DREAMER Steps™

Total Page:16

File Type:pdf, Size:1020Kb

DREAMER Steps™ Term 1 2007 RegisteredRegistered by Australia Post PublicationPublication No. 327687/00003327687/00003 VELSZart Extra Newsletters 2007 DREAMER steps™ Term 1 Term 2 Term 3 Term 4 articlesarticles • gallery • art events • PD • new products • activitiesactivities Blank Page Term 1 2007 Registered by Australia Post Publication No. 327687/00003 VELS DREAMER steps™ articles • gallery • art events • PD • new products • activities Registered by Australia Post PublicationTerm No. 327687/0 3 20 0 Pri y Term 1 200 ZartArt (Melbourne) . 1 Registered by Australia Po7 Publication No. 327687/000 s Vels . 1 0 Metro Victoria. 2 Holiday Workshops . 3 Product & Idea Demonstration . 4 Claymation . 2 Workshop @ Melbourne Zoo . 2 Secondary PD ZartArt (Melbourne) . Product & Idea Demonstration new resources VCE. New Resources Multimedia. Futures (student based) . Book Spotlight: contents Australian Art Pack Animals 1788-21st century This pack contains 12 A3 fine art works of Australian Artists taken from major galleries around Australia and the Natural History Museum V Drawin ELS g in Perspective in London. They show the developm Inspiration, education, Information, Ideas & netwo ent of Oliver Striegel artworks in Australia from 17 Use perspective to creat 88–21st century. e a sense of motion, The way Australian artists have port Education Update: Vels How to Boo time, weather and mood. Fully illustrated, rayed this p ractical guide explains the effects of animals has changed with history and individual REAMER ail n to assessment of student learning, search for 1. Phone or em Zart Educatio changing point of view, using vanishing “Assessment has become a key element your place. A verbal confirmation w interpretation. Each work is a unique image, yet points and one, two and three poin of our planning. The art will still be tools and trial organizational techniques Alternatively you can book via our t each is tied in to the history of Australia and its wonderful, creative and joyful. Now as and my hunch is reporting will be 2. We will send or fax you a written perspectives; and applying light, shadow, and provide a Tax Invoice immedia and refl ection to create re development. Teacher notes on teachers, we will be able to understand manageable and informative.” Di Olsson not receive this within seven days alistic images of the reverse side and articulate the learning involved and Trafalgar Primary School please contact Zart Education. our three-dimensional universe on a fl at include information on the Work, the Artist & the page 2 page and What Zart can offer in the workshops 3. Payment by mail at least three piece of paper. really get to know what our kids know the workshop is required to secu Times, along with activities and star ting points will need to know. If our assessment of will be assessment tools during the art Please note that all PERSONAL PAY 77pp ................$16.32 $17.95 for students. Suitable for prim the student’s learning is well documented making, so that you can collect data be paid for upfront with a credit ary and lower • Diary 3 page + cover alternate arrangements are mad secondary levels. and we are collecting the data that will that will document if the student’s Education. upportthis then surely reporting will not experiment, plan, use of skills, have the BOOKING POLICY: If payment h Pkt of 12 A3 cards ... $50.00 $60.50 ork and have received at least three days prio knowledge, refi ne their w workshop, your booking may b • Secondary Article 6 page enessThe given to a waiting list participa What's happening ON Credits w ill on around the state in Number 6 Rue de • Primary Article insert • Workshop Insert 7 page Term One. Savoie. South Trying to get your • Profi 8 page The Art Book for Children We introduce our new le Amanda Renshaw and Gilda Oakleigh College head around VELS? l Ruggi • Gallery Term 1 9 page look insert! VIP Portraits Ajourney through Take a look at puppet • Activity 12 page making Zart Education • Resources explores the DREAMER Journey through Steps. Australian Art history with our latest Art • Term Dates Pack- Animals Victoria > Term 1 30th January – 30th March • art & events diary Tasmania > Term 1 February 2007 15th February – 1st June 24–25th February (TBC) Easter break 6th April - 10th April 20th January–24th Melbourne 16th–25th March March International Music Melbourne Food & South Australia > Term 1 Twilights at the Zoo– Festival Wine Festival 29th January – 13th April 2007 18th March–1st April New South Wales > Term 1 13th January–4th March 2007 12th Fina World 29th January – 5th April February 1st–4th March Championships Western Australia > Term 1 Twilight Rhythms (city) Melbourne Grand Prix 31th January – 5th April 24th March 14th January–4th 2nd–4th March Osaka Festival Queensland > Term 1 February Business Week 29th January – 5th April 28th March–1st April Twilight Moves (city) Melbourne Northern Territory > Term 1 4th–10th March 1st February–4th Melbourne Fashion International Flower & 29th January – 5th April March Week Garden Show Docklands • Zart Easter Dates Contemporary 9th March April 2007 Sculpture Award Victorian Education Easter Closing dates Excellence Awards 4th–29th April Please note that Zart will be closed 16th–18th February Application Close Melbourne between 6th April (Good Friday) to Sustainable Living International Comedy the 10th April Easter Tuesday. Our Festival 9th March–12th March Festival Moomba doors will be open on the 11th April. 