DOCSLIB.ORG

The Shilo Project Learning Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Shilo Project Learning Guide A NETS Victoria touring exhibition developed by the Ian Potter Museum of Art, the University of Melbourne An education resource CONTENTS • About this education resource • Introduction to the exhibition • Starting points: 1. Op shopping and the found object in art 2. Painting by numbers 3. Portraiture and The construction of celebrity 4. Fan-tastic 5. Graphics, art and the album cover 6. The mystery and allure of redundant technologies • End notes Shilo album cover Courtesy Sony Music Entertainment Delivering the best contemporary art, craft and design to regional Victoria and beyond 2 ABOUT THIS EDUCATION RESOURCE This education resource is intended for use as Pre-viewing Planning a starting point to generate discussion and activities before, during and after a visit to The Shilo Project. Before visiting The Shilo Project it is suggested that you contact gallery staff to determine the It is designed to be used in conjunction with following: information provided in the exhibition catalogue, gallery wall texts and on the NETS • Opening hours, transport and parking Victoria website. options, cloakroom facilities and admission fees, The resource includes an introduction to the exhibition, suggested points for discussion, • Suitability of content for the year level you practical activities for junior and senior intend to bring, students, definitions of key terms and references for further research. • Staff availability for introductory talks and tours, Teachers may select relevant aspects of this resource to tailor their own response sheet for • Education and Public Programs, artist talks use in the exhibition. etc that coincide with the exhibition. Throughout this document, names of relevant artists, designers and filmmakers have been highlighted to indicate potential starting points for research. Delivering the best contemporary art, craft and design to regional Victoria and beyond CURRICULUM LINKS AND CONNECTIONS Use this list to generate ideas, activities and Media Studies points for discussion, and where possible contact your local gallery for other ideas and suggestions. • Cross pollenation between art and popular culture Visual/Creative/Studio Arts Music • Artist’s practice, ideas and inspiration • Responding to artworks: formal analysis • Study of pop music in the 1960s and ‘70s and interpreting meanings and messages • Structure of pop music • Exploring psychological symbolism expressed in artworks • Links between music, art and • Exploring possibilities for materials, processes and techniques Visual Communication and Design • History of album design • Understanding principles of design such as balance, form, scale, focal point • Overall exhibition design – interior exhibition design and graphics that reflect a consistent theme and create a specific ambiance • Influence of art on graphics and vice versa Delivering the best contemporary art, craft and design to regional Victoria and beyond 4 INTRODUCTION TO THE EXHIBITION Some of the key ideas explored in the exhibition can be used as starting points for learning activities. These can be developed according to the year level and interests of your students. Consider the following possibilities: • Op shopping and the found object in art • Painting by numbers, art with instructions • Portraiture and the construction of celebrity • Fan-tastic – what is it to be a fan, Now and in the past? • Graphics, art and the album cover • The mystery and allure of redundant technologies Julia Ciccarone Shilo sleeve: gouache, cotton, beads, brass pins, fibre-tipped pen 2009 © Courtesy the artis Delivering the best contemporary art, craft and design to regional Victoria and beyond CURATOR BIOGRAPHY: DR CHRIS MCAULIFFE Dr Chris McAuliffe is Director of the Ian Potter Museum of Art at The University of Melbourne. Prior to that he was a lecturer at the University of Melbourne in the Department of Fine Arts. Dr McAuliffe has researched and written extensively in the area of contemporary art, and is the author of Art and Suburbia, 1996, Linda Marrinon: let her try, 2007, and Jon Cattapan: possible histories, 2008. He is a regular media commentator on the arts and has appeared on ABC TV’s ‘Sunday Arts’ program since 2006. A graduate of the University of Melbourne and of Harvard University, Dr McAuliffe is currently researching the interaction of art and popular music. In September 2011, he will take up a temporary position as the Visiting Professor of Australian Studies at Harvard University, USA. Gary James a.k.a. Spook Shilo sleeve: wool, sequins, cotton thread, glitter 2009 © Courtesy the artist Delivering the best contemporary art, craft and design to regional Victoria and beyond 6 HISTORY OF THE SHILO PROJECT The idea for The Shilo Project was born in 2007 when curator Chris McAuliffe was browsing through vinyl records in an op shop in Rosebud on the Mornington Peninsula,Victoria. He came across two copies of the album Shilo, by singer Neil Diamond, released in 1970. The album cover was white, with the title at the top, and the rest of the design was