Gordon Shepherdson

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NICHOLAS THOMPSON GALLERY GORDON SHEPHERDSON SOLO EXHIBITIONS 2015 A Small Survey of Later Work, Nicholas Thompson Gallery, Melbourne 2013 Philip Bacon Galleries, Brisbane 2010 Philip Bacon Galleries, Brisbane 2006 Philip Bacon Galleries, Brisbane 2002 Philip Bacon Galleries, Brisbane 2001 Brian Moore Gallery, Sydney 2000 Philip Bacon Galleries, Brisbane 1997 Philip Bacon Galleries, Brisbane 1997 Marks + Moments, survey exhibition, Queensland Art Gallery 1994 Philip Bacon Galleries, Brisbane 1992 Philip Bacon Galleries, Brisbane 1989 Philip Bacon Galleries, Brisbane 1986 Philip Bacon Galleries, Brisbane 1984 Solander Gallery, Canberra 1982 Philip Bacon Galleries, Brisbane 1980 Philip Bacon Galleries, Brisbane 1979 Philip Bacon Galleries, Brisbane 1977 Survey exhibition, University of Queensland Art Museum, Brisbane 1976 Philip Bacon Galleries, Brisbane 1972 Reid Gallery, Brisbane 1968 Rudy Komon Gallery, Sydney 1 NICHOLAS THOMPSON GALLERY 1967 Grand Central Galleries, Brisbane 1965 Georges Gallery, Melbourne 1965 Rudy Komon Gallery, Sydney 1964 The Johnstone Gallery, Brisbane SELECTED GROUP EXHIBITIONS 2015 Opening Exhibition, Nicholas Thompson Gallery, Melbourne 2009 Between reality and non-reality: Works by Jon Molvig and Gordon Shepherdson, QUT Art Museum, Brisbane 2002 Naked, Brian Moore Gallery, Sydney 1995 A time remembered: Art in Brisbane 1950-1975, Queensland Art Gallery 1991 Diverse visions, Queensland Art Gallery 1988 Painters and sculptors: Diversity in contemporary art, Museum of Modern Art, Saitama, Japan 1987 Painters and sculptors: Diversity in contemporary art, Queensland Art Gallery 1986 Five Queensland painters, Queensland Art Gallery 1985 Exhibition of still lifes, Philip Bacon Galleries, Brisbane 1982 Georges Invitation Prize Exhibition, Melbourne 1979 MacPherson, Shepherdson, Staunton, University of Queensland Art Museum, Brisbane 1966 Design Arts Centre, Brisbane 1966 Australian trade display, Los Angeles 1965 The Johnstone Gallery, Brisbane 2 NICHOLAS THOMPSON GALLERY 1962 Hardy Brothers, Brisbane 1961 Travel Inn art panels, Festival Hall, Brisbane COLLECTIONS National Gallery of Australia National Gallery of Victoria Queensland Art Gallery Griffith University, Brisbane QUT Art Museum, Brisbane University of Queensland Art Museum, Brisbane Art Gallery of Ballarat Gold Coast City Art Gallery Ipswich Art Gallery Lismore Regional Art Gallery Moreton Bay Regional Council Mornington Peninsula Regional Gallery Museum of Brisbane Newcastle Art Gallery Rockhampton Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Art Gallery 3 .

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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.
