DOCSLIB.ORG

Exhibition Programme Archive 1977

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibition Programme Archive 1977 File: GDExh1977_2001 (WP).pdf GALERIE DÜSSELDORF Exhibition Programme 1977 - 2001 1977 Allendale Square, 77 St Georges Tce, Perth First Anniversary Exhibition ‘Graphic International 77’ Group Exhibition 24 November - 24 December 1977 Tessa Beaver - England Tuvia Beeri - Israel Bruno Bruni - Italy Wolff Buchholz - Germany René Carcan - Belgium Brigitte Coudrain - France Salvador Dali - Spain Hans Martin Erhardt - Germany Johnny Friedlaender - France Graham Greenfield - England Reinhard Hoffmann - Germany Alois Janak - Czechoslovakia Peter Kampehl - Germany Hans Juergen Kleinhammes - Germany Jens Lausen - Germany Arnd Maibaum - Germany Katinka Niederstrasser - Germany Sidney Nolan - Australia Victor Pasmore - England Peter Paul - Germany Christa Pyroth - Germany Rolf Schroeder-Borm - Germany Konrad Schulz,- Germany Pravoslak Sovák - Czechoslovakia Norman Stevens - England Karin Szekessy - Germany Katrine Van Houten - USA Gudrun von Maltzan - Germany/France Paul Wunderlich - Germany 1978 ‘AUSTRALIAN GRAPHIC ART’ - Group Exhibition 30 March - 21 April 1978 (The major part of the exhibition shown in the FOYER OF ALLENDALE SQUARE and the smaller part in the premises of GALERIE DÜSSELDORF) Earle Backen Hertha Kluge-Pott Sydney Ball Geoff La Gerche Charles Blackmann Colin Lanceley Arthur Boyd Bruno Leti Geoff rey Brown Keith Looby John Coburn John Olsen Fred Cress David Preston Dave Cromack David Rankin Ray Crooke Lloyd Rees Janet Dawson David Rose Ruth Faerber Udo Sellbach Robert Grieve Jan Senbergs Barbara Hanrahan Gary Shead Andrew Hayim James Taylor Thomas Higgins Paul Thomas Cliff Jones Memnuna Vila-Bogdanich Robert Juniper Baynard Werner Edgar Karabanovs Brett Whiteley Roger Kemp Fred Williams Grahame King Patricia Wilson ‘WEST AUSTRALIAN GRAPHIC ART’ - Group Exhibition 29 May - 16 June 1978 Dave Cromack Andrew Hayim Thomas Higgins Richard Hook John Johnson Cliff Jones Edgar Karabanovs Brian McKay Don Prince Helen Taylor Paul Thomas Memnuna Vila-Bogdanich John Witcombe ERIC CAR ‘SILVERWARE AND JEWELLERY’ 29 May - 16 June 1978 1979 BRIAN McKAY FESTIVAL OF PERTH EXHIBITION Handworked Oil Screenprints on Canvas 9 - 24 February 1979 MEMNUNA VILA-BOGDANICH FESTIVAL OF PERTH EXHIBITION Drawings and Graphics 27 February - 14 March 1979 Assistance with ‘SCULPTURE IN THE CITY II’ - FESTIVAL OF PERTH EXHIBITION The Western Australian Sculptors Association at Allendale Square 12 February - 3 March 1979 Christopher Constable Campbell Cornish Ann Heyring Chris Heyring Robert Juniper Lou Lambert Simon Miller Terry New Don Prince Maris Raudzins Howard Taylor Frank Wilkinson BRUNO LETI (Italy/Australia) Etchings, Woodcuts and Collagraphs 10 April - 3 May 1979 ROBIN PRATT (WA) Drawings and Paintings 8 - 31 May 1979 IRWIN CROWE (WA) Watercolours and Drawings 13 June - 4 July 1979 VICTORIAN PRINTMAKERS GROUP Lithographs, Etchings, Woodcuts 10 - 31 July 1979 Ian Armstrong Noela Hjorth John Brack William Kelly Noel Counihan Allan Mitelman John Courier Mary McQueen Ludmilla Christoff John Neeson Kevin Hegarty Tony Woods RYSZARD RUZIK (Poland) - Drawings JADWIGA SMYKOWSKA (Poland) - Woodcuts INGRID KELLENBACH (WA) - Graphic Jewellery 8 - 26 August 1979 TREVOR MEHRTENS (WA) Jewellery 21 September - 14 October 1979 JOHN WITCOMBE (England/WA) - Photographic Prints 17 October - 4 November 1979 ELEMENT 47 - Jewellery ROGER GARWOOD (WA) - Photography 5 - 22 December 1979 Audrey Cook Maiguta Bernsteins Des Ry an Katherine O'Sullivan Julie McKendrick Catherina Cronstedt Mlick Carrick Karl Zwicky 1980 THIRD ANNIVERSARY EXHIBITION Paintings and Drawings 1 - 17 January 1980 Mac Betts Don Prince Terry New Douglas Chambers John Witcombe Ian Wroth PAUL WUNDERLICH (Germany) - FESTIVAL OF PERTH EXHIBITION Graphics 19 February - 30 March 1980 CLIFF JONES (WA) Etchings and Monoprints 26 May - 17 June 1980 JOHN BLACK (WA) Paintings, Drawings and Mixed Media 24 June - 11 July 1980 JOHANNES EIDT (Germany) Silkscreen Prints 18 July - 3 August 1980 JÖRG SCHMEISSER (Germany/Australia) Etchings 5 - 24 August 1980 "Meet Jörg Schmeisser" and "Farewell Allendale" 25 August 1980 (Special Function) Move to: 1st Floor 890 Hay Street Perth City OPENING OF NEW GALLERY SPACE: 890 Hay Street Perth: MEMNUNA VILA-BOGDANICH (Yugoslavia/WA) Paintings 8 - 25 September 1980 BRUNO LETI (Italy/Australia) Gouaches and Mixed Media; Etchings 30 September - 17 October 1980 TERRY NEW (England/Australia) Sculptures; Drawings and Collages 21 October - 9 November 1980 DOUGLAS CHAMBERS (WA) Paintings and Drawings 12 - 30 November 1980 KATRINE VAN HOUTEN (USA) - Prints TAKESADA MATSUTANI (Japan) - Prints 3 --21 December 1980 AKIO MAKIGAWA (Japan/Australia) Sculpture CARLIER MAKIGAWA (Australia) 'Wearable and Unwearable Objects’ 6 - 27 March 1981 BRIAN McKAY (WA) Review Exhibition Paintings 6 February - 1 March 1981 PAUL MONCRIEFF (WA) Paintings and Graphics 31 March - 16 April 1981 20 WEST AUSTRALIAN WOMEN ARTISTS ‘ART AS A NORMAL ACTIVITY’ 24 April - ? ? ? Lyn Barry Marie Megaw Alecia Boland Philippa O’Brien Judy Chambers Sue Paull Ojdana Cukrov Keera Slavin Mary Dortch Miriam Stannage Nolan Farman Helen Taylor Vyonne Geneve, Eleanora Tersigni Lyn Halliday Penelope Webb Barbara Hawthorn Marion Campbell Catherine Henderson Carol Rudyard ‘FOCUS ON SMALL SCALE WORKS IN FIBRE’ 22 May - 10 June 1981 Robert Bell Elsje King Carolyn Blank Lindy Lyons Peggy Buckingham Karen McKay Judy Evans Sandy McKendrick Patricia Hines Karen Platt OTHON G H Paintings 22 May - 10 June 1981 MARIO AVATI 60th BIRTHDAY EXHIBITION - Mezzotints 16 June - 12 July 1981 PRINTMAKERS ASSOCIATION OF WA 'POSTCARD SHOW’ Group Exhibition of Members CHARLES BLACKMAN - Etchings, Silkscreens, Lithographs PENNY WHITE - Textiles and Mixed Media 17 July - 9 August 1981 TOM GIBBONS 'Still - Lives' 18 September - ? ? ? ROBERT GRIEVE Mixed Media and Prints ALLAN VIZENTS Photographs and Mixed Media 14 October - 1 November 1981 JOHN JOHNSON 'Chances' Paintings, Ceramics, Drawings, Constructions 6 - 24 November 1981 5th ANNIVERSARY EXHIBITION 2 - 23 December 1981 Brian Blanchflower Lou Lambert Douglas Chambers Brian McKay Barbara Hawthorn Hossein Valamanesh Chris Heyring Memnuna Vila-Bogdanich Ben Joel Penelope Webb Cliff Jones Baynard Werner David Jones John Witcombe Jeremy Kirwan-Ward 1982 AKIO MAKIGAWA - "A Drawing Installation" CARLIER MAKIGAWA - Metal Objects BEVERLEY RAE - Paper and Leather Works 13 - 31 January 1982 FRIEDENSREICH HUNDERTWASSER (Austria) - FESTIVAL OF PERTH EXHIBITION Tapestries, Etchings, Silkscreens, Woodcuts, 