Annual Report 2016–17
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Each Wild Idea: Writing, Photography, History
e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory. -
G Eelong G Allery Annual Report
Geelong Gallery annual report 2009–2010 Geelong Gallery Little Malop Street Geelong 3220 T 03 5229 3645 Open daily 10am–5pm Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday www.geelonggallery.org.au Geelong Gallery annual report 2009–2010 01 Contents President’s report 02 Director’s report 04 Honorary Secretary’s report 08 The Geelong Art Gallery Foundation 16 The Geelong Gallery Grasshoppers 18 Friends of the Geelong Gallery 20 Collections report 21 Financial statements for 30 the year ended 30 June 2010 Government partners and sponsors 44 Geelong Gallery annual report 2009–2010 02 President’s report Since the Gallery’s last AGM, my predecessor Overall, I’m delighted to confirm that the year’s as President of the Geelong Gallery, Michael programs and initiatives went successfully to Cahill, has stepped down from the role, having plan, with all the Key Performance Indicators served in different capacities on Gallery boards that underpin the Gallery’s funding agreements and committees for some two decades. So, with our local and state government partners it is with great pleasure that I place on record either comfortably met or, more often than here our sincere thanks to Michael for this not, substantially exceeded. remarkable commitment to the Board and to the Gallery, noting as I do so, and with real A wide-ranging exhibition program was satisfaction, that Michael retains a formal link delivered to critical acclaim, the Gallery’s with us as continuing Chair of the Gallery’s financial performance was sound, corporate Acquisitions committee. sponsorships were retained and extended, the collection grew through purchase, As usual on these occasions, brief outlines bequest, acquisitive prize, and gift with of the Gallery’s financial and general operating the Geelong Art Gallery Foundation keenly performance over the previous 12 months supportive throughout. -
Australian and International Photography
Australian and International Photography Josef Lebovic Gallery 34 Paddington Street (PO Box 453) Paddington (Sydney) NSW 2021 Australia Ph: (02) 9332 1840 Fax: (02) 9331 7431 Email: [email protected] www.joseflebovicgallery.com JOSEF LEBOVIC GALLERY 34 Paddington Street (PO Box 453), Paddington, Sydney, NSW 2021, Australia • Established 1977 Tel: (02) 9332 1840 • Fax: (02) 9331 7431 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open Tues to Fri by appointment, Sat 11-5pm • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. 2. Anon. [George Finey], c1950s. Vintage COLLECTORS’ LIST No. 144, 2010 silver gelatin photograph, 30.7 x 38.2cm. Slight crinkles, minor chips to edges of image. $990 Shows Australian cartoonist George Finey with his self portrait composed of old boots. Australian & International Photography 1. Ansel Adams (American, 1902- 1984). Moon And Half Dome, Yosemite Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Alex Montagnese National Park, California, 1960/later On exhibition from Saturday, 24 July to Saturday, 28 August and on our printing. Silver gelatin photograph, Yosemite National Park authentication website from 30 July. stamp and initialled in ink by printer All items have been illustrated in this catalogue. Prices are in Alan Ross verso, 24.1 x 18cm. Laid Australian dollars and include GST. Exch. rates as at time of printing: down on slightly foxed original present AUD $1.00 = USD $0.87¢; UK £0.57p ation backing. $3,800 © Licence by VISCOPY AUSTRALIA 2010 LRN 5523 Stamp includes “Special edition photographs of Yosemite by Ansel Adams. -
Harry Seidler: Modernist Press Kit Page 1
Harry Seidler: Modernist Press Kit Page 1 press kit Original Title: HARRY SEIDLER MODERNIST Year of Production: 2016 Director: DARYL DELLORA Producers: CHARLOTTE SEYMOUR & SUE MASLIN Writers: DARYL DELLORA with IAN WANSBROUGH Narrator: MARTA DUSSELDORP Duration: 58 MINS Genre: DOCUMENTARY Original Language: ENGLISH Country of Origin: AUSTRALIA Screening Format: HD PRO RES & BLU-RAY Original Format: HD Picture: COLOUR & B&W Production Company: FILM ART DOCO World Sales: FILM ART MEDIA Principal Investors: ABC TV, SCREEN AUSTRALIA, FILM VICTORIA, SCREEN NSW & FILM ART MEDIA Harry Seidler: Modernist Press Kit Page 2 SYNOPSES One line synopsis An insightful retrospective of Harry Seidler’s architectural vision One paragraph synopsis Harry Seidler: Modernist is a retrospective celebration of the life and work of Australia's most controversial architect. Sixty years of work is showcased through sumptuous photography and interviews with leading architects from around the world. Long synopsis At the time of his death in 2006, Harry Seidler was