DOCSLIB.ORG

A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice. Thank you also to Lan Tran for her expert guidance in navigating the PhD administrative processes. My thesis was greatly enhanced by the interviews that I was kindly granted by: Dr Anna Gray, Lola Wilkins, Professor Peter Stanley, Ryan Johnston, Warwick Heywood, Laura Webster and Jon Cattapan in Australia. And Diane Lees, Angela Weight, Kathleen Palmer, Richard Slocombe, Sara Bevan, Jenny Wood and the late Roger Tolson in the UK. I was very sad to hear of Roger Tolson’s passing, and glad that his good work lives on at the Imperial War Museum (IWM). Thanks go to all of the interviewees for their generosity with their time, their insightful comments, and their support. The two war museums were very generous in allowing me to conduct my research there, sometimes in ‘behind the scenes’ staff areas. At the Memorial I would like to thank all the staff of the Art Section, and particularly Alex Torrens and Margaret Beadman who helped me access some of the internal files. At the IWM I would like to thank all my art curator colleagues, past and present, including Claire Brenard for help finding past annual reports. Thank you also to Sarah Henning for helping me access other Museum archival records. I am also grateful to the IWM for allowing me to take periods of study leave from work in the final months of the PhD. Friends at the Research School of Humanities and the Arts and the School of Art History and Theory at the Australian National University made the PhD journey such a great experience. Thank you for the chats, laughs, lunches, and hot pot dinners: Veronica Bullock, Kathy Chen, Tzu-Yu Chiu, Jennifer Clynk, Megan Deas Faulkner, Cut Dewi, Judith Downey, Ian Edelstein, Martha Kinsman, Laura Parker, Kaaren Sephton, Jane Smyth, Rouran Zhang and Margaret Prescott. A special thank you to Alastair MacLachlan and those from the chapter writing workshop who read and commented on some of my chapters. The ANU provided support in a myriad of ways, including granting me a Vice Chancellor’s Travel Award that allowed me to research in the UK. Thank you to Inger Mewburn, the thesis whisperer, and the organisers of the Thesis Boot Camp. Thank you also to my friends and history peers, Dr Emily Robertson and Dr Meggie Hutchison who organised the Art, War and Truth conference in 2014. I would also like to gratefully acknowledge the funding I received towards my PhD in the form of an Australian Postgraduate Award. Finally, I would like to thank my dear friends and family for always uplifting me and supporting me. In particular, Robyn Kahonde, Rachel Allen, Lizzie Hayes and Christine Walton patiently listened to a lot of thesis chat. Marie and Ken Devlin hosted me at their home for three months when I returned from fieldwork. Bill Walton read and commented on some of my chapters – thank you Dad. The biggest thank you to my partner in love and life, Alan Devlin, for emotionally, financially and practically supporting me for so many years through the PhD. Abstract This thesis examines the historical development of the artist print collections of the Imperial War Museum and Australian War Memorial, and analyses the relationship of these collections to their institutions. Printmaking is an artistic medium that has historically been used by artists for social critique, and many high quality works of this type are present in the two collections. I argue that in both museums, when developing the print collections, curators were able to acquire beyond the strict interpretation of the museums’ collecting guidelines. As a result of this, the prints have challenged some of the more conservative underlying messages of the museums. National war museums are ideal for a study of contested histories, particularly those within their own collections, and the IWM and AWM are prominent institutions in this specialist category of museums. My hypothesis is that prints can destabilize the histories that war museums wish to present due to their historical use by artists for a variety of purposes that are somewhat unique to the medium. This is driven by the materiality of the print. This study also analyses how museum structures and internal cultures affected the development of the print collections. In particular, I have tried to answer the questions: What factors influenced the development of the print collections? And how did the professional agendas of curators inform that development? Print collecting flourished at key points in the histories of the institutions, particularly when fine art specialists were in charge of acquisitions. While print collecting broadly reflected the aims of the institutions at different times, on occasion it introduced divergent narratives into the war