DOCSLIB.ORG

Appendixes / QUEENSLAND ART GALLERY ANNUAL REPORT 05/06 41

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Appendixes / QUEENSLAND ART GALLERY ANNUAL REPORT 05/06 41 appendixes / QUEENSLAND ART GALLERY ANNUAL REPORT 05/06 41 APPENDIXES Ethel Spowers Australia 1890–1947 Staircase window c.1925 Woodcut, ed. of 40, 14.8 x 8.9cm (comp.) Purchased 2005 42 QUEENSLAND ART GALLERY ANNUAL REPORT 05/06 / appendixes appendixes /Q QUEENSLANDUEENSLAND ART GALLERY ANNUAL REPORT 05/06 43 ORGANISATIONAL PURPOSE AND RESPONSIBILITIES PROGRAM STRUCTURE 2005–06 TRUSTEES ACT AND BOARD OF TRUSTEES MINISTERIAL DIRECTIONS QUEENSLAND ART GALLERY The Queensland Art Gallery Board of Trustees is the governing body of The Minister for the Arts gave no directions to the Board of Trustees DIRECTOR BUILDING & DEVELOPMENT FOUNDATION & MEMBERSHIP the Queensland Art Gallery and draws its powers from the Queensland during the year. Art Gallery Act 1987. The Act provides that the Board is to consist of the number of members appointed by the Governor-in-Council. Trustees are POWERS OF THE BOARD appointed for a term of not more than three years, and are eligible for (1) For performing its functions, the Board has all the powers of an reappointment as Trustees at the expiration of their respective terms. individual and may, for example: ASSISTANT DIRECTOR ASSISTANT DIRECTOR ASSISTANT DIRECTOR (a) enter into arrangements, agreements, contracts and deeds; and CURATORIAL & COLLECTION DEVELOPMENT PUBLIC PROGRAMS MANAGEMENT & OPERATIONS During the 2005–06 year, the Board met on eight occasions. (b) acquire, hold, deal with and dispose of property; and (c) engage consultants; and FUNCTIONS OF THE BOARD (d) appoint agents and attorneys; and (a) to control, manage and maintain the Art Gallery and each branch (e) charge, and fix terms, for goods, services, facilities and CURATORIAL ACCESS, EDUCATION & REGIONAL SERVICES CORPORATE GOVERNANCE thereof and all property in the possession of the Board; and information supplied by it; and Public Programs (b) to minister to the needs of the community in any or all branches of (f) do anything else necessary or desirable to be done in Australian Art Children’s Art Centre FINANCIAL SERVICES the visual arts by performing its functions. Australian Art to 1950 Regional Services (i) displaying works of art; and (2) Without limiting subsection (1), the Board has the powers given to it Contemporary Australian Art Visitor Services INFORMATION TECHNOLOGY (ii) promoting artistic taste and achievement through the under this or another Act. Indigenous Australian Art illustration of the history and development of the visual arts; (3) The Board may exercise its powers inside and outside Queensland, Queensland Heritage EXHIBITIONS & DISPLAY PROTECTION & SERVICES and including outside Australia. Exhibition Design (iii) promoting and providing lectures, films, broadcasts, telecasts, (4) In this section — ‘power’ includes legal capacity. Asian and Pacific Art Installation COMMERCIAL SERVICES publications and other educational or cultural instruction or Historical Asian Art Workshop material; and Contemporary Asian Art (iv) promoting research; and Pacific Art DESIGN, WEB & MULTIMEDIA (c) to control and manage all land and premises vested in or placed Asia–Pacific Triennial Design under the control of the Board; and Australian Centre of Asia–Pacific Art Web & Multimedia (d) to restore and repair works of art in the possession of the Board; and International Art MARKETING & COMMUNICATIONS (e) to frame and package, and manufacture display materials for, works European and American Art Events of art in the possession of the Board; and Media (f) to encourage artistic achievements by artists resident in CINEMA Queensland; and Australian Cinémathèque MANAGERIAL RESEARCH (g) to perform the functions given to the Board under another Act; and (also reports to Curatorial & Collection (h) to perform functions that are incidental, complementary or helpful CONSERVATION Development) to, or likely to enhance the effective and efficient performance of, the functions mentioned in paragraphs (a) to (g); and REGISTRATION (i) to perform functions of the type to which paragraph (h) applies and which are given to the Board in writing by the Minister. INFORMATION & PUBLISHING SERVICES Research Library Publications Photography Collection Information