DOCSLIB.ORG

Extract from Hansard [ASSEMBLY - Tuesday, 27 June 2006] P4372b-4374A Ms Katie Hodson-Thomas; Ms Sheila Mchale

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Extract from Hansard [ASSEMBLY - Tuesday, 27 June 2006] P4372b-4374A Ms Katie Hodson-Thomas; Ms Sheila Mchale Extract from Hansard [ASSEMBLY - Tuesday, 27 June 2006] p4372b-4374a Ms Katie Hodson-Thomas; Ms Sheila McHale ART GALLERY OF WESTERN AUSTRALIA - ABORIGINAL PAINTINGS 1209. Ms K. Hodson-Thomas to the Minister for Culture and the Arts I refer the Minister to the Special Exhibition of the Art Gallery of Western Australia, titled “Western Desert Satellites” and ask - (1) How many Aboriginal paintings has the Gallery purchased since the Labor Government came to office? (2) Who donated them? (3) During that period how many Aboriginal paintings have been loaned to the Gallery? (4) Who loaned them? (5) In each category how many were painted by Western Australian artists? (6) In each category how many paintings had certificates of authenticity provided by the artists community? (7) Is the Minister aware that Sotheby’s and the Art Galleries of Victoria and New South Wales will not handle Aboriginal paintings unless accompanied by a community certificate of authenticity? (8) Did the Gallery sight invoices, receipts or tax receipts for all paintings? (9) If not, how many were sighted? (10) Why were the two paintings by George Tjungarrayi and George Ward Tjungarraya taken out of the Exhibition? (11) Was the Gallery aware they were not Papunya Tula Artists Pty Ltd when they were first displayed and if so why did they display them? (12) Did they have community certificates of authenticity? (13) Did the Gallery sight any form of receipt? (14) What did the Gallery value the paintings at, particularly the two referred to above? (15) Is the Minister aware of the practice known as “Carpet Bagging” and of the investigation into art fraud by the Federal Arts Minister and the Federal Police? (16) What safeguards does the Gallery have in place to protect itself from this type of event? (17) Without drawing any inferences concerning any donor or lender to the Western Australia Art Gallery, what safeguards does the Western Australian Art Gallery have in place to protect the people of Western Australia from art fraud, and to protect Aboriginal artists from exploitation?” Ms S.M. McHALE replied: (1) 112 (2) Not applicable. However, 48 additional works were donated to the Art Gallery of Western Australia by the following people: Jo Lagerberg and Steve Swift Larry and Peg Foley Jeff Kerley Sue and Ian Bernadt Linda Givon Brenda Croft Merv and Anna Cox Larry Foley Ben Korman Brigitte Braun (3) 161 (4) Averil Williams Helen and Ben Korman Troy Bennell Sue and Ian Bernadt Jo Lagerberg and Steve Swift Giancarlo Mazella Graeme Herps B N Connigrave [1] Extract from Hansard [ASSEMBLY - Tuesday, 27 June 2006] p4372b-4374a Ms Katie Hodson-Thomas; Ms Sheila McHale David Larwill Larry and Peg Foley Western Australian Museum Berndt Museum of Anthropology, UWA Mr. and Mrs. Davies National Gallery of Australia National Library of Australia Indigenart - Mossenson Galleries The Holmes á Court Collection Art Gallery of New South Wales National Gallery of Victoria Art Gallery of South Australia Mary Macha Parnngurr Community Laurel Nannup (5) 73 purchased works are by Western Australian artists, 35 donated works are by Western Australian artists, and 161 loaned works were by Western Australian artists. (6) 8 purchased works. No loaned works had certificates of authenticity. (7) I am advised by the Art Gallery of Western Australia that Community certificates of authenticity are not required by the National Gallery of Victoria or the Art Gallery of New South Wales. The National Gallery of Victoria prefers to acquire works painted for and documented by community-based art centres or cooperatives, when such an organisation