DOCSLIB.ORG

Dear Friends of Redot Fine Art Gallery. NEWSLETTER – JUNE/JULY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dear Friends of Redot Fine Art Gallery. NEWSLETTER – JUNE/JULY Dear Friends of ReDot Fine Art Gallery. NEWSLETTER – JUNE/JULY 2011 WHAT'S ON... AND COMING UP... THIS MONTH'S ARTIST PROFILE: NELLIE STEWART NEWS: YULUTJI WINS WYNNE AWARDS & WA AWARDS FINALISTS ANNOUNCED ANNOUNCEMENTS: NEW ARRIVALS WHAT'S ON... JUNE - JULY “NGURA INKANYI - Singing Country” ReDot Fine Art Gallery is honoured to host an exhibition hailing from the heart of Modern Contemporary Aboriginal Art. Tjungu Palya and Ninuku Arts are two artist-run art-centres in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the far north west of South Australia. Between them they represent artists from Nyapari, Kanpi, Watarru, Angatja, Kalka and Pipalyatjara communities, with many of the artists ‘first contact’ bush people, retaining strong cultural knowledge and a willingness to share what is appropriate to people of other cultures. The centres promote traditional arts practices while also encouraging new forms of artistic expression in the re-telling of the Tjukurpa (‘Dreaming’ - Law). These communities stand at the apex of modern Aboriginal art movement, celebrating culture, ancestry, and landscape while concurrently ensuring the sustainability of the surrounding communities. When the pursuit of artistry is coupled so consummately with care for man and earth, the results mirror that which makes this one of the purest forms of expression seen in the modern art world today. Works from these artists resonate with an abundance of cultural integrity, vivid colours, mesmerising designs, deep knowledge, encapsulating a celebration of ceremony, ancestry and landscape. ReDot invites anyone fascinated by indigenous art to step into a world that is familiar in simplicity but memorizing in depth and Kay BAKER (11004) wonder. The living stories virtually leap off each canvas and 144cm x 195cm begs the viewer to look more deeply for meaning and consequence. View Exhibition's works Works from these communities grace prestigious public and private collections including those most lauded across Australia and globally. Additionally, we will showcase last year’s Telstra Indigenous art award winning artist, Jimmy Donegan, as well as other acclaimed artists, such as Tiger Palpatja, Nellie Stewart, Harry Tjutjuna, Sandy Brumby, Maringka Baker, Ginger Wikilyiri, Keith Stevens, David Miller, Eileen Stevens and Nyankulya Watson, in this magnificent representation. The exhibition runs till Saturday, 23rd July 2011. For further information contact [email protected]. COMING UP... LATE JULY - AUGUST “BALGO 2011” ReDot Fine Art Gallery is proud to present our annual show of the colourful works of the Warlayirti Artists Aboriginal Corporation. Warlayirti Artists is located in Balgo, in the arid north east of Western Australia, between the Great Sandy and Tanami Deserts. As a midpoint between Alice Springs and Broome, this remote community, originally known as Balgo Hills, was established as a Catholic mission in 1939. Its 400 inhabitants are mostly Kukatja speakers, but seven main languages can be found here, making it a rich cultural and religious area, steeped in history. Warlayirti Artists represents more than 350 artists across three communities in the Kutjungka region. Some of Australia’s leading contemporary artists as well as a large number of promising young pretenders are producing bright pieces with deceiving simple compositions. These creations harbour complex stories of the landscape and cycles of life of the desert. Warlayirti Artists was established in 1987 with the employment of an art-coordinator, following the success of the first exhibition of Balgo art titled, “Paintings from the Great Sandy Desert,” featured at the Art Gallery of Western Australia in 1986. However, the first public paintings by Balgo artists were banners completed in 1981 for the celebration of Father Piele’s Silver Jubilee. Following this, people began painting on canvas board through the Catholic run Wirrumanu