DOUG SPOWART Art Photography Practice 1979 to Present
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Hybrid Photobook
SELF-PUBLISHING IN THE DIGITAL AGE: THE HYBRID PHOTOBOOK Exegesis submitted by DOUGLAS RONALD SPOWART Graduate Diploma Arts (Visual Art), Monash University (2003) Master of Photography, Fellow and Honorary Fellow of the Australian Institute of Professional Photography in October 2011 with creative work in fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the School of Creative Arts JAMES COOK UNIVERSITY ACKNOWLEDGEMENTS My deepest gratitude goes to fellow PhD candidate and partner Victoria Cooper for her encouragement, challenge and support throughout the candidature. I would also wish to acknowledge Professor Diana Davis for the opportunity to engage with this research project and to Professor Dr Stephen Naylor for his supervision and mentorship through the process to its conclusion. For their generosity, support and willing participation during the process of the work, I wish to express my thanks to the following: SUPERVISORS • Professor Diana Davis – Principal Supervisor 2004-2006 • Professor Dr Stephen Naylor – Principal Supervisor 2006-2011 • Ronald McBurnie – Associate Supervisor MY MENTORS: FORMAL AND INFORMAL I have some heroes and heroines who historically have fuelled my interest in making photographs and books. These photographers, artists and bookmakers have rewarded my life and research activities through their book works, commentaries about books and occasionally, through personal conversation. Most importantly these mentors have shaped my work in the book as a personal communiqué. Thank you to: Victoria Cooper is my life partner and also a photographer and artists’ bookmaker. Whilst we work as independent practitioners, our fieldwork, conceptual refinement of work, and production work are often linked by the kinds of discussion that can take place over the breakfast table, driving in the car or walking. -
David Frazer - Curriculum Vitae
David Frazer - Curriculum Vitae ! born 1966, Foster, Victoria, Australia Qualifications 1998-2000 Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, Monash University 1996 Honours Degree, Fine Art (Printmaking), Monash University 1991 Diploma of Education (Secondary-Art/Craft), Latrobe University 1984-1986 B.A. Fine Arts (Painting), Phillip Institute of Technology Solo Exhibitions 2018 “SLOW BOAT” Beaver Galleries, Canberra 2017 “HAPPY HOUR” fortyfivedownstairs Melbourne 2016 “SLOW BOAT” Port Jackson Press Melbourne 2016 “DRIFT” Beaver Galleries Canberra 2014 “HUG” 45 downstairs Melbourne 2014 “HUG” Beaver Galleries Canberra 2013 “HUG” Dickerson Gallery Sydney 2013 “Home Sweet Home” Guanlan Original Print Base, Shenzen, China 2013 Hillsmith Gallery Adelaide 2012 “Homesick” James Makin Gallery Melbourne 2012 Port Jackson Press Print Room, Melbourne 2012 “Homesick” Beaver galleries Canberra 2011 “Half way Home” Falkner Gallery Castlemaine Victoria 2011 “Last Blossom” Rebecca Hossack Gallery London UK 2011 “Works on paper” Post Office Gallery Ballarat Uni. 2010 “Broken Home” James Makin Gallery, Melbourne 2010 La Trobe University Visual Arts Centre, Bendigo, Victoria 2009 Beaver Galleries, Canberra, ACT 2009 The Art Vault Mildura VIC 2009 Falkner gallery Castlemaine Victoria 2008 “Lost” Dickerson Gallery Sydney 2008 “Lost” Dickerson Gallery Melbourne 2007 Adele Boag Gallery, Adelaide 2007 “Passing through the old world” Dickerson Gallery, Melbourne 2006 “On the Edge of Town” Dickerson Gallery, Melbourne. 2006 “Mr Vertigo” ICON gallery, Deakin Museum of Art. Melbourne 2005 “Somewhere over the hill” Dickerson Gallery Sydney 2005 “The Escape” Australian Galleries Melbourne 2004-2005 “Pastoral Melancholia” (touring show) Shepparton Art Gallery, Horsham Art Gallery, Wangaratta Exhibitions Gallery, Swan Hill Regional Art Gallery, Gippsland Art Gallery.Sale. -
Cvcatherine Pilgrim
