DOCSLIB.ORG

(Tolarno Mural) 1966 Oil on Paper on Plywood Heide Museum of Modern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(Tolarno Mural) 1966 Oil on Paper on Plywood Heide Museum of Modern All artwork by Mirka Mora, unless indicated otherwise. Soundscape written and designed by Madeleine Flynn and Tim Humphrey. 1. Untitled (Tolarno Mural) 9. From left to right 1966 Mirka’s maternal grandmother Mirka (Sima) oil on paper on plywood Gelbein Heide Museum of Modern Art c. 1938 Purchased with funds raised by the Mirka for Mirka Mora papers Melbourne campaign 2019 Heide Museum of Modern Art Archive Purchased 2019 2. Mirka Mora 1985 Mirka’s father Leon Zelik Henry Talbot Paris, France Donated by Henry Talbot November 1948 Jewish Museum of Australia Collection, 796 Courtesy The Estate of Mirka Mora 3. Mirka’s handwritten statement Mirka’s maternal grandparents Meyer and Mirka 1963 Gelbein with her aunt Mimi Courtesy The Estate of Mirka Mora 1920 © The Estate of Mirka Mora Mirka Mora papers Heide Museum of Modern Art Archive 4. The Whisper Purchased 2019 2002 oil on canvas Baby Mirka with her mother Celia Zelik née Private collection Gelbein © The Estate of Mirka Mora Paris, France 1928 5. Mirka’s paint brushes, belt and jar of art tools with Mirka Mora papers porcelain doll busts, doll and cup Heide Museum of Modern Art Archive Heide Museum of Modern Art Purchased 2019 Purchased with funds raised by the Mirka for Melbourne campaign 2019 Mirka with her mother Celia (Tsipa) c. 1930s 6. In the Grass Courtesy The Estate of Mirka Mora 2012 oil on canvas 10. Cart with collection of teddy bears and doll Courtesy William Mora Galleries Heide Museum of Modern Art © The Estate of Mirka Mora Purchased with funds raised by the Mirka for Melbourne campaign 2019 7. Certificat d’etudes primaires (Mirka’s French school report) 11. Miniature children’s highchair Paris, France Heide Museum of Modern Art 8 June 1940 Purchased with funds raised by the Mirka for Courtesy The Estate of Mirka Mora Melbourne campaign 2019 8. To Market 12. Mirka’s childhood memory Beethoven (Kreutzer 1978 Sonata) (facsimile) embroidery thread, beads, felt, synthetic polymer Lionello Balestrieri, artist; Leo Arndt, engraver paint on cotton and synthetic textile backing Berlin, Germany Courtesy William Mora Galleries 1912 © The Estate of Mirka Mora Courtesy Library of Congress MIRKA — Jewish Museum of Australia 1 13. Paulette Le Guezennec, Mirka’s ‘second mother’ Mirka at six years old with Nouzette Paris, France Saint-Malo, France n.d 1934 Mirka Mora papers Courtesy The Estate of Mirka Mora Heide Museum of Modern Art Archive Purchased 2019 19. Mirka’s mother Celia (Tsipa) Zelik (née Gelbein) Paris, France 14. Miniature display case with collection of dolls and 1926 snake Courtesy The Estate of Mirka Mora Heide Museum of Modern Art Purchased with funds raised by the Mirka for 20. From left to right Melbourne campaign 2019 The Fournier family, who sheltered Mirka and her family during WWII 15. Les Enfants Qui S’Aiment 1939 1958 Courtesy The Estate of Mirka Mora fibre-tipped pen and brush and coloured inks on paper Paulette Le Guezennec with her daughter Nane Heide Museum of Modern Art 1943 Bequest of John and Sunday Reed 1982 Courtesy The Estate of Mirka Mora 16. Photo album Mirka with Paulette and Nane c. 1930s–1952 c. 1942 photographic prints on paper and card Courtesy The Estate of Mirka Mora Courtesy The Estate of Mirka Mora © The Estate of Mirka Mora 21. Menorah 1993 17. Journal with memory of Boulevard de Charonne in oil on canvas 1936 Courtesy William Mora Galleries c. 1988 © The Estate of Mirka Mora Courtesy The Estate of Mirka Mora © The Estate of Mirka Mora 22. Mirka’s journal 1988 18. From left to right Courtesy The Estate of Mirka Mora A young Mirka with one of her sisters © The Estate of Mirka Mora early 1930s Courtesy The Estate of Mirka Mora 23. Panel of Faces 1982 Paulette Le Guezennec with her daughter Nane gouache on paper and stepmother Nouzette Courtesy William Mora Galleries September 1955 © The Estate of Mirka Mora Courtesy The Estate of Mirka Mora 24. Untitled (Three Little Girls) Studio portrait of Mirka at two years old 1959 Paris, France oil on composition board 1930 Heide Museum of Modern Art Courtesy The Estate of Mirka Mora Bequest of Barrett Reid 2000 Mirka with her sisters Marcelle and Salomée Zelik 25. Children Paris, France 1961 1939 oil on masonite Mirka Mora papers Courtesy William Mora Galleries Heide Museum of Modern Art Archive © The Estate of Mirka Mora Purchased 2019 MIRKA — Jewish Museum of Australia 2 26. We Are Family Crochet socks, sewing equipment, porcelain doll’s 1966 head, and silver thimbles given to Mirka by her oil on canvas father Courtesy William Mora Galleries Heide Museum of Modern Art © The Estate of Mirka Mora Purchased with funds raised by the Mirka for Melbourne campaign 2019 27. Angel 1958 32. Certificat de la declaration d’immatriculation oil on composition board (Georges Mora’s martriculation certificate) Heide Museum of Modern Art Paris, France Purchased from John and Sunday Reed 1980 5 October 1950 Courtesy The Estate of Mirka Mora 28. Mirka’s annotated copy of French Children of the © The Estate of Mirka Mora Holocaust: A Memorial Serge Klarsfield 33. Letter to Georges Mora from the Refugee 1996 Assistance Fund Inc. Courtesy The Estate of Mirka Mora New York, USA 3 January 1949 29. Mirka Mora and Marcel Marceau Courtesy The Estate of Mirka Mora Self-portrait as Bip c. 1965 34. Quittance de loyer (rent receipt) casein paint on cotton Paris, France Courtesy William Mora Galleries 15 July 1945 © The Estate of Mirka Mora Mirka Mora papers Heide Museum of Modern Art Archive 30. Clockwise from top left Purchased 2019 Mirka with a young child Saint-Quay-Portrieux, France 35. Menthon-St Bernard c. 1945–46 1948 Courtesy The Estate of Mirka Mora oil on canvas Private collection Mirka at the beach with a young child, possibly her © The Estate of Mirka Mora cousin Dina 1946 36. Lovers with Friend Courtesy The Estate of Mirka Mora 1982 oil on canvas Mirka’s student identity card for the School of Courtesy William Mora Galleries Theatre—School of Life © The Estate of Mirka Mora Paris, France 1947 37. Hopefulness Mirka Mora papers 2016 Heide Museum of Modern Art Archive oil on canvas Purchased 2019 Private collection © The Estate of Mirka Mora Georges Mora with Marcel Marceau in Aspendale 38. Clockwise from top left Melbourne Mirka and Georges Mora 1963 London, UK Courtesy The Estate of Mirka Mora May 1948 Courtesy The Estate of Mirka Mora Mirka with Marcel Marceau Melbourne Georges Mora’s parents Sofia and Max Morawski c. 1960s n.d. Courtesy The Estate of Mirka Mora Heide Museum of Modern Art Purchased with funds raised by the Mirka for 31. Mirka’s sons’ shoes Melbourne campaign 2019 c. 1950s Courtesy The Estate of Mirka Mora MIRKA — Jewish Museum of Australia 3 Family photograph including Mirka’s father Leon Mirka’s father Leon Zelik Zelik and husband Georges Mora Paris, France Paris, France 1951 1950 Courtesy The Estate of Mirka Mora Courtesy The Estate of Mirka Mora © The Estate of Mirka Mora A young Georges Mora with his mother behind him Mirka’s sisters Marcelle and Salomée Zelik and his father in front wearing white pants Paris, France c. 1920s c. 1949–50 Courtesy The Estate of Mirka Mora Courtesy The Estate of Mirka Mora Mirka’s decorated truck and angel wings for the Mirka and her mother Celia (Tsipa) Zelik née children at the Œuvre de Secours aux Enfants Gelbein (OSE) orphanage Colchester, USA Saint-Quay-Portrieux, 1946 10 May 1951 Mirka Mora papers Courtesy The Estate of Mirka Mora Heide Museum of Modern Art Archive Purchased 2019 42. Mirka’s watercolour and gouache paint tubes, paint brushes, tools, and doll Advertisement for Organisation Du Service De Heide Museum of Modern Art L’OSE Purchased with funds raised by the Mirka for France Melbourne campaign 2019 c. 1936 Courtesy The Estate of Mirka Mora Mirka’s embroidered brooch by Jan Manley 1979 Exterior building of the Œuvre de Secours aux Heide Museum of Modern Art Enfants (OSE) orphanage Purchased with funds raised by the Mirka for Saint-Quay-Portrieux, France Melbourne campaign 2019 1942 Courtesy The Estate of Mirka Mora 43. Friends Under the Tree 1995 39. Mirka’s gouache paint tubes, porcelain dolls and oil on canvas F.C. Calvert & Co’s Carbolic Tooth Powder tin Courtesy William Mora Galleries with glass beads © The Estate of Mirka Mora Heide Museum of Modern Art Purchased with funds raised by the Mirka for 44. Red Snake Melbourne campaign 2019 1980 oil on linen 40. Painting for a Nostalgic Traveller Heide Museum of Modern Art 1966 Gift of Anthony Scott 2014 charcoal, pastel, acrylic and oil on board Courtesy William Mora Galleries 45. Tackling Melbourne © The Estate of Mirka Mora 1956–57 oil on masonite 41. Clockwise from top left Courtesy William Mora Galleries Mirka’s sister Salomée Zelik © The Estate of Mirka Mora Paris, France 1949 46. St Kilda Pier Courtesy The Estate of Mirka Mora 1970 oil on board Family photograph including Mirka, her sisters, her Courtesy William Mora Galleries mother, and cousins Evelyn and Dina © The Estate of Mirka Mora January 1948 Courtesy The Estate of Mirka Mora 47. Mirka’s copy of La Boheme Henri Murger n.d. Courtesy The Estate of Mirka Mora MIRKA — Jewish Museum of Australia 4 48. Dressmaking business card 57. Catalogue for Toulouse-Lautrec exhibition at Melbourne Tolarno Galleries early 1950s St Kilda Courtesy The Estate of Mirka Mora 1967 © The Estate of Mirka Mora Courtesy The Estate of Mirka Mora © The Estate of Mirka Mora 49. Letter from Sniders Motzo Factory to George Morawski (Georges Mora) 58.