Adult Education and Training Centre. Kuyarria MUDGEDELL NAKAMARRA (545/09) Since those humble beginnings the organisation has grown 200cm x 120cm significantly and the artists represented by Warlayirti Artists have emerged as some of Australia’s leading contemporary indigenous artists. As a result Warlayirti Artists contributes significantly to View Works from Balgo the social, cultural and economic well-being of the Indigenous residents of the Kutjungka region. It is the only organisation in the region that offers indigenous people the opportunity to actively participate in the market economy. Balgo artworks have gained a reputation for their boldness and vigor, commanding respect wherever they are exhibited. Artists like Eubena Nampitjin, Elizabeth Nyumi, Tjumpo Tjapanangka, Boxer Milner and Helicopter Tjungurrayi paved the way for the new generation of talents. Some have now departed but the success and future of the community has been firmly cemented by the emergence of these new stars such as Christine Yukenbarri, Theresa Nowee, Imelda Gugaman and Pauline Sunfly to name but a few, all ensuring that Warlayirti Artists will flourish into the new century. The exhibition opens on Wednesday, 27th July and runs till Saturday, 3rd September 2011. For further information contact [email protected]. NEWS YUKULTJI NAPANGATI WINS WYNNE AWARD ReDot Fine Art Gallery would like to congratulate Yukultji Napangati who is a Highly Commended Finalist in the 2011 Wynne Prize held at the Art Gallery of New South Wales. Yukultji's painting represent the site of Yunala in Western Australia. The lineal designs depict the sandhills surrounding the site and the travel of women across the country as the collected bush foods and performed ceremonies. The Wynne Prize is one of Australia's longest running art prizes awarding $25,000 annually for the best landscape painting or for the best example of figure sculpture by Australian artists completed during the preceding year. th The award runs until the 26 June 2011. We are honoured to be the only representative of Yukultji's work in Singapore and anyone interested in her work can find our current stock on our website, including a majestic 8ft by 6ft work in the same design as the award winning Wynne work. WESTERN AUSTRALIAN INDIGENOUS ART AWARDS 2011 Miriam BAADJO (711/08) The Western Australian Indigenous Art Awards is a national 150cm x 100cm award founded in 2008 to celebrate the breadth, diversity and excellence of art from all corners of Indigenous Australia. The View Miriam's Works awards acknowledge the significant and ongoing contribution Aboriginal and Torres Strait Islander artists make to Australian art, culture and society. These national awards are open to all adult Aboriginal and Torres Strait Islander artists currently living in Australia, working in any theme or media, including (but not restricted to) painting on bark, canvas and paper, prints, sculpture, fibre art, ceramics, glass, photography, and digital media. The Western Australian Indigenous Art Awards 2011 will be on display at the Art Gallery of Western Australia from August 13 and will feature 16 Australian artists. Jan Billycan WA Yulparija Michael Cook QLD Bidjara Timothy Cook NT Tiwi Angkaliya Curtis SA Pitjantjatjara Gunybi Ganambarr NT Ngaymil Angelina George NT Yugul Mangi Gary Lee ACT Larrakia/Karajarri/Wadaman Danie Mellor ACT Mamu/Ngagen/Ngajan Patrick Mung Mung WA Gija Trevor Nickolls SA Ngarrindjeri Lena Nyadbi WA Gija Tiger Palpatja SA Pitjantjatjara Kuruwarriyingathi Bijarrb Paula Paul QLD Kayardild Reko Gwaybilla Rennie VIC Kamilaroi/Gamilaraay/Gummaroi Nyilyari Tjapangati NT Pintupi Nyapanyapa Yunupinu NT Gumatj ReDot Fine Art Gallery is again honoured to represent 9 of the 16 finalists in the gallery, indeed we currently have work on show by Tiger Palpatja and our September show will include significant works by Lena and patrick from Warmun - more on that in our next newsletter, along with the Papunya Tula show and works by Nyilyari. Congratulations to all for being shortlisted. ARTIST'S PROFILE NELLIE STEWART This month we profile an artist from