Friends of the South Australian School of Art, Inc. Newsletter PATRON: DR JEFFREY S M A R T A O

A B O U T T H E VOLUME 4, ISSUE 3 DECEMBER 2012 FRIENDS OF S A S A , I N C The Friends of the South Australian School of Art ’s Festival of Smart’s (SASA) aim to promote the work, ver the past several months, Adelaideans have history, and development of o certainly been treated to a feast of ’s the South , drawings and other ephemera associated with his Australian School life and work. This ‘Festival of Smart’s’ began with the of Art, using the opening, on 12th October, of the Master of Stillness: Jeffrey outstanding expertise, Smart paintings 1940-2011 exhibition at the Anne & Gordon experience and Samstag Museum of Art. Curated by long time friend, Barry collegial nature of Pearce, the exhibition presents the iconic and unique works its past and created by Jeffrey Smart in Sydney from 1951 and later in present scholars Jeffrey Smart, Morning Practice, Baia, 1969, Oil on and staff. where he now lives. The Samstag Museum website has this to say about the works in this exhibition: canvas, 58.0 x 81.0 cm , Collection Mr and Mrs Dick and Barbara Senn, California, USA. © Jeffrey Smart. I N S I D E … Smart is ’s iconic master of the urban vision – his Image reproduced courtesy Anne & Gordon Samstag works feature industrial wastelands and concrete streetscapes Museum of Art. Jack Condous, 2 Inaugural President of with precise attention to clean lines, composition and geometry. Friends SASA retires>>2012 Friends … The survey draws on a large range of works from Smart’s SASA Award oeuvre, to illuminate the consistent artistic and technical qualities >>>Congrats to Christian Lock & Heidi that animate his art, and to reveal the sustained vision that has Kenyon deservedly grown his reputation over several decades. … The exhibition celebrates the artist’s special links to the Getting to know your 3 Board Members 2012 University of as one of the South Australian -2013>>>Vale: Trevor Nickolls School of Art’s most acclaimed alumni and is presented as a major component of UniSA’s 21st anniversary celebrations. 2 SASA Graduates 4 win awards: Mary- Master of Stillness is also showing at Carrick Hill, which Jean Richardson; continues until February 24th, 2013. This exhibition Greg Johns presents the early work that Jeffrey Smart produced in Adelaide’s Festival of 5 Smart’s continued: Adelaide during the 1940s. RSASA exhibition ; The Royal South Australian Society of Arts Carrick Hill Exhibition (RSASA) also mounted the Jeffrey Smart & his Contemporaries exhibition at their Gallery (10 October to Celebrating 150 years 6 @ the South 11 November). See Page 5 of this Newsletter for more Above: Guests @ Anne & Gordon Samstag Museum for the Australian School of on both the Carrick Hill and RSASA exhibitions. opening of Master of Stillness exhibition. Art>>>Turner at the Photographs by Sam Noonan, courtesy of Anne & Gordon Tate: Making of a Samstag Museum of Art. Master @ AGSA— Jane Messenger ‘Third of the Friends - the 20 x 20 Show’ - July 7-28, 2013 In search of Robert 7 Pulleine>>>1936 Harry P Gill olish up your magnifying glasses—’The 20 and Lois Turner. Application forms to exhibit have Medallist>> x 20 Show’ is coming to town. In July of been posted to our About Greta P Laundy>>>Errata: next year, the Friends SASA will mount their website but will Vale Meg Douglas ‘Third of the Friends—20 x 20 Show’ at the also be mailed to Calendar of Events 8 Prospect Gallery, Nailsworth. members early 2013>>>Barry Pearce : Master of Unlike previous ‘Friends’ exhibitions, this time next year. Stillness: Jeffrey Smart you are invited to create smallish works in either 2 Completed paintings 1940- 2011>>>Helpmann or 3-dimensions. For 2D works, the dimensions application forms Academy is are 20 x 20cm and for 3D works, 20 x 20 x 20cm. together with moving>>>Season’s Greetings Never made works this small before? Well images of works now is your chance!!! Brian Budgen is curating this for selection are exhibition, with the assistance of fellow Friends due June 3rd, Above: A Community exhibition on display in the Prospect Gallery space. SASA members, Gloria Goddard, Philippa Robert 2013. P A G E 2 JACK CONDOUS, Inaugural President of Friends SASA, retires

