Deakin University Art Collection – List of Artists
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FEM-Affinity Exhibition Publication Online PDF Here
1 — FEM—aFFINITY — 2 FEM—aFFINITY Fulli Andrinopoulos / Jane Trengove Dorothy Berry / Jill Orr Wendy Dawson / Helga Groves Bronwyn Hack / Heather Shimmen Eden Menta / Janelle Low Lisa Reid / Yvette Coppersmith Cathy Staughton / Prudence Flint A NETS Victoria & Arts Project Australia touring exhibition, curated by Catherine Bell Cover Prudence Flint Feed 2019 oil on linen 105 × 90 cm Courtesy of the artist, represented by Australian Galleries, Melbourne BacK Cover Eden Menta & Janelle Low Eden and the Gorge 2019 inkjet print, ed. 1/5 100 × 80 cm Courtesy of the artists; Eden Menta is represented by Arts Project Australia, Melbourne — Co-published by: National Exhibitions Touring Support Victoria c/- The Ian Potter Centre: NGV Australia Federation Square PO Box 7259 Melbourne Vic 8004 netsvictoria.org.au and Arts Project Australia 24 High Street Northcote Vic 3070 artsproject.org.au — Design: Liz Cox, studiomono.co Copyediting & proofreading: Clare Williamson Printer: Ellikon Edition: 1000 ISBN: 978-0-6486691-0-4 Images © the artists 2019. Text © the authors, NETS Victoria and Arts Project Australia 2019. The views and opinions expressed here are those of the authors. No material, whether written or photographic, may be reproduced without the permission of the artists, authors, NETS Victoria and Arts Project Australia. Every effort has been made to ensure that any text and images in this publication have been reproduced with the permission of the artists or the appropriate authorities, wherever it is possible. 3 — Lisa Reid Not titled 2019 -
37 48' Project Outline
• 37° 48ʹ S: artists navigate MELBOURNE is an exciting and provocative visual art project exploring the cultural diversity of contemporary Australia as exemplified by life in Melbourne. Street-art practices and traditional printmaking techniques are on an equal footing as twelve diverse, exceptional Melbourne artists consider the cultural, natural and built environments of their city. • The twelve 37° 48ʹ S: artists navigate MELBOURNE project artists are: Angela Cavalieri, Bindi Cole, Carmel Wallace, Cat Poljski, Debra Luccio, Eolo Paul Bottaro, Heather Shimmen, Regan Tamanui aka HA! HA! Judy Holding, Marco Luccio, Rona Green, Rone • A new network of artists whose work collectively presents a unique perspective of life in Melbourne will be established. • The large format, limited edition suite of prints created by these twelve artists will be previewed in Melbourne before journeying to New York where it will join a complementary body of work created by the New York Society of Etchers in response to their city. The resulting dialogue will highlight similarities, differences and crosscurrents between the two cities of Melbourne and New York. Exhibitions will follow in other cities. 37° 48′ S: artists navigate MELBOURNE is a visual art project co-curated by artist, writer and curator, Dr Carmel Wallace, and Dianna Gold, an independent curator, arts consultant and former Director of Gallery 101 (a leading gallery in Melbourne from 1989 until 2010). In 2004, at the invitation of the New York Society of Etchers, Dianna and Carmel co-curated the exhibition Surface Tension: Twenty-One Contemporary Australian Printmakers and successfully presented this exhibition at the National Arts Club, Gramercy Park, Manhattan as part of a major cultural exchange. -
Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
Art Gallery of New South Wales Annual Report 2012 – 13
ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2012 – 13 1 CONTENTS 4 Vision and strategic direction 2010 – 15 5 President’s foreword 9 Director’s statement 13 At a glance 15 Access 15 Exhibitions and audience programs 19 Future exhibitions 21 Publishing 23 Engaging 23 Digital engagement 23 Community 30 Education 35 Outreach Regional NSW 40 Stewarding 40 Building and environmental management 42 Corporate Governance 58 Collecting 58 Major collection acquisitions 67 Other collection activity 70 Appendices 123 General Access Information 131 Financial statements 2 ART GALLERY OF NSW ANNUAL REPORT 12-13 The Hon George Souris MP Minister for Tourism, Major Events, Hospitality and Racing, and Minister for the Arts Parliament House Macquarie Street SYDNEY NSW 2000 Dear Minister It is our pleasure to forward to you for presentation to the NSW Parliament the annual report for the Art Gallery of NSW for the year ended 30 June 2013. This report has been prepared in accordance with the provisions of the Annual Report (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2010. Yours sincerely Steven Lowy Michael Brand President Director Art Gallery of NSW Trust 21 October 2013 3 VISION AND STRATEGIC DIRECTION 2010 – 2015 Vision The Gallery is dedicated to serving the widest possible audience, both nationally and internationally, as a centre of excellence for the collection, preservation, documentation, . interpretation and display of Australian and international art. The Gallery is also dedicated to providing a forum for scholarship, art education and the exchange of ideas. Strategic Directions Access To continue to improve access to our collection, resources and expertise through exhibitions, publishing, programs, new technologies and partnerships. -
