Painter Changed Australia's View of Art • David Langsam • January 20 2017
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
Pensive, Pre-War Masterpiece by Yosl Bergner to Be
Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] PENSIVE, PRE-WAR MASTERPIECE BY YOSL BERGNER TO BE OFFERED FOR AUCTION IN JUNE AT SMITH & SINGER Presented for Public Sale for the First Time Since its creation in 1939, ‘Self-Portrait’ was Acquired Directly from the Artist and Thence by Descent to the Present Owner Painted on the Precipice of World War II, the Work Captures the Stoic Resolve and Emotional Intensity of Bergner as a Young Refugee in Australia YOSL BERGNER 1920-2017 Self-Portrait (1939) oil on canvas on composition board, 56 x 46 cm Estimate $40,000–50,000 MELBOURNE, 20 May 2020 – Not seen in public since its last exhibition at the National Gallery of Victoria in 1991 – and being offered for public sale for the first time since its creation in 1939 – Self- Portrait (1939) is a powerful and poignant depiction of Yosl Bergner as a young man. Smith & Singer is honoured to have been entrusted with its sale and is excited to present this exceptional work within the forthcoming Important Australian & International Art auction. Painted just two years after Bergner fled Warsaw with his young sister to join their father in Australia, the deeply-luminous palette and direct gaze of Bergner capture the resolve of the young artist as a refugee in his recently adopted country. Smith & Singer is a trademark used by Second East Auction Holdings Pty Ltd ABN 48 004 742 509. Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] A WINDOW INTO REFUGEE LIFE IN MID-CENTURY AUSTRALIA Born into a family of artists and writers, Yosl Bergner grew up in Warsaw. -
A Hebrew Maiden, Yet Acting Alien
Parush’s Reading Jewish Women page i Reading Jewish Women Parush’s Reading Jewish Women page ii blank Parush’s Reading Jewish Women page iii Marginality and Modernization in Nineteenth-Century Eastern European Reading Jewish Society Jewish Women IRIS PARUSH Translated by Saadya Sternberg Brandeis University Press Waltham, Massachusetts Published by University Press of New England Hanover and London Parush’s Reading Jewish Women page iv Brandeis University Press Published by University Press of New England, One Court Street, Lebanon, NH 03766 www.upne.com © 2004 by Brandeis University Press Printed in the United States of America 54321 All rights reserved. No part of this book may be reproduced in any form or by any electronic or me- chanical means, including storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Members of educational institutions and organizations wishing to photocopy any of the work for classroom use, or authors and publishers who would like to obtain permission for any of the material in the work, should contact Permissions, University Press of New England, One Court Street, Lebanon, NH 03766. Originally published in Hebrew as Nashim Korot: Yitronah Shel Shuliyut by Am Oved Publishers Ltd., Tel Aviv, 2001. This book was published with the generous support of the Lucius N. Littauer Foundation, Inc., Ben-Gurion University of the Negev, the Tauber Institute for the Study of European Jewry through the support of the Valya and Robert Shapiro Endowment of Brandeis University, and the Hadassah-Brandeis Institute through the support of the Donna Sudarsky Memorial Fund. -
Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting. -
Annual Report 98-99.Qxd
annual report 1998–99 annual report 1998–99 national gallery of australia Annual Report 1998–99 © National Gallery of Australia 1999 ISSN 1323-5192 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publications Department of the National Gallery of Australia, Canberra. Printed in Australia by Goanna Print, Canberra. National Gallery of Australia GPO Box 1150, Canberra ACT 2601 Telephone (02) 6240 6411 Facsimile (02) 6240 6529 Website: www.nga.gov.au Cover: Arthur Boyd Reflected Bride I 1958 Purchased with funds from the Nerissa Johnson Bequest 1999 Reproduced with the permission of Bundanon Trust 17 September 1999 The Honourable Peter McGauran MP Minister for the Arts and the Centenary of Federation Parliament House CANBERRA ACT 2600 Dear Minister I have pleasure in providing to you the Annual Report of the National Gallery of Australia for 1998–99, as required under the National Gallery Act 1975 and the Commonwealth Authorities and Companies Act 1997. The report follows the Guidelines for the Content, Preparation and Presentation of Annual Reports by Statutory Authorities (1982) and the Commonwealth Authorities and Companies Orders for Report of Operations (August 1998). Kerry Stokes AO Chairman of Council iii annual report 1998–99 Contents Letter of Transmission iii Chairman’s Foreword 1 Director’s Report 2 Corporate Overview 6 Performance 1998–99 Developing the Collection 11 Maintaining the Collection 16 Providing Access and Information 18 Managing Resources 26 Appendixes 1. -
