Appendices 08–09
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Why Has Soccer Not Become the Code of Football in Australia
Deakin Research Online Deakin University’s institutional research repository DDeakin Research Online Research Online This is the authors final peer reviewed version of the item published as: Hay, Roy 2006-04, Our wicked foreign game : why has association football (Soccer) not became the main code of football in Australia?, Soccer and society, vol. 7, no. 2-3, pp. 165-186. Copyright : 2006, Taylor & Francis ..‘Our wicked foreign game’: Why has Association Football (soccer) not become the main code of football in Australia?∗ Roy Hay Sports and Editorial Services Australia Introduction Soccer, ‘our wicked foreign game’, is not the main code of football in any state in Australia, but it is probably the second in most states if measured by spectator attendance or participation.1 In Victoria, Australian rules is number one, while in New South Wales, rugby league is the dominant code. The phenomenon is not unique to Australia. None of the white dominions of the old British Empire nor the former British colony the United States has soccer as its main code, with the exception of South Africa where the non-white population has taken up Association Football.2 In most of these countries soccer is characterised as a migrants’ game, even though many of the migrants playing or watching the game are of second or later generations. Explanations for the secondary position of soccer in Australia ought therefore to be compared with those for these other countries, and if we seek a comprehensive explanation of this phenomenon then the Australian story ought not to vary too much from those applied to the others, unless it can be clearly shown that Australian experience and conditions were indeed different.3 This article concentrates on the domestic experience in Australia, with a view to introducing and outlining some of the issues which might be drawn into an effective international comparison. -
Emu Island: Modernism in Place
Emu Island: Modernism in Place Visual Arts Syllabus Stages 5 - 6 CONTENTS 3 Introduction to Emu Island: Modernism in Place 4 Introduction to education resource Syllabus Links Conceptual framework: Modernism 6 Modernism in Sydney 7 Gerald and Margo Lewers: The Biography 10 Timeline 11 Mud Map Case study – Sydney Modernism Art and Architecture Focus Artists 13 Tony Tuckson 14 Carl Plate 16 Frank Hinder 18 Desiderius Orban 20 Modernist Architecture 21 Ancher House 23 Young Moderns 24 References 25 Bibliography Front Page Margel Hinder Frank Hinder Currawongs Untitled c1946 1945 shale and aluminium collage and gouache on paper 25.2 x 27 x 11 24 x 29 Gift of Tanya Crothers and Darani Penrith Regional Gallery & The Lewers, 1980 Lewers Bequest Collection Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Copyright courtesy of the Estate of Margel Hinder Emu Island: Modernism in Place Emu Island: Modernism in Place celebrates 75 years of Modernist art and living. Once the home and studio of artist Margo and Gerald Lewers, the gallery site, was, as it is today - a place of lively debate, artistic creation and exhibitions at the foot of the Blue Mountains. The gallery is located on River Road beside the banks of the Nepean River. Once called Emu Island, Emu Plains was considered to be the land’s end, but as the home of artist Margo and Gerald Lewers it became the place for new beginnings. Creating a home founded on the principles of modernism, the Lewers lived, worked and entertained like-minded contemporaries set on fostering modernism as a holistic way of living. -
Aida Tomescu Fox Jensen
