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The Victorian Music Business Career Life Cycle
Career Paths The Victorian Music Business Career Life Cycle The Victorian Music Business Career Life Cycle PREPARED BY DR CATHERINE STRONG, DR FABIAN CANNIZZO AND DR IAN ROGERS FOR THE VICTORIAN MUSIC DEVELOPMENT OFFICE Contact VMDO Level 2, 77 Southbank Boulevard Southbank VIC 3006 (03) 9686 3411 [email protected] Dr Catherine Strong School of Media and Communication RMIT University GPO Box 2476 Melbourne VIC 3001 [email protected] Suggested citation: Strong, C., Cannizzo, F. and Rogers, I. (2020) The Victorian Music Business Career Life Cycle, RMIT University, Melbourne for the Victorian Music Development Office 2 Foreword A message from the VMDO The music industry will always evolve and so will career prospects. This study provides a genuine insight into how change can be managed in an uncertain industry. The skills, knowledge and experience demonstrated by passionate Victorian music industry professionals and businesses are imperative – they solidify and bind so many possibilities for musicians and artists in the music sector. It’s also evident that this extensive and nimble skillset is transferable across many sectors – creative, corporate and non-for-profit. These unsung heroes could include artist managers, record label owners, promoters, publicists, agents, marketing and publishing practitioners (amongst others) who may work for organisations or within their own small or micro music businesses. The Victorian Music Development Office (VMDO) co-designed the Victorian Music Business Career Life Cycle study with RMIT University and Doctor Catherine Strong from the School of Media and Communication, which looks at gaining a deeper understanding of what skills and strategies people need to be successful as a music professional. -
An Interpretive Case Study of the Design of the Emerging Cultural Landscape
Design Research Society DRS Digital Library DRS Biennial Conference Series DRS2004 - Futureground Nov 17th, 12:00 AM Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape. Vince Dziekan Monash University Follow this and additional works at: https://dl.designresearchsociety.org/drs-conference-papers Citation Dziekan, V. (2004) Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape., in Redmond, J., Durling, D. and de Bono, A (eds.), Futureground - DRS International Conference 2004, 17-21 November, Melbourne, Australia. https://dl.designresearchsociety.org/drs- conference-papers/drs2004/researchpapers/22 This Research Paper is brought to you for free and open access by the Conference Proceedings at DRS Digital Library. It has been accepted for inclusion in DRS Biennial Conference Series by an authorized administrator of DRS Digital Library. For more information, please contact [email protected]. Deconstruction Sites: An Interpretive Case Study of the Design of the Emerging Cultural Landscape. Vince Dziekan Position Statement Monash University In response to the call to “address the emerging context, which acknowledges that in recent years, media and information-technology shifts have changed the cultural landscape of design and designing”, this paper will contribute to the discourse of design’s fluid interrelationship with cultural activity and production by focussing on the resulting formation of art, new technology and the design of its institutions. If art since the advent of Modernism can be characterized by any single quality it would have to be its diversity… however, across the breadth of such aesthetic and stylistic difference remains its common, primary destination: the Museum. -
Heide Sculpture Park Discovering Art in Outdoor Spaces
HEIDE EDUCATION Heide Sculpture Park Discovering art in outdoor spaces Anish Kapoor Inge King In The Presence of Form II 1993 (Foreground) Rings of Saturn 2005-2006 (Background) carved Portland stone stainless steel 174 x 170 x 110 cm 450 x 450 x 450 cm Untitled 1993 (Front) Heide Museum of Modern Art carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art 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. © Heide 2011 For personal use only – do not store, copy or distribute Page 1 of 21 HEIDE EDUCATION Sculptures in the Park Dennis Oppenheim (1953–2011) Basket and Wave (From Dreams and Nightmares. Journey of a Broken Weave) 1984 Materials: _________________________ 488 x 549 x 792 cm Heide Museum of Modern Art Gift of the artist and Diana Gibson 1985 Current location: Connie Kimberley Sculpture Park At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer. Displaying sculptures throughout the park would take full advantage of the Museum's unique location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981 "The landscape is an integral part of Heide and most important in its ethos. -