t the August 2012 He subsequently encouraged, badgered and coerced A Annual General Meeting his colleagues to support the idea and eventually the of Friends SASA, Jack Friends of the South Australian School of Art was born. Condous, the inaugural Jack was nominated and elected as the inaugural President of FSASA president and we watched in wonder as his enthusiasm announced that after 4 years and determination brought in members, sponsors and as President of Friends SASA valuable connections with art organisations and he was stepping down from businesses. It was Jack who convinced the late Kym this position. Bonython to become our first patron and more recently Over the years Jack has he set his mind on securing our current patron Dr become somewhat of a legend Jeffrey Smart AO– and of course he succeeded. Immediate Past in the Adelaide Art Scene. He has long been a leader Jack’s retirement from the Friends SASA Board has President of Friends in art education, as a teacher, a Superintendent of Art left an enormous gap in the organisation. In fact it is SASA, JACK CONDOUS (left) with current Friends within the SA Education Department, a Fulbright suspected that we are currently without a President SASA Vice-President, scholar, World President of the International Society because he has left such huge shoes to fill. Pamela Karran and for Education through Art (INSEA) and more recently However we are left with the strong legacy of his Dr Gregor Ramsay at the launch of the Friends a practicing artist. Throughout all these roles he was leadership and are confident that this will enable us to SASA supported always the consummate entrepreneur. move on and flourish as an organisation. exhibition at Lincoln Jack was a member of the foundation group which Thank you Jack for all you have done. We will miss College in August 2012. perceived the need for an organization to support the you. work, history and development of the South Australian Pamela Karran School of Art. Vice-President 20 Friends SASA Rebecca Graeber : Recipient of the Friends SASA Award for 2012

t the recent SASA Visual The Friends SASA Travel Grant of A Arts Graduates Awards $1500 was not awarded at this Ceremony, Immediate Past President ceremony, however applications for this of Friends SASA, Jack Condous, will be available in early 2013 for presented the Friends SASA prize presentation at the Scholarships and for 2012 of $1000 to REBECCA Grants ceremony in May / June 2013. GRAEBER. A further $2500 to fund both the Rebecca, who is a second year Friends SASA Travel Grant and Friends student studying Visual Arts at the SASA Prize for 2013 was presented to South Australian School of Art, was Yvonne Clark, Director, Marketing & unable to be present, so the letter prepared by Helen Development Unit of the University of South Australia, Black of the Marketing & Development Unit, was from the Friends SASA Board on behalf of the Friends presented by Jack to SASA staff member Di Barrett SASA. Applications for both these awards will be called (pictured) to pass onto Rebecca. for in September/ October for presentation in December 2013. Congratulations to SASA Graduates: Christian Lock & Heidi Kenyon

ongratulations are also in order for two Heidi Kenyon was recently awarded the awarded FRIENDS SASA C graduates from the South Australian School of the 2012 Qantas Foundation Encouragement of Art: Christian Lock and Heidi Kenyon. Australian Contemporary Art Award for South Postal Address: Christian Lock is one of two recipients of the Australia. This generous award comprises an air travel Friends SASA prestigious Anne & Gordon Samstag prize and cash to further the professional development SA School of Art International Visual Arts Scholarship for 2013. of an early career. University of South Australia This scholarship provides Christian, who has a Heidi graduated with First Class Honours (Bachelor GPO Box 2471 Bachelor of Visual Arts (Hons, 2001) and Masters in of Visual Arts) from SASA in 2007 and in 2012 was Adelaide SA 5001 Visual Arts (2006) from SASA, with the opportunity to awarded the MF & MH Joyner Scholarship in Fine Email: study overseas in the visual arts. At this point in time, Arts. She currently undertaking a Masters in Visual Arts [email protected] Website: Christian is looking at travelling to Los Angeles to take by Research at SASA. www.friendsasa.com up this scholarship.

