DOCSLIB.ORG

Arthur Boyd : Art & Life Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arthur Boyd : Art & Life Pdf, Epub, Ebook ARTHUR BOYD : ART & LIFE PDF, EPUB, EBOOK Janet McKenzie | 224 pages | 05 Oct 2000 | Thames & Hudson Ltd | 9780500092965 | English | London, United Kingdom Arthur Boyd : Art & Life PDF Book Now t hese exquisitely painted highly valued, rare gems are keenly sought after in world Art market. The artists keep clean nitrile gloves on during this process to ensure that the oils of your skin. They were quite well off, with money inherited from parents and grandparents. Readers also enjoyed. Website Privacy Statement. If painting directly onto the copper plate, artist covers all areas with paint as exposed copper will eventually change color. Subsequent generations of the Boyd family continue to be active in the arts today. Arthur Merric was a traditional landscape painter affiliated with the Heidelberg school. Return TOP. Rose Madder colour Rose Madder is one of the most expensive pigments as t he plant cultivation was decreased from Details if other :. This book is not yet featured on Listopia. The artist must choose flat, medium-density fiberboard and cut it to just under the size of the copper plate. Thus while the subject matter of BOYD's Bather series followed a long established western art historical tradition, BOYD's rendering of this theme was imbued with both personal and contemporary environmental concerns, as Hoff noted in the following extract:. Average rating 4. Brides and Lovers, Heide Museum of Modern. Arthur Boyd St Francis and the revels in Assisi Refresh and try again. A series of landscapes of north-west Victoria, a nine metre ceramic sculpture he built in Melbourne for the Olympic Games swimming pool in and he celebrated his 'Half-Caste Bride' series painted after an earlier visit to Central Australia. He held his first one-man show in Melbourne in and shortly afterwards joined the army where he was to spend three years, mostly in the Field Survey Corps. In the first throes of love, he and Yvonne took some army blankets and spent a night in the bush, under the stars. The Frightened Bridegroom , Oil and tempera on board, Clarissa Sebag-Montefiore. Darleen Bungey. Start your review of Arthur Boyd: A Life. Wimmera Landscape, Oil and tempera on board, Priming is traditional when painting on copper plate. Even without the ever-present threat of death and injury to loved ones serving overseas, domestic life was a hard grind of shortages, rationing, a tight and constrained social order and an all-pervasive sense of unease and dislocation. Rose Madder is very distinctive rose coloured natural organic pigment is made from the roots of the madder plant, Rubia tinctorum. Clay Rockface at Bundanon, canvas sold by Christies. Arthur Boyd Lysistrata II Image Size. Cars and speedboats, raucous cries of a hedonistic mob break the calm of nature. He decided to devote all his time to painting and ceramic sculpture in and at the invitation of Lloyd Rees became involved in the CAS in Melbourne. Another method of increasing the yield consisted of dissolving the roots in sulfuric acid after they had been used for dyeing. Sarah rated it it was amazing Feb 05, Alistair Fincher marked it as to-read Jul 16, This appears to be due to the chemical affinity of calcium phosphate for the colouring matter. Cloth dyed with madder root pigment was even found in the tomb of Tutankhamun on Egyptian mummies. While the paintings reference everything from the Old Testament to self-immolations in protest of the war, they were also inspired by his father. To ensure a good bond between the surfaces the artist tape the board to the copper. Arthur Boyd : Art & Life Writer The stunning effect of the huge painting rests on the contrast between hot tints, large forms of a crowd and the beauty of the natural world. His sister was painter Helen Read. However, seeing them now half a century later, how do these paintings appear as works of art? This book is not yet featured on Listopia. Urban hardships were the realities of the day, and the war brought home surreal experiences. In addition to painting, BOYD worked prolifically in ceramics, designed sets for the theatre, and provided illustrations for the poems of Australian poet Peter Porter. Shady Riverbank Shoalhaven. Series of paintings have always been recognized as outstanding contributions to the Australian art