Podcasts about cossington smith

Sales and Crabb look back at the best of 2017. Recorded live at Llewellyn Hall, ANU on Sat 9 December.The matching outfits - Sales and Crabb didn't cross check their wardrobes.12 days of Christmas - as performed by Crabb and SalesPaul McCartney on six decades of making music - interviewed by Leigh Sales (via ABC 7.30, 2017 Dec 04)Interviewing your heroes can have its pitfalls, but Paul McCartney avoids them all - by Leigh Sales (via ABC 7.30, 2017 Dec 05)Armando Iannucci in Conversation with Annabel Crabb - Wheeler Centre (2017 May 08)Rachel Cusk - Author profile (via Goodreads)Outline - Rachel CuskPrayer For Owen Meany - by John IrvingCardinal: The Rise and Fall of George Pell - by Louise MilliganA Writing Life: Helen Garner and Her Work - by Bernadette BrennanGood Night Stories for Rebel Girls: 100 Tales of Extraordinary Women - by Elena Favilli, Francesca CavalloNot for the Faint-hearted: A Reflection on Life, Politics and Purpose - by Kevin RuddSassy Trump - by Peter Serafinowicz (via YouTube)I Have a Message for You - by Matan Rochlitz (NYT Op-Docs, 2017 Oct 10)Ben Mendelsohn performs 'The Lion King' - TripleJ interview (via YouTube)Brad Pitt Talks Divorce, Quitting Drinking, and Becoming a Better Man - by Michael Paterniti (GQ, 2017 May 03)Who let Brad Pitt's fashotainment shoot happen? - by Marina Hyde (Guardian, 2017 May 05)The Handmaid's Tale - 10 part TV series adapted from the novel by Margaret AtwoodThe People v. O.J. Simpson : American Crime Story - Netflix DramaMaster of None, Season 2 - starring Aziz AnsariThe simple beauty of Master of None season 2's long Uber ride home - by Christopher Hooton (The Independent 2017 May 25)Hidden Figures - biographical drama about 3 African-American women working at NASAO.J. Made in Amereica - A documentary examining Simpson's 1995 trial through the lens of the history of race relations in Los Angeles.O'Keeffe, Preston, Cossington Smith: making modernism - Art Gallery of NSW (1 Jul - 2 Oct 2017)Dior exhibition - National Gallery of Victoria (27 Aug - 7 Nov 2017)Revisionist History Season 2 - Podcast with Malcolm Gladwell- Miss Buchanan's Period of Adjustment - Season 2 Ep3S-Town Podcast Crack: chocolate caramel crack(ers) - original recipe via Smitten KitchenSpiced pumpkin cookies - take your pick!Sour Heart - by Jenny ZhangGelato Messina Pistachio Praline - fior di latte gelato with white chocolate and pistachio fudge and pistachio pralineDixie Chicks - Melbourne 2017 1st AprilBarbara and the Camp Dogs - starring Ursula Yovich, Elaine Crombie Belvoir Theatre (2017 Dec 2-23)Kiki and Kitty: follows the adventures of a young, black woman in a big, white world, where her vagina is her best friend - starring Nakkiah Lui and Elaine Crombie.Voters Abandoned Parliament's Biggest Marriage Equality Opponents - by Josh Butler (HuffPost, 2017 Nov 15)Labor MP Emma Husar's full speech: 'I am a survivor of family violence' - (via SMH 2017 Nov 24)Jacqui Lambie bids tearful farewell to Senate after shock British citizenship finding forces her out - by Lucy Sweeney (via ABC News 2017 Nov 15)The Death of Stalin - directed by Armando IannucciThe Seven Deaths of Evelyn Hardcastle - by Stuart TurtonFlora's Fancies - by Leigh Sales (Cover designed by Amelia Manzies, Paperchain bookstore, Manuka) (See also backcover)The Crown (Season 2) - starring Claire Foy and Matt SmithDeadly Kerfuffle - by Tony MartinDavid Hockney Retrospective - Metropolitan Museum of Art (2017 Nov 27 - 2018 Feb 25)Hello, Dolly! - Starring Bette MidlerAustralian Parliament Breaks Into Song After Passing Same-Sex Marriage Law - by Lydia Smith (The Independent 2017 Dec 7)John Redwood, Secretary of State for Wales - singing the National Anthem - 1993 (via YouTube)Malcolm Turnbull Couldn't Name His Favourite 'AC/DC' Song On Triple M - by Karen Barlow (HuffPost Australia 2017 Nov 20)Chat 10 Looks 3 - artwork presented to Sales and Crabb by the ANU (artist Lucien)

This work, with its sweeping directional movement of the road through the centre of the picture plane, depicts Eastern Road near the artist’s home in Turramurra at a time when it was still a semi-rural suburb. The watercolour was preceded by a detailed sketchbook drawing with precise colour notations. Cossington Smith told Daniel Thomas that when she was doing her initial drawing she was ‘pleased that a figure came onto the road to animate its emptiness’.

Some of Cossington Smith’s most successful portraits are her tender drawings of family members. Her close bond with her family is evident in her drawings of her father Ernest and her sisters Diddy and Madge, depicted in uncontrived, relaxed poses. In Portrait of Diddy her sister appears meditative, wearing the artist’s favourite colour, yellow. As she said: ‘Yellow is the colour of the sun’. This work was in an extremely fragile condition and is being shown for the first time since entering the Gallery’s collection, thanks to the dedicated efforts of the Gallery’s conservators.

