Terence Edwin Smith, Ciha, Faha
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Refugee Filmmaking
Alphaville: Journal of Film and Screen Media no. 18, 2019, pp. 3–11 DOI: https://doi.org/10.33178/alpha.18.01 Refugee Filmmaking Editorial Stephanie Hemelryk Donald, Kaya Davies Hayon, and Lucia Sorbera Figure 1: Production still taken for Mare Nostrum (Rana Kazkaz and Anas Khalaf, 2016). Georges Films, Synéastes Film. Photo credit: Eric Devin. The origins of this issue of Alphaville lie in collaborations between the Forced Migration Research Network (UNSW – University of New South Wales) and the Refugee Council of Australia, and in the inspiration afforded us by international colleagues and guests to Sydney (Fadma Aït Mous), Liverpool (Dennis Del Favero) and Lincoln (Hoda Afshar) universities. We have benefited from these academic alliances and invitations, but we also embrace the widest notion of hospitality, whereby the moment of arrival, the request for assistance and shelter, and subsequent decisions over citizenship and long-term residency are located in a moral environment of welcome and mutual learning. We trace and acknowledge our intellectual relationships here in so far as they have allowed us to articulate an emerging and shared recognition that refugee lived experience stands as the barometer for political civility and social health in our time. © Stephanie Hemelryk Donald, Kaya Davies Hayon, and Lucia Sorbera This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License 4 The challenge of the global collapse into conflict and authoritarianism is stark, and the work of refugee filmmakers and documentarists—and indeed those who use scholarship to draw attention to their efforts—is serious and important. This curated collection of essays, films, reflections and reviews seeks to understand the nature and extent of refugee filmmaking today, and to determine who counts as a refugee filmmaker and why. -
Anita Kocsis Doctor of Philosophy School of Media Arts Icinema Centre for Interactive
Co-Designing New Media Spaces Candidate: Anita Kocsis Doctor of Philosophy School of Media Arts iCinema Centre for Interactive Cinema Research University of New South Wales 2010 1 Abstract Human centred design is a design philosophy that places the human at the centre of any design program. It engages in co-design practices that rely on participatory collaboration between designer and stakeholders. This thesis investigates how making meaning in digitally augmented exhibitions can satisfy the objectives of designers and content providers through the use of human centred design principles. It contends that a reflective analysis of collaborative design processes can improve stakeholder relations and meet the diverse needs and interests of audience members. New media museum exhibits position designers to represent the research of expert content providers. However differing stakeholder visions can turn collaborative design into an incoherent, competitive process in which audience experience, digital mediation, visualisation techniques and the meaning of the work become contested territory. In this thesis two key concepts, “brokering by design”, and the audience experience, are proposed as central to understanding and improving collaborative digital design. Firstly, “brokering by design” can resolve conceptual differences where a design impasse between stakeholders (such as curator, artist, designer, historian, scientist, museum staff) presents itself. Secondly, a study of the audience experience in the digital exhibition makes visible hitherto unseen levels of social interaction and profound experiential aspects. Two Case Studies serve as the analytic foundation of this thesis and assist to address the twofold purpose of this thesis. These are: (a) the problems in the design process and; (b) the reception of the resulting exhibition by the audience. -
Gunter Christmann's Profile
