DOCSLIB.ORG

Art Association of Australia and New Zealand Annual Conference

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Association of Australia and New Zealand Annual Conference Art Association of Australia and New Zealand Annual Conference Nov 2009 26-28 The Australian National University Reason 29: Duck! Kimberley spear points were prized possessions. Made from glass, stone or ceramics, they show the ingenuity and resourcefulness of Indigenous Australians in adapting and recycling materials. How many more reasons do you need to visit? .com.au couchcreative 6768 Free general admission. Open 9 am – 5 pm daily (closed Christmas Day) Lawson Crescent Acton Peninsula Canberra. Freecall 1800 026 132 www.nma.gov.au The National Museum of Australia is an Australian Government Agency Glass point from the Kimberley region, Western Australia NMA 6768_FA_Spear_A4.indd 1 27/10/09 12:40:06 PM Art Association of Australia and New Zealand Annual Conference Nov 2009 26-28 The Australian National University Conference Convenors The annual AAANZ conference for 2009 is jointly organised by representatives of various sections of The Australian National University's ANU College of Arts and Social Sciences: Professor Howard Morphy Research School of Humanities Gordon Bull ANU School of Art Dr Elisabeth Findlay School of Humanities Celia Roach ANU School of Art Dr Rebecca Elliott School of Humanities Conference Website www.aaanz.info Hosts The information contained in this publication was correct at the time of printing. The conference organisers bear no responsibilities for withdrawn or altered papers. The views expressed within this publication are those of the authors and not the conference organisers. WELCOME on behalf of the ANU College of Arts and Social Sciences at The Australian National University (ANU), I would like to welcome you to the Art Association of Australia and New Zealand (AAANZ) Annual Conference for 2009. This conference brings together a broad range of art historians, critics, curators, artists and art students. The organising committee chose to keep the theme of the conference open and allow the sessions to emerge from the most current research being undertaken by AAANZ community. The result is a diverse and stimulating range of papers. No doubt the quality of the scholarship will result in a very rewarding conference. one of the benefits of holding the conference in Canberra is the opportunity to collaborate with our major national arts institutions. We particularly wish to thank the National Museum of Australia for hosting and staging the launch of this year’s conference. We would like to thank all of the speakers for their contribution. The strength of the conference relies on the presenters putting in the time and effort to travel to Canberra to present their research. We are also especially thankful to the session convenors for their hard work in initiating and co-ordinating such a broad range of themes. Gordon Bull Head of the ANU School of Art ANU College of Arts and Social Sciences The Australian National University FORWARD As President of the Art Association of Australia and New Zealand I warmly welcome delegates and visitors to our 2009 Annual Conference, generously hosted by ANU. The Art Association of Australia was founded in 1974 to act as a professional body representing art historians, critics, curators, artists and art students in the region. The publishing activities and conferences were of course never restricted to Australian topics or researchers and a true balance was found between national and international concerns. our core activities are the publication of an annual scholarly journal, the Australian and New Zealand Journal of Art, the first refereed art-historical journal in Australia, and the management of an annual conference, generally featuring an invited keynote speaker or speakers. This year I warmly welcome Professor Jonathan Mane-Wheoki (The University of Auckland) to open our annual conference. The conference papers that will be presented this year attest to the range and diversity of art historical, critical and curatorial scholarship currently being undertaken in this region; they range from analysis of the recreation of shells in eighteenth-century French art to Aboriginal art centres as frontiers of thought. Several large themes are being run by session leaders, and they include work on the materiality of art; contemporary issues in