David Boyd CV
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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. -
Affairs of the Art Inside Heide, the Creative Crucible That Transformed Australia’S Cultural Landscape
Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip APRIL 9-10 2016 Affairs of the art Inside Heide, the creative crucible that transformed Australia’s cultural landscape DESTINATION EUROPE WINE DINING GLORIA STEINEM TOP CHATEAUS, BEST MAX ALLEN ON THE FEMINISM, POLITICS AND VILLAGES, SUPER DEALS NEW BREED OF BAR A LIFE ON THE ROAD TRAVEL & INDULGENCE LIFE REVIEW V1 - AUSE01Z01AR Copyright Agency Limited (CAL) licenced copy Page 1 of 6 AUS: 1300 1 SLICE NZ: 0800 1 SLICE [email protected] Ref: 573001374 Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip THE ROARING 40S support and collect. After the Angry Penguins Art historian Richard Haese, whose 1981 study of Heide was seminal in establishing their put down their fertile intellectual and personal relationships in the public imagination — his book’s title, Rebels and roots in staid, stolid Precursors, was taken from a 1962 Heide group exhibition of the same name at the National Melbourne, the art world Gallery of Victoria — says their influence has been profound. “They’re immensely import- in Australia would never ant,” he says. “The Angry Penguin artists have retained a central position in Australian art and be quite the same again, our perception of Australian art is based on these artists. it FionaFi G rub er Haese points out how their work forms part writes of a broader grouping: “Alongside the artists you have the supporters and champions, writ- ow you experience Heide depends ers, poets and jazz musicians.” There have been on where you park. -
Diggens Sculpture
The Elements within Sculpture - 4 June to 15 July 2011 L A U R A I N E · D I G G I N S · F I N E · A R T The Elements within Sculpture Such Diversity e have travelled a long way! The distance between the sculpture of Sir Bertram Mackennal (1863-1931) and the extraordinarily diverse works W produced by contemporary Australian sculptors is virtually immeasurable. Some fascinating links, nevertheless, remain. Bertram Mackennal was the first Australian artist to achieve great success overseas.* For most of his career he was resident in London where he was accepted by the establishment and enjoyed royal patronage. Furthermore, he was the first Australian elected to the Royal Academy, the first to have a work purchased by the Tate Gallery and the first Australian artist to be knighted. Influenced by Rodin, he became part of the New Sculpture movement in the UK where he practiced an idealised DEL KATHRYN BARTON 1972 - I am loving you like this (version 2), 2008 naturalism, which gave a new life to the classical tradition. bronze edition 3/3 Essentially a modeller in clay, many of his works were subsequently cast in bronze, 100 x 34 x 36 cm while others were carved in marble. Relying heavily on commissions and patronage, he produced a great number of portrait busts, memorials such as the regal Queen Victoria Memorial, 1897-1901, at Ballarat and a wonderful series of very sensuous female nudes: the National Gallery of Victoria has his arresting Circe of 1893 in their collection. The sexuality was made palatable to the attitudes of his period by the use of classical references, as with Vesta, 1900, in this exhibition. -
Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting. -
Exhibitions and Public Programs August–December 2019 Exhibition Dates
Exhibitions and public programs August–December 2019 Exhibition dates 1–18 August 12–29 September 24th Annual B’nai B’rith Victoria Robyn Cottew Jewish Youth Art Competition Icons of Japan 1–18 August 3–27 October Art Collection showcase: Glen Eira City Council Small sculptures, jewellery Youth Services and ceramics 2019 Youth Art Exhibition Gallery Annexe 3–27 October 22 August–8 September Glen Eira Libraries Twenty Melbourne Painters My Brother Jack Awards Society Gallery Annexe 22 August–8 September 2 November–15 December Glen Eira Artists’ Society Stories in clay: Portraits Arthur Merric Boyd Pottery Gallery Annexe 12–29 September Phil Kreveld A landscape of memories Front cover image: Inside front cover image: Arthur Merric Boyd Pottery, Murrumbeena, Arthur Merric Boyd Pottery, Murrumbeena, Melbourne (manufacturer) (manufacturer) Arthur Boyd (potter and decorator) Neil Douglas (potter and decorator) Tea service 1948 (detail) Decanter c.1950 Earthenware Earthenware National Gallery of