Foundation Annual Report 2014
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Bound for South Australia Teacher Resource
South Australian Maritime Museum Bound for South Australia Teacher Resource This resource is designed to assist teachers in preparing students for and assessing student learning through the Bound for South Australia digital app. This education resource for schools has been developed through a partnership between DECD Outreach Education, History SA and the South Australian Maritime Museum. Outreach Education is a team of seconded teachers based in public organisations. This app explores the concept of migration and examines the conditions people experienced voyaging to Australia between 1836 and the 1950s. Students complete tasks and record their responses while engaging with objects in the exhibition. This app comprises of 9 learning stations: Advertising Distance and Time Travelling Conditions Medicine at Sea Provisions Sleep Onboard The First 9 Ships Official Return of Passengers Teacher notes in this resource provide additional historical information for the teacher. Additional resources to support student learning about the conditions onboard early migrant ships can be found on the Bound for South Australia website, a resource developed in collaboration with DECD teachers and History SA: www.boundforsouthaustralia.net.au Australian Curriculum Outcomes: Suitability: Students in Years 4 – 6 History Key concepts: Sources, continuity and change, cause and effect, perspectives, empathy and significance. Historical skills: Chronology, terms and Sequence historical people and events concepts Use historical terms and concepts Analysis -
Full Transcript of 2019 Crown Resorts AGM This Is a Full
Full transcript of 2019 Crown Resorts AGM This is a full transcript of the 2019 Crown Resorts AGM, taken from this audio webcast of the meeting on October 24. The company declined to supply a transcript to shareholders, so we commissioned one. John Alexander Good morning ladies and gentlemen. My name is John Alexander and I'm the Executive Chairman of Crown Resorts Limited. On Behalf of your Board of directors, I welcome you to the 2019 Crown annual general meeting and thank you for your attendance. I would like to start by introducing your directors. Starting on the far end on my right, John Poynton, Andrew Demetriou, Toni Korsanos and Mike Johnston. On my left is Geoff Dixon, Guy Jalland and John Horvath, Helen Coonan, Jane Halton and Harold Mitchell. Also with me on the stage today is Mary Manos, our company secretary and Ken Barton, our chief financial officer. Also in attendance is Crown's auditor for the 2019 financial year, Michael Collins from Ernst and Young. To commence our formal proceedings I would like to introduce Jacinta CuBillo who will provide the Acknowledgement of Country. Jacinta Cubillo Good morning. I'd like to commence By acknowledging the traditional owners on the land of which we meet here today, the Wurundjeri and Boon Wurrung people of the Kulin Nation and pay my respects to their elders past, present and emerging. Thank you. John Alexander Thank you, Jacinta. As a quorum is present, I will now declare the meeting open. The notice of meeting was sent to all shareholders and copies are available at the registration desk. -
On Site : Installations by Tom Arthur
ON SITE INSTALLATIONS BY TOM ARTHUR JULIE BROWN ELIZABETH GOWER HOSSEIN VALAMANESH Tasmanian School of Art Gallery, This exhibition was assisted by the University of Tasmania, Commonwealth Government through the Visual Mt Nelson Campus, Hobart, Arts Board, Australia Council. September 4 - October 27, 1984 ISBN 0 85901 258 1 p.l PREFACE Fundamental to the Tasmanian School of Art Gallery Committee's exhibition policy is the commitment to exhibit work from outside Tas mania. Normally the selected works are re ceived in crates, unpacked and displayed. Occasionally the artist may be present to install the work or to participate in con current lectures/seminars. The latter can give greater meaning to the completed work, but rarely is there an opportunity to witness the work in progress. The Gallery exists within an art school, and this exhibition was intended to extend the normal educative role of exhibitions. Each artist spent approximately two weeks "in residence", developing and completing a work. The piece didn't have to be "site specific", so preliminary work could commence prior to arrival. However, it was essential that further evolution took place on site. There was no intended thematic link between the four artists; buf what they had in common was a body of work which illustrated an ability to participate within the exhibition's frame work and an involvement in a range of disciplines (without any being easily cate gorized within any particular discipline). The diversity proved to be a considerable asset. Not only did the audience gain an insight into the range of conceptual posi tions of four professional artists, but also into the individual pre-occupations and idio syncracies of their particular art practice. -
