2019 Conference Booklet
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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 -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
Taus Makhacheva
TAUS MAKHACHEVA Born 1983 in Moscow, Russia Lives and works between Makhachkala, Dagestan and Moscow, Russia EDUCATION 2003-07 BA Fine Art (Studio practice and contemporary critical studies), Goldsmiths College, University of London, London, UK 2008-09 New Strategies in Contemporary Art, The Institute of Contemporary Art, Moscow, Russia 2011-13 MA Fine Art, Royal College of Art, London, UK SELECTED SOLO EXHIBITIONS 2015 Vababai Vadadai!, Narrative Projects, London, UK (In)sidenotes, curated by Rebecka Wigh Abrahamsson, Uppsala Konstmuseum, Uppsala, Sweden 2014 Dagestan. Not for Sale, curated by Alexey Maslyaev, artSumer Gallery, Istanbul, Turkey A Walk, A Dance, A Ritual, curated by Ilina Koralova, Museum of Contemporary Art, Leipzig, Germany 2013 What? Whose? Why?, curated by Daria Kirsanova, Raf projects, Tehran, Iran Story Demands to be Continued, curated by Alexey Maslyaev, Republic of Dagestan Union of Artists Exhibition Hall, Makhachkala, Dagestan On Historical Ideals of Labour in the Country that Conquered Space, The Mews artist run space, London, UK The Process of Instance of Breaking Open, curated by Maria Kotlyachkova and Emmeli Person, Kalmar Konstmuseum, Kalmar, Sweden 2012 Let Me Be Part of a Narrative, curated by Alexey Maslyaev, Paperworks Gallery, Moscow, Russia City States, Topography of Masculinity, 7th Liverpool Biennial, curated by Irina Stark, Kelly Klifa, LJMU, Liverpool John Moores Copperas Hill Building, Liverpool, UK 2011 Affirmative Action (mimesis), curated by Marco Scotini, Laura Bulian Gallery, Milan, Italy -
Redfern Activist Calls for Climate Justice
Carriage Return Works – of the the future Laneway uncertain Festival The Review St Jerome’s – 2009 Page 15 The Review Page 17 NUMBER SIXTY-EIGHT FEBRUARY ’09 CIRCULATION 22,000 ALEXANDRIA BEACONSFIELD CHIPPENDALE DARLINGTON ERSKINEVILLE GLEBE KINGS CROSS NEWTOWN REDFERN SURRY HILLS WATERLOO WOOLLOOMOOLOO ZETLAND Redfern activist calls for climate justice Protesters outside Tanya Plibersek’s office in Surry Hills Photo: Supplied Emissions reduction target “not nearly good enough” Flint Duxfield Newtown branch. But Chippendale resident and member A string of protests took place of the Sydney Greens, James Diak, who across the inner city last month as attended the protests at the Federal Sydneysiders voiced their opposition Government’s Phillip Street offices, to the Federal Government’s disagreed: “In terms of carbon dioxide announcement of a 2020 emissions concentration, 450 parts per million reduction target of five per cent. (ppm) is really the maximum ceiling for safety, and a five per cent agreement Local residents and environmentalists would push us to over 650ppm which is chanted, “We didn’t vote for five per not just dangerous climate change but cent” outside the offices of Labor devastating climate change.” MPs Tanya Plibersek and Peter Garrett Similar protests were witnessed and the Government’s Phillip Street outside the Botany office of Peter offices. Garrett where protestors dressed as sea Lindsay Soutar of Climate Action creatures theatrically depicted the death Newtown (which organised the “step of the Great Barrier Reef. in” at Ms Plibersek’s office with the Federal Opposition Leader Malcolm Balmain-Rozelle Climate Group) said Turnbull was also targeted by the Patricia Corowa ponders the future of the Pacific Photo: Ali Blogg many people thought the Government community protests with around had let them down. -
Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town. -
Home As Archive - Event Transcript
