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An Australian Mirage
An Australian Mirage Author Hoyte, Catherine Published 2004 Thesis Type Thesis (PhD Doctorate) School School of Arts, Media and Culture DOI https://doi.org/10.25904/1912/1870 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367545 Griffith Research Online https://research-repository.griffith.edu.au AN AUSTRALIAN MIRAGE by Catherine Ann Hoyte BA(Hons.) This thesis is submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Griffith University Faculty of Arts School of Arts, Media and Culture August 2003 Statement of Authorship This work has never been previously submitted for a degree or diploma in any university. To the best of my knowledge and belief, this dissertation contains no material previously published or written by another person except where due reference is made in the dissertation itself. Abstract This thesis contains a detailed academic analysis of the complete rise and fall of Christopher Skase and his Qintex group mirage. It uses David Harvey’s ‘Condition of Postmodernity’ to locate the collapse within the Australian political economic context of the period (1974-1989). It does so in order to answer questions about why and how the mirage developed, why and how it failed, and why Skase became the scapegoat for the Australian corporate excesses of the 1980s. I take a multi-disciplinary approach and consider corporate collapse, corporate regulation and the role of accounting, and corporate deviance. Acknowledgments I am very grateful to my principal supervisor, Dr Anthony B. van Fossen, for his inspiration, advice, direction, guidance, and unfailing encouragement throughout the course of this study; and for suggesting Qintex as a case study. -
Charles Roberts Autograph Letters Collection MC.100
Charles Roberts Autograph Letters collection MC.100 Last updated on January 06, 2021. Haverford College Quaker & Special Collections Charles Roberts Autograph Letters collection Table of Contents Summary Information....................................................................................................................................7 Administrative Information........................................................................................................................... 7 Controlled Access Headings..........................................................................................................................7 Collection Inventory...................................................................................................................................... 9 110.American poets................................................................................................................................. 9 115.British poets.................................................................................................................................... 16 120.Dramatists........................................................................................................................................23 130.American prose writers...................................................................................................................25 135.British Prose Writers...................................................................................................................... 33 140.American -
Some Thoughts on the Mauritian Cultural Impact on Australia
SOME THOUGHTS ON THE MAURITIAN CULTURAL IMPACT ON AUSTRALIA EDWARD DUYKER Perhaps the most significant aspect of the Mauritian cultural impact in Australia has been the extent to which Mauritians have participated in and strengthened broader French cultural activities in Australia. Mauritians are represented in organizations such as the Alliance Francaise and over the years a number of them have been among the Alliance's office bear ers. Between 1939 and 1941, Dr Louis Ernest Seide Gelle (1881-1972) was president of the Alliance Frangaise in Western Australia. In 1976 Claude Rochecouste was President of the Alliance in Canberra. There are numer ous Mauritians who are employed as French language teachers in Australia. They are also involved in French language broadcasting and have done much to promote French as a community language rather than as a mere elective in secondary and tertiary education. Mauritians have also made an important contribution to amateur French language theatre in Australia. In professionsal theatre, Mauritian-born Odile Leclezio is a rising young star. Her sister Sylvie Leclezio is a familiar figure in the Australian film industry. In the early 1970s, Sylvie Leclezio helped organize the Perth Film Festival with David Roe. In 1975 she estab lished Leclizio Films, a distribution company which played a major role in introducing French New Wave films to Australian audiences. She also pro duced Marian Wilkinson's thought-provoking Allies, and co-produced the acclaimed Coca-Cola Kid. Mauritians have often capitalized on their "Frenchness". Aside from the more distinctive Mauritian cuisine of restaurants such as Sydney's he Dodo (and in a restaurant with the same name in the Victorian coastal town of Lome), numerous Mauritian chefs, waiters and restaurateurs are engaged in the preparation of more traditional French food. -
1. Gina Rinehart 2. Anthony Pratt & Family • 3. Harry Triguboff
1. Gina Rinehart $14.02billion from Resources Chairman – Hancock Prospecting Residence: Perth Wealth last year: $20.01b Rank last year: 1 A plunging iron ore price has made a big dent in Gina Rinehart’s wealth. But so vast are her mining assets that Rinehart, chairman of Hancock Prospecting, maintains her position as Australia’s richest person in 2015. Work is continuing on her $10billion Roy Hill project in Western Australia, although it has been hit by doubts over its short-term viability given falling commodity prices and safety issues. Rinehart is pressing ahead and expects the first shipment late in 2015. Most of her wealth comes from huge royalty cheques from Rio Tinto, which mines vast swaths of tenements pegged by Rinehart’s late father, Lang Hancock, in the 1950s and 1960s. Rinehart's wealth has been subject to a long running family dispute with a court ruling in May that eldest daughter Bianca should become head of the $5b family trust. 2. Anthony Pratt & Family $10.76billion from manufacturing and investment Executive Chairman – Visy Residence: Melbourne Wealth last year: $7.6billion Rank last year: 2 Anthony Pratt’s bet on a recovering United States economy is paying off. The value of his US-based Pratt Industries has surged this year thanks to an improving manufacturing sector and a lower Australian dollar. Pratt is also executive chairman of box maker and recycling business Visy, based in Melbourne. Visy is Australia’s largest private company by revenue and the biggest Australian-owned employer in the US. Pratt inherited the Visy leadership from his late father Richard in 2009, though the firm’s ownership is shared with sisters Heloise Waislitz and Fiona Geminder. -