Aboriginal art; the representation of war; negotiating Paris 1900-1950; bringing interpretive worlds to view; contemporary photography, landscape and history; art and the crises of the contemporary world; portraiture; contemporary space in crises; the body, dress and location; legacies of Surrealism; modernism in crisis ‘down South’; keyword curating; building collections; and art in Asia/Australia. With such a range of papers and up to eight parallel sessions, perhaps the only regret from members will be that they cannot attend more of their peer’s papers. A range of Book and Journal Prizes are coordinated annually by the AAANZ and the results are keenly awaited by delegates and the publishing sector. The results of the Prize will be made during the conference. I encourage you also to attend the Annual General Meeting of the AAANZ and the Plenary Session on the topic of the Australian Institute of Art History which will be conducted by Professor Jaynie Anderson. Enjoy the parties and the atmosphere that Canberra in late spring provides. I am very grateful to the organisers of the conference for all their efforts to ensure that the success of the 2009 conference. Peter McNeil President of AAANZ Professor of Design History, UTS; Professor of Fashion Studies, Stockholm University THEMES: 1 Open Session 2 Bringing Interpretive Worlds to View 3 Building Collections 4 Contemporary Issues in Aboriginal Art 5 Contemporary Photography, Landscape and History 6 Contemporary Space in Crisis 7 Coolness: The Body, Dress and Location 8 In Honour of Saint Luke: The Materiality of Art 9 Keyword Curating: Can Art History be Blind to Practice? 10 Legacies of Surrealism 11 Modernism-in-Crisis Down South 12 Networks and Networking: Negotiating Paris, 1900-1950 13 Old Things, New Histories 14 Portraiture: A Complex Web 15 REAL Emergency: Art and the Crises of the Contemporary World 16 Shifting Cartographies: Asia / Australia / Art 17 Visualising War: Politics, Aesthetic and Logistics CONVENORS Antoinette, Michelle Elliott, Rebecca Jorgensen, Darren Naumann, Peter Beaven, Lisa Findlay, Elisabeth Lentini, Damian Peoples, Sharon Bennett, Jill Gooding, Janda Mansfield, Lisa Speck, Catherine Best, Susan Hastings, Gail Maravillas, Francis Spiteri, Raymond Brauer, Fay Hawker, Rosemary Marshall, Christopher Stephen, Ann Brennan, Anne Hely, Patsy Maskill, David Stewart, Susan Desmond, Michael Heywood, Warwick McLean, Ian Webster, Laura Downey, Georgina Inglis, Alison McNamara, Andrew SPEAKERS Akenson, David Donaldson, A. D. S. Lionis, Chrisoula Poppelreuter, Tanja Ansted, Darryn Downey, Georgina Londey, Peter Priebe, Jessica Antoinette, Michelle Drayton, Joanne Lusty, Natalya Prosser, Cherie Baird, Kingsley Eckett, Jane MacLaughlin, Sally Rankin, Elizabeth Bamford, Roderick Findlay, Elisabeth Mair, Katherine Read, Richard Beaven, Lisa Gerrish Nunn, Pamela Malor, Deborah Riddler, Eric Bennett, Jill Gill, Alison Mansfield, Lisa Robertson, Kate Berry, Jess Goddard, Angela Maravillas, Francis Romanin, Alisia Best, Susan Greenwood, John Marshall, David Sitzia, Emilie Biddle, Jennifer Gregory, Tim Marshall, Nancy Smith, Tracey Bleach, Lucy Griffiths, Amy Mataraga, Francesca Spate, Virginia Bojic, Zoja Gully, Rebecca Matthews, Georgette Speck, Catherine Bond, Tony Gutierrez, Lydia McArdle, James Spiteri, Raymond Bowker, Sam Haggblom, Kristian McLean, Ian Steggall, Susan Boyde, Melissa Hansen, Anita McNamara, Andrew Stephen, Ann Brauer, Fay Hastings, Gail McNeil, Peter Strongman, Luke Brett, Donna Holland, Allison McNeill, David Taylor, Elena Broadfoot, Keith Huppatz, D.J. Mellick Lopes, Abby Tello, Veronica Brunet, Lynn Inglis, Alison Messham-Muir, Kit Thomas, Morgan Butler, Sally Johnston, Ryan Milam, Jennifer Thurrowgood, David Cain, Deborah Jorgensen, Darren Monden, Masafumi Thwaites, Vivonne Callaway, Anita Joyce, Renee Montana, Andrew Tyler, Linda Chandler, Lisa Kayser, Petra Nandlal, Carina Wallace, Caroline CONVENORS Antoinette, Michelle Elliott, Rebecca Jorgensen, Darren Naumann, Peter Clark, Christine Kime, Grahame Naylor, Stephen Ward, Lucina Beaven, Lisa Findlay, Elisabeth Lentini, Damian Peoples, Sharon Craik, Jennifer Kirker, Anne North, Stella Warner, Carl Bennett, Jill Gooding, Janda Mansfield, Lisa Speck, Catherine Crocker, Robert Kochel, Jay Nouri Esfahani, Naghmeh Webberley, Helen Best, Susan Hastings, Gail Maravillas, Francis Spiteri, Raymond Croft, Brenda Kostyrko, Diana Nowak, Jolanta Wellington, Robert