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Patterns, Paradoxes and Personalities Medical History Museum, University of Melbourne the Story of Cancer Is Complex and Extremely Personal
THE cancer puzzle patterns, paradoxes and personalities Medical History Museum, University of Melbourne The story of cancer is complex and extremely personal. One in two Australian men and one in three Australian women will be diagnosed with cancer by the age of 85. For generations, doctors and researchers have been searching for remedies for this disease, which has long been shrouded in fear and dread. While surgery, radiotherapy and chemotherapy are still the main treatments, radically new approaches and technologies are emerging, together with a much more sophisticated understanding of the causes and very nature of cancer. Central to the story of cancer in Victoria has been the contribution of the University of Melbourne, in undertaking fundamental and applied research, developing treatments, training clinicians and scientists, educating the public, and advocating for change. Significant figures in the Melbourne Medical School, such as Professor Peter MacCallum, have helped build the infrastructure that underpins cancer services for the Victorian community. The cancer puzzle: Patterns, paradoxes and personalities explores the roles of individuals, public education campaigns and research efforts, as well as revealing patients’ insights through the work and writings of three contemporary artists who have cancer. the cancer puzzle PATTERNS, PARADOXES AND PERSONALITIES Edited by Jacqueline Healy Medical History Museum University of Melbourne Contents Foreword vii Published 2017 by the Medical History Museum, The exhibition The cancer puzzle: Patterns, paradoxes and personalities, Professor Mark Cook Faculty of Medicine, Dentistry and Health Sciences, curated by Dr Jacqueline Healy, was held at the Medical History University of Melbourne, Victoria, 3010, Australia Museum, University of Melbourne, from 1 August 2017 to Sponsor’s message ix 24 February 2018. -
Art Almanac April 2018 $6
Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, -
Polixeni Papapetrou, Photographer with an Eerie Eye, Dies at 57 April 27, 2018
Polixeni Papapetrou, Photographer With an Eerie Eye, Dies at 57 April 27, 2018 In “I Once Was,” from her 2018 series, “My Heart,” Ms. Papapetrou placed herself in a series for the first time with this photograph. Polixeni Papapetrou, a photographer known for whimsical, eerie, somewhat disturbing pictures that often featured her children and their friends in odd costumes, died on April 11 in Fitzroy, Australia, near Melbourne. She was 57. The cause was breast cancer, said her husband, Robert Nelson, an art critic and professor at Monash University in Melbourne, Australia. “Study for Hattah Man and Hattah Woman” (2013), from the series “The Ghillies.” Ms. Papapetrou put three children in pigs’ heads and pink outfits for a 2009 work called “The Harvesters,” an interpretation of the 1857 Jean- François Millet painting “The Gleaners.” She put her son, Solomon, in camouflage gear used by the Australian military and in military-themed video games for a 2013 series called “The Ghillies.” (The title referred to a specific type of camouflage suit.) But perhaps her most attention-getting picture was of her daughter, Olympia, at age 5 or 6 (news accounts differ), sitting on a rock naked; it ran on the cover of Art Monthly Australia magazine in July 2008 and fueled a controversy that was already underway over whether such imagery sexualized young children. The furor died down, and Ms. Papapetrou continued to make her distinctive photographs, exhibiting regularly in Australia as well as in New York, New Jersey, China, Greece, Germany and elsewhere. Her works were striking in their strange simplicity yet evoked deep emotions and archetypes. -
2004 Annual Report Modern Art
Heide Heide Museum of Modern Art Museum of 2004 Annual Report Modern Art 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 2004 Heide Museum of Modern Art 2004 Annual Report PAGE Contents 1 Mission Statement 5 2 Honorary Appointments 6 & Company Members 3 Chairman’s & Director’s Report 8 4 Operations Report 4.1 Exhibitions 2004 10 4.2 Education & Public Programs 20 4.3 Heide Collection 22 4.4 Gardens 28 4.5 Communications 30 4.6 Development 32 4.7 Staff & Volunteers 40 5 Concise Financial Report 42 2 3 1. -
Who's Who Portrait Prize Learning Resource