exists. The Art Gallery of New South Wales does not acquire or accept gifts from sources other than art centres, where one exists, and their authorised agents/galleries. So, it is not so much an issue of having a certificate of authenticity, rather the source must be reputable. Sotheby's did not respond to Gallery's request for a statement or policy on this issue. (8) No (9) None (10) The two paintings were not removed from the exhibition. (11) Yes. The authenticity of the works was confirmed with Papunya Tula Artists Pty. Ltd. prior to their display. (12)-(13)No (14) The Gallery did not value either painting. Commonwealth protocols for donated works of art require that a valuation determined by two independent valuers. Valuers are approved by the Commonwealth for a five year term. Lenders are asked to provide a valuation for insurance purposes for each work of art requested as a loan by the Gallery. (15) Yes (16) It is the practice of the Gallery that all works of art under consideration for display, purchase or gift are thoroughly researched to confirm their authenticity. Donated works of art require two independent valuations that confirm the value and authenticity of each work. (17) For the past sixty-five years the Gallery has remained a member in good standing of International Council of Museums (ICOM). The Gallery as a member of ICOM must abide by their code of conduct. The ICOM Code of Ethics for Museums sets the standards for the professional practice and performance of member museums and their staff. The ICOM Ethics Committee monitors the application of the code, which includes professional standards for provenance and due diligence for loans, acquisitions and display, for the identification of illegally or illicitly acquired objects, and guidelines for the respect and engagement with contemporary communities. The ICOM Code of Ethics is used by the Art Gallery of Western Australia in all acquisition, display and loan decisions and sets the professional standards required from the Board and staff. [2] .
Load more

Recommended publications
  • OCR Document
    YUKULTJI NAPANGATI Sprache: Pintupi Region: Kiwirrkura, Northern Territory Geboren: ca. 1970 © Papunya Tula Artists Yukultji Napangati kam 1984 nach Kiwirrkura. Davor lebte sie mit acht ihrer engsten Angehörigen in dem Gebiet westlich von Lake Mackay. Man nimmt an, dass Yukultji, als sie mit ihrer Familie nach Kiwirrkura kam, 14 Jahre alt war. Im Jahre 1999 beteiligte sich Yukultji an dem gemeinschaftlichen Gemälde der Frauen von Kiwirrkura, das im Rahmen des „Western Desert Dialysis Appeal“ (Dialyse Aufruf der Western Desert Region) entstand. Sie wurde 2005 ausgewählt, als eine von neun Künstlern und Künstlerinnen auf der angesehenen Primavera Show im Museum of Contemporary Art in Sydney auszustellen. Dies ist eine begehrte Ausstellung für junge australische Künstler unter 35 Jahren. Im September 2009 reiste Yukulti gemeinsam mit der Künstlerin Doreen Reid Nakamarra nach New York, um die Ausstellung „Nganana Tjungurringanyi Tjukurrpa Nintintjakitja – We are here sharing our Dreaming“ in der 80 Washington Square East Gallery zu besuchen. 2015 wurde sie eingeladen, bei der 8th Asia Pacific Triennial of Contemporary Art in der Queensland Gallery of Modern Art auszustellen. AUSZEICHNUNGEN 2009 Finalist 26th Telstra National Aboriginal & Torres Strait Islander Art Award, Museums & Art Galleries of the Northern Territory, Darwin, Northern Territory 2010 Finalist 27th Telstra National Aboriginal & Torres Strait Islander Art Award, Museums & Art Galleries of the Northern Territory, Darwin, Northern Territory 2011 Finalist 28th Telstra National Aboriginal & Torres Strait Islander Art Award, Museums & Art Galleries of the Northern Territory, Darwin, Northern Territory 2011 Finalist Wynne Prize – Highly Commended, Art Gallery of New South Wales, Sydney, New South Wales 2012 The Alice Springs Art Prize – 1.
