AMY JOY WATSON CURRICULUM VITAE [email protected]
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Min-Woo Bang
MIN-WOO BANG Background: 1971 Born: Seoul, Korea 1990 Migrated to Australia 1993 Diploma of Fine Arts, National Art School, Sydney 1999 Bachelor of Visual Art (Hon) and Master of Visual Art, Sydney College of the Arts, Sydney Solo Exhibitions: 1997 ‘Self Portraits’, James Harvey Gallery, Sydney 1998 ‘Self Portraits’, James Harvey Gallery, Sydney 1999 ‘Self Portrait in the Age of Appropriation’, Gallery 4A, Sydney 2000 ‘New Paintings’, James Harvey Gallery, Sydney 2001 ‘New Paintings’, Campsie Central Library, Sydney 2004 ‘Emerald City’, Tap Gallery, Sydney 2005 ‘Emerald City II’, Washhouse Gallery, Sydney 2005 ‘Journey’, Rex-Livingston Art Dealer, Sydney 2006 ‘Landscapes’, Jackman Gallery, Melbourne 2006 ‘Landscape and Myth’, Rex-Livingston Art Dealer, Sydney 2007 ‘New Beginnings’, Rex-Livingston Art Dealer, Sydney 2008 ‘The Whisper of Trees’, Rex-Livingston Art Dealer, Sydney 2009 ‘Mystic Landscape’, Wagner Art Gallery, Sydney 2010 ‘Mystic Landscapes II’ LK Contemporary Gallery, Perth 2011 'New Works' Gallery One, Southport, QLD 2011 'The Shadow of Light' Wagner Art Gallery, Sydney 2012 ‘Mystic Landscape’, Muk Muk Fine Art, Darwin, NT 2012 ‘Mystic Landscape’, Muk Muk Fine Art, Alice Springs, NT 2012 ‘Revisit’, Wagner Art Gallery, Sydney 2013 ‘Feeling the Landscape’, Linton and Kay Galleries, Perth 2013 ‘Homage to Landscape’, Sydney Contemporary 13 & Wagner Art Gallery, Sydney 2014 ‘Beyond the Landscape’, Melbourne Art Fair; Wagner Art Gallery, Sydney 2015 ‘Sky Memoir’, Linton and Kay Galleries, Perth Awards: 1992 Waverley Art Prize (People’s -
Arts & Culture Plan South Australia 2019
Arts & Culture Plan South Australia 2019 - 2024 1 To Dream To Explore To Create Acknowledgment of Country Aboriginal and Torres Strait Islander people have made and continue to make a unique and irreplaceable contribution to Australia. The South Australian Government acknowledges and respects Aboriginal people as the state’s first people and nations, and recognises Aboriginal people as traditional owners and occupants of South Australian land and waters. The South Australian Government acknowledges that the spiritual, social, cultural and economic practices of Aboriginal people come from their traditional lands and waters, and that Aboriginal people maintain cultural and heritage beliefs, languages and laws which are of ongoing importance today. Front cover Production: mi:wi Organisation: Vitalstatistix Photographer: Gregory Lorenzutti Table of Contents Page Vision, Mission, 4 Values 4 6 Goals 5 Message and commitment from the Government 7 Introduction 9 An Arts Plan for the future 10 Why now is the time for the Plan 10 Four reasons to pivot 11 South Australia. A history of creative and cultural innovation 12 1 The Structure of this Plan 16 South Australia, A gateway to the first and original story 17 Songlines: Tracking the Seven Sisters 18 Goal 1 20 Goal 2 24 Goal 3 28 Goal 4 32 Goal 5 36 Goal 6 40 Capturing value and impact 42 Footnotes 44 Adelaide College of the Arts Organisation: TAFE SA Photographer: Sam Roberts The Arts and Culture Plan for This Arts Plan is about igniting a This narrative is about how we TELL South Australia 2019 – 2024 new level of connectivity – between THESE STORIES, and relates strongly artists, organisations, institutions and to South Australia’s ‘market and brand’. -
Sebastian Di Mauro
Sebastian Di Mauro BORN Innisfail, Queensland, Australia ACADEMIC QUALIFICATIONS 2014-2015 Doctor of Philosophy, Griffith University 1993-1996 Master of Arts (Visual Arts), Monash University 1990-1991 Graduate Diploma of Arts, (Visual Arts), Monash University 1987 Bachelor of Arts, Queensland College of Art, Brisbane 1981-1983 Diploma of Teaching, Brisbane College of Advanced Education SOLO EXHIBITIONS 2019 GREENBACK MARS Gallery, Melbourne, Victoria 2019 GREENBACK, Onespace Gallery, Brisbane, Queensland 2014 Surf ‘n’ Turf, Gold Coast City Art Gallery, Gold Coast 2010 Scuta, Dianne Tanzer Gallery, Melbourne 2009 Footnotes of a verdurous tale, Sebastian Di Mauro 1987-2009, QUT Art Museum, Brisbane Scuta, Sullivan+Strumpf Fine Art, Sydney 2008 Evergreen, Dianne Tanzer Gallery, Melbourne 2007 Lasciare, Victorian Tapestry Workshop Gallery, Melbourne Archimedes’ Bath, Sullivan + Strumpf Fine Art, Sydney Suburban Abstractions 4, Mackay Artspace, Mackay Suburban Abstractions 3, Gladstone Regional Art Gallery, Gladstone 2006 Float, Dianne Tanzer Gallery, Melbourne 2005 Suburban Abstractions 2, Bundaberg Arts Centre, Bundaberg UAM Project Show: Catherine Brown, Denise Green, Sebastian Di Mauro and Tom Risley, University Art Museum, University of Queensland, Brisbane the grass is greener, Newcastle Regional Gallery, Newcastle 2004 Suburban Abstractions: Lifts Project, National Gallery of Australia, Canberra Suburban Abstractions: Roots, Dianne Tanzer Gallery, Melbourne Pivot, Umbrella Studios, Townsville Turf Sweet, Maroondah Art Gallery, Ringwood, -