Systems PROGRAM RESPONSIBILITIES PROGRAM RESPONSIBILITIES PROGRAM RESPONSIBILITIES Curatorial & Collection Development Public Programs Management & Operations Develop, research, document, interpret and display the Develop increased public and regional program Develop expanded administrative, commercial, Collection for the Queensland Art Gallery and the activities for the Queensland Art Gallery and the protective and information technology services for the Gallery of Modern Art Gallery of Modern Art Queensland Art Gallery and the Gallery of Modern Art Maintain the highest art museum standards for the Maximise access to the Collection and to temporary Provide administrative, personnel, financial and preservation and management of the Collection and exhibitions through display, information, educational corporate governance support services for the Gallery temporary exhibitions and interpretive services of the highest standard Ensure internal safekeeping and security of the Provide art historical expertise and other professional Develop and maintain the Gallery’s public profile as an Collection and loan works services to support the Gallery’s Collection and other accessible and dynamic art museum through strategic Oversee the management of the Gallery’s commercial exhibition-based programs marketing and communication initiatives activities Develop and maintain an innovative website presence Coordinate the application of information technology to ensure increased access for the Gallery’s online visitors and audiences Develop existing and new audiences through targeted initiatives and cooperative ventures Manage the Gallery’s state-wide regional services 44 QUEENSLAND ART GALLERY ANNUAL REPORT 05/06 / appendixes appendixes / QUEENSLAND ART GALLERY ANNUAL REPORT 05/06 45 STRATEGIC DIRECTION MEETING THE GOVERNMENT’S COMMUNITY OUTCOMES OUTPUT/PERFORMANCE STATEMENT 2005–06 AND PRIORITIES FOR QUEENSLAND VISION + Display and promote the Collection and the Gallery’s INITIATIVES AND SERVICES Relationship between the Gallery’s goals and outputs and the Government’s community outcomes and priorities + Increased quality of life for all Queenslanders through facilities, and provide access to exhibitions, educational + Continue to foster research into the Collection and enhanced access, understanding and enjoyment of the services and interpretive programs of excellence to a communicate the results through interpretive programs The Queensland Art Gallery, together with the Gallery of Modern Art, deliver the output, ‘Access to the Visual Arts visual arts and furtherance of Queensland’s reputation diversity of cultures and publics with particular attention for a diversity of audiences. (Queensland Art Gallery)’, and contribute to the Government’s outcomes and priorities as indicated below. as a culturally dynamic state. to the principles of lifelong learning. + Continue to develop and implement integrated + Develop and manage an exhibitions program to the public education programs to support the Collection MISSION highest art museum standards, which extends to and exhibitions. Government Outcomes and Priorities Queensland Art Gallery / Gallery of Modern Art Measures Notes Published Actual + To be the focus for the visual arts in Queensland and regional and remote Queensland, for the benefit and + Investigate and implement enhanced public access to Priority Outputs Targets Achievement a dynamic and accessible art museum of enjoyment of present and future audiences. the Collection and the innovative delivery of education (as per MPS*) to 30 June 2006 international standing. + Continue to develop services provided to regional areas and information services to Queensland including the in order to support such communities in the development and enhancement of the Gallery’s website. STRENGTHENING QUEENSLAND COMMUNITIES QUANTITY KEY STRATEGIC DIRECTIONS development of their unique cultural assets and + Organise and present exhibitions at the Queensland + Enhance the Gallery’s profile through greater emphasis distinctive identities, while also benefiting from cultural Art Gallery. + Safe and secure communities. + Continue to preserve, document and build the + Number of exhibitions presented 16 16 on its Collection, increased focus on children and youth exchange with such regions. + Develop, coordinate and tour exhibitions to regional + Healthy, active