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Corroboree Moderne
Corrected draft May 2004 CORROBOREE MODERNE ----------------------------------------------------------------------------------------------------------------------------------------------- Dressed in a brown wool bodystocking specially made by Jantzen and brown face paint, an American dancer, Beth Dean played the young boy initiate in the ballet CORROBOREE at a Gala performance before Queen Elizabeth 11 and Prince Phillip on Feb 4 1954 . “On stage she seems to exude some of the primitive passion of the savage whose rites she presents” (1a) “If appropriations do have a general character, it is surely that of unstable duality. In some proportion, they always combine taking and acknowledgment, appropriation and homage, a critique of colonial exclusions, and collusion in imbalanced exchange. What the problem demands is therefore not an endorsement or rejection of primitivism in principle, but an exploration of how particular works were motivated and assessed.” (1) CORROBOREE "announced its modernity as loudly as its Australian origins…all around the world" (2) 1: (BE ABORIGINAL !) (3) - DANCE A CORROBOREE! The 1950s in the Northern Territory represents simultaneously the high point of corroboree and its vanishing point. At the very moment one of the most significant cultural exchanges of the decade was registered in Australian Society at large, the term corroboree became increasingly so associated with kitsch and the inauthentic it was erased as a useful descriptor, only to be reclaimed almost fifty years later. Corroboree became the bastard notion par excellence imbued with “in- authenticity.” It was such a popularly known term, that it stood as a generic brand for anything dinky-di Australian. (4) Corroboree came to be read as code for tourist trash culture corrupted by white man influence. -
Escape Artists Education
ESCAPEartists modernists in the tropics education kit INTRODUC TION & H TEAC ERS NOTES Almost two years in development, Escape Artists: Modernists in the Tropics is the first exhibition by Cairns Regional Gallery to tour nationally. In this exhibition, you and your students will see how the tropical north of Australia has influenced Australia’s greatest artists, some of whom you will be familiar with, others less familiar. The artists featured in the exhibition are: • Harold Abbott • Valerie Albiston • Douglas Annand • Yvonne Atkinson • John Bell • Yvonne Cohen • Ray Crooke • Lawrence Daws • Russell Drysdale • Ian Fairweather • John Firth-smith • Donald Friend • Bruce Goold • Elaine Haxton • Frank Hinder • Frank Hodginson • Sydney Nolan • Alan Oldfield • Margaret Olley • John Olsen • Tony Tuckson • Brett Whitely • Fred Williams • Noel Wood The lure of an exotic, untouched, tropical paradise has a tradition in modern art beginning with Gaugin in Tahiti. It was this desire to discover and explore new worlds which attracted these artists to the Far North - a part of Australia like no other they had seen. Here they found a region of extraordinary, abundant natural beauty and a cultural pot pourri of indigenous inhabitants and people from all over the world. This exciting mixture of important artworks was assembled from major private and public collections by Gavin Wilson,curator of the successful Artists of Hill End exhibition at The Art Gallery of News South Wales. Escape Artists provides a significant look at the cultural and historic heritage of North Queensland and the rest of northern Australia. You and your students will find some pleasant surprises among the works in the exhibition. -
Sabine Cotte Education Professional Experience
Sabine Cotte Paintings Conservation 31, Niagara Lane Melbourne Vic 3000 M: 04 02 843 543 E: [email protected] W: www.sabinecotte.com Nationalities: French and Australian. Arrived in Australia in 2001. Since 1990, works for mu- seums, galleries and private collectors in France, Australia and the Himalayas. Cultural Conservation Expert for UNESCO since 1997, focus on South East Asia Honorary fellow, University of Melbourne, Faculty of Arts, Grimwade Centre for Cultural Ma- terials Conservation Education 2017 PhD Arts, ‘Art in the making: Mirka Mora’s techniques and materials and their meaning in conservation’ University of Melbourne. 