DOCSLIB.ORG

Fine Arts 2014–15

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fine Arts 2014–15 2014–15 Fine Arts 2014–15 Acknowledgements All works © the artists and architect Antonella Salvatore and Inge Lyse Hansen, John Cabot University, Rome Editor: Marco Palmieri Translations: Beatrice Gelosia Juliet Franks, The Ruskin School of Art, University Graphic design: Praline of Oxford, Oxford Printed in Belgium by Graphius Sarah Linford, Accademia di Belle Arti di Roma, Rome Published in 2015 by the British School at Rome Anna d’Amelio Carbone, Fabrizio Del Signore, Adrienne Drake, 10 Carlton House Terrace Niccolò Fano, Hou Hanru, Manuela Pacella, Armando Porcari, London SW1Y 5AH Carolina Pozzi, Donatella Saroli, Marcello Smarrelli, Carmen Stolfi British School at Rome Via Gramsci 61, 00197 Rome Giulia Carletti, Francesca Gallo, Stella Rendina, Anne Stelzer Registered Charity 314176 Photography courtesy of the artists and architects, except: Roberto Apa (pages 7, 8, 10, 11, 13, 16–19, 22–37, 40–5, www.bsr.ac.uk 48–51), Grant Hancock (pages 20, 21) and Don Hildred (pages 46, 47) ISSN 1475-8733 ISBN 978-0-904152-73-9 The projects realised by Angela Brennan, Gregory Hodge, Susan Norrie and Mona Ryder have been assisted by the Commonwealth Government through the Australia Council, its Arts funding and advisory body. The Incorporated Edwin Austin The Derek Hill Foundation Abbey Memorial Scholarships Nicholas Berwin Charitable Trust Contents 4 Preface: Christopher Smith 6 Introduction: Marco Palmieri Exhibitors 16 Georges Audet 18 Angela Brennan 20 Nic Brown 22 Adam Nathaniel Furman 24 Paul James Gomes 26 Rowena Harris 28 Gregory Hodge 30 Alexi Keywan 32 David McCue 34 Gina Medcalf 36 Nancy Milner 38 Susan Norrie 40 Catherine O’Donnell 42 Gill Ord 44 Florian Roithmayr 46 Mona Ryder 48 Daniel Sinsel 50 Emily Speed 52 Biographies 63 BSR Faculty of the Fine Arts and Staff Preface / Prefazione The community of artists at the BSR is not only the La comunità di artisti residenti alla BSR non è costituita community of any given year, but stretches back across soltanto dal gruppo di ogni singolo anno, ma si a century. I have been reminded of this through this year prolunga lungo tutto un secolo. Questa realtà è stata as the paths of current and past award-holders have confermata dal fatto che quest’anno i percorsi dei crossed and intertwined. The last event of the academic borsisti attuali e di quelli del passato si sono incrociati year saw six former award-holders, Joey Bryniarska, Mick e intrecciati. L’ultimo evento dell’anno accademico ha Finch, Louisa Minkin, Emma Talbot, Susan Trangmar and visto tornare alla BSR sei borsisti degli scorsi anni, Joey Martin Westwood, all currently at Central Saint Martins, Bryniarska, Mick Finch, Louisa Minkin, Emma Talbot, returning to the BSR with other colleagues to talk about Susan Trangmar e Martin Westwood, tutti attualmente concepts of spolia and relic. Each carried their own al Central Saint Martins, che, insieme ad altri relatori, memories of the BSR, and recalled connections made hanno partecipato ad un evento sul concetto di spolia e here; for example, Jacopo Benci talked about Michel reliquie. Ognuno di loro ha portato con sé i propri ricordi Serres, an author he encountered with Susan Trangmar. della BSR e si è ricollegato alle relazioni intessute qui; Several current award-holders participated. It was tra gli altri Jacopo Benci ci ha parlato di Michel Serres, a reminder that the BSR unites across time. un autore incontrato con Susan Trangmar. Molti borsisti Another reminder of the success and di quest’anno hanno preso parte a questo evento, che interdisciplinarity of our former award-holders has ci ha dato così l’opportunità di ricordare come la BSR come with news of Cornelia Parker’s trio of recent unisca le persone attraverso il tempo. accomplishments: her critically acclaimed solo exhibition Un altro esempio del successo e dell’inter- at The Whitworth in Manchester (which marked its disciplinarietà dei nostri ex borsisti, è arrivato dalla