Home As Archive - Event Transcript Event begins Title Slide: Pink background with white text that reads “Home as Archive: Presented in collaboration with Essex Book Festival & Metals Culture, Southend. EWF logo and festival dates are in the lower right corner” Video One: Katerina Bryant Welcome to Home as Archive. My name is Katerina and I will be a host and artist this evening. To begin, I would like to acknowledge the first nations and Traditional Owners of the land we are broadcasting from – I am currently on Kaurna land, where I live and write. I pay my respects to Elders past and present, and, as this is an online recording whose reach is far, to the Elders of the lands this recording might reach. For this event, we will be discussing home, spaces and histories. This is part of the wonderful EWF and is presented in collaboration with Essex Book Festival & Metal Culture, Southend. Tonight, we will be witnessing work by artists working between so-called Australia and Essex, England. They will be sharing artefacts from the archives of their personal histories. I anticipate there will be an intimacy tonight as we will be peering into these artists’ homes. Where we live and, who and what we share those spaces with, is intimate and vulnerable. In some ways the past year has allowed us to peer into each other’s homes over Zoom, but in others it has separated us from sharing space with people we cherish. I’d love to frame tonight as not only a look into these artist’s homes and lives but the creation of our own archive – capturing this moment through place and objects. -
25Th Anniversary
25th Anniversary Montblanc de la Culture 25th Anniversary Montblanc de la Culture Arts Patronage Award Arts Patronage Montblanc de la Culture 25th Anniversary Arts Patronage Award 1992 25th Anniversary Montblanc de la Culture Arts Patronage Award 2016 Anniversary 2016 CONTENT MONTBLANC DE LA CULTURE ARTS PATRONAGE AWARD 25th Anniversary — Preface 04 / 05 The Montblanc de la Culture Arts Patronage Award 06 / 09 Red Carpet Moments 10 / 11 25 YEARS OF PATRONAGE Patron of Arts — 2016 Peggy Guggenheim 12 / 23 2015 Luciano Pavarotti 24 / 33 2014 Henry E. Steinway 34 / 43 2013 Ludovico Sforza – Duke of Milan 44 / 53 2012 Joseph II 54 / 63 2011 Gaius Maecenas 64 / 73 2010 Elizabeth I 74 / 83 2009 Max von Oppenheim 84 / 93 2 2008 François I 94 / 103 3 2007 Alexander von Humboldt 104 / 113 2006 Sir Henry Tate 114 / 123 2005 Pope Julius II 124 / 133 2004 J. Pierpont Morgan 134 / 143 2003 Nicolaus Copernicus 144 / 153 2002 Andrew Carnegie 154 / 163 2001 Marquise de Pompadour 164 / 173 2000 Karl der Grosse, Hommage à Charlemagne 174 / 183 1999 Friedrich II the Great 184 / 193 1998 Alexander the Great 194 / 203 1997 Peter I the Great and Catherine II the Great 204 / 217 1996 Semiramis 218 / 227 1995 The Prince Regent 228 / 235 1994 Louis XIV 236 / 243 1993 Octavian 244 / 251 1992 Lorenzo de Medici 252 / 259 IMPRINT — Imprint 260 / 264 Content Anniversary Preface 2016 This year marks the 25th anniversary of the Montblanc Cultural Foundation: an occasion to acknowledge considerable achievements, while recognising the challenges that lie ahead. Since its inception in 1992, through its various yet interrelated programmes, the Foundation continues to appreciate the significant role that art can play in instigating key shifts, and at times, ruptures, in our perception of and engagement with the cultural, social and political conditions of our times. -
Dragon Tails 2017 Hopes, Dreams and Realities
5th Australasian conference on Chinese diaspora history & heritage Dragon Tails 2017 Hopes, Dreams and Realities Conference program Golden Dragon Museum Bendigo, Victoria, Australia 23-26 November 2017 0 Contents Conference program 4 Program - Timetable at a glance 4 Program in detail 5 Abstracts and speaker profiles 8 List of participants 25 Event Partner Conference Sponsors La Trobe Asia The Asia Institute La Trobe University The University of Melbourne www.latrobe.edu.au/asia arts.unimelb.edu.au/asiainstitute Conference Contacts For questions or problems during the conference, please see the Registration desk. You should also feel free to speak to the convenors. In case of emergencies, call Nadia Rhook 0409 807 516, Leigh McKinnon 0407 303 518, Paul Macgregor 0418 