FRIENDS OF THE SOUTH AUSTRALIAN SCHOOL O F ART, INC. NEWSLETTER P A G E 3 Get to know your Friends of SASA Board Members : 2012-2013

Vice President, Pamela Karran; Secretary, Denice Daou; he Friends of SASA was first launched at the University of Treasurer, Nicola Semmens, Membership Officer, Patricia T South Australia on 21st August, 2008. The 5th Annual Wozniak and SASA Institutional Member, Professor Kay General Meeting of the Friends of SASA was held on August 16th, Lawrence AM. 2012. At this meeting, the following were elected to the Friends Committee Members include: Gloria Goddard, Bente SASA Board for 2012 to 2013: President, Vacant; Andermahr, Mark Fischer, Barbara Tanner and Lyn Robins.

2011- 2012 FRIENDS OF SASA BOARD MEMBERS Professor Lawrence is set to retire from UniSA on January 31, 2012. The Board thanks Kay for her President Pamela Karran Denice Daou Nicola Semmens Patricia Professor Kay contribution to Vacant Vice President Secretary Treasurer Wozniak Lawrence AO the work of (Acting) Membership Institutional Friends SASA. Officer Member SASA

2012- 2013 FRIENDS OF SASA COMMITTEE MEMB ERS

Want to know more about your Friends of SASA Board & Committee Members?? Visit the ’About the Friends SASA’ section of our website www.friendsasa.com Gloria Bente Mark Fischer Barbara Lyn Robins Goddard Andermahr Tanner VALE : TREVOR NICKOLLS (1949-2012) conic artist Trevor Nickolls has died at the and led to ‘the appreciation of Indigenous Australian I age of 63 after an illness. He leaves a large art as a movement worthy of legacy to the art world. With a unique, inventive consideration among the major contemporary art style he was a true innovator, bringing together traditions of the world.’ In 1990, with Rover disparate influences from Aboriginal art and Thomas, Trevor Nickolls represented Australia at Western art thereby creating a confluence between the Venice Biennale, the first Indigenous artists to traditional and non traditional art – in essence do so. In this same year, his art appeared on the creating a new type of contemporary Aboriginal cover of Time Magazine in Australia. art. The resulting works at times contain complex The Art Gallery of South Australia recently hosted iconography with multiple layers of meaning a commemorative event to honour Trevor’s Above: Trevor Nickolls, Brush with combining tragedy with a wicked sense of humour. the Lore, 2009, 2010, 187cm x contribution to the arts, the This event included A major theme for Trevor Nickolls’ work is 140cm (detail); Below: Trevor speeches by Art Gallery of South Australia Dreamtime to Machinetime, a theme which Nickolls, Time Magazine cover, 1990. Director, Nick Mitzevich and artist, curator and articulates the cultural transition from the academic, Brenda L Croft and a visual presentation traditional Aboriginal cultural heritage of the of Trevor Nickolls’ work spanning 40 years, by Dreamtime into the world of mechanisation and Angelika Tyrone from AI Arts. technology. Trevor’s wish was that after his death that an art Born in 1949 in Adelaide, South Australia, Trevor award be established in his name. The Trevor Nickolls attended the South Australian School of Art Nickolls Art Award aims to help young Indigenous in Stanley Street, North Adelaide where in 1971 he artists who want to study art. For information about was awarded a Diploma in Fine Art, . this Award contact Angelika Tyrone. Thereafter he won prizes and a scholarship and over Angelika Tyrone, AI Arts his life participated in numerous exhibitions in (e) [email protected] Australia and internationally. As art specialist, Wally (w) www.aiarts.com.au Caruana says ‘Trevor participated in a number of seminal international exhibitions, which, history shows, have had a You might also like to read John Neylon’s tribute to Trevor profound effect on the promotion of Indigenous Nickolls in the November 2012 issue of the Adelaide Review: abroad.’ These included exhibitions in the UK, France and Japan ’Keep the Dream Alive’.

