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PORTRAITURE and the PRIZE ART an Education Kit for K–6 Creative Arts with KLA Links GALLERY and 7–12 Visual Arts NSW
PORTRAITURE AND THE PRIZE ART An education kit for K–6 Creative Arts with KLA links GALLERY and 7–12 Visual Arts NSW ARCHIBALD.PRIZE.2010 ART GALLERY OF NEW SOUTH WALES Toured by Museums & Galleries New South Wales www.thearchibaldprize.com.au PORTRAITURE AND THE PRIZE Contents General: the Archibald Prize and portraiture Who was JF Archibald? The Archibald Prize 1 A chronology of events Controversy and debate Portraiture as a genre: an overview Portraiture and the Prize: a selection of quotes List of winners since 1921 Syllabus connections: the Archibald Prize and portraiture Suggested case studies Years 7–12 Conceptual framework: the art world web Years 7–12 Framing the Archibald: questions for discussion Years 7–12 2 Portraiture: general strategies Years K–6 Vocabulary: portraiture Artists: portraiture References Syllabus connections: 2010 Archibald Prize Framing the Archibald: K–6 and 7–12 discussion questions and activities Analysing the winner K–6: Visual Arts and links with key learning areas 3 Years 7–12: The frames Focus works: K–6: Visual Arts and links with key learning areas 7–12: Issues for discussion 2010 Archibald Prize: selected artists Education kit outline This education kit has been prepared by the Public Programs Department of the Art Gallery of New South Wales in conjunction with Museums & Galleries New South Wales, to accompany the annual Archibald Prize exhibition. It has been designed to assist primary and secondary students and teachers in their enjoyment and understanding of the Archibald exhibition and the issues surrounding it, at the Art Gallery of NSW or throughout the 2010 Archibald Prize Regional Tour. -
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. -
Draft Hyde Park Plan of Management and Masterplan Round Two Community Consultation Report on Facilitated Exhibition in Hyde Park and Written Submissions
Draft Hyde Park Plan of Management and Masterplan Round Two Community Consultation Report on facilitated exhibition in Hyde Park and written submissions Prepared for The City of Sydney Council September 2006 Contents Introduction i Written feedback from exhibition participants 1 Anecdotal comments received by exhibition personnel from visitors who 7 did not complete a written response The written submissions from organizations 11 Submissions about the John Baptist Fountain 35 Summary of individual letters 57 CONFIDENTIAL INFORMATION © 2005 Warwick Coombes + Penelope Coombes Pty Ltd Trading as The People for Places and Spaces Introduction to the Round Two consultation report Background to the Round Two Hyde Park consultation The People for Places and Spaces (PPS) to plan and implement a comprehensive public and stakeholder consultation program to inform the preparation of a new Plan of Management and Masterplan for Hyde Park. The draft Plan of Management and Masterplan was developed by Clouston Associates for the City. Round One of the consultation commenced in January 2006 and was completed in June 2006. The Round One outcomes were reported in separate volumes.1 Exhibition of the draft Plan of Management and Masterplan The draft Plan of Management and Masterplan were put on public exhibition during the period between 11 August to 7 September, 2006. The exhibition included the following elements: Static displays Static displays of the draft Plan of Management and Masterplan were mounted at the City of Sydney’s one-stop shops. People who attended the static displays were advised they could make written comment to Council about any aspect of the draft Plan of Management and Masterplan. -
REDFERN PARK Tree Management Plan
