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Australian contemporary art.
A continuation of Print Australia http://www.acay.com.au/~severn/
BONNETS & BOATS BY CHRISTINA HENRI - ART RE-TELLING CONVICT WOMEN’S STORIES
Bonnets & Boats will re-connect convict women’s history and their stories to the English settlement of Australia. It will engage descendants of convict women transported to Australia and allow them to tell their stories handed to them from generation to generation. Christina Henri will be running a series of cloth bonnet making workshops with descendants of convict women from the local community in Parramatta. These bonnets will feature in the exhibition at Parramatta Artists Studios and other exhibitions spaces across Australia. Each bonnet will commemorate the life of a convict woman.
When: 5 September – 10 October 2008 Workshops: 11am – 4pm, 16 August, 11am – 4pm, 23 August and 11am – 4pm, 6 September 2008 (Max 20 per workshop, bookings essential). Where: Parramatta Artists Studios, 45 Hunter St Parramatta Cost: Free Enquires and bookings: Parramatta Artists Studios on 9687 6090
Jenny Saville’s monumental paintings wallow in the glory of expansiveness. Jenny Saville is a real painter’s painter. She constructs painting with the weighty heft of sculpture. Her exaggerated nudes point up, with an agonizing frankness, the disparity between the way women are perceived and the way that they feel about their bodies. One of the most striking aspects of Jenny Saville’s work is the sheer physicality of it. Jenny Saville paints skin with all the subtlety of a Swedish massage; violent, painful, bruising, bone crunching.
The National Association for the Visual Arts (NAVA), today announced that it will produce an Art Censorship Guide, following extensive public debate about issues arising from the censorship of Bill Henson’s artwork. NAVA is the peak body representing the professional interests of the Australian visual arts sector, and has had a long-standing interest in the art censorship question. NAVA has been considering for some time, the need to better educate people about the scope of artistic freedom of expression in Australia and its moral and legal limitations. The Henson case has given NAVA the impetus to do something concrete about it, and to give some focus to people’s desire to see something positive come from all the discussion.
In addition, as a way of guiding artists in relation to ethically working with children, NAVA will include a checklist in the next edition of the Code of Practice for the Australian Visual Arts and Craft Sector, which it is currently preparing for publication. Tamara Winikoff, Executive Director of NAVA said today, “The Australian art world should not be complacent about Bill Henson’s reprieve. From the recent dust-up, it is evident that these public ethics issues deserve much more in- formed consideration. We also need to get a better understanding of the scope of the law, the extent of police powers and the appropriate actions which can be taken by all parties when complaints are made. We intend that the Art Censorship Guide will provide this clarity,” Winikoff continued.
The Art Censorship Guide is intended to educate artists, galleries, those who want to lodge a complaint and the police and security personnel. It will: - consider the ethical issues which are at stake - address both the rights and responsibilities of all parties - explain the jurisdiction of the law and how it is both interpreted and exercised, citing case studies - give advice about how to plan for the public exposure of sensitive material and manage the debates that follow - advise on the most effective ways to deal with complaints and threats.
Through extensive discussion and consultation, the guide will draw on the experience and knowledge of a range of experts involved in the arts, ethics and the law. As a result, the research may also make recommendations for legislative change. In the interests of engendering some informed and thoughtful public debate, NAVA and Watch on Censorship last Thursday night (June 12th) co-convened a public forum ‘Art Censorship: the Bigger Picture’. The forum took place at the Foundation Hall, Museum of Contemporary Art in Sydney. Margaret Pomeranz introduced the event and David Marr chaired the succeeding discussion. The impressive speaker list comprised artist and educator Ian Howard, cu- rator Tony Bond, child abuse activist Hetty Johnston, barrister Julian Burnside QC and public ethicist Clive Hamilton.
Winikoff commented, “One of Hetty Johnston’s propositions made at the forum is a worry: the idea that some sort of board of scrutineers needs to be set up to which artists must go for permission to make art involving children. Real pornographers would laugh at the impotence of this kind of proposal while the work of genuine artists may be compromised by the laboriousness and potential conservatism of such a requirement. We have seen too many cases of artworks being misjudged or suppressed in their own time and later recognised as the defining cultural icons of their age”.
There is a new addition to the The Aviary. Its a new blog called BYRDSONG and its specifically for language lessons.