    [Show full text]
  • Transported Roger Law Stephen Bird
    TRANSPORTED ROGER LAW STEPHEN BIRD 30 November – 23 December 2016 16 Dundas Street, Edinburgh EH3 6HZ Telephone 0131 558 1200 Email [email protected] www.scottish-gallery.co.uk Left: Fogg Dam Tapestry (detail), from an original watercolour, Early Morning - Fogg Dam, Roger Law (cat. 2) Front cover: Roger Law working at the Big Pot Factory, Jingdezhen, China. Photo: Derek Au Roger Law Toby, 2012 Self Portrait, 2012 Stephen Bird Stephen Bird clay, pigment, glaze, H35 x W18 x D24 cms clay, pigment, glaze, H36 x W16 x D20 cms 2 FOREWORD The exhibition quickly evolved as a two-hander with his Roger Law approached The friend Stephen Bird. The two had met in Sydney and Gallery in early 2014 with an idea Law wrote the introduction to Bird’s 2013 Edinburgh International Festival show with The Gallery My Dad was for an exhibition which centred Born on the Moon. Bird was born in The Potteries, trained at Duncan of Jordanstone in Dundee and making his around cultural transportation, home and a huge international reputation from Sydney he stemming from his own remains aloof from any artist pigeon-hole. Law’s subject is far from the historical-political world from which Bird experience of living and working extracts his concepts; he looks rather to nature (his subjects are delightful caricatures of the evolutionary process) in Australia and his various while his design emphasis is on the decorative. In common, journeys to China, where he both artists are essentially subversive with little interest in convention; both are master craftsmen and both have frequently works and from where completed residencies in China this year, acutely aware of the complex, vital history of their chosen medium between his ceramics return to Europe to China and the West.
    [Show full text]
  • Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
    Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases.
    [Show full text]
  • Annual Report 2001–2002 Annual Report 2001–2002 NATIONAL GALLERY of AUSTRALIA Annual Report 2001–2002 © National Gallery of Australia
    NATIONAL GALLERY OF AUSTRALIA GALLERY NATIONAL NATIONAL GALLERY OF AUSTRALIA Annual Report 2001–2002 Annual Report 2001–2002 Annual Report NATIONAL GALLERY OF AUSTRALIA Annual Report 2001–2002 © National Gallery of Australia ISSN 1323-5192 All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage retrieval system, without permission in writing from the publisher. Produced by the Publications Department of the National Gallery of Australia, Canberra. Printed by Paragon Printers, Canberra, ACT National Gallery of Australia GPO Box 1150, Canberra ACT 2601 www.nga.gov.au cover and left: Paminggir people Lampung, Sumatra, Indonesia Ceremonial textile [tampan] 19th century Cotton, gold thread, dyes; supplement weft Acquired through gift and purchase from the Collection of Robert J. Holmgren and Anita E. Spertus, New York, 2000 iii Contents Letter of Transmittal iii Chairman’s Foreword 1 Director’s Report 3 Performance Report 2001–2002 Outcome and Outputs 7 Corporate Overview 9 Report against Strategic Plan 2001–2004 15 National Gallery of Australia Financial Reports 2001–2002 Independent audit report 54 Statement by Directors 56 Statement of Financial Performance 57 Notes to the Financial Statement 62 Appendixes 1. Council of the National Gallery of Australia 86 2. Management structure at 30 June 2002 88 3. Staff of the National Gallery of Australia at 30 June 2002 89 4. Acquisitions 2001–2002 92 5. Acquisitions including purchases and gifts 1945–2002 116 6. Exhibitions held at the National Gallery of Australia 117 7. Attendance at the National Gallery of Australia 1982–2002 119 8.
