Funding | Power Publications Dissertation Prize for Indigenous Art Research

Power Publications is pleased to announce that it will award a dissertation prize for the best PhD, DPhil or Master by Research written on Indigenous art. Supported by the Copyright Agency Cultural Fund, this prize supports new research and writing on Indigenous art within a scholarly context. The prize is not restricted to authors of Indigenous heritage. Academic supervisors will be invited to nominate candidates and a jury led by Professor Ian McLean, of the University of Melbourne, will select an awardee. The prize will be financial ($2,000) and the winning author will be invited to present their research at the University of Sydney. Application requirements: The 2017 round of the award is currently open and applications can be made via Submittable Applicants for the 2017 award must have completed and defended their dissertation in the calendar year 2016 Applications for the 2017…

Call for Papers | FRANFEST (Feminist Renewal Art Network) Symposium: Feminism, Art and Activism 40 years | Art Gallery of South Australia

16-17 September 2017 | Art Gallery of South Australia Contemporary feminist practices: 16 September Gender and the Museum: 17 September FRANFest to be held in South Australia, is a month-long, multi-venue event highlighting the work of women (and gender-diverse and non-binary) artists from 25 August-24 September 2017.  The aim of the festival is to survey the history and contemporary practice of art that is aligned with feminist concerns and, where relevant, to acknowledge Adelaide-based developments. FRANFest commemorates an event 40 years ago, The Women’s Show (1977), an Adelaide-based, nation-wide, open-selection exhibition associated with second-wave feminism. The 2-day symposium (16-17 September) is being held in conjunction with the Art Gallery of South Australia, the Australian Institute of Art History and the Fay Gale Centre for Research on Gender, University of Adelaide.   Day 1 (Saturday 16/9) covers contemporary feminist art practices, feminist histories…

Jobs, Funding, Calls for Papers | Art History and Curatorship | 14th July 2017

Jobs Australia Curator (designated role for Australian First Nations Curator), ACCA, Melbourne – deadline 4th August 2017 Grimwade Collection Curator, The Ian Potter Museum of Art, University of Melbourne – deadline 6th August 2017 Curator, Published Collections, Australian War Memorial – deadline 24th July 2017 International Writer in Residence 2018, Victoria University of Wellington (Writers in all areas of literary activity, including drama, fiction and poetry, New Zealand art, biography, history, music, society and culture, are eligible to apply) – deadline 30th September 2017 Postdoctoral Researcher in Tibetan Art, SOAS University of London – deadline 2nd August 2017, “Art Studies” Full-Time Fixed-Term Position (Associate Professor), Ritsumeikan University, Osaka – deadline 20th July 2017 Funding and Awards Getty/ACLS Postdoctoral Fellowships in the History of Art – deadline 25th October 2017 Postdoctoral Fellowshipship “History of Knowledge” (Lund Univ.) – deadline 15th September 2017…

Jobs, Funding, Calls for Papers | Art History and Curatorship | 7th July 2017

Jobs Australia Executive Director, NAVA – deadline 4th August 2017 Director, Public Programs, National Archives of Australia – deadline 14th July 2017 International Curator, Early Modern Collections, British Library – deadline 11th July 2017 Research Fellow: Intangible Cultural Heritage, University of Hertfordshire – deadline 21st August 2017 Research Fellow: Art and Public Engagement, University of Hertfordshire – deadline 21st August 2017 Calls for Papers Building the Scottish Diaspora (University of Edinburgh, 17-18 Nov 2017) – deadline 24th July 2017 Jewellery Matters – Context and Material Research (Amsterdam, November 16 – 17, 2017) – deadline July 31, 2017 The Tableau Vivant: Across Media, History, and Culture (Columbia University, New York, 30 November – 2 December 2017) – deadline 30th July 2017 2018 American Society for Eighteenth-Century Studies Conference (Hilton Orlando Buena Vista Palace, 22–25 March 2018) – deadline 15th September 2017…

Workshop | Some Artists and Philosophers Walked into a Room | VCA

Some Artists & Philosophers Walked into a Room… Tuesday 11 July, 2017 – 9.30am-5.30pm Theme: A work might be experienced in numerous ways—in person, online, across multiple versions, as a record, diagram, report, description, witness account, podcast, video, plan, remix, or even as a scalable aggregate of elements. Perhaps, once we consider the world of a work of art as a constellation of elements, the indeterminacy of art is given a more conspicuous materiality. Where is a work of art? Is there an optimum or primary point of entry into a work of art? Chairs: Sean Lowry (VCA) and Jenny McMahon (Philosophy, Adelaide) Presenters: Barbara Bolt, Elizabeth Burns Coleman, Edward Colless, Cate Consandine, Claire Healy & Sean Cordeiro, Justin Clemens, Cynthia Freeland, Vanessa Godden, Andrew Goodman, Paul Guyer, Raafat Ishak, Kate Just, Tessa Laird, Claire Lambe, Sean Lowry, David Macarthur, Mohan Matthen,…