The Aviary will be visiting Asia next and in preparation we have to learn Mandarin. The blog will feature links to language resources as we find them, and daily video lessons sourced from Youtube.
The Print Australia website was founded in October 1999. In the eight years of its operation the ISP has changed hands four times. Unfortunately, the most recent changeover has not been smooth and the service provider appears to be in the process of folding. For more info see Blitz on Whilrpool: http://forums.whirlpool.net.au/forum-threads.cfm?f=31&g=109
What this means for Print Australia is that the original website is no longer online, and the contact emails are expected to go down at any time.
Steps are being taken to source a new service provider. In the interim, you are invited to access the site in its archived format on the Internet Archive site.
All other Aviary sites (Bellebyrd, Blakkbyrd and Lyrebyrd) remain operational.
There are extensive links between the various sites which will be out of order. We apologise for the inconvenience and request your patience.
Girls and women, wives and mistresses, have played a crucial role in Blackman's life, and the female in her various forms re-appears in his paintings time after time.
"Of these most powerful invocations, the image of women is perhaps the strongest, such that he has painted woman in a fashion rarely ventured by other painters," writes Nadine Amadio in a book on Blackman. "His paintings of women reach the emotions, the dreams and the inner world of women . . ."
That is not so surprising when you learn he was born in Sydney in 1928, the only boy in a family with three girls. As his father walked out when he was four, he was the boisterous son in a family of excitable women and their influence seems to have pervaded his life and imagination.
Perhaps that is why schoolgirls became as much part of his earlier paintings as the harlequin did for Picasso or the guitar for Braque. ``I just started drawing my schoolgirl pictures, they just came out,'' Blackman once said. ``It takes a long time to get to the door, once you pass through the veil or once you pass through the surface of the idea, then it all comes pouring out.''
The schoolgirl paintings later led to the Alice in Wonderland series of pictures that are now highly expensive collectors' items. What attracted him to Alice, he recalled, was that ``once you go through the mirror, everything is possible. It had to do with my feelings about feminity and the fact that scale, size and relationships were altered ...''
One picture from the series titled The Madhatter's Tea Party that he sold in 1956 for 20 guineas, was knocked down for $430,500 at a Deutscher-Menzies auction in May last year - setting a new saleroom record for the artist and pushing him to the top ranks of high-priced painters for the first time in half-a-century.
....Blackman once said the schoolgirl pictures had a lot to do with fear: ``A lot to do with my isolation as a person and my quite paranoid fears of loneliness. It wasn't until I started painting schoolgirls that Sunday Reed (wife of John Reed the famed patron of artists such as Nolan and Boyd) showed me John Shaw Neilson's poetry about school girls; they were full of a kinship, the sort of thing that I was painting fitted in with it perfectly.''
..... Among a chaotic pitter-patter of details and noisy paint, Alice's head is schematised as a nicely defined tonal egg with pursed lips, generally riding on the same angle as that set by the stiff shaft of the neck. It inevitably gives Blackman's Alice a hypnotically goofy look.
Even more than the upstanding ears of the white rabbit, Alice's abnormal head with flashes of yellow hair arises almost in fulfilment of the Freudian caricature of Lewis Carroll's Alice. Beginning as a hoax, a theory had circulated since the 1940s, interpreting the rising and shrinking of the girl's physique as a projection of the male organ (and desire for the girl). This spurious theory informed the moral charge against Carroll's own photography of little girls, Alice included.
"A idéia de escultura funcional foi um jogo com as práticas urbanas e o modo como elas expandem a função do espaço público e da arquitetura civil". Shaun Gladwell em entrevista para o guia da 27ª. Bienal de São Paulo. http://www.youtube.com/watch?v=JJwBrNOSUGk
Artist Tony Schwensen hosts a sausage sizzle outside the MCA as a tongue-in-cheek attempt to raise funds to assist in realising artists’ projects for the 2010 Biennale of Sydney.
Clear your diaries for the opening week of the 16th Biennale of Sydney with events and Artists' Talks running from Wednesday, 18 June to Sunday, 22 June. More What's On http://www.bos2008.com/app/biennale/events
The Biennale of Sydney celebrates its 35th birthday with a sensational line up of artists and projects that will keep growing until opening day and beyond. From the extreme to the arresting, it hosts more Australian artists than ever before and includes the magical Cockatoo Island in Sydney Harbour as a major exhibition site, as well as premiering an extraordinary online venue – a first for a biennale worldwide.
