Important Australian and Aboriginal
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Aida Tomescu Fox Jensen
AIDA TOMESCU FOX JENSEN 2017 Abstraction: Celebrating Australian women abstract artists, National Gallery of Australia & Tour, Geelong Art Gallery 2017 The Beginnings, Wangaratta Art Gallery Has been living and working in Australia since 1980 Born 1955, Bucharest 2016 WAAM! It’s Women’s Abstract Art Man!, Jervis Bay Maritime Museum & Gallery 1983 Post Graduate Diploma of Art, City Art Institute, Sydney 1977 Diploma of Art (Painting), Institute of Fine Arts, Bucharest. 2016 Chromoffection, Fox/ Jensen, Auckland 2016 Black to Blackest, Geelong Gallery Aida Tomescu is the winner of the inaugural LFSA Arts 21 Fellowship in 1996 at the Heide Museum of Modern Art, 2016 Assemblage, John Curtin Gallery, Perth Melbourne. She is also the winner of the Sulman Prize 1996, the Wynne prize 2001, the Dobell Prize for Drawing 2016 Refugees, Casula Powerhouse, Sydney 2003, by the Art Gallery of New South Wales. 2016 Fleurieu Art Prize, Anne & Gordon Samstag Museum of Art, Adelaide Represented by Jensen Gallery, Sydney & Fox/Jensen/McCrory, Auckland. 2016 Collected II, Wangaratta Art Gallery, Wangaratta 2015 Sullivan+Strumpf, Sydney Contemporary, Sydney Solo Exhibitions 2015 Wynne Prize, Art Gallery of New South Wales, Sydney 2015 Abstraction: The Heide Collection from Nolan to the 90s, Heide Museum of Modern Art 2017 Under the iron of the moon, FOXJENSEN, Sydney 2015 The Triumph of Modernism in the Art of Australia, Hazelhurst Regional Gallery and TarraWarra Museum of Art 2015 Eyes in the Heat, Sullivan+Strumpf, Sydney 2015 Art Basel Hong Kong, Sullivan+Strumpf, -
Janet Laurence
JANET LAURENCE BIOGRAPHY Born Sydney 1947, Australia. Lives and works in Sydney, Australia. 2008–ongoing Visiting Fellow at COFA, UNSW 2007–09 Visual Arts Board, Australian Council 1996–2005 Trustee, Art Gallery of New South Wales, Sydney 1993 Master of Fine Art, College of Fine Arts, University of New South Wales 1977–81 Studied Sydney, Italy and New York ONGOING PROJECTS The Treelines Track, Bundanon, Australia. SOLO EXHIBITIONS 2019 Janet Laurence: After Nature, Museum of Contemporary Art, Sydney 2018 What Colour is the Sacred?, ARC ONE Gallery, Melbourne 2017 The Matter of The Masters, Art Gallery of New South Wales, Sydney Transplant: A forest for chlorophyll collapse, Momentum, Berlin Inside the Flower, IGA Berlin Lost Habitats, Nautilus Exhibition, Oldenburger, Germany Phytophilia, Hugo Michell Gallery, Adelaide 2016 The Pleasure of Love, October Salon, Belgrade The 13th Cuenca Biennial, Ecuador Habitat, Darling Harbour, Sydney, NSW Auftrag Landschaft, Schloss Biesdorf, Berlin, Germany Deep Breathing, Australian Musueum, Sydney. Habitat, Darling Harbour, Sydney, NSW H2O Water Bar, Paddington Water Reservoir, City of Sydney, NSW 2015 Deep Breathing: Resuscitation for the Reef, Grande Galerie de l’Evolution at Museum National d’Histoire Naturelle (MNHN), Paris. Antrhopocene, Fine Arts Society Contemporary, London, UK Momentum, Kuntsquartier Bethanien, Berlin 2014 Plants Eye View, Dominik Mersch Gallery, Sydney, NSW. A Case Study, Lake Macquarie City Art Gallery, Austrlaia. Residue, Hugo Mitchell Gallery, Adelaide. 2013 The Ferment, Fine Art Society Contemporary, London. Plants Eye View, Cat Street Gallery, Hong Kong. 2012 After Eden, Sherman Contemporary Art Foundation, Sydney. Avalanche, ARC ONE Gallery, Melbourne. Fabeled, BREENSPACE, Sydney. The Alchemical Garden of Desire, McClelland Gallery, VIC. -
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. -
A Long Way to Go in Nuclear Debate, Says Aboriginal Congress of SA