Catherine Pilgrim - CV Born 1968, Melbourne, Victoria, Australia Meticulous, considered drawing is the basis for Catherine Pilgrim’s practice including lithographs, drawings and textiles. Fastidious attention to detail is the common element with personal narratives, absence and contemporary ideas around ‘Still Life’ influencing the subject matter. Catherine has exhibited widely since 1994, when she returned to Australia after studying lithography and drawing in Washington DC, USA. In 2011, Catherine completed her Master of Fine Art (Research) at Monash University, Melbourne. Her research was based on the subjective process of capture, which occurs in making a representational image. Catherine has won a number of awards for her intricate works on paper including the Australian Print Workshop Collie Trust Award and the Works on Paper, Warwick Non-Acquisitive Art Award. In 2014, Catherine was Artist in Residence at Buda Historic Home and Garden, in Castlemaine, researching the Leviny family history in preparation for a project exhibition held at the Castlemaine Art Gallery and Historic Museum in February 2015. Catherine Pilgrim’s works are held in public and private collections including the National Gallery of Australia, Geelong Regional Art Gallery, National Australia Bank and Castlemaine Art Gallery and Historical Museum. © The Artist 2016 Education: 2011 MA (Research) Monash University 1999 BA (Hons) (Fine Art) Royal Melbourne Institute Technology 1995 BA (Humanities) Deakin Universtiy 1994 BA (Fine Art) Deakin University Solo Exhibitions: -
Shimmen Full CV 2019
HEATHER SHIMMEN Born 1957, Melbourne 78. BA Fine Art (Painting), RMIT, Melbourne 2010 Artists in residence, RMIT, Melbourne , Vic 2013 Artist in residence, The Art Vault, Mildura, VIC SOLO EXHIBITIONS 2019. ‘Ladies of the Pleiades’, Sale Regional Gallery, Sale 2017. 'Time Warps',Australian Galleries,Melbourne 2014. 'Insectivoria', Australian Galleries, Melbourne 2011. ‘The Swamp Maidens Tale’, Australian Galleries, Smith Street, Melbourne 2008. ‘Betwixt’, Gallery 101, Melbourne 2006 ‘I Dreamt I Dwelt in Marble Halls’, Stonnington Stables Museum of Art, Deakin University, Melbourne ‘Whispers’ Adele Boag Gallery, Adelaide 2005 ‘Figment, Fragment’, Gallery 101, Melbourne 2002 ‘Things That Float In The Air’, Joshua McClelland Print Room, Melbourne 1999. ‘The Sutured Heart’, Bulle Gallery, Melbourne 1997. ‘The Invisible Hand of the Future’, Lyall Burton Gallery, Melbourne 1996. Lyall Burton Gallery, Melbourne Adelaide Central Gallery, Adelaide 1993 Adelaide Central Gallery, Adelaide Lyall Burton Gallery, Melbourne 1991. Realities Gallery, Melbourne 1990. Realities Gallery, Melbourne 1986. Realities Gallery, Melbourne 1984 Bitumen River Gallery, Canberra 1983. Anthill Theatre, Melbourne 1982. Drummond Street Gallery, Melbourne GROUP EXHIBITION 2020. ‘Let All the Birds Fly- the hybrid print’,Maitland Regional Galleries,NSW ‘Fem -aFfinity’, Devonport Regional Art Gallery Tas Benalla Art GalleryVic Noosa Regional Art Gallery Qld Horsham Regional Art Gallery Vic Bunjil Place Gallery Vic Riddoch Art GallerySA 2019 ‘Paper Made’, Australian Galleries, Melbourne ‘Fem-aFfinity’, Arts Project, Melbourne ‘Beyond the Veil’,Art for the World Gallery, Cannaregio, Biennale de Venetzia, Venice,Italy ‘Beyond the Veil’,Memoire de L’Avenir Espace cultures pluridisciplinairl, Paris, France ‘2019 Ulsan International Woodcut Biennale’ South Korea ‘Round About’ Gecko Gallery, Fish Creek,VIC ‘Sydney Contemporary Art Fair’Sydney,NSW ‘Art Meets Nature’,WAMA, Sofitel,Melbourne ‘A Fine Line’, Bright Space, Melbourne 2018. -
I Have Witnessed a Strange River Victoria Pamela
