30 January, 2007

emmanuelle villard


january 2007 subject index

print australia
fact finding tour

In The Raw | Rammstein

Jessica Delfino


Artists of Brücke

Contemporary Australian Printmaking NGV
call - MINI PRINT 2007
Swedish National Printtriennial XIII


Erased de Kooning Drawing
managing institutional change
The Feminist Art Project

Australia's convict heritage goes global

emmanuelle villard

The Feminist Art Project

TheFeministArtProject: CAA 2007

Contact: Anne Swartz (aswartzcaa@mail.com)

In conjunction with the upcoming 2007 annual conference of the College Art Association, there will be a series of events sponsored by TheFeministArtProject, co-organized by the late internationally-renowned art critic Arlene Raven and art historian Anne Swartz.

The College Art Association s the membership organization that promotes excellence in scholarship and teaching in the history and criticism of the visual arts and in creativity and
technical skill in the teaching and practices of art.

TheFeministArtProject is a national initiative recognizing the aesthetic and intellectual impact of women on the visual arts and culture.

In addition to panels featuring renowned and emerging visual arts professionals, there will be receptions at Chelsea galleries, which will host Feminist art exhibitions.

The first reception will be held on Thursday, February 15 from 5:30-7:00 p.m. at A.I.R. Gallery, West 25th Street, Suite 301, Chelsea, in conjunction with the exhibition, “The Changing Room: Object and Metaphor,” new work by Daria Dorosh and “One True Thing,” a group show of work by A.I.R. Gallery Artists curated by Dena Muller.

The second reception will be held on Friday, February 16 from 5:30-8:00 p.m. at Ceres Gallery for “Agents of CHANGE: Women, Art, and Intellect,” curated by Dr. Leslie King-Hammond, Maryland Institute College of Art, at Ceres Gallery, 547 West 27th Street, Suite 201, in Chelsea.

On Saturday, February 17 from 9:00 a.m. until 5:30 p.m., a series of panel presentations, interviews, performances, and other panel formats will be held. They will provoke, intrigue, and engage audience members with the developments and topics surrounding Feminist Art and women’s involvement in cultural production.

The schedule of panels is as follows:
Are We There Yet? The Status and Impact of Second- and Third-Wave Feminism,
Women’s Art, the Women’s Art Movement, and “Feminist Art”
Anne Swartz, Savannah College of Art and Design

Feminism, Women, and Museums
Elizabeth Mansfield, The University of the South

American Art and Sexual Trauma
Vivien Green Fryd, Professor of the History of Art, Vanderbilt University

Back to the Front
Helena Reckitt, Toronto-based independent critic/curator

Occupying Our Hearts: Performing Self-Transformation through Feminist Art
Joanna Frueh, Distinguished Professor, School of Art, University of Arizona and
Professor Emerita of Art History, University of Nevada, Reno

“Life of the Mind, Life of the Market”: A Reevaluation of the Contribution of
Theory to Feminist Art from 1980 to 2006
Mira Schor, Faculty, Parsons The New School for Design

Re-gendering Public Practice
Suzanne Lacy, Chair of Fine Arts, Otis College of Art and Design, Los Angeles


For information on TheFeministArtProject: http://feministartproject.rutgers.edu/
For information on CAA 2007: http://conference.collegeart.org/2007/special

29 January, 2007

Erased de Kooning Drawing

This section of Making Sense of Modern Art explores Robert Rauschenberg's drawing Erased de Kooning Drawing.

Making Sense of Modern Art offers an extensive and engaging guide to modern and contemporary works in the Museum's permanent collection. Its rich-media format enables you to "zoom in" on full-screen details of individual artworks, explore excerpts from archival videos and films, and listen to commentary by artists, art historians, critics, and collectors.