museums. This thesis is interdisciplinary in the way it uses a history methodology and museum studies framework. The historical research methods employed include archival research and semi- structured interviews with selected former and current museum staff. My research will add to academic and curatorial knowledge about how collections are formed in large national museums, and analyse the role and significance of two collections that have not previously been thoroughly examined. The thesis places the curator as the creator of the collection, not merely as someone who carries out instructions from management, but who negotiates between the institutional forces, social forces and the nature of the objects, to ultimately shape the collection. Table of Contents List of Abbreviations 1 Note on References 3 Introduction 4 Research design 6 Rationale for Case Studies 7 Background and Literature 8 The War Museums 8 Prints in the Context of War Art 16 The Role of the Curator 24 Methodology 30 Thesis Structure 34 1. Background to the IWM and AWM 38 The founding of the IWM in 1917 and early years: a government institution 38 Devised from within the Australian Army: the founding of the AWM 45 The war museums in the modern era: governance and underlying messages 51 The IWM Board of Trustees and the AWM Council 52 The gallery layouts of the AWM and IWM 53 Commemoration at the war museums 55 Visitors to the war museums 63 Art in the war museums 65 The role of art objects in war museums 65 2. Printmaking and the print collections 72 Artist prints 72 Definitions and technical processes 72 Why artists maKe prints 74 The social historical and art historical aspects of printmaking 77 The IWM and AWM print collections 80 Scope of the IWM and AWM collections 80 Characteristics of the print collections and reasons for collecting 83 Parameters of the collections and the study 89 3. IWM print collecting in the First and Second World Wars 92 IWM collecting of print folios and ‘eye-witness’ accounts from 1917 93 The DoI and transference of the MoI collection in 1918: persuasive propaganda 97 Britain’s Efforts and Ideals: national pride and commercial venture 101 Nevinson and Nash: British artists at the front 106 The collections unite: the foundation of the IWM print collection 111 The MoI and IWM: merging staff and merging ideologies 114 The difference in the Second World War scheme: official print commissions 119 The prints of the War Artists Advisory Committee 123 Allocating works and the end of the War Artists Advisory Committee 126 4. The Art Department under Joseph Darracott: print collecting at the IWM in the 1970s 130 The effect of staff professionalization on print collecting 132 Collecting known artists from the world wars 138 Broader collecting and international artists 143 Collecting new voices: new narratives 148 Print collecting as part of wider changes at the IWM 151 5. The curator’s vision: print collecting at the IWM from 1980 to 2014 154 The Art Department under Angela Weight 155 Social change and print acquisitions in the 1990s and early 2000s 163 Collecting historical prints 170 The Art Section from 2005-2014 174 Collecting prints for a complex museum 179 6.
Load more

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]
  • Feminist Periodicals
    The Un vers ty of W scons n System Feminist Periodicals A current listing of contents WOMEN'S STUDIES Volume 26, Number 4, Winter 2007 Published by Phyllis Holman Weisbard LIBRARIAN Women's Studies Librarian Feminist Periodicals A current listing of contents Volume 26, Number 4 (Winter 2007) Periodical literature is the cutting edge ofwomen's scholarship, feminist theory, and much ofwomen's culture. Feminist Periodicals: A Current Listing of Contents is published by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing public awareness of feminist periodicals. It is our hope that Feminist Periodicals will serve several purposes: to keep the reader abreast of current topics in feminist literature; to increase readers' familiarity with a wide spectrum of feminist periodicals; and to provide the requisite bibliographic information should a reader wish to subscribe to a journal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations of the new copyright law with regard to photocopying of copyrighted materials.) Table of contents pages from current issues ofmajorfeministjournalsare reproduced in each issue ofFeminist Periodicals, preceded by a comprehensive annotated listing of all journals we have selected. As publication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the follOWing information on each journal: 1. Year of first publication. 2. Frequency of pUblication. 3. Subscription prices (print only; for online prices, consult publisher). 4. Subscription address.