The free exhibition is expected to welcome more than a quarter of a million visitors, and more than 180 artists will participate – with over fifty newly created artworks presented alongside some of the world’s most ground-breaking art from the avant-gardes of last century.
Celebrating this milestone exhibition, Australia’s leading international contemporary arts festival has drawn on the expertise of renowned curator, Carolyn Christov-Bakargiev.
Billed this year as a celebration of the defiant spirit, the exhibition will bring together some of the most revolutionary artists the world has ever known alongside the shining stars of today.
Theme
The theme of the 16th Biennale, Revolutions – Forms That Turn, suggests the impulse to revolt, a desire for change, and seeing the world differently. Many works in this year’s exhibition will be participatory, encouraging people to step inside art and discover new ways of looking and thinking about life today. Movement is a strong feature – works turn, spin, go in reverse, mirror, make noise and even blow up.
Music video of Poland's DHC MEINHOF taken from a song on their debut album "Bring Chaos To Order", through D-TRASH Records. Riotous punk hardcore digital sounds!
The world's premier international art show for Modern and contemporary works, Art Basel features nearly 300 leading galleries from North America, Latin America, Europe, Asia, Australia and Africa. More than 2,000 artists, ranging from the great masters of Modern art to the latest generation of emerging stars, are represented in the show's multiple sections. The exhibition includes the highest-quality paintings, sculptures, drawings, installations, photographs, video and editioned works.
Art Unlimited Art Basel's pioneering exhibition platform for projects that transcend the classical art-show stand - including video projections, large-scale installations, massive sculptures and live performances.(Hall 1)
VernissageTV’s walkthrough of the Art Unlimited sector
Part two of VernissageTV’s walkthrough of the Art Unlimited sector
======================== Art Galleries Nearly 300 of the world's leading art galleries for Modern and contemporary art display 20th- and 21st-century art works. Visitors to Art 39 Basel's main hall can discover paintings, drawings, sculpture, installations, prints, photography, video and digital art by more than 2,000 artists. The pieces available range from editioned works by emerging artists to museum-caliber masterpieces by legendary figures in art history. (Hall 2) Australia is represented by Roslyn Oxley9 Gallery, Paddington, Sydney. www.roslynoxley9.com.au Artists represented. A Constructed World, James Angus, Hany Armanious, Robyn Backen, Michael Bell-Smith, Angela Brennan, Robert Campbell Jnr, Tony Clark, Bill Culbert, Destiny Deacon, John Firth-Smith, Dale Frank, Jacqueline Fraser, Rosalie Gascoigne, Fiona Hall, Newell Harry, Louise Hearman, Bill Henson, Isaac Julien, Yayoi Kusama, Lindy Lee, Linda Marrinon, Mandy Martin, Tracey Moffatt, TV Moore, Callum Morton, Nell, David Noonan, Bronwyn Oliver, Michael Parekowhai, Patricia Piccinini, Julie Rrap, Vivienne Shark LeWitt, Kathy Temin, Imants Tillers, Jenny Watson, Rohan Wealleans, John Wolseley, Anne Zahalka,
( Bravo Roslyn Oxley. But, why is there only one Australian gallery out of "nearly 300", that's 0.3% ? Ed) =========================
Events include lectures, symposia, and demonstrations at IFPDA member galleries and print workshops, museums, and nonprofit venues. The events listing is limited to IFPDA members and nonprofits, the proposed program must be focused on fine prints.
The International Fine Print Dealers Association (IFPDA) is a non-profit organization dedicated to ensuring the highest ethical standards and quality among fine print dealers, and to promoting greater appreciation of fine prints among the public.
============== IFPDA members are mostly in th USA and Europe. Accordingly, the exhibitions listed are mostly in the UK and the USA. The artists featured are mostly male from the UK or the USA.
Why, then, does Hathaway have such a poor image? Greer puts it down to the misogyny, prejudice and ignorance of male scholars through the ages, who she says believe that if a man of genius is to realise his potential, he must put his wife away.