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Art Training in Brisbane to 1991
Chapter 2 Those who started, those who stayed, those who departed, those who strayed: Art training in Brisbane to 1991 Glenn R. Cooke Preamble Throughout the second half of the twentieth century the higher education sector in Australia went through a series of reorganisations culminating in the Dawkins Report 1988 which recommended that the various technical colleges, teachers’ colleges and colleges of advanced education be incorporated into a system of multi-campus universities. Negotiations were put underway so that on 1 July 1991 the Queensland Conservatorium of Music amalgamated with Griffith University. The art, craft and design courses and students of the Queensland College of Art, from Associate Diploma level on, also joined Griffith University and on 1 January 1992 an independent history of 110 years was brought to a close. The history of the college over this time also reflected a series of restructures to mirror perceived educational needs and the political agendas of Queensland governments. The Brisbane School of Arts was founded in 1881 and incorporated into the Brisbane Technical College in 1884. As a result of the Technical Instruction Act of 1908, the suburban technical colleges at South Brisbane and West End were merged with Brisbane to form the Central Art training in Brisbane to 1991 Glenn R. Cooke Technical College (CTC) in 1909. When the Queensland Institute of Technology was established in 1965 on the same site, the CTC and its Art Branch retained their independence. In 1972 the Art Branch separated from the CTC to become the College of Art (CoA) which, two years later moved from George Street to purpose- built premises shared with the Seven Hills TAFE and was formally renamed the Queensland College of Art (QCA) in 1982.
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Barjai, Miya Studio and Young Brisbane Artists of the 1940S;
BARJAI, MIYA STUDIO AND YOUNG BRISBANE ARTISTS OF THE 1940S; TOWARDS A RADICAL PRACTICE by MICHELE ELIZABETH ANDERSON A thesis submitted in fulfilment of the requirements for the degree of Bachelor of Arts with Honours DEPARTMENT OF ART HISTORY UNIVERSITY OF QUEENSLAND JULY 1987 n To the late Laurence Collinson m We can no more allow the warped wills of old men to fashion for us the future. It is ours. Cast off the leaden weights that make the drab decrees. Climb the high heart's wall and cry out Action. Barrie Reid, "These Leaden Weights", Barjai, No. 13, March 1944, p. 3. w TABLE OF CONTENTS LIST OF ILLUSTRATIONS V ACKNOWLEDGMENTS ix INTRODUCTION 1 CHAPTER ONE Barjai and the Barjai Group, 1943-1947: Art and Literature / Youth, War and Politics 10 CHAPTER TWO Young Brisbane Artists at War's End and The Younger Artists' Group of 1945 61 CHAPTER THREE Miya Studio and The Artists' Group of the New Theatre Club: The Studio Base 1945-1950 110 CHAPTER FOUR Miya Studio and The Artists' Group of The New Theatre Club: Exhibitions 1945-1950 157 CONCLUSION 204 APPENDICES 206 ILLUSTRATIONS 214 BIBLIOGRAPHY ' 254 LIST OF ILLUSTRATIONS 1 Ian Gall, Cartoon, The Courier-Mail, 11 May 1942, p. 4 (Photograph courtesy of John Uxley Library). 2 Cover, Barjai, No. 5, 1943 (Photographic access courtesy of John Oxley Library). 3 Cover, Barjai, No. 8, 1943 (Photographic access courtesy of John Oxley Library). 4 Cover, Barjai, No. 12, January 1944 (Photographic access courtesy of John Oxley Library). 5 Cover, Barjai, No. 14, May 1944 (Photographic access courtesy of John Oxley Library).
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Gordon Shepherdson … the Light Gleams an Instant, Then It’S Night Once More Samuel Beckett, Waiting for Godot
gordon shepherdson … the light gleams an instant, then it’s night once more Samuel Beckett, Waiting for Godot The drama of Gordon Shepherdson’s paintings, (1997) sees the bird fixing us with its eye while its their wrestle with human demons, and their wings are spread, angelic. The density of colour, engagement with the moment, is held, suspended the deep greens and flashes of red in this painting, in the quality of their paint. Their consistency over together with the translucent blue of the ocean on decades is remarkable and some of these paintings, a fine day, fix it in the mind. decades old, appear as fresh as if painted yesterday. Other motifs also emerged from this active Pam Bell evoked the Spanish concept of the engagement in the natural world and empathetic duende in a 1978 essay, suggesting that, ‘… it is observation of its creatures — the human figure, essential to the nature of Shepherdson and the swimmers, waders, winged figures, and still life. It way that he works, psyched up with the tension has been a singularly romantic pursuit of a vision and energy of a boxer as if for a physical struggle’.1 which he has always suggested is for his own The muscularity in the paintings is key to his satisfaction, ‘an audience of one’, yet transcends best known motif of the dying bull (drawn from its own place and time. The darkness in the work decades of working in an abattoir), but also speaks extends the space and silence that Shepherdson to the existential struggle of humanity.
