BORGELT-CV-2015.Pdf
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Art Almanac April 2018 $6
Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, -
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. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
JON PLAPP We Are Australian
Optics, with Andrew Christofides, Liz Coats, Col Jordan, David Aspen, John Vickery, John Aslanidis and Cathy Blanchflower, Sir Herman Black Gallery, University of Sydney, 1998. The Bryan Niland Collection , Penrith Regional Gallery and the Lewers Bequest, Emu Plains,1998. The Enduring Tradition: drawings by nine contemporary artists, with Alun Leach-Jones, Andrew Christofides, Maurice Cockrill, Peter Griffen, John McLatchie, Colin Lanceley, Brian Plummer, Aida Tomescu. Toowoomba Regional Art Gallery, 1998-1999 (travelling to Gladstone, Rockhampton,Dalby, Bundaberg, Thuringowa and Cairns). JON PLAPP We Are Australian. Exhibition presented by We Are Australian Art Inc. and the Melbourne Festival in Association with the Victorian Arts Centre. 1999- 2000 It’s A Guitar Shaped World 6. Tamworth City Gallery, 2000 Exposition collective. Cite Internationale des Arts, Paris, 2000 A Studio in Paris: Australian Artists at the Cite. S H Ervin Gallery, Sydney, 2001 Collage. Stephanie Burns Fine Art, Canberra, 2001 Stephane Jacob. Carrousel du Louvre, Paris, 2001 Public and Corporate Collections Allen, Allen, & Hemsley, Sydney, Artbank Australia. Baker McKenzie, Sydney. Bliss Hospital, St Louis, USA. Burnie Art Gallery, Tasmania.Devonport Gallery, Tasmania. Hincks Treatment Centre, Toronto, Canada. Holmes á Court Collection, Perth. Mallesons, Melbourne. University of Sydney Union National Gallery of Australia, Canberra. Western Mining Corporation, Melbourne. University of Toronto, Toronto, Canada. The Robert McLaughlin Gallery, New England Regional Art Museum, Armidale Civic Centre, Oshawa, Ontario, Canada. AMP Collection, Sydney. Agnes Etherington Art Gallery, Queens University, Kingston, Ontario, Canada Press Reviews Sandra McGrath: Australian, May 19-20, 1979. Sandra McGrath: Australian, February 7-8, 1981. Nancy Borlase: Sydney Morning Herald, February 14, 1981. -
Sidney Nolan's Ned Kelly
Sidney Nolan's Ned Kelly The Ned Kelly paintings in the National Gallery of Australia With essays by Murray Bail and Andrew Sayers City Gallery_JWELLINGTON australia Te \Vliare Toi ■ national gallery of 7 © National Gallery of Australia 2002 Cataloguing-in-publication data This publication accompanies the exhibition Copyright of texts remains SIDNEY NOLAN'S NED KELLY SERIES with the authors Nolan, Sidney, Sir, 1917-1992. City Gallery Wellington, New Zealand Sidney Nolan's Ned Kelly: the Ned Kelly 22 February-19 May 2002 All rights reserved. No part of this publication paintings in the National Gallery of Australia. Part of the New Zealand Festival 2002 may be reproduced or transmitted in any form or by any means, electronic or Bibliography. mechanical, including photocopying, ISBN O 642 54195 7. Presented by recording or any information storage and retrieval system, without permission 1. Kelly, Ned, 1855-1880 - Portraits - Exhibitions. in writing from the publisher. 2. Nolan, Sidney, Sir, 1917-1992 - Exhibitions. EllERNST & YOUNG 3. National Gallery of Australia - Exhibitions. Co-published by the 4. Painting, Modern - 20th century - National Gallery of Australia, Canberra Australia - Exhibitions. 5. Painting, RUSSELL M�VEAGH and City Gallery Wellington, New Zealand Australian - 20th century - Exhibitions. I. Bail, Murray, 1941- . II. Sayers, Andrew. Produced by the Publications Department III. National Gallery of Australia. IV. Title. of the National Gallery of Australia Tele�erm NEW ZEALAND Designer Kirsty Morrison 759.994 Editor Karen -
CONTRIBUTORS Peg Aloi Has an MFA in English and Currently Teaches in the Department of Visual and Media Arts at Emerson College
