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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. -
The Haptic Dimension of Ceramic Practice: Ways of Knowing
School of Media, Creative Arts and Social Inquiry The Haptic Dimension of Ceramic Practice: Ways of Knowing Alana Carol McVeigh This thesis is presented for the Degree of Doctor of Philosophy of Curtin University October 2020 i ii The Haptic Dimension of Ceramic Practice: Ways of Knowing Declaration Alana Carol McVeigh iii Acknowledgements My heartfelt thanks to my supervisors, Dr Ann Schilo, Dr Anna Nazzari and Dr Susanna Castleden for their generosity of knowledge, immeasurable support, encouragement and guidance. I would like to acknowledge my colleagues for their support and friendship. In particular I would like to thank Dr Monika Lukowska- Appel not only for her support but also her design knowledge. I acknowledge Dr Dean Chan for his detailed attention to copyediting. I gratefully acknowledge my family Damien, Regan, Ashlea and Maiko for your understanding and support. Most importantly, to Chaz for your unrelenting encouragement, belief, love and for teaching me of courage. Finally, this journey has been for, Bailey, Kyuss, Tiida, Jai, Lumos and Otoko No Akachan. iv The Haptic Dimension of Ceramic Practice: Ways of Knowing Abstract My research seeks to unravel how an influx of multiple streams of tacit knowledge and sensory awareness has impacted upon an Australian approach to ceramic art making. Through a combination of creative practice and exegesis, I consider how experiential knowledge, amassed over time by observing, replicating and doing, built a visual, cognitive and sensual vocabulary that has become embodied into a visceral form of making: a form of making and awareness that entered Australian ceramic studio practice from China, Japan, Korea and Britain primarily during the 1940s–1960s. -
THE HARVEST of a QUIET EYE.Pdf
li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and . -
Art Training in Brisbane to 1991
Chapter 2 Those who started, those who stayed, those who departed, those who strayed: Art training in Brisbane to 1991 Glenn R. Cooke Preamble Throughout the second half of the twentieth century the higher education sector in Australia went through a series of reorganisations culminating in the Dawkins Report 1988 which recommended that the various technical colleges, teachers’ colleges and colleges of advanced education be incorporated into a system of multi-campus universities. Negotiations were put underway so that on 1 July 1991 the Queensland Conservatorium of Music amalgamated with Griffith University. The art, craft and design courses and students of the Queensland College of Art, from Associate Diploma level on, also joined Griffith University and on 1 January 1992 an independent history of 110 years was brought to a close. The history of the college over this time also reflected a series of restructures to mirror perceived educational needs and the political agendas of Queensland governments. The Brisbane School of Arts was founded in 1881 and incorporated into the Brisbane Technical College in 1884. As a result of the Technical Instruction Act of 1908, the suburban technical colleges at South Brisbane and West End were merged with Brisbane to form the Central Art training in Brisbane to 1991 Glenn R. Cooke Technical College (CTC) in 1909. When the Queensland Institute of Technology was established in 1965 on the same site, the CTC and its Art Branch retained their independence. In 1972 the Art Branch separated from the CTC to become the College of Art (CoA) which, two years later moved from George Street to purpose- built premises shared with the Seven Hills TAFE and was formally renamed the Queensland College of Art (QCA) in 1982. -
The Canberra Potter Fired-Up
