Language of Portraiture
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Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
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. -
Ben Quilty: a Case Study(PDF, 558KB)
EDUCATION RESOURCE KIT A CASE STUDY BEN QUILTY 1 INTRODUCTION Written by Kate Caddey and published by Lake Macquarie City Art Gallery (LMCAG), this education kit is designed to assist senior secondary Visual Arts teachers and students in the preparation, appreciation and understanding of the case study component of the HSC syllabus. LMCAG is proud to support educators and students in the community with an ongoing series of case studies as they relate to the gallery’s exhibition program. This education kit is available in hard copy directly from the gallery or online at www.artgallery.lakemac.com.au/learn/schools. A CASE STUDY A series of case studies (a minimum of FIVE) should be undertaken with students in the Higher School Certificate (HSC) course. The selection of content for the case study should relate to various aspects of critical and historical investigations, taking into account practice, the conceptual framework and the frames. Emphasis may be given to a particular aspect of content although all should remain in play. Case studies should be 4–10 hours in duration in the HSC course. Cover: Ben Quilty Cook Rorschach 2009 NSW Board of Studies, Visual Arts Stage 6 Syllabus, 2012 oil on linen 140 x 190cm © the artist CONTENTS THE ARTIST 5 PRACTICE 7 Conceptual Practice 7 Explorations of masculinity and mortality 7 Humanitarianism and social issues 14 Australian identity and history 15 Material Practice 16 THE FRAMES 18 Artwork Analysis Using the Frames 18 Structural frame 18 Cultural frame 20 Subjective frame 21 Postmodern frame 23 THE CONCEPTUAL FRAMEWORK 24 Artist 25 Audience 24 Artwork 24 World 24 PREVIOUS HSC EXAMINATION QUESTIONS RELEVANT TO THIS CASE STUDY 26 GLOSSARY 27 REFERENCES AND FURTHER READING 28 Websites 28 Videos 29 Articles and catalogues 30 A CASE STUDY BEN QUILTY 3 A CASE STUDY BEN QUILTY 4 THE ARTIST Ben Quilty in front ‘I am an Artist. -
Adam CULLEN Born Sydney 1965, Died 2012
Adam CULLEN Born Sydney 1965, died 2012 Adam Cullen was an Australian artist, most known for winning the Archibald Prize in 2000 with a portrait of actor David Wenham. He was also known for his controversial subjects or work. His style has at times been called by some critics as simplistic, crude, adolescent or puerile, though he is regarded one of Australia's most collectible contemporary artists. Cullen's studio was located at Wentworth Falls, in the Blue Mountains of New South Wales. He had stated that he had painted to the music of punk bands such as the Meat Puppets, Black Flag and the Butthole Surfers. Cullen painted such things as dead cats, 'bloodied' kangaroos, headless women and punk men, many of which represent what he termed "Loserville". The artist used a highly personal visual language to address a broad range of topics including crime, masculinity and cowboy culture. He merged high and low cultural influences in works which are defined by their iridescent colours and bold gestural marks. His works combine irreverent humour with an astute sensitivity to society. Cullen’s work is held in collections including the National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne; Art Gallery of Western Australia, Perth; Monash University, Melbourne; and Griffith University, Brisbane. I HEART PAINT curated by Iain Dawson gallery.begavalley.nsw.gov.au Adam CULLEN Mare from Kildare 2004 acrylic on canvas 102 x 76cm Private Collection Adam CULLEN Auto Portrait 2005 acrylic on canvas 52 x 41cm Private Collection Adam CULLEN My Crackerjack 2004 acrylic on canvas 182 x 182cm Private Collection Adam CULLEN When she goes, I dress up 2003 acrylic on canvas 182 x 152cm Private Collection I HEART PAINT curated by Iain Dawson gallery.begavalley.nsw.gov.au Alesandro LJUBICIC Born 1986, Jajce, Bosnia and Herzegovina Lives and works Sydney, New South Wales Ljubicic studied at the National Art School in Sydney where he was involved in a number of exhibitions and Art awards between 2004 - 07. -
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 .............................. -
Artonview 51.Pdf