SEBASTIAN DI MAURO B
SEBASTIAN DI MAURO b. 1955 |Lives and works in Delaware, USA 2015 Doctor of Philosophy, Griffith University, QLD 1996 Master of Arts (Visual Arts), Monash University, VIC 1991 Graduate Diploma of Arts (Visual Arts), Monash University, VIC 1987 Bachelor of Arts, Queensland College of Arts, Brisbane, QLD 1983 Diploma of Teaching, Brisbane College of Advanced Education, QLD SOLO EXHIBITIONS 2021 Throw, Bundaberg Regional Art Gallery, Bundaberg, QLD 2019 GREENBACK, MARS Gallery, Melbourne, VIC 2019 GREENBACK, Onespace Gallery, Brisbane, QLD 2014 Surf ‘n’ Turf, Gold Coast City Art Gallery, Gold Coast, QLD 2010 Scuta, Dianne Tanzer Gallery, Melbourne, VIC 2009 Footnotes of a verdurous tale, Sebastian Di Mauro 1987-2009, QUT Art Museum, Brisbane, QLD Scuta, Sullivan+Strumpf Fine Art, Sydney, NSW 2008 Evergreen, Dianne Tanzer Gallery, Melbourne, VIC 2007 Lasciare, Victorian Tapestry Workshop Gallery, Melbourne, VIC Archimedes’ Bath, Sullivan+Strumpf Fine Art, Sydney, NSW Suburban Abstractions 4, Artspace Mackay, Mackay, QLD Suburban Abstractions 3, Gladstone Regional Art Gallery, QLD 2006 Float, Dianne Tanzer Gallery, Melbourne, VIC 2005 Suburban Abstractions 2, Bundaberg Arts Centre, Bundaberg, QLD UAM Project Show Catherine Brown, Denise Green, Sebastian Di Mauro and Tom Risley, University of Queensland Art Museum, Brisbane, QLD the grass is greener, Newcastle Regional Gallery, Newcastle, NSW Suburban Abstractions: Lifts Project, National Gallery of Australian, 2004 Canberra, ACT Suburban Abstractions: Roots, Dianne Tanzer Gallery, Melbourne, -
Aboriginal Agency, Institutionalisation and Survival
2q' t '9à ABORIGINAL AGENCY, INSTITUTIONALISATION AND PEGGY BROCK B. A. (Hons) Universit¡r of Adelaide Thesis submitted for the degree of Doctor of Philosophy in History/Geography, University of Adelaide March f99f ll TAT}LE OF CONTENTS ii LIST OF TAE}LES AND MAPS iii SUMMARY iv ACKNOWLEDGEMENTS . vii ABBREVIATIONS ix C}IAPTER ONE. INTRODUCTION I CFIAPTER TWO. TI{E HISTORICAL CONTEXT IN SOUTH AUSTRALIA 32 CHAPTER THREE. POONINDIE: HOME AWAY FROM COUNTRY 46 POONINDIE: AN trSTä,TILISHED COMMUNITY AND ITS DESTRUCTION 83 KOONIBBA: REFUGE FOR TI{E PEOPLE OF THE VI/EST COAST r22 CFIAPTER SIX. KOONIBBA: INSTITUTIONAL UPHtrAVAL AND ADJUSTMENT t70 C}IAPTER SEVEN. DISPERSAL OF KOONIBBA PEOPLE AND THE END OF TI{E MISSION ERA T98 CTIAPTER EIGHT. SURVTVAL WITHOUT INSTITUTIONALISATION236 C}IAPTER NINtr. NEPABUNNA: THtr MISSION FACTOR 268 CFIAPTER TEN. AE}ORIGINAL AGENCY, INSTITUTIONALISATION AND SURVTVAL 299 BIBLIOGRAPI{Y 320 ltt TABLES AND MAPS Table I L7 Table 2 128 Poonindie location map opposite 54 Poonindie land tenure map f 876 opposite 114 Poonindie land tenure map f 896 opposite r14 Koonibba location map opposite L27 Location of Adnyamathanha campsites in relation to pastoral station homesteads opposite 252 Map of North Flinders Ranges I93O opposite 269 lv SUMMARY The institutionalisation of Aborigines on missions and government stations has dominated Aboriginal-non-Aboriginal relations. Institutionalisation of Aborigines, under the guise of assimilation and protection policies, was only abandoned in.the lg7Os. It is therefore important to understand the implications of these policies for Aborigines and Australian society in general. I investigate the affect of institutionalisation on Aborigines, questioning the assumption tl.at they were passive victims forced onto missions and government stations and kept there as virtual prisoners. -
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. -
Our Cultural Collections a Guide to the Treasures Held by South Australia’S Collecting Institutions Art Gallery of South Australia
Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- tralia. South Australian Museum. State Library of South Australia. Carrick Hill. History SA. Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- Published by Contents Arts South Australia Street Address: Our Cultural Collections: 30 Wakefield Street, A guide to the treasures held by Adelaide South Australia’s collecting institutions 3 Postal address: GPO Box 2308, South Australia’s Cultural Institutions 5 Adelaide SA 5001, AUSTRALIA Art Gallery of South Australia 6 Tel: +61 8 8463 5444 Fax: +61 8 8463 5420 South Australian Museum 11 [email protected] www.arts.sa.gov.au State Library of South Australia 17 Carrick Hill 23 History SA 27 Artlab Australia 43 Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions The South Australian Government, through Arts South Our Cultural Collections aims to Australia, oversees internationally significant cultural heritage ignite curiosity and awe about these collections comprising millions of items. The scope of these collections is substantial – spanning geological collections, which have been maintained, samples, locally significant artefacts, internationally interpreted and documented for the important art objects and much more. interest, enjoyment and education of These highly valuable collections are owned by the people all South Australians. of South Australia and held in trust for them by the State’s public institutions. -
Adelaide Festival Centre Annual Report 2005-06
ADELAIDE FESTIVAL CENTRE ANNUAL REPORT 2005-06 18 September 2006 Adelaide Festival Centre King William Road ADELAIDE SA 5000 GPO Box 1269 ADELAIDE SA 5001 Telephone: (08) 8216 8600 Facsimile: (08) 8212 7849 Website: www.afct.org.au ABN: 90940 220 425 Contents Our Vision: ...........................................................................................................4 Our Mission is to: ..............................................................................................4 Introduction..........................................................................................................5 Highlights of 2005-06......................................................................................6 Chairman’s Report ...........................................................................................7 Chief Executive Officer’s Report ...............................................................9 Adelaide Festival Centre Trust Act 1971.............................................10 Trustees ..............................................................................................................11 The Objectives of Arts SA ..........................................................................12 The Objectives of the Adelaide Festival Centre Trust ..................12 Objective 1.........................................................................................................14 ENGAGE........................................................................................... 14 Education Program (CentrEd)...........................................................................15 -
Min-Woo BANG
Min-Woo BANG Born in Seoul, Korea in 1971. Migrated to Australia in 1990. Diploma of Fine Arts, National Art School (1993) Sydney College of the Arts, Sydney University, BVA (Hon) & MVA (1994~1999). A director of Croydon Art Studio SOLO EXHBITIONS 2020 Lunar Year Lantern festival, 31 Jan to 9 Feb 2020 40 by 40 Project, 7 Mar to 25 March, Wagner Contemporary in Sydney Muswellbrook Art Prize Finalists exhibition, Muswellbrook Regional Art Centre John Leslie Art Prize Finalists exhibition, 18 July – 25 October 2020, Gippsland Art Gallery, Vic 2020 New Work, Linton & Kay Galleries, Perth 2020 Natural Impact, Wagner Contemporary, Sydney 2019 Chaotic Order, Manyung gallery, Malvern Vic 2018 'The immensity of Sky', Mitchell Fine Art, Brisbane, QLD 2018 High Land, Wagner Contemporary, Sydney 2017 'Natural World', Linton & Kay Galleries, Subiaco Perth WA 2016 'Storm in Paradise', Wagner Contemporary, Sydney 2015 'Sky Memoir II', Gallery One, Gold Coast, QLD 2015 'Sky Memoir', Linton & Kay galleries, Perth, WA 2015 Min-Woo Bang, Mitchell Fine Art (Sofitel Hotel), Brisbane, QLD 2014 Beyond the Landscape, Wagner Art Gallery, Sydney 2014 Beyond the Landscape, Melbourne Art Fair, Royal Exhibition Building, Melbourne 2013 Homage to Landscape, Wagner Art Gallery, Sydney 2013 "Homage to Landscape", Sydney Contemporary 13 Art Fair, Sydney 2013 Feeling for the Landscape, Gallery One, Gold Coast QLD 2013 Feeling for the Landscape, Linton & Kay Galleries, WA 2012 "Revisit", Wagner art gallery, Sydney 2012 Mystic Landscape, Muk Muk Fine Art, Darwin 2012 Mystic -
ACCESS GUIDE Contents
