Dale Hickey's Profile
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Art Almanac April 2018 $6
Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, -
Annual Report 2010–11
ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 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. -
BORGELT-CV-2015.Pdf
M A R I O N B O R G E L T Biography Lives and works in Sydney 2007 Art Angels Residency Program, Perth 2006-07 Collaboration with Adriano Berengo Glass, Murano, Italy 1995 Collaboration with master printer Fred Genis for Sherman Genis Graphics, Sydney 1990 Collaboration with René Tazé etching atelier, Paris, France 1989–98 Lived and worked in Paris, France 1989 French Government Artist Residency, Paris, France 1979–80 New York Studio School, Postgraduate studies, New York, US 1977 Torrens College of Advanced Education, Adelaide, Graduate Diploma Secondary Art Teaching 1973–76 South Australian School of Art, Diploma of Fine Art, Painting 1954 Born Nhill, Victoria Solo Exhibitions 2014 Luminous Light, Allens Art Projects, Melbourne Full Circle Red, Karen Woodbury Gallery, Melbourne Marion Borgelt: Wabi-Sabi and Other Influences, Port Macquarie Glasshouse Regional Gallery, NSW 2013 So Near So Far, inaugural exhibition, Dominik Mersch Gallery, Sydney 2012 To see a world in a grain of sand…, Fehily Contemporary, Melbourne Musical Geometry, Turner Galleries, Perth 2011 Rhythms, Chords & Cadences, Jan Manton Art, Brisbane Heartbeat, Dominik Mersch Gallery, Sydney 2010 Marion Borgelt: Mind & Matter, A 15 Year Survey, Drill Hall Gallery, Australian National University, Canberra 2009 Exotic Particles, Turner Galleries, Perth Moonlight in my Veins, Dominik Mersch Gallery, Sydney 2007 Flux & Permanence, Sherman Galleries, Sydney 360º, inaugural exhibition, Turner Galleries, Perth 2006 Nothing is Invisible, Christine Abrahams Gallery, Melbourne 2005 -
Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases. -
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. -
Art Gallery of NSW 5 September – 29 November 2009
ART Art Gallery of NSW GALLERY NSW 5 September – 29 November 2009 TACKLING THE FIELD 2 Tackling The Field Natalie Wilson The Event It was billed as the gala occasion of 1968, if not the decade. The lavish and much anticipated opening of the magnificently re-sited National Gallery of Victoria was held on the brisk winter evening of Tuesday, 20 August that year. The new building on St Kilda Road – the first phase of the $20 million Victorian Arts Centre complex – boasted a collection valued over $25 million, with its most valuable paintings, including works by Rembrandt, Tiepolo and Cézanne, acquired through the magnanimous bequest of industrialist Alfred Felton. In the towering Great Hall, intended for State receptions and banquets, the multi- hued glass ceiling by the Melbourne artist Leonard French – one of the world’s largest pieces of suspended stained glass – shimmered with radiant flashes of brilliant colour. As Evan Williams reported in the Sydney Morning Herald the following day, ‘with a candle-lit banquet, special exhibitions and seminars, a symphony concert, a trumpet fanfare composed for the occasion, it is some 1 opening’. The Field, National Gallery of Victoria, 1968 Left to right: on floor, Nigel Lendon Slab construction 11; Eric Shirley Encore; Tony However, it was the unveiling of the new temporary McGillick Polaris; Vernon Treweeke Ultrascope 5; Col Jordan Daedalus series 6 and on exhibition gallery a night later, on 21 August, which really floor Knossus II; Dick Watkins October; Robert Rooney Kind-hearted kitchen-garden IV. AGNSW Archives: image from The Bulletin, 12 Oct 1968 set the hearts of the art world racing. -
Gareth Sansom
JAMES GLEESON INTERVIEWS: GARETH SANSOM 28 November 1978 JAMES GLEESON: Gareth, can we begin right at the beginning; exactly when were you born and where? GARETH SANSOM: I was born on the 19th November 1939 in Melbourne, of a parentage, father from Western Australia and mother from the Wimmera area of Victoria. JAMES GLEESON: Any background of interest in the arts in your family? GARETH SANSOM: Well, thereʼs a very slim, tenuous connection possibly with my father who was a journalist for many years on The Herald newspaper, and for some of that time he was vaguely involved in film criticism. But apart from that, I think not, not a heavy cultural link. JAMES GLEESON: How did you become interested in art then? Was it an early awareness of it or did it— GARETH SANSOM: Probably I always drew, and I was always the person in primary school whose work was being selected for the back wall. When I got to high school it was still interesting to me but never anything more than, say, ʻa hobby situationʼ. JAMES GLEESON: Yes, yes. GARETH SANSOM: Then in 1954 the art teacher at Essendon High School selected a batch of works for the Sun Youth Art Show in Melbourne–when I was 14 or 15–and he left me out because in his opinion he didnʼt think I was good enough. So I sent in a private entry and won. After that I started getting high marks in art at school. It appeared to me that there may be something in this ability, if you like, that I might pursue. -