individuals and communities. Gallery’s Collection in order to promote enhanced + Number of Collection-based 8 6 programs, and tours of diverse exhibitions and + Ensure the Gallery’s building and strategic development, Queensland. + A fair, socially cohesive and culturally vibrant understanding and recognition of Queensland’s exhibitions presented education programs to regional Queensland centres. including the Gallery of Modern Art Project, meet the + Continue to advise and consult with the education society. cultural heritage. + Number of exhibitions touring 2 2 + Maintain focus on modern and contemporary needs of the community and the Gallery. sector in urban and regional Queensland. + Provide enhanced, accessible and innovative regional Queensland Australian and international art, Indigenous Australian + Provide assistance and encouragement to young + Continue to develop a leading research facility to foster programs, products and services for all + Total attendance
Load more

Recommended publications
  • Senior & Shopmaker Gallery
    SENIOR & SHOPMAKER GALLERY Winter Selections: Prints and Drawings January 18-March 2, 2019 ROY LICHTENSTEIN (American, $24,000 1923-1997) YELLOW BRUSHSTROKE, 1985 2-color photoetching on Rives BFK (Corlett #209) Paper size: 31 x 19.875 inches 78.7 x 50.5 cm Image Size: 23 7/16 x 12 13/16 inches JUDY PFAFF (British-American, b. $18,000 1946) UNTITLED, 1979 mixed adhesive plastics on graph paper (JP1901) Paper size: 17 x 22 inches (43.2 x 55.9 cm) JUDY PFAFF (British-American, b. $18,000 1946) UNTITLED, 1980-81 mixed adhesive plastics on paper (JP1902) 17 x 22 inches (43.2 x 55.9 cm) Frame size: 24 5/8 x 29 1/2 inches (62.5 x 74.9 cm) AL HELD (American, 1928-2005) $34,000 HUDSON 12, 1989 watercolor on paper 22 1/2 x 27 3/4 inches (57.2 x 70.5 cm) Frame size: 28 x 35 inches (71.1 x 88.9 cm) 210 ELEVENTH AVENUE · 8TH FLOOR · NEW YORK NEW YORK 10001 TEL 212 213 6767 · FAX 801 640 2408 [email protected] · WWW.SENIORANDSHOPMAKER.COM LEON POLK SMITH (American, 1906 $7,500 -1996) COLOR FORMS (A), 1974 screenprint Paper size: 33 x 23 1/4 inches (83.8 x 59.1 cm) Frame size: 35 3/4 x 26 1/8 inches (90.8 x 66.4 cm) SEAN SCULLY (Irish, b. 1945) $18,000 ROOM, 1988 etching, drypoint, aquatint, soapground aquatint, spitbite aquatint, crayon resist 41 3/4 x 50 3/4 inches (106 x 128.9 cm) Image Size: 31 3/4 x 41 3/4 inches (80.6 x 106 cm) MICHAEL CRAIG-MARTIN (Irish, b.
    [Show full text]
  • Charles H. Cecil Studios Studio Handbook
    CHARLES H. CECIL STUDIOS STUDIO HANDBOOK Fl o rence, 1998 CHARLES H. CECIL STUDIOS STUDIO HANDBOOK Compiled by Marc Dalessio with contributions by Nicholas Beer, Brandon Soloff, Hazel Morgan, Patrick Graham, Scott Pohlschmidt, Lee Johnson, Greg Horwitch, and Charles Cecil. TABLE OF CONTENTS Introduction vi Introduction, history of the school, map of Florence, useful information, studio rules Drawing 13 Introductory notes, materials checklist, paper, media, additional materials, introduction to the sight size technique, Bargue drawings, suggested evening, drawing schedule Painting 23 Introductory notes, materials checklist, canvas, panel, grounds, size, stretcher bars, panels, drying oils, sun-thickened oil, volatile oils, balsams, siccatives, resins, varnishes, mediums, pigments, flesh palette, extended palette, grinding colors, brushes, palettes, painting basics, landscape painting basics, trouble shooting, glossary Reading 50 Silence and Slow Time by Charles Cecil Materials Addendum 54 Europe and the US Bibliography 57 And suggested reading Introduction A Brief History of the Studio This manual is intended as a companion guide to the drawing Charles H. Cecil Studios descends from the great Parisian and painting techniques taught over a four year course at Charles ateliers of the nineteenth century. The materials and methods H. Cecil Studios. For those not fortunate enough to be able to stay used today are, however, not the same as those which were the rule the full course, hopefully this booklet will assist you in in the studios of David or Gerôme. Many of the paintings from remembering your brief training in times of need. If nothing else, the last century have suffered from the use of materials we now the materials addendum at the end should help you to find the know to be impermanent and each teacher over the last two highest quality supplies when you return home.