PAT HOFFIE: Skatebowl in a Gallery, Ipswich Essay by Julianne Schultz
PAT HOFFIE: Skatebowl in a Gallery, Ipswich essay by Julianne Schultz MONA – the Museum of Old and New Art – is a glamorous curiosity box on the banks of the Derwent River at Glenorchy in working class Hobart. In just a few years it has been the catalyst of and economic and social transformation – crystallising the cultural essence of early twenty-first century Tasmania, and changing notions of productive work. In the process it has put the state on the global tourism agenda, providing opportunities for artists, craftspeople, performers and thinkers to find like minded souls and develop new businesses and to stretch the horizons and possibilities for countless others. Similar interventions are occurring around the world, as artists, entrepreneurs, local administrators and communities stretch the boundaries of engagement, creativity and art. Skatebowl in a Gallery, Ipswich is the most recent move into this space by the important Brisbane artist, Pat Hoffie. That this work, titled Immaterial Labour: Skatebowl Prounspace has found a home at the Ipswich Art Gallery is itself important – it is the juxtapostion of works like this in unexpected places, and with people who may not routinely visit a gallery, that adds to their power and impact. MONA is a great example. It is itself arguably as much a work of art – of genius – as some of the works assembled in its subterranean galleries and inspiring spaces. It is a product of vision and skill of one man, David Walsh, executed with unstinting precision using the proceeds of a form of work (gambling), which is more often thought of as play. -
By Iain Mccalman
THE ANNUAL HISTORY LECTURE HISTORY COUNCIL OF NEW SOUTH WALES Historical Re-enactments. Should we take them seriously? By Iain Mccalman Sydney, 2007 I’ve had the fifteen minutes of fame that Andy Warhol promised all moderns: it was in August 2001 aboard a replica of Captain James Cook’s converted coal barque, the Endeavour, while sailing in what he called ‘the insane labyrinth’ of the Great Barrier Reef. I was engaged in a BBC Television and Discovery Channel re-enactment of Cook’s voyage of exploration up the east coast of Australia in 1770.i My high point as a TV historian consisted of a rant at the ship’s First Officer for preventing us from drying our clothes on the rigging. It’s appeared on all three versions of the subsequent TV series called The Ship, even though they were edited in very different forms for British, American and Australian audiences. My hissy-fit was exactly the sort of material our hairy-chested director hoped to generate when he outlined his vision of a new genre of ‘extreme history’ that we would pioneer. New or not, the formula was simple: assorted representatives of the twenty-first century pit themselves against some of the extreme physical and mental challenges of the past in order to entertain mass audiences. The latter are moved to laughter, awe or pity at our modern-day sufferings and failures. Some participants are ejected or fall by the wayside, the remainder join hands at the end to trill about how tough but rewarding it was to live in the past. -
The Blot on the Landscape: Fred Williams and Australian Art History
The blot on the landscape: Fred Williams and Australian art history Keith Broadfoot There is a blot on the Australian landscape. It has been there for a long time, but its existence only really became apparent with a defining shift in Australian art historiography which occurred with Bernard Smith’s 1980 Boyer Lecture series, The Spectre of Truganini. Seeing the exclusion of an Aboriginal presence in Australian art through the ideas of Sigmund Freud, Smith proposed in his pivotal text that the history of Australian art was a history of repression. After Smith, contemporary art historian Ian McLean has developed the most detailed account of the history of Australian art according to this methodology. This essay examines the work of the modern Australian artist Fred Williams in relation to both Smith and McLean’s understanding of the history of Australian art but to expand on their work I argue that, rather than Freud alone, it is Jacques Lacan’s refiguring of Freud that offers us the most insight into Williams’s work. Further, insofar as I argue that the history of Australian art is the very subject matter of Williams’s work, his work stands in for a wider project, the writing of a history of Australian art according to Lacan’s proposal of a foundational split between the eye and the gaze. But first, to that blot. From colonial melancholy to a modern uncanny In a brilliant observation, Ian McLean, in drawing attention to emigrant artist John Glover’s attempt to control the disorderly dispersion of gums across the hillsides in the background of some of his paintings, suggests that therein could be found the origin to the art of Fred Williams. -
The La Trobe Journal No. 95 March 2015 End Matter
Notes 115 Notes Des Cowley, Robert Heather and Anna public – books, serials, pamphlets, music Welch: Editors’ introduction scores – but also works published in 1 Johanna Drucker, The Century of Artists’ other formats such as CD and DVD. The Books, New York: Granary Books, 1995, p. 1 Northern Territory, Tasmania and Western Australia include web-based publications. Helen Cole: Public collections of artists’ books 10 trove.nla.gov.au in Australia 11 Noreen Grahame was the first gallerist in Australia to actively promote artists’ 1 Any discussion of artists’ books is dogged books. Her first major exhibition of by the question of definition. This article artists’ books was in 1991 and, at this adopts a broad definition that includes time, she encouraged artists represented unique works, limited and commercial by the gallery to create their first artists’ editions, codexes, altered books, book books for the show. She organised five objects and everything in-between. It does Artists’ Books and Multiples fairs in not include zines, however, as institutions generally treat these separately. Brisbane, in 1994, 1996, 1998, 2001 and 2 Noreen Grahame, ‘The gallerist’s 2007, and presented Australian artists’ perspective’, paper presented at ‘The books at the Sydney Works on Paper Trouble with Artists’ Books’, Siganto Fair and the London Artists’ Books Foundation seminar, State Library of Fair. In 1994 Grahame extended into Queensland, 4 May 2013. A podcast of the publishing catalogues and artists’ books. seminar is available at: www.slq.qld.gov. Her catalogues for exhibitions and artists’ au/_slqmedia/video_and_audio_content/ books fairs constitute the most important art-and-design/siganto-seminar, accessed 21 sources of documentation of artists’ books November 2014 in Australia of this time. -