the APY Lands of Central/West Australia, the home of some of the most remote Aboriginal settlements. Nellie Stewart was born in the bush at Pipalyatjara, her father's country in the late 1930's. Her mother is from Irrunytju and is Kuntjil Cooper's older sister. As a young girl Nellie attended school at the Ernabella mission and later worked in Alice Springs teaching Pitjantjatjara language with her husband. She began painting in 2007 when she moved to Nyapari with her family. Nellie is a senior Pitjantjatjara woman who only began painting in 2007. She has an intuitve feeling for painting, drawing on her deep cultural connection to her country associated with the Tjukurpa of Minyma Kutjara (the Two Sisters Creation story) from Irrunytju. Her works are bold and colourful landscapes depicting country traversed by the two Ancestral women. Landmarks created by their epic journeying and activities embody a spiritual essence, which is captured in her paintings. According to Art writer, Dr. Christine Nicholls "Nellie Stewart creates artworks of classical simplicity, based on her major Irruntyju-centred thématique of the Two Sisters Dreaming. Stewart’s luscious, gestural works are characterised by bold colour juxtapositions, often comprising a limited palette of reds, mauves and orangey-reds. Often she emphasises significant aspects of the broader narrative by her use of lighter, contrasting colours; for example, she sometimes deploys a light mauve or white, in order to draw attention to or highlight a significant Nellie STEWART(10485) element or motif in the narrative. 128cm x 194cm Typically Nellie Stewart uses the technique of over-painting a dark background, using brushstrokes in ways that evoke the View Nellie's Works women’s ceremonial body painting designs painted onto dark skin. Stewart uses her brush in ways akin to the ways in which women use their fingers to smear layers of paint onto the darker background, in preparation for women-only ceremonies (‘inma’). The mark-making, such an integral part of women’s body painting, also plays a decisive role in Nellie Stewart’s extraordinary artworks." ReDot Fine Art Gallery is proud to have 4 significant works by Nellie in our current show.
Load more

Recommended publications
  • Harry Tjutjuna Dt
    HARRY TJUTJUNA Sprache: Pitjantjatjara Region: Pipalyatjara und Ernabella (APY Lands), South Australia Geboren: 1929 © Ninuku Arts Harry wurde im Jahre 1929 im Busch in Walytjatjara geboren, nordöstlich von Pipalyatjara. Harry ist einer der bedeutendsten Gesetzesmänner in der Gegend, nur wenige Menschen seiner Generation leben noch. Darüber hinaus ist er ein hoch angesehener Künstler und traditioneller Heiler. Harrys Muttersprache ist Pit- jantjatjara. Er hat eine starke familiäre Bindung zu den APY (Anangu Pitjantjatjara Yankunytjatjara) Lands in South Australia und in den Westen in Richtung Warburton Ranges. Als junger Mann zog Harry viel umher. Er lebte in Pukatja (Ernabella), wo es viele Jahre lang eine Missions- station gab. Diese wurde 1937 gegründet und vorrangig dafür eingerichtet, um den örtlichen Anangu (regio- naler Begriff für australische Ureinwohner) medizinische Versorgung und westliche Bildung zur Verfügung zu stellen. Harry besuchte die Schule in Pukatja. Später zog er weiter in eine Siedlung, wo er verschiedene Tätigkeiten ausübte: Er grub Bohrlöcher, machte Einzäunungen und Gartenarbeiten und arbeitete viele Jah- re als Viehhirte. Schließlich zog Harry mit seiner Familie in den fernen Nordwesten der APY Lands zurück, wo er hauptsächlich in und um Wingellina (Western Australia) und Pipalyatjara lebte. Seit 2015 lebt er im Altenheim von Ernabella. Harrys Wissen über die Tjukurpa (Schöpfungsgeschichte), die mit dem Land um Pipalyatjara in Verbindung steht, ist enorm und aufgrund seines Alters unübertroffen. Er malt eine große Bandbreite von Geschichten, wie zum Beispiel: Wati Wanka: Spinnenmann; Wati Nyiru, der Mann, der die sieben Schwestern jagt und schließlich eine von ihnen heiratet; Kungka Tjuta, junge Mädchen, die milpatjunanyi nachgehen, der tradi- tionellen Art des Geschichtenerzählens im Sand.
