Art Gallery of New South Wales 2015 Year in Review

Total Page:16

File Type:pdf, Size:1020Kb

Art Gallery of New South Wales 2015 Year in Review Art Gallery of New South Wales Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 2015 2015 ART GALLERY OF NEW SOUTH WALES 2015 2 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 3 Our year in review 4 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 5 We dedicate this inaugural Art Gallery of New South Wales annual review publication to the Australian artists represented in the Gallery’s collection who have passed away during the year. 8 OUR VISION 9 FROM THE PRESIDENT Guido Belgiorno-Nettis 10 FROM THE DIRECTOR Michael Brand 12 YEAR AT A GLANCE 14 SYDNEY MODERN PROJECT 23 ART 42 IDEAS 50 AUDIENCE 60 PARTNERSHIPS 74 EXECUTIVE 75 CONTACTS 80 2016 PREVIEW Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. Our goal is that by the time of our As Australia’s premier art museum, 150th anniversary in 2021, the Gallery we must reflect the continuing evolution will be recognised, both nationally of the visual arts in the 21st century and internationally, for the quality of alongside the development of new our collection, our facilities, our staff, channels of global communication that our scholarship and the innovative increasingly transcend national ways in which we engage with our boundaries. While we live in an era of various audiences. overall financial constraint, we are also blessed with high levels of new thinking It is essential the Gallery continues to and ever-increasing expectations. build on our reputation as Australia’s leading art museum in the fields of contemporary art, while maintaining our significant commitment to historical Aboriginal and Torres Strait Island, Australian, Asian and European art. 8 Art Gallery of New South Wales 2015 GUIDO BELGIORNO-NETTIS AM PRESIDENT ART GALLERY OF NEW SOUTH WALES TRUST 2014–15 FROM THE PRESIDENT This is the inaugural Art Gallery Through our strategic partner, In May, the Gallery appointed Tokyo- of New South Wales year in Destination NSW, the Gallery was able based architectural and design firm review publication which celebrates to bring The Greats: masterpieces SANAA to design the Sydney Modern our key achievements for 2015. from the National Galleries of Scotland Project after they won an international to Sydney as part of the Sydney design competition, whose jury was I would like to formally acknowledge International Art Series. EY, our chaired by the Gallery’s director, the significant support of the NSW leadership partner, also made a highly Michael Brand. The Gallery has since Government this year, through the valued contribution to this exhibition. been working closely with SANAA Hon Mike Baird MP, Premier of New Our other leadership partner, ANZ, to refine the design for the Sydney South Wales, and the Hon Troy Grant allowed us again to present the Modern Project in consultation with MP, Deputy Premier and Minister for Archibald, Wynne and Sulman Prizes. key stakeholders. the Arts. The government’s support Our principal sponsors – Herbert has allowed us to serve our current This has been my final year on the Smith Freehills, J.P. Morgan, audiences and, with funding for the Board of Trustees, having served the Macquarie Capital, State Street and planning phase of the Sydney Modern maximum three consecutive three- UBS – provided significant support Project, to further develop our strategy year terms, and I leave the Gallery in to numerous Gallery programs. for the future. a strong position under the leadership In addition, we entered the second year of new president, David Gonski AC, When our 2014–15 Annual Report was of the ten-year $10-million philanthropic with a committed and generous Board tabled in Parliament in November, we commitment to the Gallery from of Trustees as well as our exceptional were pleased to announce that Gallery Crown Resorts Foundation through director, executive team and Gallery visitation had increased by 13% to their Sydney Arts Fund. Crown Resorts staff. It has been an honour and a 1.3 million. This included a 12% Foundation and the Packer Family privilege serving the Gallery as trustee increase in visitor numbers to our Foundation are also providing $100 000 and president. building in The Domain, a 5% increase per year for two years to deliver Art to the Brett Whiteley Studio and a 14% Pathways, an impactful social inclusion increase in touring exhibition visitation. program for students in Western Sydney. As it has since 1983, the Gallery continued to provide significant support for art acquisitions. Valued at over $20 million in total, two major new bequests for art acquisitions to the Foundation in 2015 will be the two largest bequests in its history. This will make the Foundation one of the largest art acquisition funds in the country. Art Gallery of