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Appendix 2: Selected Group Exhibitions
APPENDIX 2: SELECTED GROUP EXHIBITIONS Where the names or dates of works listed in an exhibition vary from those used in this catalogue raisonné, a cross-reference is included, either in the list or in the exhibition comments. Exhibition documentation listings do not include correspondence with the gallery involved, mostly regarding exhibition arrangements; such correspondence is accessible in the RG papers, National Library of Australia, Canberra. Documentation includes references to images of the exhibition displays. Extracts from notices are quoted, sufficient to indicate the flavour of the reviewer’s response, but not always the full review. Notices cited do not always include a reference to RG. Exhibition comments also include comments by RG in correspondence with family members and in her talks and interviews. 1975 PHILIP MORRIS ARTS GRANT SECOND ANNUAL EXHIBITION, City Square, Melbourne, 28 February – 10 March 1975 and Hyde Park, Sydney, 27 March – 6 April 1975. 4 works.1 Untitled No 25 [The dredge] 1974 Untitled No 7 [Back verandah] 1974 Woolshed 1974 Untitled 1975 [ [Bowls of balls] 1974–75] Exh. broadsheet with artist notes (Sydney) NOTICES: Maureen Gilchrist ‘Good men who come to the aid of the arty’ The Age 5 Mar 1975, p. 2; Nancy Borlase ‘Taking high culture to the people’ The Bulletin 15 Mar 1975, pp. 51–52; Daniel Thomas ‘Refreshing friend’ SMH 27 Mar 1975; ‘Art on show in City Square’ The Age 28 Feb 1975, p. 26. An unidentified review possibly in a West Australian journal included a large illustration of [Bowls of balls] 1974–75 labelled ‘Assemblage’ by Rosalie Gascoigne 1 List of works from Ken Scarlett Australian sculptors 1830–1977 Thomas Nelson, Melbourne, 1980, pp. -
Geoffrey Bartlett
GEOFFREY BARTLETT Born 1952, Melbourne Lives and works in Melbourne 1971 - 73 Royal Melbourne Institute of Technology, Melbourne 1976 Post-Graduate Diploma 1983 Master of Fine Arts (Hons), Columbia University, New York SOLO EXHIBITIONS 2019 ‘Geoffrey Bartlett’, Australian Galleries, Sydney 2017 ‘1988 – 2017 Revised’, Australian Galleries, Melbourne 2015 ‘Geoffrey Bartlett: 280205’, McClelland Sculpture Park+Gallery, Langwarrin, VIC 2012 ‘New Works’. Albert St Gallery, Richmond, Melbourne 2011 ‘Sculptures in a Landscape’, John Buckley Gallery, Melbourne 2009 ‘Geoffrey Bartlett 2009’, John Buckley Gallery, Melbourne ‘New Works’. Albert St Gallery, Richmond, Melbourne 2007 ‘Geoffrey Bartlett’, National Gallery of Victoria, Melbourne ‘New works’, John Buckley Gallery, Melbourne 2004 ‘Geoffrey Bartlett’, Drill Hall Gallery, Australian National University, Canberra ‘Endangered Species’, Boutwell Draper Gallery, Sydney ‘New works’, John Buckley Gallery, Melbourne 2002 ‘Geoffrey Bartlett: The Shell’, fortyfivedownstairs, Melbourne 2001 ‘Geoffrey Bartlett: Silver Cloud’, Stonington Stables Museum of Art, Deakin University, Melbourne; touring to University of Technology Gallery, Sydney 2000 ‘Recent Sculpture’, Beaver Galleries, Canberra 1998 ‘Recent Sculpture’, Australian Galleries, Sydney 1995 ‘Sculpture’, Australian Galleries, Sydney 1994 ‘Geoffrey Bartlett: Sculpture 1977-1994’, Waverley City Gallery, and touring to McClelland Gallery, Hamilton Art Gallery, Mildura Arts Centre, Latrobe Regional Art Gallery and Australian Galleries, Sydney in -
CURRICULUM VITAE Ron Robertson-Swann OAM
CURRICULUM VITAE Ron Robertson-Swann OAM EDUCATION 1957-59 Studied sculpture under Lyndon Dadswell National Art School, Sydney 1962 Post-Graduate Studies (Sculpture) under Sir Anthony Caro OM and Phillip King CBE, St Martins School of Art, London ACADEMIC APPOINTMENTS 1963 Lecturer, St Martins School of Art, London 1965 Lecturer, East Ham Technical College and West Ham Technical College, London 1967 Lecturer, Goldsmith College, University of London 1969 Lecturer, Architecture Department, University of New South Wales, Sydney 1969 Lecturer, Sculpture Department, National Art School, Sydney (TAFE) 1978-89 Head of Sculpture Department, Canberra School of Art 1984 Executive Administrator/Participant, Sculpture Workshop and Seminar, Canberra School of Art in association with the Australian National University and the Australian National Gallery 1991-96 Lecturer, National Art School, Sydney (TAFE) 1997-2003 Lecturer, National Art School, Sydney 2003-2004 Acting Head of Sculpture Department, National Art School, Sydney. 