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Art Gallery of Ballarat Annual Report 10-11 Annual Report
Art Gallery of Ballarat Annual Report 10-11 Annual Report 2010-11 ISSN 0726-5530 Chair’s Report .................................................................................................4 Art Gallery of Ballarat ACN: 145 246 224 Director’s Report .........................................................................................6 ABN: 28 145 246 224 Association Report .....................................................................................8 40 Lydiard Street North Ballarat Victoria 3350 Women’s Association Report ............................................................10 T 03 5320 5858 F 03 5320 5791 Gallery Guides Report ...........................................................................11 [email protected] Acquisitions ...................................................................................................13 www.artgalleryofballarat.com.au Outward Loan ..............................................................................................27 Exhibitions ......................................................................................................31 Public Programs ........................................................................................35 Education Visits and Programs ..........................................................37 Adopt an Artwork ......................................................................................40 Donations, Gifts and Bequests .........................................................41 Gallery Staff and Volunteers -
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 -
Olympic Memorabilia89
OLYMPIC MEMORABILIA89 MAIL BID AUCTION 89: APRIL 24, 2021 INGRID O’NEIL Lot 11 Third Place Winner’s Diploma Awarded for 50 Kilometer Skiing to M. J. Grothumsbraaten from Norway at the Chamonix 1924 First Winter Olympic Games Cover Illustrations Lot 1 Participation Medal struck in Gold for Stockholm 1912 President Viktor Balck – the Third Known Gold Medal for the Stockholm 1912 Olympic Games, the First Two Medals belonging to the Swedish King and the Crown Prince Lot 2 The Badge for the Emperor of Japan and the Imperial Family at the Tokyo 1964 Olympic Games Back Cover Illustration Lot 3 Original Painting “Atlanta 1996” by Famous Painter Michel Delacroix Commissioned by the IOC and the USOC for the Centennial Olympic Games in Atlanta 1996 OLYMPIC GAMES MEMORABILIA 1896–2020 Mail Bid Auction No. 89 Closing at 8 pm Pacific Time (Los Angeles) Saturday, April 24, 2021 The Auction will take place Online at auctions.ioneil.com www.ioneil.com Bids by Email, Phone, Mail and Fax are Welcome Ingrid O’Neil Auctions, Inc. Sports and Olympic Memorabilia P.O. Box 265 Tel: (949) 715-9808 Corona Del Mar, CA 92625 USA Fax: (949) 715-1871 Email: [email protected] ©2021 Ingrid O’Neil Auctions, Inc. Sports and Olympic Memorabilia INGRID O’NEIL AUCTIONS, INC. MAIL BID AUCTION 89 Tel: (949) 715-9808 Sports and Olympic Memorabilia Saturday, April 24, 2021 Fax: (949) 715-1871 P.O. Box 265 Online Auction www.ioneil.com Email: [email protected] Corona Del Mar, CA 92625 USA auctions.ioneil.com Bids by Email, Phone, Mail and Fax accepted TERMS OF SALE (Please read carefully before bidding.) The auction will be conducted in accordance with the terms set forth below. -
Heide Sculpture Park Discovering Art in Outdoor Spaces
HEIDE EDUCATION Heide Sculpture Park Discovering art in outdoor spaces Anish Kapoor Inge King In The Presence of Form II 1993 (Foreground) Rings of Saturn 2005-2006 (Background) carved Portland stone stainless steel 174 x 170 x 110 cm 450 x 450 x 450 cm Untitled 1993 (Front) Heide Museum of Modern Art carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art 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. © Heide 2011 For personal use only – do not store, copy or distribute Page 1 of 21 HEIDE EDUCATION Sculptures in the Park Dennis Oppenheim (1953–2011) Basket and Wave (From Dreams and Nightmares. Journey of a Broken Weave) 1984 Materials: _________________________ 488 x 549 x 792 cm Heide Museum of Modern Art Gift of the artist and Diana Gibson 1985 Current location: Connie Kimberley Sculpture Park At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer. Displaying sculptures throughout the park would take full advantage of the Museum's unique location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981 "The landscape is an integral part of Heide and most important in its ethos. -
EAST AFRICA & UGANDA ======EAST AFRICA & UGANDA, BRITISH PROTECTORATE of BIRMINGHAM MINT ======25 CENTS 18MM .800 FINE 2.916 GRAMS ======
Modern Dime Size Silver Coins of the World EAST AFRICA & UGANDA ====================================================================== ====================================================================== EAST AFRICA & UGANDA, BRITISH PROTECTORATE of BIRMINGHAM MINT ====================================================================== 25 CENTS 18MM .800 FINE 2.916 GRAMS ====================================================================== (1911) 1910 200,000 ¿OV: Head of Edward VII, facing right EDWARD VII, KING & left EMPEROR right / DES under bust. ¿RV: Lion passant guardant and Mt.Kilimanjaro (African landscape) 25 / CENTS / 1910 / H (mintmark), EAST AFRICA & UGANDA PROTECTORATES around. EDGE: Reeded MINT: H = THE MINT, BIRMINGHAM LTD. DESIGNER: DES = George William DeSalles REFERENCE: Y-7, KM-3 POPULATION: Esat Africa - 1910 - 4,000,000 including 25,000 asiatics. FOOTNOTE: This issue was struck by the Birmingham mint in 1911 with the date of 1910 on the coinage. FOOTNOTE: The colonial coinage listed here for the British Protec- torate of East Africa was produced by both the Royal Mint, London 1914 - 25 CENTS - OBVERSE starting in 1906, with the next issue dated 1910 contracted from ====================================================================== The Mint, Birmingham, Ltd. minted in 1911. The next two years the EAST AFRICA & UGANDA, BRITISH PROTECTORATE of 25 cents denomination was minted again by London, while the BIRMINGHAM MINT final dates of 1914, 1918 and 1920 were again ordered from ====================================================================== Birmingham. The listings are arranged in mint order. 25 CENTS 18MM .800 FINE 2.916 GRAMS ====================================================================== FOOTNOTE: The inland Uganda Protectorate lying west of Kenya Colony, is the former Kingdom of Uganda. It was declared a British 1914 80,000 Protectorate in 1894. 1918 40,000 rare ¿OV: Head of George V, facing left GEORGIVS V REX ET IND: IMP: (George V King and Emperor of India) around / B.M. -