FRIENDS OF THE SOUTH AUSTRALIAN SCHOOL O F ART, INC. NEWSLETTER P A G E 4

SOUTH AUSTRALIAN SCH OOL OF ART GRADUATES W IN AWARDS

MARY - JEAN RICHARDSON WINS AEAF CIBO ESPRESSO STUDIO AWARD IN ROME

n Wednesday 28th November, 2012, ABOUT THE AEAF CIBO ESPRESSO STUDIO AWARD O John Hill, MP, Minister for the Arts The AEAF CIBO Espresso Studio at the British School at Rome and Roberto Cardone, a Director of Cibo will provide a once in a lifetime opportunity for an emerging South Espresso Australia, named MARY JEAN Australian artist to undertake a three-month residency at the RICHARDSON the inaugural British School at Rome, Britain’s leading humanities research winner of the AEAF CIBO Espresso institute abroad and one of the most prestigious foreign academies Residency at the British School in Rome. in the Italian capital. The placement is between July and September Mary-Jean completed a Masters by each year, with the first residency in 2013. This residency will give Research at UniSA in 2011. This research a South Australian artist an opportunity to fully immerse focused on the theme of 'Ambivalence, themselves in the world of Italian art and culture. It will also put mutability and mortality: the legacy of South Australian artists on an international stage. For more eighteenth- and nineteenth-century Gothic conventions on information about this award, go to the Opportunities section of the contemporary art'. Helpmann Academy website. In a 2010 issue of Australian Art Review, Adelaide-based art writer Stephanie Radok described Mary-Jean’s early work as being ‘characterised by images of her two daughters though was deliberately not portraiture and rarely showed their faces. Instead the backs of their heads and their hair were involved, which suggested refusal, withholding and mystery. To some degree the compositions echoed the photography of South Australian-based Deborah Paauwe in which faces are covered or seen from behind Mary-Jean Richardson, and in which hair is a prominent feature.’ Girl with hummingbird, 2008, oil on canvas, 56 x The work seen at right ‘Girl with Hummingbird’ is featured in the 77cm. online version of this article.

GREG JOHNS WINS 2012 MCLELLAND SCULPTURE AWARD : ACQUISITIVE

ongratulations go to Adelaide-based C sculptor GREG JOHNS (at work in his studio, left) who was recently awarded the acquisitive McClelland Award 2012 valued at $100,000. The title of the winning work (seen at right) is At the centre (There is nothing). The Award was judged by Deborah Edwards, the Senior curator of Australian Art at the Art Gallery of . Greg Johns was born in Adelaide, South Australia. He trained at the Stanley Street, North Adelaide campus of the South Australian School of Art and graduated with a Diploma of Fine Art, Sculpture in 1978. He has been working as a full-time sculptor ever since. Hotham Street Contemporary Gallery website has this to say about Greg’s work: Greg Johns' sculpture has developed and evolved dramatically over the last thirty years. His work consciously reaches out to 'big picture' themes, but the viewing platform has been constructed amongst Australia's flora and fauna. Johns reads beneath the surface of the Australian landscape. Visual elements of the landscape ignite feelings to inspire work, but it is that which cannot be seen, beneath the surface which produces the forms that are of interest to him. Johns investigates the psychological side of landscape, where interior and exterior are connected, both having a role to play.

A new publication on Greg Johns, ‘Edge of Time’, written by Greg Johns, At the Centre (There is nothing), 2012, corten steel, 350.0 x 350.0 x John Neylon, will be published by Wakefield Press in 2013. 170.0 cm .

FRIENDS OF THE SOUTH AUSTRALIAN SCHOOL O F ART, INC. NEWSLETTER P A G E 5 Adelaide’s Festival of Smart’s : continued

Jeffrey Smart & his Contemporaries Master of Stillness: Jeffrey Royal South Australian Smart Paintings 1940-2011 Society of Arts (RSASA) CARRICK HILL: EPHEMERA ROOM 14 October—11 November, 2012 10 October, 2012—24 February 2013