Who’s who portrait prize learning resource Geelong Gallery Little Malop Street Geelong 3220 T +61 3 5229 3645 geelonggallery.org.au/learn Who’s who portrait prize Introduce ways to explore, interpret The Who’s who portrait prize aims to encourage and and create portraiture inspire young artists to celebrate the Geelong region’s This resource is designed to assist students and educators people – their identity, history, creativity and culture – to create, explore and interpret portraiture that connects art through portraiture. to history and the stories of people. Students and educators To honor Jules Francois Archibald’s Geelong connection are encouraged to use these learning activities to explore (born in Geelong West in 1856), Geelong Gallery presents this important themes and ideas surrounding portraiture, and annual portrait prize and exhibition. Each year the prize attracts to ask questions that generate concepts and discussions thousands of entries, with young artists submitting painting, in the classroom and Geelong Gallery. drawing and mixed media likenesses of their local heroes. Approximately 1,500 will be exhibited in locations across Learning activities can be adapted by educators Geelong including Geelong Gallery, National Wool Museum, to suit all learning levels Westfield Shopping Centre and more. The exhibition will be A selection of portraits from the permanent collection of presented at the same time as Geelong Gallery’s hosting of Geelong Gallery is presented as the focus of this resource. the 2017 and 2018 Art Gallery of New South Wales Archibald Each work reflects a different approach to the portrait genre, Prize from 28 October to 10 December 2017 and 27 October and reveals formal and technical aspects of painting and to 9 December 2018. -
National Anthem a New Order 8.3–7.7.19
NATIONAL ANTHEM A NEW ORDER 8.3–7.7.19 EDUCATION RESOURCE Authored by Brooke Babington 3 About this resource and curriculum links 3 Planning your visit 4 Introduction — About the exhibition — About the artist — About Buxton Contemporary 8 National Anthem — Exploring and Responding — Focus artworks — Activity — Questions to consider — Research activities 13 A New Order — Exploring and Responding — Focus artworks — Activity — Questions to consider — Research activities 19 Curating a Collection — Exploring and Responding 2 — Focus artworks 23 Glossary of terms 26 Artist Biographies 36 Image references Education Resource About this resource and curriculum links Target Audience: Secondary school level students This learning guide is intended for educational purposes to aid teachers, tutors and other educational staff to support student learning in visual art subjects. It is designed to provide a starting point to generate discussion and activities before, during and after a visit to National Anthem and A New Order, to be used in conjunction with the exhibition catalogue, didactic labels and artworks. The resource is intended for use in the design of projects related to subject strands and curriculum outcomes. It is broadly aimed at students from years 7 to 10 and VCE Units 1–4, however, it provides generalised information that can be tailored to suit younger students. While the focus of the resource is on the artistic practices of artists included in National Anthem and A New Order, it can be adapted to explore modes of artistic practice more broadly, and to extend avenues for further discussion and research. Similarly, the scope of this resource may be modified to suit cross-curricular activities in various subject strands and to enable a range of pedagogical outcomes. -
Qualifications Advanced Leadership Certificate Through NEELI / Australian Institute of Business
Legal name: Stephanie Jane Donald Name before marriage (17.05.1961 - 29.04.1996): Stephanie Jane Hemelryk Professional /publishing name only (Stephanie Hemelryk Donald) ORCiD: 0000-0001-9435-7905 BA (Oxf.), DipTh (London.), MA (Soton.), DPhil (Suss.), FASSA FRSA Qualifications Advanced Leadership certificate through NEELI / Australian Institute of Business. (online certification 04.2017) DPhil (PhD), Media Studies, University of Sussex (Chinese film specialisation) (Commenced 10.1993. Awarded 30.01.1997) One-year in-service teacher training as Graduate Teaching Assistant, University of Sussex. (Completed 1995. Letter of confirmation provided to Australian High Commission 5.03.1997) Master of Arts. Culture and Society in Contemporary Europe, University of Southampton (Awarded 29.06.1993) Acting Diploma, Drama Studio, London (Awarded 06.1986) BA (Hons), Oriental Studies: Chinese, Brasenose College, Oxford University (Completed 06.1983) (Awarded 03.03.94) Academic Appointments (excluding Visiting and Honorary positions) University of Lincoln (09.04.2018 - 31.12.2020) (Resignation accepted 29.09.2020 following acceptance of position at Monash Malaysia) Distinguished Professor: Film, College of Arts. University of New South Wales (15.05.2012 – 06.04.2018. Including period of approved overseas Leave 31.08.2014 – 30.06.2016) ARC Professorial Future Fellow and Professor of Film and Cultural Studies (full-time, externally funded research-only position with executive pay rate 3) Kingston University (02-06. 