< Back to Gunter Christmann’s profile GUNTER CHRISTMANN Gunter Christmann (b. 1936 – d. 2013) was born in Berlin, Germany, arriving in Melbourne in February of 1959. He moved to Sydney and started painting in 1962. Christmann’s first exhibition in 1965 was a group show, 25 Young Painters, at the Argus Gallery in Melbourne. The following year he held his first solo exhibition at Central Street Gallery, Sydney exhibiting regularly since that time, both in Australia and overseas. Christmann showed at Niagara Galleries, Melbourne since 1984. A ground-breaking and subversive artist since the 1960s, Christmann resisted following any trend but instead found inspiration to create innovative new work from the objects and places that surrounded him. SOLO EXHIBITIONS 2015 The Commercial, Sydney 2014 Gunter Christmann: Now and Then, Heide Museum of Modern Art, Melbourne BEFORE, Niagara Galleries, Melbourne The Commercial, Sydney 2013 flexicuffstreets.com, Niagara Galleries, Melbourne The Commercial, Sydney Screening of slide projector works as part of Art Month Sydney, The Commercial, Sydney 2012 Eyes and Mind, East Sydney Doctors, Sydney AVEAGOYAMUG: Thus spoke Epimetheus, Niagara Galleries, Melbourne 2011 AVAGOYAMUG, Society, Sydney SIDE SHOW MAX, Niagara Galleries, Melbourne 2010 KOZMIX, Niagara Galleries, Melbourne 2008 Encore, Niagara Galleries, Melbourne 2007 Portrait d’Amour: Recent and Not So Recent Paintings, Niagara Galleries, Melbourne 2006 AXION JENNY 2006, Liverpool Street Gallery, Sydney 2005 AUTOMONTAGE, Niagara Galleries, Melbourne 2004 10gm OZKAR, Niagara Galleries, Melbourne 2003 T.O. Tranceporter, Liverpool Street Gallery, Sydney 2002 Christmann 2002, Niagara Galleries, Melbourne 2000 WYSIWYG @ niagara Y2K, Niagara Galleries, Melbourne 1999 OZKAR, Niagara Galleries, Melbourne 1997 G.C. -
Gunter Christmann (B
It is with great pleasure that The Commercial presents its third solo exhibition by Gunter Christmann (b. 1936, Berlin, d. 2013, Sydney). The exhibition comprises a group of late paintings alongside a group of small works on paper from 1975-77. The two bodies of work, created four decades apart, are linked by a common process: Christmann’s idiosyncratic shuffle box or water tank technique, simple devices for the creation of composition in painting. In addition to providing a system that allowed the universe to determine the arrangement of objects for the artist to paint, the small shuffle boxes, proportioned the same as the intended painting, perfectly housed the humble items -- bottle tops, cable ties, leaves, etc. -- offered up by the streets around the artist’s Darlinghurst home, urban refuse insignificant until incorporated into the body of the painting, its still life. The pull of gravity dictated Christmann’s technique involving the arrangement and rearrangement of small, street-scavenged things. This ground-consciousness developed out of the ‘sprankle’ paintings of the late 1960s/early 1970s in which paint was dropped onto the canvas on the ground from standing height ‘like rain’, such as the wonderful Over Orange (c. 1969) and Oktoberwald (1973) currently on display at the Art Gallery of Western Australia and Art Gallery of New South Wales respectively as part of those institutions’ permanent collections. Returning to his shuffle boxes in later years, as part of the general humility and self-sufficiency of Christmann’s studio practice, the group of paintings in the forthcoming exhibition are characterized by their sponged grounds, optically similar in their blending of colour to the early sprankle paintings though achieved through the compression of space between passive canvas and deliberate hand. -
Architectures of Freedom: Literary Collaboration in Contemporary American Poetry
ARCHITECTURES OF FREEDOM: LITERARY COLLABORATION IN CONTEMPORARY AMERICAN POETRY by Shelagh Wilson Patterson B.A. in Comparative Literature, City University of New York Hunter College, 1999 M.F.A. in Creative Writing, Poetry, City University of New York Hunter College, 2001 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Shelagh Wilson Patterson It was defended on November 20, 2013 and approved by Don Bialostosky, PhD, Chair and Professor, English Shalini Puri, PhD, Associate Professor, English William Scott, PhD, Associate Professor, English Todd Reeser, PhD, Professor, French and Director, Women’s Studies Program Dissertation Advisor: Don Bialostosky, PhD, Chair and Professor, English ii Copyright © by Shelagh Wilson Patterson 2013 iii ARCHITECTURES OF FREEDOM: LITERARY COLLABORATION IN CONTEMPORARY AMERICAN POETRY Shelagh Wilson Patterson, PhD University of Pittsburgh, 2013 The dissertation, “Architectures of Freedom: Literary Collaboration in Contemporary American Poetry” uses the praxis of the U.S. third world feminists to analyze literary collaborations from a contemporary cohort of writers. As developed by Chela Sandoval, the defining aspect of the praxis of the U.S. third world feminists is differential consciousness. Differential consciousness is the ability to form coalitions within and beyond different communities not just for personal survival, but through personal survival to transform social oppressions. This dissertation animates Sandoval’s apparatus, which she calls a methodology of the oppressed, to analyze how a current cohort of writers are using literary collaboration to decolonize globalization. -
