Queensland Art Gallery Annual Report
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UQFL139 Queensland Art Fund Collection
FRYER LIBRARY Manuscript Finding Aid UQFL139 Queensland Art Fund Collection Size 7 boxes Contents Minutes of meetings, annual reports, circulars, correspondence and financial records, correspondence regarding nomination of trustee, Art Library records, newspaper clippings, press publicity reports, papers on the Queensland Art Fund lunch hour talks. Biography The Queensland Art Fund was organized by Vida Lahey and Daphne Mayo to promote public interest in the Queensland Art Gallery. Through purchases and gifts, the Fund acquired paintings, books and a collection of 2000 photographs given by the Carnegie Corporation, New York. When Art Fund activities ceased, the collections were divided among the Queensland Art Gallery, the Queensland University and other public bodies. Notes Open access Minutes of Meetings, Annual Reports and Circulars Box 1 One volume—minutes of general meetings, annual reports and circulars, 1930-1945. Contains minutes, newspaper clippings, financial statements, annual reports etc One volume—minute book of executive meetings of Queensland Art Fund, 5 Dec 1927- 25 Nov 1947 (Handwritten notes stuck to back cover, names and addresses of committee members stuck to front cover, also loose list of members’ names) One notebook—Queensland Art Funds sub-committee, minutes, 5 Jun 1929-8 Oct 1930. (Handwritten minutes) One notebook—Queensland Art Fund Ladies committee, minutes Apr 19??-Jun 1930. (Handwritten minutes) One notebook—Queensland Art Fund Ladies committee, minutes, 21 Mar 1930- 4 Apr 1930. One folder—notices, invitations etc, contains blank subscription receipt book, invitations One folder—loose minutes, agendas (Some undated, others dated 8 May 1929- Feb 1932) One folder—loose annual reports, contains report to members Feb 1930, report to first annual meeting (six copies), report 1942-1945. -
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 -
Queensland Art Gallery Board of Trustees Annual Report 2015–16
QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific. -
A Eudaimonistic Model for Femininity in the Art of Vida Lahey (1882-1968 )
‘Wanted, a strong girl, able to milk and make herself agreeable’: A Eudaimonistic Model for Femininity in the Art of Vida Lahey (1882-1968 ) Author Lovell, Susan Published 2008 Journal Title Australian Feminist Studies DOI https://doi.org/10.1080/08164640802020576 Copyright Statement © 2008 Taylor & Francis. This is the author-manuscript version of the paper. Reproduced in accordance with the copyright policy of the publisher.Please refer to the journal link for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/22869 Link to published version http://www.tandf.co.uk/journals/carfax/08164649.html Griffith Research Online https://research-repository.griffith.edu.au 'Wanted, a strong girl, able to milk and make herself agreeable' : A Eudaimonistic Model for Femininity in the Art of Vida Lahey (1882- 1968) In 1916 the Australian artist Vida Lahey came to London to form a home base for her three brothers and 12 cousins who were fighting in Europe. The visit was also an opportunity to connect to her Irish heritage. During some 'off duty' time, as she was cycling through the Irish countryside, she came across the notice that forms the title of this paper: 'Wanted, a strong girl, able to milk and make herself agreeable' (Lahey 1919, 9). That Vida even recorded the advertisement in her journal says something about the impression that it made on her. The roles of domestic worker and 'agreeable' object form the twin poles of an ideologically determined continuum along which single women have traditionally been expected to define themselves. It is a short, rather constrained continuum because the definition of femininity has been articulated in tandem with the heterosexual institution of the family. -
Sebastian Di Mauro
Sebastian Di Mauro BORN Innisfail, Queensland, Australia ACADEMIC QUALIFICATIONS 2014-2015 Doctor of Philosophy, Griffith University 1993-1996 Master of Arts (Visual Arts), Monash University 1990-1991 Graduate Diploma of Arts, (Visual Arts), Monash University 1987 Bachelor of Arts, Queensland College of Art, Brisbane 1981-1983 Diploma of Teaching, Brisbane College of Advanced Education SOLO EXHIBITIONS 2019 GREENBACK MARS Gallery, Melbourne, Victoria 2019 GREENBACK, Onespace Gallery, Brisbane, Queensland 2014 Surf ‘n’ Turf, Gold Coast City Art Gallery, Gold Coast 2010 Scuta, Dianne Tanzer Gallery, Melbourne 2009 Footnotes of a verdurous tale, Sebastian Di Mauro 1987-2009, QUT Art Museum, Brisbane Scuta, Sullivan+Strumpf Fine Art, Sydney 2008 Evergreen, Dianne Tanzer Gallery, Melbourne 2007 Lasciare, Victorian Tapestry Workshop Gallery, Melbourne Archimedes’ Bath, Sullivan + Strumpf Fine Art, Sydney Suburban Abstractions 4, Mackay Artspace, Mackay Suburban Abstractions 3, Gladstone Regional Art Gallery, Gladstone 2006 Float, Dianne Tanzer Gallery, Melbourne 2005 Suburban Abstractions 2, Bundaberg Arts Centre, Bundaberg UAM Project Show: Catherine Brown, Denise Green, Sebastian Di Mauro and Tom Risley, University Art Museum, University of Queensland, Brisbane the grass is greener, Newcastle Regional Gallery, Newcastle 2004 Suburban Abstractions: Lifts Project, National Gallery of Australia, Canberra Suburban Abstractions: Roots, Dianne Tanzer Gallery, Melbourne Pivot, Umbrella Studios, Townsville Turf Sweet, Maroondah Art Gallery, Ringwood, -