The Canberra Potter fired -up – March 2018 (best read online at canberrapotters.com.au ) Welcome to the March issue of our online news feed fired-up. We're well into another year of activities having just completed a wonderful weekend of demonstrations and prize winning at the Canberra Show—congratulations to all the award winners. Carla Wolfs, Chris Harford and Alex de Vos have all run (fully booked) Workshops in Slip Casting, Glazing and Medieval Cookware respectively and our Term 1 classes are fully enrolled too! What's next? Lots! We eagerly await the arrival of Eric Landon from Tortus Copenhagen who will be running a Workshop and a Master Class in early March. Chris Dunn (NZ), our next Artist in Residence, will be hosting a four day firing Workshop later in the month. Be sure to check out Chris' video to whet your appetite. The gallery schedule is heating up too as the Bald Archy Prize enters its final weeks and we look forward to Australian pottery heavyweight Milton Moon—A Potters Pilgrimage opening on 22 March. It's time to get fired-up! CANBERRA SHOW CRAFTS EXPO 2018 The judging has been done, ribbons have been awarded and the garlands handed out. Congratulations to all the winners at this year’s Royal Canberra Show Crafts Expo. Although entries were down somewhat on previous years the overall standard was once again very high and the guest judge, Janet DeBoos, thought long and hard when selecting these worthy recipients . Thank you to all who entered and we look forward to seeing your entries next year. -
The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P
The role of the Royal Academy in English art 1918-1930. COWDELL, Theophilus P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20673/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version COWDELL, Theophilus P. (1980). The role of the Royal Academy in English art 1918-1930. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk onemeia u-ny roiyiecnmc 100185400 4 Mill CC rJ o x n n Author Class Title Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB NOT FOR LOAN Return to Learning Centre of issue Fines are charged at 50p per hour Sheffield Haller* University Learning snd »T Services Adsetts Centre City Csmous Sheffield SI 1WB ^ AUG 2008 S I2 J T 1 REFERENCE ProQuest Number: 10702010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10702010 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. -
Annual Report
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2012 – 30 June 2013 North Terrace ADELAIDE SA 5000 www.artgallery.sa.gov.au ISSN 0728-7925 The Hon Jay Weatherill, Minister for the Arts Sir, I have the honour to present the seventieth Annual Report of the Art Gallery Board of South Australia for the Gallery’s 132nd year, ended 30 June 2013. Michael Abbott AO QC, Chairman Art Gallery Board 2012–13 Chairman Michael Abbott AO QC Members Mr Andrew Gwinnett (Deputy Chair) Emeritus Professor Anne Edwards AO Ms Frances Gerard Ms Sandra Sdraulig AM Mrs Sue Tweddell (from December 2012) Mrs Tracey Whiting Mrs Zena Winser (until November 2012) Robert Whitington QC 2 TABLE OF CONTENTS Principal Objectives 4 Major Achievements 2012–2013 5-7 Key Challenges Facing the Gallery 8 Strategic Goals 2012–2015 9-10 Resources and Administration 11-28 Collections 29-43 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 44-45 Appendix B1 Art Gallery Board 46 Appendix B2 Art Gallery of South Australia Foundation Council and Contemporary 46-47 Collectors Committee Appendix B3 Art Gallery Organisational Chart 48-54 Appendix B4 Art Gallery Staff and Volunteers 55-58 Appendix C Staff Public Commitments 59-63 Appendix D Conservation 64-65 Appendix E Donors, Funds, Sponsorships 66-67 Appendix F Acquisitions 68-98 Appendix G Inward Loans 99-104 Appendix H Outward Loans 105-109 Appendix I Exhibitions and Public Programs 110-123 Appendix J Schools Support Services 124 Appendix K Gallery Guide Tour Services 125-126 Appendix L Gallery Publications 127-128 Appendix M Annual Attendances 129 Appendix N Information Statement 130-131 Appendix O Financial Statements 132-159 3 PRINCIPAL OBJECTIVES Objectives The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act 1939 and can be summarised as the preservation, research and communication associated with heritage and contemporary works of art of aesthetic excellence and historical or regional significance. -
Short Courses 1