    [Show full text]
  • Troops Meet No Fight in Taking IRA Enelaves
    Mancheater-— A City of Village Charm MANCHESTER, CONN., MONDAY, JULY 3X, 1972 Barriers Troops Meet No Fight Collapse By ED BL.ANGHE LONDONERRY, Northern Ireland (AP) — The first sol­ In Taking IRA Enelaves diers sllpx>ed silently into the Creggan district of Londonder­ ry, their blackened faces LONDONDERRY North- extent of what has happened kept up barrages of obscenities, down their roadblocks as soon streaked by rain. ern Ireland (A P )—__ British sunk in and they have had Outside a church, a crowd of as the troops appeared. Troops flitted through «>e - ' ' . A fIvMA fn fnllr If- women who had attended Mass The army’s main target was drizzle to take cover in dark- army spokesman said the shouted at a convoy roaring "Free Derry ’ the Bogside and ened doorways. Suburban lawns ^ troops suffered no casualties past; "W e’ll rise again and Creggan districts of Londonder- became a quagmire. the Irish Republi^n Arniy shot four gunmen during you'll know about it.” ry» ringed by concrete and iron At 4 a.m. a heavy force of in Londonderry, Belfast the night. The bodies of two "They'll be back,” women barricades, where the IRA has armored cars and armored per- and other areas before men were brought to a London- supporters of the IRA shouted, held unchallenged military sohnel carriers loaded with dawn today and encounter- derry hospital. ’The troops also flooded into sway for more than a year, troops nosed toward the barri- g(J almost no rsistance. It was the biggest military of- IRA havens in Armagh and At 4 a.m.
    [Show full text]
  • At the Western Front 1918 - 2018
    SALIENT CONTEMPORARY ARTISTS AT THE WESTERN FRONT 1918 - 2018 100 years on Polygon Wood 2 SALIENT CONTEMPORARY ARTISTS AT THE WESTERN FRONT New England Regional Art Museum (NERAM), Armidale 23 March – 3 June 2018 www.neram.com.au Bathurst Regional Art Gallery 10 August – 7 October 2018 www.bathurstart.com.au Anzac Memorial, Sydney October 2018 – 17 February 2019 www.anzacmemorial.nsw.gov.au Bank Art Museum Moree 5 March – 29 April 2019 DEIRDRE BEAN www.bamm.org.au HARRIE FASHER PAUL FERMAN Muswellbrook Regional Arts Centre MICHELLE HISCOCK 11 May – 30 June 2019 ROSS LAURIE www.muswellbrookartscentre.com.au STEVE LOPES EUAN MACLEOD Tweed Regional Gallery 21 November 2019 – 16 February 2020 IAN MARR artgallery.tweed.nsw.gov.au IDRIS MURPHY AMANDA PENROSE HART LUKE SCIBERRAS Opposite page: (Front row, left to right) Wendy Sharpe, Harrie Fasher, Euan Macleod, Steve Lopes, Amanda Penrose Hart George Coates, Australian official war artist’s 1916-18, 1920, oil on canvas (Middle row, left to right) Ian Marr, Deirdre Bean, Ross Laurie, Michelle Hiscock, Luke Sciberras Australian War Memorial collection WENDY SHARPE (Back row, left to right) Paul Ferman, Idris Murphy 4 Salient 5 Crosses sitting on a pillbox, Polygon Wood Pillbox, Polygon Wood 6 Salient 7 The Hon. Don Harwin Minister for the Arts, NSW Parliament Standing on top of the hill outside the village of Mont St Quentin, which Australian troops took in a decisive battle, it is impossible not to be captivated From a population of fewer than 5 million, almost 417,000 Australian men by the beauty of the landscape, but also haunted by the suffering of those enlisted to fight in the Great War, with 60,000 killed and 156,000 wounded, who experienced this bloody turning point in the war.
