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Phanfare May/June 2006
Number 218 – May-June 2006 Observing History – Historians Observing PHANFARE No 218 – May-June 2006 1 Phanfare is the newsletter of the Professional Historians Association (NSW) Inc and a public forum for Professional History Published six times a year Annual subscription Email $20 Hardcopy $38.50 Articles, reviews, commentaries, letters and notices are welcome. Copy should be received by 6th of the first month of each issue (or telephone for late copy) Please email copy or supply on disk with hard copy attached. Contact Phanfare GPO Box 2437 Sydney 2001 Enquiries Annette Salt, email [email protected] Phanfare 2005-06 is produced by the following editorial collectives: Jan-Feb & July-Aug: Roslyn Burge, Mark Dunn, Shirley Fitzgerald, Lisa Murray Mar-Apr & Sept-Oct: Rosemary Broomham, Rosemary Kerr, Christa Ludlow, Terri McCormack, Anne Smith May-June & Nov-Dec: Ruth Banfield, Cathy Dunn, Terry Kass, Katherine Knight, Carol Liston, Karen Schamberger Disclaimer Except for official announcements the Professional Historians Association (NSW) Inc accepts no responsibility for expressions of opinion contained in this publication. The views expressed in articles, commentaries and letters are the personal views and opinions of the authors. Copyright of this publication: PHA (NSW) Inc Copyright of articles and commentaries: the respective authors ISSN 0816-3774 PHA (NSW) contacts see Directory at back of issue PHANFARE No 218 – May-June 2006 2 Contents At the moment the executive is considering ways in which we can achieve this. We will be looking at recruiting more members and would welcome President’s Report 3 suggestions from members as to how this could be Archaeology in Parramatta 4 achieved. -
Winter 2012 SL
–Magazine for members Winter 2012 SL Olympic memories Transit of Venus Mysterious Audubon Wallis album Message Passages Permanence, immutability, authority tend to go with the ontents imposing buildings and rich collections of the State Library of NSW and its international peers, the world’s great Winter 2012 libraries, archives and museums. But that apparent stasis masks the voyages we host. 6 NEWS 26 PROVENANCE In those voyages, each visitor, each student, each scholar Elegance in exile Rare birds finds islets of information and builds archipelagos of Classic line-up 30 A LIVING COLLECTION understanding. Those discoveries are illustrated in this Reading hour issue with Paul Brunton on the transit of Venus, Richard Paul Brickhill’s Biography and Neville on the Wallis album, Tracy Bradford on our war of nerves business collections on Olympians such as Shane Gould and John 32 NEW ACQUISITIONS Konrads, and Daniel Parsa on Audubon’s Birds of America, Library takes on Vantage point one of our great treasures. Premier’s awards All are stories of passage, from Captain James Cook’s SL French connection Art of politics voyage of geographical and scientific discovery to Captain C THE MAGAZINE FOR STATE LIBRARY OF NSW BUILDING A STRONG ON THIS DAY 34 FOUNDATION MEMBERS, 8 James Wallis’s album that includes Joseph Lycett’s early MACQUARIE STREET FRIENDS AND VOLUNTEERS FOUNDATION Newcastle and Sydney watercolours. This artefact, which SYDNEY NSW 2000 IS PUBLISHED QUARTERLY 10 FEATURE New online story had found its way to a personal collection in Canada, BY THE LIBRARY COUNCIL PHONE (02) 9273 1414 OF NSW. -
Graphic Encounters Conference Program
Meeting with Malgana people at Cape Peron, by Jacque Arago, who wrote, ‘the watched us as dangerous enemies, and were continually pointing to the ship, exclaiming, ayerkade, ayerkade (go away, go away)’. Graphic Encounters 7 Nov – 9 Nov 2018 Proudly presented by: LaTrobe University Centre for the Study of the Inland Program Melbourne University Forum Theatre Level 1 Arts West North Wing 153 148 Royal Parade Parkville Wednesday 7 November Program 09:30am Registrations 10:00am Welcome to Country by Aunty Joy Murphy Wandin AO 10:30am (dis)Regarding the Savages: a short history of published images of Tasmanian Aborigines Greg Lehman 11.30am Morning Tea 12.15pm ‘Aborigines of Australia under Civilization’, as seen in Colonial Australian Illustrated Newspapers: Reflections on an article written twenty years ago Peter Dowling News from the Colonies: Representations of Indigenous Australians in 19th century English illustrated magazines Vince Alessi Valuing the visual: the colonial print in a pseudoscientific British collection Mary McMahon 1.45pm Lunch 2.45pm Unsettling landscapes by Julie Gough Catherine De Lorenzo and Catherine Speck The 1818 Project: Reimagining Joseph Lycett’s colonial paintings in the 21st century Sarah Johnson Printmaking in a Post-Truth World: The Aboriginal Print Workshops of Cicada Press Michael Kempson 4.15pm Afternoon tea and close for day 1 2 Thursday 8 November Program 10:00am Australian Blind Spots: Understanding Images of Frontier Conflict Jane Lydon 11:00 Morning Tea 11:45am Ad Vivum: a way of being. Robert Neill -