    [Show full text]
  • Artist: David Larwill
    Artist: David Larwill "Art from the Heart” David Larwill (B. 1956 - D. 2011) A founding member of the legendary Roar Studios of Brunswick Street Fitzroy Melbourne, today David Larwill is recognised as a highly significant figure in Australian abstract art of the 1980s and beyond. Roar’s manifesto was “art from the heart”. The original Roar Studio was located in an old shoe factory and run as a co-op. It enabled a group of emerging artists to become established outside of the commercial gallery world of the 1980s. Roar Studio artists acknowledge early Sid Nolan works, and those of John Perceval and Danila Vassillieff as Figurative Expressionist influences. Roar was an artist-run gallery and it took an avant-garde approach in the tradition of the Angry Penguins literary group. "It was a reaction against the art establishment of the time and provoked a major reassessment of the Melbourne art scene," Larwill said of the philosophy behind Roar. As a co-founder of Roar Studios with Mark Schaller and Peter Ferguson in 1982, Larwill quickly attracted notice. He built a reputation for his fresh, expressionist art executed with bold colour and a naïve exuberance. His first showing was two works hung in the Roar opening exhibition; his second was a one-man Roar show. "I just wanted to paint and I wanted people to smile when they looked at my paintings.” Larwill said of those years. * An early painting, “The Restaurant Bill” hung in Fitzroy’s Black Cat café – another local icon founded by Henry Maas, where the artists drank coffee.
    [Show full text]
  • Mark Schaller
    MARK SCHALLER Born 1962 Lives & works in Melbourne Education 1980 – 82 Studied at the Victorian College of the Arts Founding Member of Roar Studios Director of the Australian Artists Association Exhibitions Solo 2018 – Exit Art Gallery, Athens, Greece 2018 – Qdos, Lorne 2017 – Paintings of Phillip Island with Mic Turner, Sagra Gallery 2016 – Paintings with Altitude, Mt Buller 2015 – Homage to Hydra, Metro Gallery, Melbourne 2014 – The Paris Sweet, Le Louvre 2013 – Works on paper from around the world with Murray Walker, Chapman and Bailey Gallery, Melbourne 2011 – Painting the Figure, James Makin Gallery, Melbourne 2010 – Aratong Galleries Singapore, The Australian High Commission 2010 – Seascapes, Qdos, Lorne 2009 – Schaller, Art Equity, Sydney 2008 – Streetscapes, Art Equity, Sydney 2008 – Richmond Streetscapes, Scott Livesey Gallery, Melbourne 2007 – Paintings of the Great Ocean Road, Geelong Gallery 2007 – Wildfire, Scott Livesey, Melbourne 2007 – Drawing with Chainsaws, La Trobe University, Melbourne 2006 – Survey of Prints, Port Jackson Press, Melbourne 2005 – BMG Art, Adelaide 2005 – Australian Art Resources, Melbourne 2003 – Australian Art Resources, Sydney 2002 – Eastgate Gallery, Hawthorn, Melbourne 2001 – Eastgate Gallery, Hawthorn, Melbourne 2001 – Tim Olsen Gallery, Sydney 2000 – Eastgate Gallery, Hawthorn, Melbourne 1998 – Olsen and Carr Art Dealers, Sydney 1998 – Span Gallery, Melbourne 1997 – Australian Embassy, Tokyo 1998 – Paintings from the Pilbara, 208 Lennox Street Gallery 1995 – Coventry Gallery, Sydney 1994 – Obencni
    [Show full text]
  • Tjungurrayi, George Ward