Aboriginal Way Issue 60, Spring 2015 A publication of South Australian Native Title Services Aboriginal Congress of South Australia A long way to go in nuclear debate, says Aboriginal Congress of SA In early August, the Aboriginal During July and August, the Royal Parry Agius, Alinytjara Wiluara Natural waste dump” and the Royal Commission Congress of South Australia Commission engaged regional and Resources Board Member reinforced the is nothing more than mere formality. convened in Port Augusta to remote communities including Coober notion of an appropriate timeline in his Karina Lester, Aboriginal Congress discuss the issues and concerns Pedy, Oak Valley, Ceduna, Port Lincoln, submission. Mr Agius wrote, “we note of SA member said it is clear by the of potential expansion of uranium Port Augusta, Whyalla, Port Pirie, levels of concern within our communities submissions to the Royal Commission mining in SA, including the Ernabella, Fregon, Mimili, Indulkana, that suggest that the timeframe for that Aboriginal People do not support development of a nuclear Ceduna, Amata, Kanpi and Pipalyatjara. consultation on the risks and opportunities the Nuclear Fuel Cycle. waste dump. through the Royal Commission is Aboriginal Congress of SA Chair, insufficient”. Through the initial “Our views are clear in the submissions The State Government launched a Tauto Sansbury said the engagement conversations with community members and we need to ensure that this gets public inquiry on the Nuclear Fuel Cycle with Aboriginal Communities is there is, he added, “a level of confusion across to the Commissioner. We need by calling a Royal Commission in March. welcomed however the consultation about what was being discussed”. -
LOOK Exhibition Checklist (PDF .37MB)
LOOK: Charles Darwin University Art Collection Charles Darwin University Art Gallery 29 February – 29 June 2012 Chancellery Building Orange 12.1.02 Casuarina Campus 1 Sidney Wilson 100 x 50cm [image]; 120 x 73.5 cm [paper] Dugong 2008 Gifted by the artist & Northern Editions Synthetic polymer paint on canoe tree Printmaking Studio, 2010 – CDU1890 wood; black glass beads 50cm [length] x 9cm [width], approx. 7 Bronwyn Wright Acquired by purchase, 2011 – CDU2294 Leaping Dog 2005 Digital type C print (colour on metallic paper) 2 Therese Ritchie 26.8 x 36.1 cm [image]; 30 x 39cm [paper] Luju ka wirntimi (Woman Dancing) [2000] Gifted by the artist, October 2006 – CDU1287 Inkjet print on German etching paper 59.5 x 60cm [image] 8 Susan Marawarr NDY Edition, 2010 – on loan from the artist Korlngkarri (place name) 1999 Screenprint, WP edn 25 3 Therese Ritchie Collaborators: Leon Stainer/Monique Auricchio Wati-jarra kapala jurrka-pinyi (Two men Printer: Gilbert Herrada dancing) [2000] 49 x 68.5cm [image]; 56 x 76cm [paper] Inkjet print on German etching paper Gifted by the artist & Northern Editions 59.5 x 60cm [image] Printmaking Workshop, 1999 – NTU730 NDY Edition, 2010 – on loan from the artist 9 Angelina George 4 Therese Ritchie Rainbow Serpent Dreaming 2004 Luju ka wirntimi (Woman Dancing) 2 [2000] Acrylic on linen, 121 x 96 cm Inkjet print on German etching paper Acquired by purchase, December 2005 – 59.5 x 60cm [image] CDU1272 NDY Edition, 2010 – on loan from the artist 10 Pepai Jangala Carroll 5 Kuruwarriyingathi Bijarrb (Paula Paul) Ininti -
Reading and Remembering Place Through Digital Photography: Exploration of an Ancient Site Diane Goodman University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2010 Reading and remembering place through digital photography: exploration of an ancient site Diane Goodman University of Wollongong Recommended Citation Goodman, Diane, Reading and remembering place through digital photography: exploration of an ancient site, Master of Arts thesis, University of Wollongong. School of Art and Design, University of Wollongong, 2010. http://ro.uow.edu.au/theses/3174 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. Reading and Remembering Place through Digital Photography: Exploration of an Ancient Site A thesis presented in partial fulfilment of the requirements for the award of the degree Master of Arts