I HAVE WITNESSED A STRANGE RIVER Re-Placing Non-human Entities within Visual Narratives of Three Australian Freshwater Sites. Exegesis with Creative Work submitted by VICTORIA PAMELA COOPER Graduate Diploma Arts (Visual Art), Monash University (2003) Master of Photography and Honorary Fellow, Australian Institute of Professional Photography in fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the School of Creative Arts JAMES COOK UNIVERSITY November 2012 ACKNOWLEDGEMENTS For their generosity, support and willing participation during the process of the work, I wish to express my thanks to the following: SUPERVISORS Professor Diana Davis – Principal Supervisor 2004-2006 Professor Stephen Naylor – Principal Supervisor 2006-2012 Ronald McBurnie – Associate Supervisor 2004-2012 John Reid – External Supervisor 2006-2012 and currently Senior Lecturer, Environmental Studies Studio, School of Art, Australian National University (ANU) SPECIAL MENTION Dr Doug Spowart – artist, PhD (awarded May 2012) and teacher. As mentor, collaborator, and for his bookbinding and 3D construction skills and his encouragement, challenge and support throughout the candidature. Dr Malcolm Ryley and Dr Gary Kong – Principal Plant Pathologists; Sue Ryley – Sunflower Pathology Researcher; and Dr John Alcorn – Former Curator, BRIP Plant Pathology Herbarium Department of Agriculture, Fisheries and Forestry (DAFF), Queensland. As mentors and collaborators in scientific work, for their contribution to and work on the identification of the aquatic fungi and related microscopic species. Also important to the sucess of my project was the shared space within their work environment supported by their respect for the work that I was creating. I am deeply indebted to their generosity of time and their ability to think creatively in discussing all aspects of my project as this was vital to the progress of my study. -
Introduction & Recommendations
Separate Attachment COM 20A Ordinary Meeting of Council 26 April 2016 MOUNT ALEXANDER SHIRE THEMATIC HERITAGE STUDY ARCHITECTS CONSERVATION Introduction & CONSULTANTS Recommendations TABLE OF CONTENTS 1 Introduction 1.1 Background 1 1.2 Brief 2 1.3 Study Area 2 1.4 Earlier Reports 3 1.5 Study Team 3 1.5 Acknowledgements 3 2 Methodology 2.1 General 4 2.2 Survey Work 4 2.3 Research 4 2.4 Consultation 5 3 The Themes 3.1 The Framework 6 3.2 Overview of the Themes 6 4 Recommendations 4.1 Introduction 8 4.2 Existing Schedule to the Heritage Overlay 8 4.3 Further Review Work 9 Mount Alexander Shire Thematic Heritage Study Introduction & Recommendations Volume 1 1 INTRODUCTION 1.1 Background This Thematic Heritage Study has been prepared for the Shire of Mount Alexander by RBA Architects and Conservation Consultants. It consists of two sections: Volume 1 – Introduction & Recommendations. This volume outlines the process by which the thematic history was prepared as well as recommending some areas for further investigation and places of potential significance. Volume 2 – A Thematic History of the Shire according to nine themes and concluding with a Statement of Significance. The need for the preparation of an all-encompassing, Shire-wide thematic history had been identified as a key priority in the local Heritage Strategy 2012-2016.1 A thematic history has previously been prepared for sections of Mount Alexander Shire, within the heritage studies of the former shires of Metcalfe and Newstead. In addition, although many places are protected by heritage overlays further assessment was needed according to the Heritage Strategy as follows: Protecting & Managing There are over 1000 places in the Schedule to the Heritage Overlay however these are unevenly spread across the Shire. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
Community Directory Volume I 2003 - 2016
Standards Community Directory Volume I 2003 - 2016 The Standards Review Program has been developed by Museums & Galleries of NSW and Museums & Galleries Queensland and funded by Arts NSW and Arts Queensland. 