    [Show full text]
  • Becky Beasley
    BECKY BEASLEY FRANCESCA MININI VIA MASSIMIANO, 25 20134 MILANO T +39 02 26924671 [email protected] WWW.FRANCESCAMININI.IT BECKY BEASLEY b. Portsmouth, United Kingdom 1975 Lives and works in St. Leonards on Sea (UK) Becky Beasley (b.1975, UK) graduated from Goldsmiths College, London in 1999 and from The Royal College of Art in 2002, lives and works in St. Leonards on sea. Forthcoming exhibitions include Art Now at Tate Britain, Spike Island, Bristol and a solo exhibition at Laura Bartlett Gallery, London. Beasley has recently curated the group exhibition Voyage around my room at Norma Mangione Gallery, Turin. Recent exhibitions include, 8TH MAY 1904 at Stanley Picker Gallery, London, P.A.N.O.R.A.M.A at Office Baroque, Antwerp and 13 Pieces17 Feet at Serpentine Pavillion Live Event. Among her most important group exhibitions: Trasparent Things, CCA Goldsmiths, London (2020), La carte d’après nature NMNM, Villa Paloma, Monaco (2010), The Malady of Writing, MACBA Barcelona, (2009), FANTASMATA, Arge Kunst, Bozen (2008), and Word Event, Kunsthalle Basel, Basel (2008). Gallery exhibitions BECKY BEASLEY Late Winter Light Opening 23 January 2018 Until 10 March 2018 Late Winter Light is an exhibition of works which This work, The Bedstead, shows the hotel room The show embraces all the media used by the reveals Beasley’s ongoing exploration of where Ravilious found himself confined by bad artist – photography, sculpture, and, most emotion and ambiguity in relation to everyday weather when he came to Le Havre in the spring recently, video– and touches on many of the life and the human condition.
    [Show full text]
  • Magazine of the Families and Friends of the First AIF Inc
    DIGGER “Dedicated to Digger Heritage” Above: The band of the 1st Australian Light Horse Regiment, taken just before embarkation in 1914. Those men marked with an ‘X’ were killed and those marked ‘O’ were wounded in the war. Photo courtesy of Roy Greatorex, the son of Trooper James Greatorex (later lieutenant, 1st LH Bde MG Squadron), second from right, back row. September 2018 No. 64 Magazine of the Families and Friends of the First AIF Inc Edited by Graeme Hosken ISSN 1834-8963 Families and Friends of the First AIF Inc Patron-in-Chief: His Excellency General the Honourable Sir Peter Cosgrove AK MC (Retd) Governor-General of the Commonwealth of Australia Founder and Patron-in-Memoriam: John Laffin Patrons-in-Memoriam: General Sir John Monash GCMG KCB VD and General Sir Harry Chauvel CGMG KCB President: Jim Munro ABN 67 473 829 552 Secretary: Graeme Hosken Trench talk Graeme Hosken. This issue A touching part of the FFFAIF tours of the Western Front is when Matt Smith leads a visit to High Tree Cemetery at Montbrehain, where some of the Diggers killed in the last battle fought by the AIF in the war are buried. In this issue, Evan Evans tells the story of this last action and considers whether it was necessary for the exhausted men of the AIF to take part. Andrew Pittaway describes how three soldiers had their burial places identified in Birr Cross Roads Cemetery, while Greg O’Reilly profiles a brave machine-gun officer. Just three of many interesting articles in our 64th edition of DIGGER.
    [Show full text]
  • British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000
    British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth Cover image: Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 2010–11, 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents 1970s: Out of Sculpture, Elena Crippa 1970s: Out of Sculpture Elena Crippa Abstract In the 1970s, the mobility of ideas, artists, and their work intensified.