An Investigation of the Role of Place and Identity in Artistic Thought and Practice
Placing identity, identifying place: An investigation of the role of place and identity in artistic thought and practice. Shelley Margaret Hannigan BFA (Painting), Graduate diploma (Teaching), MEd (Creative arts therapies) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of Music Shelley Hannigan, PhD Abstract This thesis explores the phenomena of place and identity in the visual artistic practices of four artists and myself. Using narrative case study and autoethnography, three research questions were investigated and answered: 1. What can be understood about each artist’s account of place and identity? 2. How do the artists encounter, use, or draw on, themes of place and identity in their creative practice, products, and thinking? 3. In what ways do the artists’ places influence their constructions of identity? Methods and techniques used to investigate these questions were interview, observation and artefact analysis. Hermeneutic philosophy was compatible with the investigation of individual insights and experiences of five artists due to its focus on the interpretation of verbal and non-verbal communication. Methodologies of qualitative narrative research were used to foreground artists’ explanations and interpretations of their own artworks and encourage storying of themselves. I investigated my own place, identity and artistic practice through autoethnography. Heidegger’s contribution to place philosophy is discussed as this along with other theories contributed to notions of place as experience. Notions of space and place are reviewed that include historical developments such the spatial turn. This turn challenged the way space and place were understood within disciplines and inspired a turn toward more interdisciplinary understandings of place and space. -
Download Download
Faith Jones “WANDERING IS YOUR FATE”: ESTHER SHUMI- ATCHER-HIRSCHBEIN WRITING ACROSS BOUNDARIES On the cover of the premier issue of an avant-garde Yiddish literary magazine, a bird is flying, a soft right-to-left swoosh of head and feathers interrupted by harsh, geometric up-and-down wings. Or perhaps the wings are not actual wings but an indus- trial road through a serene landscape stretching sideways across the page. They could even be a bridge over water flowing below. Read from bottom to top, the geometric forms – be they wings or a human construction – spell, in Yiddish, “Albatross.” Published in Warsaw in 1922 and then in Berlin in 1923, and edited by Uri Tsvi Grinberg, a complex figure in both Yiddish and Hebrew literature, Albatros was one of several ambitious and short-lived periodicals that gave voice to Eastern European artists, many of them in transit between Russia and the west, or Russia and Palestine.1 Heavily influenced by German expressionism, these publications were notable for their integration of art, contemporary design, experimental type, and other innovations. It is curious, then, and striking, that Albatros took its name from a poem by a Canadian woman, Esther Shumiatcher, who was simply passing through Warsaw at the time Grinberg was gathering materials for his first issue, and who only recently had begun to write. The three poems by Shumiatcher (“Albatross” and two others) that appeared in the first issue of the journal were among her earliest publications. While no explicit editorial statement was made about the choice of title, the opening pages of the journal featured a 16 Faith Jones “Proclamation” written in Grinberg’s trademark dense, meta- phoric language, which shed light on the editor’s vision and the resonance of certain themes for this group of refugee-intellectuals: Door and battlements are open to the Four Winds, where the eternal Pilgrims are pulled, the sin of restlessness, of purified all-world — all- people recognition. -