    [Show full text]
  • The Glass Case Modern Literature Published After 1900
    The Glass Case Modern Literature Published After 1900 On-Line Only: Catalogue # 209 Second Life Books Inc. ABAA- ILAB P.O. Box 242, 55 Quarry Road Lanesborough, MA 01237 413-447-8010 fax: 413-499-1540 Email: [email protected] The Glass Case: Modern Literature Terms : All books are fully guaranteed and returnable within 7 days of receipt. Massachusetts residents please add 5% sales tax. Postage is additional. Libraries will be billed to their requirements. Deferred billing available upon request. We accept MasterCard, Visa and American Express. ALL ITEMS ARE IN VERY GOOD OR BETTER CONDITION , EXCEPT AS NOTED . Orders may be made by mail, email, phone or fax to: Second Life Books, Inc. P. O. Box 242, 55 Quarry Road Lanesborough, MA. 01237 Phone (413) 447-8010 Fax (413) 499-1540 Email:[email protected] Search all our books at our web site: www.secondlifebooks.com or www.ABAA.org . 1. ABBEY, Edward. DESERT SOLITAIRE, A season in the wilderness. NY: McGraw-Hill, (1968). First Edition. 8vo, pp. 269. Drawings by Peter Parnall. A nice copy in little nicked dj. Scarce. [38528] $1,500.00 A moving tribute to the desert, the personal vision of a desert rat. The author's fourth book and his first work of nonfiction. This collection of meditations by then park ranger Abbey in what was Arches National Monument of the 1950s was quietly published in a first edition of 5,000 copies ONE OF 10 COPIES, AUTHOR'S FIRST BOOK 2. ADAMS, Leonie. THOSE NOT ELECT. NY: Robert M. McBride, 1925. First Edition.
    [Show full text]
  • ROBERT RAUSCHENBERG a W I N G S F R O M T H E 1 9 6 0 S
    Transfer Drawings from the 1960s Drawings from Transfer ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s FEBRUARY 8– MARCH 17, 2007 41 EAST 57TH STREET, NEW YORK, NY 10022 FOREWORD For me, a roomful of Robert Rauschenberg's “Transfer” drawings from the 1960s evokes a powerful sense of dèjà vu. It's a complicated flash from the past, dense with images and newspaper headlines drawn from the events of the time. Saturn 5 rockets, Apache helicopters, ads for spark plugs, photos of astronauts mix with pictures of motorcycles, flashcubes, wristwatches and razor blades, all taken out of their original contexts and reworked into a web of startling new associations by an artist with a keen sense of popular history heightened by irony and a profound wit. Rauschenberg is like a mollusk in the sea of time, filtering and feeding upon everything that passes through his awareness and transforming it to suit his own ends, like an oyster secreting a pearl. He selects images from popular media as signifiers—telling icons of who we Americans are as a people, a nation and a culture. And the new linkages he creates make us question our assumptions about our identity: where did we come from, what do we really care about, where are we going? Rauschenberg's smart, deliberative art mirrors the American character: self-questioning and proud, defiant and wondering, but always hopeful. It is a great pleasure to re-familiarize the public with these drawings, important both artistically and historically. Many of them are being shown in the United States for the first time since they were originally exhibited in Paris at Galerie Ileana Sonnabend in 1968.
