Art Gallery of New South Wales Annual Report 2007–08
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Emu Island: Modernism in Place
Emu Island: Modernism in Place Visual Arts Syllabus Stages 5 - 6 CONTENTS 3 Introduction to Emu Island: Modernism in Place 4 Introduction to education resource Syllabus Links Conceptual framework: Modernism 6 Modernism in Sydney 7 Gerald and Margo Lewers: The Biography 10 Timeline 11 Mud Map Case study – Sydney Modernism Art and Architecture Focus Artists 13 Tony Tuckson 14 Carl Plate 16 Frank Hinder 18 Desiderius Orban 20 Modernist Architecture 21 Ancher House 23 Young Moderns 24 References 25 Bibliography Front Page Margel Hinder Frank Hinder Currawongs Untitled c1946 1945 shale and aluminium collage and gouache on paper 25.2 x 27 x 11 24 x 29 Gift of Tanya Crothers and Darani Penrith Regional Gallery & The Lewers, 1980 Lewers Bequest Collection Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Copyright courtesy of the Estate of Margel Hinder Emu Island: Modernism in Place Emu Island: Modernism in Place celebrates 75 years of Modernist art and living. Once the home and studio of artist Margo and Gerald Lewers, the gallery site, was, as it is today - a place of lively debate, artistic creation and exhibitions at the foot of the Blue Mountains. The gallery is located on River Road beside the banks of the Nepean River. Once called Emu Island, Emu Plains was considered to be the land’s end, but as the home of artist Margo and Gerald Lewers it became the place for new beginnings. Creating a home founded on the principles of modernism, the Lewers lived, worked and entertained like-minded contemporaries set on fostering modernism as a holistic way of living. -
Past-Exhibitions-2011.Pdf
Past Exhibitions: 2011 ground floor... BATIK OF JAVA: POETICS AND POLITICS THE PROMISED LAND: ZOOKINI A CALOUNDRA REGIONAL ART GALLERY THE ART OF LAWRENCE DAWS 2011 XSTRATA CHILDRENS EXHIBITION TOURING EXHIBITION A CALOUNDRA REGIONAL GALLERY FEATURING JENNY ORCHARD 3 December 2010 until 6 February 2011 TOURING EXHIBITION 15 April until 10 July 11 February until 10 April Batik, a cloth that traditionally uses a manual Zookini is the 2011 Xstrata Children’s Exhibition, wax-resist dyeing technique, has special meanings The Promised Land: The Art of Lawrence Daws is and centres on the wild ceramic creatures and rooted to the Javanese conceptualisation of the a major touring exhibition that celebrates the life illustrations of celebrated artist Jenny Orchard. universe. The three major Hindu Gods, Brahmā, and career of long-time Glasshouse Mountains Visnu, and Śiva, are represented by the colours resident and iconic Australian painter, Lawrence The exhibition also includes prominent local artists, indigo, brown and white, dictated by the fact Daws. In recognition of his unique place in known for their creativity; Christine Spain and Mel natural dyes are most commonly available in Australia’s art history, The Promised Land features Williams, Hugh Martin, Jenny Finn and Robert indigo and brown. Patterns in the batik also reflect over 50 paintings and sketch books from National, Crispe. a person’s nobility. State, regional, public and private collections, including work from each of the six decades that this respected artist has been painting. -
Daftar 34 Provinsi Beserta Ibukota Di Indonesia
