Foundation Annual Report 2012–13
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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. -
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. -
“Siam's Borān Buddhism” from the Reign of Rāmā I (1782-1809 CE.)
The Dhammakāyānussati-kathā: A Trace of “Siam's Borān Buddhism” from the Reign of Rāmā I (1782-1809 CE.) Woramat Malasart A thesis submitted for the degree of Master of Arts Of the University of Otago, Dunedin New Zealand June 4, 2019 Abstract The Dhammakāya text genre appears in manuscripts, inscriptions, and printed texts found in Central Thailand, Northern Thailand, and Cambodia. Texts belonging to this genre share the same core Pāli verses, and date back to the Ayutthaya period. In this thesis, I transliterate, translate, contextualise and analyse the Dhammakāyānussati-kathā, “Words on the Recollec- tion of the Body of Dhammas,” which was part of the Suat Mon Plae, a collection of Bud- dhist chanting rituals compiled during the 1st reign (1782-1809), using a historical-critical approach to the text. The Dhammakāyānussati-kathā consists of verses composed in Pāli fol- lowed by the Thai translation, using a traditional method called yok sab. The first three parts of the Dhammakāyānussati-kathā share the core Pāli verses of the Dhammakāya text genre, but the final section, which praises the Buddha‟s physical body, is different. The Pāli vers- es describe the Buddha‟s auspicious marks including radiance, hair, height, etc., verses that are also found in the Golden Manuscript Braḥ Dhammakāya, a text that can be dated to the 1st reign. Today, the Dhammakāyānussati-kathā is not well-known in Central Thailand, but its similar texts are still used in Northern Thailand and Cambodia during buddhābhiṣeka and the ritual of installing the Buddha‟s heart into a Buddha statute and chedī. -
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. -
Review of the Funeral Casino
Journal of Buddhist Ethics ISSN 1076-9005 Review of The Funeral Casino The Funeral Casino: Meditation, Massacre, and Exchange with the Dead in Thailand. Allen Klima, Princeton: Princeton University Press, 2002. 336 pages. ISBN 0691074607 (paperback). Reviewed by Patrice Ladwig PhD. candidate, Social Anthropology University of Cambridge Copyright Notice Digital copies of this work may be made and distributed provided no change is made and no alteration is made to the content. Reproduc- tion in any other format, with the exception of a single copy for private study, requires the written permission of the author. All enquiries to: [email protected] Patrice Ladwig Review of The Funderal Casino Variations on Death and the Necromantic Field in Buddhist Thailand The Buddhist meditation technique called asubha kammaṭṭhāna is a practice that fo- cuses on the contemplation of death, the impermanence of the body and the repulsiveness of single body parts in various states of decomposition. In the course of their often year- long practice, some Thai Buddhist monks and nuns visualise gruesome death images, such as photos taken from autopsies, real bodies or mummies, which are donated to the temple and kept there as meditation objects. Some of the more austere monks live on charnel grounds for many years in order to achieve the desired state of detachment. A topic like this could have been the subject of another study of radical “otherness”, one of the narratives that have been nourishing anthropology as a discipline for so long. If one wants to follow Alan Klima, however, the image of the cadaver leads the reader not only onto the charnel grounds of central Thailand, but also onto the streets of Bangkok in 1972, 1976 and 1992 when the pro-democracy movement had clashes with the military regimes and the symbol- ism and the power of the dead body had a decisive influence on the direction taken by Thai politics. -
Thai Buddhist Sculpture Recognition System (Tbusrs)