Load more

Recommended publications
  • 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.
    [Show full text]
  • A Dark New World : Anatomy of Australian Horror Films
    A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream.
    [Show full text]
  • 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.
    [Show full text]
  • Sabine Cotte Education Professional Experience
    Sabine Cotte Paintings Conservation 31, Niagara Lane Melbourne Vic 3000 M: 04 02 843 543 E: [email protected] W: www.sabinecotte.com Nationalities: French and Australian. Arrived in Australia in 2001. Since 1990, works for mu- seums, galleries and private collectors in France, Australia and the Himalayas. Cultural Conservation Expert for UNESCO since 1997, focus on South East Asia Honorary fellow, University of Melbourne, Faculty of Arts, Grimwade Centre for Cultural Ma- terials Conservation Education 2017 PhD Arts, ‘Art in the making: Mirka Mora’s techniques and materials and their meaning in conservation’ University of Melbourne. 2011 Masters by Research. ‘Tibetan paintings in Australia: conservation of a living heritage’ University of Melbourne (First Class Honours) 1994 Certificate in Mural Paintings Conservation International Centre for the Preser- vation of Cultural Property in Rome (ICCROM) 1986-1990 Masters in Conservation and Restoration Institut National du Patrimoine (INP- IFROA) Paris. Easel painting conservation (High Distinction, Congratulations of the jury) 1982-1986 Honours Bachelor in Fine Arts, Ecole Nationale des Beaux-Arts, Paris, Screen- printing and Lithography (High Distinction). 1982-1986 Honours Bachelor in Art History. University of Paris I, History of Art and Ar- chaeology Professional experience Collaboration with contemporary artists Consultation with the artists, research and documentation of methods and materials. Work with Mirka Mora, Lara Merrett, David Keeling, Peter Booth, Paul Boston and Philip Wolf- hagen, Daniel Buren, Jean Pierre Raynaud, Pierre Soulages and Christian Boltanski. Survey of collections and condition reports Documentation, risk assessment, prioritisation of needs, preventive conservation recommen- dations and planning, condition assessment. Clients include museums, auction houses and art dealers.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Affairs of the Art Inside Heide, the Creative Crucible That Transformed Australia’S Cultural Landscape
    Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip APRIL 9-10 2016 Affairs of the art Inside Heide, the creative crucible that transformed Australia’s cultural landscape DESTINATION EUROPE WINE DINING GLORIA STEINEM TOP CHATEAUS, BEST MAX ALLEN ON THE FEMINISM, POLITICS AND VILLAGES, SUPER DEALS NEW BREED OF BAR A LIFE ON THE ROAD TRAVEL & INDULGENCE LIFE REVIEW V1 - AUSE01Z01AR Copyright Agency Limited (CAL) licenced copy Page 1 of 6 AUS: 1300 1 SLICE NZ: 0800 1 SLICE [email protected] Ref: 573001374 Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip THE ROARING 40S support and collect. After the Angry Penguins Art historian Richard Haese, whose 1981 study of Heide was seminal in establishing their put down their fertile intellectual and personal relationships in the public imagination — his book’s title, Rebels and roots in staid, stolid Precursors, was taken from a 1962 Heide group exhibition of the same name at the National Melbourne, the art world Gallery of Victoria — says their influence has been profound. “They’re immensely import- in Australia would never ant,” he says. “The Angry Penguin artists have retained a central position in Australian art and be quite the same again, our perception of Australian art is based on these artists. it FionaFi G rub er Haese points out how their work forms part writes of a broader grouping: “Alongside the artists you have the supporters and champions, writ- ow you experience Heide depends ers, poets and jazz musicians.” There have been on where you park.