SEKRETARIAT UTAMA LEMHANNAS RI BIRO KERJASAMA DAFTAR 34 PROVINSI BESERTA IBUKOTA DI INDONESIA I. PULAU SUMATERA 1. Nanggroe Aceh Darussalam : Banda Aceh 2. Sumatera Utara : Medan 3. Sumatera Selatan : Palembang 4. Sumatera Barat : Padang 5. Bengkulu : Bengkulu 6. Riau : Pekanbaru 7. Kepulauan Riau : Tanjung Pinang 8. Jambi : Jambi 9. Lampung : Bandar Lampung 10. Bangka Belitung : Pangkal Pinang II. PULAU KALIMANTAN 1. Kalimantan Barat : Pontianak 2. Kalimantan Timur : Samarinda 3. Kalimantan Selatan : Banjarmasin 4. Kalimantan Tengah : Palangkaraya 5. Kalimantan Utara : Tanjung Selor (Belum pernah melkskan MoU) III. PULAU JAWA 1. Banten : Serang 2. DKI Jakarta : Jakarta 3. Jawa Barat : Bandung 4. Jawa Tengah : Semarang 5. DI Yogyakarta : Yogyakarta 6. Jawa timur : Surabaya IV. PULAU NUSA TENGGARA & BALI 1. Bali : Denpasar 2. Nusa Tenggara Timur : Kupang 3. Nusa Tenggara Barat : Mataram V. PULAU SULAWESI 1. Gorontalo : Gorontalo 2. Sulawesi Barat : Mamuju 3. Sulawesi Tengah : Palu 4. Sulawesi Utara : Manado 5. Sulawesi Tenggara : Kendari 6. Sulawesi Selatan : Makassar VI. PULAU MALUKU & PAPUA 1. Maluku Utara : Ternate 2. Maluku : Ambon 3. Papua Barat : Manokwari 4. Papua ( Daerah Khusus ) : Jayapura *) Provinsi Terbaru Prov. Teluk Cendrawasih (Seruai) *) Provinsi Papua Barat (Sorong) 2 DAFTAR MoU DI LEMHANNAS RI Pemerintah/Non Pemerintah, BUMN/Swasta, Parpol, Ormas & Universitas *) PROVINSI 1. Gub. Aceh-10/5 16-11-2009 2. Prov. Sumatera Barat-11/5 08-12-2009 Prov. Sumbar-116/12 16-12-2015 3. Prov. Kep Riau-12/5 21-12-2009 Kep. Riau-112/5 16-12-2015 4. Gub. Kep Bangka Belitung-13/5 18-11-2009 5. Gub. Sumatera Selatan-14 /5 16-11-2009 Gub. -
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. -
List of Works
4 JANUARY – 22 MARCH 2020 Margaret's Gift acknowledges and celebrates the generous legacy of Margaret Olley AC (1923-2011). Olley was a preeminent artist who had more than 90 solo exhibitions during her lifetime. Using funds from her own exhibition sales Olley would purchase fellow artists works, which she would then in turn donate to numerous galleries. She was also an entrepreneur who invested wisely in residential properties, that in turn brought in a steady income. This put her in a unique position in which she could, not only focus on her own artistic practice but she had the time and means to paint, travel, acquire and donate. The working relationships and life-long friendships she developed with gallery curators, directors and fellow artists are testament to her unwavering support of art and culture within this country. Throughout her lifetime, Olley continued to donate and provide funds to various institutions. This approach enabled institutions to acquire significant works of art. Many of these works are now considered collection highlights, spanning national, state, regional and university art collections. The Margaret Olley Art Trust was established in 1990. This legacy continues today, with the ongoing support of the trustees of the Margaret Olley Art Trust, through both donation of work or funds allocated to a specific project. This exhibition is the second in a series of three that has the generous support of the Margaret Olley Art Trust. Curated by Renée Porter, the exhibition presents over 60 works from collections in Queensland, New South Wales and the ACT and include works by European masters, Australian artists and ceramics from Papua New Guinea which were her earliest known gifts. -
The Journal of the Asian Arts Society of Australia
VOLUME 19 VOLUME NO. 1 MARCH 2010 THE JOURNAL OF THE ASIAN ARTS SOCIETY OF AUSTRALIA TAASA Review CONTENTS Volume 19 No.1 March 2010 3 EDITORIAL TAASA REVIEW THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Josefa Green Abn 64093697537 • Vol. 19 No. 1, March 2010 ISSN 1037.6674 4 SERVING THE RESISTANCE: LACQUER PAINTING IN VIETNAM DURING THE FIRST INDOCHINA WAR Registered by Australia Post. Publication No. NBQ 4134 Phoebe Scott editoriAL • email: [email protected] 7 AN AFTERNOON IN AHMEDABAD: IN CONVERSATION WITH EMBROIDERY MASTER ASIF SHAIKH General editor, Josefa