CONTRIBUTORS Peg Aloi has an MFA in English and currently teaches in the Department of Visual and Media Arts at Emerson College, and at the Massachusetts College of Art. Her most recent book, The New Generation Witches: Teenage Witchcraft in Contemporary Culture (2007 Ashgate Press), was co-edited with Hannah Johnston, with whom she is currently collaborating on two more books: The Celluloid Bough: Cinema in the Wake of the Occult Revival and The Glass Cauldron: A History of Witches on Television. Peg is also a fi lm critic for the Boston Phoenix and an award-winning poet. Helen A. Berger, professor of sociology at West Chester University, is the author of three books: A Community of Witches; Voices from the Pagan Census (with Leach and Shaffer); Teenage Witches (with Douglas Ezzy), and editor of Magic and Witchcraft: Contemporary North America. She is currently engaged in a community study of the religious and spiritual life of Asheville, NC. Jenny Blain is Senior Lecturer in Applied Social Sciences at Sheffi eld Hallam University. Recent publications on shamanism, seidr, Heathenry and paganisms include Nine Worlds of Seid-Magic (Routledge 2002), Researching Paganisms (Blain, Ezzy & Harvey, Altamira 2004) and numerous articles and chapters, including ‘Now many of those things are shown to me which I was denied before’: Seidr, shamanism and journeying, past and present, for Studies in Religion/Sciences Religieuses in 2005. Her book with Robert Wallis on Sacred Sites Contested Rites/Rights was published by Sussex Academic Press in 2007. Henrik Bogdan, Ph.D., Department of Religious Studies and Theology, University of Gothenburg, is the author of Western Esotericism and Rituals of Initiation (SUNY, 2007) and numerous articles on various aspects of his three main areas of research: Western esotericism, New Religious Movements, and Masonic Initiatory Societies. -
No Place Like Home: Australian Art History and Contemporary Art at the Start of the 1970S
No place like home: Australian art history and contemporary art at the start of the 1970s Heather Barker and Charles Green This‖essay‖considers‖an‖emergent‖Australian‖art‖history’s‖dramatically‖changing‖ impact on art criticism in the late 1960s and, in turn, as a key part of a wider perspective on the intersection of contemporary art and art history in Australia from the early 1960s into the 1980s. The change in Australian art history was evident in the development of modes of professional competence modelled on formalism and a tendentious neo-Marxism in transition towards an affectless postmodernism, already strands in international art history as a discipline. So, during the period, seminal Australian art historian Bernard Smith's battle against what he saw as American cultural imperialism was well and truly lost. Young art historians writing on contemporary art from the late 1960s on, including art historians Patrick McCaughey and Terry Smith, were convinced that the centre of world art was now New York. This idea of world art did not, however, diminish the Australian preoccupation with nation, national identity and the position—and therefore the category—of Australian art.‖Rather,‖it‖was‖to‖result‖in‖key‖writings,‖from‖Terry‖Smith’s‖articles‖to‖Paul‖ Taylor’s‖postmodern‖polemics‖in‖Art and Text, all of which above all sought to locate Australian art in relation to international (which largely remained American) art. Here, we shall focus on the turn from the 1960s into the 1970s. It has been our belief, since Green wrote the conclusion -
Bibliography
BIBLIOGRAPHY Archives Doreen Valiente Papers, The Keep Archival Centre, Brighton. Feminist Archive North, Brotherton Library, University of Leeds. Feminist Archive South, Bristol University Library. Feminist Library, South London. Library of Avalon, Glastonbury. Museum of Witchcraft’s Library, Boscastle, England. Peter Redgrove Papers, University of Sheffeld’s Library. Robert Graves Papers, St. John’s College Library, Oxford University. Sisterhood and After: The Women’s Liberation Oral History Project, The British Library. Starhawk Collection, Graduate Theological Union, Berkeley. Women’s Library, London School of Economics Library. Primary Sources Amanda, “Greenham Festival of Life,” Pipes of PAN 7 (1982): 3. Anarchist Feminist Newsletter 3 (September 1977). Anon., You Can’t Kill the Spirit: Yorkshire Women Go to Greenham (S.L.: Bretton