    [Show full text]
  • What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
    What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]
  • 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.
    [Show full text]
  • Exhibitions and Public Programs August–December 2019 Exhibition Dates
    Exhibitions and public programs August–December 2019 Exhibition dates 1–18 August 12–29 September 24th Annual B’nai B’rith Victoria Robyn Cottew Jewish Youth Art Competition Icons of Japan 1–18 August 3–27 October Art Collection showcase: Glen Eira City Council Small sculptures, jewellery Youth Services and ceramics 2019 Youth Art Exhibition Gallery Annexe 3–27 October 22 August–8 September Glen Eira Libraries Twenty Melbourne Painters My Brother Jack Awards Society Gallery Annexe 22 August–8 September 2 November–15 December Glen Eira Artists’ Society Stories in clay: Portraits Arthur Merric Boyd Pottery Gallery Annexe 12–29 September Phil Kreveld A landscape of memories Front cover image: Inside front cover image: Arthur Merric Boyd Pottery, Murrumbeena, Arthur Merric Boyd Pottery, Murrumbeena, Melbourne (manufacturer) (manufacturer) Arthur Boyd (potter and decorator) Neil Douglas (potter and decorator) Tea service 1948 (detail) Decanter c.1950 Earthenware Earthenware National Gallery of Victoria, Melbourne (a-b) 42.0 x 12.0 x 10.0 cm (overall) Purchased from Admission Funds, 1983 National Gallery of Victoria, Melbourne (D26.a-h-1983) Kenneth Hood Bequest Fund, 2012 (2012.27 a-b) ©Arthur Boyd’s work reproduced with the permission of Bundanon Trust 1–18 August 24th Annual B’nai B’rith Victoria Jewish Youth Art Competition The Jewish Youth Art Competition and Exhibition aims to develop and enhance the artistic abilities of youth aged 11 to 18. This important annual exhibition showcases the innovative artworks created by talented Jewish youth, including drawings, paintings, multimedia, sculpture, digital media and photography. Dion Fibishenko I left my kippah at home 2017 Oil on wood Winner of the first prize for drawing and painting.
    [Show full text]
  • 101 Collins Newsletter Summer 2008
    Summer 2008 Christmas Competitions The Age Of Turbulence - Alan Greenspan Our Neighbour - The Grand Hyatt Proustian Interview - John Curtis Freehills Get Over It And Get On With It- David Williams Is Architecture Art From the Inside Peter Calwell ince the last edition of the 101 Magazine ongoing and it has given us much confidence GM 101 there have been two art exhibitions held that there will be a significant commitment within the ground floor foyer of the building from building tenants to the pursuit of both of which were very successful. Firstly, sustainability in general and to the specific in August the exhibition by Japanese sculptor programs that have been, and will be, imple- facilities is due for completion in early De- Takahiro Kondo and secondly, the exhibition mented by 101 Collins Street. cember 2008. The completion of this project in September by Yarramunua one of Austral- It is also pleasing that the Tenant Sustain- represents a significant increase in our bike ia’s most prominent indigenous artists. ability Performance Survey has now been storage capacity and I feel sure that all tenants The feedback following both of these released and is accessible via our web site. will be very pleased with the high quality of exhibitions was very positive and as always This survey is open to all those who work the shower/bathroom facilities that will soon commentary from tenants concerning these at 101 Collins Street and I would encourage be available. events is very welcome. everyone to participate. As in past years 101 Collins Street will be Fashion week also came to 101 Collins Aside from assisting us to understand supporting the Anglicare Christmas Appeal Street on 1 September 2008 and once again more fully how tenants within the building and will be purchasing toys and food that will the response was very supportive and the perform in the areas of energy consumption, be placed under the building Christmas tree.
    [Show full text]