IACSIT International Journal of Engineering and Technology, Vol.3, No.4, August 2011 Thai Buddhist Sculpture Recognition System (TBuSRS) Chomtip Pornpanomchai, Member, IACSIT, Vachiravit Arpapong, Pornpetch Iamvisetchai, and Nattida Pramanus Abstract—The objective of this research is to develop a computer system that can recognize some Thai Buddhist sculptures. The system is called “Thai Buddhist sculpture recognition system (TBuSRS)”. The TBuSRS consists of five components, which are 1) image acquisition, 2) image preprocessing, 3) feature extraction, 4) image recognition, and 5) display result. In the image acquisition component, the Buddhist sculpture picture is taken by a digital camera. In the image preprocessing component, the Buddhist statue image is enhanced for easy extraction of the Buddhist features. In the feature extraction component, the TBuSRS extracts 14 features used for recognizing a Buddhist sculpture. In the image recognition component, the Euclidean distance technique is applied to recognize the Buddhist sculpture image. In the display result component, a graphic user interface (GUI) is created for displaying the recognition results. The TBuSRS trained the database with 50 kinds of Buddhist sculptures with Fig. 1 The Buddhist sculpture styles in Thailand a total of 500 images. The experiments were conducted on 50 . kinds of Buddhist statue images, with a total of 500 images for • testing a training data set, and 21 kinds of Buddhist statue Dvaravati period (7th through 11th centuries) image with a total of 105 images for testing an un-training data This period consisted of three Buddhist image styles, which set, with the precision rates of training and un-training data set are: 1) Sri Vijaya images (as shown in Figure 1(a)), 2) of 90.00 percent and 72.38 percent, respectively. -
Report of the Queensland Art Gallery Board of Trustees
REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 September 2009 The Honourable Anna Bligh, MP Premier of Queensland and Minister for the Arts PO Box 15185 City East Qld 4002 Dear Premier I am pleased to present the Annual Report 2008–09 for the Queensland Art Gallery. I certify that this Annual Report complies with: • the prescribed requirements of the Financial Accountability and Audit Act 1977 and the Financial Management Standard 1997, and • the detailed requirements set out in the Annual Reporting Guidelines for Queensland Government Agencies. A checklist outlining the annual reporting requirements can be accessed at www.qag.qld.gov.au. Yours sincerely Professor John Hay, AC Chair, Board of Trustees GALLERY PROFILE QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 3 CONTENTS COVER 5 GALLERY PROFILE Works from Ah Xian’s ‘Metaphysica’ series 2007 in ‘The China Project’ at GoMA. With the generosity of Tim Fairfax, AM, a group of six of 6 HIGHLIGHTS AND ACHIEVEMENTS the sculptures was acquired for the Collection. The ‘Metaphysica’ series was loaned by the artist for 9 CHAIR’S OVERVIEW ‘The China Project’. Ah Xian ‘Metaphysica’ series (detail) 2007 13 DIRECTOR’S OVERVIEW Bronze and brass 36 sculptures: dimensions variable 16 2008–09 — CONNECTING ART AND PEOPLE OPPOSITE Installation view of 17 TWO SITES, ONE VISION acquisitions in GoMA. Foreground: Tobias Putrih 21 CULTURAL TOURISM Connection 2004 Cardboard boxes 25 COLLECTION DEVELOPMENT Purchased 2008 with funds from Tim Fairfax, AM, through the 33 ACCESSIBILITY AND EDUCATION Queensland -
Tradition and Transformation of Thai Classical Dance: Nation, (Re) Invention and Pedagogy
Tradition and Transformation of Thai Classical Dance: Nation, (Re) invention and Pedagogy Submitted by Pawinee Boonserm to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama In October 2016 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract This research aims to analyse the role and consequence of state patronage and promotion of Thai classical dance after the revolution of 1932, when the patronage of court dance changed from royal to state support. This research examines connections between the authority of the state, nationalism, Thai identity, and the invention of tradition, by focussing on the reconstruction of Thai classical dance, the promotion of spirituality in the Wai Khru ceremony, and dance pedagogy. This study uses historical research and ethnography through participant-observation, and interviews with senior dance teachers, national artists, masters of the Wai Khru ceremony, and dance artists in the Fine Arts Department, and also draws on the researcher’s personal experience in dance training as a dancer and dance teacher for several years. The thesis offers a detailed analysis of the socio-political context and cultural policy in relation to the establishment of the Fine Arts Department and the Dramatic Arts College; the national institutions whose main roles were to preserve, perform and offer training in traditional dance. -
Development of a Model for Organizing Cultural Activities to Study Buddhist Teachings at Temples in Bangkok, Thailand