Shortlist Announced— 2019 Geelong Acquisitive Print Awards
Media Contact Media Penny Whitehead T: 03 5229 3645 Release E: [email protected] Shortlist announced— 2019 Geelong acquisitive print awards 20 September to 24 November Official prize winning Geelong Gallery announcement: Free entry Thursday 19 September, 6.00pm Open daily 10am to 5pm Geelong Gallery is delighted to announce The prize-winning prints will be that 36 works by 37 leading and emerging announced at the official opening of Australian artists have been shortlisted the exhibition on Thursday 19 September for the 2019 Geelong acquisitive print (by invitation). awards. Selected from hundreds of entries from Showcasing diverse contemporary around Australia, the 36 shortlisted works Australian printmaking practice, for the 2019 Geelong acquisitive print the acquisitive awards and biennial awards reveal the technical and thematic exhibition will feature works by Alison diversity of contemporary printmaking Alder, Rosalind Atkins, GW Bot, Susanna practice. This year’s exhibition will Castleden, Tony Coleing, Christine include works by some of the nation’s Courcier-Jones, Marian Crawford, most talented established and younger Phil Day, Marieke Dench, Clive Dickson, generation artists. Dianne Fogwell, Graham Fransella, David Frazer, Silvi Glattauer, Jackie The selection panel for the 2019 Geelong Gorring, Gracia Haby & Louise Jennison, acquisitive print awards includes Rew Hanks, Kyoko Imazu, Locust Jones, Danny Lacy (Senior Curator, Mornington Peninsula Regional Gallery), Trent Walter Laith McGregor Martin King, Barbie Kjar, -
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. -
Teacher's Notes
Teacher’s Notes These teacher’s notes support the exhibition Cream: Four Decades of Australian Art. They act as a lesson plan, and provide before, during, and after gallery visit suggestions to engage your class with Australian modern art. This resource has been written to align with the draft version Australian Curriculum: The Arts Foundation to Year 10 – 2 July 2013 for Visual Arts as standard reference at the time of production. Used in conjunction with Rockhampton Art Gallery’s Explorer Pack, educators can engage students with concepts of artists, artworks and audience. The questions and activities are designed to encourage practical and critical thinking skills as students respond to artworks in Cream and when making their own representations. The Explorer Pack is free and available upon request to Rockhampton Art Gallery or via the host gallery. This education resource could not exist without the generous support of the Tim Fairfax Family Foundation and Rockhampton Art Gallery thanks the Foundation for their commitment to arts education for regional audiences. Rockhampton Art Gallery would also like to acknowledge the contribution of Education Consultant Deborah Foster. Cream: Four Decades of Australian Art The story of Rockhampton Art Gallery’s modern art collection is a tale of imagination, philanthropy, hard work and cultural pride. Lead by Rex Pilbeam, Mayor of the City of Rockhampton (1952–1982), and supported by regional businesses and local residents, in the mid-1970s the Gallery amassed tens of thousands of dollars in order to develop an art collection. The Australian Contemporary Art Acquisition Program, run by the Visual Arts Board of the Australia Council, would match dollar for dollar (later doubled) all monies raised locally. -
Illustrated Books