urated by Stephen Rogers, Archivist to Dr Jeffrey Smart arry Pearce, curator of Master of Stillness: Jeffrey Smart C AO, together with James Raggatt and Director, RSASA, B paintings 1940-2011 suggested to the Director of Carrick Bev Bills, this stunning and historically important exhibition Hill, Richard Heathcote, that an installation evoking Adelaide during brought artworks by those artists who were peers, teachers and the 1940s would be an interesting adjunct to the early works of students of Jeffrey Smart in the 1940's & 1950's and beyond, back Smart's that were to be exhibited in this grand estate. It would also into the RSASA Gallery. Among the artists featured were fittingly recall the era in which Smart became close to the Jacqueline Hick, Ursula Hayward (nee Barr-Smith), Michael Haywards, frequently visiting Carrick Hill to discuss literature and Shannon, , Horace Trenerry, , Hans art with Ursula. Heysen and John Giles. This exhibition was a once-in-a-lifetime opportunity to view artworks by these artists alongside those of Jeffrey Smart and to see or guess at who influenced whom. As Stephen Rogers notes in his introduction to the catalogue: ‘We ... made a conscious attempt not to rely on just borrowing works from the State institutions; most works are from private Adelaide collections’. Thus many of the works have not been on public view for a very long time, if at all.

Left: RSASA Exhibition Selection Committee, 1947 (Pic from RSASA Archives). L to R: Standing, Henry Fuller, RSASA secretary; Seated: Lisette Kohlhagen, , Dorrit Black, Gwen Barringer; Standing behind: Mr L H (Laurie) Howie, Jeffrey Smart and George Whinnen. Right: Jeffrey Smart, Vacant allotment, Woolloomoolloo, 1947, oil on canvas, Gift of Chandler Coventry 1979, 52.3 cm x 63.4 cm, New England Regional Art Museum (NERAM). Jeffrey Smart held his first Solo Exhibition in the RSASA Gallery in November 1945, as well as exhibiting with well known Above: Two images of the ‘Ephemera Room’ which was created to accompany the Master of Stillness: Jeffrey Smart paintings 1940-2011 Adelaide artist Jacqueline Hick. Jeff was a Vice President of the exhibition at Carrick Hill (October 10,-2012—February 14, 2013) RSASA and the black-and-white photograph above (he is standing second from right) proves that he was on the 1947 RSASA As an intern I was assigned the task of researching and collating Selection Committee, along with Dorrit Black, Jacqueline Hick, materials for the display. I identified several avenues of exploration, Laurence Howie (Principal, SASA 1920-1941) and others. The sourcing some beautiful ephemera currently on show. These provide work displayed on the easel is Jeffrey’s Vacant allotment, snapshots of Smart’s personal life in Adelaide during the 1940s: from Woolloomooloo, painted in 1947, which is now in the collection of the friendships he formed; to the coffee shops he frequented as a the New England Regional Art Museum (NERAM). student and teacher; to the ballet and orchestral performances he A fine catalogue, designed and attended; and the places he visited on painting trips. Various people edited by Dr Adam Dutkiewicz, and institutions were particularly helpful with loaning materials and accompanied this exhibition (see providing valuable information, including Friends SASA, the Barr left). Contents include an Smith Library at the University of Adelaide, and the State Library of introduction by Stephen Rogers, South Australia. a short comment by James It is hoped that the resulting display not only provides viewers Raggatt, notes on the work of with a greater understanding of just how conservative and cloistered each of the artists (teachers & Adelaide was at the time when Smart was first working here as an contemporaries) included in the artist and teacher but also offers some very personal insights into exhibition along with colour Smart's presence in our city. images of selected artworks. Copies of the Catalogue are still Greta Laundy. available from RSASA. For more about Greta Laundy, go to page 7 of this Newsletter.

FRIENDS OF THE SOUTH AUSTRALIAN SCHOOL OF ART, INC. VOLUME 4, ISSUE 3 P A G E 6 Celebrating 150 years @ the South Australian School of Art