Australia's best-known architect. The Sydney Morning Herald carried a banner headline "HOW HE DEFINED SYDNEY" and there were obituaries in the London and the New York Times. Lord Richard Rogers, of Paris Pompidou Center fame, describes him as one of the world's great mainstream modernists. This film charts the life and career of Harry Seidler through the eyes of those that knew him best; his wife of almost fifty years Penelope Seidler; his co-workers including Colin Griffiths and Peter Hirst who were by his side over four decades; and several well-placed architectural commentators and experts including three laureates of the highest honour the world architectural community bestows, the Pritzker Prize: Lord Norman Foster, Lord Richard Rogers and our own Glenn Murcutt. -
Australian & International Photography
Australian & International Photography Collectors’ List No. 185, 2016 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW phone: (02) 9663 4848 email: [email protected] web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th Century Established 1977 1.| Robert Macpherson (Brit., 1811-1872).| Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) Arch Of Constantine, Rome, Italy, |c1850s.| Albumen paper photograph, numbered “2” in Address: 103a Anzac Parade, Kensington (Sydney), NSW pencil in “R. Macpherson, Rome” blind stamp Postal: PO Box 93, Kensington NSW 2033, Australia on backing below image, 31.3 x 40cm. Slight developing flaws and scuffing to image lower Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 centre and right, repaired minor tears to upper Email: [email protected] • Website: joseflebovicgallery.com edge, minor foxing or soiling, laid down on Open: Monday to Saturday from 1 to 6pm by chance or by appointment original backing.| $2,200| COLLECTORS’ LIST No. 185, 2016 Held in Canadian Centre for Architecture. 2.| Robert Macpherson (Brit., 1811-1872).| Australian & International The Castle And Bridge Of Saint Angelo, With The Vatican In The Distance, Vatican City,| Photography c1850s.| Albumen paper photograph, num- On exhibition from Sat., 3 December to Sat., 11 February. bered “34” in pencil in “R. Macpherson, Rome” blind stamp on backing below image, 24.4 x All items will be illustrated on our website from 17 December. 37.4cm. Slight fading and foxing to image, laid Prices are in Australian dollars, including GST. Exch. rates at down on original backing.| the time of printing: AUD $1.00 = USD $0.76¢; UK£0.60p $1,650| Held in Canadian Centre for Architecture. -
John Cruthers
MENZIES AUSTRALIAN & INTERNATIONAL FINE ART & SCULPTURE Sydney 24 September 2015 Several of the best works in this sale are well above the buying budgets of my clients, so as usual I have not written about them. This is a shame, because if any of you has a spare $350,000, Ian Fairweather’s Fascismo is a superb late painting and easily museum standard. But overall it’s an interesting sale containing some unusual and offbeat items. So I have taken the opportunity to introduce some new artists I’ve not previously recommended, and to reiterate my enthusiasm for a couple of others I’ve had little success with. Other works I’ve not recommended because I have no-one collecting in the area, for example the two terrific 1973 prints by US pop master Jim Dine, or the 1976 screenprint by Bridget Riley, the major figure in the international op art movement. I hope you enjoy seeing some new artists and, as always, I am very pleased to discuss any works of interest to you that I have not included in the presentation. JOHN CRUTHERS rococo pop pty ltd In a recent sale I recommended a painting by Albert Tucker called Woman 1950, of a prostitute standing in a doorway in a bombed-out looking Paris. I commented that the years Tucker spent overseas, roughly 1947-60, represented a highpoint in his work. He saw a lot of great art, worked hard and strove to produce work that measured up to the best contemporary art he was seeing. The current work is a study in which Tucker tries a variety of stylistic devices borrowed from late cubism to depict the female form in interior space. -
Antarctic Animation: Gestures and Lines Describe a Changing Environment