simply a join the dot puzzle, that if followed in the correct order, revealed a simplified image of Neil Diamond holding the neck of his guitar. Only Neil’s eyes stared out from the white space. One of the copies had been drawn on, and the other was pristine. McAuliffe was intrigued to find out what artists might do given such a puzzle, and he decided to invite one hundred artists to respond to the cover in any way they wanted. The only specifications were that the work had to be flat, and in the 30cm x 30cm format of the album cover. Artists were selected if their work had some relationship to the project: either they were interested in portraiture; working in series or with the notion of puzzles; they were interested in minimalism or pop culture. Copies of the Shilo album cover were eproduced and sent to the selected artists and the curator undertook to display each one in the final exhibition. Shilo artworks from your region As this exhibition tours around different galleries in different regions, local artists will be invited to submit Shilo sleeves to be shown along with the original works. Please include these works in your discussion with reference to the issues and questions outlined in this kit, or others that might be relevant. Delivering the best contemporary art, craft and design to regional Victoria and beyond STARTING POINTS: OP SHOPPING AND THE FOUND OBJECT IN ART The Shilo Project began in an op shop when Futurists and Dada artists incorporated curator Chris McAuliffe was on holiday and typography into their work to make political came across an old album cover that caught statements and used found objects to connect his eye. art with the real world, bringing together outrageous combinations of materials. Op shopping and browsing through garage sales on the weekend is a regular pastime One of the most famous examples is Marcel for many Australians. The element of chance Duchamps’ Fountain created in 1917 – a creates a sense of possibility and stimulates our porcelain urinal, simply signed by Duchamp curiosity. with a humorous pseudonym and placed in a gallery. This was the first Ready-made artwork We may feel nostalgia, coming across clothes, (2). toys, books and other objects that remind us of our childhood or our youth. We relish the Artists such as Robert Rauschenberg continued feeling of rescuing something that has been this practice of using found objects into the discarded, re-investing it with value and giving 1950s, ‘60s and ‘70s. it new life. Rauschenberg termed his sculptures The practice and process of op shopping is a ‘combines’, but the practice of using found great antidote to our contemporary world of objects is also known as ‘assemblage’, a planned obsolescence and rapidly sculptural equivalent of collage. changing technologies. Coming across objects by chance can stimulate our imaginations by One of the artists in The Shilo Project, Gareth creating new connections between objects, Sansom, has used a collage of stamps that he ideas and emotions. has collected to create his work. Artists have been using found objects in their Sansom is known as a painter, but for The Shilo work for almost a hundred years. In 1912, Project he has covered almost all of the album Picasso extended his exploration of Cubism cover with stamps, strategically revealing by pasting a piece of oilcloth onto the canvas certain areas. surface of a painting. By incorporating the real world into the canvas, Picasso and his colleague Georges Braque questioned the fundamental meaning of art and challenged traditional methods and techniques. They termed this development in their work Synthetic Cubism (1). A storm of controversy followed these experiments. The use of found objects and materials inflamed art critics, adding more fuel to the creative fires of experimental artists. The avant-garde adopted this new approach and quickly branched out. Delivering the best contemporary art, craft and design to regional Victoria and beyond 8 TERMS Found object A natural object or an artifact not originally intended as art, found and considered to have aesthetic value. These can be presented as artworks in themselves or combined with other objects. Nostalgia A sentimental longing or wistful affection for the past, typically for a period or place with happy personal associations. Planned obsolescence A policy of producing consumer goods that rapidly become obsolete and so require replacing, achieved by frequent changes in design, termination of the supply of spare parts, and the use of nondurable materials. Synthetic Cubism Synthetic Cubism was the second main movement within Cubism that was developed by Picasso, Braque and others between 1912 and 1919. Synthetic cubism is characterised by the introduction of different textures, surfaces, collage elements, and a large variety of merged subject matter. It was the beginning of collage materials being introduced as an important ingredient of fine art work.
Load more

Recommended publications
  • 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]
  • Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
    Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases.