18th February 4th April Sony Tropfest 9th–12th March Book Week shortlisted Port Fairy Folk Festival nominations 23rd February 27th March A splash of compassion The Helen Lempriere National Sculpture "Look at people through Award a crystal. That's how Picasso saw people." Kayla Henkle's quote on Cubism and Picasso. Grade 2. Trafalgar Primary School • arts • education • events Editor Jan Roker Zart Extra ISSN 1448—8450 techniques and processes, thediary Dani Chak Art Direction & Production Zart Extra is published latest materials and resources submissions become property on the market. of Zart Art. Submissions may the newsletter provides details Britta Poljansek quarterly by Zart Education, a division of Zart Art Pty Ltd. This Due to various circumstances be published in the Zart Extra of our term's workshops, so Zart Art Photography publication is mailed prior to some information may be or posted on www.zartart.com. teachers can then contact us Zart Art offers an extensive E: [email protected] Marianna Ziersch the first week of the term issue subject to change. au the official art education and book into the workshop. range of art materials, Hours: Contributors date. This newsletter allows art Zart Art, Zart Extra logo and resource. Zart Art reserves the resources, craft Monday - Friday: Di Olsson, Poppi O’Connor, and technology teachers/co-ordinators to learn masthead are registered right to edit submitted articles/ supplies. You will find 8.30 am - 5.00 pm Pam Barry, Sheryl Tacy, about what is happening in art trademarks of Zart Art Pty Ltd. activities for content, length competitive prices and Saturday: Juliet Dawson and education and what other art All content is subject to and clarity. Please note, all efficient and quick service. 8.30 am - 12.00 noon copyright and may not be prices quoted are valid for the 4/41 Lexton Road, Sally Gray teachers are doing. You will find information on new art republished without prior duration of the current term Box Hill North consent from Zart Art. All only and are subject to change Melbourne Victoria 3129 without notice. The insert of Ph: (03) 9890 1867 2 www.zartart.com.au Fax: (03) 9898 6527 www.zartart.com.au Secondary Article Number 6 Rue de Savoie The program was designed to give that represented The Art Department at South students a deeper understanding different periods and appreciation of Picasso’s work in Picasso’s life Oakleigh College could easily and life, and at the same time to develop into have been mistaken for Picasso develop their visual art skills and artworks. They knowledge. It also incorporated were also given and Dora Maar’s apartment at 6 the three main individual pieces Victorian to interpret and rue de Savoie, Paris this year. The Essential Learning respond to such Standards (VELS), as “The Weeping Woman” team of students and teachers set the strands and “Guernica”. Using the about exploring and re-creating and associated visual art elements and domains and principles of design, they some of the themes Picasso had dimensions. The were able to determine the levels of student meaning of the artworks, developed. They investigated ability, skill, and then had to dissect knowledge and and re-create the work in some of the most significant experience varied order to communicate their themes that inspired Picasso, enormously and The Weeping own ideas. The results were had to be one of Woman amazing! Some students which included his portrayal of the most critical points to consider combined several paintings in the when planning the program. The form of collage to tell their story, the women in his life and the strands were easily worked into which gave a slightly different plight of human suffering due each level but the domains and version of the artwork’s original dimensions had to be modified meaning. This activity emphasised to the effect of the war. Also for each group. The personal all aspects of interdisciplinary and and interpersonal learning skills discipline-based learning. explored was the wide range of of students developed as their strengths and weaknesses were The group work involved creating mediums and techniques Picasso identified at each level. and making larger scale paintings, employed, particularly Cubism. and depicted themes from the Blue In 2D, Year 10 students were Period, the Rose Period and Cubism.
