Adelaide 2010 Feb
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On Site : Installations by Tom Arthur
ON SITE INSTALLATIONS BY TOM ARTHUR JULIE BROWN ELIZABETH GOWER HOSSEIN VALAMANESH Tasmanian School of Art Gallery, This exhibition was assisted by the University of Tasmania, Commonwealth Government through the Visual Mt Nelson Campus, Hobart, Arts Board, Australia Council. September 4 - October 27, 1984 ISBN 0 85901 258 1 p.l PREFACE Fundamental to the Tasmanian School of Art Gallery Committee's exhibition policy is the commitment to exhibit work from outside Tas mania. Normally the selected works are re ceived in crates, unpacked and displayed. Occasionally the artist may be present to install the work or to participate in con current lectures/seminars. The latter can give greater meaning to the completed work, but rarely is there an opportunity to witness the work in progress. The Gallery exists within an art school, and this exhibition was intended to extend the normal educative role of exhibitions. Each artist spent approximately two weeks "in residence", developing and completing a work. The piece didn't have to be "site specific", so preliminary work could commence prior to arrival. However, it was essential that further evolution took place on site. There was no intended thematic link between the four artists; buf what they had in common was a body of work which illustrated an ability to participate within the exhibition's frame work and an involvement in a range of disciplines (without any being easily cate gorized within any particular discipline). The diversity proved to be a considerable asset. Not only did the audience gain an insight into the range of conceptual posi tions of four professional artists, but also into the individual pre-occupations and idio syncracies of their particular art practice. -
Alb •Ir STATE Government LIBRARY of South Australia
alb •ir STATE Government LIBRARY of South Australia STATE LIBRARY OF SOUTH AUSTRALIA J. D. SOMERVILLE ORAL HISTORY COLLECTION OH 1/9 Full transcript of an interview with FLORENCE M. STEEL 0112 SEPTEMBER and 7 OCTOBER 1985 by Beth Robertson for 'SA SPEAKS': AN ORAL HISTORY OF LIFE IN SOUTH AUSTRALIA BEFORE 1930 Recording available on cassette Access for research: Unrestricted Right to photocopy: Copies may be made for research and study Right to quote or publish: Publication only with written permission from the State Library ATB/9/129-9i Mrs Florence M. STEEL ii 'S.A. SPEAKS' 8509 TABLE OF CONTENTS Page Preface iii Notes to the Transcript iv Part 1 Family and Childhood 1 Informal fostering at O'Halloran Hill Return to parental home in Adelaide Teenage Years 16 City home The streets of Adelaide Marriage and Maternity 25 Courtship Childbirth The School for Mothers Widowhood 37 H usband's invalidism Work at Holden's Assistance of Bert Edwards, MP Child Maintenance and the Destitute Asylum Part 2 Teenage Years continued 46 Work in a boot factory The people of Adelaide Work in a boardinghouse Marriage and Maternity continued 60 Cases of 'have to' Housing conditions in the City Childbirth, at home and in hospital, continued Rations and the Destitute Asylum, continued Index 88 Collateral Material in File 8509 includes: Photographs (P) 8509A-E Cover Illustration Mrs Steel (then Godden) and her seven children three weeks after her first husband's death, after a long period of invalidism, in August 1928. A few months later The News publicised her plight and a benefit organised on her behalf raised forty pounds. -
3.0 ADELAIDE PARK LANDS & SQUARES 3.1.12 Mullawirraburka/Park 14/Rymill Park Report
3.0 ADELAIDE PARK LANDS & SQUARES 3.0 ADELAIDE PARK LANDS & SQUARES 3.1.12 Mullawirraburka/Park 14/Rymill Park Report MULLAWIRRABURKA/RYMILL PARK/PARK 14 : 226 3.0 ADELAIDE PARK LANDS & SQUARES Mullawirraburka/Park 14/Rymill Park Discussions by the Corporation and the Mayors (Lord Mayors) about landscaping the River Torrens/Karrawirra Parri embankments as well as the Park Lands generally were commonplace Historical Overview: Site Context from the mid 1850s onwards. The thoughts may have really been prompted by critical Arising from Light’s plan, Mullawirraburka/Park 14 consists of a semi-rectangular block of land comments and articles in The Register, including reports of public meetings that voiced critique of bounded by East Terrace, Dequetteville Terrace, Rundle Road and Bartels Road.Botanic Creek, the quality of the Park Lands, in 1854 onwards (eg., The Register 17 June 1854, p. 4; 8 July 1857, as it has historically been known by the Adelaide Botanic Garden’s administration, drains p. 2), that were in many ways directed towards the colonial Governor than the Corporation. through the middle of Mullawirraburka/Park 14 (Byrne 2003, p. 1). Mullawirraburka/Park 14 was named “Rymill Park” in 1962 upon its opening. For example, the editor of The Register wrote in July 1857: No boundary changes occurred subsequent to the spatial survey of Mullawirraburka/Park 14 by The Park Lands will never be other than a quagmire in winter, and a desert of blinding, suffocating dust Light. in summer, … unless properly fenced roads are constructed through the … With such roads as now disgrace the Park Lands there is no alternative for vehicles but to deviate in all directions from the track, Historical Overview: Aboriginal Associations thus cutting up acres of pasturage on every side and rendering it utterly useless (The Register 8 July 1857, Hemming records several specific references to Kaurna sites or activities, pre-contact or post- p. -
ANZAC Memorial Visit