elcome and thank And secondly, that art schools are not just institutions W you all for coming stretching back over time but potentially wondrous places of along this afternoon. I am opportunity where almost anything can happen at any time—. delighted to introduce my and invariably does. This is despite the enormous constraints friend and colleague Dr on art education in Anglo-Saxon countries at this point in Jenny Aland’s presentation time where art schools and courses are being mercilessly Dr Pamela Zeplin, Convenor, South Celebrating 150 years @ diminished in the name of economic pragmatism - particularly Australian School of Art History Project, introducing Dr Jenny Aland’s presentation the South Australian School in our own country. But while a shrivelled vision of the role on the history of SASA at the Bradley of Art. of art and craft on the part of and governments and Forum, City West Campus, University of Many of you will be aware universities confronts our national capacity for imagination that over the last six years and innovation – of exploring the ‘what else’ factor – our an enormous amount of significant, surprising, and exciting own local art history shows that generations of us have been research for the South Australian School of Art History here before and we have survived. Project has uncovered much about our very own 150-year old At this time, it is worth remembering the cliché: Life is institution. Most of this research has been painstakingly short but art is long. Who knows what art schools will look undertaken by the project’s indefatigable honorary researcher, like over the next few decades as university corporations Dr Jenny Aland PSM, Adjunct Research Fellow with the School become increasingly disconnected from delivering genuinely of Art, Architecture & Design. Regular reports in the Friends creative education? It is also worth remembering that newer of SASA Newsletters and those for the annual AGM initially generations of students – and artists -are demanding and revealed a scattering of apparently lost historical and pictorial inhabiting more creative spaces than ever before. records. These records have since been patiently and Hopefully, then, in reviewing SASA’s past and meticulously reclaimed to be reproduced in various events and considerable accomplishments we can also draw on the publications such as the White Glove Event at Art Gallery of wisdom of other perspectives and genealogies, such as the South Australia (2010); an almost complete annotated/ Maori tradition for example, which approaches history as an illustrated publication of Gerald Lyn Fischer’s original open and living organism wherein we “walk towards the typescript monograph on Harry Pelling Gill, Master of School future to meet the past”. of Design (1982), not to mention Dr Aland’s own Master’s So please enjoy Dr Aland’s valuable and insightful thesis on this perhaps controversial figure who was also research—which is a vital and vibrant part of our own Honorary Curator of the Art Gallery of South Australia. This history—both state and national. is in addition to an increasing amount of voluntary research for individuals, as well as for exhibitions such as the current Jeffrey Dr Pamela Zeplin Smart ‘Festival’ . Convenor, SASA History Project Now, as much as histories and institutions are important School of Art, Architecture & Design to our sense of cultural continuity and pride in ongoing University of South Australia excellence and reputation, it is, however vital to remember November 25th, 2012 firstly, that history is being made as we speak. Preview of Turner from the Tate with Jane Messenger, Curator, AGSA he above-mentioned end-of-year event for the Friends Turner’s poetic interpretation of nature was T SASA also saw Jane Messenger, Curator of European revolutionary. His ability to capture the atmospheric and American Art at the Art Gallery of South Australia provide impression of light instilled his paintings with a sensory members of Friends SASA with a preview of some of the command that has transcended time and place. works that will be exhibited in the Turner from the Tate: Making of a Master exhibition. This significant exhibition will be held at the Art Gallery of South Australia from the 8th February to the 19th May, 2013. The exhibition will offer South Australians a once in a life time opportunity to experience the iconic paintings of Joseph Mallord William Turner, one of Britain's greatest artists. J.M.W. Turner, Peace – Burial at Sea, exhibited 1842. Photo: (c) Tate, 2013. Surveying Turner's life work the exhibition is a journey through his ambitions, critical triumphs and controversies, revealing Tickets to this landmark exhibition are available from the why he is one of the most renowned landscape painters of all Gallery Bookshop or online at BASS via the AGSA website. time. Why not give a ticket or two this Christmas?

FRIENDS OF THE SOUTH AUSTRALIAN SCHOOL O F ART, INC. NEWSLETTER P A G E 7 P A G E 7

IN SEARCH OF ROBERT PULLEINE (A CONTEMPORARY OF JEFFREY SMART )