Victoria, Melbourne (a-b) 42.0 x 12.0 x 10.0 cm (overall) Purchased from Admission Funds, 1983 National Gallery of Victoria, Melbourne (D26.a-h-1983) Kenneth Hood Bequest Fund, 2012 (2012.27 a-b) ©Arthur Boyd’s work reproduced with the permission of Bundanon Trust 1–18 August 24th Annual B’nai B’rith Victoria Jewish Youth Art Competition The Jewish Youth Art Competition and Exhibition aims to develop and enhance the artistic abilities of youth aged 11 to 18. This important annual exhibition showcases the innovative artworks created by talented Jewish youth, including drawings, paintings, multimedia, sculpture, digital media and photography. Dion Fibishenko I left my kippah at home 2017 Oil on wood Winner of the first prize for drawing and painting. -
Art and Artists in Perth 1950-2000
ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997. -
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). -
Ray Marginson, Interviewed by Robyn Sloggett
Sculpture in the grounds, with some memories of things that got away Ray Marginson, interviewed by Robyn Sloggett This is the fourth and fi nal instalment back-plates in the lifts. These were in a series of interviews with Ray removed in the last renovations to Marginson by Robyn Sloggett.1 that building. There is a great story about the Robyn Sloggett: The university’s Ernest Fries Progress of medicine sculptures certainly range from the enamel in the foyer of the medical intimate to the monumental. I know tri-radiate building.2 Its backing is there are a number of sculptures that made of marble panels—some of may surprise people by their decorative the original tops of the tables in or historical signifi cance. Perhaps you the old anatomy dissecting room in could talk about some of these small but Swanston Street. When I announced very interesting objects. to the Buildings Committee the intention to use them for this Robyn Sloggett: Your reference Ray Marginson: One such owes purpose, Professor Wright was to what would probably be seen by much to the fl air for decoration greatly opposed on the grounds Property and Campus Services as of the then staff architect Rae of the possible health danger. He a form of vandalism of university Featherstone. He engaged Clifford vowed that he would culture bacteria property raises another interesting issue Last to do the large cast aluminium from scrapings from their surface. from a conservation point of view: that handles for the doors of the Raymond It was a legitimate point, as the of damage to works in the grounds. -
Manmade Modernism: Mythical Space in Australian Painting, 1940-1970 Copyright Offuli Text Rests with the On" I Copyn'ght Gm
Manmade Modernism: Mythical Space in Australian Painting, 1940-1970 Copyright ofFulI Text rests with the on" I copyn'ght gm. owner and, except as permitted unci th ~opyright LAURIE DUGGAN Act 1968, copying this copyright n: ,e I ~s prohibi~ed ~thout the Permission ofthe own:;'~ Brisbane, Queensland ~:~X~:;ghh~~ee or aLi~~t or by way ofa licence . gency mlted. For infonnation a.bo ~t such lIcences contact Copyright A ene ~:;ted on (02) 93947600 (ph) or (02) 9~94?t;01 HE RECEIVED STORY OF AUSTRALIAN ART, WHETHER same year, the battle to defend figuration against the it appears in the general histories ofBernard Smith non-objective seemed all but lost. T- (1962), and Robert Hughes (1966), or in more This is the Australian art story as it has often been told. specialised studies like Richard Haese's Rebels and Developments since 1970 have taken the art of this coun Precursors (1981) tells us ofa change brought about in the try in different directions, yet the art ofthe preceding peri pressurised atmosphere of the second world war. The story od is still often viewed through a lens of its own making. usually mentions the show of"French and British Modem When Bernard Smith produced the first edition of his Art" sponsored by Sir Keith Murdoch and the Melbourne book Australian Painting he followed William Moore's Herald in 1939, which contained a large variety of work example, entitling the chapters covering work from the from Ceranne through to some of the Surrealists (notably Heidelberg School up until the 1930s after books of the Salvador Dali and Max Ernst). -
JOHN PERCEVAL (1923 – 2000) the HULL, WILLIAMSTOWN, 1956 Oil on Composition Board 61.0 X 71.0 Cm Signed Lower Left: Perceval