571 572 www.dragontails.org.au [email protected] Twitter: @dragontailsconf Hashtag #dtails17 Dragon Tails 2017 Hopes, Dreams and Realities 5th Australasian conference on Chinese diaspora history & heritage Golden Dragon Museum, Bendigo, Victoria, Australia 23-26 November 2017 Hopes and dreams have profoundly shaped the histories of Chinese people and their descendants in Australasia and abroad. This central theme of “Dragon Tails 2017: Hopes, Dreams and Realities” highlights not only the role of imagination in shaping the actions of Chinese-Australasians, but also the realities and challenges that Chinese-Australasians have historically encountered in pursuing their hopes and dreams. The Dragon Tails conferences promote research into the histories and heritage of Chinese people, their descendants and their associates, in Australasia (Australia and New Zealand). The conferences also encourage awareness of the connections of Chinese in Australasia with the histories of Chinese people, their descendants and their associates in other countries. -
Outstanding 50 LGBTI Leaders
2018 Outstanding 50 LGBTI Leaders In 2016, Deloitte released Australia’s first list of 50 LGBTI Executives, with the purpose of providing visible business role models to LGBTI Australians of all ages. This year, Deloitte is collaborating with Google to celebrate our Outstanding 50 LGBTI Leaders of 2018. Together, we are extremely proud to be recognising the many role models in business, beyond traditional large corporate organisations. We have taken an inclusive approach to include remarkable leaders from the public sector, government and small to medium-sized businesses alongside those in traditional corporate roles. For more on our Outstanding 50 LGBTI leaders of 2018 please visit www.deloitte.com/au/out50 2018 #out50 03 04 Message from Cindy Hook 08 Feyi Akindoyeni 46 Virginia Lovett 11 Dean Allright 49 Denise Lucero 06 Message from Jason Pellegrino 14 Andrew Barr MLA 50 Graeme Mason 15 Simone Bartley 51 Matthew McCarron 08 Profiles and interviews 16 Mark Baxter 52 Jennifer Morris 20 Nicole Brennan 53 Jude Munro AO 84 Our alumni 21 Councillor Tony Briffa JP 54 Rachel Nicolson 24 David Brine 55 Steve Odell 89 Diversity and inclusion 25 John Caldwell 56 Lisa Paul AO PSM 27 Magali De Castro 57 Luke Pellegrini 30 Emma Dunch 61 Neil Pharaoh 31 Cathy Eccles 62 Janet Rice 32 Luci Ellis 63 Anthony Schembri 33 Tiziano Galipo 64 Tracy Smart 34 Mark Gay 65 Dean Smith 35 Alasdair Godfrey 66 Jarther Taylor 36 Dr Cassandra Goldie 67 Michael Tennant 37 Matthew Groskorth 68 Amy Tildesley 39 Manda Hatter 69 Sam Turner 40 Jane Hill 74 Tea Uglow 41 Dawn Hough 75 Louis Vega 42 Steve Jacques 76 Tess Walsh 43 Leigh Johns OAM 79 Benjamin Wash 44 David Jones 80 Lisa Watts Contents 45 Jason Laufer 83 Penny Wong 04 2018 #out50 2018 #out50 05 Message from Cindy Hook, Chief involvement in bringing this next list of Executive Officer, Deloitte Australia: One of dynamic LGBTI Leaders into the public eye. -
Eveleigh Carriagevorks
EVELEIGH CARRIAGEWORKS CONSERVATION MANAGEMENT PLAN VOLUME I OTTO CSERHALMI + PARTNERS PL 2002 Table of Contents i 2002 TABLE OF CONTENTS SECTION 1.0 EXECUTIVE SUMMARY ------------------------------------------------------------------- 1 SECTION 2.0 INTRODUCTION -------------------------------------------------------------------------- 5 2.1 Aims of the Report ------------------------------------------------------------------- 7 2.2 Site and Ownership ------------------------------------------------------------------ 8 2.3 Scope of the Report ----------------------------------------------------------------- 10 2.4 Methodology and Structure -------------------------------------------------------- 10 2.5 Terminology and Abbreviations --------------------------------------------------- 11 2.6 Contributors and Acknowledgements -------------------------------------------- 17 2.7 Constraints and Limitations -------------------------------------------------------- 18 2.8 Further Research --------------------------------------------------------------------- 18 2.9 Other Reports ------------------------------------------------------------------------ 19 SECTION 3.0 HISTORICAL ANALYSIS ------------------------------------------------------------------ 21 3.1 History and Development of the Site --------------------------------------------- 23 3.1.1 Geology & Geography ------------------------------------------------------ 23 3.1.2 Aboriginal History ----------------------------------------------------------- 24 3.1.3 Early Development ---------------------------------------------------------- -