Heide Sculpture Park Discovering Art in Outdoor Spaces
HEIDE EDUCATION Heide Sculpture Park Discovering art in outdoor spaces Anish Kapoor Inge King In The Presence of Form II 1993 (Foreground) Rings of Saturn 2005-2006 (Background) carved Portland stone stainless steel 174 x 170 x 110 cm 450 x 450 x 450 cm Untitled 1993 (Front) Heide Museum of Modern Art carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern 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 2011 For personal use only – do not store, copy or distribute Page 1 of 21 HEIDE EDUCATION Sculptures in the Park Dennis Oppenheim (1953–2011) Basket and Wave (From Dreams and Nightmares. Journey of a Broken Weave) 1984 Materials: _________________________ 488 x 549 x 792 cm Heide Museum of Modern Art Gift of the artist and Diana Gibson 1985 Current location: Connie Kimberley Sculpture Park At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer. Displaying sculptures throughout the park would take full advantage of the Museum's unique location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981 "The landscape is an integral part of Heide and most important in its ethos. -
Miguel Ángel García Navarrete Y Antonio R. Navarrete Orcera, La Mitología Clásica En Los Museos De
LA MITOLOGÍA CLÁSICA EN LOS MUSEOS DE AUSTRALIA MIGUEL ÁNGEL GARCÍA NAVARRETE & ANTONIO R. NAVARRETE ORCERA IES San Juan de la Cruz (Úbeda, Jaén) [email protected] Resumen Este trabajo es fruto de un viaje a Australia en busca de mitología y naturaleza virgen. Se visitan tres importantes museos: Art Gallery of New South Wales (Sydney), Nati onal Gallery of Victoria (Melbourne) y Art Gallery of South Australia (Adelaida), que sorprenden tanto por la cantidad como por la belleza de las obras mitológicas contenidas en ellos. Palabras clave Australia, Sydney, Melbourne, Adelaida, museos de arte, mitología, pintura. Abstract This work is the result of a trip to Australia, trying to find mythology and nature. Three major museums have been visited: Art Gallery of New South Wales (Sydney), National Gallery of Victoria (Melbourne) and Art Gallery of South Australia (Adelaida). All of them are impressive not only because of the number, but also the beauty of their mythological works of art. Key words Australia, Sydney, Melbourn, Adelaida, Art Gallery, mythology, painting. Thamyris, n. s. 6 (2015) 441-469 ISSN: 2254-1799 M. A. GARCÍA NAVARRETE & A. R. NAVARRETE ORCERA 442 A las bellezas naturales que de por sí ofrece el continente australiano, se añade otra no menos atractiva, la de albergar mitología, en sus museos y en sus calles. Así lo pudimos comprobar mi sobrino Miguel Ángel —coautor de este trabajo— y yo mismo en un reciente viaje a tres de las principales ciudades de Australia: Sydney, Melbourne y Adelaida. Nos sorprendió encontrar en ellas tantas —y tan bellas— obras de mitología, que nos dio la impresión de estar en casa, a pesar de los miles de kilómetros que nos separaban. -
The Iconography of Arthur Boyd Lecturer: Kendrah Morgan 29/30 August 2018
Art Appreciation Lecture Series 2018 The Hidden Language of Art: Symbol and Allusion. Lecture title: The Iconography of Arthur Boyd Lecturer: Kendrah Morgan 29/30 August 2018 Lecture summary: Acclaimed artist Arthur Boyd (1920–1999) was a master in a range of media but most widely recognised for the extraordinary allegorical paintings that he produced in series across the course of his long career. This lecture focuses on how Boyd developed his distinctive and deeply personal symbolic language, exploring the evolution and meaning of specific motifs and how he applied and extended these in key sequences of paintings to create images of universal and lasting relevance. While Boyd’s work is stylistically diverse, his iconography is remarkably consistent, allowing us to identify what inspired and drove him, and made him one of the most important Australian artists of the twentieth century. Slide list: Joshua Reynolds, 1. (Title image) Arthur Boyd, Wedding Group 1957-8, oil and tempera on composition board, 130 x 160 cm, private collection, Melbourne. 