AIDA TOMESCU FOX JENSEN 2017 Abstraction: Celebrating Australian women abstract artists, National Gallery of Australia & Tour, Geelong Art Gallery 2017 The Beginnings, Wangaratta Art Gallery Has been living and working in Australia since 1980 Born 1955, Bucharest 2016 WAAM! It’s Women’s Abstract Art Man!, Jervis Bay Maritime Museum & Gallery 1983 Post Graduate Diploma of Art, City Art Institute, Sydney 1977 Diploma of Art (Painting), Institute of Fine Arts, Bucharest. 2016 Chromoffection, Fox/ Jensen, Auckland 2016 Black to Blackest, Geelong Gallery Aida Tomescu is the winner of the inaugural LFSA Arts 21 Fellowship in 1996 at the Heide Museum of Modern Art, 2016 Assemblage, John Curtin Gallery, Perth Melbourne. She is also the winner of the Sulman Prize 1996, the Wynne prize 2001, the Dobell Prize for Drawing 2016 Refugees, Casula Powerhouse, Sydney 2003, by the Art Gallery of New South Wales. 2016 Fleurieu Art Prize, Anne & Gordon Samstag Museum of Art, Adelaide Represented by Jensen Gallery, Sydney & Fox/Jensen/McCrory, Auckland. 2016 Collected II, Wangaratta Art Gallery, Wangaratta 2015 Sullivan+Strumpf, Sydney Contemporary, Sydney Solo Exhibitions 2015 Wynne Prize, Art Gallery of New South Wales, Sydney 2015 Abstraction: The Heide Collection from Nolan to the 90s, Heide Museum of Modern Art 2017 Under the iron of the moon, FOXJENSEN, Sydney 2015 The Triumph of Modernism in the Art of Australia, Hazelhurst Regional Gallery and TarraWarra Museum of Art 2015 Eyes in the Heat, Sullivan+Strumpf, Sydney 2015 Art Basel Hong Kong, Sullivan+Strumpf, -
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. -
Miguel Ángel García Navarrete Y Antonio R. Navarrete Orcera, La Mitología Clásica En Los Museos De
LA MITOLOGÍA CLÁSICA EN LOS MUSEOS DE AUSTRALIA MIGUEL ÁNGEL GARCÍA NAVARRETE & ANTONIO R. NAVARRETE ORCERA IES San Juan de la Cruz (Úbeda, Jaén) [email protected] Resumen Este trabajo es fruto de un viaje a Australia en busca de mitología y naturaleza virgen. Se visitan tres importantes museos: Art Gallery of New South Wales (Sydney), Nati onal Gallery of Victoria (Melbourne) y Art Gallery of South Australia (Adelaida), que sorprenden tanto por la cantidad como por la belleza de las obras mitológicas contenidas en ellos. Palabras clave Australia, Sydney, Melbourne, Adelaida, museos de arte, mitología, pintura. Abstract This work is the result of a trip to Australia, trying to find mythology and nature. Three major museums have been visited: Art Gallery of New South Wales (Sydney), National Gallery of Victoria (Melbourne) and Art Gallery of South Australia (Adelaida). All of them are impressive not only because of the number, but also the beauty of their mythological works of art. Key words Australia, Sydney, Melbourn, Adelaida, Art Gallery, mythology, painting. Thamyris, n. s. 6 (2015) 441-469 ISSN: 2254-1799 M. A. GARCÍA NAVARRETE & A. R. NAVARRETE ORCERA 442 A las bellezas naturales que de por sí ofrece el continente australiano, se añade otra no menos atractiva, la de albergar mitología, en sus museos y en sus calles. Así lo pudimos comprobar mi sobrino Miguel Ángel —coautor de este trabajo— y yo mismo en un reciente viaje a tres de las principales ciudades de Australia: Sydney, Melbourne y Adelaida. Nos sorprendió encontrar en ellas tantas —y tan bellas— obras de mitología, que nos dio la impresión de estar en casa, a pesar de los miles de kilómetros que nos separaban. -
KEVIN CONNOR B
KEVIN CONNOR b. 1932, Sydney Biography Connor has lived and worked in Sydney, painting full time between 1963 to 1976 and 1987 to the present, with periods of overseas work and travel throughout his career. 2006-2014 Various travels. Worked in Sydney 2005 Lived and worked in Paris and London for two months 2003 Lived and worked in Paris for two months 2001-2002 Worked in Paris for five months 1999 Lived and worked in Paris and London for five months 1998 Lived and worked in Paris and London for two months 1996 Lived and worked in Paris and London for three months 1995 Worked in Paris for two months 1994 Worked in Paris for two months 1991 Three week drawing expedition of war damaged areas in Iraq Three week drawing expedition in Jordan, Syria and Jerusalem 1988 Two months drawing and making lithographs with Jacques Champfleury in Paris 1985 Three months study tour of Egypt, Paris and London 1981-1987 Trustee of the Art Gallery of New South Wales 1979 Six months study tour in Egypt and Paris 1976-1987 Lecturer in painting and drawing at the National Art School, Alexander Mackie College of Advanced Education and the City Art Institute, Sydney 1966-1968 Lived and worked in New York, United States of America 1965-1966 Thirteen months travel in Europe including a seven month stay in Spain 1954-1957 Travelled, lived and worked overseas in Canada and England Solo Exhibitions 2018 The Forever One Day, Orange Regional Gallery 2015 Drawings, Liverpool Street Gallery, Sydney 2013 Paintings, Liverpool Street Gallery, Sydney 2012 Paintings, Liverpool -