    [Show full text]
  • EWVA 4Th Full Proofxx.Pdf (9.446Mb)
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Art, Design and Architecture 2019-04 Ewva European Women's Video Art in The 70sand 80s http://hdl.handle.net/10026.1/16391 JOHN LIBBEY PUBLISHING All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. EWVA EuropeanPROOF Women’s Video Art in the 70s and 80s do not distribute PROOF do not distribute Cover image: Lydia Schouten, The lone ranger, lost in the jungle of erotic desire, 1981, still from video. Courtesy of the artist. EWVA European Women’s PROOF Video Art in the 70s and 80s Edited by do Laura Leuzzi, Elaine Shemiltnot and Stephen Partridge Proofreading and copyediting by Laura Leuzzi and Alexandra Ross Photo editing by Laura Leuzzi anddistribute Adam Lockhart EWVA | European Women's Video Art in the 70s and 80s iv British Library Cataloguing in Publication Data EWVA European Women’s Video Art in the 70s and 80s A catalogue entry for this book is available from the British Library ISBN: 9780 86196 734 6 (Hardback) PROOF do not distribute Published by John Libbey Publishing Ltd, 205 Crescent Road, East Barnet, Herts EN4 8SB, United Kingdom e-mail: [email protected]; web site: www.johnlibbey.com Distributed worldwide by Indiana University Press, Herman B Wells Library – 350, 1320 E.
    [Show full text]
  • Ben Quilty: a Case Study(PDF, 558KB)
    EDUCATION RESOURCE KIT A CASE STUDY BEN QUILTY 1 INTRODUCTION Written by Kate Caddey and published by Lake Macquarie City Art Gallery (LMCAG), this education kit is designed to assist senior secondary Visual Arts teachers and students in the preparation, appreciation and understanding of the case study component of the HSC syllabus. LMCAG is proud to support educators and students in the community with an ongoing series of case studies as they relate to the gallery’s exhibition program. This education kit is available in hard copy directly from the gallery or online at www.artgallery.lakemac.com.au/learn/schools. A CASE STUDY A series of case studies (a minimum of FIVE) should be undertaken with students in the Higher School Certificate (HSC) course. The selection of content for the case study should relate to various aspects of critical and historical investigations, taking into account practice, the conceptual framework and the frames. Emphasis may be given to a particular aspect of content although all should remain in play. Case studies should be 4–10 hours in duration in the HSC course. Cover: Ben Quilty Cook Rorschach 2009 NSW Board of Studies, Visual Arts Stage 6 Syllabus, 2012 oil on linen 140 x 190cm © the artist CONTENTS THE ARTIST 5 PRACTICE 7 Conceptual Practice 7 Explorations of masculinity and mortality 7 Humanitarianism and social issues 14 Australian identity and history 15 Material Practice 16 THE FRAMES 18 Artwork Analysis Using the Frames 18 Structural frame 18 Cultural frame 20 Subjective frame 21 Postmodern frame 23 THE CONCEPTUAL FRAMEWORK 24 Artist 25 Audience 24 Artwork 24 World 24 PREVIOUS HSC EXAMINATION QUESTIONS RELEVANT TO THIS CASE STUDY 26 GLOSSARY 27 REFERENCES AND FURTHER READING 28 Websites 28 Videos 29 Articles and catalogues 30 A CASE STUDY BEN QUILTY 3 A CASE STUDY BEN QUILTY 4 THE ARTIST Ben Quilty in front ‘I am an Artist.