ANZAC Memorial Hyde Park June 2013 On Thursday 27th June the Scouts from 1st Ermington had the opportunity to visit the ANAZ Memorial at Hyde Park in the city. We caught the train from Eastwood station for the journey into Sydney - alighting from the train at Town Hall station. Fortunately the weather was kind and we had a nice walk up to the memo- rial through Hyde park. Although it was early evening and dark the memo- rial looked terrific. The curator for the evening introduced himself to the troop and there was much interest in his background as he was both a Vietnam veteran and a former scout. The evening started with a short video and the scouts were surprised at the footage of the opening because at the time the memorial was the tallest building in the city and the opening was attending by 100,000 people. We were given a tour of the different parts of the memorial (inside and out). Learning about the different parts of the memorial was extremely in- teresting. The Scouts were invited to release a Commemorative star representing an Australian service man or woman killed while serving their country or since deceased - a very humbling experience Another highlight of the evening was the Scouts being able to see a banner signed by Baden Powell. We departed the memorial at 8:20 for our return trip, arriving back into Eastwood at 9:10pm. A big thank you to the Scouts and Leaders that were able to participate in this activity. The ANZAC War Memorial, completed in 1934, is the main commemorative military monument of Sydney, Australia. -
Exhibiting Hope and Creating Social Inclusion in Our Own Ways
Exhibiting hope and creating social inclusion in our own ways AN ART EXHIBIT BY AFGHAN YOUTH OF SOUTH AUSTRALIA A while ago, we heard a document created by young women at the Muslim Women’s Association of South Australia. It was called, ‘We try not to take people’s hate into our hearts’: Hi. We’re a group of young Muslim women who live here in Adelaide. We’re interested in exchanging ideas and stories about ways of dealing with weird experiences like being stared at, being yelled at by random strangers driving by in their cars, or other strange stuff that happens here and other places. We’ve included here some of our stories and skills we’ve developed. We’d been keen to hear your ideas! There are a few different ways that we try not to take people’s hate into our hearts … When we heard these young women’s stories we said: “It’s amazing! Fantastic! We loved it. Thank you for sharing your words! We are a group of young Afghanis, both young women and young men. Your words made a good contact with our lives. The experiences were really familiar. Some of us are artists and photographers. We talked about how some of your stories could be turned into art or paintings or drawings. Would you be interested in this? Maybe we could work on this together?” And so we have! In this exhibit you will find our photography, paintings, calligraphy and songs. We hope you like them! About this project Since July 2016, Afghan Youth of South Australia (through Lutheran Community Care) has been involved in a ‘Contributing to Social Cohesion and Harmony’ project coordinated by Dulwich Centre Foundation. -
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. -
Vladimir Krstić
Vladimir Krstić Instructor, Nazarbayev University Department of History, Philosophy and Religious Studies Phone: +77006473943 Email: [email protected] [email protected] Webpage: www.vladimirkrstic.net AREAS OF SPECIALISATION____________________________________________ Philosophy of Mind and Language, Philosophy of Deception. AREAS OF COMPETENCE______________________________________________ Critical Thinking, Epistemology, Religious Studies, Continental Philosophy. EDUCATION______________________________________________________ 2013–25/09/2018 University of Auckland PhD, Department of Philosophy, Faculty of Arts Dissertation: The Analysis of Self-Deception: Rehabilitating the Traditionalist Account John Bishop (supervisor), Frederick Kroon (co-supervisor), Jordi Fernández (University of Adelaide, examiner), Andy Egan (Rutgers University, examiner). 24/08–01/10/2015 University of Arizona Visiting Scholar, School of Information / Department of Philosophy. 15/04–01/06/2015 Melbourne University Visiting Scholar, Department of Philosophy. 2007–2009 University of Belgrade MA in Philosophy, Department of Philosophy, Faculty of Philosophy Faculty of Philosophy, University of Belgrade, Serbia Thesis: Buber’s Conception of ‘Meeting’ and its Implications in Philosophical and Theological Thought. 2000–2006 University of Belgrade Honours Degree in Theology, Faculty of Orthodox Theology, University of Belgrade, Serbia. PEER-REVIEWED JOURNAL ARTICLES ___________________________________ Krstić, V. 2020. ‘On the nature of indifferent lies, a reply -
AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours. -
The Paragon, Katoomba
The Paragon, Katoomba McLaughlin Lecture, Wentworth Falls, 1 March 2014 Ian Jack Fig.1 The Upper Mountains are well supplied with icons both of the natural environment and of the European built environment. The built environment from the later nineteenth century onwards relates overwhelmingly to the tourist industry: the railway which brought city-dwellers up here for holidays, the hotels and guest-houses, the cafés and restaurants and the homes of those who serviced the visitors. I want to talk about one particular café, its local setting and its wider ethnic context, its aesthetics and its archaeology. The Paragon in Katoomba was presciently named by Zacharias Simos in 1916. There are quite a lot of Greek cafés in New South Wales, forming an important heritage genre. But I can think of no other surviving Greek café in the state which has comparable stylishness, integrity and wealth of aesthetic and industrial heritage. The Paragon dates from quite near the beginning of a new phenomenon in Australian country towns, the Greek café. Fig.2 This is the Potiris family café in Queanbeyan 1914. Although the Greek diaspora, especially to America and Australia, had begun early in the nineteenth century, it had gained momentum only from the 1870s: over the following century over 3 million Greeks, both men and women, emigrated. The primary reason for many leaving their homeland in the late nineteenth century was economic, exacerbated by a sharp decline in the price of staple exports such as figs and currants and the wholesale replacement in some places of olive-groves by 1 vineyards. -