Art Gallery of New South Wales 2015 Year in Review
Art Gallery of New South Wales Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 2015 2015 ART GALLERY OF NEW SOUTH WALES 2015 2 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 3 Our year in review 4 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 5 We dedicate this inaugural Art Gallery of New South Wales annual review publication to the Australian artists represented in the Gallery’s collection who have passed away during the year. 8 OUR VISION 9 FROM THE PRESIDENT Guido Belgiorno-Nettis 10 FROM THE DIRECTOR Michael Brand 12 YEAR AT A GLANCE 14 SYDNEY MODERN PROJECT 23 ART 42 IDEAS 50 AUDIENCE 60 PARTNERSHIPS 74 EXECUTIVE 75 CONTACTS 80 2016 PREVIEW Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. Our goal is that by the time of our As Australia’s premier art museum, 150th anniversary in 2021, the Gallery we must reflect the continuing evolution will be recognised, both nationally of the visual arts in the 21st century and internationally, for the quality of alongside the development of new our collection, our facilities, our staff, channels of global communication that our scholarship and the innovative increasingly transcend national ways in which we engage with our boundaries. -
Thesis Title
Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art. -
Queensland Art Gallery
Nationally Significant 20th-Century Architecture Revised date 27/05/2011 Queensland Art Gallery Address Stanley Place, South Bank, Brisbane , Qld Practice Robin Gibson & Partners Designed 1973 Completed 1982 History & Located southwest of the Brisbane CBD, overlooking Queen Description Elizabeth II Park to the northeast & the Brisbane River beyond, the Queensland Art Gallery was the first building designed in the extensive Queensland Cultural Centre. The gallery originated from a limited competition in 1973. Soon after, in 1975, the state government resolved to construct the much larger integrated Queensland Cultural Centre & to include a performing arts centre, museum & library. The site, adjacent to the busy Grey Street & South east view towards entry. railway line to the south west, was extended along the river bank. The complex of three buildings was designed by Robin Gibson in conjunction with the Queensland Department of Works. The gallery, constructed externally & internally in bush-hammered off-white insitu concrete, has a stepped horizontal form opening out to the river & the view of the city to the north east while turning its back to Grey Street. The horizontal theme is enhanced with extended planting along the ‘terraces’ & the longitudinal water feature, the Water Mall, which crosses the site, extending through & beyond the building. Water is introduced as a series of audible & kinetic elements externally, which contrasts with the more placid setting of the three-level high central interior space of the Water Mall. This impressive three-dimensional central space separates the galleries from the administration, education & library areas & is South view along Water Mall. naturally lit through a glazed roof supported by ‘pergola like’ pre- Source: R. -
NEWSLETTER No. 32 October, 2008
AKSE Newsletter 32 ASSOCIATION FOR KOREAN STUDIES IN EUROPE NEWSLETTER No. 32 October, 2008 Table of Contents News from the President……………………………………………….2 A Note from the Editor……………………………………………......3 Association News………………………………………………………..3 Constitution of the Association for Korean Studies in Europe…………………………………………………………………4 Honorary Members of AKSE…………………………………….......6 AKSE Representatives to Annual Meetings of the Association for Asian Studies…………………………………….6 Country Reports Austria……………………………………………………………………7 Czech Republic………………………………………………........ …13 France…………………………………………………………………..14 Germany………………………………………………………………..22 Great Britain…………………………………………………………..30 Hungary…………………………………………………………………41 The Netherlands……………………………………………………....42 Russia……………………………………………………………………44 1 AKSE Newsletter 32 N E W S F R O M T H E PRESIDENT According to the calendar it is summer, but the branches of the tree outside my window violently move up and down in a gale force wind while dark clouds from time to time unleash torrents of rain. Rain or shine, however, the preparations for AKSE activities continue. On 21 August, 2008 the Fifth Korean Studies Convention for Graduate Students in Europe will begin, this year to be held in Leiden. Originally this was not an AKSE activity, the graduate students themselves taking charge of the entire organisation together with local teachers. This will not radically change, but AKSE will every year at the end of July include a request for funding of the convention of the following year to the Korea Foundation in its request for other activities and when necessary encourage graduate students to organise a convention. This will facilitate the work of the graduate students who are organising next year’s conference and promote continuity. Preparations are also under way for the 2009 AKSE Biennial Conference in Leiden. -