New South Wales 2015 9 MICHAEL BRAND DIRECTOR ART GALLERY OF NEW SOUTH WALES FROM THE DIRECTOR While we celebrate a highly from head curator of international art, Ildiko Kovacs won the $80 000 Bulgari successful year at the Gallery in 2015, Justin Paton, won the Art Association of Art Award for Onda 2015. She is we are also planning assiduously Australia and New Zealand Best Large the fourth recipient of the annual for the future as the Gallery Catalogue award for 2015 in recognition award, launched by Bulgari in 2012 approaches its 150th anniversary of its original contribution to scholarship. in collaboration with the Gallery. in 2021. Our focus is on how best The Balnaves Foundation support for Sourced from more than thirty-five to expand our art collection, to the Edmund Capon Fellowship this private and public collections nationally develop inspiring exhibitions and year enabled Matt Cox, assistant and internationally, The photograph to broaden our audience, including curator, Asian art, to travel to and build and Australia made an original in the digital sphere. stronger relationships with partner contribution to the history of Australian institutions in Malaysia, the Philippines For the 2015 calendar year, the Gallery art and to our understanding of how and Singapore. acquired a total of 440 new works photography helped shape our national (185 purchases and 255 gifts and identity. Go east: the Gene & Brian 2015 witnessed both the 20th bequests) worth over $10 million. Sherman Contemporary Asian Art anniversary of the Brett Whiteley Studio Acquisition highlights include works Collection included Jitish Kalat’s Public and the transfer of its ownership to by Godfrey Miller, Sue Ford, Shaun notice 2 2007 and Yang Zhichao’s the Gallery. A generous donation of Gladwell, Charles Kerry, Samuel Chinese Bible 2009, both of which were $2 million by Wendy Whiteley has Namunjdja, Mark Bradford, Anish gifted to the Gallery by the Shermans. extended opening hours and enabled Kapoor, Martha Rosler, Andrew Nicholl extra programming and further Nigel Milsom won the annual Archibald and Michael Parekowhai. curatorial and research support. Prize for his portrait of Charles Funded by the Beryl Whiteley Estate, The public enjoyed a wide variety of Waterstreet, while Natasha Bieniek won the value of the Brett Whiteley significant exhibitions at the Gallery in the Wynne Prize with Biophilia and Travelling Art Scholarship has been 2015, which continued to showcase Jason Phu won the Sulman Prize with increased from $25 000 to $30 000. our scholarship and professional I was at yum cha when in rolled the expertise as well as our strong national three severed heads of Buddha: Fear, Twenty-one of our paintings were and international connections. Almost Malice and Death. The Gallery also included in the National Gallery of 124 000 people viewed our 2014–15 held the Young Archie competition for Australia’s Tom Roberts retrospective summer exhibition, Pop to popism. artists between the ages of five and in Canberra, highlighting both the Its catalogue, edited by head curator eighteen. The winners were Daniel calibre of our collection and our of Australian art, Wayne Tunnicliffe, and Harford (age seven), Marium El-Hajj commitment to ensuring it is viewed assistant curator of contemporary art, (age twelve), Ellie Arnott (age fifteen) by a wide audience in a variety Anneke Jaspers, with contributions and Harriet Mitchell (age eighteen). of contexts. 10 Art Gallery of New South Wales 2015 In 2015 the Gallery continued to ‘ showcase our scholarship and professional expertise as well as our strong national and international connections. ’ After extensive consultation with our Embracing new ways of communicating In May, Anne Flanagan, deputy director partners, we launched a Regional NSW with and expanding our audience, in of the Gallery and one of Australia’s and Western Sydney Engagement Plan addition to the Gallery’s Instagram most respected art museum leaders, as well as the Art Pathways program account (#artgalleryofnsw), I also post announced her retirement after twenty- for Western Sydney schools; the latter photos of art and life in Sydney and three years. Suhanya Raffel, our director with funding generously provided by further afield on @michaelbrandsydney. of collections, took on the additional the Crown Resorts Foundation and the role of deputy director at this time. Packer Family Foundation. Lastly, Guido Belgiorno-Nettis AM, We also completed six exhibition who has made so many significant and collection policies to reflect our contributions to the Gallery since commitment to best practice and to he joined the Board of Trustees in support the Gallery’s application for 2007 (and as president from 2014), and ongoing compliance with Approved completed his trusteeship at the end Borrowing Institution status under the of 2015.