2004-2006 Lecturer, National Art School, Sydney 2009- Head of Sculpture, National Art School, Sydney PROFESSIONAL ACTIVITIES, RESIDENCIES AND CONSULTANCIES 1963-65 Assistant to Henry Moore OM 1968 Return to Australia 1973 A Founding Member, Visual Arts Board, Australian Council 1974 Acting Director/Administrator, Visual Arts Board, Australia Council 1 1977 Contributor, 'Art in Architecture Conference", Adelaide 1977 Sculpture Workshop, Victorian College of the Arts, Melbourne 1978 Attended 10th International Sculpture Conference, Toronto, Canada 1978 Co-curator, British Council Travelling Exhibition; "Anthony Caro: Table Sculptures 1966-77" Australia and New Zealand 1978-80 Visiting Fellow, Burgmann College, Australian National University, Canberra 1979-81 Member of the Governing Council, Canberra School of Art. Chaired by Sir Richard Kingsland Ktcr, AO, CBE, DFC 1980 Adviser, Australian National University Art Collection 1982 Artist-in-Residence, Devon Community College, Devonport, Tasmania 1986 H.C. -
Some Reflections on Holes, Emptiness and Longing in the Work of Two Australian Émigré Sculptors of the Fifties
Hol(e)y Statues: Some reflections on holes, emptiness and longing in the work of two Australian émigré sculptors of the fifties Jane Eckett The first hole made through a piece of stone is a revelation. – Henry Moore, 1937.1 A striking feature manifest in much early twentieth‐century modern sculpture is the recurrent use of the hole, or, in sculptural parlance, ‘negative space’. From the late nineteenth century onwards, holes, openings, slits and punctures were increasingly introduced to sculptural forms, with Rodin, Bourdelle, Matisse and Rosso all rejecting the ideal of the smooth and wholesome neoclassical figure, instead favouring pitted and pock‐marked surfaces that bore witness to the processes of wax modelling and bronze casting. These ‘aberrations’ led the way to more radical reconstructions of the figure: from the cubist and constructivist analyses of Picasso, Archipenko and Gabo, to the slightly later open fretwork forms of Picasso, Gonzalez and Smith’s welded steel sculptures and Moore and Hepworth’s more abstract, pierced carvings of the 1930s.2 As the phrase ‘negative space’ implies, holes represent the opposite of solid form, or ‘positive space’. Objects, including – traditionally at least – sculptural objects, consist of particles condensed into stable, solid substances. Holes represent the dissolution of that solid matter, the dispersal of subatomic particles into airy circulation, and an effective destruction of form. For all the intriguing ramifications that this language of negation, destruction and dispersal might suggest, a sustained consideration of holes has been largely absent from art historical discourse. Key texts on sculptural theory, such as Rosalind Krauss’ Passages in Modern Sculpture and Alex Potts’ The Sculptural Imagination have been primarily concerned with the theme of time as it bears upon the phenomenological experience of encountering sculpture. -
CHRONOLOGY & BIBLIOGRAPHY Andrew Rogers, Artist
CHRONOLOGY & BIBLIOGRAPHY Andrew Rogers, Artist Andrew is an internationally recognized artist. International exhibits are frequent and his critically acclaimed sculptures and photographs are in numerous private and prominent public collections around the world. He receives many international commissions and has created “Rhythms of Life”, the largest contemporary land art undertaking in the world, forming a chain of 48 massive stone sculptures, or Geoglyphs, around the globe. The project has involved over 6,700 people in 14 countries across 7 continents. SOLO EXHIBITIONS 2013 Dag Hammarskjold Plaza, City of New York, New York, USA: Individuals 2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: A Winding Path - A Search for Truth 2013 Proje4L Elgiz Museum of Contemporary Art, Istanbul, Turkey: Time and Space - Rhythms of Life 2012 Mossgreen Gallery, Victoria, Australia: Molten Concepts 2012 Wriston Art Galleries, Lawrence University, Wisconsin, USA: Andrew Rogers: Rhythms of Life 2012 Center for Contemporary Arts Santa Fe, New Mexico, USA: Rhythms of Life 2012 Aidekman Arts Center, Tufts University Art Gallery, Massachusetts, USA: Global Land Art: Projects by Andrew Rogers 2012 hammer gallery, Zurich, Switzerland: Rhythms of Life 2012 Nevada Museum of Art, Nevada, USA: Andrew Rogers Contemporary Geoglyphs 2011 Art Gallery, Istanbul, Turkey: Andrew Rogers Time and Space 2011 Momentum, Berlin, Germany: Time and Space: Drawing on the Earth 2011 18th Street Arts Center, Santa Monica, USA: Time and Space 2009 White Box Gallery, New York, USA: Andrew Rogers: Odysseys and Sitings (1998-2008) 2008 William Mora Galleries, Richmond, Australia 2007 Poprad, Slovakia: Rhythms of Life I-VII 2007 Akureyri Art Museum, Akureyri, Iceland: Rhythms of Life I-VII 2007 James Gray Gallery, Santa Monica, USA 2007 William Mora Galleries, Richmond, Australia 2005 Victorian Arts Centre, Melbourne, Australia 2004 Grounds for Sculpture, New Jersey, U.S.A. -