ne of the fascinating research requests I A second, and even more important clue also came from O received recently came from Dr Adam the State Library of South Australia’s collection, this being Dutkiewicz who was looking for more information A Pulleine family story : concerning Frederick Arthur Pulleine his on South Australian artist Robert Pulleine for his ancestry in Yorkshire, life in New Zealand and Australia, and an Catalogue to the Jeffrey Smart & his Contemporaries account of his family, particularly Robert Henry Pulleine and his exhibition(see page 5). descendants by a Mr Jim Smith (a family relative by It seemed that Adam knew Robert’s date of marriage). A close look at this family history revealed a birth (1911), but not the date of his death. Nor was very detailed biography of the Robert Pulleine I was anything much known about Robert’s life and work looking for—Robert or ‘Bob’ as he was best known, was Robert Pulleine, other than that he was a prolific painter of still lifes, (1911-1992), Still life born 1911 and died 1992. In one part of this biography, mostly flowers, and that he was a rather reclusive with ornament and Bob is referred to as being ‘insouciant and rather a wit person who was thought to have lived in the limes, c 1940s, oil, 39 with a genius for giving people names [a trait he seemed to x29cm, Private , possibly Aldgate. These two Collection. exhibit all his life]’. As for his art work, the art critic of ‘unknowns’ therefore became the focus of my This was one of The Herald (Basil Burdett) commented in 1937 that Bob's investigations. Robert Pulleine’s work was "frankly experimental" and in 1938 singled him A search on the National Gallery’s website works included in the out as "one of the young painters in Melbourne attempting RSASA exhibition. Trove and other sites for ‘Robert Pulleine’ kept to break the bonds of artistic conservatism". returning information on a Robert Henry Pulleine who was a This discovery enabled Dr Adam Dutkiewicz to complete the well known South Australian physician and naturalist. But his following notes on Robert for his Catalogue, all of which suggest birth/death dates (1869-1935) were far too early to be the that he led a full and productive life: Robert Pulleine I was looking for—he turned out to be the Robert Pulleine (1911-1992) studied at the North Adelaide School of artist’s father. Fine Arts 1931-33, and life drawing in Cairo 1933-34 and at George A subsequent search of the State Library records Bell School in Melbourne 1935-37. He was active as a stage designer in provided me with two important clues—one being a Adelaide and served in World War Two, resuming painting in 1947. He photograph of the Pulleine ‘House and Garden’ at is highly regarded as a modernist still life painter by astute collectors. He Netherby which was owned by the Pulleine family from exhibited at Hahndorf Academy with Sir Hans Heysen, Horace Trenerry 1913 to 1942 when it was demolished for redevelopment. and Robert Campbell for the Adelaide Festival 1970. (Dr Jenny Aland)

1936 HARRY P GILL ME D A L L I S T ABOUTGRETA LAUNDY

ome weeks ago, I received a request from have been a practising artist for over a decade, S Cherie Coppins via our Friends SASA website I attaining First Class Honours in the Bachelor of for more information about the award of the Harry Visual Arts at SASA in 2010. After some thought, I decided to P Gill Memorial Medal to her mother, Beryl N contact Richard Heathcote at Carrick Hill to explore the Panter (b.1917-), A scan of the engraved medal was included, curatorial field as an adjunct to my practice. He was very open to but it was rather difficult to discern the me coming in and working alongside Jane Hylton to learn about year in which it was awarded. Also curatorial practices. As a result of this invaluable experience, my included were images of Beryl as a young research, writing and curatorial skills have been immensely woman (see top), together with those of strengthened. I am continuing to work at Carrick Hill as a part her winning work—a ‘Monks time intern, assisting Caroline Berlyn who has undertaken the role bench ...with panels of embossed leather of collating and registering the entire Carrick HIll collection. on the front and top of the seat and Furthermore, as a result of my internship at Carrick HIll, I have pokerwork designs to the top and back of also decided to go ahead and commence a Masters of Museum and the top’ (at right). The embossed panels Curatorial Studies (University of Adelaide) in 2013, as I find the are based on the Sturt Desert pea—a curatorial aspects of the visual arts sector very exciting and requirement for submission. As these images testify, the interesting. Monks Bench demonstrates an incredibly high degree of Greta Laundy, December 2012 craftsmanship by this young woman. A further email from Cherie included a scan of the Award ERRATA: VALE MEG DOUGLAS program, which enabled us to confirm that the date of her winning Medal was indeed 1936. Importantly this program also included a list of all winners of the Harry P Gill Medal from n the last issue of this Newsletter we the year of its first presentation in 1921 to 1936, the year of I attributed this photograph of SASA staff Beryl’s award. From 1921 through into the 1940s, this award member Meg Douglas, who passed away in June was given for a work of ‘Applied art, Australian motif’. Today 2012, as being from the collection of Associate the Harry P Gill Medal is awarded to the student with the Professor Catherine Speck. The photograph was actually taken by highest grade point average in the field of design in the South Alb Smith, a fellow staff member and colleague of Meg’s at SASA. Australian School of Art. (Dr Jenny Aland) Apologies to Alb for this incorrect attribution.