Recommended publications
  • Queensland Art Gallery Board of Trustees Annual Report 2015–16
    QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 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 at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific.
    [Show full text]
  • 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.
    [Show full text]
  • 228 Paddington: a History
    228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks.
    [Show full text]
  • Manmade Modernism: Mythical Space in Australian Painting, 1940-1970 Copyright Offuli Text Rests with the On" I Copyn'ght Gm
    Manmade Modernism: Mythical Space in Australian Painting, 1940-1970 Copyright ofFulI Text rests with the on" I copyn'ght gm. owner and, except as permitted unci th ~opyright LAURIE DUGGAN Act 1968, copying this copyright n: ,e I ~s prohibi~ed ~thout the Permission ofthe own:;'~ Brisbane, Queensland ~:~X~:;ghh~~ee or aLi~~t or by way ofa licence . gency mlted. For infonnation a.bo ~t such lIcences contact Copyright A ene ~:;ted on (02) 93947600 (ph) or (02) 9~94?t;01 HE RECEIVED STORY OF AUSTRALIAN ART, WHETHER same year, the battle to defend figuration against the it appears in the general histories ofBernard Smith non-objective seemed all but lost. T- (1962), and Robert Hughes (1966), or in more This is the Australian art story as it has often been told. specialised studies like Richard Haese's Rebels and Developments since 1970 have taken the art of this coun­ Precursors (1981) tells us ofa change brought about in the try in different directions, yet the art ofthe preceding peri­ pressurised atmosphere of the second world war. The story od is still often viewed through a lens of its own making. usually mentions the show of"French and British Modem When Bernard Smith produced the first edition of his Art" sponsored by Sir Keith Murdoch and the Melbourne book Australian Painting he followed William Moore's Herald in 1939, which contained a large variety of work example, entitling the chapters covering work from the from Ceranne through to some of the Surrealists (notably Heidelberg School up until the 1930s after books of the Salvador Dali and Max Ernst).
    [Show full text]
  • Barjai, Miya Studio and Young Brisbane Artists of the 1940S;
    BARJAI, MIYA STUDIO AND YOUNG BRISBANE ARTISTS OF THE 1940S; TOWARDS A RADICAL PRACTICE by MICHELE ELIZABETH ANDERSON A thesis submitted in fulfilment of the requirements for the degree of Bachelor of Arts with Honours DEPARTMENT OF ART HISTORY UNIVERSITY OF QUEENSLAND JULY 1987 n To the late Laurence Collinson m We can no more allow the warped wills of old men to fashion for us the future. It is ours. Cast off the leaden weights that make the drab decrees. Climb the high heart's wall and cry out Action. Barrie Reid, "These Leaden Weights", Barjai, No. 13, March 1944, p. 3. w TABLE OF CONTENTS LIST OF ILLUSTRATIONS V ACKNOWLEDGMENTS ix INTRODUCTION 1 CHAPTER ONE Barjai and the Barjai Group, 1943-1947: Art and Literature / Youth, War and Politics 10 CHAPTER TWO Young Brisbane Artists at War's End and The Younger Artists' Group of 1945 61 CHAPTER THREE Miya Studio and The Artists' Group of the New Theatre Club: The Studio Base 1945-1950 110 CHAPTER FOUR Miya Studio and The Artists' Group of The New Theatre Club: Exhibitions 1945-1950 157 CONCLUSION 204 APPENDICES 206 ILLUSTRATIONS 214 BIBLIOGRAPHY ' 254 LIST OF ILLUSTRATIONS 1 Ian Gall, Cartoon, The Courier-Mail, 11 May 1942, p. 4 (Photograph courtesy of John Uxley Library). 2 Cover, Barjai, No. 5, 1943 (Photographic access courtesy of John Oxley Library). 3 Cover, Barjai, No. 8, 1943 (Photographic access courtesy of John Oxley Library). 4 Cover, Barjai, No. 12, January 1944 (Photographic access courtesy of John Oxley Library). 5 Cover, Barjai, No. 14, May 1944 (Photographic access courtesy of John Oxley Library).