reopening), her Royal Academy-curated installation notizia di ben tre traguardi raggiunti da Cornelia at London’s St Pancras International Station and her Parker: la sua mostra personale, acclamata dalla Magna Carta (An Embroidery) project at the British critica, alla Whitworth di Manchester (che ne ha Library, specially commissioned for the anniversary segnato la riapertura), la sua installazione alla St of the Magna Carta. As the latter was unveiled — or Pancras International Station di Londra, curata dalla unrolled — Helen Sear opened her exhibition for Wales Royal Academy, e il suo progetto alla British Library at the Venice Biennale. Thanks to the British Council, Magna Carta (An Embroidery), commissionato BSR award-holders were able to visit the Biennale’s espressamente per l’anniversario della Magna Carta. vernissage this year. Mentre si presentava la mostra alla British Library, Other highlights of this year include an inspiring Helen Sear ha inaugurato la sua esposizione alla lecture by Nathan Coley as part of the Craignish Biennale di Venezia come rappresentante per il Galles. Trust Visiting Artist Programme, and lectures by Bernice Grazie al British Council, i borsisti della BSR hanno Donszelmann and Tim Renshaw, Vanessa Jackson, avuto modo quest’anno di partecipare al vernissage and Joey Bryniarska and Martin Westwood, supported della Biennale. by a grant from the Arts Club Charitable Trust to the Sempre per quanto riguarda lo scorso anno Abbey Council. We were also delighted to have been accademico c’è da evidenziare, inoltre, un’interessante able to work with Christie’s to organise a fascinating conferenza di Nathan Coley, parte del Craignish Trust study afternoon on collecting and the international Visiting Artist Programme, e le conferenze di Bernice art market. Marina Engel’s programme on architecture Donszelmann e Tim Renshaw, Vanessa Jackson, e Joey and the creative process concluded with a challenging Bryniarska e Martin Westwood, rese possibili grazie exhibition and conversation between artists Alfredo al contributo dell’Arts Club Charitable Trust attraverso Pirri and Thomas Schütte on the boundaries between l’Abbey Council. Siamo stati molto lieti di aver avuto art and architecture. anche l’occasione di lavorare con Christie’s per Marco Palmieri has built on the success of last organizzare un coinvolgente pomeriggio di studio year by assisting our award-holders with a number of sul collezionismo ed il mercato d’arte internazionale. external shows. Our own exhibitions have been expertly Il programma sull’architettura ed il processo creativo 4 FINE ARTS 2014–15 put together by Marco and a team of interns, and are curato da Marina Engel si è concluso con una mostra attracting ever greater audiences. Our June mostra was e una conversazione tra Alfredo Pirri e Thomas Schütte the BSR’s contribution to Rome’s International Festival of sui confini tra arte e architettura. Culture, co-organised with embassies, cultural institutes Marco Palmieri ha confermato il successo ottenuto and the other foreign academies. BSR art is clearly on lo scorso anno aiutando i nostri borsisti ad organizzare the Rome cultural map. diverse esposizioni esterne. Le mostre del nostro anno None of this would be possible without the accademico sono state curate da Marco con l’aiuto generous support of the trusts, foundations and di un team di collaboratori, e hanno attirato un numero individuals who co-fund our awards. It is as ever a sempre crescente di visitatori. La mostra di giugno pleasure and honour to thank the Australia Council è stata inclusa nel Festa Internazionale di Cultura for the Arts; the Australian Experimental Art Foundation di Roma, organizzata con le ambasciate, gli istituti (with Cibo Espresso, the Helpmann Academy and culturali e altre accademie straniere. La BSR, con Arts SA); the Conseil des Arts et des Lettres du il suo programma di arti visive, è senza dubbio inserita Québec; Creative Scotland; the Derek Hill Foundation; del circuito culturale romano. the Incorporated