Asian Social Science; Vol. 9, No. 9; 2013 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education Development of a Model for Organizing Cultural Activities to Study Buddhist Teachings at Temples in Bangkok, Thailand Phrakhru Pariyattithammakhun Piwsa1, Kla Somtrakool1 & Anchalee Jantapo1 1 The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham, Thailand Correspondence: Phrakhru Pariyattithammakhun Piwsa, 119 Ram 1 Road, Rong Muang, Pathumwan, Bangkok 10330, Thailand. E-mail: [email protected] Received: March 29, 2013 Accepted: May 18, 2013 Online Published: June 28, 2013 doi:10.5539/ass.v9n9p64 URL: http://dx.doi.org/10.5539/ass.v9n9p64 Abstract Buddhism is an intrinsic feature of Thai culture. With a ninety percent Buddhist population, Thailand has been built around the principles of Dharma. These principles have traditionally been taught to the local community by temples, through a variety of different activities. Recently, however, Thai society has adopted an increasing number of Western cultural features that have caused the importance of traditional Buddhist activities to decline. This research tries to understand the reasons for the decline of community interest in local Buddhist activities in Bangkok, so to propose a model for the organization of such activities and ensure that they are not lost to future generations. Keywords: Buddhism, temple, activity, culture, society, organization, development 1. Introduction Buddhism originated in India two thousand five hundred years ago at a time of many religions and doctrines. Each of these religions and doctrines had ancient foundations of belief, making it extremely difficult for Buddhism to occur. -
Collective Identity(Ies): This Is That Time
EDUCATION RESOURCE KIT A CASE STUDY COLLECTIVE IDENTITY(IeS): THIS IS THAT TIME 1 INTRODUCTION With the education strategies written by Kate Caddey, the exhibition text prepared by Lisa Corsi and published by Lake Macquarie City Art Gallery, 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. The gallery 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 resource kit is available directly from the gallery, or online at www.artgallery.lakemac.com.au. A CASE STUDY A series of case studies (a minimum of FIVE) should be undertaken with students in the HSC course. The selection of content for the case study should relate various aspects of critical and historical investigations, taking into account practice, the conceptual framework Cover: and the frames. Emphasis may be given to a particular Gordon Bennett aspect of content although all should remain in play. The Nine Ricochets (Fall down black fella, jump up white fella) 1990 Case studies should be 4–10 hours in duration in the oil and synthetic polymer paint HSC course. on canvas and canvas boards 220 x 182cm image courtesy the artist and NSW Board of Studies, Visual Arts Stage 6 Syllabus, 2012 Milani Gallery, Brisbane. photo Carl Warner private collection, Brisbane CONTENTS ABOUT THIS EDUCATION RESOURCE KIT COLLECTIVE IDENTITY(IeS) ESSAY -
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 -
Mike Parr Blind Self Portraits
ARNDT BERLIN POTSDAMER STRASSE 96 10785 BERLIN GERMANY PHONE +49 30 206 138 70 [email protected] WWW.ARNDTBERLIN.COM MIKE PARR BLIND SELF PORTRAITS 21 SEPTEMBER – 02 NOVEMBER 2013 FOREWORD I knew of Mike Parr’s performance work long before I was aware it was the work of an Australian artist. When I moved to Australia with my family two years ago, my goal was to focus on bringing major international and Asian art to Australia and the best work from Southeast Asia to Europe. I decided to leave Australian art to the experts, who could serve the work far better. On a number of occasions over the past twenty-five years of my career, reality has shown that exceptions need to be made, and this was now the case with Australian art. For whenever and wherever I went in Australia – museums, foundations and private collections – I saw the most stunning, breathtaking works by Mike Parr. For the past twenty years my mission in Berlin has been to bring major artists and their work to audiences who would otherwise not encounter these radical positions, and this mission continues for the Asia-Pacific art landscapes. When Mike Parr and I finally met about his work, we discovered our missions and visions overlapped. I felt strongly that his work needed to be seen and engaged within a European context. Meanwhile, he was prepared to dedicate two years of creation towards an exhibition of new work in Berlin. The result: Berlin and Western audiences connect immediately and instinctively with Mike Parr’s work, without questioning whether they are viewing the work of an Australian artist.