REDFERN PARK Tree Management Plan Final - Adopted 23 October 2006 REDFERN PARK DRAFT TREE MANAGEMENT PLAN EXECUTIVE SUMMARY The Redfern Park Tree Management Plan (TMP) was prepared as part of a suite of Tree Management Plans for the City of Sydney’s parks. The TMP forms part of the Redfern Park Plan of Management and informs the Masterplan. A major focus of the TMP is to implement a program of tree removal and replacements that will reinforce the strategies recommended in the 2006 Masterplan. The Tree Management Plan includes a survey of all of the existing trees within the Park (124 trees) and contains relevant heritage, environmental and arboricultural data relating to individual trees as well as distinct groups of trees such as the street tree planting around Redfern Oval. A Safe Useful Life Expectancy (SULE) analysis of the tree population was prepared. From this assessment the following removal and replacement strategies were recommended: • Staged removal and replacement of the boundary planting of Fig trees surrounding Redfern Park, over the next twenty years; • Twenty seven (27) trees to be removed within the Park over the next fi ve (5) years; • Eleven (11) of these trees to be removed from within the Park during the Redfern Oval upgrade; • Paperbarks in Elizabeth Street to be retained until a row of advanced Fig trees are planted within the boundary of Redfern Oval; • Removal of the street trees in Chalmers Street during the Redfern Oval upgrade; and • Removal of selected trees on Phillip Street during the Redfern Oval upgrade; The Tree Management Plan recommends a series of improved techniques to ensure best practice tree monitoring and arboricultural maintenance. -
History on a Bus
History on a Bus USING SOCIODRAMA TO ADDRESS RACISM AND RECONCILIATION HELEN KEARINS ABSTRACT In Sydney’s Redfern Park on the 10th of December 1992, the launch of the International Year of Indigenous People, the then Australian Prime Minister Paul Keating delivered a ground breaking speech that gave great hope to people working for reconciliation with Aboriginal Australians. One of those inspired to continue this work, Helen Kearins developed a workshop that assists participants to own racism and move beyond it towards genuine reconciliation with Aboriginal people. In this article, adapted from her 2011 AANZPA Accreditation thesis, she demonstrates the efficacy of sociodrama in this work. KEY WORDS Aboriginal Australians, racism, reconciliation, sociodrama, warm up, White Australians Setting the Scene On my way to or from work in Sydney, I often drive past Redfern Park. Many Australians associate the suburb of Redfern with a stereotype of Aboriginal poverty and dysfunction. Apart from the fact that the stereotype is grossly inaccurate, I have a very different association with Redfern Park. It was here on the 10th December 1992 that Prime Minister Paul Keating gave a speech, often referred to now as the Redfern Park Speech, to launch the 1993 International Year of the World’s Indigenous People. I was there. The speech was significant because it was the first time that an Australian prime minister had acknowledged that, “...the problem starts with us non-Aboriginal Australians”. He went on to say, “It begins I think with an act of recognition” and to name the elements in need of recognition. He emphasised the opportunity provided by this international year to address the injustices suffered by indigenous Australians and to continue working towards reconciliation. -
Art Gallery of New South Wales 2017: Our Year in Review
Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 201 7 2017 ART GALLERY OF NEW SOUTH WALES 2017 2 Art Gallery of New South Wales 2017 Art Gallery of New South Wales 2017 3 Our year in review 4 Art Gallery of New South Wales 2017 6 OUR VISION 7 FROM THE PRESIDENT David Gonski 8 FROM THE DIRECTOR Michael Brand 10 2017 AT A GLANCE 12 SYDNEY MODERN PROJECT 16 ART 42 IDEAS 50 AUDIENCE 62 PARTNERS 78 PEOPLE 86 BOARD OF TRUSTEES 88 EXECUTIVE 89 CONTACTS 90 2018 PREVIEW The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales stands. We respectfully acknowledge their Elders past, present and future. Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. page 4: A view from the Grand Courts to the entrance court showing Bertram Mackennal’s Diana wounded 1907–08 and Emily Floyd’s Kesh alphabet 2017. 6 Art Gallery of New South Wales 2017 DAVID GONSKI AC PRESIDENT ART GALLERY OF NEW SOUTH WALES TRUST and the Hon Adam Marshall MP, Glenfiddich, Herbert Smith Freehills, Minister for Tourism and Major Events. JCDecaux, J.P. Morgan, Macquarie Group, Macquarie University, The funding collaboration between McWilliam’s Wines & Champagne government and philanthropists for Taittinger, Paspaley Pearls, Sofitel our expansion will be the largest in FROM Sydney Wentworth, the Sydney the history of Australian arts. -