2. (Clockwise from left) Arthur Boyd, Self Portrait in Red Shirt 1937, oil on canvas on cardboard, 51.5 x 45.4 cm, National Gallery of Australia, Canberra, The Arthur Boyd Gift 1975; Merric Boyd with Arthur and Lucy at Open Country, Murrumbeena (detail) c.1922, photographer unknown, Bundanon Trust Archive, NSW; Doris Boyd with her children 1929, photographer unknown, Bundanon Trust Archive, NSW. 3. (Left) Arthur Boyd, Untitled Landscape c.1934, 75.5 x 65.5 cm, Heide Museum of Modern Art, Melbourne, gift of Dr John Green 2017; (Right)Albert Tucker, Arthur Boyd in his studio c.1945, gelatin silver photograph, 40.6 x 30.6 cm, Heide Museum of Modern Art, Melbourne, gift of Barbara Tucker 2001. -
10 –19 January
29TH INTERNATIONAL SHORT FILM FESTIVAL ELECTRIFYING SHORT FILMS 10 –19 JANUARY BONDI PAVILION, BONDI BEACH As Australia’s leading Academy® accredited Affairs And Trade, and Australia now ASEAN short film festival, the shorts in competition at 2019, European Union Delegation to Australia, Flickerfest are fiercely vying for a number of and Screen NSW. prestigious prizes including the Flickerfest Award I would also like to extend an enormous thanks for Best International Short Film, the Yoram to our major government partner Screen Gross Award for Best International Animation, Australia who supports both our festival, and the the Flickerfest Award for Best Australian Short national tour, and who has been a continuous Film, and for Best Documentary. Plus a host of source of encouragement as we strive to deliver other hotly contested prizes, which recognise the our vision of providing a platform that nurtures various craft areas inherent in making a great and supports Australian Filmmakers, and in turn short film. provides Australian audiences with access to 2020 will bring over 23 different short film inspirational storytelling from their own backyard programmes across the 10-day festival and beyond. season. We are proud to announce that BRONWYN KIDD To all our partners who are acknowledged in due to the outstanding home grown talent FESTIVAL DIRECTOR this programme, I am extremely grateful for the and creativity received this year, we will essential and ongoing support they provide. We Welcome to the 29th Flickerfest International be screening 7 Australian competitive thank them enormously for their belief in us, Short Film Festival. As we move forward into programmes in addition to the 5 international which assists us in maintaining Flickerfest as one another film filled and jam packed festival, I am and 2 documentary programmes, which of the best short film competitions in the world. -
James Turrell's Skyspace Robert Dowling Life, Death
HANS HEYSEN ROBERT DOWLING ROBERT LIFE, DEATH AND MAGIC AND MAGIC LIFE, DEATH JAMES TURRELL’S SKYSPACE SKYSPACE TURRELL’S JAMES ISSUE 62 • winter 2010 artonview ISSUE 62 • WINTER 2010 NATIONAL GALLERY OF AUSTRALIA The National Gallery of Australia is an Australian Government Agency Issue 62, winter 2010 published quarterly by 3 Director’s foreword National Gallery of Australia GPO Box 1150 exhibitions and displays Canberra ACT 2601 nga.gov.au 6 Robert Dowling: Tasmanian son of Empire ISSN 1323-4552 Anne Gray Print Post Approved 10 Life, death and magic: 2000 years of Southeast Asian pp255003/00078 ancestral art © National Gallery of Australia 2010 Copyright for reproductions of artworks is Robyn Maxwell held by the artists or their estates. Apart from 16 Hans Heysen uses permitted under the Copyright Act 1968, no part of artonview may be reproduced, Anne Gray transmitted or copied without the prior permission of the National Gallery of Australia. 20 Portraits from India 1850s–1950s Enquiries about permissions should be made in Anne O’Hehir writing to the Rights and Permissions Officer. 22 In the Japanese manner: Australian prints 1900–1940 The opinions expressed in artonview are not necessarily those of the editor or publisher. Emma Colton Produced the National Gallery of Australia Publishing Department: acquisitions editor Eric Meredith 26 James Turrell Skyspace designer Kristin Thomas Lucina Ward photography Eleni Kypridis, Barry Le Lievre, Brenton McGeachie, Steve Nebauer, 28 Theo van Doesburg Space-time construction #3 David Pang, -
A STUDY GUIDE by Katy Marriner