Heritage Management Plan Final Report
Australian War Memorial Heritage Management Plan Final Report Prepared by Godden Mackay Logan Heritage Consultants for the Australian War Memorial January 2011 Report Register The following report register documents the development and issue of the report entitled Australian War Memorial—Heritage Management Plan, undertaken by Godden Mackay Logan Pty Ltd in accordance with its quality management system. Godden Mackay Logan operates under a quality management system which has been certified as complying with the Australian/New Zealand Standard for quality management systems AS/NZS ISO 9001:2008. Job No. Issue No. Notes/Description Issue Date 06-0420 1 Draft Report July 2008 06-0420 2 Second Draft Report August 2008 06-0420 3 Third Draft Report September 2008 06-0420 4 Fourth Draft Report April 2009 06-0420 5 Final Draft Report (for public comment) September 2009 06-0420 6 Final Report January 2011 Contents Page Glossary of Terms Abbreviations Conservation Terms Sources Executive Summary......................................................................................................................................i How To Use This Report .............................................................................................................................v 1.0 Introduction............................................................................................................................................1 1.1 Background..........................................................................................................................................1 -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
Deakin University Melbourne Burwood Campus Sculpture Walk
irritation, he made a series of sculptures steel pipes and coiled wire, but they read INGE KING towers 15 metres above the pavement. DEAN BOWEN DEAKIN 7 11 using the emblems but holding them up as exotic plants that have unexpectedly Born Berlin 1915* Deakin’s Marathon Man, however, is Born Maryborough, Victoria, 1957. UNIVERSITY to laughter and ridicule. In his so-called grown from the lawn; they suggest that Arrived Australia 1951. human in scale and appears to stride Lives and works in Melbourne. MELBOURNE Maquette For Public Monument (2003), nature can still survive in an architectural Lives in Melbourne. vigorously forward, as though joining BURWOOD the silhouette of the kangaroo stands setting. the passing pedestrians. Dean Bowen has had numerous solo CAMPUS on its head. Originally apprenticed to a woodcarver exhibitions and participated in many SCULPTURE in Berlin, Inge King attended the Berlin group shows throughout Australia PETER D COLE Academy of Fine Arts before moving to AUGUSTINE DALL’AVA as well as in Paris, London, Geneva, 9 WALK BRUCE ARMSTRONG 5 Born Gawler, South Australia, 1947. London, where she became a student at Born Grenoble, France, 1950. Tokyo, Osaka and Kyoto. 3 Born Melbourne 1957. Lives and works in Kyneton, the Royal Academy. Later she enrolled Arrived Australia 1955. FEATURED WORKS Lives and works in Melbourne. Victoria. at the Glasgow School of Art and was Lives and works in Melbourne. Bowen looks at the world with the eyes Text prepared by Ken Scarlett OAM awarded both a Diploma and Post of a child, delighting in birds and bees, Massive Red Gum figures and imaginative Whereas landscape has been a Diploma in 1943. -
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. -
Inge King Eulogy
Inge King Memorial Service NGV Great Hall, Monday 9 May 2016, 10:30 am I’m deeply honoured to be speaking today about Inge’s extraordinary career. I’m conscious of there being many others eminently qualified to speak, including Professors Judith Trimble and Sasha Grishin, each of whom have published eloquent monographs on Inge, and Professors Margaret Plant and Jenny Zimmer, who have both written informed, extended essays for two of Inge’s earliest survey exhibitions. In addition the NGV’s curator of Australian art, David Hurlston, and former NGV curator and recently retired director of the Geelong Gallery, Geoffrey Edwards, have both worked closely with Inge in the sensitive presentation of two retrospectives held here at the gallery, in 1992 and 2014. In the presence of such a wealth of knowledge and experience, I’m frankly humbled to have been asked to speak. I’d like to briefly mention how I came to know Inge, if only to contextualise my appearance here. Inge was arguably the best-known member of the Centre Five group, which forms the subject of my PhD thesis. I began reading about her work in 2008, while still living in Ireland and planning a return to Australia after a nine-year absence. The reading prompted faint memories of seeing her work at the Queensland Art Gallery while still a student in Brisbane. The following year, six months after embarking on doctoral studies at Melbourne University, I finally met my appointed supervisor, Professor Charles Green, who had until then been on sabbatical. One of the first things he said to me at that meeting was: ‘Now, you do know I’m Inge King’s godson, don’t you?’ Well, no, I didn’t.