Edwin Austin Abbey Memorial Niente di tutto questo sarebbe stato possibile Scholarships; the Linbury Trust; the National Art School, senza il generoso contributo degli enti, delle fondazioni Sydney; the Nicholas Berwin Charitable Trust; and the e dei privati che hanno aiutato a sostenere le nostre William Fletcher Foundation (NSW, Australia); as well borse di studio. È come sempre un piacere e un onore as the private donors to the Rome Prize in Architecture, ringraziare l’Australia Council for the Arts; l’Australian including Robert Adam, Bob Allies, Tim Bell, Jeremy Experimental Art Foundation (con Cibo Espresso, Blake, Peter Harris, Eric Parry, Hugh Petter and Robert l’Helpmann Academy ed Arts SA); il Conseil des Arts Tavernor. This funding is absolutely essential, for the et des Lettres du Québec; Creative Scotland; la Derek BSR receives no government funding for its Fine Arts Hill Foundation; l’Incorporated Edwin Austin Abbey programme, and contributes from its own resources Memorial Scholarships; il Linbury Trust; la National Art to sustain a full studio programme. School di Sydney; il Nicholas Berwin Charitable Trust; We are extremely grateful to the members of the e la William Fletcher Foundation (NSW, Australia); e BSR’s Faculty of the Fine Arts and to other members tutti i sostenitori privati del Rome Prize in Architecture: of selection panels. They continue to devote much Robert Adam, Bob Allies, Tim Bell, Jeremy Blake, Peter time and care to the selection of artists and architects, Harris, Eric Parry, Hugh Petter e Robert Tavernor. Questi appointing people who, in addition to being excellent contributi sono assolutamente essenziali, visto che la in their own fields, contribute significantly to the BSR’s BSR non riceve fondi pubblici per il programma delle interdisciplinary community. arti visive e quindi deve concorrere con le proprie risorse We are determined to continue to build support per sostenerlo. for this remarkable community. As we enter our second Siamo estremamente grati ai membri della Faculty century in the BSR’s current building, we are able at of the Fine Arts della BSR e agli altri componenti dei last to complete the renovation of the studios, begun by vari comitati per la selezione dei borsisti.
Load more

Recommended publications
  • Squeeze More out of Life! What We’Re Contents About What We’Re About 3
    STUDY GUIDE SQUEEZE MORE OUT OF LIFE! WHAT WE’RE CONTENTS ABOUT WHAT WE’RE ABOUT 3 THE BOOST JOURNEY 4 & 5 THE FOUNDER 6 & 7 PRODUCT INNOVATION 8 SUPERMARKET RANGE 9 GUARANTEE 9 MARKETING AND PROMOTIONS 11 MARKETING CAMPAIGNS 12 & 13 DIGITAL BITS 14 & 15 CUSTOMER SERVICE 6 & 17 FRANCHISING 18 & 19 AT BOOST, WE WANT EVERY SINGLE OPERATIONS TEAM 20 CUSTOMER TO LEAVE SMILING AND HR 21 FEELING JUST THAT LITTLE BIT BETTER. BOOST INTERNATIONAL 22 STORE DESIGN AND DEVELOPMENT 23 From our amazing Boost franchise partners, dedicated Boosties and passionate Support AWARDS 24 & 25 Centre employees, everyone embodies a FAQS 26 ‘Love Life’ attitude and remains committed to RETAIL ZOO 27 providing a world class customer experience. 3 INNOVATIVE RETAIL CONCEPT THE BOOST While the juice bar concept was relatively new for Australia, the way Boost presented the brand was also new for retail in general. Boost was never simply about healthy and great tasting juice or smoothies - the brand is built on the entire Boost experience that takes place every time a customer enters a store. This experience is a combination of a great tasting product, served by positive and energetic people who greet you with JOURNEYJOURNEY a smile and are polite enough to call you by your first name in a bright and colourful store environment with fun music to match! This point of difference is further enforced through A BOOST IS BORN! the brand’s on-going commitment to product innovation, unique tactical marketing campaigns and partnerships, a In 2000, Janine Allis saw a gap in the Australian market for a healthy fast robust customer relations strategy and our Vibe Club loyalty food alternative.