    [Show full text]
  • Paintings Conservation in Australia from the Nineteenth Century to The
    Paintings Conservation in Australia from the Nineteenth Century to the Present: Paintings Conservation in Australia from the Nineteenth Century to the Present: !"##$!%&#' %($ )*+% %" %($ ,-%-.$ Essays, Recollections and Historical Research on Paintings Conservation and Conservators, from the Nineteenth Century to the Present. Contributions to the Eleventh AICCM Paintings Group Symposium, held at the National Gallery of Victoria in Melbourne, October 9th & 10th, 2008. !"#%.&0-%".+ Allan Byrne Anne Carter Paula Dredge Catherine Earley Kate Eccles-Smith Alexandra Ellem Sarah Fisher John Hook Deborah Lau !"##$!%&#' Alan Lloyd Holly McGowan-Jackson Jacqueline Macnaughtan Catherine Nunn %($ Gillian Osmond Chris Payne )*+% John Payne %" Robyn Sloggett Michael Varcoe-Cocks %($ ,-%-.$ Contributions to the Eleventh AICCM Paintings Group Symposium National Gallery of Victoria, Melbourne 2008 $/&%$/ 01 !*.2 3&22&+ *#/ *2$4*#/.* $22$5 Alan Lloyd Paintings Conservation in Australia from the Nineteenth Century to the Present: Connecting the Past to the Future Essays, Recollections and Historical Research on Paintings Conservation and Conservators, from the Nineteenth Century to the Present. Contributions to the Eleventh AICCM Paintings Group Symposium, held at the National Gallery of Victoria in Melbourne, October 9th & 10th, 2008. "#$%"# &' ()*+ ,$++$- ).# )+"/).#*) "++"0 1 Contents Director’s Foreword i Preface iii Copyright © Australian Institute for the Conservation of Cultural Material Inc. 2008 Acknowledgments xi ISBN 978-0-9580725-2-6 Part I Stories of Early Years Edited by Carl Villis and Alexandra Ellem Design: Jessica Gommers and Elizabeth Carey Smith 1. Catherine Nunn 1 “Benign Neglect” and Australian Conservation History: Published by AICCM Inc. An Unlined Eighteenth-century British painting in Australia GPO Box 1638 Canberra ACT 2601 2. Alex Ellem 11 Printed in Melbourne by Impact Digital Pty.
    [Show full text]
  • AUSTRALIAN BIOGRAPHY a Series That Profiles Some of the Most Extraordinary Australians of Our Time
    STUDY GUIDE AUSTRALIAN BIOGRAPHY A series that profiles some of the most extraordinary Australians of our time Bernard Smith 1916–2011 Art Historian This program is an episode of Australian Biography Series 9 produced under the National Interest Program of Film Australia. This well-established series profiles some of the most extraordinary Australians of our time. Many have had a major impact on the nation’s cultural, political and social life. All are remarkable and inspiring people who have reached a stage in their lives where they can look back and reflect. Through revealing in-depth interviews, they share their stories— of beginnings and challenges, landmarks and turning points. In so doing, they provide us with an invaluable archival record and a unique perspective on the roads we, as a country, have travelled. Australian Biography: Bernard Smith Director/Producer Rod Freedman Executive Producer Mark Hamlyn Duration 26 minutes Year 2003 Study guide prepared by Sara Hennessy and Geraldine Carrodus © NFSA Also in Series 9: Betty Churcher, Marjorie Jackson-Nelson, Thomas Keneally, Bill Mollison, Charles ‘Bud’ Tingwell, Joan Winch A FILM AUSTRALIA NATIONAL INTEREST PROGRAM For more information about Film Australia’s programs, contact: National Film and Sound Archive of Australia Sales and Distribution | PO Box 397 Pyrmont NSW 2009 T +61 2 8202 0144 | F +61 2 8202 0101 E: [email protected] | www.nfsa.gov.au AUSTRALIAN BIOGRAPHY: BERNARD SMITH 2 SYNOPSIS AFTER WATCHING ‘What Australia suffers from is not a lack of artists but a lack of Childhood and Adolescence audience for their art.’ Bernard Smith’s childhood and youth had all of the hallmarks of Developing Australians’ interest in, and knowledge of, our artistic disadvantage.