Recommended publications
  • 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
    [Show full text]
  • Art Gallery of New South Wales Annual Report 2012 – 13
    ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2012 – 13 1 CONTENTS 4 Vision and strategic direction 2010 – 15 5 President’s foreword 9 Director’s statement 13 At a glance 15 Access 15 Exhibitions and audience programs 19 Future exhibitions 21 Publishing 23 Engaging 23 Digital engagement 23 Community 30 Education 35 Outreach Regional NSW 40 Stewarding 40 Building and environmental management 42 Corporate Governance 58 Collecting 58 Major collection acquisitions 67 Other collection activity 70 Appendices 123 General Access Information 131 Financial statements 2 ART GALLERY OF NSW ANNUAL REPORT 12-13 The Hon George Souris MP Minister for Tourism, Major Events, Hospitality and Racing, and Minister for the Arts Parliament House Macquarie Street SYDNEY NSW 2000 Dear Minister It is our pleasure to forward to you for presentation to the NSW Parliament the annual report for the Art Gallery of NSW for the year ended 30 June 2013. This report has been prepared in accordance with the provisions of the Annual Report (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2010. Yours sincerely Steven Lowy Michael Brand President Director Art Gallery of NSW Trust 21 October 2013 3 VISION AND STRATEGIC DIRECTION 2010 – 2015 Vision The Gallery is dedicated to serving the widest possible audience, both nationally and internationally, as a centre of excellence for the collection, preservation, documentation, . interpretation and display of Australian and international art. The Gallery is also dedicated to providing a forum for scholarship, art education and the exchange of ideas. Strategic Directions Access To continue to improve access to our collection, resources and expertise through exhibitions, publishing, programs, new technologies and partnerships.
    [Show full text]
  • AUIP Itinerary
    Itinerary for PSU SOVA 2021 Social and Cultural Explorations in the Visual Arts: in Sydney, Australia 13 July 2021 - 24 July 2021 Tuesday 13 July Day 1: Sydney 8:50 AM Group flight arrives 9:30 AM Welcome to Sydney Your guide for today’s walking tour will greet you upon arrival at the airport with a sign that reads "PENN STATE UNIVERSITY." Please meet at Exit A at the northern end of the terminal. If you miss your flight and will be arriving late, please contact your faculty leader, Dr. Angela Rothrock (Phone: 011 61 420 675 797 or Email: [email protected]), to let her know when you will be arriving. You will then be responsible for making your own way from the airport to the accommodation. Please notify your family of your safe arrival. 10:15 AM Depart by coach to Travelodge Sydney (travel time approximately 30 minutes) Please store your luggage at Travelodge Sydney. You will be able to check in after 3:30 PM. Please notify hotel staff of any valuables (laptop computers, jewellery, electronics, etc.) and they can lock them in a secure room for you. 11:10 AM Depart by coach to The Rocks historic neighborhood (travel time approximately 20 minutes) 11:30 AM Guided walking tour of The Rocks Your guide will provide you with a detailed history of The Rocks as you visit sites of interest in the area. Topics include Aboriginal history and culture, Australia’s history as a convict penal colony, the start of European migration to Australia and Sydney landmarks.
    [Show full text]
  • Queensland Art Gallery Board of Trustees Annual Report 2015–16
    QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific.
    [Show full text]
  • Monika Weiss, Nirbhaya 1 Cover Diagram 1 of 1
    Monika Weiss, Nirbhaya 1 Cover Diagram 1 of 1 Folded 9.25 x 11.25 in (235 mm x 286mm) Flat 9.25 in / 235 mm Outside Monika Weiss Monika Weiss 11.25 in 286 mm Spine Front 156 mm 235 mm + 235 mm + 156 mm TBD Inside Back 2 Monika Weiss, Nirbhaya 3 Interior Spreads Diagram 1 of 2 1 — 1 color 4 — 4 color 4 4 1 1 1 4 1 1 1 2 3 4 MACIEJ ALEKSANDROWICZ 5 MACIEJ ALEKSANDROWICZ 6 ŁUK TRYUMFALNY — ŁUK GODNOŚCI, PAMIĘCI JYOTI SINGH: NIRBHAYA A TRIUMPHAL ARCH – AN ARCH OF DIGNITY 7 5 MACIEJ ALEKSANDROWICZ 5 MACIEJ ALEKSANDROWICZ polegających na swobodnym i równoprawnym dostępie do prze- on the victims of such crimes, or on those people living in fear Na koniec powrócę do pierwotnego apelu o konieczności monument project in the Sculpture Park: Sam Fox School of Monika Weiss ŁUK TRYUMFALNY — ŁUK GODNOŚCI, PAMIĘCI A TRIUMPHAL ARCH — AN ARCH OF DIGNITY strzeni publicznej. Równość jest bowiem podstawą wszelkich praw of such crimes. These would represent new foundations of umieszczenia Nirbhayi w przestrzeni publicznej i naszej Design & Visual Arts, Washington University in St. Louis, EMA JYOTI SINGH: NIRBHAYA JYOTI SINGH: NIRBHAYA dotyczących takiej przestrzeni, podobnie wolność każdej osoby change, based on free and equal access to public space. Equality publicznej świadomości. Experimental Media Arts at the University of Arkansas, Lamar do przebywania tam, bezpieczeństwa i realizacji swoich potrzeb. is the foundation of all rights related to such space, just like Johnson Collaborative, St. Louis/Chicago, and Streaming Monika Weiss upamiętnia Jyoti Singh, Nirbhayę, której the freedom of each person to to inhabit public space, safety, Museum, New York, as well as New York Foundation for the Arts 9 MONIKA WEISS 9 MONIKA WEISS bestialsko i zbiorowo odebrano życie, godność i wszystkie prawa.