© ATOM A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN-13-978-1-74295-072-3 http://www.theeducationshop.com.au PLEASE NOTE: TEACHERS ARE ADVISED TO PREVIEW THE FILM BEFORE SHOWING IT TO STUDENTS. STUDENTS SHOULD ALSO BE BRIEFED ABOUT THE CONTENT AND PURPOSE OF WALL BOY PRIOR TO VIEWING. WALL BOY WALL BOY is a sensitive account of the issues facing vulnerable young people in contemporary Australian society. The film is both unsettling and brave in its dramatisation of the fractured world of a vulnerable adolescent. Some students may find the references to sex and drugs too confronting and the dimensions of the narrative too upsetting. This study guide accompanies the short fiction film WALL BOY by Shark Island Productions, makers of THE OASIS documentary. It has been written for senior secondary students and practitioners, and provides information and suggestions for learning activities in English, Drama, Health and Human Development, Media, Religion and Society, VCE VET Community Services and curriculum projects exploring social justice issues in contemporary Australian society. WALL BOY could also be shown to teachers as part of professional development sessions addressing student welfare and pastoral care. Some of the questions and activities in this study guide will be of use to organisations, community groups and counselling services that support vulnerable young people. WALL BOY is the story of a vulnerable sixteen- year-old boy forced to work as a male sex worker at a notorious spot in inner city Sydney called The Wall. A youth worker from the Salvation Army’s outreach bus tries to reach out to him, but the © ATOM SCREEN EDUCATION boy won’t speak or even make eye contact. -
2018 Brochure Web.Pdf
SEASON 2018 2 A message from Kip Williams 5 The top benefits of a Season Ticket 10 Insight Events 13 Get the most out of your Season Ticket THE PLAYS 16 Top Girls 18 Lethal Indifference 20 Black is the New White 22 The Resistible Rise of Arturo Ui 24 Going Down 26 The Children 28 Still Point Turning: The Catherine McGregor Story 30 Blackie Blackie Brown 32 Saint Joan 34 The Long Forgotten Dream 36 The Harp in the South: Part One and Part Two 40 Accidental Death of an Anarchist 42 A Cheery Soul SPECIAL OFFERS 46 Hamlet: Prince of Skidmark 48 The Wharf Revue 2018 HOW TO BOOK AND USEFUL INFO 52 Let us help you choose 55 How to book your Season Ticket 56 Ticket prices 58 Venues and access 59 Dates for your diary 60 Walsh Bay Kitchen 61 The Theatre Bar at the End of the Wharf 62 The Wharf Renewal Project 63 Support us 64 Thank you 66 Our community 67 Partners 68 Contact details 1 A MESSAGE FROM KIP WILLIAMS STC is a company that means a lot to me. And, finally, I’ve thought about what theatre means to me, and how best I can share with It’s the company where, as a young teen, I was you the great passion and love I have for this inspired by my first experience of professional art form. It’s at the theatre where I’ve had some theatre. It’s the company that gave me my very of the most transformative experiences of my first job out of drama school. -
November 2019
Care Resilience Create Optimism Innovate Courage UHSnews Knowledge ISSUE: 7| TERM FOUR 2019 Inside this issue From our Principal, Mr David Harriss End of year Information Hello everyone, and welcome to our second-last newsletter for the year. Year 12 Exams are 2 Year 12 Graduation finished, all work has been submitted and our 2019 cohort can now relax and await their 4 final results just before Christmas. A final year 12 report will be coming home soon based School Sport 10 on school-based results. These grades will go through a standards moderation process and Mathematical Mindsets may be altered by the SACE Board, and their Externally Marked work (Exams, Investigations 11 etc.) needs to be added as well. I would like to take this opportunity to thank all of these Student Voice 16 students and their families for their contribution to Underdale High School and wish them Dental Program all the best in whatever endeavours they wish to pursue in the future. 19 Calendar Dates Plans for our $20million development are nearing completion, and some of these plans and images will be on our Website soon. I will let you know when this happens. It is envisaged Term 4 that building will start in the second half of next year and be completed by the end of 2021, Week 6 in readiness for the Year 7’s coming to Underdale High School. We are excited by both of these events, and they promise to build on our great school community. Wednesday 20th November - Year 12 Formal The last weeks of school are vital for our remaining students. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.