1 Margaret ACKLAND Tate ADAMS Martha AITCHISON Olle ALBERIUS
Margaret ACKLAND Garry BISH Leonie CASBOLT Tate ADAMS Cameron BISHOP Karen CASEY Martha AITCHISON Graham BLACKER Judy CASSAB Olle ALBERIUS Charles BLACKMAN Len CASTLE Douglas ALEXANDER Stan BLACKSHAW John CATO Anne ALGAR Julien BLAINE Jon CATTAPAN Mary ALLEN Les BLAKEBROUGH Angela CAVALIERI Eva ALMEBERG Peter BLIZZARD Neil CHENERY Ricardo ALVES-FERREIRA Yvonne BOAG Janangoo CHEREL Rick AMOR Sonja BOEHM Jeong Hwa CHOI John ANDERSON Bernard BOLES Henri CHOPIN Fernando ANDOLCETTI Chris BOND Dadang Christanto Len ANNOIS Russell BONE John CHRISTIE Jean APUATIMI Chris BOOTH Greg CLARK Bruce ARMSTRONG Peter BOOTH Tony CLARK Ian ARMSTRONG John BORRACK Kerry CLARKE Raymond ARNOLD Anna BOSCHI Maree CLARKE George ASLANIS Abraham BOSSE Peter CLARKE David ASPDEN Paul BOSTON Sue CLIFTON Rosalind ATKINS G W BOT Robert CLINCH John AUDUBON Dean BOWEN Jock CLUTTERBUCK Bill BACHMAN Arthur BOYD Ewen COATES Norman BAGGALEY David BOYD Victor COBB Robert BAINES Guy BOYD John COBURN Jimmy BAKER Lynne BOYD Yvonne COHEN Maringka BAKER Kathleen BOYLE Peter COLE George BALDESSIN John BRACK Rosemary COLEMAN Sydney BALL Godwin BRADBEER Cresside COLLETTE Stephen BAMBURY Stephen BRAM Peter COLLINGWOOD David BAND Barbara BRASH Patricia COLLINS Tina BANITSKA William BREEN Kevin CONNOR Bashir BARAKI Warren BRENINGER Alan CONSTABLE Terence BARCLAY Angela BRENNAN Simon COOPER Roberto BARNI Rodney BROAD Martina COPLEY Vittore BARONI Aileen BROWN Kim CORBEL Geoffrey BARTLETT JOSEPH BROWN Noel COUNIHAN Geoffrey BAXTER Lyndell BROWN Jack COURIER Richard BECK Norma BULL Vicki -
1915 - 2008 Title: Papers of Grahame King Date Range: 1967-1990 Reference Number: MS 20 Extent: 1 Box Prepared By: Peta Jane Jones
MS 20 Papers of Grahame King Australian Prints and Printmaking Collection Summary Administrative Information Biographical Note Associated Content Acronyms Used Box Description Folder Description Summary Creator: King, Grahame 1915 - 2008 Title: Papers of Grahame King Date range: 1967-1990 Reference number: MS 20 Extent: 1 box Prepared By: Peta Jane Jones Overview Artist and teacher Grahame King was the fist President of the Print Council of Australia (PCA). In 1989, Roger Butler, the then President of the Print Council, and Curator of Australian Prints at the National Gallery of Australia invited Grahame King to speak at the First Australian Print Symposium. His presentation concerned the early history of the Print Council. In later discussions with Roger Butler he offered his papers relating to the formation and running of the Print Council to the National Gallery of Australia. This small collection includes papers that document Grahame King’s activities with the PCA, the adult education classes he taught and lectures he gave for university courses. The majority of documents comprising this collection are administrative and relate to the PCA; other material includes correspondence, newspaper clippings, financial records and copies of published articles. The collection has been described to item level. Keywords - 1 - Australian Printmaking; Prints; Print Council of Australia; National Gallery of Australia; Visual Arts Board (Victoria); National Print Symposium 1989 Key Names Grahame King; Roger Butler Administrative Information Access Contact the National Gallery of Australia Research Library reference desk librarians. Phone +61 2 6240 6530 Email [email protected] Provenance The papers were received by the Gallery in 1994 and lodged with the NGA Research Library as part of the Prints and Printmaking Research Collection in 2007. -
Newsletter SPRING 2017
15 West 16th Street New York, NY 10011-6301 yivo.org · 212.246.6080 Newsletter SPRING 2017 Follow us @YIVOInstitute Letter from the Director » Contact What does Jewish “continuity” mean? During World tel 212.246.6080 War II, YIVO leaders believed that the continuity fax 212.292.1892 of the Jewish people depended on the survival of yivo.org cultural memory, which meant the preservation of General Inquiries the documents and artifacts that recorded Jewish [email protected] history. They risked their lives to preserve these Archival Inquiries artifacts and today YIVO is ensuring their permanent [email protected] preservation through the Edward Blank YIVO Vilna Photo/Film Archives | [email protected] Sound Archives | SOUNDARCHIVES YIVO CJH ORG Collections