"By doing the right thing, by remaining silent and invisible, Ann (sic) Shakespeare left a wife-shaped void in the biography of William Shakespeare, which later bardolaters filled up with their own speculations, most of which do neither them nor their hero any credit," she writes in her new book, Shakespeare's Wife.
May 9 (Bloomberg) -- Bloomberg's Hephzibah Anderson talks with writer Germaine Greer about the strength and historical influence of Anne Hathaway, the subject of her book, ``Shakespeare's Wife.''
"If Greer's is a dangerous enterprise, it should also be conceded that it is an admirable one, scraping away accretions of ancient, often misogynist gossip," wrote Min Wild in the Independent on Sunday, reviewing Germaine Greer's Shakespeare's Wife. "Despite appearances, this isn't a biography," said Duncan Wu in the Daily Telegraph. "It is, rather, an impressively wide-ranging compendium of erudition ... Think of it as a social history focusing on the treatment of women." However, John Carey in the Sunday Times objected to Greer's "lengthy digressions on Elizabethan farming, cheese- making, haberdashery and Ann's other supposed occupations". "Greer's Hathaway . . . makes malt, brews ale, raises pigs, cures her own bacon, bakes bread," noted Jonathan Bate in the Sunday Telegraph. "She does not need a man. She is Germaine Greer on her smallholding just outside Saffron Walden in Essex."
Why scholars should so long have denigrated Hathaway, Greer could only surmise. Perhaps they feel jealous that their literary hero might actually have loved his wife, and that she might even have been responsible for putting up the money for the publication of the famous First Folio after his death, thereby ensuring his reputation?
The author, who revealed she had been researching and writing an article about Princess Diana, said: "One of things I have always been troubled by with Diana was why her whole life was such a mess. She made a mess of being Princess of Wales but that is fine because the job is not do-able. It is an insane job and historically all but one of the Princesses of Wales have come to a sticky end, some even stickier than Diana's."
Seated on a high stool, dressed in a black smock, her back as straight as a board, her belligerent chin delivering a resounding up-yours to the world of half-truths, Greer perched like a wise matriarch – ever fascinating, ever fluent and engaging. Cutting through the bull, as only Greer knows how, she dismissed the speculation of renowned literary scholar Professor Stephen Greenblatt that Shakespeare had a physical revulsion to his wife’s body. “It’s like Tina Brown writing about Diana’s orgasms. How did you know, Tina?” she challenges dryly. “Did you ask James Hewitt?” http://www.thecnj.co.uk/review/091307/books091307_03.html
Dictionary of Australian Artists Online - There is life after the exhibition catalogue
The Dictionary of Australian Artists Online (DAAO) is a new, free research tool dedicated to Australian art scholarship. Museums and galleries are in a prime position to benefit as the DAAO builds a detailed map of Australia?s cultural landscape and the lives of its artists. Australia?s leading universities and galleries are already submitting artist biographies to the site.
The aim is to, in time, hold a comprehensive demography of all Australian artists. Your input will help us achieve this goal.
The DAAO currently has over 7,000 artist biographies, and publishes new research every week from its member base of over 400 historians, academics, arts professionals and artists.
What can it do for you?You can use the DAAO as a home for your information and as a tool to discover new knowledge.
Research: a ready research and reference tool.DAAO is a great way for gallery curators, archivists and guides to discover information on artists, their works and associates in minutes rather than months.
Publishing service:The DAAO offers an enduring and accessible home for your research. The DAAO is capable of addition, revision and commentary and links to online image collections.
National and international exposure: by submitting your local knowledge it will become part of a national information base on Australian artists: past and present; Indigenous and non-indigenous; across all media.
How long does it take?Submitting information to the DAAO is easy; authors submit their work in minutes.
He married Wendy Julius in 1962, and their only child, daughter Arkie Whiteley, was born in London in 1964. While in London, Whiteley painted works in several different series of works: bathing, the zoo and the Christie series. It was these abstracted works which established him as an artist, right at the time when many other Australian artists were exhibiting in London. He painted Woman in Bath as part of a series of works he was doing of bathroom pictures.
