The Blot on the Landscape: Fred Williams and Australian Art History
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Just a Feeling Selected Works 1987–2005
Brent Harris Just a feeling Selected works 1987–2005 i Brent Harris Just a feeling Selected works 1987–2005 Contents 4 Foreword Dr Chris McAuliffe 6 Just a feeling: Brent Harris, selected works 1987–2005 Bala Starr 9 The passion of Brent Harris Sarah Thomas 15 Demonology Jonathan Nichols 19 Singapore paper pulp works James Mollison, AO 24 Plates 34 List of works in the exhibition 40 Brent Harris—biography and bibliography When speaking of Brent Harris’s work, especially his Grotesquerie paintings, there’s a tendency to use words like ‘elegant’, or even ‘decadent’. Those are appropriate enough as descriptive terms; they do capture something of the aesthetic tone of the work. But for the artist himself, different words are required. Words like ‘diligent’ or ‘adventurous’; the very antithesis of the languid and agoraphobic artists of the fin-de-siècle period. Brent Harris is an artist who has often worked programmatically, using a sequence of paintings or prints to systematically hunt down an idea, a form or a quality of his medium. With this persistence comes a willingness to learn, to explore, to renew. What this exhibition amounts to, I think, is a testimony to the hard graft of art. Behind the pristine refinement of the works displayed are accumulated layers not only of studio craft but of reading, reflection, looking and travelling. Surprising new works combine artistic ambition with a willingness to accept the challenge of innovative processes. Familiar works reclaim their subtlety as the resonances threading through an accumulated oeuvre become apparent. The job of being an artist, and the rewards that this offers us as viewers, are both writ large. -
Jeffrey Makin Bio Solo Exhibitions
Jeffrey Makin Bio 1943- Born Wagga Wagga, NSW, Australia 1994-95 - M.A. (Research), Deakin University, Geelong 1962-66 - Diploma (Painting), National Art School, Sydney Tertiary Teacher Training, Sydney Teachers College, Sydney 1961 - Julian Ashton’s School of Art, Desiderus Orban Studio, Sydney Solo Exhibitions 2008 Landmarks, James Makin Gallery, Melbourne Red Centre, Art Equity, Sydney 2007 A Graphic Survey, Port Jackson Press Print Room, Melbourne Etchings of Tasmania, Colville Street Art Gallery, Hobart 2006 Terre Australis, Art Equity, Sydney En Plein Air, Port Jackson Press, Melbourne Jeffrey Makin: Drawings, Stonnington Stables Museum of Art, Deakin University, Melbourne 2005 The Tasman Series, Art Equity, Sydney 2004 Australia Felix, Suite of ten etchings launched in conjunction with Australian Conservation Foundation in World Environment Week, Port Jackson Press, Melbourne 2003 Australia Felix, Tim Olsen Gallery, Sydney 2002 Print Survey, Port Jackson Press, Melbourne Jeffrey Makin: genii loci, Stonnington Stables Gallery, Deakin University, Melbourne Jeffrey Makin: Australia Felix, Metro 5 Gallery, Melbourne 2001 Lauraine Diggins Fine Art, Melbourne Lister Calder Gallery, Perth Robin Gibson Gallery, Sydney 2000 BMG Gallery, Adelaide 1999 Robin Gibson, Sydney BMG Gallery, Adelaide Solander Gallery, Canberra 1998 Cook’s Hill Gallery, Newcastle 1997 Robin Gibson Gallery, Sydney 1995 BMG Gallery, Adelaide Greythorn Gallery, Melbourne 1994 Phillip Bacon, Brisbane Greythorn Gallery, Melbourne 1993 Greenhill Galleries, Perth John Paul -
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. -
The La Trobe Journal No. 95 March 2015 End Matter