2011 Masters by Research. ‘Tibetan paintings in Australia: conservation of a living heritage’ University of Melbourne (First Class Honours) 1994 Certificate in Mural Paintings Conservation International Centre for the Preser- vation of Cultural Property in Rome (ICCROM) 1986-1990 Masters in Conservation and Restoration Institut National du Patrimoine (INP- IFROA) Paris. Easel painting conservation (High Distinction, Congratulations of the jury) 1982-1986 Honours Bachelor in Fine Arts, Ecole Nationale des Beaux-Arts, Paris, Screen- printing and Lithography (High Distinction). 1982-1986 Honours Bachelor in Art History. University of Paris I, History of Art and Ar- chaeology Professional experience Collaboration with contemporary artists Consultation with the artists, research and documentation of methods and materials. Work with Mirka Mora, Lara Merrett, David Keeling, Peter Booth, Paul Boston and Philip Wolf- hagen, Daniel Buren, Jean Pierre Raynaud, Pierre Soulages and Christian Boltanski. Survey of collections and condition reports Documentation, risk assessment, prioritisation of needs, preventive conservation recommen- dations and planning, condition assessment. Clients include museums, auction houses and art dealers. -
LOOK Exhibition Checklist (PDF .37MB)
LOOK: Charles Darwin University Art Collection Charles Darwin University Art Gallery 29 February – 29 June 2012 Chancellery Building Orange 12.1.02 Casuarina Campus 1 Sidney Wilson 100 x 50cm [image]; 120 x 73.5 cm [paper] Dugong 2008 Gifted by the artist & Northern Editions Synthetic polymer paint on canoe tree Printmaking Studio, 2010 – CDU1890 wood; black glass beads 50cm [length] x 9cm [width], approx. 7 Bronwyn Wright Acquired by purchase, 2011 – CDU2294 Leaping Dog 2005 Digital type C print (colour on metallic paper) 2 Therese Ritchie 26.8 x 36.1 cm [image]; 30 x 39cm [paper] Luju ka wirntimi (Woman Dancing) [2000] Gifted by the artist, October 2006 – CDU1287 Inkjet print on German etching paper 59.5 x 60cm [image] 8 Susan Marawarr NDY Edition, 2010 – on loan from the artist Korlngkarri (place name) 1999 Screenprint, WP edn 25 3 Therese Ritchie Collaborators: Leon Stainer/Monique Auricchio Wati-jarra kapala jurrka-pinyi (Two men Printer: Gilbert Herrada dancing) [2000] 49 x 68.5cm [image]; 56 x 76cm [paper] Inkjet print on German etching paper Gifted by the artist & Northern Editions 59.5 x 60cm [image] Printmaking Workshop, 1999 – NTU730 NDY Edition, 2010 – on loan from the artist 9 Angelina George 4 Therese Ritchie Rainbow Serpent Dreaming 2004 Luju ka wirntimi (Woman Dancing) 2 [2000] Acrylic on linen, 121 x 96 cm Inkjet print on German etching paper Acquired by purchase, December 2005 – 59.5 x 60cm [image] CDU1272 NDY Edition, 2010 – on loan from the artist 10 Pepai Jangala Carroll 5 Kuruwarriyingathi Bijarrb (Paula Paul) Ininti -
Indigenous Archives
INDIGENOUS ARCHIVES 3108 Indigenous Archives.indd 1 14/10/2016 3:37 PM 15 ANACHRONIC ARCHIVE: TURNING THE TIME OF THE IMAGE IN THE ABORIGINAL AVANT-GARDE Khadija von Zinnenburg Carroll Figure 15.1: Daniel Boyd, Untitled TI3, 2015, 56th International Art Exhibition – la Biennale di Venezia, All the World’s Futures. Photo by Andrea Avezzù. Courtesy: la Biennale di Venezia. Daniel Boyd’s Untitled T13 (2015) is not an Aboriginal acrylic dot painting but dots of archival glue placed to match the pixel-like 3108 Indigenous Archives.indd 342 14/10/2016 3:38 PM Anachronic Archive form of a reproduction from a colonial photographic archive. Archival glue is a hard, wax-like material that forms into lumps – the artist compares them to lenses – rather than the smooth two- dimensional dot of acrylic paint. As material evidence of racist photography, Boyd’s paintings in glue at the 2015 Venice Biennale exhibition physicalised the leitmotiv of archives. In Boyd’s Untitled T13 the representation of the Marshall Islands’ navigational charts is an analogy to the visual wayfinding of archival photographs. While not associated with a concrete institution, Boyd’s fake anachronic archive refers to institutional- ised racism – thus fitting the Biennale curator Okwui Enwezor’s curatorial interest in archival and documentary photography, which he argues was invented in apartheid South Africa.1 In the exhibition he curated in 2008, Archive Fever: Uses of the Document in Contemporary Art, Enwezor diagnosed an ‘archival fever’ that had afflicted the art of modernity since the invention of photography. The invention, he believed, had precipitated a seismic shift in how art and temporality were conceived, and that we still live in its wake. -
Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
MAKINTI NAPANANGKA – PINTUPI C
MAKINTI NAPANANGKA – PINTUPI c. 1930 - 2011 Represented by Utopia Art Sydney, 2 Danks Street, Waterloo, NSW 2017 © Makinti Napanangka was born at Lupul rockhole south of Kintore c. 1930. She gave birth to her first child in the Lake MacDonald area and later had children in Haasts Bluff, Papunya and Alice Springs. She walked with her family to Haasts Bluff before the Papunya Community was established. Makinti began painting regularly for the company in 1996. SOLO EXHIBITIONS 2007 "Makinti" Papunya Tula Artists, Alice Springs 2005 "Makinti" John Gordon Gallery, Coffs Harbour 2003 “Makinti Napanangka – A Painter” Utopia Art Sydney 2002 “Recent Paintings” Gallery Gabrielle Pizzi 2001 “Makinti Napanangka: new paintings”” Utopia Art Sydney 2000 “Makinti Napanangka: New Vision” Utopia Art Sydney SELECTED GROUP EXHIBITIONS 2013 ‘The Salon’, Utopia Art Sydney, NSW ‘No Boundaries’, Bayside Arts & Cultural Centre, VIC 2012 ‘Abstraction’, Utopia Art Sydney, NSW ‘Kunga: Les Femmes de Loi du Desert (Law Women From the Desert)’, the collection of Arnaud et Berengere Serval, Galerie Carry On / Art Aborigene, Geneva ‘Ancestral Modern: Australian Aboriginal Art from the Kaplan & Levi Collection’, Seattle Art Museum, USA ‘18th Biennale of Sydney: all our relations’, Museum of Contemporary Art Australia, NSW ‘Interconnected’, Utopia Art Sydney, NSW ‘Unique Perspectives: Papunya Tula Artists and the Alice Springs Community,’ Araluen Arts Centre, NT 2011 ‘Papunya Tula Women’s Art’, Maitland Regional Art Gallery, NSW ’40 Years of Papunya Tula Artists’, Utopia -
MRAGM Newsletter March at 2Pm at MRAG
Feb/March maitland regional art gallery 1 2008 members (MRAGM) newsletter Maitland Regional Art Gallery Members’ (MRAGM) primary role is to promote public awareness of Maitland Regional Art Gallery (MRAG) and its activities. MRAGM is recognised by the art gallery as a vital ingredient to the growth of the Cultural Precinct. Exhibitions at MRAG “Heads Up! “showcases the work of prominent Australian artists Vicki Varvaressos and Richard Larter. Vicki Varvaressos started exhibiting in 1975. She has held over 28 solo exhibitions and has been included in numerous group shows. Prizes included winning the Portia Geach Memorial Award - winner in 2002. Varvaressos is represented in many important collections in Australia, including the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria and most Regional Galleries. She is also featured in overseas collections. Richard Larter came to Australia from London in 1962. He has been in many significant exhibitions and is well represented in the Australian National Gallery, State Galleries and numerous other collections. “Heads Up!” has been supported by Watters Gallery in Sydney – one of Australia’s most successful and longest running commercial art galleries. To complement this thought provoking exhibition MRAG has curated an exhibition of “Portraiture from the MRAG Collection” featuring unique paintings by Brett Whiteley and Charles Blackman. Other portrait paintings and works on paper by Peter Kingston, Salvatore Zofrea and Newcastle’s own Norma Allen are included in this exhibition along with a selection of photographs featuring famous Australian artists in their own homes such as Donald top: richard larter (detail) julie 143 2001 oil on Friend and Margaret Olley. -
Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases. -
Course Number and Title: CAS AH 374 Australian Art and Architecture
Course Number and Title: CAS AH 374 Australian Art and Architecture Instructor/s Name/s: Peter Barnes Course Dates: Spring Semester, Fall Semester Office Location: BU Sydney Programs, Australia, a division of BU Study Abroad Course Time: Two sessions per week in accordance with class schedule: one session of 4 + hours and one session of 2 hours in a 7-8 week teaching half of a semester. Location: Classrooms, BU Sydney Academic Centre, Sydney, Australia, and multiple out-of-classroom field trips as scheduled, one of which is a 12 hour day long field trip outside the city to Canberra, Australia’s national capital and home to National Art Galleries, and Museums. Course Credits: 4 BU credits plus 2 BU Hub units Contact Information: [email protected] Office