    [Show full text]
  • Summary of Finalised Planning Applications April 2016 Summary of Finalised Planning Applications April 2016
    Summary of Finalised Planning Applications April 2016 Summary of Finalised Planning Applications April 2016 Printed - 10/05/2016 9:26:55 AM Application 1: DA / 252 / 2016 Lodged: 20/04/2016 Description: Alterations to front entrance from sliding door to revolving door. Property Address: Australia Post Applicant : WOODS BAGOT ARCHITECTS P/L Ground 26 Franklin Street ADELAIDE SA 5000 Owner : CHARTER HALL WHOLESALE MANAGEMENT LTD Estimated Cost of Dev: $200,000 Consent: Development Plan Consent Decision: Planning Consent Granted Authority: Delegated to Administration Date: 28/04/2016 CITB Reference: Application 2: DA / 251 / 2016 Lodged: 20/04/2016 Description: Convert portion of basement to increase floor area to provide pilates service direct to public. Property Address: PhysioXtra Applicant : PHYSIO XTRA PIRIE STREET BF-GF 115-117 Pirie Street ADELAIDE SA 5000 Owner : MEXICAN VALE MANAGEMENT P/L Estimated Cost of Dev: $15,000 Private Certifier : PBS AUSTRALIA P/L Consent: Development Plan Consent Decision: Planning Consent Granted Authority: Delegated to Administration Date: 20/04/2016 CITB Reference: Application 3: DA / 246 / 2016 Lodged: 19/04/2016 Description: Shop fitout - Tenancy SC06 Property Address: CITY CROSS - (Lot 1, 2 and 3) Applicant : DIAMANTI DESIGNS 1-60 City Cross Arcade ADELAIDE SA 5000 Estimated Cost of Dev: $100,000 Private Certifier : PBS AUSTRALIA P/L Consent: Development Plan Consent Decision: Planning Consent Granted Authority: Delegated to Administration Date: 20/04/2016 CITB Reference: 85330 Application 4: DA
    [Show full text]
  • Von Sturmer Cv 2020
    ANNA SCHWARTZ GALLERY DANIEL VON STURMER 1972 Born Auckland, New Zealand Lives and works in Melbourne EDUCATION 2002-03 Sandberg Institute, Amsterdam, Netherlands 1997-99 RMIT University, Melbourne, Master of Arts by Research 1993-96 RMIT University, Melbourne, Bachelor of Arts, in Fine Art, Honours SELECTED SOLO SHOWS 2020 Daniel von Sturmer: Time in Material, M+P|Art, UK 2019 Painted Light, Geelong Performing Arts Centre CATARACT, Anna Schwartz Gallery, Melbourne Electric Light (facts/figures/anna schwartz gallery upstairs), Anna Schwartz Gallery, Melbourne 2017 Electric Light (facts/figures), Bus Projects, Melbourne Daniel von Sturmer, Ten Cubed, Melbourne Luminous Figures, Starkwhite Gallery, Auckland, New Zealand 2016 Electric Light, Anna Schwartz Gallery, Melbourne 2014 These Constructs, Anna Schwartz Gallery, Melbourne Camera Ready Actions, Young Projects, Los Angeles Focus & Field, Young Projects, Los Angeles 2013 After Images, Centre for Contemporary Photography, Melbourne Daniel von Sturmer, Ten Cubed, Melbourne Daniel von Sturmer, as part of Ground Control series, Columbus Museum of Art, Ohio Production Stills, Courtenay Place Lightboxes, Wellington 2012 Small World, Anna Schwartz Gallery, Melbourne 2010 The Cinema Complex, Anna Schwartz Gallery, Sydney Video Works 2008-2009, Karsten Schubert Gallery, London 2009 Set Piece, Site Gallery, Sheffield, United Kingdom Painted Video, Anna Schwartz Gallery, Auckland Art Fair, Auckland 2008 Tableaux Plastique, Anna Schwartz Gallery, Melbourne 2007 The Object of Things, Australian Pavilion,
    [Show full text]
  • 8082 AUS VB07 ENG Edu Kit FA.Indd