Notes 115 Notes Des Cowley, Robert Heather and Anna public – books, serials, pamphlets, music Welch: Editors’ introduction scores – but also works published in 1 Johanna Drucker, The Century of Artists’ other formats such as CD and DVD. The Books, New York: Granary Books, 1995, p. 1 Northern Territory, Tasmania and Western Australia include web-based publications. Helen Cole: Public collections of artists’ books 10 trove.nla.gov.au in Australia 11 Noreen Grahame was the first gallerist in Australia to actively promote artists’ 1 Any discussion of artists’ books is dogged books. Her first major exhibition of by the question of definition. This article artists’ books was in 1991 and, at this adopts a broad definition that includes time, she encouraged artists represented unique works, limited and commercial by the gallery to create their first artists’ editions, codexes, altered books, book books for the show. She organised five objects and everything in-between. It does Artists’ Books and Multiples fairs in not include zines, however, as institutions generally treat these separately. Brisbane, in 1994, 1996, 1998, 2001 and 2 Noreen Grahame, ‘The gallerist’s 2007, and presented Australian artists’ perspective’, paper presented at ‘The books at the Sydney Works on Paper Trouble with Artists’ Books’, Siganto Fair and the London Artists’ Books Foundation seminar, State Library of Fair. In 1994 Grahame extended into Queensland, 4 May 2013. A podcast of the publishing catalogues and artists’ books. seminar is available at: www.slq.qld.gov. Her catalogues for exhibitions and artists’ au/_slqmedia/video_and_audio_content/ books fairs constitute the most important art-and-design/siganto-seminar, accessed 21 sources of documentation of artists’ books November 2014 in Australia of this time. -
The Making of Indigenous Australian Contemporary Art
The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................ -
G Eelong G Allery Annual Report
Geelong Gallery annual report 2009–2010 Geelong Gallery Little Malop Street Geelong 3220 T 03 5229 3645 Open daily 10am–5pm Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday www.geelonggallery.org.au Geelong Gallery annual report 2009–2010 01 Contents President’s report 02 Director’s report 04 Honorary Secretary’s report 08 The Geelong Art Gallery Foundation 16 The Geelong Gallery Grasshoppers 18 Friends of the Geelong Gallery 20 Collections report 21 Financial statements for 30 the year ended 30 June 2010 Government partners and sponsors 44 Geelong Gallery annual report 2009–2010 02 President’s report Since the Gallery’s last AGM, my predecessor Overall, I’m delighted to confirm that the year’s as President of the Geelong Gallery, Michael programs and initiatives went successfully to Cahill, has stepped down from the role, having plan, with all the Key Performance Indicators served in different capacities on Gallery boards that underpin the Gallery’s funding agreements and committees for some two decades. So, with our local and state government partners it is with great pleasure that I place on record either comfortably met or, more often than here our sincere thanks to Michael for this not, substantially exceeded. remarkable commitment to the Board and to the Gallery, noting as I do so, and with real A wide-ranging exhibition program was satisfaction, that Michael retains a formal link delivered to critical acclaim, the Gallery’s with us as continuing Chair of the Gallery’s financial performance was sound, corporate Acquisitions committee. sponsorships were retained and extended, the collection grew through purchase, As usual on these occasions, brief outlines bequest, acquisitive prize, and gift with of the Gallery’s financial and general operating the Geelong Art Gallery Foundation keenly performance over the previous 12 months supportive throughout. -
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. -
1976 Monash University Calendar Part 1