    [Show full text]
  • Nganampa Ngura (Our Place) Senior Artists - Group Exhibition
    ReDot Fine Art Gallery in conjunction with Ninuku Arts presents: Nganampa Ngura (Our Place) Senior Artists - Group Exhibition Wedneday, May 23rd till Saturday, July 21st, 2012 contemporary fine aboriginal art “The “Nganampa Ngura” (Our Place) exhibition boasts an exciting group of master works painted mostly by the senior men and women from the Ninuku Art Centre. They are the traditional owners of the land and they hold the stories of the country deep within their hearts.” Nganampa Ngura (Our Place) “Aboriginal Art is my art. These paintings in this exhibition, in particular, are my art. These paintings come from my land and my soil. They are the art of my people.” - Lois O’Donoghue CBE, AM, Australian of the Year, Opening Speech, Dot and Circle Exhibition, 1985 4 Although this insightful sentiment was expressed by a renowned Indigenous leader some work over the past decade, the award winning painting is solemn and emphatic in its 5 27 years ago, it still resonates clearly today. Nganampa Ngura (Our Place) is a celebration design, but dazzlingly illuminated. The artist’s technique is to compose the colour lines of place, home and country of birth. It symbolises the deep roots that connect Indigenous of his canvases from thousands of large dots in different hues, which blend into a whole.’ Australians with their homeland – in this instance, the artists from two remote (The Weekend Australian, August 2010). communities, Pipalyatjara and Kalka, in the South Australian Desert. For Ninuku Arts, whose artists are still considered to be ‘emerging’, this first independent international Nganampa Ngura (Our Place) boasts an exciting group of master works painted group exhibition of the artists’ work breaks new ground.
    [Show full text]
  • ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
    ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ...................
    [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]
  • Presentation Tile
    Authentic and engaging artist-led Education Programs with Thomas Readett Ngarrindjeri, Arrernte peoples 1 Acknowledgement 2 Warm up: Round Robin 3 4 See image caption from slide 2. installation view: TARNANTHI featuring Mumu by Pepai Jangala Carroll, 2015, Art Gallery of South Australia, Adelaide; photo: Saul Steed. 5 What is TARNANTHI? TARNANTHI is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through contemporary art. TARNANTHI is a national event held annually by the Art Gallery of South Australia. Although TARNANTHI at AGSA is annual, biannually TARNANTHI turns into a city-wide festival and hosts hundreds of artists across multiple venues across Adelaide. On the year that the festival isn’t on, TARNANTHI focuses on only one feature artist or artist collective at AGSA. Jimmy Donegan, born 1940, Roma Young, born 1952, Ngaanyatjarra people, Western Australia/Pitjantjatjara people, South Australia; Kunmanara (Ray) Ken, 1940–2018, Brenton Ken, born 1944, Witjiti George, born 1938, Sammy Dodd, born 1946, Pitjantjatjara/Yankunytjatjara people, South Australia; Freddy Ken, born 1951, Naomi Kantjuriny, born 1944, Nyurpaya Kaika Burton, born 1940, Willy Kaika Burton, born 1941, Rupert Jack, born 1951, Adrian Intjalki, born 1943, Kunmanara (Gordon) Ingkatji, c.1930–2016, Arnie Frank, born 1960, Stanley Douglas, born 1944, Maureen Douglas, born 1966, Willy Muntjantji Martin, born 1950, Taylor Wanyima Cooper, born 1940, Noel Burton, born 1994, Kunmanara (Hector) Burton, 1937–2017,
    [Show full text]
  • Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
    ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012.