Research from University of Wollongong by Diane Goodman School of Art & Design Faculty of Creative Arts 2010 VOLUME 1 Certification I, Diane Goodman, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Master of Arts, Research, in the School of Art & Design, Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. This document has not been submitted for qualifications at any other academic institution. Diane Goodman May 2010 ACKNOWLEDGEMENTS A very special thank you to Professor Diana Wood Conroy for her continuous supervision and support throughout this project. It would have been impossible to complete the project without her encouragement, compassion, humour and warmth, and above all, her belief in my ability to overcome the various personal obstacles I confronted along the way. -
Presentation Tile
Authentic and engaging artist-led Education Programs with Thomas Readett Ngarrindjeri, Arrernte peoples 1 Acknowledgement 2 Warm up: Round Robin 3 4 See image caption from slide 2. installation view: TARNANTHI featuring Mumu by Pepai Jangala Carroll, 2015, Art Gallery of South Australia, Adelaide; photo: Saul Steed. 5 What is TARNANTHI? TARNANTHI is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through contemporary art. TARNANTHI is a national event held annually by the Art Gallery of South Australia. Although TARNANTHI at AGSA is annual, biannually TARNANTHI turns into a city-wide festival and hosts hundreds of artists across multiple venues across Adelaide. On the year that the festival isn’t on, TARNANTHI focuses on only one feature artist or artist collective at AGSA. Jimmy Donegan, born 1940, Roma Young, born 1952, Ngaanyatjarra people, Western Australia/Pitjantjatjara people, South Australia; Kunmanara (Ray) Ken, 1940–2018, Brenton Ken, born 1944, Witjiti George, born 1938, Sammy Dodd, born 1946, Pitjantjatjara/Yankunytjatjara people, South Australia; Freddy Ken, born 1951, Naomi Kantjuriny, born 1944, Nyurpaya Kaika Burton, born 1940, Willy Kaika Burton, born 1941, Rupert Jack, born 1951, Adrian Intjalki, born 1943, Kunmanara (Gordon) Ingkatji, c.1930–2016, Arnie Frank, born 1960, Stanley Douglas, born 1944, Maureen Douglas, born 1966, Willy Muntjantji Martin, born 1950, Taylor Wanyima Cooper, born 1940, Noel Burton, born 1994, Kunmanara (Hector) Burton, 1937–2017, -
MAKINTI NAPANANGKA – PINTUPI C
MAKINTI NAPANANGKA – PINTUPI c. 1930 - 2011 Represented by Utopia Art Sydney, 2 Danks Street, Waterloo, NSW 2017 © Makinti Napanangka was born at Lupul rockhole south of Kintore c. 1930. She gave birth to her first child in the Lake MacDonald area and later had children in Haasts Bluff, Papunya and Alice Springs. She walked with her family to Haasts Bluff before the Papunya Community was established. Makinti began painting regularly for the company in 1996. SOLO EXHIBITIONS 2007 "Makinti" Papunya Tula Artists, Alice Springs 2005 "Makinti" John Gordon Gallery, Coffs Harbour 2003 “Makinti Napanangka – A Painter” Utopia Art Sydney 2002 “Recent Paintings” Gallery Gabrielle Pizzi 2001 “Makinti Napanangka: new paintings”” Utopia Art Sydney 2000 “Makinti Napanangka: New Vision” Utopia Art Sydney SELECTED GROUP EXHIBITIONS 2013 ‘The Salon’, Utopia Art Sydney, NSW ‘No Boundaries’, Bayside Arts & Cultural Centre, VIC 2012 ‘Abstraction’, Utopia Art Sydney, NSW ‘Kunga: Les Femmes de Loi du Desert (Law Women From the Desert)’, the collection of Arnaud et Berengere Serval, Galerie Carry On / Art Aborigene, Geneva ‘Ancestral Modern: Australian Aboriginal Art from the Kaplan & Levi Collection’, Seattle Art Museum, USA ‘18th Biennale of Sydney: all our relations’, Museum of Contemporary Art Australia, NSW ‘Interconnected’, Utopia Art Sydney, NSW ‘Unique Perspectives: Papunya Tula Artists and the Alice Springs Community,’ Araluen Arts Centre, NT 2011 ‘Papunya Tula Women’s Art’, Maitland Regional Art Gallery, NSW ’40 Years of Papunya Tula Artists’, Utopia -