    [Show full text]
  • Stephen Page on Nyapanyapa
    — OUR land people stories, 2017 — WE ARE BANGARRA We are an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national currently in our 28th year. Our dance technique tour of a world premiere work, performed in is forged from over 40,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra, and represent the pinnacle of Australian dance. Each an international tour to maintain our global has a proud Aboriginal and/or Torres Strait reputation for excellence. Islander background, from various locations across the country. Complementing this touring roster are education programs, workshops and special performances Our relationships with Aboriginal and Torres and projects, planting the seeds for the next Strait Islander communities are the heart generation of performers and storytellers. of Bangarra, with our repertoire created on Country and stories gathered from respected Authentic storytelling, outstanding technique community Elders. and deeply moving performances are Bangarra’s unique signature. It’s this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York. A MESSAGE from Artistic Director Stephen Page & Executive Director Philippe Magid Thank you for joining us for Bangarra’s We’re incredibly proud of our role as cultural international season of OUR land people stories.
    [Show full text]
  • DORIS SALCEDO Education Solo Exhibitions
    DORIS SALCEDO 1958 Born in Bogotá, Colombia Lives and works in Bogotá Education 1984 MA, New York University 1980 BFA, Universidad de Bogotá Jorge Tadeo Lozano Solo exhibitions 2019 Doris Salcedo: Tabula Rasa, Kunsthalle St. Annen, Lubbeck, Germany Doris Salcedo: Acts of Mourning, IMMA, Dublin 2018 Fragmentos, Bogota Palimpsest, White Cube, London Prints 2003 – 2009, Alexander Bonin, New York 2017 Palimpsest, Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid 2016 The Materiality of Mourning, Harvard Art Museum, Boston, Massachusetts Nasher Sculpture Center, Dallas, Texas 2015 Doris Salcedo, Museum of Contemporary Art Chicago; Solomon R. Guggenheim Museum, New York; Perez Art Museum, Miami, 2016 2014 Hiroshima Art Prize: Doris Salcedo, Hiroshima City Museum of Contemporary Art, Japan FLORA arts+natura, Bogotá 2013 Robert Kinmont/Doris Salcedo, Alexander and Bonin, New York 2011 Plegaria Muda, Museo Universitario Arte Contemporáneo, Mexico; Moderna Museet Malmö, Sweden; Gulbenkian, Centro de Art Moderna, Lisbon; Museo nazionale delle arti del XXI secolo, Rome, 2012; White Cube, London, 2012; Pinacoteca, São Paulo, 2012 2008 Alexander and Bonin, New York 2007 Shibboleth, Turbine Hall, Tate Modern, London White Cube, London 2004 Neither, White Cube, London 2001 Camden Arts Centre, London 2000 Tenebrae: Noviembre 7, 1985, Alexander and Bonin, New York 1998 Doris Salcedo: Unland, New Museum of Contemporary Art, New York; SITE Santa Fe, New Mexico; San Francisco Museum of Modern Art, 1999; Tate Gallery, London, 1999 1997
    [Show full text]
  • Memories of Europe in the Art from Elsewhere Andreas Huyssen
    Memories of Europe in the Art From Elsewhere Andreas Huyssen At a time when the boundaries of European citizenship are challenged from both the inside and the outside, those boundaries cannot be equated with the imaginary boundaries of European memory. The rights to citizenship are usually defined administratively and politically. European memory cannot be. It cannot be culturally fortressed. For what is European memory if it does not include memories of Europe’s role in the world at large? It must reciprocally acknowledge the memories of Europe as they circulate elsewhere, and now even inside Europe itself. Some years ago, conference titles such as “Europe and its others” abounded—still fundamentally Eurocentric in spirit, with its possessive pronoun and the globalizing discourse of othering. Then the language changed, acknowledging the implicit problem and turning to phrases such as “Europe in other cultures.” The altered phrasing recognizes counterstrategies of writing back to Empire: Europe itself was being othered by “its” others, or as Dipesh Chakrabarty has called it, provincialized.1 From my point of view both perspectives are inadequate today in capturing how the imaginary relationship between Europe and non-European parts of the world is structured in the work of contemporary artists. It is particularly the transnational and by now globally extant discourse of political memories of violence, state terror, and genocide that has produced artistic memory practices in which the European and the non-European are indissolubly folded into each other. Neither the discourse of othering nor that of provincializing makes much sense any longer. Of course the national has never lost its hold in the world of politics and cultural imaginaries.