In 1964, while in London, Whiteley was fascinated by the murderer John Christie, who had committed murders in the area near where Whiteley was staying at Ladbroke Grove. He painted a series of paintings based on these events, including Head of Christie. The painting is a face which has been warped and distorted, with a mean looking expression, but is not too gruesome to be horrible. http://encyclopedia.stateuniversity.com/pages/3199/Brett-Whiteley.html
=========== "In the 1960s, London was the place to be, as young musicians, writers, painters, and filmmakers threw off the shackles imposed by their elders and created a vibrant, swinging culture. Among those bringing about these changes were a number of significant Australians.
They included Barry Humphries, with his scatological cartoon, The Adventures of Barry McKenzie, in the satirical magazine, Private Eye; Richard Neville, publishing his underground magazine, Oz, which became the focus of an epoch-marking censorship trial; Germaine Greer, writing her explosive feminist book, The Female Eunuch; Rolf Harris, entertaining with his wobble-board and house-paint art; The Seekers, topping the pop charts with World of Our Own; Martin Sharp, designing psychedelic record covers and writing songs for Cream; Brett Whiteley, exhibiting paintings of the serial-killer, John Christie; Bruce Beresford, beginning his film career at the British Film Institute; Clive James, launching himself as a television critic and performer; Robert Hughes, eloquently provocative as art critic for The Observer and BBC-TV; The Easybeats, topping the pop charts with their youth anthem, Friday on My Mind; and Sidney Nolan, promoting Australian larrikinism through his paintings of the Australian outlaw, Ned Kelly.
This was painted by Bacon the year before Whiteley started his Christie paintings. Unfortunately there are no images of whiteley's Christie paintings available online for comparative purposes.
Launch of the hand drawn animation, 'slowly disappearing darling', the series of 100 drawings that comprise it, an artist book, and other recent works on paper.
Port Jackson Press Centre for Australian Printmaking 67 Cambridge St, Collingwood VIC 3066
Welcome to the ARROW Discovery Service - where you can search Australia’s research repositories. The service is provided by the National Library of Australia.
Currently, more than half of Australian universities have public research repositories, which can be simultaneously searched through this site.
While the specific open access policies will vary between universities, these repositories offer a vehicle for researchers to make their work publicly available. Researchers deposit a digital copy of their work, along with some descriptive information, into the repository.
Most of the items discoverable through the site will have a digital copy available, although some may not yet have a file attached, and others may have access restricted.
It is anticipated that all Australian universities will develop repositories in the next two years, and the service will grow to offer a comprehensive search of Australian research output. The research itself may be in any form - published or unpublished; text, image or dataset; historical or current.
The National Library of Australia is keen to include as many sources of Australian research as possible. The service also searches several other collections of Australian research, including Australian Policy Online, and Australasian Digital Theses Program.
====== Welcome to the ARROW Discovery Service - where you can search 156,221 Australian research outputs, including theses; preprints; postprints; journal articles; book chapters; music recordings and pictures. http://search.arrow.edu.au/
Towards a creative Australia: the future of the arts, film and design
Creativity is increasingly recognised and celebrated for its contribution to cultural development, economic growth and social harmony; but it's also intrinsically good. We value our artists, film-makers, designers, authors, playwrights and performers because they entertain us, challenge us and inspire us.
Australian cultural endeavour feeds the roots of our creativity; it helps preserve and protect the storehouses of the nation's memory; it supports and sustains our disadvantaged and marginalised communities; and it shapes and defines our shared national identity.
Australian culture, in all its various forms and guises, is interwoven with the philosophy and the spirit of our nation, it is at the heart of who we are and is integral to the way we see ourselves and how others see us. Through film, writing and performance we try to define our unique experience, tell our own stories in our own voices and make our mark on the world.
The remarkable growth of the commercial Indigenous arts sector is indicative of the powerful transformative force of culture and the arts - growth which is rooted in tradition, land and language but which looks to the future. For many remote communities the development of a cultural enterprise has resulted in better health, educational and social outcomes.
Creativity will play a critical role in building and shaping Australia's economy. Our artists and designers are amongst the best in the world and have the capacity to lead the charge into the new, technology-rich emerging industries. A future Australian economy will be driven by our ideas and our creativity, by smart design and canny management of our intellectual property. Creative activity is also a fundamental part of our individual education. The arts can be provocative and subversive, challenging us to question the status quo. Through creative endeavours we learn to accept ambiguity, to move forward after failure, to think beyond preconceived boundaries and to communicate our emotions.
Background paper
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