Constellation of European museums
with publications
Decolonising museums
Decolonising archives
Friday, 17 March 2017
Thursday, 16 March 2017
Tuesday, 14 March 2017
Friday, 10 March 2017
You got here when..?
Link to Australian Geographic 8 March 2017 Gemma Conroy
on more proof of connection to country... 50,000 years proven through DNA of hair samples
“These findings confirm what the Aboriginal community have known all along - that their deep ties with country stretch back thousands of years,” said study co-author Raymond Tobler, a Postdoctoral Fellow at the University of Adelaide.
Link to Australian Geographic 23 Sept 2011
'researchers found that the ancestors of Australian Aboriginals had split from the first modern human populations to leave Africa, 64,000 to 75,000 years ago. Dr Joe Dortch, a scientist at UWA, says the discovery turns on its head the existing theory that Aboriginals arrived here less than 50,000 years ago. The findings are detailed today in the journal Science.'
on more proof of connection to country... 50,000 years proven through DNA of hair samples
“These findings confirm what the Aboriginal community have known all along - that their deep ties with country stretch back thousands of years,” said study co-author Raymond Tobler, a Postdoctoral Fellow at the University of Adelaide.
Link to Australian Geographic 23 Sept 2011
'researchers found that the ancestors of Australian Aboriginals had split from the first modern human populations to leave Africa, 64,000 to 75,000 years ago. Dr Joe Dortch, a scientist at UWA, says the discovery turns on its head the existing theory that Aboriginals arrived here less than 50,000 years ago. The findings are detailed today in the journal Science.'
 |
| Map of field stations visited from 1921 to 1965. (From South Australian Museum Archives Norman Tindale Collection) |
Tuesday, 7 March 2017
The Right to Offend is Sacred
Brook Andrew at National Gallery Victoria,
3 March - 4 June 2017
NGV Australia at Federation Square
The Right to Offend is Scared
3 March - 4 June 2017
NGV Australia at Federation Square
The Right to Offend is Scared
 |
| NGV Screen grab of Key Works |
Saturday, 25 February 2017
Friday, 24 February 2017
Tracey Moffatt: Venice 2017
John McDonald interview / article on Moffatt:
“I always say there is not one wrong reading. Nothing can be wrong. My work can be read as Australian, but I think the reason it’s travelled and crossed borders is because it can be appreciated by a vast audience. I know it’s clichéd but it has a universal aspect. It deals with the human condition, and so resonates with many cultures,”
“I always say there is not one wrong reading. Nothing can be wrong. My work can be read as Australian, but I think the reason it’s travelled and crossed borders is because it can be appreciated by a vast audience. I know it’s clichéd but it has a universal aspect. It deals with the human condition, and so resonates with many cultures,”
Saturday, 18 February 2017
Wednesday, 15 February 2017
Monday, 13 February 2017
documenta 14
Learning from Athens
How to write painting
Link documenta 14
How to Write Painting: A Conversation about History Painting, Language, and Colonialism with Gordon Hookey, Hendrik Folkerts, and Vivian Ziherl
Walks
http://www.documenta14.de/en/walks
http://www.art-agenda.com/reviews/documenta-14/#.WO0vGCUtdVo.twitter
April 10, 2017
The fourteenth edition of Documenta takes place, for the first time in the institution’s history, across two locations. By staging it in Germany and Greece, and expressing the hope that an exhibition bankrolled by the former might effectively critique the infrastructures of power that have immiserated the latter, curator Adam Szymczyk signalled that this would be a Documenta defined by its internal contradictions. The embrace of paradox continued in the press conference for the Athens opening, during which Szymczyk spoke about the possibility of “learning from Athens” through a process of “unlearning what we know.”
How to write painting
Link documenta 14
How to Write Painting: A Conversation about History Painting, Language, and Colonialism with Gordon Hookey, Hendrik Folkerts, and Vivian Ziherl
Walks
http://www.documenta14.de/en/walks
http://www.art-agenda.com/reviews/documenta-14/#.WO0vGCUtdVo.twitter
April 10, 2017
The fourteenth edition of Documenta takes place, for the first time in the institution’s history, across two locations. By staging it in Germany and Greece, and expressing the hope that an exhibition bankrolled by the former might effectively critique the infrastructures of power that have immiserated the latter, curator Adam Szymczyk signalled that this would be a Documenta defined by its internal contradictions. The embrace of paradox continued in the press conference for the Athens opening, during which Szymczyk spoke about the possibility of “learning from Athens” through a process of “unlearning what we know.”
 |
| Gordon Hookey, Solidarity, 2017. Athens photo ©Stathis Mamalakis |
Thursday, 2 February 2017
Sidney Nolan Centenary
Portraits/self-portraits
"The paintings are really more about myself and my emotional state, than Kelly," Nolan told writer Janet Hawley during the 1980s.Sidney Nolan Trust
Centenary Programme"Widely considered Australia’s finest painter, Sidney Nolan lived for most of his career in England. The ancient manor, The Rodd near Presteigne on the borders of Wales, was his home for the last nine years of his life and it was here that he founded the charitable trust in his name. The ancient landscape of its valley setting reminded him of the timeless and monumental wild places that he had visited in Australia and elsewhere throughout his career. His ambition was to create an inspirational gathering place for artists, scholars, students and others to meet, to exchange and develop their practise, and above all to create and to share widely their artistic endeavour."
 |
| Sidney Nolan, four abstracts, 1986, enamel spray on canvas, 305x457cm, Collection of the Sidney Nolan Trust, © Sidney Nolan Trust |
Accomodation nearby Rough Acre
Pallant House
ChichesterSidney Nolan exhibition from Feb 18
A major exhibition marking the centenary of the birth of Australian-born artist Sir Sidney Nolan (1917 – 1992), a leading figure of international 20th century art whose diverse oeuvre saw experimentation with a wide range of materials. Focussing on the artist’s time living and working in Britain, it brings together works that reveal recurring themes such as Australian history and literature, mythology, and the tragic hero/anti-hero. Iconic works from the 50s and 60s including paintings of the Australian outlaw Ned Kelly and the unfortunate explorers Burke and Wills are shown alongside Nolan’s sets and costumes from the 1962 Royal Ballet production of The Rite of Spring.
IKON Gallery
BirminghamSidney Nolan exhibition from June 2017
Sidney Nolan (1917 – 1992), one of the most important Australian artists of the twentieth century, lived his last years on the Welsh-Midlands border. To mark the centenary of his birth, in collaboration with The Sidney Nolan Trust, Ikon brings to light a selection of extraordinary paintings dating from the 1980s.
Fugitive portraits
 |
| Sir Sidney Nolan, Illuminations (1982). Spray on canvas. © Sidney Nolan Trust. |
Press The Australian
Telegraph Alistair Sooke
Art UK listings of works held in UK
On Desert Island Discs in 1962
On Front Row 17 Feb 2017 9'45-14'40: Richard Cork reviews
Transferences: Sidney Nolan in Britain is at the Pallant House Gallery, Chichester, West Sussex from 18 February - 04 June 2017.
Subscribe to:
Posts (Atom)