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Lauraine • Diggins • Fine • Art
LAURAINE LAURAINE LAURAINE DIGGINS FINE ART ABOUT THIS EXHIBITION FORTHCOMING EXHIBITIONS In regard to the European paintings sourced through EXPLORING DAVID BOYD our international collegues, each work is available to 8 October – 5 November 2016 • be imported upon genuine expressions of interest. A selection of paintings sourced from the family DIGGINS encompassing works from signifcant series throughout David Boyd’s career. We trust that the inclusion of the European works will enable collectors the opportunity to consider the acquisition of well documented quality paintings • STEPHEN BOWERS FINE 12 November – 10 December 2016 by signifcant international artists. Following the success of his Australia-wide touring exhibition (2013-2015) and growing international • recognition, Bowers continues to celebrate and provoke ART with his beautifully detailed decorated ceramics. Drawing inspiration from a variety of sources, his work explores natural history and art history, particularly of ceramics. Further, his work draws on decorative arts historical references and is imbued with his own personal commentary and witticisms. Te focus of the exhibition will be a remarkable dining setting featuring richly adorned serving, dinner and entrée plates, each displaying an Australian parrot, highlighted against a complex layering of background patterns, binding these ambitious works together as a set. • • • LAURAINE DIGGINS FINE ART Collectors’ Exhibition 2016 GOGGOMOBIL D’ART PROJECT: Lauraine Diggins Fine Art ROBERT CLINCH MARCH 2017 A commissioned art project featuring a Goggomobil 6 August 2016 – 17 September 2016 Dart car painted with Robert Clinch’s signature Collectors’ Exhibition 2016 paper darts. Accompanied by working drawings and Collectors’ Exhibition 2016 documentary video. Published by Malakof Fine Art Press 5 Malakof Street, North Caulﬁeld Victoria, 3161, Australia Telephone (+61 3) 9509 9855 Email: [email protected] Website: www.diggins.com.au First published 2016 This publication is copyright.
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Elizabeth Musgrave
Proceedings of the Society of Architectural Historians, Australia and New Zealand Vol. 31 edited by Christoph Schnoor (Auckland, New Zealand SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014). The bibliographic citation for this paper is: Elizabeth Musgrave, ”Formal Abstraction: From Art to Architecture in the Work of John Dalton,“ in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 31, Translation, edited by Christoph Schnoor (Auckland, New Zealand: SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014), 555–566. Published in Auckland, New Zealand: SAHANZ and Unitec ePress [ISBN - 978-1-927214-12-1]; and Gold Coast, Australia: SAHANZ [ISBN - 978-0-9876055-1-1] All efforts have been undertaken to ensure that authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editor. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. Elizabeth Musgrave, University of Queensland and University of Melbourne Formal Abstraction: From Art to Architecture in the Work of John Dalton This paper will trace architect John Dalton’s involvement with members of the Contemporary Art Society Queensland Branch, to reveal how this involvement contributed to a mindfulness of the distinctly Queensland condition and how this in turn come to inform a body of work. The Contemporary Art Society Queensland Branch (CAS) was formed in 1961, well after Contemporary Art Societies were established in southern states, by a group of young artists and intellectuals concerned to promote and disseminate contemporary art practices. The preoccupations and activities of this group during the 1950s and -60s helped shape the intellectual and social life of Brisbane in the following decades and, from the outset, outcomes had a distinctly Queensland flavour.