FRIENDS OF THE SOUTH AUSTRALIAN SCHOOL O F ART, INC. NEWSLETTER PAGE 8

FRIENDSASA IDEAL GIFT TO CALENDAR OF EVENTS 2013 PUT ON YOUR JANUARY TO AUGUST CHRISTMAS WISH LIST JANUARY / FEBRUARY LA PETIT ET LE GRANDE MEMBERS SUMMER ublished by Wakefield Press, EXHIBITION P this book on the work of 14 December – 25 January 2013 Jeffrey Smart is the first since his virtual retirement from painting To be opened: 6:00pm Friday 14 December with a celebration in 2011. It illuminates the vision of the most celebrated of for Christmas. Australian expatriate artists, from his beginnings in Adelaide until his last major composition painted in Italy RSASA SUMMER SCHOOL where he has lived for the last five decades. Open to Members & non members Copies of Barry Pearce’s Master of Stillness: Jeffrey Smart 2 – 25 January 2013 paintings—1940-2011 can be obtained directly from the Anne & The Royal South Australian Society of Arts annual Summer Gordon Samstag Museum of Art for $49.95. School offers excellent tutors offering a wide range of skills and You can also buy it online from the Wakefield Press website for techniques. Enjoy a productive break in the heart of summer in the same price—no postage and handling costs apply. an air conditioned building with old and new friends.

TURNER FROM THE TATE: THE MAKING OF A THE HELPMANN MASTER ACADEMY IS Art Gallery of South Australia 8 February - 19 May 2013 MOVING Turner from the Tate offers a once in a life time opportunity to experience the iconic paintings of J.M.W. Turner, one of fter 11 years of operating of the Adelaide College of the Britain's greatest artists. A Arts on Light Square in the city’s West End, the Helpmann Academy is moving into its own building for the first HELPMANN ACADEMY GRADUATE EXHIBITION time since the organization was established in 1994. It is taking up Drill Hall, Torrens Parade Ground residence alongside the Adelaide Fringe in Norwood. Drive, Adelaide As CEO Amanda Pepe notes, ‘this will be the first time in the Opening Thursday February 14, 2013 Academy’s almost 20 year history that we will have our own This unique exhibition showcases the best and freshest artworks independent space’. by graduates from the Adelaide Central School of Art, UniSA’s The Helpmann Academy officially moves to the Norwood School of Art, Architecture & Design and TAFE SA Adelaide premises on December 13. Their new contact details are: College of the Arts. Helpmann Academy, 64 Fullarton Road (enter via Gray Street), Norwood, 5067. They are also contactable via their website : MARCH / APRIL http://helpmannacademy.com.au/ 4TH SOLAR ART PRIZE EXHIBITION @ RSASA Open to all South Australian artists 31 March – 21 April 2013 $23,000 in vouchers for solar cells. Entries close 15th February 2013. Enquiries to Pip Fletcher at [email protected] or 8267 4428.

JUNE/JULY ‘THIRD OF THE FRIENDS—THE 20 X 20 SHOW’ Prospect Gallery, 1 Thomas Street, Nailsworth, Adelaide July 7—28, 2013 Applications forms to exhibit are available on the Friends SASA Website. They will also be forwarded by post to members in early 2013. Completed Application forms together with Digital images of work for selection are due for Season’s Greetings for 2012 return by June 3rd, 2013.

AUGUST The Board of Friends SASA wishes all 2013 SALA FESTIVAL Runs from 2 - 25 August members, their families and friends a Registrations for 2013 open in February. happy and fulfilling New Year.

FRIENDS OF THE SOUTH AUSTRALIAN SCHOOL O F ART, INC. NEWSLETTER