Saltwater Country Artist Biographies
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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. -
Tony Albert Brothers May 26 - August 9
TONY ALBERT BROTHERS MAY 26 - AUGUST 9 OPENING RECEPTION FRIDAY, MAY 29, 2015 5:30 - 7:30 PM NAIDOC CELEBRATIONS WITH THE ARTIST JULY 8 - 11, 2015 ACKNOWLEDGMENTS Tony Albert Carriageworks Colette Blount Liz Nowell Charlene Green Debra and Dennis Scholl Lora Henderson Franklin Sirmans Joanna Williams Sullivan + Strumpf, Sydney Holly Zajur Film: Tony Albert and Stephen Page, Moving Targets, 2015. Commissioned for 24 Frames Per Second. The 24 Frames Per Second exhibition runs from 18 June - 2 August, 2015. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. ll images courtesy the artist. A 2013. KLUGE-RUHE ABORIGINAL aRT COLLECTION rothers, OF THE UNIVERSITY OF VIRGINIA B 400 Worrell Drive, Charlottesville, VA 22911 lbert, [email protected] A ony www.kluge-ruhe.org T 434-244-0234 TONY ALBERT BROTHERS TONY ALBERT: HEAR AND NOW TONY ALBERT (b. 1981) is a Girramay man from Townsville in north FRANKLIN SIRMANS Queensland, Australia. Albert questions how we understand, imagine and construct difference. Certain political themes and visual motifs resurface across his oeuvre, including The focal point of the discussion on the art of Aboriginal artists in Australia has, until thematic representations of the ‘outsider’ and the target recently, focused almost exclusively on the art of abstraction. Yet, artists like Tracey made of concentric circles. Moffatt and Gordon Bennett have been working with conceptualist practices in photography and video for quite some time. A generation younger than Moffatt His work is held in numerous public and private collections and Bennett, Tony Albert has continuously sought to disrupt the perception of internationally, including the National Gallery of Australia, Aboriginal art with his conceptual and highly representational art and a spirit of the Australian War Memorial, the Art Gallery of New South collaboration that has been as potent to the discourse as his works of art. -
Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her. -
Jus' Drawn: the Proppanow Collective a Linden Centre for Contemporary Arts & Nets Victoria Touring Exhibition
Jus’ Drawn: The proppaNOW Collective A Linden Centre for ContemporAry Arts & nets ViCtoriA touring exhibition Jus’ Drawn: The proppaNOW Collective A Linden Centre for Contemporary Arts & nets Victoria touring exhibition Written and researched by shelley hinton 3 Planning your gallery visit 3 Curriculum links and themes 4 proppanoW 5 Introduction to the exhibition Jus’ Drawn 6 Artist profiles 32 Curriculum links & Questions • VeLs level 6 • years 11 & 12 41 References NB: the soundfiles and further research on the artists may include strong language 2 Planning your gallery visit Curriculum links and themes this education resource is designed for teachers and A broad range of themes and ideas which link to the students to provide background and context to the exhibition may be explored across the curriculum for exhibition Jus’ Drawn:The proppaNOW Collective. students students, levels 5-6 VeLs and VCe, years 11-12. these themes and teachers are advised to utilise this information parallel to may be utilised to assist students with contextualising a gallery visit to view the exhibition, enhanced by discussion information presented in the exhibition, to inspire discussion and research of a range of resources, including soundfile and to explore and link to a broad range of study areas across recordings by each of the proppanoW artists featuring the the Arts, the humanities and social sciences. artists via the nets Victoria website: http://www.netsvictoria.org.au. particular themes include: • Contemporary art prior to undertaking a gallery visit, it is suggested that • Aboriginal art students read the exhibition room brochure, listen to the • urban Aboriginal art recorded soundfiles by the artists and explore a range of • figuration and abstraction suggested resources and links which will provide context and • portraiture and identity background to the exhibition. -
MEGAN COPE Born Brisbane, 1982 Lives and Works in Melbourne