Lecture | Dr Christopher Heathcote – Discovering Dobell | TarraWarra Museum of Art

William Dobell Gentleman conversing with a prawn 1970 oil on panel 27.8 x 25.4 cm Private collection © Sir William Dobell Art Foundation

2pm, Saturday 22 July Dr. Christopher Heathcote, curator of Discovering Dobell, as he shares his fresh insights into the work of William Dobell. Exploring in detail Dobell’s London years, his portraits of Sydneysiders, and the more experimental New Guinea paintings, Heathcote’s lecture will present a close examination of the artist’s practice, shedding new light on the processes and methods by which the artist developed ideas from sketches to paintings. Exploring in detail Dobell’s London years, his portraits of Sydneysiders, and the more experimental New Guinea paintings, Heathcote’s lecture will present a close examination of the artist’s practice, shedding new light on the processes and methods by which the artist developed his ideas through several drawings and studies to reach one or more paintings. Dr. Christopher Heathcote is one of Australia’s foremost art critics and has written on a broad range of topics…

Call for Papers | Australian and New Zealand Journal of Art Open Issue 1 – 2018

Issue 1, 2018 Open Issue Issue editors: Professor Deborah Ascher Barnstone, (University of Technology, Sydney), and Dr Donna West Brett (University of Sydney). Journal aims and scope The Australian and New Zealand Journal of Art (ANZJA) is published by the Art Association of Australia and New Zealand (AAANZ). AAANZ is Australia’s professional body for art and design historians, arts writers, artists, students of art history and theory, and museum professionals. The journal is Australasia’s principal refereed art history journal. ANZJA is dedicated to the study of art history and its various emanations including art practice, theory and exhibition. The editors seek research papers that engage with critical debates and frameworks across art-historical and theoretical enquiry within local and global contexts, plus review essays evaluating publications and exhibitions. Articles must be between 5,000 and 7,000 words (including endnotes) and should be…

Lecture | ‘Re-visiting Peter Lely’: a Dutch painter in seventeenth-century London – Diana Dethloff | University of Melbourne

Peter Lely's Portrait of Sir John Rous

The Dutch-born artist Peter Lely was an important figure in seventeenth-century British portrait painting. His position as Principal Painter at the court of Charles II, and his portraits of royal mistresses and privileged courtiers have, for many, come to define the Restoration period, as well as earning Lely the reputation of being nothing more than a fashionable face painter. This lecture aims to present a more balanced assessment of an artist who enjoyed a working life of almost forty years, only half of which were as royal painter, and examines Lely’s work during the earlier periods of English civil war and Commonwealth government, in addition to that for the Restoration Court. As well as arguing for a more balanced view of this interesting and prolific artist, this discussion will provide a useful context for the National Gallery of Victoria’s own Lely portrait…

Writing and Concepts | Yhonnie Scarce – Product of his Majesty | MUMA

Image: Yhonnie Scarce, Thunder raining poison 2015. Photograph by Janelle Low

Yhonnie Scarce presents: “Product of his Majesty” Thu 6 July 6:00pm at Monash University Museum of Art Ground Floor, Building F, 900 Dandenong Rode, Caulfield East VIC 3145 link to facebook event, follow us on Instagram, or visit our website WRITING & CONCEPTS YHONNIE SCARCE was born in Woomera, South Australia, and belongs to the Kokatha and Nukunu peoples. Scarce holds a Master of Fine Arts from Monash University. She is one of the first contemporary Australian artists to explore the political and aesthetic power of glass, describing her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. Scarce’s work…

Exhibition | dot, dot, dot […] | : SCA Galleries

Bronwyn Bancroft, Falling Through Time (Riverstone series), 2012. Courtesy of the artist.

The Papunya dot is a powerful symbol of social and cultural identity in Aboriginal art and culture. In a new exhibition at Sydney College of the Arts, a group of artists harness the power that the dot holds for Aboriginal people, as a starting point to explore their own beliefs and ideas that drive them as artists in Australian society. The exhibition titled dot, dot, dot […] is curated by the University of Sydney’s SCA Lecturer, Wingara Mura Fellow and Dharug artist Janelle Evans. It follows an exhibition in Paris in 2012 – Beyond the Papunya Dot curated by Geraldine Le Roux – that exposed the diverse and complex nature of contemporary Indigenous art through the work of nine artists including Janelle Evans. In contrast to the Paris show, dot, dot, dot […], which is a collaborative project of Janelle…