IMPORTANT AUSTRALIAN and ABORIGINAL ART Tuesday 6 June 2017
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Past-Exhibitions-2011.Pdf
Past Exhibitions: 2011 ground floor... BATIK OF JAVA: POETICS AND POLITICS THE PROMISED LAND: ZOOKINI A CALOUNDRA REGIONAL ART GALLERY THE ART OF LAWRENCE DAWS 2011 XSTRATA CHILDRENS EXHIBITION TOURING EXHIBITION A CALOUNDRA REGIONAL GALLERY FEATURING JENNY ORCHARD 3 December 2010 until 6 February 2011 TOURING EXHIBITION 15 April until 10 July 11 February until 10 April Batik, a cloth that traditionally uses a manual Zookini is the 2011 Xstrata Children’s Exhibition, wax-resist dyeing technique, has special meanings The Promised Land: The Art of Lawrence Daws is and centres on the wild ceramic creatures and rooted to the Javanese conceptualisation of the a major touring exhibition that celebrates the life illustrations of celebrated artist Jenny Orchard. universe. The three major Hindu Gods, Brahmā, and career of long-time Glasshouse Mountains Visnu, and Śiva, are represented by the colours resident and iconic Australian painter, Lawrence The exhibition also includes prominent local artists, indigo, brown and white, dictated by the fact Daws. In recognition of his unique place in known for their creativity; Christine Spain and Mel natural dyes are most commonly available in Australia’s art history, The Promised Land features Williams, Hugh Martin, Jenny Finn and Robert indigo and brown. Patterns in the batik also reflect over 50 paintings and sketch books from National, Crispe. a person’s nobility. State, regional, public and private collections, including work from each of the six decades that this respected artist has been painting. -
The Year Book
Salem State University Digital Commons at Salem State University All Yearbooks Yearbooks 1932 The Year Book Salem Teachers College Follow this and additional works at: https://digitalcommons.salemstate.edu/all_yearbooks Recommended Citation Salem Teachers College, "The Year Book" (1932). All Yearbooks. 23. https://digitalcommons.salemstate.edu/all_yearbooks/23 This Book is brought to you for free and open access by the Yearbooks at Digital Commons at Salem State University. It has been accepted for inclusion in All Yearbooks by an authorized administrator of Digital Commons at Salem State University. Digitized by the Internet Archive in 2014 https://archive.org/details/salemstatenormal1932sale Z\)t Class of 1032 bebtcatefi tijis book to Lena jf Jftt^ugf) "QTlje mtlbcgt manners, ant) t\)c gentlest fjeart." The Tear ^Book 1932 ©ur Jfacultp DR. J. ASBURY PITMAN, President "Finally, education alone can conduct us to that enjoyment which is, at once, best in quality and infinite in quantity." 6 1932 S. T. C. (iLRTKUDE B. GOLDSMITH, M A. CHARLES E. DONER WALTER G. WHITMAN, A.M. Nature Study Penmanship Science ''Gome forth inn; the Ji^ht things, of "Diffused knowledge immortalizes itself." 'And what is reason? Be she thus denned Let Nature be your teacher." Reason is upright stature in the soul." ALEXANDER H. SPROUL, M.S. AMY E. WARE, M.A. FLORENCE Ii. CRUTTENDEN, A.M. Director Commercial Education Geography History "He is wise who cm instruct us and assist "Go where he will, the wise man is at home, "The glory of a firm capacious mind." u s in the business of daily virtuous living." His hearth the earth, his hall the azure dome. -
Escape Artists Education
ESCAPEartists modernists in the tropics education kit INTRODUC TION & H TEAC ERS NOTES Almost two years in development, Escape Artists: Modernists in the Tropics is the first exhibition by Cairns Regional Gallery to tour nationally. In this exhibition, you and your students will see how the tropical north of Australia has influenced Australia’s greatest artists, some of whom you will be familiar with, others less familiar. The artists featured in the exhibition are: • Harold Abbott • Valerie Albiston • Douglas Annand • Yvonne Atkinson • John Bell • Yvonne Cohen • Ray Crooke • Lawrence Daws • Russell Drysdale • Ian Fairweather • John Firth-smith • Donald Friend • Bruce Goold • Elaine Haxton • Frank Hinder • Frank Hodginson • Sydney Nolan • Alan Oldfield • Margaret Olley • John Olsen • Tony Tuckson • Brett Whitely • Fred Williams • Noel Wood The lure of an exotic, untouched, tropical paradise has a tradition in modern art beginning with Gaugin in Tahiti. It was