    Venice Biennale 2007 Australia 10 June – 21 November 2007 Education Resource Kit Susan Norrie HAVOC 2007 Daniel von Sturmer The Object of Things 2007 Callum Morton Valhalla 2007 Contents Education resource kit outline Australians at the Venice Biennale Acknowledgements Why is the Venice Biennale important for Australian arts? Australia’s past participation in the Venice Biennale PART A The Venice Biennale and the Australian presentation Introduction Timeline: The Venice Biennale, a not so short history The Venice Biennale:La Biennale di Venezia Selected Resources Who what where when and why The Venice Biennale 2007 PART B Au3: 3 artists, 3 projects, 3 sites The exhibition Artists in profile National presentations Susan Norrie Collateral events Daniel von Sturmer Robert Storr, Director, Venice Biennale Callum Morton 2007 Map: Au3 Australian artists locations Curators statement: Thoughts on the at the Venice Biennale 2007 52nd International Art Exhibition Colour images Introducing the artist Au3: the Australian presentation 2007 Biography Foreword Representation Au3: 3 artists, 3 projects, 3 sites Collections Susan Norrie Quotes Daniel von Sturmer Commentary Callum Morton Years 9-12 Activities Other Participating Australian Artists Key words Rosemary Laing Shaun Gladwell Christian Capurro Curatorial Commentary: Au3 participating artists AU3 Venice Biennale 2007 Education Kit Australia Council for the Arts 3 Education Resource Kit outline This education resource kit highlights key artworks, ideas and themes of Au3: the 3 artists, their 3 projects which are presented for the first time at 3 different sites that make up the exhibition of Australian artists at the Venice Biennale 10 June to 21 November 2007. It aims to provide a entry point and context for using the Venice Biennale and the Au3 exhibition and artworks as a resource for Years 9-12 education audiences, studying Visual Arts within Australian High Schools.
    [Show full text]
  • Council Agenda NOTICE of MEETING
    Council Agenda NOTICE OF MEETING Notice is hereby given that an ordinary meeting of Council will be held in the Council Chamber – Glenelg Town Hall Moseley Square, Glenelg Tuesday 24 September 2019 at 7.00pm Roberto Bria CHIEF EXECUTIVE OFFICER 1 City of Holdfast Bay Council Agenda 24/09/19 Ordinary Council Meeting Agenda 1. OPENING The Mayor will declare the meeting open at 7:00pm. 2. KAURNA ACKNOWLEDGEMENT We acknowledge Kaurna people as the traditional owners and custodians of this land. We respect their spiritual relationship with country that has developed over thousands of years, and the cultural heritage and beliefs that remain important to Kaurna People today. 3. PRAYER Heavenly Father, we pray for your presence and guidance at our Council Meeting. Grant us your wisdom and protect our integrity as we carry out the powers and responsibilities entrusted to us on behalf of the community that we serve. 4. APOLOGIES 4.1 Apologies Received 4.2 Absent 5. ITEMS PRESENTED TO COUNCIL 6. DECLARATION OF INTEREST If a Council Member has an interest (within the terms of the Local Government Act 1999) in a matter before the Council they are asked to disclose the interest to the Council and provide full and accurate details of the relevant interest. Members are reminded to declare their interest before each item. 7. CONFIRMATION OF MINUTES Motion That the minutes of the Ordinary Meeting of Council held on 10 September 2019 be taken as read and confirmed. Moved Councillor _______, Seconded Councillor ________ Carried 8. PUBLIC PRESENTATIONS 8.1 Petitions ‐ Nil 8.2 Presentations ‐ Nil 8.3 Deputations ‐ Nil 2 City of Holdfast Bay Council Agenda 24/09/19 9.