Does Early Colonial Art Provide an Accurate Guide to the Nature and Structure of the Pre-European Forests and Woodlands of South
Does early Colonial Art provide an accurate guide to the nature and structure of the pre-European forests and woodlands of South-Eastern Australia? A study focusing on Victoria and Tasmania By Michael Francis Ryan B For Sei, University of Melbourne Submitted in fulfilment of the requirement for the degree of: Master of Forestry Australian National University November 2009 Candidate’s Declaration I declare that this is the original work of Michael Francis Ryan of 84 Somerville Rd Yarraville, Victoria submitted in fulfilment of the requirement for the degree of Master of Forestry at the Australian National University. 2 Acknowledgements I am very grateful for the assistance and patience especially of Professor Peter Kanowski of the Australian National University for overseeing this work and providing guidance and advice on structure, content and editing. I would also like to acknowledge Professor Tim Bonyhady also of the Australian National University, whose expertise in the artwork field provided much inspiration and thoughtful analysis understanding early artwork. Bill Gammage, also from the ANU, provided excellent critical analysis using his extensive knowledge of the artists of the period to suggest valuable improvements. Ron Hateley from the University of Melbourne has an incredible knowledge of the early history of Victoria and of the ecology of Australia’s forests and woodlands. Ron continued to be a great sounding board for ideas and freely shared his own thoughts on early artwork in Western Victoria and the nature of the pre-European forests and I thank him for his assistance. Pat Groenhout, formally from VicForests, provided detailed comments and proof reading of manuscripts and this has considerably improved the readability and structure. -
Reputations on the Line in Van Diemen's Land
REPUTATIONS ON THE LINE IN VAN DIEMEN’S LAND: a dissertation on the general theme of the Rule of Law as it emerged in a young penal colony with particular emphasis on the law of defamation by ROSEMARY CONCHITA LUCADOU-WELLS LLB., (Queensland), B.Ed., (Tasmania), MA., (Murdoch), PhD., (Deakin) This thesis is presented for the degree of Master of Laws of Murdoch University, 2012. I declare that this thesis is my own account of my research and contains as its main content work which has not been submitted for a degree at any tertiary education institution. Rosemary Conchita Lucadou-Wells ABSTRACT This research focuses on the development of the jurisprudence of the infant colony of Van Diemen’s Land now known as Tasmania, with particular interest on the law of defamation. During the first thirty years of this British penal colony its population was subject to changes. There were the soldiery, who provided the basis of government headed by a Lieutenant Governor, the indigenous people, the convicts, and gradually an influx of settlers who came enthused by governmental promises of grants of land. In addition to these free settlers there were a selection of convicts who, under a process of something akin to manumission under Roman Law, became upon completion of their sentence, eligible for freedom and possibly a grant of land. There developed a spirit of competition amongst the settlers, each wanted to become more successful than the others. The favourite means of distinguishing oneself was the uttering or publication of damaging words against a person who was perceived to be a rival. -
13.0 Remaking the Landscape
12 Chapter 13: Remaking the Landscape 13.0 Remaking the landscape 13.1 Research Question The Conservatorium site is located within one of the most significant historic and symbolic landscapes created by European settlers in Australia. The area is located between the sites of the original and replacement Government Houses, on a prominent ridge. While the utility of this ridge was first exploited by a group of windmills, utilitarian purposes soon became secondary to the Macquaries’ grandiose vision for Sydney and the Governor’s Domain in particular. The later creations of the Botanic Gardens, The Garden Palace and the Conservatorium itself, re-used, re-interpreted and created new vistas, paths and planting to reflect the growing urban and economic importance of Sydney within the context of the British empire. Modifications to this site, its topography and vegetation, can therefore be interpreted within the theme of landscape as an expression of the ideology of colonialism. It is considered that this site is uniquely placed to address this research theme which would act as a meaningful interpretive framework for archaeological evidence relating to environmental and landscape features.1 In response to this research question evidence will be presented on how the Government Domain was transformed by the various occupants of First Government House, and the later Government House, during the first years of the colony. The intention behind the gathering and analysis of this evidence is to place the Stables building and the archaeological evidence from all phases of the landscape within a conceptual framework so that we can begin to unravel the meaning behind these major alterations. -