artonview art o n v i ew ISSUE No.51 ISS ue SPRING n o.51 spring 2007 2007 NATIONAL GALLERY OF GALLERY AUSTRALIA Richard Bell Australian art it’s an Aboriginal thing 2006 synthetic polymer paint on canvas Acquired 2006 TarraWarra Museum of Art collection courtesy the artist and Bellas Milani Gallery 13 October 2007 – 10 February 2008 National Gallery of Australia, Canberra CELEBRATING¬¬YEARS A National Gallery of Australia Travelling Exhibition The National Gallery of Australia is an Australian Government agency nga.gov.au/NIAT07 Sculpture Gallery • rOBERT rauSchenBerG • Ocean tO OutBack OC E A N to OUTBACK Australian landscape painting 1850 –1950 The National Gallery of Australia’s 25th Anniversary Travelling Exhibition 1 September 2007 – 27 January 2008 Proudly supported by the National Gallery of Australia Council Exhibition Fund National Gallery of Australia, Canberra This exhibition is supported by the CELEBRATING¬¬YEARS nga.gov.au/Rauschenberg Embassy of the United States of America Russell Drysdale Emus in a landscape 1950 (detail) oil on canvas National Gallery of Australia, Canberra © Estate of Russell Drysdale Robert Rauschenberg Publicon – Station I from the Publicons series enamel on wood, collaged laminated silk and cotton, gold leafed paddle, light bulb, perspex, enamel on polished aluminium National Gallery of Australia, Canberra Purchased 1979 © Robert Rauschenberg Licensed by VAGA and VISCOPY, Australia, 2007 The National Gallery of Australia is an Australian Government agency artonview contents 2 Director’s foreword -
Margaret Olley: a Life in Paint
Margaret Olley: A Life in Paint © ATOM 2012 A STUDY GUIDE BY MArguerite O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-188-1 http://www.theeducationshop.com.au Yellow Room Great art picks up where nature ends. – Marc Chagall introduction Margaret Olley: A Life in Paint is an intimate one-hour documentary about one of Australia’s best loved painters. A well-known figure from the time she was painted by William Dobell in 1948, Olley’s celebrity status tended to overshadow her life as a painter. This documentary puts Margaret OIley the painter on centre stage. Many believe her last works – those painted in the eighteen months leading up to her death on 26 July 2011 – were amongst her finest. SCREEN EDUCATION © ATOM 2012 © ATOM SCREEN EDUCATION 2 Synopsis: Margaret Olley, an Australian painter, died in July 2011 aged 88 as she was putting the finishing touches to what would be her final exhibition. She was a remarkable artist and a generous supporter of other artists. This documentary gives viewers an insight into the life and work of this greatly admired Australian painter through the recollections of those who knew her and were familiar with her work. We see Margaret Olley painting and talking about her Place Clockwise from top left: Kilim Rug and Pomegranates; work and learn about her early life Emeritus Curator Olley kitchen; Olley painting and the artists who influenced her Barry Pearce calls the Sydney house in which distinctive style. Much of the film, Margaret lived ‘the including interviews with her friends inner sanctum’ and paintings; we see her working on some of these and with Olley herself, is shot inside it is the house that works in the latter years of her life. -
A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
Artist's Palette Insight.Pdf
INSIGHT INSIGHT Lance Ross Pure Talent A self-described “all-rounder”, this artist has forged a successful career having dabbled in many creative avenues ance Ross is an established artist with over 50 years of experience, Lspecialising in fine art, marine art and illustration. Having always dabbled in the creative arts, the bulk of Lance’s working life was spent as a freelance commercial artist, writer and one-man advertising agency, working largely within other agencies giving him Lance to solely organise Australia’s a continuous supply of work. Lance’s largest ever art show in Melbourne’s break into the advertising industry Royal Exhibition Buildings with over started at 17 years of age when he was a 1500 paintings on show and scores of messenger boy in an advertising agency. art and craft demonstrations underway. Without having been to art school, Lance To ensure high quality, all