    [Show full text]
  • ISM WORKSHEET Template
    INDIAN SCHOOL MUSCAT SENIOR SECTION DEPARTMENT OF FINE ARTS CLASS: X PAINTING (049) WORKSHEET No. 7 THEORY Unit – II – (a) METHODS AND MATERIALS OF PAINTING – TOOLS Questions and Answers Very short Answer Type Questions Q. 1) What are the categories of materials of painting? Ans: The materials of painting can be broadly classified into 3 categories: (A) Tools (B) Surfaces and (C) Medium. Q. 2) Define the following (1) Tools of Art (2) Surfaces for painting (3) Eraser (4) Hand-held Sharpener (5) Paintbrush (6) Bristles (7) Ferrule (8) Crimp Ans-: (1) Tools of Art - Tools of art are the physical materials used to create the artwork which we see without leaving any mark on the surface. Further no part of the tool is supplied to surface. (2) Surfaces for painting - When we speak of a surface for painting we mean the surface which absorbs the paint or a colour. In other words, a surface is that part of a painting which receives colour on it. (3) Eraser - An eraser is an article of stationery that is used for removing marks from paper. Eraser is used to rub off a mistake made in a pencil drawing. (4) Pencil Sharpener - A pencil sharpener is a mechanical gadget used for sharpening pencils by shaving the casing and the core of the wooden pencil until it shapes the point. (5) Paintbrush- A paintbrush is a brush used to apply paint or sometimes ink to an underlying. ISM/CLASS X/ WORKSHEET NO.7/PAINTING/2020-21 (6) Bristles - Bristles are the hairy part of the brush which transfer paint onto an underlying surface.
    [Show full text]
  • Fine Printing & Small Presses A
    Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • Catalogue 58 – Contemporary Book Arts
    Priscilla Juvelis – Rare Books Catalogue 58 – Contemporary Book Arts Bindings Bound by Samuel Feinstein in gilt and black with a pattern of gold dots, top edge gilt, publish- ers full brown morocco slipcase, 1. Caliban Press. McMurray, Mark. Lecons de Livre pour spine paneled, with press, title, Calyban or Prosper’s Parisian Printing Parade. Bon mots, author, binder, designer, place and bagatelles, & tableaux de l’imprimerie. Also a sometime type date stamped in gold gilt on spine, specimen & leaf book. As Told to an American. Pochoir by Jef signed on the lower rear turn-in in Aerosol. St-Zotique, Quebec [Canton, NY]: Cat’s Head Press gold gilt, “R. Ashwin Maynard” [Caliban Press], 2008. $2,500 on left and “George Fisher” on One of 114 copies, all on various papers including Rives and Arches, right above double gilt rule and vintage Barcham Green handmade, St-Armand handmade from Montreal, “The Gregynog Press” centered Quebec, Kochi from Japan and handmade lokta from Nepal, each signed below double gilt rule, the fine by the author / printer. Mark McMurray has created his own look at John Roland Abby copy with his printing history in Paris, with a dark back story of immigrant life in the ex-libris on the front pastedown. “City of Light.” Page size: 8-¼ x 12 inches; 48pp. This is a beautiful binding, de- Unique binding by Samuel Feinstein: full dusty rose morocco goatskin, signed by R. Ashwin Maynard naturally grained with pigmented finish, resembling stingray skin and who also engraved the portrait of called by same name, Chagreen; hand-sewn double-core silk headbands in Christina Rossetti which opens pale salmon, front panel with 12 black fillets in string-shaped twist the Introduction on p.
