Annual Report 2012–13
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The Hybrid Photobook
SELF-PUBLISHING IN THE DIGITAL AGE: THE HYBRID PHOTOBOOK Exegesis submitted by DOUGLAS RONALD SPOWART Graduate Diploma Arts (Visual Art), Monash University (2003) Master of Photography, Fellow and Honorary Fellow of the Australian Institute of Professional Photography in October 2011 with creative work in fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the School of Creative Arts JAMES COOK UNIVERSITY ACKNOWLEDGEMENTS My deepest gratitude goes to fellow PhD candidate and partner Victoria Cooper for her encouragement, challenge and support throughout the candidature. I would also wish to acknowledge Professor Diana Davis for the opportunity to engage with this research project and to Professor Dr Stephen Naylor for his supervision and mentorship through the process to its conclusion. For their generosity, support and willing participation during the process of the work, I wish to express my thanks to the following: SUPERVISORS • Professor Diana Davis – Principal Supervisor 2004-2006 • Professor Dr Stephen Naylor – Principal Supervisor 2006-2011 • Ronald McBurnie – Associate Supervisor MY MENTORS: FORMAL AND INFORMAL I have some heroes and heroines who historically have fuelled my interest in making photographs and books. These photographers, artists and bookmakers have rewarded my life and research activities through their book works, commentaries about books and occasionally, through personal conversation. Most importantly these mentors have shaped my work in the book as a personal communiqué. Thank you to: Victoria Cooper is my life partner and also a photographer and artists’ bookmaker. Whilst we work as independent practitioners, our fieldwork, conceptual refinement of work, and production work are often linked by the kinds of discussion that can take place over the breakfast table, driving in the car or walking. -
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 -
David Frazer - Curriculum Vitae
David Frazer - Curriculum Vitae ! born 1966, Foster, Victoria, Australia Qualifications 1998-2000 Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, Monash University 1996 Honours Degree, Fine Art (Printmaking), Monash University 1991 Diploma of Education (Secondary-Art/Craft), Latrobe University 1984-1986 B.A. Fine Arts (Painting), Phillip Institute of Technology Solo Exhibitions 2018 “SLOW BOAT” Beaver Galleries, Canberra 2017 “HAPPY HOUR” fortyfivedownstairs Melbourne 2016 “SLOW BOAT” Port Jackson Press Melbourne 2016 “DRIFT” Beaver Galleries Canberra 2014 “HUG” 45 downstairs Melbourne 2014 “HUG” Beaver Galleries Canberra 2013 “HUG” Dickerson Gallery Sydney 2013 “Home Sweet Home” Guanlan Original Print Base, Shenzen, China 2013 Hillsmith Gallery Adelaide 2012 “Homesick” James Makin Gallery Melbourne 2012 Port Jackson Press Print Room, Melbourne 2012 “Homesick” Beaver galleries Canberra 2011 “Half way Home” Falkner Gallery Castlemaine Victoria 2011 “Last Blossom” Rebecca Hossack Gallery London UK 2011 “Works on paper” Post Office Gallery Ballarat Uni. 2010 “Broken Home” James Makin Gallery, Melbourne 2010 La Trobe University Visual Arts Centre, Bendigo, Victoria 2009 Beaver Galleries, Canberra, ACT 2009 The Art Vault Mildura VIC 2009 Falkner gallery Castlemaine Victoria 2008 “Lost” Dickerson Gallery Sydney 2008 “Lost” Dickerson Gallery Melbourne 2007 Adele Boag Gallery, Adelaide 2007 “Passing through the old world” Dickerson Gallery, Melbourne 2006 “On the Edge of Town” Dickerson Gallery, Melbourne. 2006 “Mr Vertigo” ICON gallery, Deakin Museum of Art. Melbourne 2005 “Somewhere over the hill” Dickerson Gallery Sydney 2005 “The Escape” Australian Galleries Melbourne 2004-2005 “Pastoral Melancholia” (touring show) Shepparton Art Gallery, Horsham Art Gallery, Wangaratta Exhibitions Gallery, Swan Hill Regional Art Gallery, Gippsland Art Gallery.Sale. -
Jeffrey Makin Bio Solo Exhibitions
