Executive Board Meeting 11 Aug 2009
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Art Almanac April 2018 $6
Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, -
Genevieve Felix Reynolds Logic 26 Sep
GENEVIEVE FELIX REYNOLDS LOGIC 26 SEP. TO 14 OCT. 2018 NICHOLAS THOMPSON GALLERY Art Almanac September 2018 $6 Genevieve Felix Reynolds Ken Unsworth Amber Boardman Art Almanac September 2018 We acknowledge and pay our respect to the many Subscribe Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. We present ourselves to the world to assert Visit our website to sign-up for our free weekly eNewsletter. and understand our identity; artists take this feeling and give it form. In very different ways To subscribe go to artalmanac.com.au the paintings of Genevieve Felix Reynolds and or mymagazines.com.au Amber Boardman consider how something meaningful might come from the Internet. Kieran Butler’s photography and drag articulates their non-binary self, whereas Tony Albert’s work challenges the aesthetics of recollection and representation of Indigenous Deadline for October 2018 issue: peoples. Drawing on life, Julia deVille’s Friday 31 August, 2018. taxidermy and holograms augment overlooked creatures whilst Ken Unsworth stages tension from the inside out. Contact Editor – Chloe Mandryk [email protected] Deputy Editor – Kirsty Mulholland [email protected] Art Director – Paul Saint National Advertising – Laraine Deer [email protected] -
Bernard Ollis Biography Dip AD (BA Hons) MA Royal College of Art (Painting) London
Bernard Ollis Biography Dip AD (BA Hons) MA Royal College of Art (Painting) London 1951 Born in Bath, England Studies 1973 – 1976 Master of Art (Painting), the Royal College of Art, London UK (MA RCA London) 1970 – 1973 Diploma of Art and Design, Cardiff College of Art and Design, Wales UK (Dip AD) 1969 – 1970 Foundation Studies Cardiff College of Art and Design, Wales UK (BA Hons) Lecturing and Administrative Experience 1996 – 2009 Director National Art School (Sydney) 1982 – 1996 Senior Lecturer/Head of Fine Art La Trobe University (Victoria) 1977-1982 Head of Painting, Drawing and Sculpture Section Darwin Community College (Charles Darwin University) 1974 – 1976 Visiting Lecturer Various British Art Schools Solo Exhibitions 2019 Recent works, Linton & Kay Galleries, Perth, WA 2019 A Tale of Two Cities, Victoria Art Gallery, Bath, UK 2019 Departures, Aarwun Gallery, Canberra, ACT 2018 Being There, Harvey Galleries, Sydney, NSW 2018 Traveller's Tails - Paris and Morocco, Linton and Kay, Perth, WA 2017 Paris and Other Stories, Aarwun Gallery, Canberra, ACT 2017 Observations, Mitchell Galleries Brisbane, QLD 2017 Favourite Places, Harvey Galleries Seaforth and Mosman, Sydney, NSW 2016 Run Ya Artspace Linyi, China 2016 Cultural Exchange of Australia and China, Linyi Arts Centre Shandong, China 2016 Storytelling about China - Shanghai Cultural Centre & Art Gallery, China 2016 Open Studio – Travel Paintings, Linton & Kay Galleries, Perth WA 2016 Travels to Paris, Trevor Victor Harvey Gallery, Seaforth, Sydney NSW 2015 Brisbane and Beyond, -
Bernard Ollis Biography Dip AD (BA Hons) MA Royal College of Art (Painting) London
Bernard Ollis Biography Dip AD (BA Hons) MA Royal College of Art (Painting) London 1951 Born in Bath, England Studies 1973 – 1976 Master of Art (Painting), the Royal College of Art, London UK (MA RCA London) 1970 – 1973 Diploma of Art and Design, Cardiff College of Art and Design, Wales UK (Dip AD) 1969 – 1970 Foundation Studies Cardiff College of Art and Design, Wales UK (BA Hons) Lecturing and Administrative Experience 1998 – 2009 Director National Art School (Sydney) 1997 – 1998 Head of Studies National Art School (Sydney) 1996 – 1997 Head of Painting Department National Art School (Sydney) 1994 – 1996 Senior Lecturer/Head of Fine Art La Trobe University (Victoria) 1982 – 1994 Head of Painting La Trobe University (Victoria) 1982 Acting Head of Visual Art Department Darwin Community College (University Northern Territory) 1978 – 1982 Head of Painting, Drawing and Sculpture Section Darwin Community College (University Northern Territory) 1977 – 1978 Lecturer Fine Art Darwin Community College (University Northern Territory) 1974 – 1976 Visiting Lecturer Various British Art Schools Solo Exhibitions 2019 Recent works, Linton & Kay Galleries, Perth, WA 2019 A Tale of Two Cities, Victoria Art Gallery, Bath, UK 2019 Departures, Aarwun Gallery, Canberra, ACT 2018 Being There, Harvey Galleries, Sydney, NSW 2018 Traveller's Tails - Paris and Morocco, Linton and Kay, Perth, WA 2017 Paris and Other Stories, Aarwun Gallery, Canberra, ACT 2017 Observations, Mitchell Galleries Brisbane, QLD 2017 Favourite Places, Harvey Galleries Seaforth and Mosman, -
ACUADS 08/09 Research
SITES OF ACTIVITY ACUADS 08/09 RESEARCH Australian Council of University Art and Design Schools ON THE EDGE CONTENTS 2 Dr John Barbour INTRODUCTION Nanoessence Life and Death at a Nano Level 4 CURTIN UNIVERSITY OF TECHNOLOGY The Silk Road Project Dance and Embodiment in the Age of Motion Capture 6 DEAKIN UNIVERSITY Envisaging Globalism Victoria Harbour Young Artists Initiative 8 Globalisation and Chinese Traditional Art and Art Education 22 VCA Sculpture & Spatial Practice in Contempora2 EDITH COWAN UNIVERSITY, SUN YaT SEN UNIVERSITY UNIVERSITY OF MELBOURNE Steam The Papunaya Partnership A New Paradigm for the Researching and 10 Transforming the Mundane 24 GRIFFITH UNIVERSITY Teaching of Indigenous Art UNIVERSITY OF NEW SOUTH WALES Creative Exchange in the Tropical Environment 12 JAMES COOK UNIVERSITY 26 The Creative Application of Knowledge UNIVERSITY OF SOUTH AUSTRALIA ARTEMIS (Art Educational Multiplayer Interactive Space) Second Skins 14 28 MONASH UNIVERSITY UNIVERSITY OF SOUTH AUSTRALIA An Audience with Myself How Does “Edgy” Research 186 Mapping – Unmapping Memory 30 Foster Interesting Innovative Teaching? NATIONAL ART SCHOOL, SYDNEY UNIVERSITY OF SYDNEY Activating Studio Art 20 Arrivals and Departures Collaborative Practice in the Public Domain 32 RMIT UNIVERSITY THE UNIVERSITY OF WESTERN AUSTRALIA 34 ACUADS MEMBERS 2 INTRODUCTION From the sculptural transformation of scrap metal to the use of nanotechnology in a multi-media installation that interrogates humanism; from online learning about the art of the ancient Greeks to a partnership between a big city art school and a group of indigenous printmakers living in a remote community, this report demonstrates the diversity of research being undertaken within Australian university art and design schools.