    [Show full text]
  • An Overview of Art Paper Supply in Melbourne from 1940-1990
    An overview of art paper supply in Melbourne from 1940-1990 Louise Wilson ABSTRACT The history of art paper supply in Melbourne encompasses the collective stories of artists, suppliers and paper mills based in Australia and overseas. In the late 1930’s, when the range of papers available to Melbourne artists was just beginning to expand, World War II abruptly interrupted supplies. The end of the war saw the rebirth of the industry at the hands of returned serviceman, Norman Kaye when he opened Camden Art Centre in 1948. The 1960’s saw a number of new suppliers emerge including N.S. Eckersley’s Pty Ltd, Art Stretchers and Graeme Brown Papers Pty Ltd. These enterprises brought with them new papers including the Arches range from France but as was the case throughout the 19th and early 20th Century, most of the paper available was designed specifically for watercolourists. Melbourne Etching Supplies was founded in the 1970’s with a vision to service the diverse needs of Melbourne’s printmakers, including providing them with a range of interesting and high quality papers. The choice of printmaking papers available to local artists expanded once again in the 1980’s when printmaker Robert Jones became the Australian agent for Magnani Papers. By the 1990’s a vast array of art paper was available to Melbourne artists in a kaleidoscope of colours and paper choice became more about personal preference than availability. KEYWORDS paper importation, art paper, Australian paper history INTRODUCTION This study documents the availability of art papers in Melbourne from 1940-1990, from the period of Modernism through to the contemporary art of the 1980’s, focussing particularly on the suppliers operating and the type of paper they were stocking.
    [Show full text]
  • Arches® Infinity™ Museum Quality Digital Photo & Fine Art Inkjet Paper
    PRODUCT APPLICATIONS GUIDE ARCHES® INFINITY™ MUSEUM QUALITY DIGITAL PHOTO & FINE ART INKJET PAPER Overview Arches Infinity is fine art paper for digital printmaking. It is mould-made, acid-free, lignin-free, 100% cotton with a proprietary coating designed specifically for fine art and fine photographic prints made on inkjet printers using pigment-based or dye-based inksets. The paper offers maximum color gamut with true color fidelity, exceptional image permanence, and universal printer compatibility. It is museum quality, which means images created on Arches Infinity will last for generations. Physical Properties Basis Weight 230 g/m2 (6.7 oz/yd2) Basis Weight 355 g/m2 (10.4 oz/yd2) Smooth Finish: Smooth Finish: Caliper: 17 mils ± 1 (425 microns) Caliper: 24.5 mils ± 1 (612.5 microns) Textured Finish: Textured Finish: Caliper: 19 mils ± 1 (475 microns) Caliper: 28 ± 1 mils (700 microns) Whiteness: 90 Whiteness: 90 pH value: 7 (Tappi method T509) pH value: 7 (Tappi method T509) Printer Compatibility Arches Infinity paper is universally compatible with most thermal and waterbased piezo printers. It is recommended that the user consult their printer's manual for instructions and settings for feeding heavy-weight papers. Check printer specifications to insure that your printer is capable of handling paper of the caliper (thickness) of Arches Infinity. Ink Compatibility Arches Infinity paper is compatible with both dye-based and pigment-based inks. Pigment- based inks, which enhance image permanence through improved light fastness, require paper with an inkjet receptive coating that can accept heavier ink loads without mottling. Arches Infinity addresses this requirement.
    [Show full text]
  • Preservation of Wallpapers As Parts of Interiors
    Kadri Kallaste Kadri Kallaste (b. 1983) trained as a paper conservator Kadri Kallaste at the Estonian Academy of the Arts. She has also studied in the Restoration Department of the University of Ljubljana and the Institute for Conservation and Restoration of the University of Applied Arts in Vienna. During her studies, she has had several internships in PRESERVATION various institutions, including the Conservation Center Kanut and Estonian Art Museum in Tallinn, the National OF WALLPAPERS Archive of Slovenia in Ljubljana and Cole & Son Ltd., a manufacturer of hand-printed wallpapers in London. Kadri Kallaste’s main area of study is the research and practical preservation of historic wallpapers AS PARTS OF in situ. She has worked on numerous wall-paper preservation projects in Estonia and abroad, including objects in Austria and at the German INTERIORS Wallpaper Museum in Kassel, Germany. PRESERVATIONOF WALLPAPERS PRESERVATIONOF AS PARTS OF INTERIORS AS PARTS Preservation of wallpapers as parts of interiors. Addressing issues of wallpaper conservation on the basis of projects carried out in Austria, Estonia and Romania Although wallpapers form a unified whole with other decorative details of interiors, very few of them are preserved in their original locations. At the same time, contemporary conservation theory emphasizes the importance of preserving wallpapers in their primary locations. Obviously, conflicts arise between practical preservation options, expectations of the public or owners and widely acknowledged preservation principles. If in preserving historic wallpapers in their original location in situ is not feasible, other solutions should be considered carefully. Depending on several criteria, wallpapers can be returned to their original locations after conservation treatment, integrated into new appropriate environments or preserved in museums.
