Art Gallery of New South Wales Annual Report 2001
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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. -
The NATIONAL HORTICULTURAL MAGAZINE
NATIONAL GARDEN WEEK: APRIL 20th TO 26th VOLUME II-No. 4 Fall and Winter, 1923 The NATIONAL HORTICULTURAL MAGAZINE Dc','oted 10 the poplllari:::iJlg of all phases of horticlIlture: Ornamental Gardening, including La,nd sca/'f' GardeJl iJlg, ,·ll1latellr Flo'll'er GardeJling; Professioi/al Flower Gardi!'Jl iJl g or Floriculture; V egetable Garde Jl ing; Fruit Gro'willg, alld all acti'l'ilies allied with horticulture, Fall afld Winter Number CONTENTS Woods Flowers in Cultivation North Dakota State Horticultural Society Grand Forks Horticultural Society Galesburg Horticultural Society Wild lings of North America Garden Gossip Literature of the Trade Issued Quarterly and O'wned Exclusively by THE NATIONAL HORTICULTURAL SOCIETY OF AMERICA. , Permanent Headquarters to be Establishel at vVashington, D. C. Office of the Secretary, Henning, Minnesota 25 CENTS A COPY THE NATIONAL HORTICULTURAL SOCIETY OF AMERICA INCORPORATED .JULY 1, 1922 OFFICERS OF THE NATIONAL HORTICULTURAL SOCIETY PRESIDENT, Mr. C. Z. Nelson, VrCE PRESIDENT, Mrs. F a nnie Mahood Heath, Galesburg, Ill. Grand Forks, N . D. REGIONAL VICE PRESIDENTS NORTH PACIFIC' COAST: NORTHWEST MIDLAND: SOUTHEASTLAND: Mr. Joe Smith, Longbranch, Wash. Mrs. Mathilda C. Engstad, 703 So. Fifth Mrs. D . F . Sheppard, Daisy, Ga. St., Grand Forks, N. D. SOUTH PACIFIC COAST: N ORTHEAST MIDLAND: EASTERN CANADA: Mrs. E v a Kenworthy Gray, 32 and Wool Mr. O. H . Schroeder, Fariba ult, ¥inn. m a n Ave., San Diego, Cal. Dr. Frank E . Bennett, St. Thomas, Onto SOUTHWEST MIDLAND: NORTH ROCKY MOUNTAINS : Mrs. May Senn , Rota n , Tex. WESTERN CANADA: Mrs. Walter E . R evo, Glacier National SOUTHEAST M1DLAND: Mrs. -
ANZAC Memorial Visit
ANZAC Memorial Hyde Park June 2013 On Thursday 27th June the Scouts from 1st Ermington had the opportunity to visit the ANAZ Memorial at Hyde Park in the city. We caught the train from Eastwood station for the journey into Sydney - alighting from the train at Town Hall station. Fortunately the weather was kind and we had a nice walk up to the memo- rial through Hyde park. Although it was early evening and dark the memo- rial looked terrific. The curator for the evening introduced himself to the troop and there was much interest in his background as he was both a Vietnam veteran and a former scout. The evening started with a short video and the scouts were surprised at the footage of the opening because at the time the memorial was the tallest building in the city and the opening was attending by 100,000 people. We were given a tour of the different parts of the memorial (inside and out). Learning about the different parts of the memorial was extremely in- teresting. The Scouts were invited to release a Commemorative star representing an Australian service man or woman killed while serving their country or since deceased - a very humbling experience Another highlight of the evening was the Scouts being able to see a banner signed by Baden Powell. We departed the memorial at 8:20 for our return trip, arriving back into Eastwood at 9:10pm. A big thank you to the Scouts and Leaders that were able to participate in this activity. The ANZAC War Memorial, completed in 1934, is the main commemorative military monument of Sydney, Australia. -
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. -
14 Jan 2020 Green CV
Professor Charles Green 1 CHARLES GREEN: CURRICULUM VITAE WEBSITES https://arcone.com.au/artists/#/brown-green/ https://lyndellbrownandcharlesgreen.com https://www.findanexpert.unimelb.edu.au/display/person15416#tab-overview STUDY 1998: Doctor of Philosophy, The University of Melbourne, Melbourne 1993: Master of Arts (Visual Arts), Monash University, Melbourne 1987: Bachelor of Arts (Honours), University of Melbourne, Melbourne 1981: Bachelor of Arts (Fine Art), Victorian College of the Arts, Melbourne 1980: Diploma in Education, Melbourne State College, Melbourne 1973: Diploma of Art (Painting), National Gallery Art School, Melbourne CURRENT AND PREVIOUS ACADEMIC AND OTHER APPOINTMENTS 2011- : Professor, School of Culture and Communication, University of Melbourne. Fellow, Australia India Institute, University of Melbourne. 2007: Australian Official Artist, Australian War Memorial (Deployment in Iraq and Afghanistan) 2004: Associate Professor/Reader, School of Culture and Communication, University of Melbourne 2001-2004: Senior Lecturer, School of Art History, Cinema, Classical Studies and Archaeology, University of Melbourne 2001-2006: Adjunct Senior Curator of 20th-21st Century Art, National Gallery of Victoria 1998-2000: Lecturer, School of Art History, College of Fine Arts, University of New South Wales. 1993-1998: Tutor, School of Fine Arts, Classical Studies and Archaeology, University of Melbourne 1997-1998: Lecturer (contract), Faculty of Art and Design, Monash University Caulfield 1994-1995: Lecturer (contract), Faculty of Art, RMIT 1993: Australia Council Fellowship 1981-1992: Lecturer, Head of Painting, Department of Art, Box Hill College of TAFE ADMINISTRATION AND LEADERSHIP WITHIN THE UNIVERSITY School of Culture and Communication and the University of Melbourne 2019: Executive Committee, Centre for Visual Art. Dean’s nominee, Faculty of Arts staff selection and promotion committees. -
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. -
Christmas Island Biodiversity Monitoring Program: December 2003 to April 2007