    [Show full text]
  • Gareth Sansom
    JAMES GLEESON INTERVIEWS: GARETH SANSOM 28 November 1978 JAMES GLEESON: Gareth, can we begin right at the beginning; exactly when were you born and where? GARETH SANSOM: I was born on the 19th November 1939 in Melbourne, of a parentage, father from Western Australia and mother from the Wimmera area of Victoria. JAMES GLEESON: Any background of interest in the arts in your family? GARETH SANSOM: Well, thereʼs a very slim, tenuous connection possibly with my father who was a journalist for many years on The Herald newspaper, and for some of that time he was vaguely involved in film criticism. But apart from that, I think not, not a heavy cultural link. JAMES GLEESON: How did you become interested in art then? Was it an early awareness of it or did it— GARETH SANSOM: Probably I always drew, and I was always the person in primary school whose work was being selected for the back wall. When I got to high school it was still interesting to me but never anything more than, say, ʻa hobby situationʼ. JAMES GLEESON: Yes, yes. GARETH SANSOM: Then in 1954 the art teacher at Essendon High School selected a batch of works for the Sun Youth Art Show in Melbourne–when I was 14 or 15–and he left me out because in his opinion he didnʼt think I was good enough. So I sent in a private entry and won. After that I started getting high marks in art at school. It appeared to me that there may be something in this ability, if you like, that I might pursue.
    [Show full text]
  • Artwork Presentation John Cruthers
    ARTWORK PRESENTATION Contemporary Art 14 August 2015 JOHN CRUTHERS rococo pop pty ltd CONTENTS David Aspden 3 Brian Blanchower 7 Stephen Bush 11 William Delaeld Cook 15 Lesley Dumbrell 19 Dale Frank 23 Robert Jacks 27 Tim Johnson 31 Ildiko Kovaks 35 Richard Larter 39 William Mackinnon 43 Gareth Sansom 47 Imants Tillers 51 2 o only one tone. This signalled the end o the modernist peers managed to navigate this tricky divide but Aspden, DAVID painting project and led directly to conceptual art, where as a pure and instinctive painter, could not. the idea o the art was more important than the artwork ASPDEN itsel - indeed, there was often no artwork. Through the later 1980s Aspden struggled. In a more negative critical environment he found less support, and Born England 1935. Arrived Australia 1950. Died 2005. Painter. David Aspden did not proceed into conceptual art, commercial prospects for his work toughened. Leading recognising that it was pointless for him as a painter. galleries still wanted to show him, however, and in Sydney David Aspden’s father was a carpenter/pattern-maker and After experimenting with pouring and staining, he hit both Roslyn Oxley9 and Annandale Galleries had solo his grandfather a picture framer, so he was aware o art upon a style that immediately clicked. It was based on the shows. But sales were few and Aspden sought other rep- from an early age. When he was 15 the family migrated to coloured stripes o earlier paintings, but with their edges resentation - or did it himsel with his wife Karen Coote.
    [Show full text]
  • Heide Museum of Modern Art 2015 Annual Report Heide Museum of Modern Art 2015 Annual Report
    HEIDE MUSEUM OF MODERN ART 2015 ANNUAL REPORT Heide Museum of Modern Art 2015 Annual Report CONTENTS 1. STATEMENT OF PURPOSE & VALUES 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTOR’S REPORT 3 4. CULTURAL PROGRAMMING 7 4.1 Exhibitions 7 4.2 Public Programs 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 19 5.1 Store 19 5.2 Visitor Services 21 5.3 Membership 22 5.4 Event Hire 22 5.5 Café Vue at Heide 22 6. COLLECTION 25 6.1 Acquisitions 27 7. FacILITIES 37 7.1 Maintenance 37 7.2 Gardens 38 8. MarKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Heide Director’s Circle 48 9.3 Grants 48 9.4 Development Committee 49 9.5 Heide Fellow 49 9.6 Annual Fundraising Dinner 49 9.7 Corporate Partnerships 50 9.8 Local Government Support 50 9.9 Sponsored Exhibitions 51 10. GOVERNANCE 56 10.1 Board 57 10.2 Heide Board Sub-Committees 59 10.3 Board Directors & Senior Management Personnel 60 11. STAFF & VOLUNTEERS 63 12. FINANCIAL STATEMENTS 66 13. NOTES TO THE FINANCIAL STATEMENTS 79 Cover image Gareth Sansom DIRECTORS’ DECLARATION 97 Religiosity á la Mode 2000 (detail) oil and enamel on canvas INDEPENDENT AUDIT REPORT 98 183.5 × 213.5 cm Heide Museum of Modern Art, Melbourne gift of Lion Capital Pty Ltd 2010 © the artist All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2015 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history.