3-Dimensional Object, Coins, Publications Film "Regentag" (Rainy Day) by Peter Schamoni shown daily 7 February - 7 March 1982 MICHAEL IWANOFF (WA) Paintings, Drawings, Mixed Media, Installation 16 March - 4 April 1982 SHAUN WAKE-MAZEY (WA) PaintinIgs, Drawings DOUG SHEERER (England/WA) Photo-Mixed Media Constructions 13 - 30 April 1982 MARK BETTS (WA) - Paintings and Drawings PATRIC SHAW (WA) - Drawings 5 - 23 May 1982 BRIAN BLANCHFLOWER (England/WA) Paintings, Drawings, Photographs, Documentations, Installations 1 - 20 June 1982 TED SNELL (WA) Paintings and Works on Paper 27 June - 18 July 1982 JEAN MICHEL FOLON (Belgium) Watercolours, Etchings, Posters, Publications 2 Videos shown daily 28 July ~ 18 August 1982 DOUGLAS CHAMBERS (England/Australia) Paintings 22 September - 10 October 1982 SIEGLINDE BATTLEY (Germany/WA) Paintings and Drawings 15 October - 3 November 1982 "THE FOULKES TAYLOR YEARS" Invitation Exhibition (Staged by W.A.I.T.) 4 November - 1 December 1982 "SIXTH ANNIVERSARY EXHIBITION" AKIRA KUROSAKI (Japan) - Woodcuts CARLIER MAKIGAWA - ‘Christmas Colour’Jewellery and Objects SIEGLINDE BATTTLEY - ‘Christmas Colour’ DOUGLAS SHEERER - ‘Christmas Colour’ Linear Development Study - Brooches/Objects 1983 BRIAN BLANCHFLOWER (England/WA) Works 1970 - 79 and Recent Paintings and Drawings; Painting/Installation 16 - 28 January 1983 MEDIUMS IN PRINTMAKING: LITHOGRAPHY - Sonia Delauney (USA); Richard Lindner (USA) ETCHING - Anton Krajnc (Austria); Peter Bond (France) MEZZOTINT - Kyu-Baik Hwang (Korea); Tomoe Yokoi (Japan) SILKSCREEN - Richard Hook (Australia), Anthony Warr (New Zealand) WOODCUT - Bruno Leti (Italy/Australia); Akira Kurosaki (Japan) LINOCUT - Eric Thake (Australia); Hans Martin Erhardt (Germany) JÖRG SCHMEISSER (Germany/Australia) - FESTIVAL OF PERTH EXHIBITION Etchings Film "First Impressions" produced by P.I.F.T. shown daily 1 - 23 February 1983 HENRY MOORE (England) - FESTIVAL OF PERTH EXHIBITION Lithographs and Etchings 1969-1983 Film on and with Henry Moore shown daily 1 - 27 March 1983 SU BAKER (WA) - Paintings, Drawings, Cast and Dyed Hand-made Paper 3-D Drawings, Screen 8 - 28 April 1983 LYN TUNE (Australia) - Jewellery SIEGLINDE BATTLEY (Germany/WA) - Works on Paper 6 - 29 May 1983 TED SNELL (WA) - Works on Paper; Hooked Rugs JACQUI CODEE (WA) - Paintings 5 - 26 June 1983 ZIEGMOND GROCHOWSKY (WA) - Paintings and Drawings RON McCORMICK (England) - Photographs MARIA KUCZYNSKA (Poland) - Ceramics/Sculptures 5 - 24 July 1983 (Maria Kuczynska - Opening 10 July) 1983 31 JULY - 16 AUG 1983 PENNY BOVELL RECENT WORKS 31JULY - 16 AUG 1983 JOHN WITCOMBE PRINTS-DRAWINGS-PHOTOGRAPHS 9 AUGUST 1983 - 7.30 P.M. JON AND VANGELIS - PRIVATE COLLECTION 19 AUG - 4 SEPT 1983 NICK HORN PAINTINGS 19 AUG - 4 SEPT 1983 IAN GENTLE SCULPTURE 9 - 29 SEPTEMBER 1983 BARBARA HADDY (FORMERLY HAWTHORN) PAINTINGS AND MIXED MEDIA WORKS 28 OCT - 25 NOV 1983 BRIAN McKAY 7TH ANNIVERSARY EXHIBITION PAINTINGS 11 - 25 NOVEMBER 1983 JOHN BELLANY PAINTINGS AND DRAWINGS 30 NOV - 23 DEC 1983 CHRISTMAS EXHIBITION: PAINTINGS - DRAWINGS
Load more

Recommended publications
  • Queensland Art Gallery Board of Trustees Annual Report 2015–16
    QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Important Australian and Aboriginal
    IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams.