    [Show full text]
  • TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE Andrew W Mellon
    TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE www.terryesmith.net/web http://www.douban.com/group/419509/ Andrew W Mellon Professor of Contemporary Art History and Theory Henry Clay Frick Department of the History of Art and Architecture 104 FFA, University of Pittsburgh, Pittsburgh PA 15260 USA Tel 412 648 2404 fax 412 648 2792 Messages (Linda Hicks) 412 648 2421 [email protected] 3955 Bigelow Boulevard, #911, Pittsburgh, PA 15213 Tel. 412 682 0395 cell 919 683 8352 33 Elliott St., Balmain, NSW 2041 Australia, tel. 61 -2- 9810 7464 (June-August each year) 1. ACADEMIC RECORD 2. APPOINTMENTS 3. RESEARCH GRANTS, HONOURS AND AWARDS 4. PUBLICATIONS, INTERVIEWS, EXHIBITIONS 5. TEACHING AND ADMINISTRATION 6. HONORARY PROFESSIONAL POSITIONS 7. COMMUNITY SERVICE 8. GUEST LECTURES AND CONFERENCE PAPERS 9. RELATED ACTIVITIES 10. PROFILES 11. RECENT REVIEWS 1 1. ACADEMIC RECORD 1986 Doctor of Philosophy, University of Sydney (dissertation topic: “The Visual Imagery of Modernity: USA 1908-1939”) 1976 Master of Arts, University of Sydney, first class honours and University Medal (thesis topic: “American Abstract Expressionism: ethical attitudes and moral function”) 1973-74 Doctoral studies, Institute of Fine Arts, New York University (Professors Goldwater, Rosenblum, Rubin); additional courses at Columbia University, New York (Professor Schapiro), Whitney Museum of American Art, New York 1966 Bachelor of Arts, University of Melbourne 2. APPOINTMENTS 2011-2015 Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine
    [Show full text]
  • A Wonderland of Australian Art at Sotheby's Australia
    Press Release For Immediate Release Melbourne 17 November 2016 John Keats 03 9508 9900 | 0412 132 520 [email protected] A Wonderland of Australian Art at Sotheby’s Australia Important Australian Art | Auction in Sydney 23 November 2016 CHARLES BLACKMAN, born 1928, The Game of Chess 1956. Estimate $1,000,000-1,200,000 Anticipate new auction record for Australian artist Charles Blackman Arthur Streeton’s poetic painting rediscovered in Tasmanian collection TarraWarra Museum of Art sells Jeffrey Smart to establish Acquisition Fund Award winning Wynne Prize landscape masterpieces for auction The mystery painting of an unidentified woman continues Sotheby’s Australia’s collection of 102 lots of Important Australian Art estimated at $6.7 million to $9.2 million is set to generate strong buyer interest and auction records on 23 November at the InterContinental Sydney. Charles Blackman’s The Game of Chess 1956 (estimate $1,000,000- 1,200,000, lot 47, pictured) is anticipated to achieve a new world auction record previously set by Sotheby’s Australia in 2006. 1 | Sotheby’s Australia is a trade mark used under licence from Sotheby's. Second East Auction Holdings Pty Ltd is independent of the Sotheby's Group. The Sotheby's Group is not responsible for the acts or omissions of Second East Auction Holdings Pty Ltd Geoffrey Smith, Chairman of Sotheby’s Australia commented: ‘The paintings of Charles Blackman’s 1956- 1957 Alice in Wonderland series are amongst the most beloved and admired in twentieth century Australian Art. In The
    [Show full text]
  • A Curated Collection of Art to Celebrate Sydney Foreword
    ICC Sydney Art Collection A curated collection of art to celebrate Sydney Foreword Built to connect minds, cultures and ideas, International Convention Centre Sydney (ICC Sydney) is the beating heart of Sydney’s new business and events precinct in Darling Harbour. Opened in December 2016, the venue is the centrepiece of a $3.4 billion rejuvenation of the precinct including a major upgrade to the facilities and public domain. Both inside and throughout the public areas, ICC Sydney is home to a superb collection of Australian art. The majority of the collection was commissioned in 1988 during the first major redevelopment of Darling Harbour to commemorate Australia’s bicentennial year and has been added to through the recent rejuvenation. An important part of Sydney’s heritage, the works have a Sydney emphasis