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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, -
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. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
JON PLAPP We Are Australian
Optics, with Andrew Christofides, Liz Coats, Col Jordan, David Aspen, John Vickery, John Aslanidis and Cathy Blanchflower, Sir Herman Black Gallery, University of Sydney, 1998. The Bryan Niland Collection , Penrith Regional Gallery and the Lewers Bequest, Emu Plains,1998. The Enduring Tradition: drawings by nine contemporary artists, with Alun Leach-Jones, Andrew Christofides, Maurice Cockrill, Peter Griffen, John McLatchie, Colin Lanceley, Brian Plummer, Aida Tomescu. Toowoomba Regional Art Gallery, 1998-1999 (travelling to Gladstone, Rockhampton,Dalby, Bundaberg, Thuringowa and Cairns). JON PLAPP We Are Australian. Exhibition presented by We Are Australian Art Inc. and the Melbourne Festival in Association with the Victorian Arts Centre. 1999- 2000 It’s A Guitar Shaped World 6. Tamworth City Gallery, 2000 Exposition collective. Cite Internationale des Arts, Paris, 2000 A Studio in Paris: Australian Artists at the Cite. S H Ervin Gallery, Sydney, 2001 Collage. Stephanie Burns Fine Art, Canberra, 2001 Stephane Jacob. Carrousel du Louvre, Paris, 2001 Public and Corporate Collections Allen, Allen, & Hemsley, Sydney, Artbank Australia. Baker McKenzie, Sydney. Bliss Hospital, St Louis, USA. Burnie Art Gallery, Tasmania.Devonport Gallery, Tasmania. Hincks Treatment Centre, Toronto, Canada. Holmes á Court Collection, Perth. Mallesons, Melbourne. University of Sydney Union National Gallery of Australia, Canberra. Western Mining Corporation, Melbourne. University of Toronto, Toronto, Canada. The Robert McLaughlin Gallery, New England Regional Art Museum, Armidale Civic Centre, Oshawa, Ontario, Canada. AMP Collection, Sydney. Agnes Etherington Art Gallery, Queens University, Kingston, Ontario, Canada Press Reviews Sandra McGrath: Australian, May 19-20, 1979. Sandra McGrath: Australian, February 7-8, 1981. Nancy Borlase: Sydney Morning Herald, February 14, 1981. -
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 -
Primorski Uporniki, Vojaki in Obvešĉevalci
1 Marijan F. Kranjc, generalmajor v pokoju Primorski uporniki, vojaki in obvešĉevalci (Projekt elektronske knjige) www.vojastvo-military.si Ljubljana 2016 2 Vsebina: - Namesto uvoda ……………………………………………….. 3 - Janko Stibiel - Vukasoviĉ, dobrovoljec, polkovnik VKJ ….. 4 - Karel Schafer, kontraadmiral AOV ……………………… 19 - Dr. Ivan Ples, dobrovoljec in kapetan VKJ, partizan …… 21 - Cecilj Josipović Urban, dobrovoljec VKJ in RA ………… 25 - Stanislav Rapotec, britanski kapetan, obvešĉevalec, slikar 30 - Ivan Gašperĉiĉ, primorski upornik, »ĉrni brat« ……….. 56 - Viktor Andrejka, polkovnik in vodja ObC VKJ ………… 70 - Viktor Bobek, komunist, tigrovec, obvešĉevalec-dvojnik …77 - Joţef Gabršĉek, orjunaš, tigrovec, obvešĉevalec-dvojnik … 83 - Danilo Zelen, vojaški vodja TIGR-a, obvešĉevalec ………. 130 - Tone Batagelj, dobrovoljec VKJ, obvešĉevalec, pesnik … 156 - Joţe Srebrniĉ, komunist, partizan, agent Kominterne …. 167 - Ivan Manfreda - Jaka, prvoborec-partizan, kapetan JA.. 198 - Janko Premrlj - Vojko, partizan in narodni heroj ……… 214 - Leopoldina Mekina, sekretarka KPS, vosovka …………. 222 - Dr. Vladimir Kante, policijski inšpektor in vosovec ……. 231 - Dr. Joţef Korošak – pater Bruno, boţji bojevnik ………. 252 3 Namesto uvoda Ĉeprav sem po lokalni pripadnosti Prlek, sem kot pripadnik Varnostne sluţbe JLA v obdobju 1970–1987 najveĉ ĉasa preţivel na Primorskem, seveda v protiobvešĉevani zašĉiti pripadnikov in objektov JLA pred »napadi« italijanske vojaške obvešĉevalne sluţbe, delno pa tudi ameriške. Zato sem tudi spoznal številne usode primorskih ljudi, predvsem upornikov, dobrovoljcev, vojakov in obvešĉevalcev. Zapise o njih sem objavljal na svoji domeni www.vojastvo-military.si v daljšem ĉasovnem obdobju. Dobil sem namig, da bi jih bilo vredno objaviti na enem mestu. Odloĉil sem se za elektronsko knjigo, saj sem na podoben naĉin objavil tudi svojo prvo knjigo Balkanski vojaški poligon. Pravzaprav predstavljam nekaj izbranih primorskih junakov, pa tudi Prleka – »boţjega bojevnika«, ki je pokopan na Sveti Gori. -
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 -
BORGELT-CV-2015.Pdf