Cubism and Australian Art and Its Accompanying Book of the Same Title Explore the Impact of Cubism on Australian Artists from the 1920S to the Present Day
HEIDE EDUCATION RESOURCE Melinda Harper Untitled 2000 National Gallery of Victoria, Melbourne Purchased through the National Gallery of Victoria Foundation by Robert Gould, Benefactor, 2004 This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to the exhibition Cubism & Australian Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. HEIDE EDUCATION RESOURCE Heide Education is committed to providing a stimulating and dynamic range of quality programs for learners and educators at all levels to complement that changing exhibition schedule. Programs range from introductory tours to intensive forums with artists and other arts professionals. Designed to broaden and enrich curriculum requirements, programs include immersive experiences and interactions with art in addition to hands-on creative artmaking workshops which respond to the local environs. Through inspiring programs and downloadable support resources our aim is to foster deeper appreciation, stimulate curiosity and provoke creative thinking. Heide offers intensive and inspiring professional development opportunities for educators, trainee teachers and senior students. Relevant links to VELS and the VCE are incorporated into each program with lectures, floor talks and workshops by educators, historians and critics. Exclusive professional development sessions to build the capacity and capability of your team can be planned for your staff and potentially include exhibition viewings, guest speakers, catering, and use of the Sidney Myer Education Centre. If you would like us to arrange a PD just for your group please contact the Education Coordinator to discuss your individual requirements. -
Artwork Presentation John Cruthers
ARTWORK PRESENTATION Contemporary Art 14 August 2015 JOHN CRUTHERS rococo pop pty ltd CONTENTS David Aspden 3 Brian Blanchower 7 Stephen Bush 11 William Delaeld Cook 15 Lesley Dumbrell 19 Dale Frank 23 Robert Jacks 27 Tim Johnson 31 Ildiko Kovaks 35 Richard Larter 39 William Mackinnon 43 Gareth Sansom 47 Imants Tillers 51 2 o only one tone. This signalled the end o the modernist peers managed to navigate this tricky divide but Aspden, DAVID painting project and led directly to conceptual art, where as a pure and instinctive painter, could not. the idea o the art was more important than the artwork ASPDEN itsel - indeed, there was often no artwork. Through the later 1980s Aspden struggled. In a more negative critical environment he found less support, and Born England 1935. Arrived Australia 1950. Died 2005. Painter. David Aspden did not proceed into conceptual art, commercial prospects for his work toughened. Leading recognising that it was pointless for him as a painter. galleries still wanted to show him, however, and in Sydney David Aspden’s father was a carpenter/pattern-maker and After experimenting with pouring and staining, he hit both Roslyn Oxley9 and Annandale Galleries had solo his grandfather a picture framer, so he was aware o art upon a style that immediately clicked. It was based on the shows. But sales were few and Aspden sought other rep- from an early age. When he was 15 the family migrated to coloured stripes o earlier paintings, but with their edges resentation - or did it himsel with his wife Karen Coote. -
Heide Museum of Modern Art 2015 Annual Report Heide Museum of Modern Art 2015 Annual Report