The Future of Copyright and the Artist/Record Label Relationship in the Music Industry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive A Change is Gonna Come: The Future of Copyright and the Artist/Record Label Relationship in the Music Industry A Thesis Submitted to the College of Graduate Studies And Research in Partial Fulfillment of the Requirements for the Degree Of Masters of Laws in the College of Law University of Saskatchewan Saskatoon By Kurt Dahl © Copyright Kurt Dahl, September 2009. All rights reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Dean of the College of Law University of Saskatchewan 15 Campus Drive Saskatoon, Saskatchewan S7N 5A6 i ABSTRACT The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century. -
The Premiere Fund Slate for MIFF 2021 Comprises the Following
The MIFF Premiere Fund provides minority co-financing to new Australian quality narrative-drama and documentary feature films that then premiere at the Melbourne International Film Festival (MIFF). Seeking out Stories That Need Telling, the the Premiere Fund deepens MIFF’s relationship with filmmaking talent and builds a pipeline of quality Australian content for MIFF. Launched at MIFF 2007, the Premiere Fund has committed to more than 70 projects. Under the charge of MIFF Chair Claire Dobbin, the Premiere Fund Executive Producer is Mark Woods, former CEO of Screen Ireland and Ausfilm and Showtime Australia Head of Content Investment & International Acquisitions. Woods has co-invested in and Executive Produced many quality films, including Rabbit Proof Fence, Japanese Story, Somersault, Breakfast on Pluto, Cannes Palme d’Or winner Wind that Shakes the Barley, and Oscar-winning Six Shooter. ➢ The Premiere Fund slate for MIFF 2021 comprises the following: • ABLAZE: A meditation on family, culture and memory, indigenous Melbourne opera singer Tiriki Onus investigates whether a 70- year old silent film was in fact made by his grandfather – civil rights leader Bill Onus. From director Alex Morgan (Hunt Angels) and producer Tom Zubrycki (Exile in Sarajevo). (Distributor: Umbrella) • ANONYMOUS CLUB: An intimate – often first-person – exploration of the successful, yet shy and introverted, 33-year-old queer Australian musician Courtney Barnett. From producers Pip Campey (Bastardy), Samantha Dinning (No Time For Quiet) & director Danny Cohen. (Dist: Film Art Media) • CHEF ANTONIO’S RECIPES FOR REVOLUTION: Continuing their series of food-related social-issue feature documentaries, director Trevor Graham (Make Hummus Not War) and producer Lisa Wang (Monsieur Mayonnaise) find a very inclusive Italian restaurant/hotel run predominately by young disabled people. -
Full Music Credits
Music Supervisor Chris Gough Mana Music Mushroom Licensing Ann-Marie Meadows Music Mixer Robin Grey Alan Eaton Studios Original Music Recorded at Hot House - Craig Harnath Original Music Mix Ross Cockle FX & Music Editor Craig Carter Original Music Composed by Martin Lubran David Bowers "Jackson" (Wheeler/Rodgers) EMI Music Publishing Australia, Performed by Catherine Wearne and Andrew Travis, Produced by Jim Bowman, Recorded at Electric Avenue "Don't It Get You Down" (Kennedy/Palmer/Jones) Mushroom Music, Performed by Dead Star, Courtesy of Mushroom Records "Goldfinger" (Wheeler) PolyGram Publishing, Performed by Ash, Courtesy of Infectious/Mushroom Records "Fun For Me" (Brydon/Murphy) Chrysalis Music/Mushroom Music, Performed by Moloko Courtesy of Echo/Liberation "Puppy Love" (Anka) Chrysalis Music/Mushroom Music Performed by Banana Oil, Courtesy of Mushroom Records "Cruise Control" (Matthews/Lawry/Nevison/Fell/Sweeny/ McDonald) Flying Nun Music/Mushroom Music Performed by Headless Chickens Courtesy of Flying Music/Mushroom Records "Help Yourself" (Donida/Mogol/Fishman) Mushroom Music Performed by Tom Jones, Courtesy of PolyGram "No Reason" (Salmon/Perkins) PolyGram Publishing, Performed by Beasts of Bourbon, Courtesy of Red Eye/Polydor Records "Lemonsuck" (Handley) Mushroom Music, Performed by Pollyanna, Courtesy of Bark/Mushroom Records "So Long Marianne" (Cohen) Chrysalis Music/Mushroom Music Performed by The Stone Cold Boners & Hugo Weaving "Rock and Roll" (Reed) Oakfield Avenue/EMI Music Ltd Performed by The Stone Cold Boners & Hugo -