2 Welcome to the Standards Community 2017 What is the Standards Review How do I use the Standards Program? Community Directory? This program, implemented by Museums & Galleries of NSW The Standards Community Directory features a profile of each (M&G NSW) in 2003, and since 2005 in partnership with museum and gallery that has gone through the Standards Review Museums & Galleries Queensland (M&G QLD), supports Program. The profile includes a description of each organisation, museums and galleries through a process of self-review and contact details and how they benefitted from participating in the external feedback. Standards Review Program. It provides an exciting opportunity for museums and galleries Each organisation listed in this directory: to assess their practices and policies against the National • Is promoting its unique profile to the “Standards Community” Standards for Australian Museums and Galleries. The program and wider audiences aims to establish a long term network for sustainable community • Is available to assist and answer any questions you may museums and galleries as well as acknowledging the hard work have as you undertake each stage of the Standards Review undertaken by volunteers and paid staff to maintain Australian Program heritage. • Is contactable via the details and hours as per their profile page What are the key components? • Will share with all other “Standards Community” members (including new members) their achievements and outcomes • Working with regional service providers to develop ongoing from participating in the Standards Review Program support for museums and galleries • Has provided words of support and encouragement to new • Self-assessment by participants guided by the National participants in the Standards Review Program. -
Petrina Hicks
PETRINA HICKS SELECTED SOLO EXHIBITIONS 2015 THIS IS NO FANTASY, VOLTA NY, New York The Unbearable Lightness of Being, THIS IS NO FANTASY + dianne tanzer gallery, Melbourne The Unbearable Lightness of Being, Michael Reid Gallery, Berlin 2013 Selected Works, Helen Gory Galerie, Melbourne 2012 Helen Gory Galerie at Art Platform Los Angeles, Barker Hanger, Santa Monica, USA Selected Works, Venn Gallery, Perth 2011 Hippy and the Snake, Helen Gory Galerie, Melbourne Beautiful Creatures, Stills Gallery, Sydney 2010 Every Rose Has Its Thorn, Akademie Schloss Solitude, Stuttgart, Germany Every Rose Has Its Thorn, Stills Gallery, Sydney 2008 The Descendants, Stills Gallery, Sydney 2007 Flawless, Museum of Brisbane, Brisbane 2006 Petrina Hicks, Stills Gallery, Sydney Petrina Hicks: Australia-Japan, The Exchange of Viewpoints, Early Gallery, Osaka,Japan 2005 Stills Gallery at Seippel Galerie, Cologne, Germany Petrina Hicks, Stills Gallery, Sydney SELECTED GROUP EXHIBITIONS 2017 Ecstasy, Baroque and Beyond, UQ Art Museum, Queensland 2015 Sydney Contemporary, THIS IS NO FANTASY + Dianne Tanzer Gallery, Sydney Bowness Hall of Fame, Monash Gallery of Art, Melbourne 2014 New Passports, New Photography, Art Gallery of Western Australia In the Flesh, National Portrait Gallery, Canberra New Acquisitions, Dubbo Regional Gallery, NSW, Australia Fictions, Parer Place Urban Screens, QUT Creative Industries Precinct, QLD Cats and Dogs: Olsen Irwin Gallery, NSW, Australia Group Show, THIS IS NO FANTASY, Melbourne Private Assembly; a contemporary collection, Tweed -
Book 4 29, 30 and 31 October 2002
PARLIAMENT OF VICTORIA PARLIAMENTARY DEBATES (HANSARD) LEGISLATIVE ASSEMBLY FIFTY-FOURTH PARLIAMENT FIRST SESSION Book 4 29, 30 and 31 October 2002 Internet: www.parliament.vic.gov.au/downloadhansard By authority of the Victorian Government Printer The Governor JOHN LANDY, AC, MBE The Lieutenant-Governor Lady SOUTHEY, AM The Ministry Premier and Minister for Multicultural Affairs ....................... The Hon. S. P. Bracks, MP Deputy Premier and Minister for Health............................. The Hon. J. W. Thwaites, MP Minister for Education Services and Minister for Youth Affairs......... The Hon. M. M. Gould, MLC Minister for Transport and Minister for Major Projects................ The Hon. P. Batchelor, MP Minister for Energy and Resources and Minister for Ports.............. The Hon. C. C. Broad, MLC Minister for State and Regional Development, Treasurer and Minister for Innovation........................................ The Hon. J. M. Brumby, MP Minister for Local Government and Minister for Workcover............ The Hon. R. G. Cameron, MP Minister for Senior Victorians and Minister for Consumer Affairs....... The Hon. C. M. Campbell, MP Minister for Planning, Minister for the Arts and Minister for Women’s Affairs................................... The Hon. M. E. Delahunty, MP Minister for Environment and Conservation.......................... The Hon. S. M. Garbutt, MP Minister for Police and Emergency Services and Minister for Corrections........................................ The Hon. A. Haermeyer, MP Minister for Agriculture and Minister for Aboriginal Affairs............ The Hon. K. G. Hamilton, MP Attorney-General, Minister for Manufacturing Industry and Minister for Racing............................................ The Hon. R. J. Hulls, MP Minister for Education and Training................................ The Hon. L. J. Kosky, MP Minister for Finance and Minister for Industrial Relations.............. The Hon. J. J. -
1 Curating Photography in Australia Dr Daniel
Curating Photography in Australia Dr Daniel Palmer (Monash University) & Dr Martyn Jolly (ANU) This paper derives from some early research into the various forces currently influencing photography curating in Australian art galleries. We are especially interested in new technologies such as the internet, but more generally the protean nature of the medium itself. Naturally, to better understand the present, we start with a few glimpses of the past. The Pre-History Although the institutional collecting and curating of photography didn’t begin in earnest until the 1970s, in the five or so decades before then the powerful idea of collecting photographs was intermittently discussed, at various levels of institutional authority, with various degrees of vigour. At the end of the First World War, the amateur photographic magazine the Australasian Photo Review called for a ‘national collection of Australian photographic records’. The Mitchell Library was one of several who responded positively to this idea, even suggesting a list of twelve different categories of photographs which amateurs could take for a future repository. However the librarians didn’t follow through on their initial positive noises and collections failed to materialise. Thirty years later, at the end of the Second World War, the idea of a national collection was raised again. Contemporary Photography devoted an entire issue to the new sharp bromide enlargements Harold Cazneaux had made of his Pictorialist negatives of Old Sydney, and declared that they ‘would be a valuable acquisition for the Mitchell Library or Australian Historical Societies.’ However, once more the library failed to follow through, and Cazneaux’s photographs remained uncollected. -
ROBYN HEALY B.A School of Architecture and Design College of Design and Social Context RMIT University October 2009
STRIPTEASE: An investigation of curatorial practices for fashion in the museum A project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy ROBYN HEALY B.A School of Architecture and Design College of Design and Social Context RMIT University October 2009 CChapter1-Final-B.inddhapter1-Final-B.indd 1 117/3/107/3/10 111:28:551:28:55 PPMM DECLARATION I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or part, to qualify for any other academic award; the content of the exegesis is the result of work which has been carried out since the official commencement date of the approved research program; and, any editorial work, paid or unpaid, carried out by a third party is acknowledged. Robyn Healy August 2009 CChapter1-Final-B.inddhapter1-Final-B.indd 2 117/3/107/3/10 111:28:551:28:55 PPMM Strip 2 STRIPTEASE: An investigation of curatorial practices for fashion in the museum CChapter1-Final-B.inddhapter1-Final-B.indd 3 117/3/107/3/10 111:28:551:28:55 PPMM 4 CChapter1-Final-B.inddhapter1-Final-B.indd 4 117/3/107/3/10 111:28:551:28:55 PPMM What still dignity dwells in a suit of Cast Clothes! How meekly it bears its honours! No haughty looks, no scornful gesture: silent and serene, it fronts the world; neither demanding worship, nor afraid to miss it. Thomas Carlyle Sartor Resartus 1838 (1965, p.