Hours: 15 minutes prior to and following course delivery or by appointment. TA/TF/Learning Assistant information, if relevant: 0 Principal Lecturers: Peter Barnes Guest Lecturers: Vary in accordance with available artists. One example is: Tom Carment, a working artist Question-driven Course Description: *How have European art traditions influenced the art practice of Australia’s indigenous peoples and how in turn has Aboriginal culture impacting the art of non-indigenous Australians? *The 18th century voyages to the southern ocean placed artists in a prominent role as practitioners of the new science of observation and experimentation promoted by the Royal Society. How does this differ from the idealist aesthetics of the Royal academy and what impact did this have on art in Australia during -
3Rd Grade Art Docent Lesson
Grade 3 – Aboriginal Dot Painting Texture What do you see? Water Dreaming, 2014, Robertson Artistic Focus: Texture TEXTURE is an element of visual arts that portrays surface quality. • Actual texture is how something feels. • Visual texture is how something appears to feel. Today’s objective: 1. To practice dot painting as a way to create visual texture 2. To use alternative tools to paint WA State Visual Arts Standard Identify and explain how and where different cultures record and illustrate stories and history of life. (VA: Pr6.1.3) Water Dreaming, 2014, Robertson Shorty Jangala Robertson • Australia, Jila (Chilla Well) • 1925-2014 • Of the Warlpiri people. • Member of the Papunya Tula Artists Pty Ltd. • Painted “dreamings” of water, acacia, and local animals. • Finding water is critical to survival in the Australian Western Desert, so water is an important theme in Robertson’s paintings. • Used brushes, cotton swabs, or other alternative tools to paint on canvas, bark, or other hard surfaces. Papunya Tula Papunya Tula Artists Pty Ltd (proprietary company limited) is an artist cooperative formed in 1972 that is owned and operated by Aboriginal people from the Western Desert of Australia. The group is known for its innovative work with the Western Desert Art Movement, popularly referred to as "dot painting". The company operates today out of Alice Springs and is widely regarded as the premier purveyor of Aboriginal art in Central Australia. Artwork Ngapa Jukurrpa (Water Dreaming), 2006 Shorty Jangala Robertson Flood waters surge across the canvas. This painting is on display in the Seattle Art Museum. Artwork Ngapa Jukurrpa (Water Dreaming), early 2000’s Materials artist’s palette cotton swabs to apply the paint paper towels tempera paint in autumn forest orange construction paper with a colors, black & white leaf stenciled on it Examples of Today’s Project Before You Begin 1. -
The Drunken Buddha
Ian Fairweather: The Drunken Buddha 1 The Drunken Buddha, Ian Fairweather’s illustrated translation of a popular Chinese tale, published by University of Queensland Press (UQP) in 1965, is a rare example of a serious book-length translation from Chinese to English by an established artist. It is one of a number of translations from Chinese undertaken by Fairweather, evidence of an unusual pastime that arose from his fascination with the Chinese language. For Fairweather the publication of The Drunken Buddha was the culmination of years of work and making up for various frustrated earlier efforts to see it into print. The book was greeted by critics as a curiosity, something to add to the list of bizarre events associated with the life of the Scottish-born artist who since 1953 had lived on his own terms in a self-made hut on Bribie Island and in 1962 was declared ‘Australia’s greatest living artist.’1 Writing in 1995, Sinologist Pierre Ryckmans [Simon Leys] lamented that what should be regarded as one of UQP’s ‘proudest productions’ had been long out of print and questioned why no-one had ever asked Fairweather, while he was alive, what had motivated him to do it. ‘No sensitive and reflective artist can approach China without being profoundly affected by that experience. Fairweather’ he wrote, ‘ was certainly no exception to this rule and, for all his reticence and elusiveness, he left convincing evidence that China played an important role in his artistic and spiritual development.’2 Twenty years later, in 2015, a 50th anniversary edition of The Drunken Buddha was published by UQP to celebrate ‘Fairweather’s creative legacy.