Green Carole Douglas PUBLICATIONS COMMITTEE Josefa Green (convenor) • Tina burge 9 WHEN THE SUN IS IN LINE WITH THE WATER BOTTLE Melanie Eastburn • Sandra Forbes • Ann MacArthur Ann Proctor Jim Masselos • Ann Proctor • Susan Scollay Sabrina Snow • Christina Sumner 12 AN AUSTRALASIAN CERAMICS MUSEUM IN FUPING, CHINA DESIGN/LAYOUT Janet Mansfield Ingo Voss, VossDesign PRINTING 14 ARTIST PROFILE: WON-SEOK Kim’S AUSTRALIAN BUNCHEONG WARE John Fisher Printing Min-Jung Kim Published by The Asian Arts Society of Australia Inc. 16 THE NAT YUEN COLLECTION OF CHINESE ANTIQUITIES AT THE UNIVERSITY OF QUEENSLAND PO Box 996 Potts Point NSW 2011 www.taasa.org.au Gordon Craig Enquiries: [email protected] 18 MOVING THE PAST TO THE PRESENT: A SIEM REAP-ANGKOR KHMER RESIDENCE TAASA Review is published quarterly and is distributed to members of The Asian Arts Society of Australia Inc. TAASA Review welcomes Darryl Collins submissions of articles, notes and reviews on Asian visual and performing arts. All articles are refereed. Additional copies and 21 IN THE PUBLIC DOMAIN: JAPANESE TREASURES AT THE NATIONAL LIBRARY OF AUSTRALIA subscription to TAASA Review are available on request. -
Escape Artists Education
ESCAPEartists modernists in the tropics education kit INTRODUC TION & H TEAC ERS NOTES Almost two years in development, Escape Artists: Modernists in the Tropics is the first exhibition by Cairns Regional Gallery to tour nationally. In this exhibition, you and your students will see how the tropical north of Australia has influenced Australia’s greatest artists, some of whom you will be familiar with, others less familiar. The artists featured in the exhibition are: • Harold Abbott • Valerie Albiston • Douglas Annand • Yvonne Atkinson • John Bell • Yvonne Cohen • Ray Crooke • Lawrence Daws • Russell Drysdale • Ian Fairweather • John Firth-smith • Donald Friend • Bruce Goold • Elaine Haxton • Frank Hinder • Frank Hodginson • Sydney Nolan • Alan Oldfield • Margaret Olley • John Olsen • Tony Tuckson • Brett Whitely • Fred Williams • Noel Wood The lure of an exotic, untouched, tropical paradise has a tradition in modern art beginning with Gaugin in Tahiti. It was this desire to discover and explore new worlds which attracted these artists to the Far North - a part of Australia like no other they had seen. Here they found a region of extraordinary, abundant natural beauty and a cultural pot pourri of indigenous inhabitants and people from all over the world. This exciting mixture of important artworks was assembled from major private and public collections by Gavin Wilson,curator of the successful Artists of Hill End exhibition at The Art Gallery of News South Wales. Escape Artists provides a significant look at the cultural and historic heritage of North Queensland and the rest of northern Australia. You and your students will find some pleasant surprises among the works in the exhibition. -
THE EVOLUTION of a POEM the Shark
Phoenix Phoenix The University of Sydney Writers Journal The University of Sydney Writers Journal 2006 2006 Guest Editors Guest Editors Judith Beveridge Judith Beveridge David Brooks David Brooks Edited By Edited By Adrienne Jerram Adrienne Jerram Roberta Lowing Roberta Lowing Julianne Wargren Julianne Wargren The University of Sydney Creative Writing Program The University of Sydney Creative Writing Program Department of English Department of English University of Sydney University of Sydney in association with in association with SYDNEY UNIVERSITY PRESS SYDNEY UNIVERSITY PRESS ; ($%&+;!;+ +;$&(;$& ; $!$ ; ($%&+;!;+ +;$&(;$& ; $!$ "$& &;!; % "$& &;!; % ($%&+;!;+ + ($%&+;!;+ + ;%%!&! ;)& ;%%!&! ;)& ; ; ; ; ($%&+;!;+ + ($%&+;!;+ + )))5%'"5'%+5'5' )))5%'"5'%+5'5' 9;.,,1; (';'&!