    [Show full text]
  • Art Gallery of New South Wales 2015 Year in Review
    Art Gallery of New South Wales Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 2015 2015 ART GALLERY OF NEW SOUTH WALES 2015 2 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 3 Our year in review 4 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 5 We dedicate this inaugural Art Gallery of New South Wales annual review publication to the Australian artists represented in the Gallery’s collection who have passed away during the year. 8 OUR VISION 9 FROM THE PRESIDENT Guido Belgiorno-Nettis 10 FROM THE DIRECTOR Michael Brand 12 YEAR AT A GLANCE 14 SYDNEY MODERN PROJECT 23 ART 42 IDEAS 50 AUDIENCE 60 PARTNERSHIPS 74 EXECUTIVE 75 CONTACTS 80 2016 PREVIEW Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. Our goal is that by the time of our As Australia’s premier art museum, 150th anniversary in 2021, the Gallery we must reflect the continuing evolution will be recognised, both nationally of the visual arts in the 21st century and internationally, for the quality of alongside the development of new our collection, our facilities, our staff, channels of global communication that our scholarship and the innovative increasingly transcend national ways in which we engage with our boundaries.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Janet Hawley 2012 Design Copyright © the Slattery Media Group Pty Ltd 2012 First Published by the Slattery Media Group Pty Ltd 2012 All Rights Reserved
    JANET H AWL EY ARTISTS IN CONVERSATION The Slattery Media Group Pty Ltd 1 Albert St, Richmond JANET Victoria, Australia, 3121 Text copyright © Janet Hawley 2012 Design copyright © The Slattery Media Group Pty Ltd 2012 First published by The Slattery Media Group Pty Ltd 2012 All rights reserved. No part of this publication may be reproduced, stored in a retrieval H AWLEY system or transmitted in any form or by any means without the prior written permission of the copyright owner. Inquiries should be made to the publisher. ARTISTS IN Portions of the work have been previously published in The Age and The Sydney Morning Herald’s Good Weekend and Sydney magazines, as well as Encounters with Australian Artists by Janet Hawley CONVERSATION (published by University of Queensland Press, 1993) Extracts from Donald Friend’s diaries: © Trustees of the Estate of Late Donald Friend (reproduced with permission from the Estate of the Late Donald Friend) All images and artworks used with permission. See images for credit information. Image on dust jacket of Janet Hawley © Graham Jepson National Library of Australia Cataloguing-in-Publication entry Author: Hawley, Janet, 1944 Title: Artists in conversation / Janet Hawley. ISBN: 9781921778735 (hbk.) Subjects: Artists–Australia–Anecdotes. Art, Modern. Dewey Number: 709.94 Group Publisher: Geoff Slattery Editor: Nancy Ianni Image research: Gemma Jungwirth Cover and page design: Kate Slattery Creative Director: Guy Shield Printed and bound in Australia by Griffin slatterymedia.com visit slatterymedia.com For Kimberley, ben, Sam and PhiliP JANET HAWLEY ARTISTS IN CONVERSATION ContentS Introduction ��������������������������������������������������������������� 9 1. Françoise Gilot ............................ 15 17. John Wolseley ..............................
    [Show full text]