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Artists' PORTRAITS
Artists' PORTRAITS Selected and introduced by GEOFFREY DUTTON National Library of Australia Canberra 1992 © 1992 National Library of Australia National Library of Australia Cataloguing-in-Publication entry Artists' portraits. Includes bibliographical references. ISBN 0 642 10579 0. 1. Artists — Australia — Interviews. 2. Art, Modern —20th century — Australia. 3. Sculpture, Modern — 20th century — Australia. I. Dutton, Geoffrey, 1922- . II. National Library of Australia. 709.94 Publications Manager: Margaret Chalker Editor: Carol Miller Designer: Michael Pugh Printed by Brown Prior Anderson, Melbourne Foreword In this book, Geoffrey Dutton has drawn on the Oral History collection of the National Library of Australia to present his selection from interviews with Australian artists. Dutton's volume, which represents twenty-six artists, is intended to complement Self Portraits, published by the Library in 1991, in which the novelist David Foster edited a selection of interviews with fifteen writers. David Foster based his selection on the archive of Hazel de Berg recordings which provides the rich foundation of the present day Oral History collection. That collection has been developed by the National Library as part of its ongoing commitment to document Australian life and achievement as a major service for and on behalf of the wider community of Australians. Geoffrey Dutton too, has tapped the resources of the de Berg collection in addition to other recordings held by the Library including his own extended interview with Sir Russell Drysdale originally prepared in 1963 as source material for Dutton's biography of that artist. Like Foster, he presents a sensitive reading of each of his subjects who otherwise live for later generations through their finished work in galleries and other public places.
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UQFL123 Irene Amos Collection
FRYER LIBRARY Manuscript Finding Aid UQFL123 Irene Amos Collection Size 128 boxes, 10 parcels Contents Art exhibition catalogues, programs, invitations, correspondence, newsletters, biographies, annual reports, notices, minutes, balance sheets, membership cards, supplements, typed drafts, receipts, posters, notices, cards, postcards, press clippings, constitutions. Some of this material relates to the Johnstone Gallery, Royal Queensland Art Society and Victor Mace Fine Arts. Date range 1960 to 2008 Biography Irene Amos (1927 – 2012) was an artist and a painter, teacher, administrator and supporter of Queensland's visual arts. She became a Queensland Art Gallery Society committee member in 1977, and held the positions of membership secretary, purchasing convenor and vice-president. Amos was awarded Australia's first Master of Creative Arts degree in 1986. She received the Order of Australia Medal in 1991. Notes Open access, except access to correspondence is restricted. Application for access may be submitted to the Fryer Librarian for consideration. Box 1 Folder 1 Victor Mace Fine Arts Catalogues, 1975 to 1987 Folder 2 Catalogues, invitations, and pamphlets from the Queensland Art Gallery, Victor Mace and Johnstone galleries, 1966 to 1979 Box 2 Folder 1 Johnstone Gallery, 1965 Folder 2 Johnstone Gallery, 1966 to 1973 ______________________________________________________________________________________________ Last updated: 02/07/2018 © University of Queensland FRYER LIBRARY Manuscript Finding Aid Box 3 Greeting cards, sender A – G Box
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Gordon Shepherdson Cv