of their time. Title : Bride and the Serpent. It is an Australian subject — I suppose — because they are, as far as I know, the only native, aboriginal race that has this tremendous softness and passivity. The Sydney Morning Herald. In , reflecting on this, he painted The Expulsion, in which Adam and Eve are driven from the Garden of Eden in this case the Australian wilderness. Image size : Open Preview See a Problem? Arthur Boyd fine art limited edition works of art, etchings and prints at Etching House affordable art fair Melbourne May Bride Dreaming , Oil on board, 90xcm, Christies. Sue Dale rated it it was amazing Jun 27, If artist wish for a smoother surface, after the primer is dry, can carefully wet sand the surface with oil and fine-grit sandpaper. Arthur Boyd regularly enjoyed visiting Galeria Aniela gallery, he admired Aniela's pioneer ing drive and her courage to built a gallery o utside the metropolitan area. Boat on the Shoalhaven , canvas sold by Deutscher-Hackett. Arthur BOYD was a f igurative expressionist painter, ceramicist , potter and printmaker from a family of artists. Books by Darleen Bungey. Patrick Duffy marked it as to-read Jul 20, Return TOP. During the s he lived mostly with his family in London, exhibited widely and established an international reputation including a Romeo and Juliet ceramic Triptych in to honour Shakespears's year anniversary. The artist may paint on the freshly dried, garlic-juice-rubbed copper surface right away with pure oil paint or apply primer to create a silky smooth white surface for paint application. Arthur Boyd St Francis and the harlot To further ensure a good bond, the artist cleans off the sanded backside of the copper with denatured alcohol. Default Title. It was the series which firmly established Boyd's reputation as an artist nationally and internationally. If painting directly onto the copper plate, artist covers all areas with paint as exposed copper will eventually change color. Wed 27 Feb For Pearce, who knew Boyd personally for years, it is an ode to friendship. To ask other readers questions about Arthur Boyd , please sign up. The Little Train, , Oil and tempera on composition board, Description Arthur Boyd's legacy is a collection of masterpieces that define the history of Australian art in the last century. Together with his wife, Doris, they raised noted Australian artists including painters Arthur and David, and sculptor Guy. BOYD aimed to convey an inner emotional vision through his work, rather than describing the external world. John Gerard , in , wrote of it as having been cultivated in many gardens in his day, and describes its many supposed virtues of pharmacological or therapeutic action which madder may possess. Lists with This Book. Arthur Boyd : Art & Life Reviews Based on over six years of meticulous research and hundreds of interviews, Darleen Bungey sweeps us into the intimate circle of one of Australia's most fascinating families. John rated it really liked it Feb 18, Lists with This Book. To see what your friends thought of this book, please sign up. Smooth slippery surface. His sister was painter Helen Read. While the paintings reference everything from the Old Testament to self-immolations in protest of the war, they were also inspired by his father. Madder was employed medicinally in ancient civilizations and in the middle ages. Once the surface is clean, the artist may remove the particle dust mask and take the plate into the studio. Showing To ensure that the backing does not slip to one side or the other while drying. Paintings such as The expulsion , draw on biblical narratives of punishment and depict nature as an overwhelming force controlling the individual. The artist is recorded as saying: "I think Australians have been apt to believe that because this was such a vast land, they couldn't make a mark on it. In Boyd was conscripted into the Australian army, where he served in the Cartographic Unit. Viviana marked it as to-read Sep 10, Contact us. Love becomes guilt because it is frustrated. The Art of Giving Quality Service. Boyd 'Bride' series of paintings is the most romantic and most valuable series of paintings. Albert Tucker imagined the dark streets inhabited by a debased humanity, Sidney Nolan alternated between the desolate landscape of his forced exile in Dimboola and the frenetic hedonism of St Kilda, while their young friend Arthur Boyd produced harsh