MARIST COLLEGE ORMANBY ROAD MONASH Jp~ UNIVERSITY C'.S.I.R.O. SCALE IN METRES 0 21i liO 71i 100 121i 150 171i 200 HAllS OF RESIDENCE 30 ANIMAL KEY TO PLAN • HOUSES •• I. University club - 2. Religious centre MARSHAll RESERVE 3. Robert Blackwood Hall ENGINEERING 4. Main library 5. Krongold child training centre 6. The Alexander Theatre 7. Rotunda 8. Biomedical library 9. Biochemistry laboratories 10. Central science block SPORTS AREA II. Senior zoology 12. First year chemistry 13. Zoology lecture theatres 14. First year biology laboratory SPORTS AREA 15. Senior chemistry 16. Western science lecture theatres UJ :Jz 17. Eastern science lecture theatres UJ > 18. First year physics < UJ 19. Senior physics 8 0 20. Hargrave Library UJ = 21. Northern science lecture theatres 22. Mathematics and computer centre 23. Engineering lecture theatres 24. 25. 26. 27. Engineering school 28. Boiler-house 29. Botany experimental area VICE-CHANCEllOR'S RESIDENCE,.,. 30. Zoology environmental laboratories EDUCATION ,, ERECTED NON-COLlEGIATE HOUSING UNDER CONSTRUCTION MANNIX COLLEGE MONASH UNIVERSITY CALENDAR 1976 Published by Monash University Wellington Road, Clayton Victoria, Australia 3168 Telephone: 541 0811 Telegrams: Monashuni Melbourne Telex: Monlib AA31729 Printed and bound by Brown Prior Anderson Pty Ltd Melbourne CONTENTS (The contents of the Calendar have been brought up to date as at 5 January 1976 with the exception of the statutes and regulations which were those in force at 13 October 1975) PREFACE 9 SIR JOHN MONASH 11 COAT OF ARMS 13 DONATIONS -
The James Gleeson Oral History Collection
research library Painted in words: the James Gleeson oral history collection It doesn't matter how the paint is put on, as long as something is said. Jackson Pollock Rosemary Madigan Eingana 1968 The Research Library at the National Gallery of Australia Oral history has an interesting place in a museum carved English lime wood collects catalogues raisonn•, auction catalogues, rare serials context. It revolves around the power and reliability of 61.0 x364.8 x30.4cm and books and other printed and pictorial media relating memory and the spoken word in an environment that National Gallery of Australia, Canberra to the visual arts. In addition to bibliographic collections, more often values the written word, the document, the Purchased 1980 the library keeps manuscripts and documentary material image and the object. Spoken words have a number of Murray Griffin such as diaries, photographs and ephemera. It also holds qualities that make them different from other ways of Rabbit trapper's daughter 1936 communicating. They are able to capture the emotions linocut, printed in colour, from a collection of ninety-eight recorded interviews and multiple blocks behind what it means to be a person who is living printed image 35.0 x 27.8 cm transcripts with Australian artists created in the late 1970s, and making art at a particular time in history. And the National Gallery of Australia, before the National Gallery of Australia was built. Canberra storytelling in the interview captures both the pleasures of The interviews were conducted by the well-known memory and the act of creativity. -
Ann Stephen, Narelle Jubelin, Cannibal Tours
Heide Heide Museum of Museum of Modern Art Modern Art Narelle Jubelin Cannibal Tours Ann Stephen Foreword Heide Museum of Modern Art is which draws on the Heide Collection 9–9 delighted to present Narelle Jubelin: and an iconic image associated with Cannibal Tours, the sixth exhibition Heide: Sidney Nolan’s Boy and the moon. to be held in the Albert & Barbara Alongside Trade Delivers People Jubelin Tucker Gallery and the first to presents eleven of her BOXED.SET extend into the adjacent Kerry works, typically exquisite petit-point Gardener & Andrew Myer Project renditions of photographs provided Gallery. Cannibal Tours is also the by artist friends that represent their first exhibition in the Tucker Gallery childhood encounters with modernism series to contextualise an aspect — from Jacky Redgate’s Mondrian of Albert Tucker’s practice with dress to Rafaat Ishak’s family’s the work of a contemporary artist. modernist apartment in Cairo. These Based in Madrid since 1997, Narelle are juxtaposed with Albert Tucker’s Jubelin graduated from Alexander photographs from his travels in Europe Mackie College of Fine Arts in Sydney and America, signalling an Australian in 1982 and has been exhibiting expatriate experience of modernism. extensively since 1989. Her projects are Cannibal Tours has been curated realised through a process of intensive by Ann Stephen, Senior Curator, research in which she sources objects University Art Collection, University with complex histories and re-creates of Sydney. Stephen has a long-standing them: sometimes literally, as petit- association with Jubelin, and Heide point renditions, at other times in appreciates their collaboration in combinations that refer to the historical, realising Cannibal Tours. -