Brauer, Fay Hawker, Rosemary Marshall, Christopher Stephen, Ann Curnow, Wystan Krishnabhakdi-Vasilakis, Friederike O’Hehir, Anne Weybury, Shivaun Brennan, Anne Hely, Patsy Maskill, David Stewart, Susan Cvoro, Uros Laing, Melissa Oscar, Sara Wilson-Anastasios, Meaghan Desmond, Michael Heywood, Warwick McLean, Ian Webster, Laura De Lorenzo, Catherine Lentini, Damian Palmer, Sheridan Woodrow, Ross Downey, Georgina Inglis, Alison McNamara, Andrew Diamond, Jo Peoples, Sharon PLENARY SESSIONS Keynote Professor Jonathan Mane-Wheoki Coombs Lecture Theatre, Friday 27 November, 9:30-11am Jonathan Mane-Wheoki (Ngapuhi/Te Aupouri/Ngati Kuri), is the new Professor of Fine Arts and Head of Elam School of Fine Arts at The University of Auckland. He is an art historian, architectural historian and a cultural historian. He was previously Director of Art and Collection
Load more

Recommended publications
  • Source and Stimulus Press Release FINAL
    LÉVY GORVY PRESENTS EXHIBITION FEATURING SIGMAR POLKE, ROY LICHTENSTEIN, AND GERALD LAING AND THEIR USE OF THE BEN-DAY DOT First exhibition to explore the greater transatlantic impact of the Ben-Day dot, focusing on the practice of Pop Art icons in Germany, the United States, and the United Kingdom Source and Stimulus: Polke, Lichtenstein, Laing 6 March – 21 April 2018 Opening Reception: 5 March 2018, 6–8pm 22 Old Bond Street, London, W1S 4PY London, UK, January 2018— In the late 19th century, the American illustrator and publisher Benjamin Day developed a cost-effective printing technique that used dots in different densities to reproduce images on a mass scale. This process, named after its inventor, matured over the next century and was utilised to print newspapers, advertisements, and pulp comic books in the 1950s and 60s. Sigmar Polke (Germany, 1941–2010), Roy Lichtenstein (United States, 1923–1997), and Gerald Laing (United Kingdom, 1936–2011)— along with the rest of the world—devoured this imagery daily, and chose to reconfigure it in their works. Sigmar Polke, Freundinnen (Girlfriends), 1965/1966, Dispersion paint on canvas, 59 × 74 3⁄4 inches (150 × 190 cm). Froehlich Collection, Stuttgart, © Estate of Sigmar Polke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Germany Opening 6 March at Lévy Gorvy’s London location, Source and Stimulus: Polke, Lichtenstein, Laing is an exhibition devoted to the Ben-Day dot. Featuring exceptional works by the trio of legendary artists, this is the first exhibition to connect them on the basis of their manipulation of the dot, transforming imagery from the commercial sphere into fine art.
    [Show full text]
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • Heide Museum of Modern Art 2007 Annual Report Heide Museum of Modern Art 2007 Annual Report
    Heide Museum of Modern Art 2007 Annual Report Heide Museum of Modern Art 2007 Annual Report page CONTENTS 1. vision & mission 3 2. honorary appointments 4 3. chairman & director’s report 5 4. cultural programming 8 4.1 exhibitions 4.2 heide public programs 4.3 heide education 5. commercial operations 20 5.1 heide store 5.2 visitor services 5.3 heide membership 5.4 heide café 6. heide collection 22 6.1 acquisitions 6.2 outward loans 7. facilities 27 7.1 maintenance 7.2 gardens 8. communications & marketing 29 9. development 31 9.1 heide foundation 9.2 heide partnerships 10. governance 37 10.1 board 10.2 human resources 10.3 risk management 10.4 board directors & senior management personnel 11. staff & volunteers 42 12. financial statements 45 Front and back cover: Heide III & Tony & Cathie Hancy Sculpture Plaza Heide Museum of Modern Art Photographer: John Gollings 2007 © John Gollings & Heide Museum of Modern Art 2 1. Vision & Mission Heide Museum of Modern Art 2007 Annual Report 1. VISION & MISSION Vision The vision for Heide is to be a significant national and international public museum of modern and contemporary art, respected as a unique ‘must-see’ cultural destination combining art, architecture, landscape and heritage, as well as an innovative site for the generation of new ideas and special exhibitions. Mission The mission of Heide Museum of Modern Art is three-fold: – To provide high quality stewardship and development of Heide’s assets comprising its Collection, architecture, landscape and heritage – To provide public access to and enjoyment of a unique cultural destination – To generate and present new ideas in modern and contemporary culture 3 2.