Project. But preservation of documents @ . is not enough. They must be read and understood, Library Inquiries put in context, and given life through narratives. We [email protected] must look toward innovative educational programs, as well as digital means of reaching Jews around the world who have been » Travel Directions cut off from their history, language, and culture by the catastrophes of the The YIVO Institute for Jewish Research is located in the Center for Jewish History at 15 West 16th Street between Fifth and 20th century in order to rebuild our understanding of our history and sense Sixth Avenues, New York, NY 10011. of our future. This is YIVO’s challenge. I hope you will join us in meeting it. by subway 14 St / Union Sq. L N Q R 4 5 6 14 St + 6 Ave F L M PATH 18 St + 7 Ave 1 Jonathan Brent 14 St + 7 Ave 1 2 3 14 St + 8 Ave A C E L Executive Director by bus The YIVO Institute for Jewish Research is the leading academic center for East » Hours [ CLOSED ON MAJOR FEDERAL AND JEWISH HOLIDAYS ] European and Russian Jewish Studies in the world, specializing in Yiddish language, Gallery Hours Administrative Hours literature, and folklore; the Holocaust; and the American Jewish experience. -
MS 49 Papers of the Print Council of Australia Australian Prints and Printmaking Collection
MS 49 Papers of the Print Council of Australia Australian Prints and Printmaking Collection Summary Administrative Information Biographical Note Associated Content Acronyms Used Box Description Folder Description Summary Creator: Print Council of Australia Title: Papers of the Print Council of Australia Date range: 1966 - 2000 Reference number: MS 49 Extent: 95 boxes + 11 ring binders Prepared By: Peta Jane Jones Overview The collection represents a non-governmental organisation involved in the visual arts with broad activities and influence. The collection includes mainly correspondence, exhibition details, printmakers, gallery/art centres, colleges/universities, entry forms, slides, receipts and copies of newspaper clippings. They provide a comprehensive history of the administrative processes of the council and its exhibitions. The majority of the collection contains correspondence written by administrative staff; of greater interest is the correspondence, often handwritten by the artists themselves. In the earlier boxes the exhibition detail is more comprehensive with itineraries (drafts and finals) and forms stating the exhibiting galleries and artist lists with print sales included. Also of interest are the artists’ biographies, sometimes with handwritten notes; these were used for exhibition catalogues, print directories, Imprint and member print submissions. There are approximately 2000 slides in this collection mainly representing prints associated with PCA exhibitions. PCA committee records including ballot forms for nominating committee members, agendas and minutes of Annual General meetings, bank statements and bank reconciliation statements also comprises part of the collection. Keywords 1 Australian Printmaking; Exhibitions (see biographical section for list); patron/member prints. Key Names Grahame King; Robert Grieve; Geoff La Gerche; Neil Caffin; Udo Sellbach; Roger Butler; Barbara Hanrahan; various printmakers (see biographical section). -
Annual Report 2008–09 Annu Al Repor T 20 08–0 9
ANNUAL REPORT 2008–09 ANNUAL REPORT 2008–09 REPORT ANNUAL ANNUAL REPORT 2008–09 The National Gallery of Australia is a Commonwealth authority established under the National Gallery Act 1975. The vision of the National Gallery of Australia is the cultural enrichment of all Australians through access to their national art gallery, the quality of the national collection, the exceptional displays, exhibitions and programs, and the professionalism of Gallery staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2008–09, the National Gallery of Australia received an appropriation from the Australian Government totalling $78.494 million (including an equity injection of $4 million for development of the national collection and $32.698 million for Stage 1 of the building extension project), raised $19.32 million, and employed 256.4 full- time equivalent staff. © National Gallery of Australia 2009 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Carla Da Silva Printed by Blue Star Print, Canberra National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/reports