Erased de Kooning Drawing is iconic because it stands for an era when something seemingly negative could, in fact, turn out to have positive repercussions. It is revolutionary in a philosophical, though not in an aesthetic, sense. The influence of Rauschenberg's white work can be seen in many later artists, from Richard Hamilton, who designed The Beatles' "white album" cover, to Richard Tuttle and Felix Gonzalez-Torres . Mostly, I see Erased de Kooning Drawing as part of Rauschenberg's way of making a grand gesture. If he had created the White Paintings at a different time or in a different way, they would be forgettable, if not laughable, but when we installed Seven Panel White Painting in an arched niche in the Reina Sofia museum in 2002 for the Black Mountain show I curated there, it transformed that space into something like a temple, even though there was much that was active going on around it. It transmitted a sense of stillness, of interiority. It was only later that one stopped to wonder at its maker's quiet genius.



Daniel Maldonado (Brooklyn, NY)

"Stickers" tells the story of Tommy, a quiet yet imaginative third grader, who while struggling for acceptance in class, recalls the sudden and haunting disappearance of his best friend and classmate, Judy Boyer.
(approx. running time 17 minutes)

Contestants in the Short Films category.

Australia's convict heritage

Port Arthur Historic Site (Tasman Peninsula)

Australia's convict heritage goes global

The Australian Government, in partnership with relevant state and territory governments, is preparing a nomination for World Heritage listing of 11 of Australia's convict sites as an exceptional example of the global story of forced migration.

The sites that are expected to be collectively nominated for the World Heritage List are:

  • New South Wales: Old Government House (Parramatta in Sydney), Hyde Park Barracks (Sydney), Cockatoo Island Convict Site (Sydney) and Great North Road (near Wiseman's Ferry)
  • Norfolk Island: Kingston and Arthur's Vale Historic Area
  • Tasmania: Port Arthur Historic Site (Tasman Peninsula), Cascades Female Factory Site (Hobart), Darlington Probation Station (Maria Island), Coal Mines Historic Site (via Premadeyna) and Brickendon-Woolmers Estates (near Longford)
  • Western Australia: Fremantle Prison

The Department of the Environment and Heritage welcomes comments from interested groups and individuals on the 11 places that form the Australian convict sites nomination. Please contact: WHConvicts@deh.gov.au
World Heritage Team
Heritage Division
PO Box 787
Canberra ACT 2600

More information:


Port Arthur Historic Site was one of the places we visited this month.

It cost $25 each to get in. This included

- Site entry fee, {some of the buildings were closed}.
- An interactive exhibiton {disney ride} which we didnt do. It would be suitable for keeping school tours entertained.
- A 45 minute tour which we also didnt do. If you wanted the audio gude self tour it cost extra.
- A ferry ride to the island, which we didnt do. If you wanted to get off and see the island, that cost extra, and you were given an allocated time to take the cruise which didnt necessarily suit.

We would have preferred the choice to select which components of the site entry we actually wanted to see and pay for.


This card set was on display in the governer's house. Can anyone identify it and provide any information please?

managing institutional change

Director's Forum
Times of Change: New Developments
2007-01-24 to 2007-02-16

This seminar showcased a selection of state and national museums and galleries that are undergoing significant operational or physical change. A panel of six Directors discussed the experiences and challenges currently faced by their institutions and the ways they have adapted to planned and sometimes sudden change.

Panellists included:
* Louise Douglas (General Manager Audience and Programs National Museum of Australia)
* Dr Kevin Fewster (Director, Powerhouse Museum)
* Frank Howarth (Director, Australian Museum)
* Nick Mitzevich (Director, Newcastle Region Art Gallery)
* Andrew Sayers (Director, National Portrait Gallery)
* Fiona Winning (Director, Performance Space)
Chair: Andrea Stretton (Arts and Literary Journalist and Interviewer).
This was the final seminar of the 2006 series New Museum Models Transforming Communities presented by MGnsw and Museum of Sydney, Friday 10 November 2006

Download seminar proceedings

28 January, 2007

Swedish National Printtriennial XIII

Last saturday, january 13th, we had the grand opening of The Swedish National Printtriennial XIII at the Royal Academy of Fine Arts in Stockholm.