    [Show full text]
  • Afternoon Art Club at Home Ben Quilty
    Goulburn Regional Art Gallery Afternoon Art Club at Home Ben Quilty Goulburn Regional Art Gallery is supported by the NSW government through Create NSW About Afternoon Art Club at Home The Afternoon Art Club at Home has been developed to support all of our art club- bers during the COVID-19 closures. It is prepared by Janet Gordon, Outreach Of- ficer. Gordon has a Bachelor of Teaching (birth to 5yrs) and a Diploma in Children’s Services (Centre based care), with 20 years experience in early childhood educa- tion. Gordon has several years experience in relief-teaching the afternoon art club at Goulburn Regional Art Gallery. This Afternoon Art Club at Home explores Ben Quilty. I find Quilty’s work fascinating. I like the way the paint looks like it’s just waiting to drip and has me staring at it in anticipation. Who was Ben Quilty? Ben Quilty was born in Sydney in 1973 and now resides in Robertson, just up the highway. After finishing high school, Quilty graduated from Sydney College of Arts at the Uni- versity of Sydney with a Bachelor of Visual Arts in Painting. He didn’t finish his studies there. He went on to study at Western Sydney University graduating with a Bachelor of Arts in 2002. In 2011 Quilty was stationed in Afghanistan with soldiers from the Australian Defence force. He was employed as an official war artist and quickly sketched and painted the daily lives and struggles of the soldiers. Art- works from this time are part of the Australian War Memorial’s National Collection.
    [Show full text]
  • Disseminating Design: the Post-War Regional Impact of the Victoria & Albert Museum’S Circulation Department
    DISSEMINATING DESIGN: THE POST-WAR REGIONAL IMPACT OF THE VICTORIA & ALBERT MUSEUM’S CIRCULATION DEPARTMENT JOANNA STACEY WEDDELL A thesis submitted in partial fulfilment of the requirements of the University of Brighton in collaboration with the Victoria & Albert Museum for the degree of Doctor of Philosophy April 2018 BLANK 2 Disseminating Design: The Post-war Regional Impact of the Victoria and Albert Museum’s Circulation Department This material is unavailable due to copyright restrictions. Figure 1: Bill Lee and Arthur Blackburn, Circulation Department Manual Attendants, possibly late 1950s, MA/15/37, No. V143, V&A Archive, © Victoria and Albert Museum, London. Joanna Weddell University of Brighton with the Victoria and Albert Museum AHRC Part-time Collaborative Doctoral Award AH/I021450/1 3 BLANK 4 Thesis Abstract This thesis establishes the post-war regional impact of the Victoria and Albert Museum’s Circulation Department (Circ) which sent touring exhibitions to museums and art schools around the UK in the period 1947-1977, an area previously unexplored to any substantial depth. A simplistic stereotypical dyad of metropolitan authority and provincial deference is examined and evidence given for a more complex flow between Museum and regions. The Introduction outlines the thesis aims and the Department’s role in the dissemination of art and design. The thesis is structured around questions examining the historical significance of Circ, the display and installation of Circ’s regional exhibitions, and the flow of influence between regions and museum. Context establishes Circ not as a straightforward continuation of Cole’s Victorian mission but as historically embedded in the post-war period.
    [Show full text]
  • African Textiles in the V&A 1852- 2000
    Title Producing and Collecting for Empire: African Textiles in the V&A 1852- 2000 Type Thesis URL http://ualresearchonline.arts.ac.uk/6141/ Date 2012 Citation Stylianou, Nicola Stella (2012) Producing and Collecting for Empire: African Textiles in the V&A 1852-2000. PhD thesis, University of the Arts London and the Victoria and Albert Museum. Creators Stylianou, Nicola Stella Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Producing and Collecting for Empire: African Textiles in the V&A 1852-2000 Nicola Stella Stylianou Submitted to University of the Arts London for PhD Examination October 2012 This is an AHRC funded Collaborative PhD between Research Centre for Transnational Art, Identity and Nation (TrAIN) at UAL and the Victoria and Albert Museum. Volume 1 Abstract Producing and collecting for Empire: African textiles in the V&A 1850-2000 The aim of this project is to examine the African textiles in the Victoria and Albert Museum and how they reflect the historical and cultural relationship between Britain and Africa. As recently as 2009 the V&A’s collecting policy stated ‘Objects are collected from all major artistic traditions … The Museum does not collect historic material from Oceania and Africa south of the Sahara’ (V&A 2012 Appendix 1). Despite this a significant number of Sub-Saharan African textiles have come into the V&A during the museum’s history. The V&A also has a large number of textiles from North Africa, both aspects of the collection are examined.
    [Show full text]