Women’s Book Fund, 1983). Anon., “Becoming a Pagan,” Greenleaf (5 November 1992). © The Editor(s) (if applicable) and The Author(s), under exclusive 277 license to Springer Nature Switzerland AG 2020 S. Feraro, Women and Gender Issues in British Paganism, 1945–1990, Palgrave Historical Studies in Witchcraft and Magic, https://doi.org/10.1007/978-3-030-46695-4 278 BIBLIOGRAPHY “Aquarian Pagans,” The Cauldron 22 (Beltane 1981): 5. Arachne 1 (May Eve 1983). Arachne Collective, “Arachne Reborn,” Arachne 2 (1985): 1. Ariadne, “Progressive Wicca: The New Tradition,” Dragon’s Brew 3 (January 1991): 12–16. Asphodel, “Letter,” Revolutionary and Radical Feminist Newsletter 8 (1981). Asphodel, “Letters,” Wood and Water 2:1 (Samhain 1981): 24–25. Asphodel, “Womanmagic,” Spare Rib 110 (September 1981): 50–53. Asphodel, “Letter,” Matriarchy Research and Reclaim Network Newsletter 9 (Halloween 1982). Asphodel, “Feminism and Spirituality: A Review of Recent Publications 1975– 1981,” Women’s Studies International Forum 5:1 (1982): 103–108. -
Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels Cubism and Australian Art from 1940 Lesley
Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels Cubism and Australian art from 1940 Lesley Harding 8 / 9 June 2011 Lecture summary: This lecture will consider the impact of the revolutionary and transformative movement of Cubism on Australian art from the 1940s to the present day. Described in 1912 by French poet and commentator Guillaume Apollinaire as ‘not an art of imitation, but one of conception’, Cubism irreversibly altered art’s relationship to visual reality. ‘I paint things as I think them, not as see them’, Picasso said. By its very nature, Cubism is characterised by variation and change. Although there was no cubist movement in Australia per se, its appearance in Australian art parallels its uptake and re-interpretation by artists internationally. By viewing Cubism as a set of stylistic and conceptual discoveries, rather than as a style defined by a particular period, we can trace the adaptation and evolution of cubist ideas and influences over successive decades and uncover its ongoing relevance to Australian art. In the early years, an interest in Cubism signaled a desire to be modern, a vanguard position taken against the parochial predominance of landscape painting in Australia at that time. While early Cubism broke down the pictorial subject, resulting in fragmentary images with multiple viewpoints and overlapping planes, the later inclusion of collage elements such as newsprint and wallpaper into paintings (often referred to as Synthetic Cubism) was the beginning of the idea that real objects could be incorporated into artworks, which opened up new possibilities for the treatment of reality in art. -
Art Gallery of NSW 5 September – 29 November 2009
ART Art Gallery of NSW GALLERY NSW 5 September – 29 November 2009 TACKLING THE FIELD 2 Tackling The Field Natalie Wilson The Event It was billed as the gala occasion of 1968, if not the decade. The lavish and much anticipated opening of the magnificently re-sited National Gallery of Victoria was held on the brisk winter evening of Tuesday, 20 August that year. The new building on St Kilda Road – the first phase of the $20 million Victorian Arts Centre complex – boasted a collection valued over $25 million, with its most valuable paintings, including works by Rembrandt, Tiepolo and Cézanne, acquired through the magnanimous bequest of industrialist Alfred Felton. In the towering Great Hall, intended for State receptions and banquets, the multi- hued glass ceiling by the Melbourne artist Leonard French – one of the world’s largest pieces of suspended stained glass – shimmered with radiant flashes of brilliant colour. As Evan Williams reported in the Sydney Morning Herald the following day, ‘with a candle-lit banquet, special exhibitions and seminars, a symphony concert, a trumpet fanfare composed for the occasion, it is some 1 opening’. The Field, National Gallery of Victoria, 1968 Left to right: on floor, Nigel Lendon Slab construction 11; Eric Shirley Encore; Tony However, it was the unveiling of the new temporary McGillick Polaris; Vernon Treweeke Ultrascope 5; Col Jordan Daedalus series 6 and on exhibition gallery a night later, on 21 August, which really floor Knossus II; Dick Watkins October; Robert Rooney Kind-hearted kitchen-garden IV. AGNSW Archives: image from The Bulletin, 12 Oct 1968 set the hearts of the art world racing. -