images of the crippled, the poor and insane; individuals who personified in their bleak lives the greater madness of a world at war. His father, Merric Boyd, was a potter and sculptor and his mother, Doris Boyd, was a painter and potter. Brilliantly executed, Bride carry expression of human conscience, magical ambiance, and the voice of understanding. Arthur Boyd St Francis cleansing the leper Based on over six years of meticulous research and hundreds of interviews, Darleen Bungey sweeps us into the intimate circle of one of Australia's most fascinating families. Jul 30, Julie Holmes rated it really liked it Shelves: art , the-lives-of-others. This makes the sunset colours seem heightened, more sensual, but that would be for any viewer who had not been to the Shoalhaven and experienced the intensity of light over the river at sunset. There are art books and there are biographies.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Iconography of Arthur Boyd Lecturer: Kendrah Morgan 29/30 August 2018
    Art Appreciation Lecture Series 2018 The Hidden Language of Art: Symbol and Allusion. Lecture title: The Iconography of Arthur Boyd Lecturer: Kendrah Morgan 29/30 August 2018 Lecture summary: Acclaimed artist Arthur Boyd (1920–1999) was a master in a range of media but most widely recognised for the extraordinary allegorical paintings that he produced in series across the course of his long career. This lecture focuses on how Boyd developed his distinctive and deeply personal symbolic language, exploring the evolution and meaning of specific motifs and how he applied and extended these in key sequences of paintings to create images of universal and lasting relevance. While Boyd’s work is stylistically diverse, his iconography is remarkably consistent, allowing us to identify what inspired and drove him, and made him one of the most important Australian artists of the twentieth century. Slide list: Joshua Reynolds, 1. (Title image) Arthur Boyd, Wedding Group 1957-8, oil and tempera on composition board, 130 x 160 cm, private collection, Melbourne. 2. (Clockwise from left) Arthur Boyd, Self Portrait in Red Shirt 1937, oil on canvas on cardboard, 51.5 x 45.4 cm, National Gallery of Australia, Canberra, The Arthur Boyd Gift 1975; Merric Boyd with Arthur and Lucy at Open Country, Murrumbeena (detail) c.1922, photographer unknown, Bundanon Trust Archive, NSW; Doris Boyd with her children 1929, photographer unknown, Bundanon Trust Archive, NSW. 3. (Left) Arthur Boyd, Untitled Landscape c.1934, 75.5 x 65.5 cm, Heide Museum of Modern Art, Melbourne, gift of Dr John Green 2017; (Right)Albert Tucker, Arthur Boyd in his studio c.1945, gelatin silver photograph, 40.6 x 30.6 cm, Heide Museum of Modern Art, Melbourne, gift of Barbara Tucker 2001.
    [Show full text]
  • Goanna 8/8/06
    17 of Nolan’s provincialism: ‘This need for solution, the optimistic belief that man can understand and master the confusion of life, is surely at variance with our 20th century despair of finding a cohesive pattern.’ He asked why all the faces in Nolan’s paintings based on Shakespeare’s Sonnets were so ‘enigmatically, unpredictably Australian.’ Agreeing that his Shakespeare ‘looked like a swagman,’ Nolan wondered whether it wasn’t part of the ungovernable egoism of creativity that Shakespeare, indeed the world, would be seen in terms of one’s own experience? — ‘In saying something powerful about yourself poetically, you become reconciled to it.’32 To Spencer, Nolan’s ‘outsidedness is really the equation of his Australianness.’ To Nolan, on the other hand, ‘outsidedness’ was a condition of creativity.33 **** Arthur Boyd, the second creative fellow represented in this exhibition, spent the five months of his fellowship (21 September 1971 – 29 February 1972) in Canberra.1 His home base since 1959 had been London, where Australian artists and writers had been having the effect of an ‘antipodean’ new wave. Their art was raw and uncompromising, and it expressed Australian realities that were exotic to international audiences yet touched on universal human myths. When Boyd was approached by the Australian National University in early May 1970 he was fifty. Events during the past two or three years had put him in the position of considering the tenor of his art and life. In 1967 a first monograph, written by Franz Philipp, had pointed to the meaningful recurrence of motifs and stories in his work.