Family Businesses in Australia
Commonwealth of Australia 2013 ISBN 978-1-74229-800-9 Printed by the Senate Printing Unit, Parliament House, Canberra ii Members of the Committee Ms Deborah O'Neill, Chair NSW ALP Senator Sue Boyce, Deputy Chair QLD LP Senator Mathias Cormann WA LP Senator Rachel Siewert (until 28 February 2013) WA AG Senator Matt Thistlethwaite NSW ALP Senator Anne Urquhart TAS ALP Mr Paul Fletcher MP NSW LP The Hon Alan Griffin MP VIC ALP The Hon Tony Smith MP VIC LP Ms Laura Smyth MP VIC ALP SECRETARIAT Dr Richard Grant, Acting Secretary Ms Erin East, Principal Research Officer Dr Patrick Hodder, Acting Senior Research Officer Mr Tim Hillman, Administrative Officer PO Box 6100 Parliament House Canberra ACT 2600 T: +61 2 6277 3583 F: +61 2 6277 5719 E: [email protected] W: www.aph.gov.au/joint corporations iii Duties of the Committee Section 243 of the Australian Securities and Investments Commission Act 2001 sets out the Parliamentary Committee's duties as follows: (a) to inquire into, and report to both Houses on: (i) activities of ASIC or the Panel, or matters connected with such activities, to which, in the Parliamentary Committee's opinion, the Parliament's attention should be directed; or (ii) the operation of the corporations legislation (other than the excluded provisions), or of any other law of the Commonwealth, of a State or Territory or of a foreign country that appears to the Parliamentary Committee to affect significantly the operation of the corporations legislation (other than the excluded provisions); and (b) to examine each annual report that is prepared by a body established by this Act and of which a copy has been laid before a House, and to report to both Houses on matters that appear in, or arise out of, that annual report and to which, in the Parliamentary Committee's opinion, the Parliament's attention should be directed; and (c) to inquire into any question in connection with its duties that is referred to it by a House, and to report to that House on that question. -
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. -
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. -
Ben Quilty: a Case Study(PDF, 558KB)
EDUCATION RESOURCE KIT A CASE STUDY BEN QUILTY 1 INTRODUCTION Written by Kate Caddey and published by Lake Macquarie City Art Gallery (LMCAG), this education kit is designed to assist senior secondary Visual Arts teachers and students in the preparation, appreciation and understanding of the case study component of the HSC syllabus. LMCAG is proud to support educators and students in the community with an ongoing series of case studies as they relate to the gallery’s exhibition program. This education kit is available in hard copy directly from the gallery or online at www.artgallery.lakemac.com.au/learn/schools. A CASE STUDY A series of case studies (a minimum of FIVE) should be undertaken with students in the Higher School Certificate (HSC) course. The selection of content for the case study should relate to various aspects of critical and historical investigations, taking into account practice, the conceptual framework and the frames. Emphasis may be given to a particular aspect of content although all should remain in play. Case studies should be 4–10 hours in duration in the HSC course. Cover: Ben Quilty Cook Rorschach 2009 NSW Board of Studies, Visual Arts Stage 6 Syllabus, 2012 oil on linen 140 x 190cm © the artist CONTENTS THE ARTIST 5 PRACTICE 7 Conceptual Practice 7 Explorations of masculinity and mortality 7 Humanitarianism and social issues 14 Australian identity and history 15 Material Practice 16 THE FRAMES 18 Artwork Analysis Using the Frames 18 Structural frame 18 Cultural frame 20 Subjective frame 21 Postmodern frame 23 THE CONCEPTUAL FRAMEWORK 24 Artist 25 Audience 24 Artwork 24 World 24 PREVIOUS HSC EXAMINATION QUESTIONS RELEVANT TO THIS CASE STUDY 26 GLOSSARY 27 REFERENCES AND FURTHER READING 28 Websites 28 Videos 29 Articles and catalogues 30 A CASE STUDY BEN QUILTY 3 A CASE STUDY BEN QUILTY 4 THE ARTIST Ben Quilty in front ‘I am an Artist. -