Pathways in Modern Western Magic • Drury Pathways in Modern Western Magic Edited by Nevill Drury Pathways
Pathways in Modern Western Magic Western in Modern Pathways Pathways in Modern Western Magic Edited by Nevill Drury Pathways his exciting multi-authored volume provides a fascinating overview of the many different pathways that help defi ne esoteric belief and prac- in Modern ticeT in modern Western magic. Included here are chapters on the late 19th century Hermetic Order of the Golden Dawn, the infl uential Thelemic doc- trines of Aleister Crowley, and the different faces of the Universal God- dess in Wicca and the Pagan traditions. Also included are chapters on Neo- Western Magic shamanism in Europe and the United States—and an account of how these traditions have in turn infl uenced the rise of techno-shamanism in the West. Additional features of this collection include insider perspectives on Seidr oracles, hybridised Tantra, contemporary black magic, the Scandinavian Dragon Rouge and Chaos magic in Britain—as well as profi les of the magi- cal artists Ithell Colquhoun, Austin Osman Spare and Rosaleen Norton. Contributors: Nikki Bado • Jenny Blain • Nevill Drury • Dave Evans • Amy Hale Phil Hine • Lynne Hume • Marguerite Johnson • Thomas Karlsson James R. Lewis • Libuše Martínková • Robert J. Wallis • Don Webb Dominique Beth Wilson • Andrei A. Znamenski Nevill Drury, editor of this collection, received his PhD from the Univer- sity of Newcastle, Australia, in 2008. His most recent publications include Stealing Fire from Heaven: the Rise of Modern Western Magic and The • Drury Varieties of Magical Experience (co-authored with Dr Lynne Hume). Concrescent Scholars Scholars Richmond • California S Edited by Nevill Drury 10 Pathways in Modern Western Magic 05 Pathways in Modern Western Magic Edited by Nevill Drury Scholars Concrescent Scholars 06 Pathways in Modern Western Magic Pathways in Modern Western Magic © 2012 Concrescent LLC All rights reserved. -
Book Reviews / Correspondences 2.1 (2013) 115–118
Correspondences 2.1 (2014) 115–118 ISSN 2053-7158 (Online) correspondencesjournal.com ! Nevill Drury, ed. Pathways in Modern Western Magic. Richmond, CA: Concres- cent Scholars Press, 2012. 470 pp. ISBN-13: 978-0984372997. The late Anglo-Australian Dr. Nevill Drury (1947–2013) was known interna- tionally for his works of popular scholarship, helping to bring an under- standing of Western esotericism and contemporary Paganism to a global audience. The book under review here, an edited volume containing contri- butions from fifteen different scholars and esoteric practitioners, represents his penultimate publication. Pathways in Modern Western Magic covers a wide range of different magical groups, from Wicca to Cyber-Shamanism, and from the Golden Dawn to the Left-Hand Path. In doing so, it provides a good primer for those making their first foray into the academic study of Western esotericism or Pagan studies, allowing the reader to appreciate the great variety and diversity found within these broad movements. Pathways has its origins in The Handbook of Modern Western Magic, a volume that Drury was to co-edit for Brill alongside the University of Gothenburg’s Henrik Bogdan. When Brill’s editorial board rejected many of the contribu- tions as being too emic, Bogdan converted part of the project into a special issue of Aries (12, no. 1), while Drury took the other half to Concrescent Press, the U.S.-based creation of doctoral student Sam Webster. Although not an academic press, Concrescent has published the book under a new imprint, Concrescent Scholars, through which it seeks to release peer- reviewed works of scholarship on Paganism, esotericism, and magic that bring together the views of both academics and occult practitioners.