    [Show full text]
  • Annual Report 2010–11
    ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher.
    [Show full text]
  • 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.
    [Show full text]
  • Janet Hawley 2012 Design Copyright © the Slattery Media Group Pty Ltd 2012 First Published by the Slattery Media Group Pty Ltd 2012 All Rights Reserved
    JANET H AWL EY ARTISTS IN CONVERSATION The Slattery Media Group Pty Ltd 1 Albert St, Richmond JANET Victoria, Australia, 3121 Text copyright © Janet Hawley 2012 Design copyright © The Slattery Media Group Pty Ltd 2012 First published by The Slattery Media Group Pty Ltd 2012 All rights reserved. No part of this publication may be reproduced, stored in a retrieval H AWLEY system or transmitted in any form or by any means without the prior written permission of the copyright owner. Inquiries should be made to the publisher. ARTISTS IN Portions of the work have been previously published in The Age and The Sydney Morning Herald’s Good Weekend and Sydney magazines, as well as Encounters with Australian Artists by Janet Hawley CONVERSATION (published by University of Queensland Press, 1993) Extracts from Donald Friend’s diaries: © Trustees of the Estate of Late Donald Friend (reproduced with permission from the Estate of the Late Donald Friend) All images and artworks used with permission. See images for credit information. Image on dust jacket of Janet Hawley © Graham Jepson National Library of Australia Cataloguing-in-Publication entry Author: Hawley, Janet, 1944 Title: Artists in conversation / Janet Hawley. ISBN: 9781921778735 (hbk.) Subjects: Artists–Australia–Anecdotes. Art, Modern. Dewey Number: 709.94 Group Publisher: Geoff Slattery Editor: Nancy Ianni Image research: Gemma Jungwirth Cover and page design: Kate Slattery Creative Director: Guy Shield Printed and bound in Australia by Griffin slatterymedia.com visit slatterymedia.com For Kimberley, ben, Sam and PhiliP JANET HAWLEY ARTISTS IN CONVERSATION ContentS Introduction ��������������������������������������������������������������� 9 1. Françoise Gilot ............................ 15 17. John Wolseley ..............................
    [Show full text]
  • Education Resource
    Education Resource This education resource has been developed by the Art Gallery of New South Wales and is also available online An Art Gallery of New South Wales exhibition toured by Museums & Galleries NSW DRAWING ACTIVITIES Draw with black pencil on white paper then with white pencil on black paper. How does the effect differ? Shade a piece of white paper using a thick piece of charcoal then use an eraser to draw into the tone to reveal white lines and shapes. Experiment with unconventional materials such as shoe polish and mud on flattened cardboard boxes. Use water on a paved surface to create ephemeral drawings. Document your drawings before they disappear. How do the documented forms differ from the originals? How did drawing with an eraser, shoe polish, mud and water compare to drawing with a pencil? What do you need to consider differently as an artist? How did handling these materials make you feel? Did you prefer one material to another? Create a line drawing with a pencil, a tonal drawing with charcoal and a loose ink drawing with a brush – all depicting the same subject. Compare your finished drawings. What were some of the positive and negatives of each approach? Is there one you prefer, and why? Draw without taking your drawing utensil off the page. What was challenging about this exercise? Draw something from observation without looking down at your drawing. Are you pleased with the result? What did you learn? Create a series of abstract pencil drawings using colours that reflect the way you feel.