Artists Statement for Me the Nature of Colour Is the Colour of Nature
David Aspden Born Bolton, England, arrived Australia 1950 1935 - 2005 COLLECTIONS Aspden is represented in National Gallery of Australia, Art Gallery of New South Wales, Art Gallery of Western Australia, Museums and Galleries of the Northern Territory, National Gallery of Victoria, Art Gallery of South Australia, and other state galleries. His work is found in regional galleries including Bathurst, Newcastle, Wollongong, Gold Coast, Orange, Armidale, Ballarat, Benalla, Muswellbrook, Manly, Stanthorpe and Geelong. Aspden’s paintings are hung in New Parliament House, Canberra and the NSW State Parliament. His work is in the collections of Artbank, Heide, Tarrawarra Museum of Art, Macquarie University, National Bank of Australia, Macquarie Bank, St George Bank, The Australian Club, Festival Hall Adelaide, Allens Arthur Robinson, Clayton Utz, Melbourne Casino, Fairfax, News Limited, University of Western Australia, Monash University, Beljourno Group, Shell Company of Australia Limited, and numerous corporate and private collections. Individual Exhibitions 1965 Watters Gallery, Sydney 1966 Watters Gallery, Sydney - March and November 1967 Watters Gallery, Sydney Strines Gallery, Melbourne 1968 Farmers' Blaxland Gallery, Sydney Gallery A, Melbourne 1970 Rudy Komon Art Gallery, Sydney 1971 Rudy Komon Art Gallery, Sydney 1973 Rudy Komon Art Gallery, Sydney 1974 Rudy Komon Art Gallery, Sydney 1975 Solander Gallery, Canberra 1976 Monash University, Victoria Rudy Komon Art Gallery, Sydney 1977 Rudy Komon Art Gallery, Sydney 1981 Rudy Komon Art Gallery, -
Education Resource
Education Resource This education resource has been developed by the Art Gallery of New South Wales and is also available online An Art Gallery of New South Wales exhibition toured by Museums & Galleries NSW DRAWING ACTIVITIES Draw with black pencil on white paper then with white pencil on black paper. How does the effect differ? Shade a piece of white paper using a thick piece of charcoal then use an eraser to draw into the tone to reveal white lines and shapes. Experiment with unconventional materials such as shoe polish and mud on flattened cardboard boxes. Use water on a paved surface to create ephemeral drawings. Document your drawings before they disappear. How do the documented forms differ from the originals? How did drawing with an eraser, shoe polish, mud and water compare to drawing with a pencil? What do you need to consider differently as an artist? How did handling these materials make you feel? Did you prefer one material to another? Create a line drawing with a pencil, a tonal drawing with charcoal and a loose ink drawing with a brush – all depicting the same subject. Compare your finished drawings. What were some of the positive and negatives of each approach? Is there one you prefer, and why? Draw without taking your drawing utensil off the page. What was challenging about this exercise? Draw something from observation without looking down at your drawing. Are you pleased with the result? What did you learn? Create a series of abstract pencil drawings using colours that reflect the way you feel. -
Two Ducks Family Ride