26 FEB – 14 MAR 2021 ACCESS GUIDE Contents Access Information ................................................................. 1 Website Information ................................................................. 2 Booking Tickets ........................................................................... 3 Venue Facilities ........................................................................... 4 Access Ticket Prices ................................................................. 5 Auslan Interpreted Events ....................................................... 6 Audio Described Events ......................................................... 8 Sensory/Tactile Tour Events ............................................... 9 Events With Highly Visual Content ................................... 10 Events With Assistive Listening ............................................. 13 Venues With Wheelchair Access ............................................. 15 Open House ..................................................................................... 19 Adelaide Writers’ Week Access ............................................. 21 Calendar of Events ................................................................. 22 Map ............................................................................................... 25 Sponsor Thanks ........................................................................... 27 Access Information We make every effort to ensure Adelaide Festival events are accessible to our whole audience. Please check -
– Media Release – Collaborative Exhibition Opens at the South Australian Museum As Part of Tarnanthi
– Media Release – Collaborative exhibition opens at the South Australian Museum as part of Tarnanthi Still in my mind: Gurindji location, experience and visuality presented by Artback NT opens this Friday, 18 October at the South Australian Museum, as part of Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art. The exhibition reflects on the enduring impacts of dispossession and displacement, including those of a pivotal land rights event, the 1966–75 Gurindji ‘walk-off’. Gurindji/Malngin Leader Vincent Lingiari led over 200 countrymen, women and children off Wave Hill Station to protest slave labour conditions and human rights abuse. “Although other protest and strike actions had taken place preceding the 1966 Gurindji Walk-Off, it was arguably the birth of the national land rights movement in Australia. The events of this time and place have significance for me as a Gurindji/Malngin/Mudburra woman, through my direct family connection to the area, and through my family’s experience as members of the Stolen Generations,” said Brenda L. Croft, curator and participating artist. Croft developed the exhibition through practice-led research with her father’s community, Karungkarni Art and Culture Aboriginal Corporation, UNSW Galleries and UNSW Art & Design. As a part of this, Croft retraced the Gurindji ‘walk-off’ steps in homage to those before her, who made the 22-kilometre journey half a century ago. “I was motivated to develop this exhibition in partnership with Karungkarni artists and Gurindji community members in tribute to those whose profound communal act of courage, resilience and determination changed the course of history.” Croft said. -
Margaret Loy Pula CV
Margaret Loy Pula Born: 1 January 1956 Tribe: Anmatyerre Area: Utopia, Central Australia Margaret Loy Pula hails from an incredibly distinguished artistic family. She is the daughter of well-known artist Kathleen Petyarre and the mother of Abie Loy Kemarre, also a rising star from the Utopia region. Both Abie and Margaret were taught to paint by Kathleen. Her aunties are the Petyarre sisters - Ada, Nancy, Myrtle, Violet, Jean and Gloria all of whom are established artists and whose works hang in collections both in Australia and overseas. Margaret was born “out bush” at Amaroo Station in Central Australia and grew up in the small outstations at Utopia, approx 230kms north of Alice Springs. Margaret has been exposed to art for most her life and lived for some time at Utopia where the art movement began with batik works. Margaret paints her fathers dreaming and the stories that she depicts include country, bush food and ceremonial designs. Her story is “Anatye” or bush potato dreaming which is portrayed using a series of finely detailed dots. Margaret spends most of her time in her homelands near Utopia, approx 230kms north of Alice Springs in Central Australia. Awards 2013 Winner, Muswellbrook Art Prize, NSW 2012 Winner, Waterhouse Natural History Art Prize, Adelaide. 2012 Second Prize, Outback Open Art Award, Broken Hill Regional Gallery. 2012 Highly Commended, Hawkesbury Art Prize, Sydney. 2012 Highly Commended, Bellingen Art Prize, Bellingen, New South Wales. 2012 Highly Commended, Alice Art Prize, Alice Springs. 2011 Winner, Paddington Art Prize, Sydney. 2011 Winner, Sunshine Coast Art Prize, Caloundra Regional Gallery.