this desire to discover and explore new worlds which attracted these artists to the Far North - a part of Australia like no other they had seen. Here they found a region of extraordinary, abundant natural beauty and a cultural pot pourri of indigenous inhabitants and people from all over the world. This exciting mixture of important artworks was assembled from major private and public collections by Gavin Wilson,curator of the successful Artists of Hill End exhibition at The Art Gallery of News South Wales. Escape Artists provides a significant look at the cultural and historic heritage of North Queensland and the rest of northern Australia. You and your students will find some pleasant surprises among the works in the exhibition. -
Thesis Title
Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art. -
Danks News Final
Artworks where Resale Royalty is not applicable Artworks under $1,000 and so exempt from Resale Royalty Collectible Australian artists in this category include: consider works on paper including prints, smaller works, works by less mainstream or emerging artists, decorative arts Robert Clinch 1957 - Black and White 2008 suite of eight lithographs 19 x 20.5 cm each, edition of 40 These lithographs are available individually or in matching numbered sets. Troy Pieta Alice Ali Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm David and Goliath Empire Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm Richard III Alien Artworks where Resale Royalty is not applicable Deceased Artists who have been deceased for more than 70 years Collectible Australian artists in this category include: Clarice Beckett, Merric Boyd, Penleigh Boyd, Henry Burn, Abram Louis Buvelot, Nicholas Chevalier, Charles Conder, David Davies, John Glover, William Buelow Gould, Elioth Gruner, Haughton Forrest, Emmanuel Phillips Fox, A.H. Fullwood, Henry Gritten, Bernard Hall, J.J. Hilder, Tom Humphrey, Bertram Mackennal, John Mather, Frederick McCubbin, G.P. Nerli, W.C. Piguenit, John Skinner Prout, Hugh Ramsay, Charles Douglas Richardson, Tom Roberts, John Peter Russell, J.A. Turner, William Strutt, Eugene Von Guerard, Isaac Whitehead, Walter Withers Bernard Hall 1859 - 1935 Model with Globe oil on canvas 67x 49 cm William Buelow Gould 1803 - 1853 Still Life of Flowers c.1850 oil on canvas 41 x 50 cm -
Foundation Annual Report 2012–13
FOUNDATION ANNUAL REPORT 2012–13 FOUNDATION ANNUAL REPORT 2012–13 Polixeni Papapetrou born Australia 1960 Mark Elvis impersonator at Elvis Grotto Melbourne 1992 gelatin silver photograph image 100 x 100 cm gift of Patrick Corrigan, 2013 through the Australian Government’s Cultural Gifts Program © Polixeni Papapetrou Contents Office bearers 5 Objectives 5 Chairman’s report 7 Contributors 22 Membership 39 Financial statements 61 Colin McCahon New Zealand 1919–1987 Muriwai. Necessary protection 1972 synthetic polymer paint on composition board 60.8 x 81.2 cm bequest of Jane Flecknoe, 2013 100 Works for 100 Years © Colin McCahon Research and Publication Trust 4 natIonal gallerY of AUStralIA Office bearers Objectives Patron The National Gallery of Australia Her Excellency Ms Quentin Bryce AC Foundation, a company limited by The Governor-General of the Commonwealth of Australia guarantee under the Corporations Law, is a non-profit organisation established to Board members support the National Gallery of Australia. Mr John Hindmarsh AM (appointed 20.9.04; The principal objectives of the Foundation Chairman 27.10.10) are to: Ms Susan Armitage (appointed 11.5.11) Mr Philip Bacon AM (appointed 26.10.00) ■■ maintain, improve and develop Mr Julian Beaumont (appointed 28.10.09) the national collection of works of Ms Sandra Benjamin OAM (appointed 27.4.06) art owned by the National Gallery Mr Anthony R Berg AM (appointed 16.3.99; of Australia Chairman 16.3.99 to 26.4.06) ■■ promote, maintain, improve and Mrs Robyn Burke (appointed 29.8.06) develop the National Gallery of Australia Mr Terrence A Campbell AO (appointed 28.2.07) ■■ support the development and conduct Mr David Coe (appointed 13.10.00, resigned 21.1.13) by the National Gallery of Australia of The Hon Mrs Ashley Dawson-Damer (appointed 5.5.04) travelling exhibitions of works of art Dr Lee MacCormick-Edwards (appointed 26.10.11) ■■ raise money to achieve these Mr James Erskine (appointed 11.5.11) objectives. -