Refugee Filmmaking Editorial
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Refugee filmmaking: Editorial Author(s) Hemelryk Donald, Stephanie; Davies Hayon, Kaya; Sorbera, Lucia Editor(s) Hemelryk Donald, Stephanie Davies Hayon, Kaya Sorbera, Lucia Publication date 2019 Original citation Hemelryk Donald, S., Davies Hayon, K. and Sorbera, L. (2019) 'Refugee filmmaking: Editorial', Alphaville: Journal of Film and Screen Media, 18, pp. 3-11. doi: 10.33178/alpha.18.01 Type of publication Article (non peer-reviewed) Link to publisher's http://www.alphavillejournal.com/Issue18/Editorial.pdf version http://dx.doi.org/10.33178/alpha.18.01 Access to the full text of the published version may require a subscription. Rights © 2019, the Author(s). This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/9414 from Downloaded on 2021-09-29T02:51:04Z Alphaville: Journal of Film and Screen Media no. 18, 2019, pp. 3–11 DOI: https://doi.org/10.33178/alpha.18.01 Refugee Filmmaking Editorial Stephanie Hemelryk Donald, Kaya Davies Hayon, and Lucia Sorbera Figure 1: Production still taken for Mare Nostrum (Rana Kazkaz and Anas Khalaf, 2016). Georges Films, Synéastes Film. Photo credit: Eric Devin. The origins of this issue of Alphaville lie in collaborations between the Forced Migration Research Network (UNSW – University of New South Wales) and the Refugee Council of Australia, and in the inspiration afforded us by international colleagues and guests to Sydney (Fadma Aït Mous), Liverpool (Dennis Del Favero) and Lincoln (Hoda Afshar) universities. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
The Silent Assassin
Introduction Welcome to the latest issue of Research@UNSW, a biennial publication highlighting the breadth of important research taking place across the University of New South Wales. We’ve focused this issue on our industry, business, government and community partnerships that are so vital to our research effort – whether it be in medicine, science, engineering or the arts. As you would be aware, UNSW is one of Australia’s top universities – a member of the Group of Eight and of the prestigious international network U21. The only Australian research-intensive university established with a scientific and technological focus, UNSW continues to build on its reputation for world-class research in areas critical to the future, with close links to industry and an emphasis on practical application and impact. If you are already involved in research collaboration with our institution, you may see opportunities for further involvement – if not, you may see an opportunity to become involved. The publication is also aimed at keeping key stakeholders in government and the higher education sector informed, as well as outlining opportunities for students interested in pursuing postgraduate research at UNSW. “We’ve focused There are contact details at the back of the publication for anyone interested in pursuing a this issue on our partnership or collaboration, or postgraduate study. You are also more than welcome to contact the individual researchers whose work is highlighted in these pages. industry, business, government UNSW shares with its many partners a commitment to pioneering research and innovation, so important to the long-term welfare of the nation. -
A Fiery Splash in the Rockaways and Twists on Film at the Whitney
ART & DESIGN A Fiery Splash in the Rockaways and Twists on Film at the Whitney By ROBIN POGREBIN MAY 26, 2016 Japan Society Show When the Turner Prize-winning artist Simon Starling was preparing the piece he would exhibit at the Hiroshima City Museum of Contemporary Art five years ago, he learned about masked Japanese Noh theater, which inspired W. B. Yeats’s 1916 play, “At the Hawk’s Well.” Now Mr. Starling is building on that project with “At Twilight,” his first institutional show in New York and a rare solo exhibition at Japan Society that features a non-Japanese artist. It is also the first exhibition by Yukie Kamiya, Japan Society’s new gallery director, who used to be chief curator at the Hiroshima museum. The show is organized with the Common Guild of Glasgow, which will present Mr. Starling’s version of the Yeats play in July. Mr. Starling said that he was intrigued by the idea of masked theater, “where nobody is who they appear to be.” Pogrebin, Robin, “A Fiery Splash in the Rockaways and Twists on Film at the Whitney”, The New York Times (online), May 26, 2016 The Grand Tour: Simon Starling 19 Mar 2016 - 26 Jun 2016 Nottingham Contemporary presents Turner Prize-winner Simon Starling’s largest exhibition in the UK to date. The exhibition will include a new artwork developed in collaboration with Not- tingham Trent University, of which Starling is an alumnus and a number of Starling’s major proj- ects, most of which have not been presented in Britain before. -
