Ern Malley' James Mcauley Harold Stewart

'Ern Malley' James McAuley Harold Stewart Max Harris John Reed McAuley and Stewart then sent Harris their In the 1940's, Angry Penguins was a magazine work and a letter under the name of Ethel for the Australian literary and artistic avant Malley (Ern's supposed sister). Harris was garde movement published by the surrealist ecstatic, deeming Malley in the class of poet MAX HARRIS. It had a strong focus on Dylan Thomas. His fiends agreed. He then publishing modernist poetry. Before the rushed out a special edition of Angry Second World War, JAMES MCAULEY Penguins.Not all were convinced. An article (who later worked at Middle Head) and in the Adelaide University student paper HAROLD STEWART had been part of suggested that Harris had penned the poems Sydney's Bohemian arts world. They decried as some form of elaborate hoax. the evolution of early Modernism to later Subsequently, Harris hired a private forms that could best described as incoherent investigator to find Ethel Malley. Later the messes. They lamented the loss of Sydney Sunday Sun reported that the poems craftmanship and of meaning in poetry. had been written by McAuley and Stewart. So they decided to hoax Harris and his co editor JOHN REED. They constructed a fictional biography for 'Ernest Lalor Malley' a The Ern Malley hoax poet who it was claimed had died at the age had longlasting of 25. Then in one afternoom, they penned an repercussions. The entire body of work (to be ascribed to Malley) Australian movement seventeen poems of a page or less each. for modernistic They called the works The Darkening Ecliptic. writing received a They subsequently reported that they wrote severe setback. The down the first things that came into their conservatives were heads. strengthened. It was reported that A splash — the silver nymph prominent artist Was a foam flake in the night. Sidney Nolan But though the careful winds credited Ern Malley with inspiring him to Visited our trembling flesh paint his first Ned Kelly series "it made me They carried no echo. Night Piece 2 take the risk of putting against the Australian bush an utterly strange object"..

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ABSOLUTELY Press Kit Aug 25
1 ABSOLUTELY MODERN A NEW Film BY PHILIPPE MORA “Modern paintings are like women, you'll never enjoy them if you try to understand them.” Freddie Mercury PRESS KIT Inquiries: morafilms@ gmail.com https://www.facebook.com/pages/Absolutely- Modern/429822753746917 2 ABSOLUTELY MODERN is "Absolutely funny, fresh and thought- provoking. Philippe Mora at his best." Piotr Czerkawski, Film Critic Wroclaw “..there is a genuine heart and soul to the film that is something of a passion project for Mora.” Laurence Boyce Screen Daily “The creation here (of Lord Steinway) is definitely a masterpiece.” Anna Tatarska FRED Radio, The Festival Insider “Mora’s films break all conventions, combine different styles and are nearly always saturated with rebellious, surrealistic humor.” Adam Kruk Film Critic, New Horizons “Mora tells perhaps one of his most personal stories to date as he examines art and modernism. Mora, who casual fans would most likely know from such films as Communion and cult classic The Return of Captain Invincible, unsurprisingly does not tell the tale with any regard for the norms of convention..” Screen International “Philippe Mora…French Australian director legend.” Der Spiegel May 2013 3 SYNOPSIS OF THE FILM This story of Modernism, muses and the role of sexuality in art are told by famed art critic Lord Steinway. When a soccer player, confronts Steinway as his son, the story takes a modernist twist itself. This comedy hit at the 2013 New Horizons International Film Festival takes the form of a hybrid of fact and fiction about Lord Steinway, the “Method” art critic, making his television show THE EPIC OF CIVILIZATION.