    [Show full text]
  • Emu Island: Modernism in Place 26 August — 19 November 2017
    PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program.
    [Show full text]
  • Important Australian and Aboriginal
    IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams.
    [Show full text]
  • Primorski Uporniki, Vojaki in Obvešĉevalci
    1 Marijan F. Kranjc, generalmajor v pokoju Primorski uporniki, vojaki in obvešĉevalci (Projekt elektronske knjige) www.vojastvo-military.si Ljubljana 2016 2 Vsebina: - Namesto uvoda ……………………………………………….. 3 - Janko Stibiel - Vukasoviĉ, dobrovoljec, polkovnik VKJ ….. 4 - Karel Schafer, kontraadmiral AOV ……………………… 19 - Dr. Ivan Ples, dobrovoljec in kapetan VKJ, partizan …… 21 - Cecilj Josipović Urban, dobrovoljec VKJ in RA ………… 25 - Stanislav Rapotec, britanski kapetan, obvešĉevalec, slikar 30 - Ivan Gašperĉiĉ, primorski upornik, »ĉrni brat« ……….. 56 - Viktor Andrejka, polkovnik in vodja ObC VKJ ………… 70 - Viktor Bobek, komunist, tigrovec, obvešĉevalec-dvojnik …77 - Joţef Gabršĉek, orjunaš, tigrovec, obvešĉevalec-dvojnik … 83 - Danilo Zelen, vojaški vodja TIGR-a, obvešĉevalec ………. 130 - Tone Batagelj, dobrovoljec VKJ, obvešĉevalec, pesnik … 156 - Joţe Srebrniĉ, komunist, partizan, agent Kominterne …. 167 - Ivan Manfreda - Jaka, prvoborec-partizan, kapetan JA.. 198 - Janko Premrlj - Vojko, partizan in narodni heroj ……… 214 - Leopoldina Mekina, sekretarka KPS, vosovka …………. 222 - Dr. Vladimir Kante, policijski inšpektor in vosovec ……. 231 - Dr. Joţef Korošak – pater Bruno, boţji bojevnik ………. 252 3 Namesto uvoda Ĉeprav sem po lokalni pripadnosti Prlek, sem kot pripadnik Varnostne sluţbe JLA v obdobju 1970–1987 najveĉ ĉasa preţivel na Primorskem, seveda v protiobvešĉevani zašĉiti pripadnikov in objektov JLA pred »napadi« italijanske vojaške obvešĉevalne sluţbe, delno pa tudi ameriške. Zato sem tudi spoznal številne usode primorskih ljudi, predvsem upornikov, dobrovoljcev, vojakov in obvešĉevalcev. Zapise o njih sem objavljal na svoji domeni www.vojastvo-military.si v daljšem ĉasovnem obdobju. Dobil sem namig, da bi jih bilo vredno objaviti na enem mestu. Odloĉil sem se za elektronsko knjigo, saj sem na podoben naĉin objavil tudi svojo prvo knjigo Balkanski vojaški poligon. Pravzaprav predstavljam nekaj izbranih primorskih junakov, pa tudi Prleka – »boţjega bojevnika«, ki je pokopan na Sveti Gori.