WLING ST BOURKE ST LANG RD DO COOK RD DARLINGTON REDFERN ST CLEVELAND ST H CHELSEA ST MOREHEAD ST SOUT REDFERN ST DRIVER 10 ER R OL AV FL 11 GEORGE ST ST Redfern MADDISON ST YN BVD T ZAMIA ST Philip St Park Centennial EVELEIGH Tip: Use a low gear to MARRIO get up the hill on the ELIZABETH ST Park PHILLI way to CentennialRAGLAN Park! ST ST P ST NG RD 8 LA WYNDHAM BO 5 Footbridge HENDERSON RD TA DANK ST NY 6 Moore Park BEAUMONT Dismount and RD WELLING TO N ST BOURKE ST cross at Golf Course Use footpath next to S factory T pedestrian Busbys GEORGE ST crossing TSON RD Pond POTTER ST ROBER BUCKLAND ST Alexandria TIN RD YOUNG ST 7 Park MAR 9 Lily 4 JOHN ST 3 Pond RD Waterloo L FINISH L POWER ST ST DACEY AV ERSKINEVILLE MCEVOY Park WATERLOO ITCHE Busy intersection: M LN cross with care POWELL ST NT ST 12 O T ASHMORE ST WLING ST ALLEN ST A BELM N RENCE LN DO ALEXANDRIA ZAC PD BELMONW H LA WRENCE ST H AR LA ELIZABETH ST T LE SOUT Y Kensington ST BOWDEN ST Ponds BOURKE RD DARLEY RD RD ALISON RD L Raleigh L ON RD ST EU Park ITCHE M HUN MA SYDNEY DDOX ST JOHN ST PARK RD T Randwick LE O’RIORDAN ST Y ST Perry Racecource 1 Park WILLIAMWI ST Kids and footpaths: in NSW, LEGEND HUNTLE Sydney Park ST KENSINGTON children under the age of 12 Bike route Y QUEEN ST ST ORIA are legally allowed to ride on all ZETLAND Separated VICT footpaths. -
Chris Bond Studio Address
CHRIS BOND 1975 Born Melbourne, Australia EDUCATION 2014-18 Doctor of Philosophy (Visual Art), Victorian College of the Arts, University of Melbourne, VIC, Australia 1997 Bachelor of Arts in Fine Art (Painting) Honours, RMIT, Melbourne, VIC, Australia 1994 - 96 Bachelor of Arts in Fine Art (Painting), RMIT, Melbourne, VIC, Australia SOLO AND TWO PERSON EXHIBITIONS 2019 Glimmer, Darren Knight Gallery, Sydney, Australia 2018 Kraken, Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne, Australia 2017 Call, Art Basel Hong Kong 2017, THIS IS NO FANTASY + dianne tanzer gallery 2016 Material, THIS IS NO FANTASY + dianne tanzer gallery, Melbourne, Australia A Stranger in the Mirror, Darren Knight Gallery, Sydney, Australia Tormentor, La Trobe University Museum of Art, Melbourne, Australia 2015 Kraken, an encounter, Victorian College of the Arts Student Gallery, Melbourne, Australia Kraken: sixty six emails, a face and a gesture, Bus Projects, Melbourne, Australia 2014 The Language of Fracture, Darren Knight Gallery, Sydney, Australia 2012 The Skeleton Field, Nellie Castan Gallery, Melbourne, Australia The Last Days of Painting, Ryan Renshaw Gallery, Brisbane, Australia 2011 In the Shadow of Leaves, Nellie Castan Gallery, Melbourne, Australia 2010 Collected Works, Melbourne Artfair 2010, Nellie Castan Gallery, Royal Exhibition Buildings, Melbourne, Australia 2009 Watchers, Nellie Castan Gallery, Melbourne, Australia 2008 White, Nellie Castan Gallery, Melbourne, Australia 2005 Shelved, Nellie Castan Gallery, Melbourne, Australia -
Carmel Wallace CV (One Page) August 2019.Pages
th carmel wallace 2012 37 Alice Prize Araluen Arts Centre, Alice Springs NT This is a Maquette Show MARS Gallery Melbourne VIC http://carmelwallace.com https://www.instagram.com/carmelwallace/ ACADEMIC QUALIFICATIONS SymbioticA Adaptation exhibition,INQB8 Gallery, Mandurah WA 1975/6 Bachelor of Arts, Diploma of Education, La Trobe University 4th Forestry SA Wood Sculpture Exh., Riddoch Art Gallery SA 1994 Bachelor of Arts (Fine Art) Honours, Deakin University Sculpture 2012 Brenda May Gallery, Sydney NSW 1999 Doctor of Philosophy, Deakin University Coral: art science life Macleay Museum University of Sydney NSW AWARDS 2011 Waterhouse Natural History Art Prize Adelaide & Canberra ACT 2017/8 Bayside Artist in Residence at Billilla Mansion, Brighton VIC Nature Interrupted:Contemporary Sculpture RedlandGallery QLD 2016 Toolangi Sculpture Trail 20th Anniversary Artist Residency VIC Lorne Sculpture 2011 Lorne VIC 2016 Artist in Residence, Sofitel Melbourne On Collins, Melbourne VIC Wangaratta Contemporary Textile Award Wangaratta Art Gallery 2012 Scope Galleries Art Award – Art Concerning Environment VIC Illuminated by Fire Portland Harbour & Fed.Sq. Melbourne VIC 2011 Highly Commended, Waterhouse Natural History Art Prize Summer Salon Jenny Port Gallery Richmond VIC 2010 Honorable mention, Yering Station Sculpture Exhibition VIC 2010 ABL exhibition of selected Yering finalists Melbourne VIC 2010 SymbioticA Adaptation residency, University of Western Australia Fremantle Arts Centre Print Award WA 2008 Vermont Studio Centre Residency Fellowship,