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The Haunted Landscapes of James Mcauley
Writing from the Periphery: the haunted landscapes of James McAuley JEAN PAGE University of Lisbon In a comparative approach, this paper addresses the influence of important precursors on James McAuley’s early poetry, its forms, themes and motifs, notably in the early work, what might be described as ‘landscape’ poems, and especially how translation functioned in his apprenticeship. The second part of the paper examines McAuley’s successful return to the lyric landscape in the last decade of his life, and his apparent journey through a new phase of influences, dedications and appropriations. The term ‘landscape’ I do not use as a technical term, but rather as a word which best fits the poems I wish to describe which have, generally, a pictorial quality of images organised in a recognisable setting, a scene perhaps, often taken from nature and often adjacent to a more human-built environment, often featuring human figures or at least the gaze of a human onlooker, as well as that of the ‘reader’ onlooker. While Chris Wallace–Crabbe and David Bradley have commented on McAuley’s early landscape poems, including the concept of interior landscape, and there has been considerable comment on his later landscape poems influenced by Georg Trakl (notably by Gary Catalano, Carmel Gaffney, Peter Kirkpatrick, Igor Maver and Vivian Smith), this paper draws a link between the early and the later landscape poems. In addition, it further develops the recognition by Lyn McCredden and Noel Macainsh of the importance of translation in McAuley’s work. The Early Landscape Poems Between 1936 and 1938, the young aspiring poet James McAuley, then writing under the initials ‘JMc’, wrote what has become one of his most anthologised poems, ‘Envoi’, a poem of four quatrains of alternating rhyme (Collected Poems, 6).
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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.
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Sidney Nolan's Ned Kelly
Sidney Nolan's Ned Kelly The Ned Kelly paintings in the National Gallery of Australia With essays by Murray Bail and Andrew Sayers City Gallery_JWELLINGTON australia Te \Vliare Toi ■ national gallery of 7 © National Gallery of Australia 2002 Cataloguing-in-publication data This publication accompanies the exhibition Copyright of texts remains SIDNEY NOLAN'S NED KELLY SERIES with the authors Nolan, Sidney, Sir, 1917-1992. City Gallery Wellington, New Zealand Sidney Nolan's Ned Kelly: the Ned Kelly 22 February-19 May 2002 All rights reserved. No part of this publication paintings in the National Gallery of Australia. Part of the New Zealand Festival 2002 may be reproduced or transmitted in any form or by any means, electronic or Bibliography. mechanical, including photocopying, ISBN O 642 54195 7. Presented by recording or any information storage and retrieval system, without permission 1. Kelly, Ned, 1855-1880 - Portraits - Exhibitions. in writing from the publisher. 2. Nolan, Sidney, Sir, 1917-1992 - Exhibitions. EllERNST & YOUNG 3. National Gallery of Australia - Exhibitions. Co-published by the 4. Painting, Modern - 20th century - National Gallery of Australia, Canberra Australia - Exhibitions. 5. Painting, RUSSELL M�VEAGH and City Gallery Wellington, New Zealand Australian - 20th century - Exhibitions. I. Bail, Murray, 1941- . II. Sayers, Andrew. Produced by the Publications Department III. National Gallery of Australia. IV. Title. of the National Gallery of Australia Tele�erm NEW ZEALAND Designer Kirsty Morrison 759.994 Editor Karen
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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.
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An Introduction to the Life and Work of Amy Witting
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship... 'GOLD OUT OF STRAW': AN INTRODUCTION TO THE LIFE AND WORK OF AMY WITTING Yvo nne Miels - Flin ders University It is rather unusual for anyone to be in their early seventies before being recognised as a writer of merit. In this respect Amy Wining must surely be unique amongst Australian writers. Although she has been writing all her life, she was 71 when her powerful novel I for Isabel was published, in late 1989. This novel attracted considerable critical attention, and since then most of the backlog of stories and poetry written over a lifetime have been published. The 1993 Patrick White Award followed and she became known to a wider readership. The quality and sophistication of her work, first observed over fifty years ago, has now been generally acknowledged. Whilst Witting has been known to members of the literary community in New South Wales for many years, her life and work have generally been something of a literary mystery. Like her fictional character Fitzallan, the ·undiscovered poet' in her first novel Th e Visit ( 1977). her early publications were few, and scattered in Australian literary journals and short-story collections such as Coast to Coast. While Fitzallan's poetry was 'discovered' forty years after his death, Witting's poetry has been discovered and published, but curiously, it is absent from anthologies. For me, the 'mystery' of Amy Witting deepened when the cataloguing in-publication details in a rare hard-back copy of Th e Visit revealed the author as being one Joan Levick.
