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Arts & Culture Plan South Australia 2019
Arts & Culture Plan South Australia 2019 - 2024 1 To Dream To Explore To Create Acknowledgment of Country Aboriginal and Torres Strait Islander people have made and continue to make a unique and irreplaceable contribution to Australia. The South Australian Government acknowledges and respects Aboriginal people as the state’s first people and nations, and recognises Aboriginal people as traditional owners and occupants of South Australian land and waters. The South Australian Government acknowledges that the spiritual, social, cultural and economic practices of Aboriginal people come from their traditional lands and waters, and that Aboriginal people maintain cultural and heritage beliefs, languages and laws which are of ongoing importance today. Front cover Production: mi:wi Organisation: Vitalstatistix Photographer: Gregory Lorenzutti Table of Contents Page Vision, Mission, 4 Values 4 6 Goals 5 Message and commitment from the Government 7 Introduction 9 An Arts Plan for the future 10 Why now is the time for the Plan 10 Four reasons to pivot 11 South Australia. A history of creative and cultural innovation 12 1 The Structure of this Plan 16 South Australia, A gateway to the first and original story 17 Songlines: Tracking the Seven Sisters 18 Goal 1 20 Goal 2 24 Goal 3 28 Goal 4 32 Goal 5 36 Goal 6 40 Capturing value and impact 42 Footnotes 44 Adelaide College of the Arts Organisation: TAFE SA Photographer: Sam Roberts The Arts and Culture Plan for This Arts Plan is about igniting a This narrative is about how we TELL South Australia 2019 – 2024 new level of connectivity – between THESE STORIES, and relates strongly artists, organisations, institutions and to South Australia’s ‘market and brand’. -
Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
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. -
Aboriginal Agency, Institutionalisation and Survival
2q' t '9à ABORIGINAL AGENCY, INSTITUTIONALISATION AND PEGGY BROCK B. A. (Hons) Universit¡r of Adelaide Thesis submitted for the degree of Doctor of Philosophy in History/Geography, University of Adelaide March f99f ll TAT}LE OF CONTENTS ii LIST OF TAE}LES AND MAPS iii SUMMARY iv ACKNOWLEDGEMENTS . vii ABBREVIATIONS ix C}IAPTER ONE. INTRODUCTION I CFIAPTER TWO. TI{E HISTORICAL CONTEXT IN SOUTH AUSTRALIA 32 CHAPTER THREE. POONINDIE: HOME AWAY FROM COUNTRY 46 POONINDIE: AN trSTä,TILISHED COMMUNITY AND ITS DESTRUCTION 83 KOONIBBA: REFUGE FOR TI{E PEOPLE OF THE VI/EST COAST r22 CFIAPTER SIX. KOONIBBA: INSTITUTIONAL UPHtrAVAL AND ADJUSTMENT t70 C}IAPTER SEVEN. DISPERSAL OF KOONIBBA PEOPLE AND THE END OF TI{E MISSION ERA T98 CTIAPTER EIGHT. SURVTVAL WITHOUT INSTITUTIONALISATION236 C}IAPTER NINtr. NEPABUNNA: THtr MISSION FACTOR 268 CFIAPTER TEN. AE}ORIGINAL AGENCY, INSTITUTIONALISATION AND SURVTVAL 299 BIBLIOGRAPI{Y 320 ltt TABLES AND MAPS Table I L7 Table 2 128 Poonindie location map opposite 54 Poonindie land tenure map f 876 opposite 114 Poonindie land tenure map f 896 opposite r14 Koonibba location map opposite L27 Location of Adnyamathanha campsites in relation to pastoral station homesteads opposite 252 Map of North Flinders Ranges I93O opposite 269 lv SUMMARY The institutionalisation of Aborigines on missions and government stations has dominated Aboriginal-non-Aboriginal relations. Institutionalisation of Aborigines, under the guise of assimilation and protection policies, was only abandoned in.the lg7Os. It is therefore important to understand the implications of these policies for Aborigines and Australian society in general. I investigate the affect of institutionalisation on Aborigines, questioning the assumption tl.at they were passive victims forced onto missions and government stations and kept there as virtual prisoners. -
Our Cultural Collections a Guide to the Treasures Held by South Australia’S Collecting Institutions Art Gallery of South Australia
Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- tralia. South Australian Museum. State Library of South Australia. Carrick Hill. History SA. Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- Published by Contents Arts South Australia Street Address: Our Cultural Collections: 30 Wakefield Street, A guide to the treasures held by Adelaide South Australia’s collecting institutions 3 Postal address: GPO Box 2308, South Australia’s Cultural Institutions 5 Adelaide SA 5001, AUSTRALIA Art Gallery of South Australia 6 Tel: +61 8 8463 5444 Fax: +61 8 8463 5420 South Australian Museum 11 [email protected] www.arts.sa.gov.au State Library of South Australia 17 Carrick Hill 23 History SA 27 Artlab Australia 43 Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions The South Australian Government, through Arts South Our Cultural Collections aims to Australia, oversees internationally significant cultural heritage ignite curiosity and awe about these collections comprising millions of items. The scope of these collections is substantial – spanning geological collections, which have been maintained, samples, locally significant artefacts, internationally interpreted and documented for the important art objects and much more. interest, enjoyment and education of These highly valuable collections are owned by the people all South Australians. of South Australia and held in trust for them by the State’s public institutions. -
Adelaide Festival Centre Annual Report 2005-06
ADELAIDE FESTIVAL CENTRE ANNUAL REPORT 2005-06 18 September 2006 Adelaide Festival Centre King William Road ADELAIDE SA 5000 GPO Box 1269 ADELAIDE SA 5001 Telephone: (08) 8216 8600 Facsimile: (08) 8212 7849 Website: www.afct.org.au ABN: 90940 220 425 Contents Our Vision: ...........................................................................................................4 Our Mission is to: ..............................................................................................4 Introduction..........................................................................................................5 Highlights of 2005-06......................................................................................6 Chairman’s Report ...........................................................................................7 Chief Executive Officer’s Report ...............................................................9 Adelaide Festival Centre Trust Act 1971.............................................10 Trustees ..............................................................................................................11 The Objectives of Arts SA ..........................................................................12 The Objectives of the Adelaide Festival Centre Trust ..................12 Objective 1.........................................................................................................14 ENGAGE........................................................................................... 14 Education Program (CentrEd)...........................................................................15 -
Dragon Tails 2017 Hopes, Dreams and Realities
5th Australasian conference on Chinese diaspora history & heritage Dragon Tails 2017 Hopes, Dreams and Realities Conference program Golden Dragon Museum Bendigo, Victoria, Australia 23-26 November 2017 0 Contents Conference program 4 Program - Timetable at a glance 4 Program in detail 5 Abstracts and speaker profiles 8 List of participants 25 Event Partner Conference Sponsors La Trobe Asia The Asia Institute La Trobe University The University of Melbourne www.latrobe.edu.au/asia arts.unimelb.edu.au/asiainstitute Conference Contacts For questions or problems during the conference, please see the Registration desk. You should also feel free to speak to the convenors. In case of emergencies, call Nadia Rhook 0409 807 516, Leigh McKinnon 0407 303 518, Paul Macgregor 0418 571 572 www.dragontails.org.au [email protected] Twitter: @dragontailsconf Hashtag #dtails17 Dragon Tails 2017 Hopes, Dreams and Realities 5th Australasian conference on Chinese diaspora history & heritage Golden Dragon Museum, Bendigo, Victoria, Australia 23-26 November 2017 Hopes and dreams have profoundly shaped the histories of Chinese people and their descendants in Australasia and abroad. This central theme of “Dragon Tails 2017: Hopes, Dreams and Realities” highlights not only the role of imagination in shaping the actions of Chinese-Australasians, but also the realities and challenges that Chinese-Australasians have historically encountered in pursuing their hopes and dreams. The Dragon Tails conferences promote research into the histories and heritage of Chinese people, their descendants and their associates, in Australasia (Australia and New Zealand). The conferences also encourage awareness of the connections of Chinese in Australasia with the histories of Chinese people, their descendants and their associates in other countries. -