MEGAN COPE Born Brisbane, 1982 Lives and works in Melbourne QUALIFICATIONS 2006 Bachelor of Visual Arts (Visual Communication), Deakin University, Victoria SELECTED SOLO EXHIBITIONS 2015 The Blaktism, Australian Centre for Photography, Sydney The Blaktism, This Is No Fantasy + dianne tanzer gallery, Melbourne 2013 The Tide is High, Fehily Contemporary, Melbourne 2012 Deep Water - Spiro Grace Art Rooms, Brisbane SELECTED GROUP EXHIBITIONS 2017 Chapter Arts Centre, Cardiff, Wales Redcliffe Art Award exhibition, Redcliffe Art Gallery, QLD The National, Art Gallery of New South Wales National Indigenous Art Triennial, National Gallery of Australia, Canberra Sovereignty, Australian Centre for Contemporary Art, Melbourne Another Day in Paradise, Campbelltown Arts Centre, Sydney Ku-ring-gai pH, Manly Art Gallery and Museum, Sydney 2016 Frontier Imaginaries, Al-Ma’mal Foundation for Contemporary Art, Jersusalem Bereft, Artspace, Sydney Lifelines: Indigenous Contemporary Art from Australia, Musées de la Civilisation in Québec, Canada Saltwater Country, Mornington Peninsula Regional Gallery, Victoria Frontier Imaginaries, Queensland University of Technology, Brisbane Interpretive Wonderings, Mildura Art Gallery, Victoria Miss-represent, Willoughby City Council Gallery, Sydney Women, Art and Politics, Footscray Community Arts Centre, Melbourne proppaNOW, Footscray Community Arts Centre, Melbourne Fraud Complex, West Space, Melbourne Untitled 1, Hanging Valley, Melbourne LORE, RAFT South, Hobart Re-visioning Histories, Bundoora Homestead Art Centre, -
“I Am Visible” at National Gallery of Australia, Canberra
“I am Visible” at National Gallery of Australia, Canberra BY BLOUIN ARTINFO | MARCH 12, 2019 National Gallery of Australia (NGA) is currently presenting a solo exhibition by Tony Albert, titled "I am Visible", on view through March 11, 2019. The exhibition presents 50m high images of young Aboriginal men, shown with targets on their chest, intertwined with musical lyrics and words from Indigenous languages. These works reference Albert’s “Brothers” series, which includes two works of art in the NGA’s collection, “Brothers (New York Dreaming)” (2015), and “Brothers (Unalienable)” (2015). The commission connects issues of racial profiling and miscarriages of justice. The artist makes the strengths and vulnerabilities of the young men in our community visible in order to destabilize stereotypes and offer new images for now and our collective future. Born in 1981, Tony Albert is a contemporary Australian artist working in a wide range of mediums including painting, photography, and mixed media. His work engages with political, historical and cultural Aboriginal and Australian history, and his fascination with kitsch "Aboriginalia". In 2004 he graduated from the Queensland College of Art, Griffith University, Brisbane, with a degree in Contemporary Australian Indigenous Art. Albert is a descendant of the Girramay, Yidinji and Kuku-Yalanji peoples. Albert was a founding member of the urban-based Indigenous art collective ProppaNOW founded in 2004. ProppaNOW also included artists Richard Bell, Jennifer Herd, Vernon Ah Kee, Fiona Foley, Bianca Beetson, and Andrea Fisher. In 2014, Albert won the first prize in the National Aboriginal & Torres Strait Islander Art Award for his work "We can be Heroes," prompted by the 2012 shooting of two Aboriginal teenagers in Kings Cross by the police.Albert's was the first photographic work to win the prize. -
Gordon Hookey
FORT GANSEVOORT GORDON HOOKEY 1961 Born in Cloncurry, Queensland, Australia People: Waanyi Lives and Works in Brisbane, Australia EDUCATION 2012 Queensland College of Art, Griffith University, Brisbane, Master of Visual Arts 1991 College of Fine Arts, University of New South Wales, Sydney, Bachelor of Fine Arts SOLO EXHIBITIONS 2021 Sacred Nation, Scared Nation, Fort Gansevoort, NY 2017 Wellaroo, Boomalli Aboriginal Artists Co-operative, Sydney 2015 Extant, Artrageous, Deagon 2014 Gordon Hookey: Kangaroo Crew, Queensland Art Gallery | Gallery of Modern Art, Brisbane 2012 Graduation Exhibition, Whitebox Gallery, Griffith University, Brisbane Recent Sculpture and Drawing, Milani Gallery, Brisbane 2010 Recent Drawings: The Kangaroo Series, Nellie Caston Gallery, Melbourne 2009 “WHICHWAY!...?’’ Milani Gallery, Brisbane 2008 “a ready made joke”, Melbourne Art Fair, Royal Exhibition Buildings, Melbourne 2007 So Fist Tick Catered Phenomenaah, Bellas Milani Gallery, Brisbane Contempt Free Hart, Contemporary Arts, Umbrella Studio, Townsville, Queensland Con Ject Charr-Jarr-Yarh-”Arrgh”, Koorie Heritage Trust Inc, Melbourne, Australia 2006 Kopatai Project Space, Port Chalmers, Dunedin, New Zealand 2005 www.gordonhoo.com, Nellie Castan Gallery, Melbourne 2001 Ruddocks Wheel, Casula Powerhouse Arts Centre, Sydney In Ya Face (with Gordon Syron), Boomali Aboriginal Artists Cooperative, Sydney 2000 Untitled, Villa Van Delden, Ahaus, Germany 1998 Furious (with Andy Lelei), Casula Powerhouse Art Centre, Sydney 1996 Terraism, Red Shed Gallery, Adelaide, South Australia 1995 Interface Inya Face, Canberra Contemporary Art Space, Canberra, Australia 1994 Canadian Exchange, Arthaus, Sydney TWO-PERSON EXHIBITIONS 2001 In Ya Face (with Gordon Syron), Boomali Aboriginal Artists Cooperative, Sydney 1998 Furious (with Andy Lelei), Casula Powerhouse Art Centre, Sydney GROUP EXHIBITIONS 5 Ninth Avenue, New York, New York 10014 | [email protected] | (917) 639 - 3113 FORT GANSEVOORT 2019 Just Not Australian, Artspace, Sydney 2018 Frontier Imaginaries ed. -
Annual Report 2007–08 Annu Al Repor T 20 07–0 8
ANNUAL REPORT 2007–08 ANNUAL REPORT 2007–08 REPORT ANNUAL ANNUAL REPORT 2007–08 The National Gallery of Australia is a Commonwealth authority established under the National Gallery Act 1975. The vision of the National Gallery of Australia is the cultural enrichment of all Australians through access to their national art gallery, the quality of the national collection, the exceptional displays, exhibitions and programs, and the professionalism of Gallery 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 2007–08 the National Gallery of Australia received an appropriation from the Australian Government totalling $58.243 million (including an equity injection of $4 million for development of the national collection and $11.797 million for Stage 1 of the building project), raised $9.624 million, and employed 250.7 full-time equivalent staff. © National Gallery of Australia 2008 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 ZOO Printed by Blue Star Print, Canberra National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/Reports Cover: Frederick McCubbin Violet and goldd 1911 (detail) oil on canvas 87.0 x 144.5 cm National Gallery of Australia, Canberra Purchased with the generous assistance of the Hon. -
Indigenous Visual Arts Directory
DEPARTMENT OF COMMUNICATIONS, INFORMATION TECHNOLOGY AND THE ARTS www.dcita.gov.au Indigenous Visual Arts and Craft Indigenous Visual Arts and Craft Resource Directory Resource Directory 2006 2006 Indigenous Visual Arts and Craft Resource Directory 2006 1 Disclaimer The Commonwealth, its employees, officers and agents are not responsible for the activities of organisations and agencies listed in this directory and do not accept any liability for the results of any action taken in reliance upon, or based on or in connection with this directory, including the purchase of artworks from organisations listed in the directory. To the extent legally possible, the Commonwealth, its employees, officers and agents, disclaim all liability arising by reason of any breach of any duty in tort (including negligence and negligent misstatement) or as a result of any errors and omissions contained in this document. The organisations and agencies do not have the endorsement of the Department of Communications, Information Technology and the Arts. They are listed for information purposes only. © Commonwealth of Australia 2006 ISBN 0642753369 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the Commonwealth. Requests and inquiries concerning reproduction and rights should be addressed to the: Commonwealth Copyright Administration Attorney General’s Department Robert Garran Offices National Circuit Canberra ACT 2600 Requests and enquiries can be posted at: www.ag.gov.au/cca This directory is the fourth edition of the Indigenous Visual Arts and Crafts Resource Directory. The first three editions were produced in 1987, 1998 and 2000 by the former Aboriginal and Torres Strait Islander Commission. -
Valuing Art, Respecting Culture