    [Show full text]
  • Ssh.Com.Au Phone Lyn 0400 008 338 Network (FDN) Held Its Annual GEOFF TURNBULL for 28 Days
    ‘OUR BELOVED GOVERNOr’ FIRST EVER SoULFEST ExclusivE intErviEw — page 8 rEviEw — pages 9-10 NUMBER ONE HUNDRED AND THIRTY-0NE NOVEMBER ’14 CIRCULATION 22,000 ALEXANDRIA BEACONSFIELD CHIPPENDALE DARLINGTON ERSKINEVILLE EVELEIGH GLEBE KINGS CROSS NEWTOWN PADDINGTON REDFERN SURRY HILLS WATERLOO WOOLLOOMOOLOO ZETLAND Jamie Parker and Verity Firth (centre) with winners of the Overview Glebe community photo competition, celebrating the diversity of the Glebe community Photo: Claire Mahjoub Housing in the heart of the city Movement at the station Lyn Turnbull people ... [The Glebe Project aims] number of people on the waiting SamueL CLark some concerned that it was yet another to avoid the sudden displacement list from the previous year, with case of a press release not materialising. JUST OVER a week before Gough ... sympathetically rehabilitate it." more than 59,000 households REDFERN: THE recent closures of Laura Kelly from the community Whitlam’s death, about 60 Glebe She continued: “In the 40 years across NSW now waiting for social platforms six and seven are the group Lift Redfern maintained that “we community members gathered since that decision we have seen housing assistance. The waiting first signs of the promised lift being will continue to lobby for full equality to celebrate the 40th anniversary exactly that happen to Glebe. As a time is four years on average installed at Redfern station. in access and the complete re-furbish of of his government saving large local resident I love the way our and up to 10 years for popular the Redfern station, however, we can swathes of Glebe from demolition community remains so diverse, with locations in the inner city.
    [Show full text]
  • Affairs of the Art Inside Heide, the Creative Crucible That Transformed Australia’S Cultural Landscape
    Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip APRIL 9-10 2016 Affairs of the art Inside Heide, the creative crucible that transformed Australia’s cultural landscape DESTINATION EUROPE WINE DINING GLORIA STEINEM TOP CHATEAUS, BEST MAX ALLEN ON THE FEMINISM, POLITICS AND VILLAGES, SUPER DEALS NEW BREED OF BAR A LIFE ON THE ROAD TRAVEL & INDULGENCE LIFE REVIEW V1 - AUSE01Z01AR Copyright Agency Limited (CAL) licenced copy Page 1 of 6 AUS: 1300 1 SLICE NZ: 0800 1 SLICE [email protected] Ref: 573001374 Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip THE ROARING 40S support and collect. After the Angry Penguins Art historian Richard Haese, whose 1981 study of Heide was seminal in establishing their put down their fertile intellectual and personal relationships in the public imagination — his book’s title, Rebels and roots in staid, stolid Precursors, was taken from a 1962 Heide group exhibition of the same name at the National Melbourne, the art world Gallery of Victoria — says their influence has been profound. “They’re immensely import- in Australia would never ant,” he says. “The Angry Penguin artists have retained a central position in Australian art and be quite the same again, our perception of Australian art is based on these artists. it FionaFi G rub er Haese points out how their work forms part writes of a broader grouping: “Alongside the artists you have the supporters and champions, writ- ow you experience Heide depends ers, poets and jazz musicians.” There have been on where you park.
