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AN EXAMINATION of VANCOUVER FASHION WEEK by Vana Babic
AN EXAMINATION OF VANCOUVER FASHION WEEK by Vana Babic Bachelor of Arts in Political Science, European Studies, University of British Columbia, 2005 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF BUSINESS ADMINISTRATION In the Faculty of Business Administration © Vana Babic 2009 SIMON FRASER UNIVERSITY Summer 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Vana Babic Degree: Master of Business Administration Title of Project: An Examination of Vancouver Fashion Week Supervisory Committee: ________________________________________ Dr. Michael Parent Senior Supervisor Associate Professor Faculty of Business Administration ________________________________________ Dr. Neil Abramson Second Reader Associate Professor of International Strategy Faculty of Business Administration Date Approved: ________________________________________ ii Abstract This study proposes a close examination of Vancouver Fashion Week, a biannual event held in Vancouver, showcasing local and international talent. It is one of the many Fashion Weeks held globally. Vancouver Fashion Week can be classified in the tertiary market in terms of coverage and designers showcased. The goal of these fashion shows is to connect buyers, including but not limited to boutiques, department stores and retail shops, with designers. Another goal is to bring media awareness to future trends in fashion. The paper will begin with an introduction to Fashion Weeks around the world and will be followed by an industry analysis. -
MELBOURNE RETAIL and HOSPITALITY STRATEGY 2013–2017 Year 3 Report 2015–16 Foreword
MELBOURNE RETAIL AND HOSPITALITY STRATEGY 2013–2017 Year 3 report 2015–16 Foreword Melbourne’s retail and Retail and hospitality is one hospitality industries have of Victoria’s largest sectors. continued to thrive during It contributes more than $72 2015–16, underpinned by solid billion to our economy and employment, population and employs more than 500,000 visitation growth. people across the state. This Year 3 Report of the The sector includes everything Melbourne Retail and from food retailing including Hospitality Strategy 2013–17 supermarkets, restaurants outlines the specific measures and cafés, household goods, that the City of Melbourne, apparel, department stores, the Victorian Government and newsagents, pharmaceutical, the industries themselves have cosmetics and recreational undertaken to cement our global reputation as a culinary and goods. The sector is Victoria’s second largest employer and retail destination. it is essential for the state’s growth and prosperity. It also creates unique upstream and downstream economic benefits From 2013 to 2015, retail and hospitality spending within the by helping to generate activities in industries such as City of Melbourne grew by 16 per cent to $3.03 billion. The information technology and supply chains and logistics. largest share came from residents and city workers, who respectively contribute $1.34 billion and $1.17 billion annually. In an era where shifting demand and consumer preferences Our booming tourism industry is responsible for a portion are changing the retail sector worldwide, Melbourne and of this growth with Melbourne welcoming 11.3 million visitors Victoria continue to flourish. In 2016 we saw the opening in 2015–16, including a 9.3 per cent increase in international of St. -
Ad Astra September 1978
News-Sheet of the Geelong College Community RD 5TRR No. 40 SEPTEMBER 1978 THE CHANGING SCENARIO In a stage production the set designer is able to change the mood of the play by subtle variations from scene to scene with out disturbing the main set. And so it appears the same principle • operates in the educational scene. The adaption of many sections of the College to a wide variety of uses is quite a remarkable story and the purpose of this article is to indicate another significant change for which plans and esti mates were approved by the College Council at its meeting on August 17, 1978. In 1921 a suite of buildings was erected on the Aphrasia Street frontage, to be known as the Preparatory School; since 1960 it has been the 'Old Prep' and the 'Maths Centre' and other titles may be remembered. Lately it has been used by home econ Cut·owoy perspective drawing of the House of omics, craft, sculpture and mu sic but the Guilds section of the new building , to be situoted plans provide for a substantial change, as on the western side of the existing courtyard. indicated in the plan below. Th e eXisting 'buildings will be modified place the present prem ises of that name engineering, etc. It will provide, also, for to al low for the relocation of the art, will be erected to the west of th e existing expanded facilities for the music depart graphic communications and woodwork de buildings, taking in the old change room ! ment, a small aUditorium, two ensemble partments in premises that will be more toi let area, the tennis court and the rear rooms and many practice rooms. -
Ngv Annual Report 2019 / 20
ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV INTERNATIONAL 180 St Kilda Road THE IAN POTTER CENTRE: NGV AUSTRALIA Federation Square National Gallery of Victoria PO Box 7259 Melbourne VIC 3004 Australia +61 3 8620 2222 www.ngv.vic.gov.au ISSN: 2206-4982 RESPONSIBLE BODY’S DECLARATION In accordance with the Financial Management Act 1994, I am pleased to present the Council of Trustees of the National Gallery of Victoria’s Annual Report for the year ending 30 June 2020. Janet Whiting AM President, Council of Trustees 27 August 2020 (cover) KAWS American 1974– GONE 2019 (installation view) patinated and painted bronze 700.0 x 710.5 x 294.0 cm Commissioned by the National Gallery of Victoria, 2020 (2020.177) © KAWS CONTENTS OVERVIEW SUPPORT About the National Gallery of Victoria 5 Affiliated groups 137 President’s foreword 6 2019/20 Donors 140 Director’s review 8 NGV Foundation Members 146 Strategic framework 10 Felton Society Members 154 Report against output targets 11 NGV Life Members 156 Emeritus Trustees and Foundation Board members 157 2019/20 PERFORMANCE REPORT The Felton Bequest 157 Bringing art and design to life 13 Partners 158 Connecting audiences 20 Realising our potential 24 GOVERNANCE Building for the future 26 Council of Trustees 167 Sharing our vision 28 Council Committees and working groups 169 Exhibitions Listing 32 Workforce data 170 Acquisition Listing 36 Organisational structure 173 Publications Listing 64 Other corporate reports 174 Disclosure index 184 2019/20 FINANCIAL REPORT Five-year financial summary 71 Independent audit report 74 Financial statements 76 Notes to the financial statements 82 OVERVIEW ABOUT THE NATIONAL GALLERY OF VICTORIA ORIGINS STATE COLLECTION Founded in 1861, the National Gallery of Victoria (NGV) is The State Collection comprises approximately 73,000 works Australia’s oldest public art gallery. -
The Demise and Transfiguration of Haute Couture
008-021_INDUMENTA_01 29/1/09 14:19 Página 8 The demise Pablo Pena González Doctor of Art History. Professor of Design History and transfiguration for the Region of Madrid [email protected] of Haute Couture ABSTRACT: Contrary to the prediction prêt-à-porter is an industry. This article of Yves Saint-Laurent, Haute Couture does not address the necessary, eternal has not died. After two decades of death and universal profession of tailoring, throes, breathing tubes still pump life but rather the Parisian institution that, through its veins to ensure that it contin- one day in its youth, looked in the mir- ues to lead luxury market advertising. ror and said, “I am haute.” And since Of course, this is not the state we fash- this article may be of interest to people ion professionals, whether designers or outside the industry, I will begin by ex- writers, would wish for, nor do we ap- plaining what “haute” means as applied prove of the postmodern direction that to couture. recent Haute Couture has taken, which a. “Haute” means “expensive.” Haute is progressively sullying rather than glo- literally means “high” and, if we analyse rifying the profession of fashion design- it semantically, couture cannot be high ers. This article offers numbers, state- any more than it could be fat. The epi- 1 As quoted by the journalist Corinne Jeammet. ments and reflections made by the thet “high” was appended in a Unless otherwise indicated, all quotes protagonists of Parisian couture, enough metaphorical sense, and I think this was appearing in the article are taken from the to certify the debacle of the last aristo- done to mask its gory significance: high cratic art in history. -
Unique Botanical Work Discovered
- Unique botanical work discovered Mueller's mock-up for second 'Flora' A unique interleaved and bandworked version of tbe nallon's first botanical guide, Flora Australiensis, bas been discovered in tbe Monash Library. It is believed the 19-volume set, con The printed plates are from Mueller's taining hand-written notes and original other publications, including the Reglltered by Australia Poet - publication No. VBG0436 drawings, was being prepared by the 12-volume Fragmenta Phytographiae then Government Botanist of Austra/iae (in Latin), published by the NUMBER 6-88 AUGUST 6, 1986 Melbourne, Baron Ferdinand von Victorian Goverrtment between 1858 Mueller, as a mock-up for a second and 1882. edition. All the original drawings and pain Mueller. who was also the first direc tings have been identified in manuscript tor of the Melbourne Botanical and one hand in particular showed Gardens, had collaborated with British European style, Mrs Radvansky said. botanist, George Bentham (1800-1884) "We thought it might be Mueller's, r----------ii,<!I;:;::!!'2. in the writing of the seven-volume Flora and asked the herbarium for copies of Australiensis: A description 0/ the his handwriting and that of his plants of the Austra/ian territory. associates. But his IS years' involvement in the "We can now confirm that the writing collection, . identification, description was definitely his." and despatch of specimens was given Flora Australiensis is one of more scant recognition. than 700 items of early Australiana ac Rare Books librarian, Mrs Susan Rad quired during Monash's first 25 years. vansky, who discovered the unique set, The origins of many are obscure said it would not be surprising if Mueller because they arrived in boxloads and had been contemplating a second edition while the names of the donors were given George Bentham's prominence as noted. -
Fashioning Arkley
Fashioning Howard Arkley Keywords: Arkley / fashion / self-fashioning Abstract Melbourne painter Howard Arkley (1951-99) is best known for his images of suburban houses, but during his twenty-five-year-long career he explored a wide range of themes, including the human body and its embellishment. Fashion and textile design interested Arkley as forms of contemporary visual culture with popular, everyday and ‘functional’ dimensions. In the later 1970s, he recycled patterns derived from fabric and other everyday sources, as part of his investigation of the parallels and contradictions between abstraction and domestic decoration. In the early 1980s, he turned to figuration, incorporating references to Punk, graffiti, tattooing and other signs of ‘subcultural’ style; the body, in these works, became the site for contradictory forces. In 1984, Arkley made extensive plans for his own ‘Fashion Show’, and, even though this exhibition never eventuated, a clear sense of the works he planned for it may be gained from his detailed notes and sketches, and relevant source material extant in his studio collection. With these ideas still fresh in his mind, he came across the special fashion issue of Domus magazine, published in March 1985, which provided him with further inspiration. Alessandro Mendini’s Domus editorial, treating fashion as a medium whereby everyone can behave as an artist, surely struck a chord with Arkley, in light of his long-standing interest in dissolving distinctions between art and the everyday, and his own taste for idiosyncratic clothing and masquerade. Finally, Arkley’s own ‘self-styling’ is discussed, in connection with various images of and by him; and some consideration is given to the theoretical issue of ‘fashioning the self’ and its relationship to the construction of identity. -