    [Show full text]
  • MCA, Tate and Qantas Announce Eight New Australian Artwork
    [Sydney, 3 April 2018] Elizabeth Ann Macgregor OBE, Director of the Museum of Contemporary Left: Juan Davila, Love, 1988, Tate and Art Australia (MCA) and Dr Maria Balshaw CBE, Director of Tate, today announced the Museum of acquisition of eight new artworks in their International Joint Acquisition Program for Contemporary Art contemporary Australian art, supported by Qantas. Now in its third year, the partnership Australia, donated through the Australian between Tate, MCA and Qantas continues to enrich both museums’ holdings of Australian art, Government’s Cultural helping Australian artists reach global audiences. Gifts Program by the artist and with the Ranging from an early moment in the history of Australian contemporary art through to recent support of the Qantas Foundation, 2018 work, the depth and diversity of Australian art practice is represented in this third round of acquisitions. It includes works by artists who forged new ground in Australian contemporary art, Right: Maria paving the way for others, through to that of younger artists. Fernanda Cardoso, On the Origins or Art – Actual Size II Maratus The early works of Maria Fernanda Cardoso and Rosalie Gascoigne reveal how everyday Volans Abdomen, readymade materials can be transformed into extraordinary poetic assemblages and sculptures. 2016, Tate and the Museum of Juan Davila’s Love (1988) painting is a prescient commentary on the AIDS crisis as a global Contemporary Art phenomenon, whilst his also acquired massive Yawar Fiesta (1998) explores the impact of colonial Australia, purchased policies on indigenous peoples through satiric intertwining of contemporary politics and art jointly with funds provided by the historical references including European history painting, Latin American modernism, American Qantas Foundation pop and Aboriginal art.
    [Show full text]
  • ADELAIDE Melbourne NEWCASTLE SYDNEY BRISBANE
    OzHarvest BOOK OF THANKS Annual Report 2013 THANKs a million ozharvest is constantly surrounded by magnificent individuals and organisations from volunteers, in-kind sponsors, food and financial donors and ambassadors who give their services, time money, food or goods so generously. This support allows OzHarvest to continue doing what we do — that is rescue food, redistribute it to people in need and continue to educate people about food waste, the environment, sustainability and food security. We must recognise some incredible organisations that go above and beyond and continue to help us, so that we can help our most vulnerable Australians. As we have thousands of supporters who are so important and who we would like to recognise, we have again created this Book of Thanks to acknowledge each and every one of you. Please forgive us if we have missed your name, and please do tell us so that we can ensure it appears in our Book of Thanks next year. Thank you everyone for everything you’ve done for OzHarvest. Without your help — we would not exist. There are some extra special superheroes we must mention. GOODMAN+ Apex pacific services MACQUARIE GROUP FOUNDATION CANTARELLA BROS / VITTORIA COFFEE caltex australia Woolworths city of sydney FRUIT BOX Qantas harvest hub accor bain & company THYNE REID FOUNDATION bob & pete’s NIB FOUNDATION Allens Lawyers klein family foundation Sargent’s pies foundation Wood Foundation Aldi Wesley mission brisbane crittah ozsale droga federal australian government ernst young COSTco liquid ideas pages ken hall gastronomy frost* group FDC ADELAIDE FINANCIAL DONOR Zero Waste SA /Wood Foundation /Westpac /West Torrens Library Service /Volvo Group Australia Pty Ltd /Volunteering SA&NT Inc.
    [Show full text]
  • Michael Zavros CV LONG March 2016
    Michael Zavros b.1974- Studies 1994 - 1996 Queensland College of Art, (GRIFFITH UNIVERSITY) Bachelor of Visual Arts, Double Major in Printmaking Solo Exhibitions 2016 Art Los Angeles Contemporary, Barker Hangar, Los Angeles, Solo exhibition presented by Starkwhite, Auckland 2015 Art Basel Hong Kong, Solo exhibition presented by Starkwhite, Auckland 2014 Bad Dad, Starkwhite, Auckland, New Zealand Melbourne Art Fair, Solo exhibition with Starkwhite, Melbourne 2013 A Private Collection: Artist’s Choice, Queensland Art Gallery of Modern Art, Brisbane The Prince, Rockhampton Art Gallery, touring to Griffith University Art Gallery, Brisbane Charmer, Philip Bacon Galleries, Brisbane 2012 The Glass, Tweed River Art Gallery, NSW 2011 Michael Zavros, Sophie Gannon Gallery, Melbourne 2010 The Savage, Philip Bacon