JOHN PERCEVAL (1923 – 2000) THE HULL, WILLIAMSTOWN, 1956 oil on composition board 61.0 x 71.0 cm signed lower left: Perceval John Perceval’s paintings of Williamstown from the 1950s are amongst the most sought after in Australian art and key examples now reside in the collections of the National Gallery of Victoria, National Gallery of Australia, Queensland Art Gallery, Bendigo Art Gallery, Newcastle Art Gallery and the Tarrawarra Museum of Art. Vibrant, swirling, blustery and above all superbly painted, the series depicts the working port as a source of fascinating contrasts. Although some harbour and dock drawings by the artist have been noted from as early as 1949, it was his purchase of a second-hand Volkswagen Beetle in the mid-1950s that transformed his ability to travel further distances from his family base in the eastern suburbs. With Charles Blackman, Arthur Boyd and Hal Hattam as occasional companions, Perceval explored Williamstown describing the experience as ‘like finding Venice.’1 This, of course, was the stuff of pure romance for the artist who had yet to travel overseas; nonetheless, it is an indication of his creative instinct that he could perceive such a poetic similarity amidst the working tugs, gulls, spilled fuel and battered hulks. In The Hull, 1956 an aging vessel is moored at the docks, its stern a patchwork of metal plates of differing heritage and condition. Two wharf workers tug at the lines, smoke pollutes the air and bilge water spills out from near the Plimsoll line. It is a painting that almost begs to have a smell, one of salt, oil, soot and toil. -
2016 ANNUAL REPORT a Year of Growth and Impact
2016 ANNUAL REPORT A Year of Growth and Impact Global Compact Network Australia GCNA Annual Report 2016 1 CONTENTS A YEAR OF GROWTH AND IMPACT 02 2015/2016 Highlights 02 From the Chair and Executive Manager 03 ABOUT US 04 UN Global Compact and Global Compact Network Australia 04 Our Board 06 Our Members 07 Membership Benefits 08 OUR ACTIVITIES 09 Social Sustainability and Human Rights 10 Environmental Sustainability 17 Anti-Corruption 19 Sustainable Development 21 Being part of the conversation 26 FINANCIAL INFORMATION 27 Acknowledgement of country and traditional owners The Global Compact Network Australia acknowledges Aboriginal and Torres Strait Islander Australians as the traditional owners and custodians of the land on which we work. We pay respects to elders past, present and future. 2 GCNA Annual Report 2016 A YEAR OF GROWTH AND IMPACT GLOBALLY, IT HAS BEEN A HISTORIC YEAR FOR SUSTAINABILITY Sustainable Development Goals > In September 2015, the United Nations launched the Sustainable Development Goals (SDGs), which lay out a path to 2030 to end extreme poverty, tackle inequality and protect the planet Paris Climate Agreement (COP21) > In December 2015, UN member states reached a landmark global agreement to put the world on track to tackle climate change and limit global warming to below 2°C (and pursue 1.5°C) UN Global Compact > In 2015, the UN Global Compact celebrated its 15th anniversary IN AUSTRALIA, THE GCNA HAS BUILT ON THIS AND GONE FROM STRENGTH TO STRENGTH Growing the network > The GCNA’s membership continues to grow, -
Mid-Century Modern
Season 4 October 2012 — June 2013 Mid-century Modern AUSTRALIAN POTTERY A T B E M B O K A F E A T U R E S O F M O D E R N I S T 1956 Arts Festival CERAMICS Functional stoneware and the sented at the exhibition, only now called mid-century mod- Natural shapes philosophies of Bernard Harold Hughan was an expo- ernism - developments in ar- Simplicity of Leach dominated most of the nent of stoneware at that chitecture and design in design decade”, wrote Frances Mor- time, while NSW was repre- Europe from around 1933 to Bright colours gan of the 1960s in Pottery in 1965 that found fertile Australia, 40/3, Sep 2001. ground in post-war Mel- Abstract decoration This may have been true of bourne. In housing, it re- Sydney, but Melbourne re- sulted in buildings with open Diversity mained an important centre floor plans and large areas of Playfulness for earthenware until the late glass; in interior decoration, 1960s. in clean, unembellished lines Eclecticism Reg Preston (1917-2000). and neutral or primary col- Practitioners bridging the war Bowl. Oct 1956 ours. included John Barnard Knight, who ran the ceramics By 1956, the year of the Mel- sented by Ivan Englund, classes at Melbourne Techni- bourne Olympic Games, the Mollie Douglas, Ivan cal College and produced a great mass of new housing McMeekin and Peter Rush- domestic line under the label was lighter and simpler, and forth, all converts to Leach’s ‘Janet Gray’, Klytie Pate, Eric furnishing these homes with philosophies.