    [Show full text]
  • List of Works
    List of works SUSAN ANDREWS Dr Denise Hickey Studio, AGNSW 2000 Residue 2000 collage 57 x 41cm Courtesy of Legge Gallery, Sydney SUZANNE ARCHER Power Institute Studio 1979 Snow in Paris too 1979 mixed media 70 x 101cm paper size Courtesy of BBA Gallery, Sydney RAYMOND ARNOLD University of Tasmania Studio 1993-94 And for each sense there is an image II 1994 etching (2 plate) 160 x 90cm Courtesy of the artist IRENE BARBERIS Power Institute Studio 1980 Pont Marie embroidery and painted embroidery hoop Courtesy of the artist Untitled embroidery and painted embroidery hoop Courtesy of the artist CRAIG BENNETT College of Fine Arts, UNSW Studio 2000 Six cylinders 2000 collage and charcoal on paper on board 22 x 16cm Courtesy of the artist Burnt wine 2000 collage and charcoal on paper on board 22 x 16cm Courtesy of the artist IAN BETTINSON Moya Dyring Studio, AGNSW 1992 Guitar aluminum 65 x 18 x 25cm Courtesy of the artist GRAHAM BLONDEL Dr Denise Hickey Studio AGNSW 1995 WK ‘30 1995 acrylic on fabric 50 x 48cm Courtesy of the artist YVONNE BOAG Dr Denise Hickey Studio, AGNSW 1990 Church 1990 conte drawing on paper 15 x 10cm Courtesy of the artist Church with tree 1990 conte drawing on paper 15 x 10cm Courtesy of the artist YB Limited edition artist book lithographs 12 pages & presentation box edition of 7 Courtesy of the artist MOSTYN BRAMLEY-MOORE Power Institute Studio 1977-78 Eight days in 1978 acrylic on linen, hardboard and wood two panels, left panel 55 x 46cm right panel 55 x 114cm 55 x 160 overall dimension Courtesy of the artist LYNDELL
    [Show full text]
  • 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.
    [Show full text]
  • Ly Ndell Brown Charles Green
    LYNDELL BROWN Born: Melbourne, Australia, 1961 CHARLES GREEN Born: Melbourne, Australia, 1953 Since 1989, Lyndell Brown and Charles Green have worked in collaboration as one artist. They are based in Castlemaine, in regional Victoria. SOLO EXHIBITIONS 2016 Transformer, ARC ONE Gallery, Melbourne. 2015 Colour My World (with John Cattapan), curated by Shaune Lakin, National Gallery of Australia, Canberra. Lesson Plan: A Collaboration (with John Cattapan), Bruce Heiser Gallery, Brisbane. 2014 Spook Country: A Collaboration (with John Cattapan), ARC ONE Gallery and Station Gallery, Melbourne. 2013 Boat Adrift, Bruce Heiser Gallery, Brisbane 2011 The Dark Wood, ARC ONE Gallery, Melbourne. Lyndell Brown/Charles Green, Bruce Heiser Gallery, Brisbrane. 2010 Lyndell Brown/Charles Green, Greenaway Art Gallery, Adelaide. The Wire: Lyndell Brown/Charles Green, 2001-2007, Monash Gallery of Art, Melbourne. Reading Room: Lyndell Brown/Charles Green, 2001-2007, QUT Gallery, QUT University, Brisbane. 2009 The Gathering Storm: Paintings & Photographs, Arc One Gallery, Melbourne. 2008 Framing Conflict: Iraq and Afghanistan; Lyndell Brown and Charles Green, essay by curator Warwick Heywood, Ian Potter Art Museum, University of Melbourne exhibition of the Australian War Memorialm touring to art museums around Australia including the Australian War Memorial, Camberra, 2010 and Australian Embassy, Washington, 2011 (2008-). War, GRANTPIRRIE, Sydney. 2007 War, curated Peter Nagy, Nature Morte Gallery, New Delhi. The Painters’ Family, ARC ONE Gallery, Melbourne. 2006 Elemental Landscape, GRANTPIRRIE, Sydney. 2005 In Defence of Nature, ARC ONE Gallery, Melbourne. Lyndell Brown and Charles Green, Gibsone Jessop Gallery, Toronto, Canada. 2003 The Waves, GRANTPIRRIE, Sydney. Eldorado, Arc One Gallery, Melbourne Arcadia, curated by Anurendra Jagadeva, Monash University Faculty Gallery, Melbourne.