To Care, to Curate. a Relational Ethic of Care
Curare: to care, to curate. A relational ethic of care in curatorial practice Sibyl Annice Fisher Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Fine Art, History of Art and Cultural Studies November, 2013 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. © 2013 The University of Leeds and Sibyl Annice Fisher The right of Sibyl Annice Fisher to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Readers are respectfully advised that this document contains the names and images of Indigenous persons who are now deceased. Acknowledgements I would like to thank the School of Fine Art, History of Art and Cultural Studies for the international scholarship that enabled me to undertake this research project, and David Jackson for the initial conversation. For archival assistance, many thanks to Gary Haines at Whitechapel Art Gallery, Jennifer Page at the Research Center, National Museum of Women in the Arts, Janet Moore at the Institute of Contemporary Art, Boston, and Gary Dufour at the Art Gallery of Western Australia. Thanks also to Aunty Stephanie Gollan at Tandanya National Aboriginal Cultural Institute. Thank you to Rayma Johnson for kind permission to use the image of Russell Page, and to Glen Menzies and Hetti Perkins for advice on reproducing work by Emily Kame Kngwarreye. -
Beyond Cinema at Sydney Film Festival 05/05/2016
MEDIA RELEASE EMBARGOED UNTIL 00.01am THURSDAY 5 MAY 2016 BEYOND CINEMA AT SYDNEY FILM FESTIVAL The 63rd Sydney Film Festival announces a new program of three FREE immersive experiences exploring cutting edge screen culture and new technologies, entitled Beyond Cinema, to debut at the Festival (8-19 June) across three Festival locations: the Festival Hub at Sydney’s Lower Town Hall, the University of New South Wales and Carriageworks. “The Festival’s new immersive program expands the Sydney Film Festival experience by presenting three new ways of creating and experiencing film, art and storytelling,” said Sydney Film Festival Director Nashen Moodley. “From virtual reality, to 360-degree 3D cinema, to a four-sided video art installation, the Festival encourages audiences to explore new worlds, new perspectives and new ways to enjoy film,” he said. At the heart of the Festival in Sydney’s Lower Town Hall, Down the Rabbit Hole – Virtual Reality at the Hub (9 – 19 June) will screen nine virtual reality films, from four Australian and five international filmmakers. Designed to enchant, inspire, thrill and ultimately change viewpoints, audiences will put virtual reality headsets to the test including Samsung Gear VR and Facebook’s new Oculus Rift. VR experiences include: a stroll along the streets of Havana (A History of Cuban Dance), going on stage with the Sydney Dance Company dancers (Stuck in the Middle with You), going inside the world of a cattle farmer and one of Australia's top saddle bronco riders (Warwick Gold - Australian Rodeo), falling down the rabbit hole and into a Lewis Carroll inspired music video (Fabulous Wonder.Land), finding out what it’s like to lose your sight (Notes On Blindness: Into Darkness), haunting an asylum (Madeleine), walking in the footsteps of a filmmaker’s army officer father in Chile’s Caravan of Death (Assent), experiencing the first ever fully hand-drawn VR experience (Drawing Room), and stepping into an animated encounter with a lonely rose (The Rose and I).