$% 9;.,,1; (';'&!$% 9;.,,1;+ +; ($%&+; $%% 9;.,,1;+ +; ($%&+; $%% ;&!$% ;&!$% !$&; !) !$&; !) ' ;$$ ' ;$$ % ; ;+!'& % ; ;+!'& ' ;$$ ' ;$$ ! *;$";"$!(;+ ! *;$";"$!(;+ %;;$ %;;$ "$!'&! ; ; !' &! ; !$; !&$; "'$"!%% "$!'&! ; ; !' &! ; !$; !&$; "'$"!%% *"&;%;"$&&;' $;&;&6; !;"$&;!;&%;&! ;+;;$"$!'6;%&!$ *"&;%;"$&&;' $;&;&6; !;"$&;!;&%;&! ;+;;$"$!'6;%&!$ ;;$&$(;%+%&6;!$;!' &; ; +;!$;!$;+; +; %;)&!'&;"$!$ ;;$&$(;%+%&6;!$;!' &; ; +;!$;!$;+; +; %;)&!'&;"$!$ )$&& ;"$%%! 5;;$#'%&%;!$;$"$!'&! ;!$;!' &! ;%!';; )$&& ;"$%%! 5;;$#'%&%;!$;$"$!'&! ;!$;!' &! ;%!';; &!;+ +; ($%&+; $%%;&;&;$%%;!)7 &!;+ +; ($%&+; $%%;&;&;$%%;!)7 + +; ($%&+; $%% + +; ($%&+; $%% %$; $$+;,/ %$; $$+;,/ ($%&+;!;+ + ($%&+;!;+ + ;.,,1; ;.,,1; 7;;;; !8%'"5'%+5'5' 7;;;; !8%'"5'%+5'5' -3/0:-3,. -
Tasmanian Creativity and Innovation Tasmanian Historical Studies. Volume 8. No 2 (2003): 28-39
Tasmanian Creativity and Innovation Tasmanian Historical Studies. Volume 8. No 2 (2003): 28-39. Rambling in Overdrive: Travelling Through Tasmanian Literature CA Cranston Two years ago I published an anthology of original and published writings about Tasmania titled Along these lines: From Trowenna to Tasmania1 — a mistake it turns out (as far as the title goes) as readers generally assume that Trowenna is some other place, rather than some other time. The idea was to situate various texts about Tasmania into context, so that when traveling the arterial highways of the heart- shaped island one was presented with stories and histories (time) that live on the sides of the road (place). This paper will address the theme of the conference (‘Originally Tasmanian. Creativity and Innovation in the Island State’) with a methodology similar to that ‘driving’ the anthology. It will examine the relationship between context (the origin) and text (the representation), and by implication, the relationship between natural and symbolic worlds. The ramble, which textually refers to the discursive — ideas, like automobiles, that ‘run about’ — will be accommodated, and as such will occasionally disrupt normal expectations of chronology, the historian’s purview. The motivation for the anthology came out of a need to experience at first hand niggling doubts about the textual construction of the island. I was a migrant so (in terms of the conference theme) I’m not ‘Originally Tasmanian’. I was living in a biotic community I knew nothing about and for which I had no language. I was presented with a textual culture I knew little about, and I was hungry for island stories. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
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. -
Reducing Emissions from Deforestation and Forest Degradation (REDD+), Transnational Conservation and Access to Land in Jambi, Indonesia
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Hein, Jonas Working Paper Reducing Emissions from Deforestation and Forest Degradation (REDD+), Transnational Conservation and Access to Land in Jambi, Indonesia EFForTS Discussion Paper Series, No. 2 Provided in Cooperation with: Collaborative Research Centre 990: Ecological and Socioeconomic Functions of Tropical Lowland Rainforest Transformation Systems (Sumatra, Indonesia), University of Goettingen Suggested Citation: Hein, Jonas (2013) : Reducing Emissions from Deforestation and Forest Degradation (REDD+), Transnational Conservation and Access to Land in Jambi, Indonesia, EFForTS Discussion Paper Series, No. 2, GOEDOC, Dokumenten- und Publikationsserver der Georg-August-Universität, Göttingen, http://nbn-resolving.de/urn:nbn:de:gbv:7-webdoc-3904-5 This Version is available at: http://hdl.handle.net/10419/117314 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte.