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SENATOR THE HON GEORGE BRANDIS QC ATTORNEY-GENERAL MINISTER FOR THE ARTS MEDIA RELEASE NEW DIRECTOR OF THE NATIONAL GALLERY OF AUSTRALIA Today I am pleased to announce that following an international search Professor Gerard Vaughan AM has been appointed as the new Director of the National Gallery of Australia. Professor Vaughan is a recognised international scholar and has had a distinguished career in the museum and galleries sector. He has an outstanding record of leadership, stakeholder engagement, fundraising and cultural diplomacy. Professor Vaughan has extensive knowledge of the arts sector gained in his thirteen years as Director of the National Gallery of Victoria, as Director of the British Museum Development Trust and in roles at Oxford University and with the Felton Bequest. Currently, he is a Professorial Fellow at the Australian Institute of Art History at the University of Melbourne, on the Board of the University of Melbourne Humanities Foundation and has previously served as a member of the Council of Australian Art Museum Directors. Professor Vaughan was appointed a Member of the Order of Australia in 2011 for services to the arts and was awarded the Légion d’honneur in 2013. I welcome Professor Vaughan’s vision and enthusiasm for the Gallery, which includes further strengthening the Gallery’s role as a leader in scholarship and research, forging stronger diplomatic ties in the South East Asia and Pacific region, and increasing access to the nation’s major art collection. Professor Vaughan has been appointed for a period of three years and will take up his new role on 10 November. I would like to take this opportunity to thank former director Dr Ron Radford AM who retired on 30 September. Dr Radford has been a great and illustrious contributor to the artistic life of this nation, and on behalf of the government and the people of Australia I would like to acknowledge and thank him. Dr Radford leaves an impressive legacy for the National Gallery including a significant extension of the Gallery’s building and a substantial expansion of the national art collection to include major acquisitions such as Clifford Possum Tjapaltjarri’s major painting Warlugulong 1977, Frederick McCubbin’s Violet and Gold, and the largest and most important Australian surrealist collection ever assembled comprising 285 works. His program of international blockbuster exhibitions including Masterpieces from Paris will be remembered by hundreds of thousands of visitors from across the country. 16 October 2014 Contact: P: 02 6277 7300 and E: [email protected] .

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Curator's Acknowledgements
4 Curator’s acknowledgements The exhibition has been researched with generous help from many people. Yvonne Boyd, David Chalker, Valerie Herbst, Clare Golson, Barbara Blackman, Felicity St John Moore, Derek Wrigley, Colin Ploughman, Sebastian Clark, Heather Rusden, and Jim Davidson provided invaluable information about the artists during the time of their fellowships. Howard Morphy — my co-writer — Pip Deveson, and Ian Dunlop gave advice and support on the subject of Narritjin and his paintings. ANU’s archivists and Deirdre Ward found thick files and photographs relating to the fellowships. Curators Deborah Hart and Elena Taylor contributed insights into Arthur Boyd’s Caged Painter series of paintings, and David Boon did the same about Nolan’s Riverbend.The directors of national institutions, Ron Radford of the National Gallery of Australia, Cradock Morton of the National Museum of Australia, Gerard Vaughan of the National Gallery of Victoria and Peter Haynes of the Nolan Gallery, kindly agreed to lend key works from their collections. The ABC’s gifted producer, Arthur Hill, made a short feature film about the Three Creative Fellows. Librarians of The Canberra Times, the National Gallery of Australia, the Art Gallery of New South Wales and the Art Gallery of South Australia provided material from their libraries. Photographers Stuart Hay, Brenton McGeachey, Pip Deveson, George Serras and Dragi Markovic supplied high quality images for the catalogue. Mark Henderson and John Carr at the National Museum were most generous with their time. Bruce Egan, the Registrar at the National Gallery, smoothed some awkward transport problems. Martin Gascoigne took me to Toolamba and into the country around Canberra in search of appropriate photographs of landscapes.
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THE HARVEST of a QUIET EYE.Pdf
li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and .
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The Countryside of Fred Williams After Western Desert Painting
Darren Jorgensen, Nowhere Man: The Countryside of Fred Williams after Western Desert Painting DARREN JORGENSEN Nowhere Man: The Countryside of Fred Williams after Western Desert painting ABSTRACT Two monographs on Australian artist Fred Williams, published by Patrick McCaughey and James Mollison during the 1980s, have recently been joined by a third, Deborah Hart’s Fred Williams: Infinite Horizons (2011). While the first two argue that the artist’s work bridged a schism between Australian landscape painting and an internationalist contemporary art of the 1960s, the rise of Western Desert painting invites a new reading of his landscapes. Ron Radford’s preface to Hart’s new monograph wants to reconcile the artist’s relationship to Western Desert painting with an anecdote about Clifford Possum’s visit to the Art Gallery of South Australia in 1984. Possum was enthusiastic about a painting by Williams, and Radford sees in this enthusiasm a reconciliation of Aboriginal and non-Aboriginal ways of seeing. Such different readings of Williams and his work, authored in different historical periods, reflect different moments in the unfolding of national anxieties that constitute the history of Australian art. The most famous encounter between Fred Williams’ work and the politics of landscape and Aboriginality took place without the artist being present to witness it. In 1982, only months after Williams’ death, the forestry and mining giant Conzinc Riotinto of Australia (CRA, now simply Rio Tinto), sponsored an exhibition at the National Gallery of Victoria of his famous Pilbara series – Williams’ 1979 to 1981 paintings of the Pilbara region of Western Australia, an area that remains littered by mines run by CRA and other companies.
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PRIMARY Education Resource
A break away! painted at Corowa, New South Wales, and Melbourne, 1891 oil on canvas 137.3 x 167.8 cm Art Gallery of South Australia, Adelaide, Elder Bequest Fund, 1899 PRIMARY Education resource Primary Education Resource 1 For teachers How to use this learning resource for primary students Tom Roberts is a major INTRODUCTION exhibition of works from the National Gallery of Australia’s ‘All Australian paintings are in some way a homage to Tom Roberts.’ Arthur Boyd collection as well as private and Tom Roberts (1856–1931) is arguably one of Australia’s public collections from around best-known and most loved artists, standing high among his talented associates at a vital moment in local painting. Australia. His output was broad-ranging, and includes landscapes, figures in the landscape, industrial landscapes and This extraordinary exhibition brings together Roberts’ cityscapes. He was also Australia’s leading portrait most famous paintings loved by all Australians. Paintings painter of the late nineteenth and early twentieth such as Shearing the rams 1888–90 and A break away! centuries. In addition he made a small number of etchings 1891 are among the nation’s best-known works of art. and sculptures and in his later years he painted a few nudes and still lifes. This primary school resource for the Tom Roberts exhibition explores the themes of the 9 by 5 Impression Roberts was born in Dorchester, Dorset, in the south of exhibition, Australia and the landscape, Portraiture, England and spent his first 12 years there. However he Making a nation, and Working abroad.
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Ocean to Outback: Australian Landscape Painting 1850–1950
travelling exhibition Ocean to Outback: Australian landscape painting 1850–1950 4 August 2007 – 3 May 2009 … it is continually exciting, these curious and strange rhythms which one discovers in a vast landscape, the juxtaposition of figures, of objects, all these things are exciting. Add to that again the peculiarity of the particular land in which we live here, and you get a quality of strangeness that you do not find, I think, anywhere else. Russell Drysdale, 19601 From the white heat of our beaches to the red heart of 127 of the 220 convicts on board died.2 Survivors’ accounts central Australia, Ocean to Outback: Australian landscape said the ship’s crew fired their weapons at convicts who, in painting 1850–1950 conveys the great beauty and diversity a state of panic, attempted to break from their confines as of the Australian continent. Curated by the National Gallery’s the vessel went down. Director Ron Radford, this major travelling exhibition is The painting is dominated by a huge sky, with the a celebration of the Gallery’s twenty-fifth anniversary. It broken George the Third dwarfed by the expanse. Waves features treasured Australian landscape paintings from the crash over the decks of the ship while a few figures in the national collection and will travel to venues throughout each foreground attempt to salvage cargo and supplies. This is Australian state and territory until 2009. a seascape that evokes trepidation and anxiety. The small Encompassing colonial through to modernist works, the figures contribute to the feeling of human vulnerability exhibition spans the great century of Australian landscape when challenged by the extremities of nature.
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'Impressions from Virtual Landscapes'
Cover Page RMIT University Melbourne Faculty of Art Design and Communication School of Art and Culture, Fine Art Exegesis Project Title: ‘Impressions from Virtual Landscapes’ Name of Candidate: Neil G McMasters Year of Completion: 2003 © Neil G McMasters 2003 Doctor of Fine Art ‘Impressions from Virtual Landscapes’ Exegesis ©Neil G McMasters Page 1 2003 Project Title: ‘Impressions from virtual landscapes’ Brief Description: The aim of this project is to build and render digital landscape models that reflect natural element characteristics and use the resulting data sets as source material for fine art investigation and production. The project will utilise 3D computer modelling techniques, selected output technology and studio facilities. Computer-generated virtual landscapes material will be incorporated into studio practice by providing observed environmental content for the development of works for exhibition. An accompanying exegesis will explore the relationship and tensions between digital landscape data sets and the broader use of landscape as a motif within an Australian context. Doctor of Fine Art ‘Impressions from Virtual Landscapes’ Exegesis ©Neil G McMasters Page 2 2003 Table of Contents COVER PAGE...........................................................................................................................................1 ‘IMPRESSIONS FROM VIRTUAL LANDSCAPES’ ...............................................................................1 Brief Description: .............................................................................................................................2
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Annual Report
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2004 – 30 June 2005 North Terrace ADELAIDE SA 5000 ISSN 0728-7925 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-fourth Annual Report of the Art Gallery Board of South Australia for the Gallery’s 124th year, ended 30 June 2005. Michael Abbott QC, Chairman Art Gallery Board 2004–05 Chairman Michael Abbott QC Members Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr Philip Speakman Mr Andrew Gwinnett Mr Peter Ward Ms Louise LeCornu 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2004-05 6 Major Issues Facing the Gallery 8 Major Objectives 2005–06 9 Resources and Administration 10 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 29 Appendix B1 Art Gallery Board 31 Appendix B2 Members of the Art Gallery of South Australia Foundation Council 31 and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 32 Appendix B4 Art Gallery Staff and Volunteers 33 Appendix C Staff Public Commitments 36 Appendix D Conservation 39 Appendix E Donors, Funds, Sponsorships 40 Appendix F Acquisitions 42 Appendix G Inward Loans 60 Appendix H Outward Loans 62 Appendix I Exhibitions and Public Programs 66 Appendix J Schools Support Services 73 Appendix K Gallery Guide Tour Services 73 Appendix L Gallery Publications 74 Appendix M Annual Attendances 75 Appendix N Information Statement 76 Appendix O Financial Statements 77 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance.
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A Study Guide by Fiona Hall
© ATOM 2015 A STUDY GUIDE BY FIONA HALL http://www.metromagazine.com.au ISBN: 978-1-74295-537-7 http://www.theeducationshop.com.au CONTENTS 3 4 5 5 12 12 SYNOPSIS CURRICULUM PRE-VIEWING POST- NATIONAL REFERENCES LINKS ACTIVITIES VIEWING GALLERY ACTIVITIES AUSTRALIA ADDITIONAL The Australian LINKS Landscape and Art The Australian National Identity and Art Extension Activities Above left: Above, Above, third from left: Above, third from right: Above, Above right: second from left: second from right: Elizabeth Mahoney, Charles Conder, Sidney Nolan, Sidney Nolan, Quilting SCREEN EDUCATION © ATOM 2015 © ATOM SCREEN EDUCATION Portrait of Tom Roberts, Photograph by Bronte Beach, 1888 Glenrowan, 1946 (detail) Christian Thompson, the Armour, 1947 c. 1925 (detail) Mike Craven Todd (detail) Dead as a Door Nail, (detail) (detail) 2008 (detail) Page 3 tile; top left: Page 3 tile, top right: Page 3 tile, middle left: Page 3 tile, Page 3 tile, Page 3 tile, middle right: bottom left: bottom right: Harold Cazneaux leaning Frederick McCubbin, Artist John Olsen in front on a camera looking to Self-portrait, c.1908 of his Sydney Sun work, Artist Sidney Nolan Geoff Hawkshaw, Elizabeth Mahoney, one side, 1930s? (detail) (detail) 2009 at Australian National Portrait of John Brack, Portrait of Tom Roberts, University 1965 (detail) c. 1925 (detail) 2 express artists’ understanding of the city – to which, in the end, all roads lead – we meet some of the best-known names in Australian art of the modern era – Tom Roberts and Frederick McCubbin and pioneer photographer Harold Cazneaux. The journey of our collection reaches London. Our journey through the best of Australian landscape art reaches the barren interior of the driest inhabited continent – and we meet the work of Russell Drysdale and his possibly even better-known contemporary Sidney Nolan, whose iconic Ned Kelly adorns the posters for the exhibition plastered on the walls of the London Underground stations.
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“Art Is the Windowpane”: Novels of Australian Women and Modernism in Inter-War Europe
“Art is the Windowpane”: Novels of Australian Women and Modernism in Inter-war Europe PAUL GENONI, CURTIN UNIVERSITY OF TECHNOLOGY During the 1990s there was a growing interest in the role played by women in the development of Australian modernist art. Books by Caroline Ambrus, Australian Women Artists: First Fleet to 1945 (1992), and Helen Topliss, Modernism and Femi- nism: Australian Women Artists 1900–1940 (1996), were particularly influential. Ambrus and Topliss argued that women had been effectively removed from the prevailing history of Australian art, and in particular they sought to highlight the vital role they had played in the engagement with modernism between the wars. The contribution made by women to Australian modernism received further attention in 1999, when Drusilla Modjeska’s Stravinsky’s Lunch was published. This dual biography of Stella Bowen and Grace Cossington Smith traced the life stories of two very different women, both of whom had been significant early Australian practitioners of modernist styles. Despite their important and seem- ingly obvious accomplishments, Bowen and Cossington Smith were, along with other women painters of the period, slow in being acknowledged. Following the publication of Stravinsky’s Lunch, the Modern Australian Women: Paintings and Prints 1925–1945 exhibition toured several Australian cities in 2000 and 2001. The exhibition featured paintings by Bowen and Cossington Smith, plus other women whose art had also made an important contribution to Austral- ian modernism. In the exhibition catalogue Ron Radford argued that although the modernist heroes of Australian art were almost entirely men who achieved their fame in the 1940s and 50s—Arthur Boyd, Sidney Nolan, Russell Drysdale, Albert Tucker, John Perceval—that the most accomplished of their forerunners were nearly all women.
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Foundation Annual Report 2010–11
FOUNDATION ANNUAL REPORT 2010 –11 Contents Office Bearers 7 Objectives 7 Chairman’s Report 9 Contributors 20 Membership 35 Financial Statements 51 James WR Linton England 1869 – Australia 1947 A winter’s day on the Swan c 1910 oil on canvas 61.5 x 91.8 cm purchased with funds from the Ruth Robertson Bequest, 2011 in memory of Edwin Clive and Leila Jeanne Robertson 2 natIonal GallerY OF AUStralIA FOUNDATION ANNUAL REPORT 2010–11 3 Mike Parr born Australia 1945 John Loane (printer, intaglio) born Australia 1950 Shallow grave 1 2000 liftground aquatint and drypoint on 18 sheets of paper 216 x 711 cm (overall) gift of Felizitas Parr, 2010 4 natIonal GallerY OF AUStralIA FOUNDATION ANNUAL REPORT 2010–11 5 Office Bearers Objectives Patron The National Gallery of Australia Her Excellency Ms Quentin Bryce AC Foundation, a company limited by The Governor‑General of the Commonwealth of Australia guarantee under the Corporations Law, is a non‑profit organisation established to Board Members support the National Gallery of Australia. Mr John Hindmarsh (appointed 20.09.04; Chairman 27.10.10) The principal objectives of the Foundation Ms Susan Armitage (appointed 11.05.11) are to: Mr Philip Bacon AM (appointed 26.10.00) ■■ maintain, improve and develop the Mr Julian Beaumont (appointed 28.10.09) national collection of works of art Ms Sandra Benjamin OAM (appointed 27.04.06) owned by the National Gallery of Mr Anthony R Berg AM (appointed 16.03.99; Australia Chairman 16.03.99 to 26.04.06) ■■ promote, maintain, improve and Mrs Robyn Burke (appointed 29.08.06) develop the National Gallery of Australia Mr Terrence A Campbell AO (appointed 28.02.07) ■■ support the development and conduct Mr David Coe (appointed 13.10.00) by the National Gallery of Australia of Mr Charles P Curran AC (appointed 26.04.06; Chairman travelling exhibitions of works of art 26.04.06 to 27.10.10; resigned 27.10.10) ■■ to raise money to achieve these The Hon Mrs Ashley Dawson‑Damer (appointed 05.05.04) objectives.