2016, consultancy so no fixed hours) Consultant: Cultural and Creative Industries Development at Faculty of Art, Design, Architecture. University of Liverpool (01.09.2014- 07.12.2015) Head of the School of the Arts RMIT, Melbourne (01.2010 – 14.05.2012) Foundation Dean of School: Media and Communication University of Sydney (12.2008–12.2009) Professor of Chinese Media Studies st Résumé for HR Monash Malaysia October 1 2020. -
Stories from the Other Side
FOR IMMEDIATE RELEASE Polixeni Papapetrou: Stories from the Other Side April 4 – June 1, 2013 Opening Reception: Thursday, April 4, 6 – 8 PM Discussion with Susan Bright Thursday, April 4, 7 PM Hattah Man and Hattah Woman Study, 2012, pigment print, ed. of 8, 27 ½ x 41 3/8 in New York Jenkins Johnson Gallery, New York, is pleased to present Stories from the Other Side, a solo exhibition of photographs by Polixeni Papapetrou. The exhibition features two of Papapetrou’s most recently completed series, The Ghillies and Between Worlds, and will be her first solo show with Jenkins Johnson Gallery in New York. There will be an opening reception on Thursday, April 4 from 6 to 8 pm, which will feature a discussion with writer and curator Susan Bright at 7 pm. Accompanying the exhibition will be a full color catalogue entitled ”The Ghillies” with an essay by Chris Healy, Associate Professor of Cultural Studies at the University of Melbourne. Australian photographer Polixeni Papapetrou creates darkly whimsical images that grapple with conceptual definitions of childhood, both historically and in contemporary society. Addressing what it means to be a child, Papapetrou uses her work to argue that the institution of childhood is an adult construct created to satisfy roles in society. Like Bill Henson and Sally Mann, Papapetrou encountered controversy when a 2003 photograph of her nude six-year-old daughter, Olympia, entitled Olympia as Lewis Carroll’s Beatrice Hatch Before White Cliffs, graced the cover of Art Monthly Australia. Complaints of child pornography and violations of child protection legislation followed, and Papapetrou began photographing children wearing masks or with their faces obscured as a way to remove the childhood identity and add an element of layering to the figures. -
P Ol Ix E N I Pa Pa P E T R
POLIXENI PAPAPETROU A Performative Paradox THIS PAGE Olympia as Lewis Carroll’s Xie Kitchin as Chinaman on tea boxes (on duty) 2002 type C photograph 105 x 105 cm FRONT COVER Suzie, Elvis fan at home, Melbourne 1989 selenium toned gelatin silver photograph 40.7 x 40.7 cm POLIXENI PAPAPETROU CONTENTS Foreword 2 Naomi Cass Anne Marsh 4 A Performative Paradox The Second Biggest 8 Polixeni Papapetrou in Love Affair conversation with Natalie King 18 List of Works Biography 22 24 Acknowledgements A Performative Paradox POLIXENI Foreword PAPAPETROU FOREWORD Drag queen wearing cut out dress 1993 gelatin silver photograph 28.5 x 28.5 cm 2 A PERFORMATIVE PARADOX NAOMI CASS an you imagine this gutsy, petite Greek woman in her mid 20’s—a lawyer by C profession but one seriously considering a life outside the law—turning up to the Miss Alternative World Ball at the San Remo Ballroom in Carlton, Melbourne and asking to photograph the drag queens against the exuberant flocked wallpaper, and returning every year from 1988 to 1995. Or similarly, returning on a regular basis, from 1986 to 1993, to the Melbourne General Cemetery in Carlton to photograph earnest Elvis Presley fans in their annual homage. Polixeni Papapetrou was inspired as much by her love of Diane Arbus’s photography as her outsider status as the child of immigrants with a profound respect for difference, in a period in Australia where being Greek was not considered particularly glamorous. From the outset Papapetrou addressed her subject with respect, rigour, determination and a fine understanding of photography’s history and theory. -
This Art Life: a Study of Six Contemporary Australian Artists