ILLUSTRATED BOOKS PTY DOUGLAS STEWART FINE BOOKS LTD PTY DOUGLAS STEWART FINE BOOKS LTD 720 High Street Armadale Melbourne VIC 3143 Australia +61 3 9066 0200 [email protected] Add your details to our email list for monthly New Acquisitions, visit www.DouglasStewart.com.au Print Post Approved 342086/0034 Image on front cover # 3283 (p. 16), this page # 5023 (p. 12), title page # 5022 (p. 15), inside back cover # 3616 (p. 2) and back cover # 2815 (p. 3). Illustrated Books PTY DOUGLAS STEWART FINE BOOKS LTD 720 High Street Armadale Melbourne VIC 3143 Australia www.douglasstewart.com.au A homage to Sappho (signed presentation copy) A Picture Book First and Foremost The apotheosis of Ern Malley. Etchings LINDSAY, Norman and LINDSAY, Jack (deluxe edition) & drawings by Garry Shead. BROMLEY, David SHEAD, Garry Made by Norman and Jack Lindsay. London : The Fanfrolico Press, 1928. Quarto, vellum over Melbourne : Story Road, 2009. Volume one : Sydney: Monogene, 2006. Tall folio (44cm high) bevelled boards with title and Lindsay decoration Children’s; Volume Two : Nudes; Volume Three black canvas with illustrated onlay housed in a red in gold, 64pp, all edges gilt, illustrated with fifteen : Worlds. Three volumes, quarto, hardcovers in canvas clamshell box, 32pp. with numerous full original etchings by Norman Lindsay. Limited to hand made canvas jackets hand-painted by David page colour plates and one large double foldout 70 signed copies. Signed and inscribed on the Bromley, housed in a custom-made leather school plate, introduction by noted art historian Sasha front free endpaper in Norman Lindsay’s hand satchel, hand-signed by Bromley on the front, the Grishin, includes three large signed aquatints by ‘To Harry Chaplin, with Norman Lindsay’s sincere books unpaginated (each volume 80 pp), illustrated Shead. -
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. -
Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
ANSWERS to QUESTIONS on NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General
Senate Finance and Public Administration Legislation Committee 2005-06 Supplementary Budget Hearings ANSWERS TO QUESTIONS ON NOTICE Prime Minister and Cabinet Portfolio Office of the Official Secretary to the Governor-General QUESTION: PM1 Senator Crossin asked: “..How many times this year has a government member represented the Governor- General and given a message on his behalf?” QUESTION: PM2 Senator Crossin asked: “… At Uluru—Ayers Rock. It was the 20th anniversary of the hand back. You probably do not have the answer with you but can you take on notice who invited the Governor-General to that?” QUESTION: PM3 Senator Crossin asked: “…Can you also please take on notice for me whom his message was given to and why?” QUESTION: PM4 Senator Crossin asked: “In an instance where the Governor-General cannot attend, is there any protocol that suggests that the message should be given to the House of Representatives member to read out rather than to some other member of parliament? …. Could you have a look at that, please, and answer this question: if the government is the body issuing the invitation and the Governor-General is unable to go, is it custom and practice that the local House of Representatives member reads the Governor-General’s message rather than anybody else?” Response: The response to Senator Crossin’s questions PM1 to PM4 is set out below. There is no written protocol or guideline for how the Governor-General is to be represented at an event or function that he is unable to attend. Messages are not sent to the Governor or Administrator of a State or Territory unless it was they who had invited the Governor-General. -
Ii: Mary Alice Evatt, Modern Art and the National Art Gallery of New South Wales
Cultivating the Arts Page 394 CHAPTER 9 - WAGING WAR ON THE ESTABLISHMENT? II: MARY ALICE EVATT, MODERN ART AND THE NATIONAL ART GALLERY OF NEW SOUTH WALES The basic details concerning Mary Alice Evatt's patronage of modern art have been documented. While she was the first woman appointed as a member of the board of trustees of the National Art Gallery of New South Wales, the rest of her story does not immediately suggest continuity between her cultural interests and those of women who displayed neither modernist nor radical inclinations; who, for example, manned charity- style committees in the name of music or the theatre. The wife of the prominent judge and Labor politician, Bert Evatt, Mary Alice studied at the modernist Sydney Crowley-Fizelle and Melbourne Bell-Shore schools during the 1930s. Later, she studied in Paris under Andre Lhote. Her husband shared her interest in art, particularly modern art, and opened the first exhibition of the Contemporary Art Society in Melbourne 1939, and an exhibition in Sydney in the same year. His brother, Clive Evatt, as the New South Wales Minister for Education, appointed Mary Alice to the Board of Trustees in 1943. As a trustee she played a role in the selection of Dobell's portrait of Joshua Smith for the 1943 Archibald Prize. Two stories thus merge to obscure further analysis of Mary Alice Evatt's contribution to the artistic life of the two cities: the artistic confrontation between modernist and anti- modernist forces; and the political career of her husband, particularly knowledge of his later role as leader of the Labor opposition to Robert Menzies' Liberal Party.