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Bertram Mackennal and the Sculptural Femme Fatale in the 1890S
Circe 1893 (detail) bronze 240 x 79.4 x 93.4 cm National Gallery of Victoria, Melbourne The Felton Bequest 1910 ‘Her invitation and her contempt’: Bertram Mackennal and the sculptural femme fatale in the 1890s DAVID J GETSY In the early 1890s Bertram Mackennal still struggled to find audiences, patrons and critical recognition. After having moved between Melbourne, London and Paris, he had been unsuccessful in garnering what he considered sufficient attention, and his letters from the period are fraught with anxieties and plans for his career. In 1892 he began working on a major life-size ‘statue’ in the ‘ideal’ or ‘imaginative’ genre that would, he hoped, establish his name. ‘I am trying to make a big work of this figure and at present am full of hope,’ he remarked.1 Such a gambit was common enough for an aspiring sculptor in the competitive market of the late 19th century. British sculpture, in particular, had been reinvigorated in the 1880s by artists who staked their reputations on similar highly-conceptualised life-size statues. This movement to modernise the theory and practice of sculpture in Britain would be dubbed the ‘New Sculpture’ in 1894 – the same year Mackennal’s own contribution to it could be seen at the Royal Academy of Art’s summer exhibition.2 As Mackennal knew himself from his brief time at the Royal Academy schools and from the contacts he made there, polemical statues such as his could be the statements through which debates about the theory, practice and future of sculpture occurred.3 Even after his move to Paris, Mackennal seems to have identified with these formulations of modern sculpture in London and kept a close eye on the British capital and the better market possibilities it offered for an Australian sculptor.4 His ambitious life-size statue, although first exhibited at the 1893 Paris Salon, drew deeply on his familiarity and sympathy with the aims of the New Sculpture, and it was in London where it made its more lasting impact.
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NGA Publishing
NGA publishing facebook | twitter | google+ | flickr | contacts | What's on Visit Collections Learning Support About Connect National Gallery of Australia Publishing Recent titles catalogue New & recent titles | Backlist The National Gallery of Australia publishes high-quality titles based on its collection, exhibitions and research written by experts in their field. The collection covers Australian art, Indigenous art, Asian art, Pacific art, American and European art, photography and decorative arts. The Gallery also publishes books for children and a quarterly full-colour magazine Artonview. National Gallery of Australia books are available from the Gallery Shop, selected book stores nationally and via mail order. Search Order by Most recent Kastom Arts of Vanuatu Crispin Howarth with guest author Kirk Huffman Kastom: Arts of Vanuatu showcases a unique collection of the National Gallery of Australia. During the early 1970s an impressive array of traditional arts through a program of field collecting on the Islands of Ambrym and Malakula. Central to many traditional practices, better known as ‘Kastom’, are masked performances and displays of sculpture including iconic upright slit drums. Even after a century of dual colonial and Christian religious influences kastom remains strong in Vanuatu. A selection of these intensely visual works created for ritual events realised in wood, over-modelled with clay, feathers, pig tusks, stone and other surprising mediums such as tree fern are discussed and it is surprising to learn these arts are remarkably unchanged to those from over a century ago as kastom is an inseparable part of Ni-Vanuatu culture. 96 pages | 270 x 220 mm | paperback | illustrated in full colour ISBN: 9780642334336 Published 2013 $39.95 RRP Available from the NGA Shop, NGA mail order and selected bookstores.
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