Melbourne-Metropolitan-Tramways-Board-Building- 616-Little-Collins-Street-Melbourne
Melbourne Metropolitan Tramway Study Gary Vines 2011 List of surviving heritage places Contents Horse Tramways ...................................................................................................... 2 Cable Tram engine houses..................................................................................... 2 Cable Tram car sheds ............................................................................................. 6 Electric Tram Depots .............................................................................................. 8 Waiting Shelters ...................................................................................................... 12 Substations .............................................................................................................. 20 Overhead and electricity supply ............................................................................ 24 Sidings and trackwork ............................................................................................ 26 Bridges ..................................................................................................................... 29 Workshops ............................................................................................................... 32 Offices ...................................................................................................................... 32 Recreation buildings ............................................................................................... 33 Accommodation -
Portrait Report
IMMERSIVE ART PEDAGOGY: (RE)CONNECTING ARTIST, RESEARCHER AND TEACHER A project submitted in fulfilment of the requirements for the degree of PhD Geraldine M. Burke M.A. School of Education, College of Design and Social Context, RMIT University June 2013 Declaration DECLARATION I declare that: a) except where due acknowledgement has been made, the work is that of the author alone; b) the work has not been submitted previously, in whole or in part, to qualify for any other academic award; c) the content of the project is the result of work carried out since the official commencement date of the approved research program; d) any editorial work, paid or unpaid, carried out by a third party is acknowledged; e) ethics procedures and guidelines have been followed. Geraldine M. Burke 30 June 2013 ii Acknowledgements ACKNOWLEDGEMENTS Sincere thanks go to my Supervisors, Associate Professor Geoff Shacklock and Professor David Forrest. Together they offered considered and thoughtful advice while also challenging me to extend my research capacity within the parameters of the study. I thank them for their ongoing support across the years of my study. Thanks also to Professor Karen Malone, whose supervision in the early stages of my candidature encouraged me to take on this study in the first instance. Appreciation is also extended to the research participants whose generosity led to the sharing of artwork and stories that, in turn, made the study all the more meaningful. My gratitude is also extended to the project team with whom I worked while undertaking the Creative Junction Project. The project would not have been possible without their professionalism and dedication. -
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. -
Curriculum Vitae: Juan Davila
1 CURRICULUM VITAE: JUAN DAVILA April 2020 BIOGRAPHY Born 1946 in Santiago, Chile Moved to Australia in 1974 Lives in Melbourne Artist, Editor of Art and Criticism Monograph Series in Melbourne STUDY 1951-1963 Colegio Verbo Divino, Santiago 1965-1969 Law School of the University of Chile 1970-1972 Fine Arts School of the University of Chile INDIVIDUAL EXHIBITIONS 1974 Latinamerican Artistic Coordination, CAL Gallery, Santiago, Chile 1977 Tolarno Galleries, Melbourne, Australia 1979 Latinamerican Artistic Coordination, CAL Gallery, Santiago, Chile 1981 Tolarno Galleries, Melbourne, Australia 1981 Hot Art, Video-Performance, Melbourne City Square, Australia 1982 Roslyn Oxley9 Gallery, Sydney, Australia 1983 Fable of Australian Painting, Tolarno Galleries, Melbourne, Australia 1983 Ned Kelly,Praxis, Fremantle, Australia 1983 Fable of Chilean Painting 1973/83, Sur Gallery, Santiago, Chile 1984 Adelaide Festival, Experimental Art Foundation, Adelaide, Australia 1984 Pieta, Performance Space, Sydney, Australia 1984 The Studio, Sydney College of the Arts, Painted by Penis, Sydney, Australia 1984 Davila, Paintings 1980/84, Sur Gallery, Santiago, Chile 1985 Roslyn Oxley9 Gallery, Sydney, Australia 1986 op. cit., Power Gallery of Contemporary Art, University of Sydney, Australia 1986 Picasso Theft, Avago Gallery, The Arts Workshop, University of Sydney, Australia 1987 Tolarno Galleries, Melbourne, Australia 1987 Bellas Gallery, Brisbane, Australia 1988 Roslyn Oxley9 Gallery, Sydney, Australia 1988 Centro Cultural de la Municipalidad de Miraflores, -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................