Bibliography
SELECTED bibliOgraPhy “Komentó: Gendai bijutsu no dōkō ten” [Comment: “Sakkazō no gakai: Chikaku wa kyobō nanoka” “Kiki ni tatsu gendai bijutsu: henkaku no fūka Trends in contemporary art exhibitions]. Kyoto [The collapse of the artist portrait: Is perception a aratana nihirizumu no tōrai ga” [The crisis of Compiled by Mika Yoshitake National Museum of Art, 1969. delusion?]. Yomiuri Newspaper, Dec. 21, 1969. contemporary art: The erosion of change, the coming of a new nihilism]. Yomiuri Newspaper, “Happening no nai Happening” [A Happening “Soku no sekai” [The world as it is]. In Ba So Ji OPEN July 17, 1971. without a Happening]. Interia, no. 122 (May 1969): (Place-Phase-Time), edited by Sekine Nobuo. Tokyo: pp. 44–45. privately printed, 1970. “Obŭje sasang ŭi chŏngch’ewa kŭ haengbang” [The identity and place of objet ideology]. Hongik Misul “Sekai to kōzō: Taishō no gakai (gendai bijutsu “Ningen no kaitai” [Dismantling the human being]. (1972). ronkō)” [World and structure: Collapse of the object SD, no. 63 (Jan. 1970): pp. 83–87. (Theory on contemporary art)]. Design hihyō, no. 9 “Hyōgen ni okeru riaritī no yōsei” [The call for the Publication information has been provided to the greatest extent available. (June 1969): pp. 121–33. “Deai o motomete” (Tokushū: Hatsugen suru reality of expression]. Bijutsu techō 24, no. 351 shinjin tachi: Higeijutsu no chihei kara) [In search of (Jan. 1972): pp. 70–74. “Sonzai to mu o koete: Sekine Nobuo-ron” [Beyond encounter (Special issue: Voices of new artists: From being and nothingness: On Sekine Nobuo]. Sansai, the realm of nonart)]. Bijutsu techō, no. -
QUEENSLAND CULTURAL CENTRE Conservation Management Plan
QUEENSLAND CULTURAL CENTRE Conservation Management Plan JUNE 2017 Queensland Cultural Centre Conservation Management Plan A report for Arts Queensland June 2017 © Conrad Gargett 2017 Contents Introduction 1 Aims 1 Method and approach 2 Study area 2 Supporting documentation 3 Terms and definitions 3 Authorship 4 Abbreviations 4 Chronology 5 1 South Brisbane–historical overview 7 Indigenous occupation 7 Penal settlement 8 Early development: 1842–50 8 Losing the initiative: 1850–60 9 A residential sector: 1860–1880 10 The boom period: 1880–1900 11 Decline of the south bank: 1900–1970s 13 2 A cultural centre for Queensland 15 Proposals for a cultural centre: 1880s–1960s 15 A new art gallery 17 Site selection and planning—a new art gallery 18 The competition 19 The Gibson design 20 Re-emergence of a cultural centre scheme 21 3 Design and construction 25 Management and oversight of the project 25 Site acquisition 26 Design approach 27 Design framework 29 Construction 32 Costing and funding the project 33 Jubilee Fountain 34 Shared facilities 35 The Queensland Cultural Centre—a signature project 36 4 Landscape 37 Alterations to the landscape 41 External artworks 42 Cultural Forecourt 43 5 Art Gallery 49 Design and planning 51 A temporary home for the Art Gallery 51 Opening 54 The Art Gallery in operation 54 Alterations 58 Auditorium (The Edge) 61 6 Performing Arts Centre 65 Planning the performing arts centre 66 Construction and design 69 Opening 76 Alterations to QPAC 79 Performing Arts Centre in use 80 7 Queensland Museum 87 Geological Garden -
82 3.3.4.4.3 Ecogeographic Studies of the Cranial Shape The
82 3.3.4.4.3 Ecogeographic studies of the cranial shape The measurement of the human head of both the living and dead has long been a matter of interest to a variety of professions from artists to physicians and latterly to anthropologists (for a review see Spencer 1997c). The shape of the cranium, in particular, became an important factor in schemes of racial typology from the late 18th Century (Blumenbach 1795; Deniker 1898; Dixon 1923; Haddon 1925; Huxley 1870). Following the formulation of the cranial index by Retzius in 1843 (see also Sjovold 1997), the classification of humans by skull shape became a positive fashion. Of course such classifications were predicated on the assumption that cranial shape was an immutable racial trait. However, it had long been known that cranial shape could be altered quite substantially during growth, whether due to congenital defect or morbidity or through cultural practices such as cradling and artificial cranial deformation (for reviews see (Dingwall 1931; Lindsell 1995). Thus the use of cranial index of racial identity was suspect. Another nail in the coffin of the Cranial Index's use as a classificatory trait was presented in Coon (1955), where he suggested that head form was subject to long term climatic selection. In particular he thought that rounder, or more brachycephalic, heads were an adaptation to cold. Although it was plausible that the head, being a major source of heat loss in humans (Porter 1993), could be subject to climatic selection, the situation became somewhat clouded when Beilicki and Welon demonstrated in 1964 that the trend towards brachycepahlisation was continuous between the 12th and 20th centuries in East- Central Europe and thus could not have been due to climatic selection (Bielicki & Welon 1964).