M A R I O N B O R G E L T Biography Lives and works in Sydney 2007 Art Angels Residency Program, Perth 2006-07 Collaboration with Adriano Berengo Glass, Murano, Italy 1995 Collaboration with master printer Fred Genis for Sherman Genis Graphics, Sydney 1990 Collaboration with René Tazé etching atelier, Paris, France 1989–98 Lived and worked in Paris, France 1989 French Government Artist Residency, Paris, France 1979–80 New York Studio School, Postgraduate studies, New York, US 1977 Torrens College of Advanced Education, Adelaide, Graduate Diploma Secondary Art Teaching 1973–76 South Australian School of Art, Diploma of Fine Art, Painting 1954 Born Nhill, Victoria Solo Exhibitions 2014 Luminous Light, Allens Art Projects, Melbourne Full Circle Red, Karen Woodbury Gallery, Melbourne Marion Borgelt: Wabi-Sabi and Other Influences, Port Macquarie Glasshouse Regional Gallery, NSW 2013 So Near So Far, inaugural exhibition, Dominik Mersch Gallery, Sydney 2012 To see a world in a grain of sand…, Fehily Contemporary, Melbourne Musical Geometry, Turner Galleries, Perth 2011 Rhythms, Chords & Cadences, Jan Manton Art, Brisbane Heartbeat, Dominik Mersch Gallery, Sydney 2010 Marion Borgelt: Mind & Matter, A 15 Year Survey, Drill Hall Gallery, Australian National University, Canberra 2009 Exotic Particles, Turner Galleries, Perth Moonlight in my Veins, Dominik Mersch Gallery, Sydney 2007 Flux & Permanence, Sherman Galleries, Sydney 360º, inaugural exhibition, Turner Galleries, Perth 2006 Nothing is Invisible, Christine Abrahams Gallery, Melbourne 2005 -
An Investigation of the Role of Place and Identity in Artistic Thought and Practice
Placing identity, identifying place: An investigation of the role of place and identity in artistic thought and practice. Shelley Margaret Hannigan BFA (Painting), Graduate diploma (Teaching), MEd (Creative arts therapies) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of Music Shelley Hannigan, PhD Abstract This thesis explores the phenomena of place and identity in the visual artistic practices of four artists and myself. Using narrative case study and autoethnography, three research questions were investigated and answered: 1. What can be understood about each artist’s account of place and identity? 2. How do the artists encounter, use, or draw on, themes of place and identity in their creative practice, products, and thinking? 3. In what ways do the artists’ places influence their constructions of identity? Methods and techniques used to investigate these questions were interview, observation and artefact analysis. Hermeneutic philosophy was compatible with the investigation of individual insights and experiences of five artists due to its focus on the interpretation of verbal and non-verbal communication. Methodologies of qualitative narrative research were used to foreground artists’ explanations and interpretations of their own artworks and encourage storying of themselves. I investigated my own place, identity and artistic practice through autoethnography. Heidegger’s contribution to place philosophy is discussed as this along with other theories contributed to notions of place as experience. Notions of space and place are reviewed that include historical developments such the spatial turn. This turn challenged the way space and place were understood within disciplines and inspired a turn toward more interdisciplinary understandings of place and space. -
Art and Artists in Perth 1950-2000
ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
Lie Australian Slovenian Review
lie Australian Slovenian Review Autumn 1995 Volume 2 Issue 2 Inside Why Relations between Italy and Slovenia are Strained Rapotec the Could Slovenia lose it's precious 42km of coastline? Artist Part II A frosty atmosphere has been evident in European • The Italians have, despite their small number, a diplomatic circles lately, particularly between the Italians guaranteed seat in the National Assembly of the and the Slovenians. There has been much coveragein Republic of Slovenia and in local assembles and Slovenian and our local ethnic media, and much municipalities. The Italians choose from among their discussion amongst our older generation about the number at special elections, at the same time voting mi deteriorating relations between these two neighbouring for representatives of political parties who may also countries. be members of the Italian minority. What is the story behind this saga ? Its origins go back in • They have a right to use their native language in history to before the First World War and involve the public administration and judicial bodies, and they Italian and Slovenian ethnic minorities living in each have the right to education in Italian. They have their country and how the respective governments are treating own state funded nursery, primary and secondary them. schools conducted in Italian. The curricula ofthese schools differ from those of ordinary schools in that What is irritating Slovenia is that Italy is forcingthese they pay special attention to the culture history and bilateral issues onto the multilateral arena, blocking geography of their native country in order to maintain Slovenia's entry into the European Union until they are their ethnic identity.