Art Gallery of New South Wales 2017: Our Year in Review
Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 201 7 2017 ART GALLERY OF NEW SOUTH WALES 2017 2 Art Gallery of New South Wales 2017 Art Gallery of New South Wales 2017 3 Our year in review 4 Art Gallery of New South Wales 2017 6 OUR VISION 7 FROM THE PRESIDENT David Gonski 8 FROM THE DIRECTOR Michael Brand 10 2017 AT A GLANCE 12 SYDNEY MODERN PROJECT 16 ART 42 IDEAS 50 AUDIENCE 62 PARTNERS 78 PEOPLE 86 BOARD OF TRUSTEES 88 EXECUTIVE 89 CONTACTS 90 2018 PREVIEW The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales stands. We respectfully acknowledge their Elders past, present and future. Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. page 4: A view from the Grand Courts to the entrance court showing Bertram Mackennal’s Diana wounded 1907–08 and Emily Floyd’s Kesh alphabet 2017. 6 Art Gallery of New South Wales 2017 DAVID GONSKI AC PRESIDENT ART GALLERY OF NEW SOUTH WALES TRUST and the Hon Adam Marshall MP, Glenfiddich, Herbert Smith Freehills, Minister for Tourism and Major Events. JCDecaux, J.P. Morgan, Macquarie Group, Macquarie University, The funding collaboration between McWilliam’s Wines & Champagne government and philanthropists for Taittinger, Paspaley Pearls, Sofitel our expansion will be the largest in FROM Sydney Wentworth, the Sydney the history of Australian arts. -
Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels Cubism and Australian Art from 1940 Lesley
Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels Cubism and Australian art from 1940 Lesley Harding 8 / 9 June 2011 Lecture summary: This lecture will consider the impact of the revolutionary and transformative movement of Cubism on Australian art from the 1940s to the present day. Described in 1912 by French poet and commentator Guillaume Apollinaire as ‘not an art of imitation, but one of conception’, Cubism irreversibly altered art’s relationship to visual reality. ‘I paint things as I think them, not as see them’, Picasso said. By its very nature, Cubism is characterised by variation and change. Although there was no cubist movement in Australia per se, its appearance in Australian art parallels its uptake and re-interpretation by artists internationally. By viewing Cubism as a set of stylistic and conceptual discoveries, rather than as a style defined by a particular period, we can trace the adaptation and evolution of cubist ideas and influences over successive decades and uncover its ongoing relevance to Australian art. In the early years, an interest in Cubism signaled a desire to be modern, a vanguard position taken against the parochial predominance of landscape painting in Australia at that time. While early Cubism broke down the pictorial subject, resulting in fragmentary images with multiple viewpoints and overlapping planes, the later inclusion of collage elements such as newsprint and wallpaper into paintings (often referred to as Synthetic Cubism) was the beginning of the idea that real objects could be incorporated into artworks, which opened up new possibilities for the treatment of reality in art. -
Exhibition Catalogue
Treasures of Newcastle from the Macquarie Era i A State Library of NSW & Newcastle Art Gallery partnership exhibition Sponsored by Noble Resources International Australia A free exhibition at the Newcastle Art Gallery 2 March – 5 May 2013 Exhibition opening hours: 10 am to 5 pm Tuesday to Sunday 1 Laman Street Newcastle NSW 2300 Telephone: (02) 4974 5100 www.newcastle.nsw.gov.au Curator: Elizabeth Ellis Project Manager: Louise Tegart Graphic Designer: Maria Pia Mosquera Editor: Clara Finlay Preservation project leader: Cecilia Harvey Printer: Page 38 Paper: K.W. Doggett Knight Vellum 280 gsm (cover) and ecostar 120 gsm (text). Print run: 5000 ISBN 0 7313 7216 6 © State Library of New South Wales, February 2013 The State Library of New South Wales is a statutory authority of, and principally funded by, the NSW State Government. COVER IMAGES: MAPMAKER UNKNOWN, PORT HUNTER AND ITS BRANCHES, NEW SOUTH WALES, C. 1819–20, INK, WASH, PENCIL, STATE LIBRARY OF NSW RICHARD BROWNE, SELECT SPECIMENS FROM NATURE OF THE BIRDS ANIMALS &C &C OF NEW SOUTH WALES COLLECTED AND ARRANGED BY THOMAS SKOTTOWE ESQR. THE DRAWINGS BY T.R. BROWNE. N.S.W. NEWCASTLE NEW SOUTH WALES (DETAIL), 1813, WATERCOLOUR, STATE LIBRARY OF NSW JAMES WALLIS / JOSEPH LYCETT, ALBUM OF ORIGINAL WATERCOLOURS, DRAWINGS AND ENGRAVINGS BY JAMES WALLIS, JOSEPH LYCETT AND WALTER PRESTON (DETAILS), C. 1817–18, STATE LIBRARY OF NSW RICHARD BROWNE, NATIVES FISHING IN A BARK CANOE, NEW SOUTH WALES, 1819, WATERCOLOUR AND BODYCOLOUR, STATE LIBRARY OF NSW INSIDE COVER IMAGE: JOSEPH LYCETT, MACQUARIE COLLECTOR’S CHEST (DETAIL), C. 1818, STATE LIBRARY OF NSW INSIDE BACK COVER IMAGE: JOSEPH LYCETT, MACQUARIE COLLECTOR’S CHEST (DETAIL), C. -