Big Pig, Breakaway\\
AS OF APRIL 20, 1988 A SAMPLING OF PLAYLISTS AT TH E NATIONAL VIDEO MUSIC OUTLETS. ® cL p Lists do not include videos in Billboard recurrent or oldies rotation. TM G. Estefan /MSM, Anything For You Debbie Gibson, Out Of The Blue George Michael, One More Try INXS, Devil Inside Billy Ocean, Get Outta My Dreams ... Icehouse, Electric Blue Bruce Springsteen, One Step Up Debbie Gibson, Only In My Dreams Jermaine Stewart, Say It Again Jermaine Stewart, Jody MUSIC TELBv lOir HEAVY us Jermaine Stewart, We Don't Have To ... Rick Astley, Together Forever Pepsi & Shirlie, Heartache Continuous programming Cher, We All Sleep Alone Pepsi & Shirtie, All Right Now 1775 Broadway, New York, NY 10019 Whitney Houston, Where Do Broken Hearts Go Rick Springfield, Rock Of Life Michael Jackson, Man In The Mirror Rick Springfield, Dance The World Away ADDS Johnny Hates Jazz, Shattered Dreams Rick Springfield, Living In Paradise Brenda Russell, Piano In The Dark The Alarm, Rescue Me Jermaine Stewart, Say It Again Jon Anderson, Hold On To Love James Taylor, Never Die Young Tracy Chapman, Fast Car Toto, Pamela Joanna Dean, Kiss This Dokken, Heaven Sent Debbie Gibson, Foolish Beat MEDIUM Heart Desires Hall & Oates, Everything Your 10,000 Maniacs, Like The Weather And The Range, Valley Road Bruce Hornsby Merry Clayton, Yes Middle Of Nowhere House Of Shock, The Deele, Two Occasions Ranch, Reach 511 Martini Donald Fagen, Century's End Toot Toot John Cougar Mellencamp, Booty Bryan Ferry, Kiss And Tell BLACK ENTERTAINMENT TELEVISION The Robert Tepper, Unforgiven Art Garfunkel, So Much In Love Nanci Griffith, I Knew Love 14 hours daily SNEAK PREVIEW O.M.D., Dreaming 4217 Wheeler Ave., Alexandria, VA 22304 The Crazy River Belinda Carlisle, Circle In The Sand Robbie Robertson, Somewhere Down Del Leppard, Pour Some Sugar On Me Scarlett & Black, You Don't Know ADDS Pink Floyd, Dogs Of War Al B. -
Hard Knocks Music Credits
(Cast) Maple Leaf Jazz Band Drums Roger Kennedy Bass Gary Dunbier Banjo John Withers Trombone Don Santin Trumpet Rob Green Alto sax Kim Rushworth Music Editor Zbigniew Friedrich Music Consultant Greg Pickhaver Hard Knocks Performed by Paul Kelly & the Dots Written by Kelly Published by Mushroom Courtesy of Mushroom Records Evie Part 1 Performed by Stevie Wright Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Most People I Know Performed by Aztecs Written by Thorpe Published by Rock of Ages Courtesy of Havoc Records Who Listens To The Radio Performed by Sports Written by Cummings/Pendelbury Published by Antipodes/Mushroom Courtesy of Mushroom Records My Little Angel Performed by William Shakespeare Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Take A Long Line Performed by Angels Written by Brewster/Neeson/Brewster Published by Alberts Courtesy of Albert Productions Where The Action Is Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Birmingham Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions High Voltage Performed by AC/DC Written by Scott/Young/Scott Published by Alberts Courtesy of Albert Productions I Remember When I Was Young Performed by Matt Taylor Written by Matt Taylor Published by Mushroom Courtesy of Mushroom Records Breakfast at Sweethearts Performed by Cold Chisel Written by Walker Published by Rondor Courtesy of W.E.A. Records When The Heat's Off Performed by Richard Clapton Written by Richard Clapton Published by Gypsy Courtesy of Infinity Records High Class Women Performed by John St. -
Melbourne Suburb of Northcote
ON STAGE The Autumn 2012 journal of Vol.13 No.2 ‘By Gosh, it’s pleasant entertainment’ Frank Van Straten, Ian Smith and the CATHS Research Group relive good times at the Plaza Theatre, Northcote. ‘ y Gosh, it’s pleasant entertainment’, equipment. It’s a building that does not give along the way, its management was probably wrote Frank Doherty in The Argus up its secrets easily. more often living a nightmare on Elm Street. Bin January 1952. It was an apt Nevertheless it stands as a reminder The Plaza was the dream of Mr Ludbrook summation of the variety fare offered for 10 of one man’s determination to run an Owen Menck, who owned it to the end. One years at the Plaza Theatre in the northern independent cinema in the face of powerful of his partners in the variety venture later Melbourne suburb of