Artists Statement for Me the Nature of Colour Is the Colour of Nature
David Aspden Born Bolton, England, arrived Australia 1950 1935 - 2005 COLLECTIONS Aspden is represented in National Gallery of Australia, Art Gallery of New South Wales, Art Gallery of Western Australia, Museums and Galleries of the Northern Territory, National Gallery of Victoria, Art Gallery of South Australia, and other state galleries. His work is found in regional galleries including Bathurst, Newcastle, Wollongong, Gold Coast, Orange, Armidale, Ballarat, Benalla, Muswellbrook, Manly, Stanthorpe and Geelong. Aspden’s paintings are hung in New Parliament House, Canberra and the NSW State Parliament. His work is in the collections of Artbank, Heide, Tarrawarra Museum of Art, Macquarie University, National Bank of Australia, Macquarie Bank, St George Bank, The Australian Club, Festival Hall Adelaide, Allens Arthur Robinson, Clayton Utz, Melbourne Casino, Fairfax, News Limited, University of Western Australia, Monash University, Beljourno Group, Shell Company of Australia Limited, and numerous corporate and private collections. Individual Exhibitions 1965 Watters Gallery, Sydney 1966 Watters Gallery, Sydney - March and November 1967 Watters Gallery, Sydney Strines Gallery, Melbourne 1968 Farmers' Blaxland Gallery, Sydney Gallery A, Melbourne 1970 Rudy Komon Art Gallery, Sydney 1971 Rudy Komon Art Gallery, Sydney 1973 Rudy Komon Art Gallery, Sydney 1974 Rudy Komon Art Gallery, Sydney 1975 Solander Gallery, Canberra 1976 Monash University, Victoria Rudy Komon Art Gallery, Sydney 1977 Rudy Komon Art Gallery, Sydney 1981 Rudy Komon Art Gallery, -
(NETS) Victoria Submission
LC EIC Inquiry into the impact of the COVID-19 pandemic on the tourism and events sectors pandemic on the tourism and events sectors and events pandemic on the tourism Inquiry the impact of COVID-19 into & NETS Submission Victoria PGAV Submission 115 Public PG Galleries V VictoriaAssociation A LC EIC Inquiry into the impact of the COVID-19 pandemic on the tourism and events sectors Submission 115 PGAV & NETS Victoria Submission - Inquiry into the impact of the COVID-19 pandemic on the tourism and events sectors for regional centres. In 2019, NETS Victoria toured Public Galleries eight exhibitions to 21 public galleries in Victoria, Association of Victoria (PGAV) supporting the work of 112 artists and 11 curators. Public gallery sector in Victoria & National Exhibitions Touring The public gallery sector in Victoria is Australia’s oldest – the National Gallery of Victoria (NGV) was Support (NETS) Victoria established in 1861 and was the nation’s first public gallery. It was followed by the establishment of Submission galleries across regional Victoria – the Art Gallery of Ballarat in 1884, Warrnambool Art Gallery in 1886, Bendigo Art Gallery in 1887 and Geelong Gallery in The Secretary 1896. Economy and Infrastructure Committee Parliament House, Spring Street Today, the public gallery sector in Victoria is large EAST MELBOURNE VIC 3002 and diverse – it spans 35 metropolitan galleries, 3 outer metropolitan galleries and 19 regional 14 April 2021 galleries. It includes flagship organisations the NGV, ACMI and Arts Centre Melbourne, together with Dear Sir / Madam local government owned and operated galleries (32), independent galleries and arts spaces (15) and The Public Galleries Association of Victoria (PGAV) university art museums (6). -
ACCESS GUIDE Contents
26 FEB – 14 MAR 2021 ACCESS GUIDE Contents Access Information ................................................................. 1 Website Information ................................................................. 2 Booking Tickets ........................................................................... 3 Venue Facilities ........................................................................... 4 Access Ticket Prices ................................................................. 5 Auslan Interpreted Events ....................................................... 6 Audio Described Events ......................................................... 8 Sensory/Tactile Tour Events ............................................... 9 Events With Highly Visual Content ................................... 10 Events With Assistive Listening ............................................. 