Galleries, Brisbane 2009 Calling in the fox, GRANTPIRRIE, Sydney The Good Son; Michael Zavros, A survey of works on paper, Gold Coast City Art Gallery, Qld 2008 Trophy Hunter, Philip Bacon Galleries, Brisbane Melbourne Art Fair solo exhibition, Sophie Gannon Gallery, Melbourne 2007 Heart of Glass, Sophie Gannon Gallery, Melbourne ĒGOÏSTE, Wollongong City Gallery, Wollongong, NSW 2006 This Charming Man, 24HRArt Northern Territory Centre for Contemporary Art, Darwin 2005 The Look of Love, Mori Gallery, Sydney 2004 Clever Tricks, Grafton Regional Gallery, NSW Blue Blood, Schubert Contemporary, Gold Coast, Qld 2003 Everything I wanted, Institute of Modern Art, Brisbane The Loved One, Mori Gallery, Sydney 2002 New money, Art Galleries Schubert,
    [Show full text]
  • John Cruthers Presents
    John Cruthers presents Australian art from the Re/production: 1980s and 1990s John Cruthers presents Re/production: Australian art from the 1980s and 1990s 29 August - 10 October 2020 -02 Narelle Jubelin Ian Burn Tim Johnson Tim Johnson & Clifford Possum Tjapaltjarri Stephen Bush Geoff Lowe Judy Watson Eliza Campbell & Judith Lodwick Mark Titmarsh Luke Parker Elizabeth Newman Peter Tyndall Janet Burchill Anne Ferran Linda Marrinon Vivienne Shark LeWitt John Nixon Pat Larter Juan Davila Howard Arkley Susan Norrie Angela Brennan Savanhdary Vongpoothorn David Jolly -03 -04 Bananarama Republic Catriona Moore Map Recall two enmeshed postmodern and dissipated to the academies (the tendencies, both claiming zeitgeist status university, museum and gallery). Those glory as landmark exhibitions, and seen at the days of postmodern theoretical merch saw a time to be diametrically opposed: ‘Popism’ flourishing moment for little magazines laden (NGV 1982) and the 5th Biennale of Sydney with translations, unreadable experiments in (AGNSW 1984). The first was was Pop- ficto-criticism and cheaply-reproduced, B&W inflected: cool with stylistic quotation, irony folios. On the more established art circuit, and ambivalent speculations; the second hot a growing file of (largely white male) curators and hitched to neo-expressionist painting: shuttled between the arts organisations, wild and bitter, hegemonic whilst stressing major galleries and definitive survey shows. a regional genius loci. Some felt that neo- The street became a place for parties, not expressionism was an international boys’ marches. club of juggernaut blockbusters (eg the Italian Transavantgardia; Berlin’s wild ones etc). Yet both tendencies claimed the image as art’s ‘go-to’ investigative platform - a retreat from feral 1970s postmodern forays: ‘twigs and string’ open-form sculpture and conceptual directives; the grungier depths of punk; and the nappy and tampon work of cutting-edge feminism.
    [Show full text]
  • Australia 53Rd International Art Exhibition LA BIENNALE DI VENEZIA LA BIENNALE DI VENEZIA 1
    Australia 53rd International Art Exhibition LA BIENNALE DI VENEZIA LA BIENNALE DI VENEZIA 1 Commissioner’s Foreword When Shaun Gladwell returned from dealing with reflections that are personal, from a range of sources – government, western New South Wales in early 2009 cultural and environmental. corporate, individual and philanthropic – he had accumulated images that were to where none sits as mutually exclusive from Claire Healy and Sean Cordeiro’s massive signal an extension to his work that was the other, conspicuous in its commitment. installation consumes the chapel of the included in the exhibition Think with the Ludoteca – its monumentalism and its I gratefully acknowledge the generous Senses – Feel with the Mind at the Venice stillness are like a memento mori as it assistance of our many public and private Biennale 2007. For Venice 2009 Shaun alludes to transience and impermanence. funding partners. I also warmly thank the is our artist for the Australian Pavilion. Vernon Ah Kee’s work represents themes artists, Tania Doropoulos (project manager Shaun’s involvement with the landscape of contemporary social and cultural politics, for Shaun Gladwell) and Felicity Fenner – and urban spaces – holds recognition of of Indigenous exclusion. But here the modern (curator for Once Removed) for their dedication the sense of place we Australians have in the representation of this exclusion is explored and commitment to presenting Australia’s history of our nation’s art. But his inquiring through long-standing emblematic symbols exhibitions at the Venice Biennale 2009. temperament and his keen interest in the that are representative of white Australian Doug Hall AM role of the culture of his own generation culture.
