPIC OF CIVILIZATION. -
Thesis Title
Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art. -
Sidney Nolan's Ned Kelly
Sidney Nolan's Ned Kelly The Ned Kelly paintings in the National Gallery of Australia With essays by Murray Bail and Andrew Sayers City Gallery_JWELLINGTON australia Te \Vliare Toi ■ national gallery of 7 © National Gallery of Australia 2002 Cataloguing-in-publication data This publication accompanies the exhibition Copyright of texts remains SIDNEY NOLAN'S NED KELLY SERIES with the authors Nolan, Sidney, Sir, 1917-1992. City Gallery Wellington, New Zealand Sidney Nolan's Ned Kelly: the Ned Kelly 22 February-19 May 2002 All rights reserved. No part of this publication paintings in the National Gallery of Australia. Part of the New Zealand Festival 2002 may be reproduced or transmitted in any form or by any means, electronic or Bibliography. mechanical, including photocopying, ISBN O 642 54195 7. Presented by recording or any information storage and retrieval system, without permission 1. Kelly, Ned, 1855-1880 - Portraits - Exhibitions. in writing from the publisher. 2. Nolan, Sidney, Sir, 1917-1992 - Exhibitions. EllERNST & YOUNG 3. National Gallery of Australia - Exhibitions. Co-published by the 4. Painting, Modern - 20th century - National Gallery of Australia, Canberra Australia - Exhibitions. 5. Painting, RUSSELL M�VEAGH and City Gallery Wellington, New Zealand Australian - 20th century - Exhibitions. I. Bail, Murray, 1941- . II. Sayers, Andrew. Produced by the Publications Department III. National Gallery of Australia. IV. Title. of the National Gallery of Australia Tele�erm NEW ZEALAND Designer Kirsty Morrison 759.994 Editor Karen -
Download This PDF File
Illustrating Mobility: Networks of Visual Print Culture and the Periodical Contexts of Modern Australian Writing VICTORIA KUTTAINEN James Cook University The history of periodical illustration offers a rich example of the dynamic web of exchange in which local and globally distributed agents operated in partnership and competition. These relationships form the sort of print network Paul Eggert has characterised as being shaped by everyday exigencies and ‘practical workaday’ strategies to secure readerships and markets (19). In focussing on the history of periodical illustration in Australia, this essay seeks to show the operation of these localised and international links with reference to four case studies from the early twentieth century, to argue that illustrations offer significant but overlooked contexts for understanding the production and consumption of Australian texts.1 The illustration of works published in Australia occurred within a busy print culture that connected local readers to modern innovations and technology through transnational networks of literary and artistic mobility in the years also defined by the rise of cultural nationalism. The nationalist Bulletin (1880–1984) benefited from a newly restricted copyright scene, while also relying on imported technology and overseas talent. Despite attempts to extend the illustrated material of the Bulletin, the Lone Hand (1907–1921) could not keep pace with technologically superior productions arriving from overseas. The most graphically impressive modern Australian magazines, the Home (1920–1942) and the BP Magazine (1928–1942), invested significant energy and capital into placing illustrated Australian stories alongside commercial material and travel content in ways that complicate our understanding of the interwar period. One of the workaday practicalities of the global book trade which most influenced local Australian producers and consumers prior to the twentieth century was the lack of protection for international copyright. -
Opera Queensland's Annual Report 2014
Image by Stephanie Do Rozario OPERA QUEENSLAND’S ANNUAL REPORT 2014 OPERAQ DOES MORE THAN JUST PERFORM $6,713,784 $995,139 2 22 310,095 2014 ANNUAL REPORT THE COMPANY ne of Australia’s major performing arts companies, OOperaQ serves Metropolitan Brisbane and regional/ OUR MISSION remote Queensland through the development and presentation of opera projects that reflect our passion for Excellence, Community and Adventure. To reflect, Three intersecting spheres of engagement are central to achieving our goals: celebrate and • In a range of theatres and venues across Metropolitan enrich life in our Brisbane we present grand opera of excellence and bold creative adventures; communities. • We tour extensively throughout Regional Queensland, creating unique and innovative opportunities for regional artists and audiences to experience opera; and OUR VISION • OperaQ’s Open Stage unit creates first-rate education and community engagement programs for all ages. A boundless Located in the heart of Brisbane’s South Bank cultural precinct, OperaQ enjoys creative partnerships with Griffith University landscape of opera and multiple arts organisations, festivals and presenters across and beyond Queensland. experiences. VALUES CORE GOALS Leadership Stewardship Our work inspires confidence, pride and aspiration. As opera’s custodian we look to the future We set the bar high, producing work of the highest to ensure the art form will flourish. quality, benchmarking ourselves against the best Connection to the world in the world, continually challenging ourselves to To actively participate in the broader world of ideas. progress and evolve. Connection to our communities Adventure To build and maintain strong, meaningful relationships We are imaginative, adaptive and ambitious. -
How Collaboration and Collectivism in Australia in the Seventies Helped