    [Show full text]
  • Fragile | PLANTHOUSE July 3, 2020
    Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Mildred Beltré Noah Breuer Skin in the Game (Up), 2019 Swing Girl Terrycloth, 2019 Walnut ink and digital print 2019 Kiln Formed Glass 22 x 30 inches 17 x 20 x 1 inch $1,500 $1,600 Mildred Beltré Skin in the Game (Reverse), 2019 Walnut ink and digital print Noah Breuer 22 x 30 inches $1,500 Red Tablecloth, 2019 Kiln Formed Glass 15 x 13 x 13 inches $2,000 Mildred Beltré Skin in the Game (Away), 2019 Walnut ink and digital print 22 x 30 inches Noah Breuer $1,500 Spring Green Placemat, 2019 Kiln Formed Glass 17 x 20 x 1 inch $1,600 Anders Bergstrom June 2020 Number 7, 2020 Victoria Burge Monotype and relief printing on Notation 8, 2018 Akatosashi hand-printed and folded Pencil and gesso on sheet music 3 1/8 x 2 x 1 1/2 inches 8.5 x 8 inches $1,500 $800 55 WEST 28TH STREET NEW YORK, NY 10001 PLANTHOUSE.NET Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Victoria Burge Greg Foley Notation 12, 2019 Ashoka (after Ettore Sottsass), 2019 Pencil and gesso on antique graph paper Dye sublimation on aluminum 12.5 x 10 inches 24 x 24 inches, circular $1,200 Edition of 3 $2,500 Louise Eastman Greg Foley Dice 1/6, 2020 Cerchio (after Nathalie Du Pasquier), 2019 Monoprint on manila folder Dye sublimation on aluminum 17 1/2 x 12 inches 24 x 24 inches, circular Published by artist, Printed at Russel Edition of 3 Janis Studio, Brooklyn NY $2,500 $200 Louise Eastman Greg Foley Dice 2/5, 2020 Hilton (after Javier Mariscal), 2019 Monoprints on manila folders Dye sublimation on aluminum 17 1/2 x
    [Show full text]
  • STATE: Obvious / Not So (Selected Works, 1973–Present) Dan R
    STATE: Obvious / Not So (selected works, 1973–present) Dan R. Talley STATE: Obvious / Not So (selected works, 1973–present) Freedman Gallery Reading, Pennsylvania January 28 – April 9, 2020 Foreword • I first became aware of and met Dan Talley about 15 years ago through our mutual friend, Becky Powell, whom I worked with at the Burchfield Penney Art Center, Buffalo, NY. After meeting, I did some research and realized the many contributions Dan has made to the art world as a writer, curator, educator, and artist. So, shortly after my arrival at Albright in 2011, I reconnected with Dan, and since then, have been thinking that, one day, the Freedman Gallery should present a comprehensive exhibition of his work. Catalogue published to accompany the solo exhibition of Dan R. Talley, STATE: Obvious / Not So That day has finally arrived and the Freedman Gallery is pleased to present a selection of his work. (selected works, 1973–present) at the Freedman Gallery, Albright College, Reading, Pennsylvania, January 28 – April 9, 2020. As a former gallery director and arts writer, Dan co-founded several arts organizations, including Art Papers Magazine, Atlanta, GA, and Real Art Ways, Hartford, CT. His writings have appeared in several Albright College books, dozens of exhibition catalogues, and his reviews have been published in Sculpture Magazine, Ceramics 13th & Bern Streets P.O. Box 15234 Monthly, and various newspapers. His photography, videos, drawings and installations have been featured in solo Reading, PA 19612-5234 and group exhibitions in museums and galleries across the U.S. and abroad. Talley’s recent work continues his long-standing interest in Conceptualism and Minimalism.
    [Show full text]