2014 Term Three Term Short Courses 1 Adelaide Central School of Art is an independent, not-for-profit, accredited Higher Education Provider that offers intensive training for students looking to develop careers as practising artists. In addition to the School’s accredited and highly regarded degree courses, we also conduct specialist short courses throughout the year for those who are interested in taking the first step towards developing basic skills, knowledge and valuable techniques in the visual arts. Intermediate and more advanced classes are also offered for those artists looking to extend or hone their skills and learn new techniques. Like our degree course, the 2014 Short Course Program features some of South Australia’s most outstanding artists/teachers and we guarantee that they will take the fear out of learning how to draw and paint. Small class sizes ensure students receive one-on-one expert tuition provided by our lecturers. Students also have the flexibility to attend daytime, evening or weekend classes, all held in the air-conditioned studios of the School’s new Teaching and Studio Building, within the Glenside Cultural Precinct where free parking is available. Be courageous this year and let us take you on your creative journey. Beginning 21 June 2014 Early-bird fee ends Friday, 6 June 2014 (see policy on reverse) Code Course Lecturer Cost Drawing 1 S21401 Introduction to Drawing Trena Everuss Sat 9.30am - 12.30pm 12 Jul - 2 Aug 4 wks $240 Fundamentals 1 S21402 Life Drawing Fundamentals Melanie Brown Sat 1.00 - 4.00pm -
Wabi and the Chawan Milton Moon 1
Wabi and the Chawan Milton Moon 1 1 The Australian Ceramics Association Wabi and the Chawan by Milton Moon Cover image: Milton Moon, Chawan; photo: Denys Finney Facing page: Milton Moon, Chawan brush painting, 2009 Japanese ceramics photos: courtesy of Robert Yellin, Mishima, Japan www.japanespottery.com www.e-yakimono.net © The Australian Ceramics Association and Milton Moon 2009 All rights reserved. No part of this publication may be reproduced in any form or by any means without prior written permission from the publishers. ISBN 978-0-9806498-0-2 Copies available from: The Australian Ceramics Association PO Box 274, Waverley NSW 2024 Australia T: 1300 720 124 www.australianceramics.com Published by The Australian Ceramics Association Editor: Vicki Grima Design: Astrid Wehling Graphic Design Proofreader: Suzanne Dean Printed in Australia by Print National Wabi and the Chawan Milton Moon GLOSSARY Anagama The most rudimentary kiln; lit., a ‘hole’ kiln Chado The Way of Tea Cha-damari Depression in the bottom of a tea-bowl; literally, a tea-puddle Cha-jin Someone expert in tea ceremony culture Cha no yu The tea ceremony Chawan Tea-bowl Do A road, a ‘way to’; lit., by extension, a ‘learning’, or ‘teaching’ Egote A wooden tamping tool Haiku Japanese poetic form consisting of seventeen syllables Hashi Chopsticks Hera Spatula Koan A word or phrase used in Zen meditation to concentrate the mind Koicha ‘Thick’ powdered tea Meibutsu Lit., a ‘very special’ and ‘highly-desirable’ possession Mizusashi Lit., a water container: one of the main utensils -
Bertram Mackennal and the Sculptural Femme Fatale in the 1890S
Circe 1893 (detail) bronze 240 x 79.4 x 93.4 cm National Gallery of Victoria, Melbourne The Felton Bequest 1910 ‘Her invitation and her contempt’: Bertram Mackennal and the sculptural femme fatale in the 1890s DAVID J GETSY In the early 1890s Bertram Mackennal still struggled to find audiences, patrons and critical recognition. After having moved between Melbourne, London and Paris, he had been unsuccessful in garnering what he considered sufficient attention, and his letters from the period are fraught with anxieties and plans for his career. In 1892 he began working on a major life-size ‘statue’ in the ‘ideal’ or ‘imaginative’ genre that would, he hoped, establish his name. ‘I am trying to make a big work of this figure and at present am full of hope,’ he remarked.1 Such a gambit was common enough for an aspiring sculptor in the competitive market of the late 19th century. British sculpture, in particular, had been reinvigorated in the 1880s by artists who staked their reputations on similar highly-conceptualised life-size statues. This movement to modernise the theory and practice of sculpture