Antarctic Animation: Gestures and lines describe a changing environment By Lisa Roberts A thesis submitted for the degree of Doctor of Philosophy College of Fine Arts, The University of New South Wales. October 2010 Dedication I dedicate this work with love to my children Josef and Katherine, grandchildren Joshua and Benjamin, and to my teachers Lenton Parr, Simon Pockley and Kathryn Yeo. i Abstract The need to engage the public with accurate information about climate change is urgent. Antarctica has become the focus of research for scientists and artists who seek to understand the complex forces at work. Different perceptions of Antarctica are surveyed. These perceptions are expressed through data sets, art works, dances, words, tones of voice and gestures. An iconography of primal gestural forms is iden- tified that has been used since pre-history to make visible expressions of connection to the natural world. The primary research methodology is practice-based. Interviews with expedi- tioners, online responses and improvised movement workshops are used as sources for animations and art works. Animated forms arise from circling, spiraling, and crossing gestures. These ancient choreographies describe the dynamic structures that shape the Antarctic ecosystem and reflect structures within the body through which they are generated. Animations are presented at international conferences and exhibitions of Antarc- tic arts and sciences. An online log is used to display the animations and invite responses. The responses are evaluated. Archetypal gestural forms are found to expand the meaning of climate change data. Recognition of these primal forms (as body knowledge) is found to add a dimension of meaning to scientific information that is an essential component of accurate communication. -
Printmaking As an Expanding Field in Contemporary Art Practice
Printmaking as an Expanding Field in Contemporary Art Practice: A Case Study of Japan, Australia and Thailand Marjorie Anne Kirker Dip.F.A. (Hons), University of Auckland; M.A. Art History, Courtauld Institute of Art, London Doctor of Philosophy Submission for Final Examination Creative Industries Faculty Department of Visual Arts Queensland University of Technology 2009 1 Statement of original authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except where due reference is made. Marjorie Anne Kirker Signature: Date: 2 TABLE OF CONTENTS Acknowledgments .......................................................................................................... 6 Abstract ........................................................................................................................... 7 Chapter 1 THE PROBLEM AND ITS CONTEXT .............................................................. 10 1.1 The Research Problem and Its Significance ............................................................. 10 1.2 Key Research Questions to Be Addressed ................................................................ 15 1.3 Objectives of the Research ...................................................................................... 16 Chapter 2 LITERATURE INFORMING RESEARCH PROBLEM .................................... -
DALKIN, ROBERT NIXON (BOB) (1914–1991), Air Force Officer
D DALKIN, ROBERT NIXON (BOB) (1960–61), staff officer operations, Home (1914–1991), air force officer and territory Command (1957–59), and officer commanding administrator, was born on 21 February 1914 the RAAF Base, Williamtown, New South at Whitley Bay, Northumberland, England, Wales (1963). He had graduated from the RAF younger son of English-born parents George Staff College (1950) and the Imperial Defence Nixon Dalkin, rent collector, and his wife College (1962). Simultaneously, he maintained Jennie, née Porter. The family migrated operational proficiency, flying Canberra to Australia in 1929. During the 1930s bombers and Sabre fighters. Robert served in the Militia, was briefly At his own request Dalkin retired with a member of the right-wing New Guard, the rank of honorary air commodore from the and became business manager (1936–40) for RAAF on 4 July 1968 to become administrator W. R. Carpenter [q.v.7] & Co. (Aviation), (1968–72) of Norfolk Island. His tenure New Guinea, where he gained a commercial coincided with a number of important issues, pilot’s licence. Described as ‘tall, lean, dark including changes in taxation, the expansion and impressive [with a] well-developed of tourism, and an examination of the special sense of humour, and a natural, easy charm’ position held by islanders. (NAA A12372), Dalkin enlisted in the Royal Dalkin overcame a modest school Australian Air Force (RAAF) on 8 January education to study at The Australian National 1940 and was commissioned on 4 May. After University (BA, 1965; MA, 1978). Following a period instructing he was posted to No. 2 retirement, he wrote Colonial Era Cemetery of Squadron, Laverton, Victoria, where he Norfolk Island (1974) and his (unpublished) captained Lockheed Hudson light bombers on memoirs. -
Prints, Printmaking and Philanthropy a Symposium Celebrating 50 Years of the Harold Wright and the Sarah and William Holmes Scholarships
Prints, Printmaking and Philanthropy A symposium celebrating 50 years of The Harold Wright and The Sarah and William Holmes Scholarships 30 September – 2 October, 2019 Forum Theatre, Arts West, The University of Melbourne Prints, Printmaking SYMPOSIUM and Philanthropy PROGram A symposium celebrating 50 years of The Harold Wright and The Sarah and DAY ONE Monday 30 September William Holmes Scholarships 8.30 – 9.00 am Registration Presented by the Australian Institute of Art History 9.00 – 9.15 am Introduction and Welcome Professor Su Baker, Pro Vice-Chancellor, Community and Cultural Partnerships, with assistance from The University of Melbourne’s and Director of Centre of Visual Arts (CoVA), The University of Melbourne Students and Scholarly Services Associate Professor Christopher Marshall, Chair, The Harold Wright and 30 September – 2 October, 2019 The Sarah & William Holmes Scholarships Selection Committee, The University of Melbourne 9.15 – 10.15 am Session One – Prints & Experimentation Chair: Julie Irving, Lecturer, Faculty of Fine Arts and Music, The University of Melbourne Dr Jane Eckett, Art History Program, School of Culture and Communication, The University of Melbourne Can a visionary act of philanthropy transform print scholarship and curatorial practice? This symposium will Hirschfeld-Mack’s monotypes as an index of modernist migration explore this question. Celebrating 50 years of The Harold Wright and The Sarah and William Holmes Scholarships, Dr Anna Parlane, Art History Program, School of Culture and Communication, Prints, Printmaking and Philanthropy will focus on three broad themes: print exhibitions, print collections and The University of Melbourne “Collapse of Mirror City”: Fact, fabrication and the newspaper print in Michael print presses – and also seek to trace the influence of philanthropy in shaping Australasian print culture. -
Art Gallery of New South Wales Annual Report 2008–09 ANNUAL REPORT 200 8 REPORT ANNUAL – 09
ART GALLERY OF NEW SOUTH WALES Art Gallery of New South Wales Annual Report 2008–09 ANNUAL REPORT 200 8 – 09 Art Gallery of NSW Art Gallery Road The Domain NSW 2000 Administration switchboard (02) 9225 1700 Information desk (02) 9225 1744 Recorded ‘What’s on’ information (02) 9225 1790 TTY (02) 9225 1808 General facsimile (02) 9225 1701 Email: [email protected] www.artgallery.nsw.gov.au With over 1.7 million visitors this year, the Art Gallery of NSW is one of Australia’s most popular art museums and a vital part of Sydney’s cultural life. Since the Gallery’s genesis in the 1870s, our objective has been to collect and present to the public the finest works of art available, with a special emphasis on the artistic traditions of Australia. The Gallery has been located at our present site in the Domain since 1885. The Grand Courts, designed by government architect Walter Liberty Vernon, were the very first rooms Principal sponsors of the Gallery, built between 1895 and 1899 in typically grand Victorian style and scale. These elegant rooms now house Sydney’s premier collections of both European art, from the Renaissance to Impressionism, and Australian art, from colonisation to the end of the 19th century, along with a selection of 20th-century Aboriginal art. The building extensions made to the Gallery in the 1970s and ’80s responded to the changing needs of both the collection and our audience, doubling the available exhibition space and celebrating the art Exhibition program partners of our time with extensive displays of modern and contemporary Australian, ART Aboriginal and Torres Strait Islander, and European art. -
The Contribution of the Low Show Group of Artists MARGARET
CHANGING THE ART CULTURE OF NEWCASTLE: The contribution of the Low Show Group of artists MARGARET MCBRIDE Dip Art, BAVA, Grad Dip Art, Grad Dip Ed. (University of Newcastle) School of Drama, Fine Art and Music University of Newcastle Submitted in full requirement of the degree of Doctor of Philosophy January 2010 i STATEMENT OF ORIGINALITY This thesis contains no material which has been accepted for the award of any other degree or diploma 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. 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. ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this thesis is the result of original research, the greater part of which was completed subsequent to admission of candidature for the degree. ii ACKNOWLEDGEMENTS To Emeritus Professor Elizabeth Ashburn I owe my special thanks for her support, scholarly advice and enthusiasm during the preparation of this thesis. As well I thank Emeritus Professor John Ramsland for his enthusiasm and guidance and the Newcastle Region Art Gallery for allowing me access to their files and providing me with copies of artworks from their collection. Finally I must thank my husband, Brian Cox, for his constant support, care and encouragement. iii CONTENTS Title Page i Declaration ii Acknowledgement iii Contents iv Abstract viii List of Plates x Introduction ........................................................................................................