13 Venues With Wheelchair Access ............................................. 15 Open House ..................................................................................... 19 Adelaide Writers’ Week Access ............................................. 21 Calendar of Events ................................................................. 22 Map ............................................................................................... 25 Sponsor Thanks ........................................................................... 27 Access Information We make every effort to ensure Adelaide Festival events are accessible to our whole audience. Please check -
– Media Release – Collaborative Exhibition Opens at the South Australian Museum As Part of Tarnanthi
– Media Release – Collaborative exhibition opens at the South Australian Museum as part of Tarnanthi Still in my mind: Gurindji location, experience and visuality presented by Artback NT opens this Friday, 18 October at the South Australian Museum, as part of Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art. The exhibition reflects on the enduring impacts of dispossession and displacement, including those of a pivotal land rights event, the 1966–75 Gurindji ‘walk-off’. Gurindji/Malngin Leader Vincent Lingiari led over 200 countrymen, women and children off Wave Hill Station to protest slave labour conditions and human rights abuse. “Although other protest and strike actions had taken place preceding the 1966 Gurindji Walk-Off, it was arguably the birth of the national land rights movement in Australia. The events of this time and place have significance for me as a Gurindji/Malngin/Mudburra woman, through my direct family connection to the area, and through my family’s experience as members of the Stolen Generations,” said Brenda L. Croft, curator and participating artist. Croft developed the exhibition through practice-led research with her father’s community, Karungkarni Art and Culture Aboriginal Corporation, UNSW Galleries and UNSW Art & Design. As a part of this, Croft retraced the Gurindji ‘walk-off’ steps in homage to those before her, who made the 22-kilometre journey half a century ago. “I was motivated to develop this exhibition in partnership with Karungkarni artists and Gurindji community members in tribute to those whose profound communal act of courage, resilience and determination changed the course of history.” Croft said. -
2016 Geelong Contemporary Art Prize 10 September to 13 November 2016 Geelong Gallery Free Entry—Open Daily 10Am to 5Pm
media release Media contact: Penny Whitehead | T: 03 5229 3645 | E: [email protected] 2016 Geelong contemporary art prize 10 September to 13 November 2016 Geelong Gallery Free entry—Open daily 10am to 5pm Official announcement: Friday 9 September, 6.00pm for 6.30pm The recipient of the $30,000 acquisitive 2016 Geelong contemporary art prize will be announced on the evening of Friday 9 September. To reserve a media pass contact: Kate Beynon Graveyard scene/the beauty and sadness of bones Penny at [email protected] 2014–15 synthetic polymer paint on linen Courtesy of the artist and Sutton Gallery, Melbourne Geelong Gallery is delighted to announce that 33 works by leading and emerging Australian artists have been shortlisted for the 2016 Geelong contemporary art prize. Showcasing the best of contemporary Australian painting practice, this $30,000 acquisitive award and biennial exhibition will feature works by Penelope Aitken, Robert Andrew, Xiao Bai, Kate Beynon, Warren Breninger, Hector Burton, Deidre But-Husaim, Magda Cebokli, Trevelyan Clay, Jonathan Crowther, Marieke Dench, Shaun Gladwell, Julia Gorman, Michael Gromm, Marie Hagerty, Peter Hill, Naomi Hobson, David Jolly, Col Jordan, Ash Keating, Chris Langlois, Donna Lougher, Viv Miller, Jennifer Mills, Jan Murray, John Nixon, Rosslynd Piggott, Adam Pyett, Sally Ross, Brad Rusbridge, Huseyin Sami, Kate Tucker and Jurek Wybraniec. Selected from over 500 entries from around the country, the 33 shortlisted works for the 2016 Geelong contemporary art prize reveal the diversity of contemporary painting practice in Australia. This year’s exhibition will include paintings by some of the nation’s most talented established and younger generation artists working in a variety of subject matter and styles including still-life, landscapes, portraiture, figuration, abstraction and text-based works.