Attachment C
Attachment C Fourth Quarter Operational Plan 2019/20 Report City of Sydney - Operational Plan Report - Quarter 4 2019/20 Table of Contents 1 A globally competitive and innovative city .............................................................................. 4 1.1 Plans are in place to accommodate growth and change in the city centre and other key economic areas. .............. 4 1.2 The city economy is competitive, prosperous and inclusive. ..................................................................................... 4 1.3 The city economy is an integrated network of sectors, markets and high performing clusters. ................................. 7 1.4 The city economy is resilient. .................................................................................................................................... 7 1.5 The city enhances its global position and attractiveness as a destination for people, business and investment. ..... 8 1.S.1 Performance Measures ....................................................................................................................................... 12 2 A leading environmental performer ........................................................................................ 14 2.1 Greenhouse gas emissions are reduced across the city......................................................................................... 14 2.2 Waste from the city is managed as a valuable resource and the environmental impacts of its generation and disposal are minimised. ............................................................................................................................................... -
Liberal Party of Australia, New South Wales Division Objection to Proposed Redistribution
1 LIBERAL PARTY OF AUSTRALIA, NEW SOUTH WALES DIVISION OBJECTION TO PROPOSED REDISTRIBUTION 1. EXECUTIVE SUMMARY 1.1. The Liberal Party of Australia, New South Wales Division (the “Liberal Party”) objects to the redistribution proposed by the Redistribution Committee for New South Wales. This objection is lodged with the Electoral Commission pursuant to section 69 of the Commonwealth Electoral Act 1918. 1.2. In summary the Liberal Party objects to the following: (a) Wentworth/Kingsford Smith/Sydney – the Liberal Party objects to the proposed boundaries between these three divisions. The primary basis for the objection is that these proposed boundaries do not give due consideration to community of interests within Wentworth and community of interests within Sydney. (b) Paterson/Newcastle – the Liberal Party objects to the proposed boundary between these two divisions. The primary basis for the objection is that the proposed boundary does not give due consideration to community of interests within Paterson, especially for the Port Stephens local government area. (c) Country New South Wales and western Sydney – the Liberal Party objects to the boundaries for the proposed divisions of Macquarie, Calare, Parkes and Parramatta (with consequential effects for some other proposed divisions in country New South Wales and western Sydney).The primary bases for the objections are that the proposed boundaries: (i) do not give due consideration to community of interests between Bathurst and Orange, 2 (ii) do not give due consideration to community of interests between the Blue Mountains and the Hawkesbury region, (iii) are based upon an erroneous conclusion about the strength of communities of interest between Bathurst area and the Blue Mountains, (iv) result in a division of Parkes which is far too large, and (v) split Parramatta CBD from the division of Parramatta.