Northcote. opposition, and then boldly break with the described him as ‘a little elderly gentleman The shell of the old theatre still stands on past and turn to live variety shows. It was about to expand his horse breeding interests the west side of bustling High Street, on the a unique and quixotic venture for 1950s and invest in show business’. Mr Menck was corner of Elm Street. It’s a time-worn façade, Melbourne, but it survived for as long as consistent about his twin interests. Twenty but distinctive; the Art Deco tower now a many theatres with better pedigrees and years earlier, when he opened the Plaza as a convenient perch for telecommunication richer backers. -
Curatorial Assistant
Position Description – Curatorial Assistant Position Details Position Title: Curatorial Assistant Position Number: NEW Portfolio: Research & Innovation Portfolio School/Group: Research Office (Design Hub) Campus Location: Based at the City campus, but may be required to work at other campuses of the University. Classification: HEW 5 (Salary Schedule: http://www.rmit.edu.au/browse;ID=ewhtlt73t01) Employment Type: Continuing Time Fraction: 1.0 FTE (Tuesday–Saturday during exhibitions, Monday–Friday during non-exhibition periods) RMIT University RMIT is a global university of technology, design and enterprise in which teaching, research and engagement are central to achieving positive impact and creating life-changing experiences for our students. One of Australia’s original educational institutions founded in 1887, RMIT University now has 83,000 students including 12,000 at postgraduate level. The University enjoys an international reputation for excellence in professional and vocational education, applied and innovative research, and engagement with the needs of industry and the community. With three campuses in Melbourne (City, Brunswick and Bundoora), two in Vietnam (Hanoi and Ho Chi Minh City) and a centre in Barcelona, Spain, RMIT is a truly global university. RMIT also offers programs through partners in Singapore, Hong Kong, mainland China, Indonesia and Sri Lanka, and enjoys research and industry partnerships on every continent. RMIT prides itself on the strong industry links it has forged over its 130-year history. Collaboration with industry is integral to the University’s leadership in applied research and education, and to the development of highly skilled, globally focused graduates. We are a 5-Star university under the QS Stars international evaluation system, and are 16th in the world among universities less than 50 years old (2016–17 QS Top 50 Under 50 index). -
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. -
Martin Foley MP
Martin Foley MP Minister for Mental Health GPO 8ox4057 Minister for Equality Melbourne Victoria 3001 Minister for Creative Industries Telephone: +61 3 9096 7500 www.dhhs.vlc.gov.au Ref: BMIN1800492SR Mr Luke Howarth MP Chair of the House Standing Committee on Communications and the Arts CANBERRA ACT 2600 Dear Mr Howarth INQUIRY INTO THE AUSTRALIAN MUSIC INDUSTRY Thank you for your letter to the Premier of 16 August 2018· about the Parliamentary Inquiry into the Australian Music Industry. Your letter has been referred to me for my consideration and response as the matter you raise falls within my portfolio of responsibilities. On behalf of the State Government of Victoria, I am pleased to make a submission to the Inquiry. The Victorian Government "".'elcomes this inquiry and supports a national, coordinated approach to sustaining the growth of the Australian music industry. Victoria has a demonstrated reputation as a centre of music, with more live music than any other state in Australia and a diverse array of iconic cultural music institutions, as well as supportive music·related laws and strategies. The attached submission describes the Victorian Government's significant investment in the music industry, in particular how Music Works, the Victorian Government's major program commitment, has successfully addressed challenges and opportunities affecting the growth and sustainability of the music industry in this State. Thank you for inviting a submission from the· Victorian Government's and I look forward to hearing the outcomes of this inquiry. ~ rtin Folf MP ~ inister for Creative Industries Date: ~/. {2 .. t_o(r PARLIAMENTARY INQUIRY INTO THE AUSTRALl~N MUSIC INDUSTRY FACTORS CONTRIBUTING TO THE GROWTH AND SUSTAINABILITY OF THE AUSTRALIAN MUSIC INDUSTRY VICTORIAN ,.