    [Show full text]
  • Gemeinschaftswerk Von Tjungu Palya Künstlern
    WWW.ARTKELCH.DE © ARTKELCH | 20 11 | Copyright für das Gemälde bei den Künstlern von Watarru und Tjungu Palya GEMEINSCHAFTSWERK VON TJUNGU PALYA KÜNSTLERN Seit seiner Gründung im Jahre 2006 gabe der Kultur und für die nachhaltige Lebensfähigkeit dieser Ge- hat sich Tjungu Palya zu einem dy- meinden. Die Motivation für das Vorantreiben der Aktivitäten im namischen und innovativen Kunst- Kunstzentrum ist der Wunsch der Künstler, ihre Geschicke selbst in zentrum der Gemeinde entwickelt. die Hand nehmen zu können, Karrierechancen für die Jugend zu Etwa 100 km südlich des Uluru entwickeln und lebendige und autarke Gemeinschaften zu bilden. (Ayers Rock) liegt Nyapari am Fuße der majestätischen Mann Ranges Die führenden Künstler arbeiten ununterbrochen und sind über- im Herzen einer Gegend, die schon immer dem Volk der Pitjantjatjara zeugt davon, dass die Weitergabe des traditionellen Wissens an die gehörte. Diese Hügelkette, die von den Anangu [indigene Australier] jüngere Generation äußerst wichtig ist. So ist es nicht ungewöhnlich, Murputja – der knochige Grat des menschlichen Rückgrats – genannt dass sich vier Generationen einer Familie im Kunstzentrum zum wird, ist die Quelle vieler Wasserlöcher und traditioneller Rastplätze. Singen und Malen versammeln und Auszüge aus der Tjukurpa Die Orte Kanpi, Nyapari, Angatja, Umpukulu und Tjankanu haben [Schöpfungsgeschichte] wieder und wieder erzählen. sich dabei von jahreszeitlichen Rastplätzen zu permanenten Siedlungen Die Gesetze der Tjukurpa sind ein fester Bestandteil des Lebens, entwickelt. der Religion und des Alltags der Anangu. Sie erklären die Erschaffung Mehr als 50 Personen aus dieser Gegend haben sich gemeinsam mit allen Lebens und geben gleichzeitig Hinweise, wie man ein gutes ihren Familien ca. 180 km weiter südlich in Watarru niedergelassen Leben führen kann.
    [Show full text]
  • Indigenous Participation in Australian Economies II Map 5.1 the APY Landsmap 5.1 Lea Et Al
    5. ‘Always Anangu—always enterprising’ Alan O’Connor As a result of primary research in Arnhem Land, Altman developed a hybrid economy model for Indigenous Australians living in remote areas in which people move between the state, market and customary sectors (Altman 2005). He asserts that development policies for remote areas based on the state and the market have failed because of the existence of a customary sector and very different intercultural value systems. In addition, he suggests the commercial marginality of Aboriginal-owned land is the reason it was alienated, and as a result the potential to increase the market sector is very limited (Altman 2005). In this chapter, I examine Anangu involvement in economic life until the mid- 1970s with a particular focus on Ernabella and its homelands, and explore elements of the hybrid economy on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. This work is part of my thesis, developed from a larger study of enterprise development on the lands resulting from an Australian Research Council grant in 2007 obtained by Banerjee and Tedmanson. The research was conducted through the University of South Australia. The research partners in this work were from the communities of Ernabella, Turkey Bore and the Anilalya Homelands as well as UnitingCare Wesley Adelaide. Geography, Climate and Traditional Food Sources The APY Lands are located in the far north-west of South Australia and make up 102 500 sq km or 10.4 per cent of the area of South Australia. Ernabella is the largest community on the lands (with a population that has varied about 450 for many years) and is approximately 440 km by road from both Alice Springs and Coober Pedy.