in Britain would be dubbed the ‘New Sculpture’ in 1894 – the same year Mackennal’s own contribution to it could be seen at the Royal Academy of Art’s summer exhibition.2 As Mackennal knew himself from his brief time at the Royal Academy schools and from the contacts he made there, polemical statues such as his could be the statements through which debates about the theory, practice and future of sculpture occurred.3 Even after his move to Paris, Mackennal seems to have identified with these formulations of modern sculpture in London and kept a close eye on the British capital and the better market possibilities it offered for an Australian sculptor.4 His ambitious life-size statue, although first exhibited at the 1893 Paris Salon, drew deeply on his familiarity and sympathy with the aims of the New Sculpture, and it was in London where it made its more lasting impact. -
God and Dog.Ver.Hebe Twilight
‘God spelt backwards’ the ZEN of dogs. Milton Moon. 2 By the same author: The Living Road—a meditation sequence. 1994, Millenium Books. The Zen Master, the Potter and the Poet. 2006, Axiom Publishing. Zen and the taste of tea, by Kako. 2009, Axiom Publishing. The Cloud Barrier, the meditating mind, by Kako. 2009, Axiom Publishing. A Potter’s Pilgrimage, 2010, Wakefield Press. God Spelt Backwards, 2011, © Milton Moon revised 2013. For godson Tim 4 Introduction Sugar was dying: late at night I was sitting close alongside her basket just touching her with my hand. Every now and then she lifted herself, our eyes meeting briefly before she rested her head back on the woven cane edge. I had sat with dying dogs before and the immeasurable sadness was that you can’t tell them what you feel. The only thing you can hope for is that, in some transcendent way, you are able to transmit some comforting thought: not only your feeling of deep love but also your humble gratefulness for the privilege of sharing their much too short life. That night I was sharing in her ‘end.’ Sugar fought to the very last. She badly, very badly, didn’t want to let go of her life—unless, of course, I went with her. She had several illnesses which had made her life a little miserable and for the last month she had come into my bedroom at night, for reassurance mainly, because she knew things weren’t right. She had a collapsed larynx, much worse in winter, but a syringe-full of a linctus gently squirted into her mouth several times a day helped. -
Bertram Mackennal
BERTRAM M AC KENNAL THE FIFTH BALNAVES FOUNDATION SCULPTURE PROJECT EDUCATION KIT ART ART GALLERY OF NEW SOUTH WALES 17 AUGUST – 4 NOVEMBER 2007 GALLERY NSW NATIONAL GALLERY OF VICTORIA 30 NOVEMBER 2007 – 24 FEBRUARY 2008 Mackennal in his London studio c1898, courtesy of Pauline Kraay Mackennal was a classical realist with a strong decorative bent whose most pronounced characteristics were adaptability and versatility. ‘Obituary’, Times 12.10.1931 viceroy of India, and the Duke of Norfolk. Mackennal is Introduction renowned for his national memorial to Edward VII at Bertram Mackennal (1863–1931) was the most Waterloo as well as works in Westminster Abbey, York internationally successful Australian artist of the 19th Minster, Winchester Cathedral, the Palace of Westminster and early 20th centuries. Born in Melbourne in 1863, and St Paul’s Cathedral, among others. By 1910, under the son of Scottish immigrant and architectural sculptor the patronage of George V, Mackennal had become one J S Mackennal, Mackennal studied at the National Gallery of the most successful civic sculptors of the era. Schools in Melbourne (1878–82). Mackennal, one of the first Mackennal was known as the creator of beautiful, generation of Antipodean-born artists to travel to Europe to empathetic portraits of many of the era’s leading ‘new study and exhibit, left Melbourne aged 19, in 1882. With women’, including the actress Sarah Bernhardt and singer the exception of a three-year period spent in Australia over Nellie Melba. Similarly he established a reputation in both 1888–91 and visits in 1901 and 1926, he remained an Paris and London as the creator of bold, sensual female expatriate, living in Britain until his death in 1931.