with artists and their works initially chosen because of their connection to Sydney or the celebration of Sydney, its harbour and shorelines. There is no more appropriate place than a venue built for gatherings to celebrate the culture of our high performing, multinational, vibrant city, which includes Australia’s Aboriginal heritage. Thanks must go to the artists who donated their works or accepted only a small fee for their generosity. Thanks should also go to ICC Sydney’s venue manager for producing this book to celebrate and share a truly significant piece of Sydney heritage. The Hon. Don Harwin MLC Minister for the Arts 2 3 4 5 Contents 8 Welcome to Country 12 Charles Blackman 48 John Olsen 96 Public Art in 98 Maria Fernanda 122
    [Show full text]
  • Exhibition Programme Archive 1977
    File: GDExh1977_2001 (WP).pdf GALERIE DÜSSELDORF Exhibition Programme 1977 - 2001 1977 Allendale Square, 77 St Georges Tce, Perth First Anniversary Exhibition ‘Graphic International 77’ Group Exhibition 24 November - 24 December 1977 Tessa Beaver - England Tuvia Beeri - Israel Bruno Bruni - Italy Wolff Buchholz - Germany René Carcan - Belgium Brigitte Coudrain - France Salvador Dali - Spain Hans Martin Erhardt - Germany Johnny Friedlaender - France Graham Greenfield - England Reinhard Hoffmann - Germany Alois Janak - Czechoslovakia Peter Kampehl - Germany Hans Juergen Kleinhammes - Germany Jens Lausen - Germany Arnd Maibaum - Germany Katinka Niederstrasser - Germany Sidney Nolan - Australia Victor Pasmore - England Peter Paul - Germany Christa Pyroth - Germany Rolf Schroeder-Borm - Germany Konrad Schulz,- Germany Pravoslak Sovák - Czechoslovakia Norman Stevens - England Karin Szekessy - Germany Katrine Van Houten - USA Gudrun von Maltzan - Germany/France Paul Wunderlich - Germany 1978 ‘AUSTRALIAN GRAPHIC ART’ - Group Exhibition 30 March - 21 April 1978 (The major part of the exhibition shown in the FOYER OF ALLENDALE SQUARE and the smaller part in the premises of GALERIE DÜSSELDORF) Earle Backen Hertha Kluge-Pott Sydney Ball Geoff La Gerche Charles Blackmann Colin Lanceley Arthur Boyd Bruno Leti Geoff rey Brown Keith Looby John Coburn John Olsen Fred Cress David Preston Dave Cromack David Rankin Ray Crooke Lloyd Rees Janet Dawson David Rose Ruth Faerber Udo Sellbach Robert Grieve Jan Senbergs Barbara Hanrahan Gary Shead Andrew Hayim James
    [Show full text]
  • Here Waves Crash Over the Deck and the Crew Von Guérard’S Dramatic Marine Picture, Evening Undertaken by the Austrian Novara Expedition
    LAURAINE • DIGGINS • FINE • ART Collectors’ Exhibition 2017 3 June – 29 July 2017 58 | Lauraine Diggins Fine Art | Lauraine Diggins Fine Art Collectors’ Exhibition 2017 3 June – 29 July 2017 Published by Malakoff Fine Art Press 5 Malakoff Street, North Caulfield Victoria, 3161, Australia Telephone (+61 3) 9509 98555 Email: [email protected] Website: www.diggins.com.au First published 2017 This publication is copyright. Apart from any fair dealing for the purpose of private study, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Inquiries should be directed to the publisher. © Malakoff Fine Art Press Catalogue record for this publication is available from the National Library of Australia. ISBN: 978-0-9578878-8-6 All unattributed texts are compiled by Ruth Lovell Editor: Lauraine Diggins Photography: Mark Ashkanasy Catalogue design: Anton Banulski Printing: Adams Print FRONT COVER FREDERICK RONALD WILLIAMS Waterpond in a Landscape III 1966 oil on canvas 152.5 x 122 cm signed lower centre left: Fred Williams INSIDE COVER FLAP THOMAS CLARK Twin Falls on the Murrumbidgee (detail) oil on canvas | Lauraine Diggins Fine Art | 55 LAURAINE • DIGGINS • FINE • ART Collectors’ Exhibition 2017 3 June 2017 – 29 July 2017 LAURAINE • DIGGINS • FINE • ART 5 Malakoff Street North Caulfield Vic 3161 Email: [email protected] Gallery Exhibition Hours: Telephone: (+61 3) 9509 9855 Website: www.diggins.com.au Tues - Fri 10am – 6pm, Sat 1pm – 5pm EUGENE von GUÉRARD 1811 - 1901 Evening After a Storm, Near the Island of St Paul’s 1854 oil on canvas 45.5 x 75.5 cm signed lower right: Eugene von Guérard fec.
    [Show full text]