Important Australian Art Sydney | 22 April 2021
Important Australian Art Sydney | 22 April 2021 Important Australian Art Sydney | 22 April 2021, 6:30pm COVID-19 RESTRICTIONS VIEWING ENQUIRIES PRESS ENQUIRIES Auction restrictions Melbourne Merryn Schriever Claire Martin Physical attendance at the live Wednesday 7 April Director +61 (0) 414 437 588 auction may be restricted and to Sunday 11 April +61 (0) 2 8412 2222 [email protected] capped based on availability. 10am to 4pm daily [email protected] 1130 High Street PHYSICAL CONDITION Armadale VIC 3143 Alex Clark OF LOTS IN THIS AUCTION Australian and International Please note that there is no Sydney Art Specialist reference in this catalogue to Thursday 15 April +61 (0) 3 8640 4088 the physical condition of any lot. to Tuesday 20 April [email protected] Intending bidders must satisfy 10am to 4pm daily themselves as to the condition of 36 - 40 Queen Street Francesca Cavazzini any lot as specified in clause 14 Woollahra NSW 2025 Aboriginal and International of the notice to bidders contained Art Specialist at the end of this catalogue. AUCTION +61 (0) 2 8412 2222 36 – 40 Queen Street francesca.cavazzini@bonhams. As a courtesy to intending Woollahra NSW 2025 com bidders, Bonhams will provide a written indication of the physical 22 April 2021 at 6:30pm CLIENT SERVICES condition of lots in this sale if a Sale number: 26917 Kate Floro request is received up to 24 +61 (0) 2 8412 2222 hours before the auction starts. CATALOGUE [email protected] This written indication is issued $30.00 subject to Clause 3 of the Notice Azura Nichols to Bidders. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright There’s a Problem with the Connection: American Eccentricity and Existential Anxiety Kim Wilkins 305165062 A thesis submitted in fulfilment of the degree of Doctor of Philosophy. University of Sydney. 1 I hereby declare that, except where indicated in the notes, this thesis contains only my own original work. As I have stated throughout this work, some sections of this thesis have been published previously. A version of Chapter Two features in Peter Kunze’s collection The Films of Wes Anderson: Critical Essays on an Indiewood Icon, published by Palgrave Macmillan in 2014, and Chapter Three was published under the title ‘The sounds of silence: hyper-dialogue and American Eccentricity’ as an article in New Review of Film and Television Studies no. -
On Rage Curated by Ben Quilty
On Rage Curated by Ben Quilty 19 May– 6June2009 This exhibition On Rage began over five years ago when Ben Quilty, in Paris on the Brett Whiteley Travelling Scholarship, met German artist Ingo Gerken. The two men shared stories about masculinity and nationhood in their own countries. Gerken’s accounts of renewed Nazism in Germany, championed by young men with short hair and short memories, prompted Quilty to reflect on the state of masculinity in Australia. Since then Quilty’s work has dealt progressively with the cult of masculinity; his heavily impastoed paintings expressing the rage, boredom and oblivion of growing up as a white male in Australia. Along with Gerken (who is exhibiting a series of works on paper where collage body parts violate watercolour splotches) Quilty has selected six other male artists to exhibit under the banner of On Rage–the title of a recent essay by Germaine Greer which attributes the historic emasculation of Indigenous men to rage. This rage, according to Greer, fuels the violence endemic in Aboriginal communities and is a form of passive resistance to white Australia. Quilty says, "I read Greer’s essay in terms of the meaning it had for the broader male society and their zealous rites of passage –21st's, buck’s parties and head wettings. They are absurd and often dangerous initiation processes. Society has failed to find a way to create meaningful initiation processes and young men have made up their own." In Quilty’s Self portrait Smashed #4 the death-wish of the Aussie male is played out in paint.