    [Show full text]
  • Digital Prints Paper Size Common Price Members Reference
    Sizes and prices Digital prints Paper size Common Price Members reference 20 x 25 cm 8" x 10" $50.00 $45.00 21 x 29.7 cm A4 $55.00 $49.50 28 x 35 cm 11" x 14" $88.00 $79.20 29.7 x 42 cm A3 $99.00 $89.10 40 x 50 cm 16" x 20" $110.00 $99.00 42 x 59.4 cm A2 $132.00 $118.80 50 x 60 cm 20" x 24" $165.00 $148.50 All prices include 10% GST. Overseas orders are GST exempt. Postage & handling Australian orders: $11.00 per order Overseas orders: $20.00 per order Gert Sellheim Australia surf club c 1936 © Nik Sellheim courtesy Josef Lebovic Gallery For more information please contact: Rights & Permissions Officer National Gallery of Australia P: +61 2 6240 6481 E: [email protected] W: nga.gov.au/collection/digitalprints.cfm John Brack Latin American Grand Final 1969 © Helen Brack (cover) Peter Upward June celebration 1960 Which masterpiece is right Order form Order form for you? Please complete this order form and post or email to: Rights & Permissions Officer With the NGA’s Digital Print Service, you can have National Gallery of Australia all your favourite works of art from the national A$ Price GPO Box 1150 collection at a fraction of the cost. They also make Canberra ACT 2600 great gifts. P: +61 2 6240 6481 TOTAL E: [email protected] At the same time, you’ll be helping the NGA to build Size Subtotal the collection, as all profits go to purchasing new works of art and conserving our national heritage for Name .............................................................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Picture Paradise # Richard Larter # Gleeson Interviews
    artonview artonview artonview ISSUE No.54 ISSUE No.54 winter 2008 W I N T E R 2008 NATIONAL Richard Larter Sliding easy 1970 (detail) synthetic polymer paint on composition board National Gallery of Australia, Canberra Purchased 1970 G A L L E R Y O F AUSTRALIA a retrospective Canberra only 20 June – 14 September 2008 The National Gallery of Australia is an Australian Government Agency PICTURE PARADISE ¬s¬RICHARD LARTER ¬s¬¬',%%3/.¬).4%26)%73 Jan JanBillycan Billycan (Djan (Djan Nanundie) Nanundie) Yulparija Yulparija people people All the All Jilathe Jila2006 2006 acrylic acrylic binder binder with withlangridge langridge dry pigmentdry pigment and andmarble marble dust dust on plyboard on plyboard National National Gallery Gallery of Australia, of Australia, Canberra Canberra Purchased Purchased 2007 2007 © Jan © BillycanJan Billycan (Djan (Djan Nanundie) Nanundie) A.W.W.A.W.W. Plâté Plâtéand Co & Co Sinhalese Sinhalese man man c. 1920c. 1920 (detail) (detail) gelatin gelatin silver silver photograph photograph Collection: Collection: David David Knaus, Knaus, California California A NATIONALA NATIONAL GALLERY GALLERY OF OF AUSTRALIA AUSTRALIA TRAVELLING TRAVELLING EXHIBITION EXHIBITION PICTUREPICTURE PARADISEPARADISE ArtArt Gallery Gallery of Southof South Australia, Australia, Adelaide, Adelaide, SA, SA, 20 June20 June – 31 – August31 August 2008 2008 ArtArt Gallery Gallery of Westernof Western Australia, Australia, Perth, Perth, WA, WA, 20 September20 September – 23 – November23 November 2008 2008 GalleryGallery of Modernof Modern
    [Show full text]
  • Inge King Eulogy
    Inge King Memorial Service NGV Great Hall, Monday 9 May 2016, 10:30 am I’m deeply honoured to be speaking today about Inge’s extraordinary career. I’m conscious of there being many others eminently qualified to speak, including Professors Judith Trimble and Sasha Grishin, each of whom have published eloquent monographs on Inge, and Professors Margaret Plant and Jenny Zimmer, who have both written informed, extended essays for two of Inge’s earliest survey exhibitions. In addition the NGV’s curator of Australian art, David Hurlston, and former NGV curator and recently retired director of the Geelong Gallery, Geoffrey Edwards, have both worked closely with Inge in the sensitive presentation of two retrospectives held here at the gallery, in 1992 and 2014. In the presence of such a wealth of knowledge and experience, I’m frankly humbled to have been asked to speak. I’d like to briefly mention how I came to know Inge, if only to contextualise my appearance here. Inge was arguably the best-known member of the Centre Five group, which forms the subject of my PhD thesis. I began reading about her work in 2008, while still living in Ireland and planning a return to Australia after a nine-year absence. The reading prompted faint memories of seeing her work at the Queensland Art Gallery while still a student in Brisbane. The following year, six months after embarking on doctoral studies at Melbourne University, I finally met my appointed supervisor, Professor Charles Green, who had until then been on sabbatical. One of the first things he said to me at that meeting was: ‘Now, you do know I’m Inge King’s godson, don’t you?’ Well, no, I didn’t.
    [Show full text]