Christmas Island Biodiversity Monitoring Program: December 2003 to April 2007 Report to the Department of Finance and Deregulation, from the Director of National Parks September 2008 2 Christmas Island Biodiversity Monitoring Program Project Contributions Project coordination: D.J. James; Field survey: D.J. James, K. Retallick; Data management, GIS: D.J. James, K. Retallick; Analyses and reporting: D.J. James Citation This document can be cited as: Christmas Island Biodiversity Monitoring Program: December 2003 to April 2007. Report to the Department of Finance and Deregulation from the Director of National Parks © Director of National Parks 2008 Christmas Island Biodiversity Monitoring Program 3 Contents EXECUTIVE SUMMARY ........................................................................................................................7 1. INTRODUCTION.................................................................................................................................9 1.1 Checklist of flora and fauna of Christmas Island.....................................................................9 1.2 Christmas Island biodiversity inventory database.................................................................10 2. CHRISTMAS ISLAND PIPISTRELLE ........................................................................................11 2.1 Summary of the results .........................................................................................................11 2.2 Research and monitoring methods .......................................................................................12 -
Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
Art Gallery of South Australia Major Achievements 2003
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 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. -
The Paragon, Katoomba
The Paragon, Katoomba McLaughlin Lecture, Wentworth Falls, 1 March 2014 Ian Jack Fig.1 The Upper Mountains are well supplied with icons both of the natural environment and of the European built environment. The built environment from the later nineteenth century onwards relates overwhelmingly to the tourist industry: the railway which brought city-dwellers up here for holidays, the hotels and guest-houses, the cafés and restaurants and the homes of those who serviced the visitors. I want to talk about one particular café, its local setting and its wider ethnic context, its aesthetics and its archaeology. The Paragon in Katoomba was presciently named by Zacharias Simos in 1916. There are quite a lot of Greek cafés in New South Wales, forming an important heritage genre. But I can think of no other surviving Greek café in the state which has comparable stylishness, integrity and wealth of aesthetic and industrial heritage. The Paragon dates from quite near the beginning of a new phenomenon in Australian country towns, the Greek café. Fig.2 This is the Potiris family café in Queanbeyan 1914. Although the Greek diaspora, especially to America and Australia, had begun early in the nineteenth century, it had gained momentum only from the 1870s: over the following century over 3 million Greeks, both men and women, emigrated. The primary reason for many leaving their homeland in the late nineteenth century was economic, exacerbated by a sharp decline in the price of staple exports such as figs and currants and the wholesale replacement in some places of olive-groves by 1 vineyards. -
EDMUND CAPON Edmund Capon Was Appointed Director of the Art
EDMUND CAPON Edmund Capon was appointed Director of the Art Gallery of NSW in November 1978 for a three year term – the first internationally-trained art historian and curator to be appointed to the role. He held this position for 33 years, retiring at the end of 2011. During his tenure, he oversaw two significant building expansions, particularly regarding the Asian galleries. He established a corporate foundation based upon the NGV model to fund purchases for the collection, oversaw significant collection development and curated many important exhibitions of Australian and International art. He also continued to research, write and publish, and produced a three-part TV series, Meishu – Travels in Chinese Art for the ABC and China Central TV. Edmund Capon (b. 1940), commenced his museum career at a commercial gallery in London whilst a student at the Courtauld Institute of Art. In 1966, he began his career at the Victorian and Albert Museum. Having completed an MPhil in Chinese art and archaeology (including language) from London University’s Department of Oriental and African Studies, he was appointed assistant keeper in the Far Eastern Section of V&A in 1973. Acknowledged as a specialist in his field, he undertook three cultural tours to China between 1974 and 1978. It was during the first of these tours in Xian that he witnessed the initial diggings which revealed the entombed warriors. In 1976, he was commissioned by the Australia Council and Art Exhibitions Australia to write and publish a book, Art and Archeology in China. The book was an accompaniment to The Chinese Exhibition: a selection of recent archaeological finds of the People’s Republic of China which toured the state galleries of Victoria, NSW and South Australia in 1977. -
Guy & Joe Lynch in Australasia
On Tasman Shores: Guy & Joe Lynch in Australasia MARTIN EDMOND University of Western Sydney The Tasman Sea, precisely defined by oceanographers, remains inchoate as a cultural area. It has, as it were, drifted in and out of consciousness over the two and a half centuries of permanent European presence here; and remains an almost unknown quantity to prehistory. Its peak contact period was probably the sixty odd years between the discovery of gold in Victoria and the outbreak of the Great War; when the coasts of New Zealand and Australia were twin shores of a land that shared an economy, a politics, a literature and a popular culture: much of which is reflected in the pages of The Bulletin from the 1880s until 1914. There was, too, a kind of hangover of the pre-war era and of the ANZAC experience into the 1920s; but after that the notional country sank again beneath the waves. Recovery of fragments from that lost cultural zone is a project with more than historical interest: each retrieval is a prospective act, contributing to the restoration of a world view which, while often occluded, has never really gone away. There is of course much which is irrecoverable now; but that is in itself a provocation; for a mosaic made out of dislocated pieces might disclose something unprecedented, neither existent in the past nor otherwise imaginable in the present: the lineaments of the new world, at once authentic and delusive, that so entranced the earliest explorers of the Antipodes. What follows, then, is an assembly of bits of one of those sets of fragments: the story of the Lynch brothers, Guy and Joe, a sculptor and an artist; and the milieu in which they lived.