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). -
Museum of Modern Art Annual Report 2019 Heide Museum of Modern Art Heide Museum of Modern Art
HEIDE MUSEUM OF MODERN ART ANNUAL REPORT 2019 HEIDE MUSEUM OF MODERN ART HEIDE MUSEUM OF HEIDE MUSEUM OF MODERN ART ANNUAL REPORT 2019 REPORT ANNUAL ANNUAL REPORT 2019 Heide Museum of Modern Art acknowledges the Wurundjeri people of the Kulin Nation on whose land Heide is located. We pay respect to their Elders past, present and emerging, and recognise the rich traditions and continuing creative cultures of all Aboriginal and Torres Strait Islander peoples of Australia. — art — architecture — landscape Terminus: Jess Johnson and Simon Ward Location Heide Museum of Modern Art 7 Templestowe Road Bulleen Victoria 3105 Australia Contacts T 03 9850 1500 [email protected] heide.com.au Editor Lesley Harding Photography Throughout by Christian Capurro Page 16 by John Gollings Pages 20–21 by Earl Carter Pages 38–39 by Sean Fennessy Pages 44–45 courtesy of Gorman Pages 68–69 by Kevin Pearson Pages 72–73 visualisation by KALEIDO Design Garry Emery and Jane Mooney Printing Gunn & Taylor Australia Disclaimer All information in this report is correct at the time of printing. All images copyright the artist unless otherwise stated. Contents 5 Message from the Chairman 10 2019 at a glance 12 About Heide 17 Planning for the future 18 Our program 24 Exhibition lenders 28 Our collection 40 Extending the experience 48 Financials 50 Fundraising 54 Thank you 60 Communications 66 Our people 70 Our environment I feel like this museum belongs to us … nestled in Bulleen it connects us with artists and their lives in a very immediate way.” Maggie Iovannella, Heide visitor 4 Message from the Chairman In 2019 the Heide staff and board undertook a review of the museum’s operations and imagined what its future might look like. -
Manyfaces of Inspiration Conversations on Australian Creativity
William Barton Bruce Beresford Tony Bilson Wendy Blacklock Joan Carden Geoffrey Chard David Clarkson Michael Crouch Rosemary Crumlin Tania De Jong Ross Edwards Robert Gard Stephen Kovacevic Greta Lanchbery Justin Macdonnell David Malouf John McCallum Elisabeth Murdoch Ted Myers Roland Peelman Helena Rathbone Rodney Seaborn John Shaw ManyFaces of Inspiration Conversations on Australian Creativity Dinah Shearing Rachael Swain ANTONY Ken Tribe Googie Withers JEFFREY Martin & Peter Wesley-Smith Many Faces of Inspiration — Antony Jeffrey.indd 1 2/09/10 4:52 PM ntony Jeffrey has worked A in arts management since 1975 when he joined the Australia Council as Music Board director. He was the first general manager of the Australian Chamber Orchestra and for many years has maintained a close association with the orchestra. Prior to that he was commercial manager of the Australian Opera. More recently he was general manager of the Song Company until 2009. He originally trained as an accountant with Price Waterhouse, where he worked in Australia and overseas until his passion for music seduced him into the professional music scene. Since that time, in addition to his executive appointments, he has worked as director or consultant to many arts organisations including the Australian Ballet, Melbourne Theatre Company, Lyric Opera of Queensland, Musica Viva, Australian Brandenburg Orchestra and the Australian Elizabethan Theatre Trust. He has been a leader in establishing philanthropy, corporate sponsor- ship and strategic planning in the arts in Australia, publishing several books in this field, notably 101 Good Ideas for Assisting the Arts. He was appointed a Member of the Order of Australia in 2008 for his services to the arts. -
Lauraine Diggins Fine Art, 1983 Private Collection, Melbourne