    [Show full text]
  • Notes on Painting 18 Mural-Scaled Wall Painting
    Painting. More Painting Painting. More Painting Abdul Abdullah Travis MacDonald Nicola Smith Australian Centre for Contemporary Art Colleen Ahern Robert Macpherson Sam Songailo 30 July – 28 August; Teresa Baker Gian Manik John Spiteri 2 – 25 September 2016 Vivienne Binns Samson Martin Madonna Staunton Karen Black Helen Maudsley Esther Stewart Daniel Boyd Nigel Milsom Tyza Stewart Ry David Bradley Tully Moore Kristina Tsoulis-Reay Stephen Bram Jan Nelson Trevor Vickers Angela Brennan Elizabeth Newman Jenny Watson Kirsty Budge Nora Ngalangka Taylor Bradd Westmoreland Janet Burchill Jonathan Nichols Peter Westwood Mitch Cairns Jonny Niesche Ken Whisson Jon Campbell John Nixon Bugai Whyoulter Nadine Christensen & Unknown Artist Karl Wiebke Timothy Cook Rose Nolan Nora Wompi Juan Davila Daniel Noonan Marjorie Yates David Egan Nora Nungabar Nyapanyapa Yunupingu Hamishi Farah Alair Pambegan Diena Georgetti Oscar Perry Matthys Gerber Stieg Persson Nyarapayi Giles Tom Polo Irene Hanenbergh Elizabeth Pulie Melinda Harper Adam Pyett Louise Hearman Ben Quilty Raafat Ishak Lisa Radford Helen Johnson Lisa Reid David Jolly Reko Rennie Josey Kidd-Crowe Robert Rooney Fiona Lowry Gareth Sansom Moya McKenna Gemma Smith Tim McMonagle Kate Smith Foreword considers the material, perceptual acknowledge with appreciation the Contents and conceptual operations of many public and private lenders to Painting. More Painting explores contemporary painting as both a the exhibition, and the assistance the pictorial logic and medium self-referential, critical practice, and provided by artists’ gallerists HANNAH MATHEWS condition of contemporary painting as a means to explore the wider and representatives. We also to examine the ways in which artists conceptual implications of the work acknowledge our Media Partner Painting.
    [Show full text]
  • THE SOURCE Our Desire to Know the Motivating Influences and Hidden Meaning Behind Art Works Is Insatiable
    THE SOURCE Our desire to know the motivating influences and hidden meaning behind Art works is insatiable. Thinking that there 'must be more to this than meets the eye' we constantly MICKY ALLAN refer to Art books and reviews to help decipher and understand Art works. But generally these JONAS BALSAITIS explanations and insights, whilst being informative, are secondhand. PETER ELLIS It is rare to see the raw source material such as preliminary drawings and studies, sketches, KEITH LOOBY doodles, photographs, found objects and images, earlier work experiments, notes or souvenirs JAN MURRAY that stimulated and informed the Art work. This material although I crucial to the thought process GEOFF PARR and development of the work has traditionally been seen as private, unresolved and 'messy' STIEG PERSSON and usually never leaves the studio. 'The Source' attempts to redress ROBERT ROONEY this by enabling the Artists to exhibit such material alongside completed works. A written VICKI VARVARESSOS statement by each Artist also accompanies this visual docu­ ment providing further guide­ JENNY WATSON lines and insights into their Art. The exhibition does not attempt to promote one particular style or dogma, but to show a range of ideas and diversity of University of Tasmania approaches to painting. It is a Centre for the Arts Gallery didactic exhibition and a unique opportunity for us to glimpse Hunter Street Hobart behind the scenes. 11 July - 3 August 1986 Elizabeth Gower Curator , . ,,, \ ____...,~ \-- MICKY ALLAN Artist's Statement of other people's paintings from Flaming Pearl over the Bay For internal adventure, for high the bookshop of the Louvre; I of Naples play, I follow the patterns of my lived my life; I remembered my Oil and oil pastel on linen thought and watch their motion past work; I broke away.