AUSTRALIAN COLONIAL Good Hardback Copy in Illustrated Boards
SAINSBURY’S BOOKS PTY LTD Architecture 12. GEHL, Jan and GEMZOE, Lars. NEW CITY SPACES. The Danish Architectural Press, Copenhagen. 2000. Landscape 4to, 263pp. With colour illustrations. A very good hardback copy in like dust jacket. Inscription to title page. $100 13. GREENE & GREENE: BOSLEY, Edward R. and MALLEK, Anne E. (Edited by) A NEW AND NATIVE BEAUTY. The Art and Craft of Greene & Greene. Merrell Publishers, London. 2008. 4to. 265pp, black and white and colour illustrations. A near fine hardback copy in like dust jacket. $50 14. GRIFFIN, Walter Burley: JOHNSON, Donald Leslie. THE ARCHITECTURE OF WALTER BURLEY GRIFFIN. Macmillan, 1977. Oblong 8vo., 163pp, Black and white and colour illustrations. A very good hardback copy in like dustjacket. $30 15. GRIMSHAW AND PARTNERS. GRIMSHAW: ARCHITECTURE: 1. BELL, Michael and BUCKLEY, Craig (editors). PERMANENT THE FIRST 30 YEARS. Prestel, Munich. 2011. Large 4to. Illustrated in CHANGE: PLASTICS IN ARCHITECTURE AND ENGINEERING. colour. A near fine hardback copy in like dust jacket. $30 Princeton Architectural Press. 2014. 4to, 271pp, with colour illustrations. A near fine hardback copy in illustrated boards. $30 16. HELLIWELL & SMITH: BODDY, Trevor. (Edited by) BLUE SKY LIVING. The Architecture of Helliwell & Smith. Images Publishing. 2013. 2. BLUEPRINTS FOR MODERN LIVING. History and Legacy of the 4to. 148pp. colour illustrations. A near fine hardback copy in like dust jacket. Case Study Houses. MIT, Cambridge. 1989. Landscape 4to, 256pp. With $15 black & white and colour illustrations. A very good hardback copy in like dust jacket. With previous owner's unsigned bookplate. $120 17. IMAGINE ARCHITECTURE. Artistic Visions of the Urban Realm. -
Art Gallery of NSW 5 September – 29 November 2009
ART Art Gallery of NSW GALLERY NSW 5 September – 29 November 2009 TACKLING THE FIELD 2 Tackling The Field Natalie Wilson The Event It was billed as the gala occasion of 1968, if not the decade. The lavish and much anticipated opening of the magnificently re-sited National Gallery of Victoria was held on the brisk winter evening of Tuesday, 20 August that year. The new building on St Kilda Road – the first phase of the $20 million Victorian Arts Centre complex – boasted a collection valued over $25 million, with its most valuable paintings, including works by Rembrandt, Tiepolo and Cézanne, acquired through the magnanimous bequest of industrialist Alfred Felton. In the towering Great Hall, intended for State receptions and banquets, the multi- hued glass ceiling by the Melbourne artist Leonard French – one of the world’s largest pieces of suspended stained glass – shimmered with radiant flashes of brilliant colour. As Evan Williams reported in the Sydney Morning Herald the following day, ‘with a candle-lit banquet, special exhibitions and seminars, a symphony concert, a trumpet fanfare composed for the occasion, it is some 1 opening’. The Field, National Gallery of Victoria, 1968 Left to right: on floor, Nigel Lendon Slab construction 11; Eric Shirley Encore; Tony However, it was the unveiling of the new temporary McGillick Polaris; Vernon Treweeke Ultrascope 5; Col Jordan Daedalus series 6 and on exhibition gallery a night later, on 21 August, which really floor Knossus II; Dick Watkins October; Robert Rooney Kind-hearted kitchen-garden IV. AGNSW Archives: image from The Bulletin, 12 Oct 1968 set the hearts of the art world racing.