    [Show full text]
  • Scientists' Houses in Canberra 1950–1970
    EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 MILTON CAMERON Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Cameron, Milton. Title: Experiments in modern living : scientists’ houses in Canberra, 1950 - 1970 / Milton Cameron. ISBN: 9781921862694 (pbk.) 9781921862700 (ebook) Notes: Includes bibliographical references and index. Subjects: Scientists--Homes and haunts--Australian Capital Territority--Canberra. Architecture, Modern Architecture--Australian Capital Territority--Canberra. Canberra (A.C.T.)--Buildings, structures, etc Dewey Number: 720.99471 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Sarah Evans. Front cover photograph of Fenner House by Ben Wrigley, 2012. Printed by Griffin Press This edition © 2012 ANU E Press; revised August 2012 Contents Acknowledgments . vii Illustrations . xi Abbreviations . xv Introduction: Domestic Voyeurism . 1 1. Age of the Masters: Establishing a scientific and intellectual community in Canberra, 1946–1968 . 7 2 . Paradigm Shift: Boyd and the Fenner House . 43 3 . Promoting the New Paradigm: Seidler and the Zwar House . 77 4 . Form Follows Formula: Grounds, Boyd and the Philip House . 101 5 . Where Science Meets Art: Bischoff and the Gascoigne House . 131 6 . The Origins of Form: Grounds, Bischoff and the Frankel House . 161 Afterword: Before and After Science .
    [Show full text]
  • Diggens Sculpture
    The Elements within Sculpture - 4 June to 15 July 2011 L A U R A I N E · D I G G I N S · F I N E · A R T The Elements within Sculpture Such Diversity e have travelled a long way! The distance between the sculpture of Sir Bertram Mackennal (1863-1931) and the extraordinarily diverse works W produced by contemporary Australian sculptors is virtually immeasurable. Some fascinating links, nevertheless, remain. Bertram Mackennal was the first Australian artist to achieve great success overseas.* For most of his career he was resident in London where he was accepted by the establishment and enjoyed royal patronage. Furthermore, he was the first Australian elected to the Royal Academy, the first to have a work purchased by the Tate Gallery and the first Australian artist to be knighted. Influenced by Rodin, he became part of the New Sculpture movement in the UK where he practiced an idealised DEL KATHRYN BARTON 1972 - I am loving you like this (version 2), 2008 naturalism, which gave a new life to the classical tradition. bronze edition 3/3 Essentially a modeller in clay, many of his works were subsequently cast in bronze, 100 x 34 x 36 cm while others were carved in marble. Relying heavily on commissions and patronage, he produced a great number of portrait busts, memorials such as the regal Queen Victoria Memorial, 1897-1901, at Ballarat and a wonderful series of very sensuous female nudes: the National Gallery of Victoria has his arresting Circe of 1893 in their collection. The sexuality was made palatable to the attitudes of his period by the use of classical references, as with Vesta, 1900, in this exhibition.
    [Show full text]
  • 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.
    [Show full text]
  • Exhibitions and Public Programs August–December 2019 Exhibition Dates
    Exhibitions and public programs August–December 2019 Exhibition dates 1–18 August 12–29 September 24th Annual B’nai B’rith Victoria Robyn Cottew Jewish Youth Art Competition Icons of Japan 1–18 August 3–27 October Art Collection showcase: Glen Eira City Council Small sculptures, jewellery Youth Services and ceramics 2019 Youth Art Exhibition Gallery Annexe 3–27 October 22 August–8 September Glen Eira Libraries Twenty Melbourne Painters My Brother Jack Awards Society Gallery Annexe 22 August–8 September 2 November–15 December Glen Eira Artists’ Society Stories in clay: Portraits Arthur Merric Boyd Pottery Gallery Annexe 12–29 September Phil Kreveld A landscape of memories Front cover image: Inside front cover image: Arthur Merric Boyd Pottery, Murrumbeena, Arthur Merric Boyd Pottery, Murrumbeena, Melbourne (manufacturer) (manufacturer) Arthur Boyd (potter and decorator) Neil Douglas (potter and decorator) Tea service 1948 (detail) Decanter c.1950 Earthenware Earthenware National Gallery of Victoria, Melbourne (a-b) 42.0 x 12.0 x 10.0 cm (overall) Purchased from Admission Funds, 1983 National Gallery of Victoria, Melbourne (D26.a-h-1983) Kenneth Hood Bequest Fund, 2012 (2012.27 a-b) ©Arthur Boyd’s work reproduced with the permission of Bundanon Trust 1–18 August 24th Annual B’nai B’rith Victoria Jewish Youth Art Competition The Jewish Youth Art Competition and Exhibition aims to develop and enhance the artistic abilities of youth aged 11 to 18. This important annual exhibition showcases the innovative artworks created by talented Jewish youth, including drawings, paintings, multimedia, sculpture, digital media and photography. Dion Fibishenko I left my kippah at home 2017 Oil on wood Winner of the first prize for drawing and painting.