Jeffrey Makin Bio 1943- Born Wagga Wagga, NSW, Australia 1994-95 - M.A. (Research), Deakin University, Geelong 1962-66 - Diploma (Painting), National Art School, Sydney Tertiary Teacher Training, Sydney Teachers College, Sydney 1961 - Julian Ashton’s School of Art, Desiderus Orban Studio, Sydney Solo Exhibitions 2008 Landmarks, James Makin Gallery, Melbourne Red Centre, Art Equity, Sydney 2007 A Graphic Survey, Port Jackson Press Print Room, Melbourne Etchings of Tasmania, Colville Street Art Gallery, Hobart 2006 Terre Australis, Art Equity, Sydney En Plein Air, Port Jackson Press, Melbourne Jeffrey Makin: Drawings, Stonnington Stables Museum of Art, Deakin University, Melbourne 2005 The Tasman Series, Art Equity, Sydney 2004 Australia Felix, Suite of ten etchings launched in conjunction with Australian Conservation Foundation in World Environment Week, Port Jackson Press, Melbourne 2003 Australia Felix, Tim Olsen Gallery, Sydney 2002 Print Survey, Port Jackson Press, Melbourne Jeffrey Makin: genii loci, Stonnington Stables Gallery, Deakin University, Melbourne Jeffrey Makin: Australia Felix, Metro 5 Gallery, Melbourne 2001 Lauraine Diggins Fine Art, Melbourne Lister Calder Gallery, Perth Robin Gibson Gallery, Sydney 2000 BMG Gallery, Adelaide 1999 Robin Gibson, Sydney BMG Gallery, Adelaide Solander Gallery, Canberra 1998 Cook’s Hill Gallery, Newcastle 1997 Robin Gibson Gallery, Sydney 1995 BMG Gallery, Adelaide Greythorn Gallery, Melbourne 1994 Phillip Bacon, Brisbane Greythorn Gallery, Melbourne 1993 Greenhill Galleries, Perth John Paul -
Cvcatherine Pilgrim
Catherine Pilgrim - CV Born 1968, Melbourne, Victoria, Australia Meticulous, considered drawing is the basis for Catherine Pilgrim’s practice including lithographs, drawings and textiles. Fastidious attention to detail is the common element with personal narratives, absence and contemporary ideas around ‘Still Life’ influencing the subject matter. Catherine has exhibited widely since 1994, when she returned to Australia after studying lithography and drawing in Washington DC, USA. In 2011, Catherine completed her Master of Fine Art (Research) at Monash University, Melbourne. Her research was based on the subjective process of capture, which occurs in making a representational image. Catherine has won a number of awards for her intricate works on paper including the Australian Print Workshop Collie Trust Award and the Works on Paper, Warwick Non-Acquisitive Art Award. In 2014, Catherine was Artist in Residence at Buda Historic Home and Garden, in Castlemaine, researching the Leviny family history in preparation for a project exhibition held at the Castlemaine Art Gallery and Historic Museum in February 2015. Catherine Pilgrim’s works are held in public and private collections including the National Gallery of Australia, Geelong Regional Art Gallery, National Australia Bank and Castlemaine Art Gallery and Historical Museum. © The Artist 2016 Education: 2011 MA (Research) Monash University 1999 BA (Hons) (Fine Art) Royal Melbourne Institute Technology 1995 BA (Humanities) Deakin Universtiy 1994 BA (Fine Art) Deakin University Solo Exhibitions: -
The Blot on the Landscape: Fred Williams and Australian Art History
The blot on the landscape: Fred Williams and Australian art history Keith Broadfoot There is a blot on the Australian landscape. It has been there for a long time, but its existence only really became apparent with a defining shift in Australian art historiography which occurred with Bernard Smith’s 1980 Boyer Lecture series, The Spectre of Truganini. Seeing the exclusion of an Aboriginal presence in Australian art through the ideas of Sigmund Freud, Smith proposed in his pivotal text that the history of Australian art was a history of repression. After Smith, contemporary art historian Ian McLean has developed the most detailed account of the history of Australian art according to this methodology. This essay examines the work of the modern Australian artist Fred Williams in relation to both Smith and McLean’s understanding of the history of Australian art but to expand on their work I argue that, rather than Freud alone, it is Jacques Lacan’s refiguring of Freud that offers us the most insight into Williams’s work. Further, insofar as I argue that the history of Australian art is the very subject matter of Williams’s work, his work stands in for a wider project, the writing of a history of Australian art according to Lacan’s proposal of a foundational split between the eye and the gaze. But first, to that blot. From colonial melancholy to a modern uncanny In a brilliant observation, Ian McLean, in drawing attention to emigrant artist John Glover’s attempt to control the disorderly dispersion of gums across the hillsides in the background of some of his paintings, suggests that therein could be found the origin to the art of Fred Williams. -
Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
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. -
Spirit of the Plains
Spirit of the Plains Bradley Kunda, GUITAR Laura van Rijn, FLUTE Spirit of the Plains (Bradley Kunda, 2015) I. Pan II. The West Wind III. Fantasy Spirit of the Plains is inspired by the paintings of Sydney Long (1871-1955). Long remains a unique voice in Australian art, particularly for his rendering of the Australian landscape in the European Art Nouveau style; he extends the branches of gum trees into flowing lines with sinuous curves, and he decorates the bush with mythical figures – fauns, nymphs and satyrs. Brolgas and magpies are enchanted by the flute, played by Pan, the Greek god of nature, shepherds, flocks, and pastoral music (Pan, 1989), or by a similarly evocative feminine spirit (The Spirit of the Plains, 1897/1914; The West Wind, 1909). The iconographic Art Nouveau image of spirited dancing girls with flowing dresses is a feature of Long’s work Fantasy (c. 1914), where the figures are engulfed by Long’s dreamy and imaginative depiction of trees and moonlight. The musical language of Spirit of the Plains for flute and guitar draws particularly on the French music of Long’s day, especially that of Maurice Ravel, whose meandering lines and lush textures are a fitting allusion to the Art Nouveau style. In the spirit of Long’s appropriation, however, this characteristic style is re-imagined through an Australian lens; the overtone-rich and colourful sound of the Australian classical guitar evokes its own harmonic and textural sound world, which pairs beautifully with Pan’s own instrument – the flute – in an Australian re-imagining of the musical and visual world of the fin de siecle. -
G Eelong G Allery Annual Report
Geelong Gallery annual report 2009–2010 Geelong Gallery Little Malop Street Geelong 3220 T 03 5229 3645 Open daily 10am–5pm Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday www.geelonggallery.org.au Geelong Gallery annual report 2009–2010 01 Contents President’s report 02 Director’s report 04 Honorary Secretary’s report 08 The Geelong Art Gallery Foundation 16 The Geelong Gallery Grasshoppers 18 Friends of the Geelong Gallery 20 Collections report 21 Financial statements for 30 the year ended 30 June 2010 Government partners and sponsors 44 Geelong Gallery annual report 2009–2010 02 President’s report Since the Gallery’s last AGM, my predecessor Overall, I’m delighted to confirm that the year’s as President of the Geelong Gallery, Michael programs and initiatives went successfully to Cahill, has stepped down from the role, having plan, with all the Key Performance Indicators served in different capacities on Gallery boards that underpin the Gallery’s funding agreements and committees for some two decades. So, with our local and state government partners it is with great pleasure that I place on record either comfortably met or, more often than here our sincere thanks to Michael for this not, substantially exceeded. remarkable commitment to the Board and to the Gallery, noting as I do so, and with real A wide-ranging exhibition program was satisfaction, that Michael retains a formal link delivered to critical acclaim, the Gallery’s with us as continuing Chair of the Gallery’s financial performance was sound, corporate Acquisitions committee. sponsorships were retained and extended, the collection grew through purchase, As usual on these occasions, brief outlines bequest, acquisitive prize, and gift with of the Gallery’s financial and general operating the Geelong Art Gallery Foundation keenly performance over the previous 12 months supportive throughout. -
Annual Report 2010–11
ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. -
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.