    [Show full text]
  • 1 LOUISE HEARMAN 'When an Artist Concentrates So Strongly on Elements of Reality, They Become Hyper-Real. This Is the Method
    LOUISE HEARMAN ‘When an artist concentrates so strongly on elements of reality, they become hyper-real. This is the method used by a filemaker such as David Lynch. In Blue Velvet, he turns an ordinary American town into a scene of Gothic menace, focusing on the amplified crunching of insects in suburban lawns or a severed ear lying in the grass. Hearman's paintings can be very Lynch-like in the way she depicts unassuming locations such as a park, a pond, a street or the side of a road, and then introduces a disturbing element...’ ‘Her work is distinguished by a very sure and confident touch, even in the smallest details: a patch of light on a cheek or nose, or a glint in an animal's eye. In the manner of the greatest painters of the past, Hearman sees light as the key to all forms of painterly expression.’ John McDonald, Mistress of Epiphanies, The Australian Financial Review Magazine, March 2004 1 LOUISE HEARMAN Born 1963, Melbourne, Australia Lives and works in Melbourne Represented by Tolarno Galleries, Melbourne EDUCATION 1992 Teacher, Drawing, Royal Melbourne Institute of Technology (RMIT), Melbourne 1991-92 Tutor, Painting Department, Victorian College of the Arts, Melbourne 1982-84 Bachelor of Fine Arts, Victorian College of the Arts, Melbourne SELECTED SOLO EXHIBITIONS 2011 Louise Hearman, Tolarno Galleries, Melbourne 2008 Hello Darkness: The Art of Louise Hearman, Glen Eira City Council Gallery 2007 Louise Hearman, Tolarno Galleries, Melbourne 2005 Louise Hearman, Roslyn Oxley9 Gallery 2003 Louise Hearman, Roslyn Oxley9 Gallery
    [Show full text]
  • Adelaide FESTIVAL of ARTS 2016
    adelaide FESTIVAL OF ARTS 2016 26 feb - 14 mar WELCOME David Sefton Jay Weatherill Jack Snelling ARTISTIC DIRECTOR PREMIER OF SOUTH AUSTRALIA MINISTER FOR THE ARTS It is with a bundle of mixed emotions that I welcome you I'm also delighted in my final festival to be able to The 2016 Adelaide Festival of Arts promises to be 18 Our Adelaide Festival of Arts has a fantastic reputation for to the 2016 Adelaide Festival of Arts, my final selection showcase so much great work from South Australia. unforgettable days of boldness and exuberance. bringing new and exclusive art to our city, and this year’s as Artistic Director. One of the joys of my time here has been the discovery program is no exception. It will start with a breathtaking show on our biggest stage, of just how much world-class work is made locally and The last three years have been an amazing journey and with Groupe F’s opening-night pyrotechnic spectacular À A major coup for this year will be the presentation of it is a particular pleasure to include a powerful cross- 2016 promises to be just as fabulous. For this final festival Fleur de Peau illuminating the magnificent Adelaide Oval. The James Plays – a trilogy of plays about the three kings section of it this year. I am delighted that we'll see the epic and the intimate, of Scotland. An Australian premiere exclusive to Adelaide, Another feature of the festival is Adelaide Writers’ Week – six the traditional and the new and the range of excellence I'm enormously proud of all of the festivals I have Rona Munro’s new historical trilogy is the type of days of readings and discussions about books and ideas in people have come to expect from this festival.