artists were was moved into the art department two personally invited. weeks later when his boss liked the Throughout his career, Lance was doodles he created between deliveries. commissioned to provide thousands This opportunity kick-started what would of illustrations. The gaps allowed him be a stellar career for Lance. “Luckily, I to create scores of sidelines, including was placed at a drawing board between designing artists’ materials, publishing two ex-students of Sir William Dargie top selling magazines, best-selling books who won the Archibald Portrait Prize and contributing illustrations and stories eight times. In a telephone interview he to other magazines. In recent times, told me, “Back in my time, paintings Lance’s ‘sideline time’ has been spent were judged by how natural they creating products to sell, which can be looked.” Both my workmates were keen viewed on his website. -
ELISABETH CUMMINGS Interior Landscapes Curated by Sioux Garside
ELISABETH CUMMINGS interior landscapes Curated by Sioux Garside 26 May – 23 July 2017 Born in 1934, in Brisbane Elisabeth Cummings was raised in a home filled with paintings and sculpture. Her parents regularly held an ‘open house’ for on Sunday evenings for American soldiers headquartered in Brisbane and also welcomed many Australian artists including David Strachan, Donald Friend, Margaret Olley & Roy Dalgarno. Her father, an architect and academic, was also a trustee at the Queensland Art Gallery. As a child she and her brother would attend Vida Lahey’s art classes held on Fridays. The family holidayed at Currumbin on the Gold Coast and in her final year of high school after tuition from Margaret Cilento she became determined to study art and, with her encouragement, decided to attend the National Art School in Sydney. She moved to Sydney and studied under Dorothy Thornhill, Godfrey Miller, Jimmy Cook and Ralph Balson between 1953-57. In 1958 she was awarded the New South Wales Travelling Art Scholarship which enabled her to travel to Europe where she lived in Italy, France and England where she was inspired by the work of Cézanne, Matisse and Vuillard. She also travelled to Salzburg and studied under Oskar Kokoschka at his School of Vision. After a decade of living in Europe, Elisabeth Cummings returned to Australia and settled in Sydney. She had missed the Australian bush and land and this now provided the stimulation for her work. She commenced teaching at the National Art School in 1969, instructing countless students there during her thirty year tenure as a lecturer and exhibiting regularly in Brisbane and Sydney. -
Vincent Namatjira the Australian May 2015
Albert Namatjira’s Grandson Vincent Revisits Dargie Portrait By Bronwyn Watson The Australian, 16 May 2015 For the past five years, Vincent Namatjira, descendant of renowned landscape artist Albert Namatjira, has been painting idiosyncratic and often witty portraits of important historical and political figures. One of his portraits, James Cook — with the Declaration, was bought last year by the British Museum for its permanent collection. It is on display in London as part of the museum’s Indigenous Australia: Enduring Civilisation exhibition, the first in Britain devoted to the history and culture of indigenous Australians. Besides Cook, Namatjira’s other portraits feature members of the royal family, such as the Queen, Prince William and the Duchess of Cambridge, Australian politicians such as Tony Abbott and John Howard, and his grandfather Albert. Namatjira began painting in 2011, encouraged by his wife and father-in-law, who are both artists. He had early success last year when his first solo exhibition at Marshall Arts in Adelaide was purchased in its entirety by the Queensland Art Gallery. Namatjira was born in 1983 in Alice Springs. As a child he lived at Hermannsburg within Ntaria country but his mother died when he was six, and he and his older sister were sent to foster care in Perth. When he turned 18, he and his sister returned to Hermannsburg to search for their family. While living there, he watched his aunt, a leader of the celebrated Hermannsburg Potters, create art about their country and the family legacy. It wasn’t long before Namatjira was incorporating these themes into his work.