    [Show full text]
  • MUNICH (May, 2021) – Luxury Fashion Online Retailer Mytheresa Is
    MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 L’artiste américaine Lynda Benglis réalisant un projet commande par l’Université de Rhode Island, Kingston, Rhode Island, 1969. © Adagp, Paris 2021. Photo by Henry Groskinsky /The LIFE Picture Collection via Getty Images MUNICH (May, 2021) – Luxury fashion online retailer Mytheresa is honored to be a sponsor of the “Women in Abstraction” exhibition, to support and give recognition to female artists around the globe. The “Women in Abstraction” exhibition, which should be presented at the Centre Pompidou from May 19th to August 23th 2021, offers a new take on the history of abstraction - from its origins to the 1980s - and brings together the specific contributions of around one hundred and ten “women artists”. FOR FURTHER INFORMATION PLEASE CONTACT: MYTHERESA SANDRA ROMANO PHONE: +49 89 12 76 95-236 EMAIL: [email protected] MYTHERESA PARTNERS WITH LE CENTRE POMPIDOU : WOMEN IN ABSTRACTION EXHIBITION MAY 19 - AUGUST 23, 2021 “Les amis du Centre Pompidou and the Centre Pompidou express their warmest thanks to Mytheresa and to its CEO, Michael Kliger, for their so generous support and positive commitment to the pivotal Women in Abstrac- tion exhibition, which opens in May at the Centre Pompidou”, commented Floriane de Saint Pierre, Chair of the Board of the amis du Centre Pompidou and Serge Lasvignes, President of the Centre Pompidou. “We are very proud and excited to sponsor this outstanding exhibition, in the globally renowned museum such as Le Centre Pompidou. Empowering women is a mission truly close to our heart at Mytheresa and this exhibition shows the importance and impact at women's art work and gives them the recognition they deserve within the Abstract movement on a global scale”, says Michael Kliger, CEO of Mytheresa.
    [Show full text]
  • Jahrbuch Der Staatlichen Ethnographischen Sammlungen Sachsen
    ISSN 1865-4347 Sonderdruck aus Jahrbuch der Staatlichen Ethnographischen Sammlungen Sachsen BAND XLVI 2013 JAHRBUCH DER STAATLICHEN ETHNOGRAPHISCHEN SAMMLUNGEN SACHSEN Band XLVI Herausgegeben vom Direktor Claus Deimel VWB – Verlag für Wissenschaft und Bildung • Berlin 2013 Redaktion: Giselher Blesse, Lydia Hauth Die Autoren sind für den Inhalt ihrer Abhandlungen selbst verantwortlich. Die Rechtschreibung folgt den Intentionen der Autoren. Fotos bzw. Umzeichnungen: Archiv Museum für Völkerkunde zu Leipzig/SES; Beatrice von Bismarck; Thomas Dachs; Alexis Daflos; Claus Deimel; Amanda Dent|Tjungu Palya; Silvia Dolz; Mark Elliot; Frank Engel; Amina Grunewald; Corrine Hunt; E. L. Jensen; Rolf killius; H.-P. klut/E. Estel (SkD); Carola krebs; Sylvia krings|ARTkELCH; Leibniz-Institut für Länderkunde Leipzig (Bildarchiv); katja Müller; Museum für Völkerkunde Dresden/SES, Bildarchiv; Photographic Archives, Ekstrom Library, University of Louisville, kentucky; The Trustees of the British Museum, London, Archiv; Tony Sandin; Birgit Scheps; Erhard Schwerin; Spinifex Arts Projects; Stadtarchiv Leipzig; Tjala Arts; Unitätsarchiv der Evangelischen Brüder-Unität Herrnhut; Frank Usbeck; Warlukurlangu Artists; Frederick Weygold; Eva Winkler; Völkerkundemuseum Herrnhut/SES Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.ddb.de> abrufbar. ISBN 978-3-86135-792-6 ISSN 1865-4347 © Staatliche Ethnographische Sammlungen Sachsen/Staatliche Kunstsammlungen Dresden 2013. Erschienen im: VWB – Verlag für Wissenschaft und Bildung, Amand Aglaster • Postfach 11 03 68 • 10833 Berlin Tel. 030-251 04 15 • Fax: 030-251 11 36 www.vwb-verlag.com • [email protected] Printed in Germany Jahrbuch der Staatlichen Ethnographischen Sammlungen Sachsen Band XLVI Inhalt Vorwort: Entwicklungen in den Jahren 2010, 2011 und 2012 .