    [Show full text]
  • Art and Artists in Perth 1950-2000
    ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997.
    [Show full text]
  • Stories, Reviews, Poems, Articles
    a quarterly review price one dollar registered at gpo perth for transmission by post as a periodical - Category '8' STORIES, POEMS, REVIEWS, ARTICLES westerly a quarterly review• EDITORS: Bruce Bennett and Peter Cowan EDITORIAL COMMI'ITEE: Bruce Bennett, Peter Cowan, Patrick Hutchings, Leonard Jolley, Margot Luke Westerly is published quarterly by the English Department, University of Western Australia, with assistance from the Literature Board of the Australia Council. The opinions expressed in Westerly are those of individual contributors and not of any member of the above Committee. Correspondence should be addressed to the Editorial Committee, Westerly, Department of English, University of Western Australia, Nedlands, Western Australia 6009 (telephone 80 3838). Unsolicited manuscripts not accompanied by a stamped self-addressed envelope will not be returned. All manuscripts must show the name and address of the sender and should he typed (double-spaced) on one side of the paper only. Whilst every care is taken of manu­ scripts, the Editorial Committee can take no final responsibility for their return; contributors are consequently urged to retain copies of all work submitted. Minimum rates for contributions -poems $7.00; prose pieces $7.00; reviews, articles $15.00; short stories $30.00. It is stressed that these are minimum rates, based on the fact that very brief contributions in any field are acceptable. In practice the Committee aims to pay more, and will discuss payment where required. Subscriptions: $4.00 per annum, plus postage (Australasia 80c per annum, Overseas $1.60 per annum); $7.00 for 2 years (postage Australasia $1.60, Overseas $3.20).
    [Show full text]
  • Ray Marginson, Interviewed by Robyn Sloggett
    Sculpture in the grounds, with some memories of things that got away Ray Marginson, interviewed by Robyn Sloggett This is the fourth and fi nal instalment back-plates in the lifts. These were in a series of interviews with Ray removed in the last renovations to Marginson by Robyn Sloggett.1 that building. There is a great story about the Robyn Sloggett: The university’s Ernest Fries Progress of medicine sculptures certainly range from the enamel in the foyer of the medical intimate to the monumental. I know tri-radiate building.2 Its backing is there are a number of sculptures that made of marble panels—some of may surprise people by their decorative the original tops of the tables in or historical signifi cance. Perhaps you the old anatomy dissecting room in could talk about some of these small but Swanston Street. When I announced very interesting objects. to the Buildings Committee the intention to use them for this Robyn Sloggett: Your reference Ray Marginson: One such owes purpose, Professor Wright was to what would probably be seen by much to the fl air for decoration greatly opposed on the grounds Property and Campus Services as of the then staff architect Rae of the possible health danger. He a form of vandalism of university Featherstone. He engaged Clifford vowed that he would culture bacteria property raises another interesting issue Last to do the large cast aluminium from scrapings from their surface. from a conservation point of view: that handles for the doors of the Raymond It was a legitimate point, as the of damage to works in the grounds.
    [Show full text]