SW Historic A5 Booklet 2.Qxd 11/07/2005 12:39 PM Page 1 Historic Southsouth West West Corner Corner Adelaide | South Australia
SW Historic A5 Booklet 2.qxd 11/07/2005 12:39 PM Page 1 historic southsouth west west corner corner adelaide | south australia Bridget Jolly The Corporation of the City of Adelaide Adelaide 2005 SW Historic A5 Booklet 2.qxd 11/07/2005 12:39 PM Page 2 SW Historic A5 Booklet 2.qxd 11/07/2005 12:39 PM Page 3 Foreword The Historic South West Corner booklet is more than just a potted history of this unique part of our City. It is a record of the colourful characters and individuals who have contributed so much to the development of our City. This entertaining booklet paints a picture of a community that is proud of its past and positive about its future; a community that welcomes and embraces people whose luck in life has run out and a community that includes many, very successful businesses and individuals. The Historic South West Corner booklet is a project initiated by the South West Community Network. The Network was instigated and is supported by Adelaide City Council. The Council encourages active engagement of local communities in City life and in making decisions about their neighbourhood. A method of accomplishing this is through the development of local projects such as the production of this booklet. The booklet presents a history of the South West Corner of the City that will inspire people to think of this area as an interesting place to live, work and visit. I hope that you will enjoy reading this exciting, factual and humorous account of how the South West community of the past created a great community spirit of the present. -
Department of the Premier and Cabinet Annual Report Chief
ANNUAL REPORT 2012-2013 Department of the Premier and Cabinet State Administration Centre 200 Victoria Square Adelaide SA 5000 GPO Box 2343 Adelaide SA 5001 ISSN 0816-0813 For copies of this report please contact Finance and Business Performance Corporate Operations and Governance Division Telephone: 61 8 8226 5944 Department of the Premier and Cabinet Annual Report 2012-13 Contents Contents ................................................................................................................................ 1 Chief Executive’s Review ........................................................................................................ 3 Our Organisation .............................................................................................................. 6 Achievements in 2012-13 ........................................................................................................ 9 State Government’s Seven Strategic Priorities ................................................................ 9 Three approaches to how government does business .................................................. 12 Program 1. Cabinet Office .............................................................................................. 12 Program 2. State Development ...................................................................................... 15 Program 3: Integrated Design Commission .................................................................... 17 Program 4: Capital City .................................................................................................. -
The Haptic Dimension of Ceramic Practice: Ways of Knowing
School of Media, Creative Arts and Social Inquiry The Haptic Dimension of Ceramic Practice: Ways of Knowing Alana Carol McVeigh This thesis is presented for the Degree of Doctor of Philosophy of Curtin University October 2020 i ii The Haptic Dimension of Ceramic Practice: Ways of Knowing Declaration Alana Carol McVeigh iii Acknowledgements My heartfelt thanks to my supervisors, Dr Ann Schilo, Dr Anna Nazzari and Dr Susanna Castleden for their generosity of knowledge, immeasurable support, encouragement and guidance. I would like to acknowledge my colleagues for their support and friendship. In particular I would like to thank Dr Monika Lukowska- Appel not only for her support but also her design knowledge. I acknowledge Dr Dean Chan for his detailed attention to copyediting. I gratefully acknowledge my family Damien, Regan, Ashlea and Maiko for your understanding and support. Most importantly, to Chaz for your unrelenting encouragement, belief, love and for teaching me of courage. Finally, this journey has been for, Bailey, Kyuss, Tiida, Jai, Lumos and Otoko No Akachan. iv The Haptic Dimension of Ceramic Practice: Ways of Knowing Abstract My research seeks to unravel how an influx of multiple streams of tacit knowledge and sensory awareness has impacted upon an Australian approach to ceramic art making. Through a combination of creative practice and exegesis, I consider how experiential knowledge, amassed over time by observing, replicating and doing, built a visual, cognitive and sensual vocabulary that has become embodied into a visceral form of making: a form of making and awareness that entered Australian ceramic studio practice from China, Japan, Korea and Britain primarily during the 1940s–1960s.