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The Devil Andjames Mcauley
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The Sydney Intellectual/ Religious Scene, 1916–2016
The Sydney intellectual/ religious scene, 1916–2016 James Franklin Strictly speaking, there is no intellectual/religious “scene” in Sydney, in the sense that there is, say, a folk music scene. A “scene” has groups which know one another and an audience that cycles through them. But with religion it is much more a matter of individual denominational silos with little interaction in the sphere of ideas and debate. There is no regular gathering in theology or religion that fulfils the role in the philosophy world of the annual Australasian Philosophy Conference. The century-old, interdenominational Heretics Club at Sydney University,1 which this journal issue celebrates, is a rare exception. But a dozen people meeting almost under cover of darkness do not constitute a “scene”. Nor has Sydney had any high-profile religious figure in its public life comparable to Archbishop Mannix in Melbourne. Hilary Carey wrote in the Dictionary of Sydney, “Religion has not been a notably creative force in Sydney’s cultural life and the city is conspicuously lacking in prophets or founders of new religions.”2 That has contributed to a poor penetration of local intellectual life by religious views. Furthermore, Sydney, unlike Melbourne, has a reputation of being anti- intellectual in religion, with Catholic life being shaped by the long reigns of the unintellectual Archbishops Kelly and Gilroy,3 Sydney evangelicals suspecting the fallenness of human reason, and Presbyterians hunting heretics. Archbishop Kelly was more concerned with the evils of mixed bathing, his Anglican counterpart Archbishop Wright with the opening of the Royal Easter Show on Good Friday.
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Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton 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. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting.
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Modern Love: the Lives of John and Sunday Reed Pdf Free Download
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Breathing in Art, Breathing out Poetry: Contemporary Australian Art and Artists As a Source of Inspiration for a Collection of Ekphrastic Poems
Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems. Erin Shiel A thesis submitted in fulfilment of requirements for the degree of Master of Arts (Research) Faculty of Arts and Social Sciences The University of Sydney 2016 Abstract: During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem.
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A Thousand Encores: the Ballets Russes in Australia
PUBLICITY MATERIAL A Thousand Encores: The Ballets Russes in Australia CONTACT PRODUCTION COMPANY flaming star films 7/32 George Street East Melbourne 3002 Tel: +61 3 9419 8097 Mob: +61 (0)417 107 516 Email: [email protected] EXECUTIVE PRODUCER Sharyn Prentice WRITER / DIRECTOR Mandy Chang PRODUCERS Marianne Latham / Lavinia Riachi EDITOR Karin Steininger Ballets Russes dancer Anna Volkova as the Golden Cockerel in Fokine's Le Coq d'Or A Thousand Encores: The Ballets Russes in Australia SHORT SYNOPSIS A Thousand Encores is the story of how the greatest ballet company of the 20th Century - the celebrated Ballets Russes, came to Australia and awoke a nation, transforming the cultural landscape of conservative 30’s Australia, leaving a rich legacy that lasts to this day. EXTENDED SYNOPSIS A Thousand Encores tells the surprising and little known story of how, over 70 years ago, an extraordinary company of dancers made a deep impact on our cultural heritage. In 1936, the celebrated Ballets Russes de Monte Carlo stepped off a boat into the bright Australian sunlight. With exotic sets and costumes designed by cutting edge-artists and avant-garde music by great composers like Stravinsky, the Ballets Russes inspired a nation and transformed our cultural landscape. Over five years from 1936 to 1940 they came to Australia three times, winning the hearts and minds of Australian audiences, inspiring a generation of our greatest artists - Grace Cossington Smith, Jeffrey Smart and Sidney Nolan - and ultimately sowing the seeds for Australian ballet today. The story is bought alive using a rich archival resource. Australia has the biggest collection of Ballets Russes footage in the world and an impressive photographic record - the most famous pictures taken by a young Max Dupain.
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