    [Show full text]
  • Annual Report
    ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2012 – 30 June 2013 North Terrace ADELAIDE SA 5000 www.artgallery.sa.gov.au ISSN 0728-7925 The Hon Jay Weatherill, Minister for the Arts Sir, I have the honour to present the seventieth Annual Report of the Art Gallery Board of South Australia for the Gallery’s 132nd year, ended 30 June 2013. Michael Abbott AO QC, Chairman Art Gallery Board 2012–13 Chairman Michael Abbott AO QC Members Mr Andrew Gwinnett (Deputy Chair) Emeritus Professor Anne Edwards AO Ms Frances Gerard Ms Sandra Sdraulig AM Mrs Sue Tweddell (from December 2012) Mrs Tracey Whiting Mrs Zena Winser (until November 2012) Robert Whitington QC 2 TABLE OF CONTENTS Principal Objectives 4 Major Achievements 2012–2013 5-7 Key Challenges Facing the Gallery 8 Strategic Goals 2012–2015 9-10 Resources and Administration 11-28 Collections 29-43 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 44-45 Appendix B1 Art Gallery Board 46 Appendix B2 Art Gallery of South Australia Foundation Council and Contemporary 46-47 Collectors Committee Appendix B3 Art Gallery Organisational Chart 48-54 Appendix B4 Art Gallery Staff and Volunteers 55-58 Appendix C Staff Public Commitments 59-63 Appendix D Conservation 64-65 Appendix E Donors, Funds, Sponsorships 66-67 Appendix F Acquisitions 68-98 Appendix G Inward Loans 99-104 Appendix H Outward Loans 105-109 Appendix I Exhibitions and Public Programs 110-123 Appendix J Schools Support Services 124 Appendix K Gallery Guide Tour Services 125-126 Appendix L Gallery Publications 127-128 Appendix M Annual Attendances 129 Appendix N Information Statement 130-131 Appendix O Financial Statements 132-159 3 PRINCIPAL OBJECTIVES Objectives The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act 1939 and can be summarised as the preservation, research and communication associated with heritage and contemporary works of art of aesthetic excellence and historical or regional significance.
    [Show full text]
  • Coober Pedy Regional Times
    •Mechanic on duty •Tyres ISSN 1833-1831 •Tyre repairs •Fuel •Parts •Opening hours 7.30am-5pm Phone: 86725036 Tel: 08 8672 5920 http://cooberpedyregionaltimes.wordpress.com Thursday 13 February 2014 OOGELIMA CREEK REHABILITATION PLEA Is anyone listening? Senior Elders, have been voicing damaged land includes a parcel their concerns and fighting for of property held by Umoona Aged Care, known to most as 10 the Oogelima creek’s gravel Mile Bush Camp and a traditional excavation to stop near 10 Mile Women’s site. Bush Camp. Mrs. Edie ‘Nyimpula’ King, a senior aborigi- The lot of property under the care of Umoona Aged Care are nal elder said “This is Senior directly adjacent to the Women’s Culture and a special excavation works. creek!” On the 7th January 2009, the then Mrs. King continues to say, “As Minister for Aboriginal Affairs Senior Elders we are entrusted with and Reconciliation, Hon Jay knowledge, wisdom and the Weatherill determined the responsibility to keep our culture Breakaways Reserve an strong including caring for our Aboriginal Site, pursuant to the country. We have asked for help but s.12 Aboriginal Heritage Act nothing, we keep going out to look, 1988. we see our creek being taken away”. The Hon Minister Ian Hunter Significant damage is being done to officially handed back the Oogelima Creek and to the Breakaways Conservation Park Breakaways Conservation Park; in 2013. Kupa Piti Kungka Pjuta member Edie ‘Nyimpula’ King wants to work with community to rehabilitate Oogelima Creek.” The’ hand-back’ was all due to the successful Indigenous Land Use Agreements (ILUA) negotiations between Antakirinja Matu- Yankunytjatjara Aboriginal Corporation (AMYAC) and the State Government.
    [Show full text]