South Australian Multiple Land Use Framework-Pepinnini Minerals Community Engagement in the APY Lands, Case Study 4
Government of South Australia South Australian Multiple Land Use Framework PEPINNINI MINERALS COMMUNITY ENGAGEMENT IN THE APY LANDS CASE STUDY 4 www.yoursay.sa.gov.au South Australian Multiple Land Use Framework Synopsis What is the issue? – Ensuring that exploration companies engage well and develop the trust of the Pitjantjatjara and Yankunytjatjara people (Anangu) so that exploration activities do not detrimentally impact on the Anangu’s ability to manage the natural and cultural values of the land. What was the resolution? – The development of strong connections and ongoing partnerships has ensured that the Anangu have benefited socially, economically and environmentally from the exploration activities through local employment, training, support for social events and educational opportunities. Multiple uses PepinNini Minerals Limited is an Australian ASX listed exploration company based in Adelaide (http://www.pepinnini.com.au/). It has a diverse commodity portfolio with projects in both Australia and Argentina. PepinNini currently has an interest in 11 exploration tenements in South Australia covering approximately 14,393km2. Of these tenements, two exploration licences and eight exploration licence applications are located in the Anangu Pitjantjatjara Yunkunytjatjara (APY) Lands. PepinNini has been actively exploring in the APY Lands for nickel, copper and PGE (platinum group elements) as well as lead, zinc and gold for approximately ten years and has developed strong connections and partnerships with the Anangu. PepinNini has its own purpose built field camp from which its drilling crew operates and maintains its own diamond drilling rig and vacuum rig. The APY Lands are located in the far northwest of APY Lands South Australia and consist of approximately 103,000 km2 of land (or around 10.5% of the State). -
Ii: Mary Alice Evatt, Modern Art and the National Art Gallery of New South Wales
Cultivating the Arts Page 394 CHAPTER 9 - WAGING WAR ON THE ESTABLISHMENT? II: MARY ALICE EVATT, MODERN ART AND THE NATIONAL ART GALLERY OF NEW SOUTH WALES The basic details concerning Mary Alice Evatt's patronage of modern art have been documented. While she was the first woman appointed as a member of the board of trustees of the National Art Gallery of New South Wales, the rest of her story does not immediately suggest continuity between her cultural interests and those of women who displayed neither modernist nor radical inclinations; who, for example, manned charity- style committees in the name of music or the theatre. The wife of the prominent judge and Labor politician, Bert Evatt, Mary Alice studied at the modernist Sydney Crowley-Fizelle and Melbourne Bell-Shore schools during the 1930s. Later, she studied in Paris under Andre Lhote. Her husband shared her interest in art, particularly modern art, and opened the first exhibition of the Contemporary Art Society in Melbourne 1939, and an exhibition in Sydney in the same year. His brother, Clive Evatt, as the New South Wales Minister for Education, appointed Mary Alice to the Board of Trustees in 1943. As a trustee she played a role in the selection of Dobell's portrait of Joshua Smith for the 1943 Archibald Prize. Two stories thus merge to obscure further analysis of Mary Alice Evatt's contribution to the artistic life of the two cities: the artistic confrontation between modernist and anti- modernist forces; and the political career of her husband, particularly knowledge of his later role as leader of the Labor opposition to Robert Menzies' Liberal Party. -
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. -
Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 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. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012.