Cossington Smith said of her painting Interior in yellow: ‘The subject took me very much. It is a room with a wardrobe and a bed and carpet but the chief thing to me was the yellow walls…the whole thing is meant to express an interior with light…the sunlight did not come in in a definite way but the whole room seemed to be full of light, which is what I want to do more than the actual sunlight. I feel that even the shadows are a subdued light and they must have light in them as well as the light parts.’ (Interview with Hazel de Berg, 1965, National Library of Australia)

Grace COSSINGTON SMITH, Interior with verandah doors 1954, oil on composition board, 76.2 (h) x 91.0 (w) cm, signed and dated l.l., black oil paint "G. Cossington Smith 54".Collection of the National Gallery of Australia. Bequest of Lucy Swanton 1982

The panels of this magnificent screen depict subjects from the artist’s garden and surrounding bush landscape. Cossington Smith was especially pleased with the third panel. As she said in an interview with Alan Roberts: ‘There used to be a waterfall along there … called Lovers’ Leap … a lovely proper one … and I did a painting … with the length of the waterfall on the panel … I think it came off rather well; rocks and waterfall and the bush.’ This screen was commissioned by a collector in the United Kingdom who rejected it and acquired The gully instead. At the time the artist was disappointed and vowed never to do another commission. Many years later she was delighted when the work was acquired by the National Gallery of Australia.

By time she did this painting Cossington Smith had moved beyond her early art training with Dattilo Rubbo. She recalled that while her art teacher was concerned about depth in representing a scene, she had become more interested in depicting radiating, concentric forms in luminous colour. As she said: ‘In those days I saw things as a pattern expressed in colour. It was quite a natural thing. I didn’t force myself to do it … I believe you’ve got to have a feeling about what you want to paint. It’s half unconscious, but you do know what you don’t want to do’. (Interview with Alan Roberts, 1970)

By 1932 the Sydney moderns were in full swing with the opening of Dorrit Black’s Modern Art Centre. Encouraged by the mood and pace set by Black and other artists returning from Europe, Cossington Smith showed adventurous works at the Centre inspired by Paul Gauguin and Franz Marc. Her mentor at the time, Ethel Anderson, had long been an admirer of Gauguin’s work. Following the death of her mother, Cossington Smith’s visits to Anderson increased and she began to paint works informed by Gauguin, such as Landscape at Pentecost (road and trees) and Horses.

In Interior with wardrobe mirror the artist recreates her bedroom from multiple perspectives. Two wardrobe doors are open; one revealing a close-up of drawers within the cupboard, the other with a mirror reflecting the garden and sky outside. It is a miraculous, poetic integration of intimate interior space and the exterior sun-filled environment – the parts and the whole illuminated by vibrant colour. As in all of Cossington Smith’s late interiors, we become aware of spaces in which complexity is made to look effortless.

While in the bush Cossington Smith often adopted Cézanne’s strategy of meditating on the motif in nature for long periods of time. She said that of all the painters she admired, ‘there aren’t any others that impress me like Cézanne ... I think that he painted what I wanted … that was a help, to see that done’. (Interview with Alan Roberts, 1970)

Cossington Smith painted church interiors related to theme of the Second World War. They depict St James’ Anglican Church in Turramurra, a place of great significance for Cossington Smith and her family as their regular place of worship since their arrival in the area in 1913. In the painting Church interior there are women, children and older men. Missing are the men who had gone to war, giving an added poignancy to the image.

Cossington Smith’s daring painting of Enid Cambridge is a portrait of a long-held friendship. Rather than attempting to depict her friend’s features, she conveys her in flamboyant dress, relaxed in an interior world. At the time of Cambridge’s death in 1976, Cossington Smith wrote: ‘Everyone loved Enid. She is my dearest art friend … A special quality of Enid’s is a devoted religious Faith which shone through all her perplexities and difficulties and never left her … Enid is a shining Personality.’ (National Gallery of Australia research library)

Grace Cossington Smith’s The Bridge in building is a dynamic image of one of Australia’s most iconic landmarks under construction. One of a number of artists who recorded the development of the Sydney Harbour Bridge, Cossington Smith transformed the scene into a synthesis of industry and nature – of modern construction observed through radiating colour and bands of light. In The Bridge in building Cossington Smith has used contrasting colours of purple and orange to depict the angular structures of the bridge and crane. The sky is formed by concentric bands of luminous yellows and blues, with each brushstroke carefully placed on the canvas. Between 1928 and 1930 Cossington Smith made a number of sketches of the bridge from Milson’s Point on the northern side of Sydney Harbour. She created ‘map-like’ drawings, carefully annotated with notes on colour and form. These studies were used to develop paintings of the bridge, such as The Bridge in-curve c.1930 (National Gallery of Victoria, Melbourne). Cossington Smith delighted in depicting the structure of the bridge, its formal architecture, and the counterbalance of steel and sandstone. In The Bridge in building she adopted a low viewpoint, accentuating the dramatic scale of the sandstone pylon and the arch of the bridge. She further emphasised the scale of the structure by including a group of workers on the top of the arch, the small figures appearing almost ant-like in contrast to the bridge’s large form. A truly modern artist, Cossington Smith celebrated the Sydney Harbour Bridge as a work-in-progress, documenting what was for many Sydney residents a symbol of energy and hope during the years of the Great Depression. Indeed, The Bridge in building is a celebration of modernity – a modern subject approached in a modern style. 1 Grace Cossington Smith, interview by Hazel de Berg, 16 August 1965, Canberra: National Gallery of Australia, transcript, p.1484.