    [Show full text]
  • The Triumph of Landscape Painting • Australian
    AUSTRALIAN SURREALISM • THE TRIUMPHTHE LANDSCAPE OF PAINTING artonview ISSUE No.53 autumn 2008 artonview ISSUE No.53 AUTUMN 2007 NATIONAL GALLERY OF AUSTRALIA Z00 31853 Z00 1830s (detail) oil on canvas 35.0 x 44.5 cm Galerie Hans, Hamburg Hans, Galerie cm 44.5 x 35.0 canvas on oil (detail) 1830s h ~ 9 Junenga.gov.au 2008 9 ~ h C Two men observing men moon the Two Caspar David Friedrich David Caspar Canberra only 14 Mar 14 Canberraonly AUSTRALIAN SURREALISM the Agapitos/ Wilson collection A National Gallery of Australia Travelling Exhibition James GLEESON James The attitude of lightning towards a lady-mountain attitude of lightning towards The 1939 oil on canvas Purchased with the assistance of James Agapitos OAM and Ray Wilson OAM, 2007 OAM, Wilson and Ray OAM with the assistance of James Agapitos Purchased 1939 oil on canvas The National Gallery of Australia is an Australian Government Agency 16 February – 11 May 2008 National Gallery of Australia, Canberra Otto Dix Lens wird mit Bomben belegt [Lens being bombed] etching, drypoint National Gallery of Australia, Canberra © Otto Dix, licenced by VISCOPY, Australia 2008 artonview contents Issue 53, autumn 2008 (March–May) published quarterly by National Gallery of Australia GPO Box 1150 Canberra ACT 2601 2 Director’s foreword nga.gov.au ISSN 1323-4552 5 Foundation and Development Print Post Approved pp255003/00078 8 Turner to Monet: the triumph of landscape © National Gallery of Australia 2008 Copyright for reproductions of artworks is 16 Australian Surrealism: the Agapitos/Wilson collection held by the artists or their estates. Apart from uses permitted under the Copyright Act 1968, no part of Artonview may be reproduced, 20 Richard Larter: a retrospective transmitted or copied without the prior permission of the National Gallery of Australia.
    [Show full text]
  • 11-12Art Gallery of Ballarat Annual Report
    Art Gallery of Ballarat Annual Report 11-12 Annual Report 2011-12 Chair’s Report .................................................................................................4 ISSN 0726-5530 Art Gallery of Ballarat Director’s Report ...........................................................................................6 ACN: 145 246 224 ABN: 28 145 246 224 Association Report .......................................................................................8 40 Lydiard Street North Women’s Association Report ..............................................................10 Ballarat Victoria 3350 T 03 5320 5858 Gallery Guides Report .............................................................................11 F 03 5320 5791 Acquisitions .................................................................................................13 [email protected] Outward Loans..............................................................................................31 www.artgalleryofballarat.com.au Exhibitions ....................................................................................................34 Public Programs .........................................................................................38 Education Visits and Programs ...........................................................41 Donations, Gifts, and Bequests .........................................................46 Building........................................................................................49 Gallery Staff and Volunteers
    [Show full text]
  • Monash University Museum of Art | Muma Selected Works from the Monash University Collection
    MONASH UNIVERSITY MUSEUM OF ART | MUMA SELECTED WORKS FROM THE MONASH UNIVERSITY COLLECTION Monash University Museum of Art | MUMA Since its foundation, Monash University has made a significant commitment to the patronage, scholarship and advancement of the visual arts, through the development of the Monash University Collection since 1961, and the establishment of the Monash University Museum of Art (MUMA), which began as the Monash University Gallery in 1975. MUMA now enjoys an established reputation as a leading public art museum, dedicated to the presentation and promotion of contemporary Australian and international art, and to the pursuit of adventurous and innovative research into contemporary art since the 1960s. The Monash University Collection, with its focus upon contemporary Australian art since the 1960s, is a collection of national significance. It includes some 1600 works representing innovative artistic practices across a wide variety of media, and displaying outstanding currency, depth and diversity. MUMA is currently developing new museum facilities on the university’s Caulfield campus, designed by Kerstin Thompson Architects, and due to open in the second semester of 2010. With philanthropic support from The Ian Potter Foundation, The Myer Foundation and The Helen Macpherson Smith Trust, MUMA’s new facilities will significantly enhance the university’s vision to establish MUMA as a leading museum of contemporary art nationally, and an international centre of excellence which will bring significant benefits to the University and the wider community. MUMA looks forward to welcoming audiences to its new facilities, and extends its appreciation to the Australian Club for the opportunity to present a selection of works from the Monash University Collection.
    [Show full text]