A Collaborative Effort: How Collaboration and Collectivism in Australia in the Seventies Helped Transform Art into the Contemporary Era Susan Rothnie Introduction The seventies period in Australia is often referred to as the “anything goes” decade. It is a label that gives a sense of the profusion of anti- establishment modes that emerged in response to calls for social and po- litical change that reverberated around the globe around that time. As a time of immense change in the Australian art scene, the seventies would influence the development of art into the contemporary era. The period‟s diversity, though, has presented difficulty for Australian art historiography. Despite the flowering of arts activity during the seventies era—and proba- bly also because of it—the period remains largely unaccounted for by the Australian canon. In retrospect, the seventies can be seen as a period of crucial impor- tance for Australia‟s embrace of contemporary art. Many of the tendencies currently identified with the contemporary era—its preoccupation with the present moment, awareness of the plurality of existence, rejection of hier- archies, resistance to hegemonic domination, and a sense of a global community—were inaugurated during the seventies period. Art-historically, COLLOQUY text theory critique 22 (2011). © Monash University. www.arts.monash.edu.au/ecps/colloquy/journal/issue022/rothnie.pdf 166 Susan Rothnie ░ however, it appears as a “gap” in the narration of Australian art‟s develop- ment which can be explained neither by the modernism which preceded it, nor by postmodernism. In Australia, the seventies saw a rash of new art “movements” emerge almost simultaneously. -
Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton 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. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting. -
Modern Love: the Lives of John and Sunday Reed Pdf Free Download
MODERN LOVE: THE LIVES OF JOHN AND SUNDAY REED PDF, EPUB, EBOOK Lesley Harding,Kendrah Morgan | 304 pages | 23 Sep 2015 | Melbourne University Press | 9780522862812 | English | Carlton, Australia Modern Love: The Lives of John and Sunday Reed PDF Book Filming and photography. Oct 13, Elaine rated it really liked it. Modern Love is about much more than just the Reeds and Sidney Nolan. This authorly bar-owner of Heartattack and Vine, near Readings in Carlton had the honour of having this, her first book, published by Affirm Press' new fiction list. Perhaps no one is better placed to write this illustrated tribute to the Reeds and company than Harding and Morgan. Added are some of the seminal works of art of the period. The contribution the Reeds made to Australian art, just as it was rediscovering its own uniqueness, was astronomical and fully examined here. Nov 20, Pauline Carrafa rated it it was amazing. Later a federal Member of Parliament, at the time he was on the Bench of the High Court of Australia — the youngest justice ever appointed. Ms Bitto's follow-up will be eagerly anticipated. I don't think I have read of so may suicides in one connected group of friends and family, it was very distressing but understandable - they were such passionate people throughout their lives so went out the same way. A solicitor with alternative views, John was strikingly handsome, with an aristocratic bearing and a calm disposition. With public gathering restricted during the Covid pandemic, we're keeping you connected with good conversation and meaningful ideas at home. -
Joy Hester: Remember Me 30 June to 4 October 2020 Heide Galleries Curator: Kendrah Morgan
Joy Hester: Remember Me 30 June to 4 October 2020 Heide Galleries Curator: Kendrah Morgan Please note that in this exhibition checklist the works are arranged chronologically, then alphabetically by title. The exhibition publication is available in the Heide Shop. Introduction This exhibition marks the centenary of the birth of Joy Hester (1920–1960), one of Australia’s most original modernist artists who used drawing as a vehicle to explore the complexity of the human condition. Working almost exclusively in brush and ink or watercolour, Hester created intuitive images that express the myriad ways in which we respond to experiences and the world around us. She freed herself from conventional methods and means and brought a powerful female sensibility to subjects considered provocative during her lifetime including love, sex, birth, and death. Hester was an integral figure in the progressive creative group today referred to as the Angry Penguins or the Heide circle, who looked to the European avant garde for new ways of articulating the pressing issues of the era. However, almost from the outset her work was distinct from that of her predominantly male peers due to her chosen medium, which at the time was considered inferior to painting. While her socially conscious imagery of the early 1940s aligns with that of other Heide circle artists such her first husband Albert Tucker, Sidney Nolan, Arthur Boyd and Danila Vassilieff, by the end of the decade Hester had taken an alternative, more personal path that focused on making manifest emotional and bodily experience. Emphasising the figure and face—and in particular the eyes— as a means to probing the depths of the psyche, she experimented with diverse stylistic modes and gradually found her own voice. -
Annual Report 2001–2002 Annual Report 2001–2002 NATIONAL GALLERY of AUSTRALIA Annual Report 2001–2002 © National Gallery of Australia
NATIONAL GALLERY OF AUSTRALIA GALLERY NATIONAL NATIONAL GALLERY OF AUSTRALIA Annual Report 2001–2002 Annual Report 2001–2002 Annual Report NATIONAL GALLERY OF AUSTRALIA Annual Report 2001–2002 © National Gallery of Australia ISSN 1323-5192 All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage retrieval system, without permission in writing from the publisher. Produced by the Publications Department of the National Gallery of Australia, Canberra. Printed by Paragon Printers, Canberra, ACT National Gallery of Australia GPO Box 1150, Canberra ACT 2601 www.nga.gov.au cover and left: Paminggir people Lampung, Sumatra, Indonesia Ceremonial textile [tampan] 19th century Cotton, gold thread, dyes; supplement weft Acquired through gift and purchase from the Collection of Robert J. Holmgren and Anita E. Spertus, New York, 2000 iii Contents Letter of Transmittal iii Chairman’s Foreword 1 Director’s Report 3 Performance Report 2001–2002 Outcome and Outputs 7 Corporate Overview 9 Report against Strategic Plan 2001–2004 15 National Gallery of Australia Financial Reports 2001–2002 Independent audit report 54 Statement by Directors 56 Statement of Financial Performance 57 Notes to the Financial Statement 62 Appendixes 1. Council of the National Gallery of Australia 86 2. Management structure at 30 June 2002 88 3. Staff of the National Gallery of Australia at 30 June 2002 89 4. Acquisitions 2001–2002 92 5. Acquisitions including purchases and gifts 1945–2002 116 6. Exhibitions held at the National Gallery of Australia 117 7. Attendance at the National Gallery of Australia 1982–2002 119 8.