HEIDE MUSEUM OF MODERN ART 2015 ANNUAL REPORT Heide Museum of Modern Art 2015 Annual Report CONTENTS 1. STATEMENT OF PURPOSE & VALUES 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTOR’S REPORT 3 4. CULTURAL PROGRAMMING 7 4.1 Exhibitions 7 4.2 Public Programs 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 19 5.1 Store 19 5.2 Visitor Services 21 5.3 Membership 22 5.4 Event Hire 22 5.5 Café Vue at Heide 22 6. COLLECTION 25 6.1 Acquisitions 27 7. FacILITIES 37 7.1 Maintenance 37 7.2 Gardens 38 8. MarKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Heide Director’s Circle 48 9.3 Grants 48 9.4 Development Committee 49 9.5 Heide Fellow 49 9.6 Annual Fundraising Dinner 49 9.7 Corporate Partnerships 50 9.8 Local Government Support 50 9.9 Sponsored Exhibitions 51 10. GOVERNANCE 56 10.1 Board 57 10.2 Heide Board Sub-Committees 59 10.3 Board Directors & Senior Management Personnel 60 11. STAFF & VOLUNTEERS 63 12. FINANCIAL STATEMENTS 66 13. NOTES TO THE FINANCIAL STATEMENTS 79 Cover image Gareth Sansom DIRECTORS’ DECLARATION 97 Religiosity á la Mode 2000 (detail) oil and enamel on canvas INDEPENDENT AUDIT REPORT 98 183.5 × 213.5 cm Heide Museum of Modern Art, Melbourne gift of Lion Capital Pty Ltd 2010 © the artist All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2015 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history. -
A Report on Survey Exhibitions in Australian Public Museums in the 1970S
HOLMES Jonathan Going Solo: a report on survey exhibitions in Australian public museums in the 1970s Abstract Solo survey exhibitions have been an important way in which the work of Australian artists has been critically reviewed and assessed. In the 1970s and early 1980s a flurry of survey exhibitions were mounted by the State Galleries, allowing the oeuvre of a large number of artists to be examined. Later in the 1980s and in the 1990s, the number of survey exhibitions being mounted by the State Galleries seemed to diminish quite dramatically as curatorial staff began to focus on other forms of exhibition. Jonathan Holmes, Jeff Malpas, Paul Zika, Maria Kunda and David Hansen have been investigating the part played by solo survey exhibitions in the history of Australian art since the mid-1970s. This paper will present the first findings of the research team – a survey of solo exhibitions in the 1970s - and will offer an early assessment of their significance in the broader context of contemporary Australian art and its critical discourse during that period. Biography Associate Professor Jonathan Holmes took up a teaching position at the Tasmanian School of Art in 1974, tutoring in Art History and Theory. He was appointed lecturer when the Tasmanian School of Art became a faculty of the University of Tasmania in 1981. His most recent exhibitions have been Figure It, a show that was developed, with Maria Kunda, to coincide with a National Portrait Gallery of Australia symposium on portraiture held in Hobart in 2001 and The Barcelona Studio: fragments of a brief history which is currently being shown in the Plimsoll Gallery. -
Notes on Painting 18 Mural-Scaled Wall Painting
Painting. More Painting Painting. More Painting Abdul Abdullah Travis MacDonald Nicola Smith Australian Centre for Contemporary Art Colleen Ahern Robert Macpherson Sam Songailo 30 July – 28 August; Teresa Baker Gian Manik John Spiteri 2 – 25 September 2016 Vivienne Binns Samson Martin Madonna Staunton Karen Black Helen Maudsley Esther Stewart Daniel Boyd Nigel Milsom Tyza Stewart Ry David Bradley Tully Moore Kristina Tsoulis-Reay Stephen Bram Jan Nelson Trevor Vickers Angela Brennan Elizabeth Newman Jenny Watson Kirsty Budge Nora Ngalangka Taylor Bradd Westmoreland Janet Burchill Jonathan Nichols Peter Westwood Mitch Cairns Jonny Niesche Ken Whisson Jon Campbell John Nixon Bugai Whyoulter Nadine Christensen & Unknown Artist Karl Wiebke Timothy Cook Rose Nolan Nora Wompi Juan Davila Daniel Noonan Marjorie Yates David Egan Nora Nungabar Nyapanyapa Yunupingu Hamishi Farah Alair Pambegan Diena Georgetti Oscar Perry Matthys Gerber Stieg Persson Nyarapayi Giles Tom Polo Irene Hanenbergh Elizabeth Pulie Melinda Harper Adam Pyett Louise Hearman Ben Quilty Raafat Ishak Lisa Radford Helen Johnson Lisa Reid David Jolly Reko Rennie Josey Kidd-Crowe Robert Rooney Fiona Lowry Gareth Sansom Moya McKenna Gemma Smith Tim McMonagle Kate Smith Foreword considers the material, perceptual acknowledge with appreciation the Contents and conceptual operations of many public and private lenders to Painting. More Painting explores contemporary painting as both a the exhibition, and the assistance the pictorial logic and medium self-referential, critical practice, and provided by artists’ gallerists HANNAH MATHEWS condition of contemporary painting as a means to explore the wider and representatives. We also to examine the ways in which artists conceptual implications of the work acknowledge our Media Partner Painting.