    GEORGE WARD TJUNGURRAYI - PINTUPI Represented by Utopia Art Sydney, 2 Danks Street, Waterloo, NSW, 2017 © Tele: 61 2 9699 2900 Fax: 61 2 9699 2988 George was born near the site of Lararra, east of Tjukurla in Western Australia c. 1955. His first contact with Europeans was made through one of the welfare patrols led by Jeremy Long and Nosepeg Tjupurrula at a rockhole south of Kiwirrkura. After travelling in to Papunya he worked as both a fencer as well as a butcher in the Papunya kitchen. George’s father was also the father of Yala Yala Gibbs Tjungurrayi and Willy Tjungurrayi and although they had different mothers he considers them very close brothers. ART AWARDS 2004 Wynne Prize for Landscape, AGNSW SOLO EXHIBITIONS 2005 ‘George Ward Tjungurrayi’, Clarence Gallery, London, United Kingdom SELECTED GROUP EXHIBITIONS 2013 ‘Community V’, Utopia Art Sydney, NSW 2012 ‘Ancestral Modern: Australian Aboriginal Art from the Kaplan & Levi Collection’, Seattle Art Museum, USA ‘Community IV: Celebrating Forty Years of Papunya Tula Artists’, Utopia Art Sydney, NSW ‘Unique Perspectives: Papunya Tula Artists and the Alice Springs Community,’ Araluen Arts Centre, NT 2011 ’40 years of Papunya Tula Art’, Utopia Art Sydney, NSW ‘Papunya Tula Artists – Community III’, Utopia Art Sydney, NSW 2010 ‘Ngurra Kutju Ngurrara – Belonging To One Country’, ReDot Gallery, Singapore 2009 ‘Community – The Heart of Papunya Tula Artists’, Utopia Art Sydney, NSW 2008 ‘David Larwill amd the Western Desert Artists’, Stephan Wiess Studio, New York ‘Aboriginal Art 2008’, Scott
    [Show full text]
  • WARLIMPIRNGA TJAPALTJARRI Warlimpirrnga Tjapaltjarri Came In
    WARLIMPIRNGA TJAPALTJARRI Warlimpirrnga Tjapaltjarri came in to Kiwirrkura in 1984. Prior to this he had been living in country to the west of Lake Mackay along with eight other members of his immediate family. It was estimated that at the time of the family’s arrival in Kiwirrkura he was 25 years old. Warlimprirrnga’s paintings depict undulating landscapes appearing to oscillate and move with visual energy. He generates this effect by painting patterned backgrounds on which he meticulously adds tight, meandering lines composed of thousands of dots. These lines and switchbacks correspond to mythical stories about the Pintupi, the Aboriginal group of which he is a member, and the formation of the desert in which they live. Fred R Meyers, an anthropologist who has studied the Pintupi and their art, states that the way that the lines and curves tell the stories remains mostly a mystery. “The paintings operate more like mnemonic devices than like representations of a narrative.” SELECTED SOLO EXHIBITIONS 2015 Maparntjarra, Salon 94 Bowery, New York, NY 2014 George Tjungurrayi - Warlimpirrnga Tjapaltjarri, Scott Livesey Galleries, Melbourne, Victoria, Aus. 2009 Warlimpirrnga Tjaplatjarri - Patrick Tjungurrayi, Scott Livesey Galleries, Melbourne, Victoria, Aus. 1988 Gallery Gabrielle Pizzi, Melbourne, Aus. SELECTED GROUP EXHIBITIONS 2019 Mapa Wiya (Your Map's Not Needed): Australian Aboriginal Art from the Fondation Opale, Menil Foundation, Houston TX From Works from the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia and the Collection of Steve Martin and Anne Stringfield, Gagosian Gallery, New York, NY 2017 Annual Pintupi Exhibition, Papunya Tula Artists, Alice Springs, Northern Territory, Aus.