JANE ECKETT Renewed Vows: Centre Five and the Post-War Remarriage of Melbourne Sculptors and Architects
Jane Eckett, Renewed Vows: Centre Five and the post-war remarriage of Melbourne sculptors and architects JANE ECKETT Renewed vows: Centre Five and the post-war remarriage of Melbourne sculptors and architects ABSTRACT In Australia in the 1950s and ’60s — years of post-war economic growth — a rapprochement of sorts took place between architects and sculptors. Both groups were thought to share a similar aesthetic sensibility, favouring simplicity over ornamentation, and an allied social purpose: namely, to influence the way in which people experience the built environment. This paper will examine the results of this rapprochement, focussing on the work of a group of mainly European émigré sculptors, based in Melbourne, who styled themselves as Centre Five. For over two decades the group courted the attention of architects, holding their earliest exhibitions at Melbourne University’s School of Architecture, hosting studio visits and demonstrations for architecture students, contributing essays and photographs to journals such as Architecture and Arts, and successfully winning commissions from such firms as Grounds Romberg and Boyd, and Eggleston Macdonald and Secomb. Their attempts to foster links with the architectural community arose from a keen awareness of the paucity of commissions offered to sculptors in Australia, as opposed to the close collaboration between architects and artists in their countries of origin: Britain, Germany, Hungary and Lithuania. To date, scant attention has been paid to the reciprocity of ideas exchanged between Australian architects and Centre Five sculptors. Why were certain materials chosen for particular sculptural commissions or buildings? To what extent were sculptural commissions fully integrated into modern architecture? This process of exchange deserves detailed consideration in order to better understand the role played by sculptors in shaping the Australian post-war urban landscape, and is particularly timely in light of recent reappraisals of brutalist and internationalist architecture both locally and abroad. -
Clive Murray-White
Clive Murray-White Lives and works in Cottles Bridge, Vic. Australia Education Brisbane Central Technical College Guildford School of Art, United Kingdom Royal Melbourne Institute of Technology Preston Institute of Technology Monash University Selected Solo/Duo Exhibitions 2018 Smokework UQ Art Museum, University of Queensland. Michelle Caithness / Clive Murray-White Montsalvat: Montsalvat Victoria 2017 Clive Murray-White / Michelle Caithness: a Collaboration, Charles Nodrum Gallery, Melbourne 2017 Clive Murray-White / Michelle Caithness: a Collaboration, Cowwarr Art Space, Victoria 2014 Walking Women – Standing Monash. Cowwarr Art Space 2013 Museum Gippsland Art Gallery, Sale, Vic. 2012 Museum Cowwarr Art Space, Cowwarr, Vic. 2008 Fragments of a Larger System 1964 – 2008, Latrobe Regional Gallery, Morwell, Vic. 2007 Charles Nodrum Gallery, Melbourne 2005 Charles Nodrum Gallery, Melbourne 19992003 Charles Nodrum Gallery, Melbourne 19971998 Smokework Heidi Museum of Modern Art, Melbourne Clive Murray-White 1967, Cowwarr Art Space, Vic. 1996 Charles Nodrum Gallery, Melbourne 1995 The Temple of the Southern Cross, RMIT Gallery, Melbourne From the Deities of The Southern Cross, Cowwarr Art Space, Vic. The Temple of the Southern Cross, Latrobe Regional Gallery, Morwell The Temple of the Southern Cross, Nicholson Street Gallery, Bairnsdale 1994 The Temple of the Southern Cross, Memorial Hall, Boisdale 1991 All touring for Gippsland Gallery, Sale and Latrobe Regional Gallery, Morwell 1990 Seeing and Knowing Switchback Gallery Monash University Gippsland Campus, Vic. New Sculpture, Judith Pugh Gallery, Melbourne 1988 Conversations with a sculptor, Christopher Coventry & Clive Murray-White Judith Pugh Gallery, Melbourne 1987 Macquarie Galleries, Sydney 1986 Hamilton Regional Gallery, Vic. 1985 Recent Sculpture, Switchback Gallery Monash University Gippsland Campus, Vic.