More than 800 people at the vernissage during the day and 130 people at the party in the evening. It was and still is (it goes on until february 18th) a massive demonstration of the vitality and openmindedness of printmaking in Sweden today.

Please visit our website; www.grafiktriennal.se and have a look!

Mikael Kihlman

12 January, 2007

call - MINI PRINT 2007


Happy New Year 2007!

Wishing you Health, Good Luck and Success

I would like to invite you to visit our
Printmaking Project
with exhibition, printed catalogue, web presentation...


Dear Friend of Printmaking,

if you like to be a part of the


please have a look at the conditions for participation
and prepare your works in the next 3 months...

Looking forward to our good cooperation in the New 2007!

Yours Georgi

04 January, 2007

fact finding tour

I'll be travelling for the rest of the month.

see you in february


03 January, 2007

Contemporary Australian Printmaking NGV

Contemporary Australian Printmaking
9 December 2006 - 1 April 2007

The printed image, with its unique capacity to be reproduced in multiple versions, offers fertile ground for contemporary artists. So too does the variety of means by which such images can be created, from traditional techniques including woodcut and etching, to the newest developments in digital printing technology.

Today's artists explore the expressive potential of the contemporary print in many ways. Some utilise printmaking techniques in conjunction with the specialised formats traditionally associated with the multiple image, including the print portfolio and the illustrated book, while others adopt an experimental approach that moves beyond familiar expectations of the printed image.

This exhibition samples recent printmaking practice, featuring a selection of contemporary works from the NGV's permanent collection of Australian prints by artists including Mike Parr, Lesley Duxbury and Milan Milojevic.

The Ian Potter Centre:
NGV Australia
Federation Square
Corner of Russell and
Flinders Streets, Melbourne.
+61 3 8620 2222

02 January, 2007

Artists of Brücke

Artists of Brücke
February 14–May 21, 2002

This site is the Museum’s first exhibition created exclusively for the web and showcases its unparalleled collection of German Expressionist prints and illustrated books.

The Brücke group, formed in 1905 in Dresden by four revolutionary architectural students including Ernst Ludwig Kirchner and Erich Heckel, strove to achieve a new synthesis between art and life, bringing meaning back to what they considered the superficial bourgeois existence of German life under Kaiser Wilhelm II.

They organized exhibitions and publicized their own work by issuing annual portfolios of prints. Printmaking, and the woodcut in particular, became one of their most important modes of expression.

This site presents over 110 prints arranged into thematic groupings to highlight the issues and motifs central to this seminal movement in the history of modern prints.
Flash plug-in required.

Organized by Wendy Weitman, Curator, Department of Prints and Illustrated Books.


Jessica Delfino

Here's a helpful song by Jessica Delfino. She's discovered a guaranteed shortcut to everlasting fame--watch and learn!


In The Raw | Rammstein

Mann gegen Mann

The making of Mann gegen Mann

Mann gegen Mann

Man against man
My skin belongs to the gentlemen
Man against man
Birds of a feather flock together

Man against man
But my heart freezes on some days
Man against man
Cold tongues that beat there

Please read the lyrics and translations when listening to Rammstein


Mein Teil

"The song is a play on "Weicheteile" Which means genitals in German. It is also about cannibalism and how after a man found a willing victim to slaughter they cut off his penis and ate it together first, as the victim requested."

“Looking for a well-built 18 to 30-year-old to be slaughtered”
The Master Butcher

Today I will meet a gentleman
He likes me so much he could eat me up
Soft parts and even hard ones [3]
are on the menu

Because you are what you eat
and you know what it is

It is my part – no
My part – no
There that's my part – no
My part – no



Lubricated Goat's infamous performance of 'In The Raw' taken from the 1988 debut album 'Paddock Of Love'.

This infamous performance on ABC-TV's 'Blah Blah Blah' (hosted by Andrew Denton) caused media controversy in 1988 and has since become legendary.