Faculty of Arts and Social Sciences University of Technology Sydney This Art Life: A study of six contemporary Australian artists Katharine Sands Submitted for the degree of Doctorate of Creative Arts 2019 Supervisor: Associate Professor Robyn Ferrell ii Certificate of Original Authorship I, Katharine Sands, declare that this thesis is submitted in fulfilment of the requirements for the award of Doctorate of Creative Arts in the School of Communications, Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by an Australian Government Research Training Program Scholarship. Signature: Date: 22/02/2019 iii Acknowledgements My profound thanks go to my supervisor, Associate Professor Robyn Ferrell, firstly, for taking on my supervision at such a late stage and, secondly, for her intellectual guidance, her unfailing enthusiasm and her generosity of spirit. I would also like to thank Associate Professor Elaine Lally, my principal supervisor from 2013 to 2017. Her academic guidance and enthusiasm helped me to lay down the foundations of the project and her guidance in framing the work of artists was invaluable. Thanks are due to my editor, Emma Wise, for making the manuscript far more readable. I would also like to thank Professor Roger Benjamin and Professor Mary Roberts, both from the University of Sydney, for their warm encouragement and assistance. -
Download Artists CV –
POLIXENI PAPAPETROU 1960–2018 Lived and worked in Melbourne, Australia www.polixenipapapetrou.net EDUCATION 2007 PhD, Monash University, Melbourne 1997 Master of Arts (Media Arts), RMIT University, Melbourne 1984 Bachelor of Arts, University of Melbourne 1984 Bachelor of Laws, University of Melbourne SOLO EXHIBITIONS 2019–20 Olympia: Photographs by Polixeni Papapetrou, National Gallery of Victoria (NGV), Melbourne, curated by Susan van Wyk 2018 My heart – still full of her, Michael Reid Gallery, Sydney 2017 Selected Works, Michael Reid Gallery, Sydney 2016 Human as Nature, European Month of Photography Berlin, Jarvis Dooney Galerie, Berlin Beyond Eden, Monash Gallery of Art (MGA), Melbourne Eden, Stills Gallery, Sydney Elvis Immortal, Ararat Regional Art Gallery, Victoria 2015 A Future for the Past, Windsor Hotel, Melbourne 2014 Lost Psyche, Stills Gallery, Sydney Under My Skin, Northern Centre for Contemporary Art, Darwin The Ghillies, Benalla Art Gallery, Victoria 2013 Between Worlds, Jarvis Dooney Galerie, Berlin Stories from the Other Side, Jenkins Johnson Gallery, New York Between Worlds, Fotográfica Bogotá 2013, Fundación Gilberto Alzate Avendaño, Bogota Between Worlds, The Hellenic Museum, Melbourne A Performative Paradox, Centre for Contemporary Photography, Melbourne; Horsham Regional Art Gallery, Victoria, curated by Anne Marsh The Ghillies, Nellie Castan Gallery, Melbourne 2012 The Dreamkeepers, Stills Gallery, Sydney The Dreamkeepers, Nellie Castan Gallery, Melbourne 2011 Tales from Elsewhere, Australian Centre for Photography, -
THE GHILLIES Polixeni Papapetrou Hattah Man and Hattah Woman 120 X 120 Cm, Pigment Ink Print
Polixeni Papapetrou THE GHILLIES Polixeni Papapetrou Hattah Man and Hattah Woman 120 x 120 cm, pigment ink print 4 HIDING IN PLAIN SIGHT Ghillie is derived from the Scottish Gaelic word they might be about boys because Papapetrou In Wonderland (2004), the character is the literary Landscape becomes an actor to merge. Similarly Magma Man literally emerges gille meaning lad or servant. Historically it was came to know of ghillie suits through the younger Alice. In Between Worlds (2009) they are humans from the rocks; he is magma and the magma Over time, the locations of Papapetrou’s a term used to refer to a man or a boy who, as of her much loved children. Familiar with the with the heads of animals. In The Dreamkeepers is he. The titles give it away too, both man and photography have shifted from pure black a minion, attended a Highland chief on hunting suits from the video game Call of Duty, when he (2012) they are old people who are both scrub, both Mallee and man. And of course, (Authority 2000), to panto backdrops (Fairy Tales or fishing expeditions. Scottish gamekeepers spotted one in an archery store, Solomon wanted grotesquely hyper-real and deeply artificial. how to live as people who can both be in and 2004–6) and then, from 2006, to ‘real’ spaces. may have developed the ghillie suit as a form of it. The suit promised invisibility and status, and sustain place is the challenge of a world ravaged We might see all of these images as concerned Even in these more recent images, and even when hunting camouflage and A History of the Military he wanted his mother to photograph him in the beyond its limits; how to become Hattah Man and with and exploring how appearance relates to iconic and grand locations are used, the landscape Sniper claims that its martial use can be traced to suit.