Treasures of Newcastle from the Macquarie Era a B Treasures of Newcastle from the Macquarie Era Treasures of Newcastle from the Macquarie Era I
Treasures of Newcastle from the Macquarie Era A B Treasures of Newcastle from the Macquarie Era Treasures of Newcastle from the Macquarie Era i A State Library of NSW & Newcastle Art Gallery partnership exhibition Sponsored by Noble Resources International Australia Treasures of Newcastle from the Macquarie Era iii FOREWord The State Library of NSW is delighted to be presenting this exhibition, Treasures of Newcastle from the Macquarie Era, in partnership with Newcastle Art Gallery. The discovery of the Wallis album in a cupboard in Ontario, Canada, was part of the impetus for this stunning exhibition. The album brilliantly depicts the early European settlement of Newcastle, or Coal River as it was then known. This treasured heirloom is Captain James Wallis’ personal record of his time in NSW —clearly a high point in his career as a British colonial officer. What is so special about the album is that it includes original watercolours and drawings which show how interested he was in this new country and in its people. He made friends with some local Indigenous Awakabal people and painted them from life, adding their names. In addition to laying the foundations for the city and port which Newcastle became, Wallis was a patron of art and craft. He commissioned paintings and engravings by convict artists and had the incomparably wonderful Collector’s Chest made as a gift for Governor Macquarie. Returning to Newcastle for the first time in 195 years, thanks to support from Noble Resources International Australia and the partnership between the Newcastle Art Gallery and the State Library of NSW, the Macquarie Collector’s Chest is a marvellous centrepiece of this exhibition which has been expertly brought together by Emeritus Curator Elizabeth Ellis. -
Anne Dangar, Vase À Anses - Terre Cuite Vernissée
Anne Dangar, Vase à anses - Terre cuite vernissée. H. 28 ; D. 33 cm - Collection privée Emmanuel Lopez - Photographie Cyril Crespeau. Design graphique : www.longisland.fr Dossier pédagogique SOMMAIRE 03 Introduction 06 Anne Dangar en 10 mots 10 Chronologie 14 Pistes pédagogiques 19 Glossaire 23 Bibliographie 25 Informations pratiques 2 INTRODUCTION De récentes expositions (Cubism & Australian Art, Heide Museum of Modern Art, 2009, à Melbourne, et Sydney Moderns, Art Gal- lery of New South Wales, 2013, à Sydney) ont révélé l’importance d’Anne Dangar dans le développement du cubisme en Australie durant les années 1930-1940. Sa participation à l’Académie André Lhote, suivie d’une collabo- ration de 21 ans avec l’artiste et théoricien du cubisme Albert Gleizes, ont fait d’Anne Dangar une figure essentielle de la rela- tion entre l’avant-garde française et le modernisme australien. La correspondance qu’elle entretient toute sa vie durant avec son amie Grace Crowley installée en Australie montre qu’elle lui envoyait régulièrement des leçons et exercices pratiques sur les théories de Gleizes : Grace les intégra à ses cours entre 1932 et 1937 dans l’école qu’elle avait fondée avec Rah Fizelle. « [J]’ai vu de très très beaux dessins à la plume et gouaches de Monsieur Gleizes. Des gammes de couleurs sombres et profondes ; quelle puissance, souplesse et délicatesse ! Son travail est de plus en plus beau. » L’exposition du Musée de Valence présente les poteries d’Anne Dangar à la lumière des conceptions d’Albert Gleizes sur le retour à la terre et la promotion de l’artisanat. -
Annual Report 2008–09 Annu Al Repor T 20 08–0 9
ANNUAL REPORT 2008–09 ANNUAL REPORT 2008–09 REPORT ANNUAL ANNUAL REPORT 2008–09 The National Gallery of Australia is a Commonwealth authority established under the National Gallery Act 1975. The vision of the National Gallery of Australia is the cultural enrichment of all Australians through access to their national art gallery, the quality of the national collection, the exceptional displays, exhibitions and programs, and the professionalism of Gallery 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 2008–09, the National Gallery of Australia received an appropriation from the Australian Government totalling $78.494 million (including an equity injection of $4 million for development of the national collection and $32.698 million for Stage 1 of the building extension project), raised $19.32 million, and employed 256.4 full- time equivalent staff. © National Gallery of Australia 2009 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 Carla Da Silva Printed by Blue Star Print, Canberra National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/reports