VALUING ART, RESPECTING CULTURE PROTOCOLS FOR WORKING WITH THE AUSTRALIAN INDIGENOUS VISUAL ARTS AND CRAFT SECTOR You can show/hide bookmarks by clicking this icon in the tools palette above. Care has been taken in compiling this document, to obtain the appropriate permissions for reproduction of images, and to respect cultural and intellectual property rights. Readers are advised however, that unintentional offence or distress may be caused by the use of images, or names of persons who have passed away since printing and publication of the document. General Editor and Principal Consultant Doreen Mellor Web links to many Indigenous artists, support organisations and retail Authors Doreen Mellor and Terri Janke outlets can be accessed via the Visual Arts Net website. In addition, the Copy Editor Lorraine Rogge Executive Summaries of Valuing Art, Respecting Culture can be downloaded from the site. Site address www.visualarts.net.au Designer Creative consultancy provided by Jones Davis Creative Pty Ltd ©National Association for the Visual Arts Ltd Copyright in any ‘prior material’ used in this publication remains with the original author. Funded by the Aboriginal and Torres Strait Islander Commission ISBN 0 9585 474 0 8 (ATSIC); the Commonwealth Government through the Australia Council's Aboriginal and Torres Strait Islander Arts Board; and the Cover image ©Brian Nyinawanga “Visions of the City” 1994. Northern Territory Government's Department of Arts and Museums. Screenprint. Image courtesy of the Museum and Art Gallery of the Northern Territory. “When Brian Nyinawanga visited Sydney, it was the first major city he had seen apart from Darwin. It made a significant impression upon him, particularly the claustrophobic streets with their tall buildings, depicted here in classic plan perspective. -
Queensland Art Gallery Board of Trustees
QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2018–19 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2018–19 ACKNOWLEDGMENT OF COUNTRY The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the traditional custodians of the land upon which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution Indigenous people make to the art and culture of this country. REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 19 August 2019 The Honourable Leeanne Enoch MP Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts GPO BOX 5078 BRISBANE QLD 4001 Dear Minister I am pleased to submit for presentation to the Parliament the Annual Report 2018–19 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found on page 76 of this annual report. Yours sincerely Professor Emeritus Ian O’Connor AC Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION -
A Critical Sociological Inquiry Into the Aboriginal Art Phenomenon
Hope, Ethics and Disenchantment: a critical sociological inquiry into the Aboriginal art phenomenon by Laura Fisher A thesis submitted in fulfilment of the requirements for the degree of PhD (Sociology) University of NSW 2012 ii PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Fisher First name: Laura Other name/s: Abbreviation for degree as given in the University calendar: PhD (Sociology) School: Social Sciences and International Studies Faculty: Faculty of Arts & Social Sciences Title: Hope, Ethics and Disenchantment: a critical sociological inquiry into the Aboriginal art phenomenon Abstract 350 words maximum: (PLEASE TYPE) Aboriginal and Torres Strait Islander Art art has come to occupy a significant space in the Australian cultural landscape. It has also achieved international recognition as one of the most interesting aesthetic movements of recent decades and has become highly valuable within the art market. Yet there is much that remains obscure about Aboriginal art. It seems at once unstoppable and precarious: an effervescent cultural renaissance that is highly vulnerable to malign forces. This thesis brings a critical sociological perspective to bear upon the unruly character of the Aboriginal art phenomenon. It adopts a reflexive and interdisciplinary approach that brings into dialogue scholarship from several fields, including anthropology of art, art history and criticism, post-colonial critique, sociology of art and culture, theories of modernity, theories of cross-cultural brokerage and Australian political history. By taking this approach, the thesis is able to illuminate the intellectual and aesthetic practices, social movements and political events that have been constitutive of Aboriginal art‟s meaning and value from the late 19th Century to the present.