    [Show full text]
  • Melbourne-Metropolitan-Tramways-Board-Building- 616-Little-Collins-Street-Melbourne
    Melbourne Metropolitan Tramway Study Gary Vines 2011 List of surviving heritage places Contents Horse Tramways ...................................................................................................... 2 Cable Tram engine houses..................................................................................... 2 Cable Tram car sheds ............................................................................................. 6 Electric Tram Depots .............................................................................................. 8 Waiting Shelters ...................................................................................................... 12 Substations .............................................................................................................. 20 Overhead and electricity supply ............................................................................ 24 Sidings and trackwork ............................................................................................ 26 Bridges ..................................................................................................................... 29 Workshops ............................................................................................................... 32 Offices ...................................................................................................................... 32 Recreation buildings ............................................................................................... 33 Accommodation
    [Show full text]
  • Andrew Sibley
    Andrew Sibley From Wikipedia, the free encyclopedia Andrew John Sibley (9 July 1933 – 3 September 2015) was an English-born Australian artist. Sibley has been the subject of three books and is commonly listed in histories and encyclopedias of Australian art as a significant figurative painter of the mid and late 20th century. [1][2][3][4] 1 Personal history 2 Career overviews 2.1 Early career 2.2 Mid-career 2.3 Late career 3 Collections 4 References 5 External links Personal history Sibley was born in Adisham, Kent, England, the first child to John Percival and Marguerite Joan Sibley (née Taylor). With his family home bombed in the London Blitz, Sibley was relocated to Sittingbourne, Kent, then moving to Northfleet, Kent. In 1944 Sibley was awarded a scholarship at Gravesend School of Art, where he studied with fellow students including English artist Peter Blake. [4] In 1948, with his parents and two brothers, Sibley emigrated to Australia, where they lived and worked on an orchard in the rural town of Stanthorpe, Queensland. [5] He left the farm in 1951 to undertake National Service Training with the Royal Australian Navy, after which he spent a short time living and working in Port Moresby, Papua New Guinea. [6] After meeting his future wife Irena Sibley (née Pauliukonis) in Brisbane in 1967, Sibley followed her to Sydney, where they were married in 1968. The Sibley’s moved to Victoria, where he lived and worked until his death on 3 September 2015 at the age of 82. [7] Career overview From his early success in the 1960s Andrew Sibley consistently exhibited throughout Australia and internationally.
    [Show full text]
  • Tax Matters for the Arts
    www.lowensteinsarts.com.au NEWSLETTER DEC 2011 Tax Matters for the Arts Margaret Olley 1923 - 2011 argaret Olley was and Mcontinues to be a central thread in the fabric of the Australian art scene. Her artistic career is framed, literally, by art. She posed as the subject of William Dobell’s winning Archibald Prize entry in 1948, some months before her first ever solo exhibition. Again in 2011, she was the subject of Ben Quilty’s winning Archibald Prize portrait, in the midst of the creation of another solo exhibition, one that she did not live to complete. Olley was born in Lismore, New South Wales, in 1923. As a child she rode a pony to school, perhaps the key ingredient to her sense of adventure, paving the way for a fiercely independent character and lifestyle as an adult. At age six, Olley discovered painting and her skills were further developed at Brisbane boarding school. Even as William Dobell a young girl, her boldness moved her Margaret Olley, 1948 oil on hardboard to forge a letter from her parents 114.3 x 85.7cm excusing her from French in favour of more art classes. Image courtesy of New South Wales she eventually managed to conquer. Picasso and Cezanne. In 1997, Olley In 1942, Olley attended East Sydney With some luck, the wheels were set was declared an Australian National Technical College. She graduated with in motion for her career and collectors’ Treasure and appointed as a Companion honours and fell into Sydney’s postwar interest in her paintings began to grow.
    [Show full text]
  • Vale David Larwill
    Volume 8 Issue 3 July – August 2011 We aim for inclusiveness and openness, catering for a diversity of views without rancour. Many in Somers knew David Larwill to say ‘good morning’ Vale and exchange a smile while crossing the road to or from the Post Office. David in his paint-smudged jeans would always David Larwill return an engaging smile. Most also knew he was a successful painter and that with his generous donations and loyal followers had made a significant contribution to the success of the primary school’s annual art fair. David, his work, generosity and larrikin approach to life have been reported in the media both locally and further afield since his death in June. We wished to honour our local identity in a manner that was appropriate but felt we could not improve on some of the wonderful tributes already written so have chosen to print an edited selection that we feel covers the way in which David Larwill lived in our community quietly – imparting an infectious good nature. A range of papers looked at different aspects of this down- to-earth, generous man: Gina McColl in The Age on 20 June described the local everyman as the “larrikin artist who took modern art and made it roar”, making reference to David’s involvement as one of the founding members of the highly regarded and rebellious Roar Studios of the early 1980s. “‘Roar was fairly radical ... a group of anti-intellectual expressionist painters that became a focal point against the conceptualism [prevalent] at the time,” said art critic and commentator Ashley Crawford, who had known Larwill for 30 years.
    [Show full text]