5 Malakoff Street, North Caulfield, Vic, 3161 Telephone: (61 3) 9509 9855 Facsimile: (61 3) 9509 4549 Email: [email protected] Website: www.diggins.com.au ABN.19006 457 101 L A U R A I N E · D I G G I N S · F I N E · A R T PENLEIGH BOYD 1890 – 1923 (Point King, Portsea) 1922 watercolour on paper 63 x 85 cm signed lower left: Penleigh Boyd 22 Provenance: Mr James Russell, Ballarat Lauraine Diggins Fine Art, 1983 private collection, Melbourne Exhibited: Selected Australian Works Of Art, Lauraine Diggins Fine Art, Melbourne, October 1983, cat. no. 45 Drawn: Following the Line, Lauraine Diggins Fine Art, Melbourne, 3 May – 28 June 2014 Penleigh Boyd, a member of the artistic Boyd family, is highly regarded as a watercolour artist of great ability. This work shows Penleigh Boyd’s accomplished handling of the effects of light and his talent as a colourist, with the shift of delicate blues and purples giving the work a still, calm and contemplative feel. The viewer is anchored by the shoreline in the foreground and the eye floats out over the vista of the Bay, following the jetty on Point King beach, to the subtle horizon line and the glowing clouds. Boyd’s skill with watercolour is clear in this large-scale work, especially the technique of scoring the paper to create the white wave crests breaking along the shore. 5 Malakoff Street, North Caulfield, Vic, 3161 Telephone: (61 3) 9509 9855 Facsimile: (61 3) 9509 4549 Email: [email protected] Website: www.diggins.com.au ABN.19006 457 101 L A U R A I N E · D I G G I N S · F I N E · A R T Theodore Penleigh Boyd was the son of Arthur Merric Boyd (1862 – 1940, artist) and Emma Minnie Boyd (1858 – 1936, artist); brother to William Merric Boyd (1888 – 1959, potter); father to Robin Boyd (1919 – 1971, architect) and uncle to Arthur Merric Bloomfield Boyd (1920 – 1998, artist). -
Modernist Women's Poetry and the Limits Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository LINES OF FEELING: MODERNIST WOMEN’S POETRY AND THE LIMITS OF SENTIMENTALITY BY MELISSA GIRARD DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2009 Urbana, Illinois Doctoral Committee: Professor Cary Nelson, Chair Professor Jed Esty, University of Pennsylvania Professor Stephanie Foote Professor Siobhan Somerville LINES OF FEELING: MODERNIST WOMEN’S POETRY AND THE LIMITS OF SENTIMENTALITY Melissa Girard, Ph.D. Department of English University of Illinois at Urbana-Champaign, 2009 Cary Nelson, Adviser Modernist sentimental poetry is frequently cast as an unfortunate literary and cultural mistake. In an era defined by its novel feats of poetic ambition, modernist sentimental poetry seems inexplicably to regress to the familiar forms and feelings of the nineteenth century. Alongside the modernist proliferation of “new” poetic forms, modernist sentimental poetry has thus been seen as decidedly “old”: an atavistic remnant of an earlier time and place, out of sync with high modernism’s progressive aesthetic vision. This is a foundational rift, which continues to divide the field of poetic modernism. Poets like T.S. Eliot, Ezra Pound, and H.D. are routinely credited with formal theories of poetic innovation. In stark contrast, the so-called “sentimental” poets who comprise this study, figures such as Edna St. Vincent Millay, Sara Teasdale, Genevieve Taggard, and Louise Bogan, have been categorized as conventional lyric poets. -
Pictures on My Wall a Lifetime in Kansas FLORENCE L
Pictures On My Wall A Lifetime in Kansas FLORENCE L. SNOW From a Portrait by Helen Hodge Pictures On My Wall A Lifetime in Kansas By FLORENCE L. SNOW UNIVERSITY OF KANSAS PRESS LAWRENCE *945 COPYRIGHT, 1945, BY THE UNIVERSITY OF KANSAS PRESS All rights reserved. No part of this book may be repro• duced in any form, except by reviewers of the public press, without written permission from the publishers. TO THE MEMORY OF MY SISTER EMILY SNOW PREFACE Kansas has often been called the perfect flowering of the New England conscience. Sometimes this is meant to be a com• pliment and at others it is plainly an insult. Either way I doubt if it is a fact. What we did get from New England, particularly in the days of ''bleeding Kansas/' was the habit of talking, writing and philosophizing about conscience. This gave the impression that we had a very active and painful conscience, though it was frequently only an excuse for talking about ourselves, like an operation. Even after our convalescence from the Civil War we never stopped talking and. writing, despite the fact that when we wanted to point out the scar we could no longer find it. In this way Kansas became the most articulate state in the Union. Whether New England should receive credit (or blame) for the habit is beside the point; the conscience and the language are pure Kansas. However, this is only one explanation. Another is that only in Kansas and New England is the climate so warm, cold, windy, calm, unpredictable and preposterous that it is always a fresh topic of conversation.