    [Show full text]
  • The Films of Murray Grigor for IOT
    Atelier e.B + PAnel Present steel uPon the swArd the Films of Murray Grigor for IOT. II 9/10 & 30 MAy 12 rose street GlAsGow FilM theAtre Glasgow G3 6rB saturday 9 May: CumbernAuld hit & The demarCo diMension (edited by rob Kennedy) sunday 10 May: steel uPon the swArd & E.P. SculPtor saturday 30 May: Mackintosh T& he FAll And rise oF Mackintosh Murray Grigor is an independent Scottish filmmaker, writer and exhibition curator. Winning international acclaim for his ongoing contribution to the arts spanning over 40 years, The Inventors of Tradition II presents a series of three double bills in partnership with Glasgow Film Theatre that celebrate his work. The selected films highlight Grigor’s interest in Scottish artistic life and bring focus to the complex connections between architecture, creative practice and cultural identity prevalent in his pioneering works. steel uPon the swArd Saturday 9 May 2015 Saturday 30 May 2015 3pm proGraMMe 3pm Cinema 2 Cinema 2 Sunday 10 May 2015 CuMbernauld HIT (edited by Rob Kennedy) MaCkInToSH 3pm Sponsored by Cumbernauld Development Corporation, Cinema 2 Mackintosh (1968), Murray Grigor’s first independent and Cumbernauld Hit (1977) is an original take on ‘promotional’ seminal film won five international awards, helping to re- films produced for Scotland’s New Towns during the STeel upon THe SWard establish the reputation of the architect and designer, now 1970s. Footage selected from Grigor’s original feature, by From the 1970s Grigor made art and architecture a celebrated world-wide as one of the most creative figures artist Rob Kennedy, creates a new work that is at once a focus of his filmmaking.
    [Show full text]
  • Annual Report 2015
    Artspace ARTSPACE Annual Report 2015 Prepared by Artspace Annual Report 2015 P.1 Artspace TABLE OF CONTENTS MISSION EVER CHANGING, EVER CHALLENGING 2015 Overview & Highlights 6 Artspace is Australiaí s leading interdisciplinary Expanded Artistic Program space for the production and presentation Exhibitions (including Volume 2015 | Another Art Book Fair) 10 of contemporary art. Through exhibitions, Ideas Platform 20 performances, artist residencies, and public International Partnerships & Commissioned work 32 programs, Artspace is where artists of all National and Regional Touring 34 Public Programs 36 generations test new ideas and shape public Studios 42 conversation. Committed to experimentation, Publishing 58 collaboration and advocacy, Artspaceí s mission Performance Against Goals 60 is to enhance our culture through a deeper Key Performance Indicators 76 engagement with contemporary art. Artspace Directors & Staff 80 ABOUT US Artspace Partners & Supporters 82 Artspace is an independent contemporary art space that receives public funding for its activities through the federal government through the Australia Council for the Arts and the state government through Arts NSW, and is also supported though benefaction and partnerships. ACKNOWLEDGEMENT We show our respect and acknowledge the traditional owners of the land, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present and their descendants. Cover image: Emily Floyd, Art as a Verb, 2015, installation view, Artspace, Sydney. Photo: Zan Wimberley
    [Show full text]
  • Lie Australian Slovenian Review
    lie Australian Slovenian Review Autumn 1995 Volume 2 Issue 2 Inside Why Relations between Italy and Slovenia are Strained Rapotec the Could Slovenia lose it's precious 42km of coastline? Artist Part II A frosty atmosphere has been evident in European • The Italians have, despite their small number, a diplomatic circles lately, particularly between the Italians guaranteed seat in the National Assembly of the and the Slovenians. There has been much coveragein Republic of Slovenia and in local assembles and Slovenian and our local ethnic media, and much municipalities. The Italians choose from among their discussion amongst our older generation about the number at special elections, at the same time voting mi deteriorating relations between these two neighbouring for representatives of political parties who may also countries. be members of the Italian minority. What is the story behind this saga ? Its origins go back in • They have a right to use their native language in history to before the First World War and involve the public administration and judicial bodies, and they Italian and Slovenian ethnic minorities living in each have the right to education in Italian. They have their country and how the respective governments are treating own state funded nursery, primary and secondary them. schools conducted in Italian. The curricula ofthese schools differ from those of ordinary schools in that What is irritating Slovenia is that Italy is forcingthese they pay special attention to the culture history and bilateral issues onto the multilateral arena, blocking geography of their native country in order to maintain Slovenia's entry into the European Union until they are their ethnic identity.
    [Show full text]