GORDON SHEPHERDSON CV BIOGRAPHICAL NOTES 2011 New 2011: Recent Acquisitions UQ Art Museum, Brisbane 1934 Born Brisbane, Queensland 2009 Between Reality and Non-Reality: Works by Jon Molvig And Gordon 1948-9 Studied at Gatton Agricultural College, Queensland Shepherdson QUT Art Museum, Brisbane 1950 Worked as Office Clerk in Accounts Section at the Department of 1995 A Time Remembered: Art In Brisbane 1950-1975 Queensland Art Primary Producers, Brisbane Gallery, Brisbane 1950 Six months jackeroo and farm work in Longreach area, QLD 1991 Diverse Visions Queensland Art Gallery, Brisbane 1951-52 Night classes with Caroline Barker of the Royal QLD Art Society 1988 Painters And Sculptors: Diversity In Contemporary Art Museum Of 1952-53 Worked as ‘passerboy’ in Evan Deakin’s Shipyards, Brisbane Modern Art, Saitama, Japan 1954 Began work in a Brisbane abattoir 1987 Painters And Sculptors: Diversity In Contemporary Art Queensland Art 1956 Married Noela Portley Gallery, Brisbane 1960 One term at Central Technical College, Brisbane with Arthur Evan Read 1986 Five Queensland Painters Queensland Art Gallery, Brisbane 1961 Attended classes with Andrew Sibley (painting) & Jon Molvig (drawing) 1983 Acquisitions 1973 - 1983 UQ Art Museum, Brisbane 1962 Archibald Prize Finalist, Art Gallery of New South Wales 1982 Georges Invitation Prize Exhibition, Melbourne 1974 Archibald Prize Finalist, Art Gallery of New South Wales 1979 Macpherson, Shepherdson, Staunton UQ Art Museum, Brisbane 1976 Archibald Prize Finalist, Art Gallery of New South Wales 1966 Design Arts Centre, Brisbane 1977 Survey exhibition held at the UQ Art Museum, Brisbane 1966 Contemporary Australian Painting Australian Trade Display, Los Angeles 1980 Awarded the Georges Art Prize, Melbourne (acquired) 1962 Moriarty - Shepherdson Hardy Brothers, Brisbane 1990 Awarded the Tattersall’s Club Landscape Art Prize 1961 Travel Inn Art Panels Festival Hall, Brisbane 1997 Survey Exhibition held at the Queensland Art Gallery SELECTED BIBLIOGRAPHY SOLO EXHIBITIONS Bell, P.
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ROBERT DICKERSON BORN Hurstville, Sydney 1924 SOLO
ROBERT DICKERSON BORN Hurstville, Sydney 1924 SOLO EXHIBITIONS 1974,76, 77, 92, 96, 99, 2000, 2002, 2010, 2014 Philip Bacon, Brisbane 1997, 99, 2000, 2003, 2004, 2008, 2012 Rex Irwin Art Dealer, Sydney 2011 Shoalhaven City Regional Gallery 1998, 99, 2003, 2005, 2009, 2011 Stafford Studios, Western Australia 2001, 04, 06, 08, 10 Dickerson Gallery, Melbourne 2009 Recent works, ACGA Gallery at Federation Square 2001, 04, 05, 06,08,09,10,12 (Pastels, prints and drawings) Dickerson Gallery, Sydney 2002 -04 Chiaroscuro, touring exhibition to Nolan Gallery, Tharwa, Ballarat Fine Art Gallery, Toowoomba Regional Art Gallery, Horsham Art Gallery, Grafton Regional Art Gallery, Shoalhaven City Arts Centre 2003 The Complete Graphics Newcastle Region Art Museum, Newcastle, NSW 1996, 2002, 03 Kensington Gallery, Adelaide 1985, 89, 91, 98, 2001 Schubert Gallery, Queensland 2000 Rex Irwin Art Dealer, Melbourne Art Fair 1986, 1998, 2000 Greythorn Gallery, Victoria 1994 Kenthurst Gallery, NSW 1993 Caulfield Arts Complex (with Andrew Ivanyi) Bell Gallery, Berrima, NSW 1992 Noosa Regional Gallery Gallery 406, Gosford, NSW 1991 England & Co Gallery, London 1987 Greenhill Gallery, Perth Melbourne Art Exchange 1984 Holdsworth Gallery (Sydney -Tokyo Show) 1983 Masterpiece Gallery, Hobart Anvil Gallery, Wodonga, Victoria 1981 Forbes Town Hall, NSW Georges Gallery, Melbourne 1980 Avenel Bee Gallery, Adelaide 1979 Adelaide Fine Arts & Graphics 1977 De Keopelkirker, Amsterdam 1976 Graphics Gallery, Manuka ACT 1974, 83, 87 Greenhill Gallery, Adelaide Grand Central
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