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George Davis Drawings
chronological survey of the drawings of Tasmanian artist George Davis. Short introductory text by Hendrik Kolenberg. 76 pages of drawings, mainly black and white with 14 in colour. Published by Exuviae Press, Hobart
Intensely Dutch
Uncompromising, confronting, optimistic after the SecondWorldWar a new young generation of Dutch artists took to modernity as never before. For them it was a time of renewal. Bright colour, impasto and vigorous handling were features of their work. This catalogue is published to accompany the exhibition presenting the work of some of the most important Dutch artists of the post-war period, including those associated with CoBrA (Karel Appel, Constant, Corneille and Lucebert) and art informel (JaapWagemaker, Jan J Schoonhoven and Bram Bogart) and those who preceded them, like Bram van Velde andWillem de Kooning, whose work found international favour after theWar. The exhibition will provide a rare first-hand introduction to modern Dutch art, incorporating the collaborations that many artists had with Dutch poets (Bert Schierbeek, Jan G Elburg, Simon Vinkenoog).
19th Century Australian Watercolours, Drawings & Pastels
This is the fourth in our series of publications concerned with the gallery's extensive and exceptional Australian works on paper collection. The selection for this publication and exhibition is by Hendrik Kolenberg, Senior Prints, Drawings and Watercolours and Patricia James, one of our longest serving and most trusted Gallery Volunteers
Contemporary Australian Drawing
Since its inception in 1993, the Dobell Prize for Drawing ¿ named in honour of the distinguished Australian artist William Dobell ¿ has been the preeminent award for drawing in Australia. This book celebrates 20 years of the prize and presents a view of contemporary Australian drawing through 40 works (winners and additional works selected for the collection from the exhibitions) by 30 artists ranging from traditional practice to works that push the boundaries of drawing. The prize has always promoted discussion and debate about the nature of drawing and rather than impose a set definition of `drawing¿, the appointed judge for each year determined what was selected. As the inaugural judge Arthur Boyd stated in 1993, `If the artist says it¿s a drawing, it¿s a drawing¿. The most enduring legacy of this acquisitive prize has been the formation of the Dobell Australian drawing collection at the Art Gallery of New South Wales, which now comprises over 40 works including the winners and additional works acquired from each of the annual exhibitions. The extraordinary breadth of contemporary Australian drawing represented in the collection is reflected in this publication.
Antarctic Journey
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Tasmanian Vision
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A Companion to Australian Art
A Companion to Australian Art is a thorough introduction to the art produced in Australia from the arrival of the First Fleet in 1788 to the early 21st century. Beginning with the colonial art made by Australia’s first European settlers, this volume presents a collection of clear and accessible essays by established art historians and emerging scholars alike. Engaging, clearly-written chapters provide fresh insights into the principal Australian art movements, considered from a variety of chronological, regional and thematic perspectives. The text seeks to provide a balanced account of historical events to help readers discover the art of Australia on their own terms and draw their own con...
"Australian Art and Artists in London, 1950?965 "
Subtle and wide-ranging in its account, this study explores the impact of Australian art in Britain in the two decades following the end of World War II and preceding the 'Swinging Sixties'. In a transitional period of decolonization in Britain, Australian painting was briefly seized upon as a dynamic and reinvigorating force in contemporary art, and a group of Australian artists settled in London where they held centre stage with group and solo exhibitions in the capital's most prestigious galleries. The book traces the key influences of Sir Kenneth Clark, Bernard Smith and Bryan Robertson in their various (and varying) roles as patrons, ideologues, and entrepreneurs for Australian art, as ...
Westerly
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