    [Show full text]
  • Daniel Von Sturmer
    ANNA SCHWARTZ GALLERY DANIEL VON STURMER SELECTED BIBLIOGRAPHY 2015 Tara McDowell in Daniel von Sturmer: Focus & Field, Black Inc 2014 Jonathan Griffin, Daniel von Sturmer Focus & Field, in ArtReview, October, p146 George Melrod, Daniel von Sturmer: Focus & Field at Young Projects, Art LTD magazine http://www.artltdmag.com/index.php?subaction=showfull&id=1415403467&archive=&start_from=&ucat=32& Sharon Mizota, Daniel von Sturmer's video art: A delightful play on perception, Los Angeles Times, June 27 http://www.latimes.com/entertainment/arts/culture/la-et-cm-daniel-von-sturmer-at-young-projects-20140623-story.html 2013 Dan Rule, Your Weekend: In the Galleries, The Age, June 1 Jennifer A. McMahon, Art and Ethics in a Material World: Kant's Pragmatist Legacy, Routledge, NY, 2013, (pp33-41) Max Delany et al, Melbourne Now, ex. cat., National Gallery of Victoria, Melbourne 2012 Elizabeth Pedler, ‘Daniel von Sturmer’, ArtForum, November Rebecca McLean, ‘It’s a small world- Daniel von Sturmer in Melbourne & London’, artery, October Jennifer A. McMahon, ‘The Aesthetics of Perception: Form as a Sign of Intention’, Essays in Philosophy: Vol. 13: Iss. 2, Article 2 Cameron Buckner, ‘Ordering Our Attributions-of-Order: Commentary on McMahon’, Essays in Philosophy: Vol. 13: Iss. 2,Article 3 Sue Cramer, Less is More exhibition catalogue, Heide Museum of Art, Melbourne Sue Cramer, ‘Going Minimal’, The Melbourne Review, September, p38 John Hurrell, ‘Artists Responding to Lye’, http://eyecontactsite.com/2012/02/artists-responding-to-lye Daniel von Sturmer,
    [Show full text]
  • 2004–05 Annual Report
    QUEENSLAND ART GALLERY QUEENSLAND ART 2004–05 ANNUAL REPORT QUEENSLAND ART GALLERY ANNUAL REPORT 2004–05 QUEENSLAND ART GALLERY REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES FOR THE PERIOD 1 JULY 2004 TO 30 JUNE 2005 In pursuance of the provisions of the Queensland Art Gallery Act 1987 s 53, the Financial Administration and Audit Act 1977 s 46J, and the Financial Management Standard 1997 Part 6, the Queensland Art Gallery Board of Trustees forwards to the Minister for Education and the Arts its Annual Report for the year ended 30 June 2005. Wayne Goss Chair of Trustees PURPOSE OF REPORT This Annual Report documents the Gallery’s activities, initiatives and achievements during 2004–05, and shows how the Gallery met its objectives for the year and addressed government policy priorities. This comprehensive review demonstrates the diversity and significance of the Gallery’s activities, and the role the Gallery plays within the wider community. It also indicates direction for the coming year. The Gallery welcomes comments on the report and suggestions for improvement. We encourage you to complete and return the feedback form in the back of this report. CONTENTS GALLERY PROFILE 3/ VISION GALLERY PROFILE Increased quality of life for all Queenslanders through enhanced access, understanding and enjoyment of the 4/ visual arts and furtherance of Queensland’s reputation as a HIGHLIGHTS AND ACHIEVEMENTS culturally dynamic state. 7/ MISSION CHAIR’S OVERVIEW To be the focus for the visual arts in Queensland and a dynamic and accessible art museum of international 9/ standing. DIRECTOR’S OVERVIEW 10/ QUEENSLAND GALLERY OF MODERN ART 13/ COLLECTION GALLERY PROFILE Established in 1895, the Queensland Art Gallery opened in its present premises in June 1982.
    [Show full text]