Podcast appearances and mentions of margaret preston

Cressida Campbell and Margaret Preston (1875-1963): two beloved printmakers inspired by Ukiyo-e, the Japanese woodcut genre whose influence swept through western art. Rosa speaks to Cressida and Geelong Gallery senior curator Lisa Sullivan about Ukiyo-e and Preston, for a new exhibition connecting all three printmaking styles.Art History professor Roger Benjamin joins us to talk about the Gina Rinehart portrait drama. Khaled Sabsabi moves fluidly between the genres of music and visual art, but his art always has the same goal: to make meaningful work, to make society better. After many years of community development  work and thought-provoking installation artwork made from his studio in Western Sydney, Khaled was honoured with a 2023 Creative Australia award, and a residency at the prestigious American Academy in Rome.This program first aired Wed 22 May 2024  

Cressida Campbell and Margaret Preston (1875-1963): two beloved printmakers inspired by Ukiyo-e, the Japanese woodcut genre whose influence swept through western art. Rosa speaks to Cressida and Geelong Gallery senior curator Lisa Sullivan about Ukiyo-e and Preston, for a new exhibition connecting all three printmaking styles.Art History professor Roger Benjamin joins us to talk about the Gina Rinehart portrait drama. Khaled Sabsabi moves fluidly between the genres of music and visual art, but his art always has the same goal: to make meaningful work, to make society better. After many years of community development  work and thought-provoking installation artwork made from his studio in Western Sydney, Khaled was honoured with a 2023 Creative Australia award, and a residency at the prestigious American Academy in Rome.

In this episode, Daniel Schwarcz of the University of Minnesota Law School tells editor-at-large Ben Maiden about new research he and his colleague Jonathan Choi conducted into law students' use of AI. We also hear from director Margaret Preston about some of the challenges facing boards in 2024

A arte é um espaço inclusivo?  As discussões sobre pinturas são dominadas por artistas europeus, historicamente conhecidos, mas artistas inovadores podem e deveriam ser encontrados e reconhecidos em todos os lugares! Nesse episódio, vamos discutir esse assunto e saber um pouco mais sobre a história da arte para além das fronteiras eurocêntricas. Afinal, Margaret Preston merece ser estudada da mesma forma que Pablo Picasso?  Ficha técnica Apresentação, roteiro e edição: Brenda Gasparetto e Luiza Vianna Convidada: Amélia Siegel Corrêa Coordenação técnica: Roque Bezerra e Peter Lobo Colaboração de monitoria: Luana Consoli Orientação: professor Áureo Mafra de Moraes

Curator of Decorative Arts & Design, Rebecca Evans will introduce you to the work of nineteenth century British artist and designer, William Morris and his company Morris & Co. Dr. Lisa Slade will take you on a journey through the Australian Art collection and will include works of art by South Australian-born artists who travelled to Europe, such as Dorrit Black, Margaret Preston and Jeffrey Smart.

We had a wonderful time with Christine at her house in Birchgrove where Fiona and I were treated to a beautiful homemade lunch with Christine and her husband, Marius. What a generous and lovely couple. Their house is full of amazing art, painted by Christine or collected over the years making it a treasure trove of curiosities.Christine is a full time working artist, exhibiting regularly in solo and group shows and teaches workshops too. Busy lady. Check out her website for more information. 'I am a figurative, still life artist who paints in Acrylic on stretched canvas.My work builds upon other Australian still life painters such as Margaret Preston in the use of Australian flora in the restricted workspace of the domestic environment.My current practice has pushed these limitations with a more esoteric staging that still holds a tangible quality, within the viewer's immediate spatial boundaries and with concrete reality. While at once centred and stable, the fragility of the environment is expressed through the use of delicate dried flowers and bush fire-blackened, banksia.The symmetry and balance of the works is a quest for calm amidst the current world uncertainty. The use of reflection and transparency is both a literal and spiritual call for truth and serenity.'Happy listening and thanks again Christine x

After months of disruption and pessimism wreaked by the global pandemic, seeing Jude Rae's exhibition '424-428' at The Commercial in Sydney was as uplifting as the paintings themselves. The towering concrete walls of the gallery would ordinarily overpower an exhibition of five paintings but the exquisite works easily took command of the space. Viewing the exhibition will be an experience I'll never forget. The genre of still life has a rich tradition in the history of painting; from those Cézannian apples and Margaret Preston's flowers to the skulls of the Dutch painters reminding us that one day we’re all going to die. They say so much more than mere objects on a table. The subjects of Jude Rae's still life paintings, however, aren’t flowers or fruit. They range from gas cylinders and milk crates to plastic buckets, bottles and spaghetti jars. She's attracted to these objects not necessarily because of any intrinsic beauty but because of the potential they present to her as a painter. 'They give me work to do', she says. Jude's work is not limited to still life. She's an acclaimed portraitist and has won the Portia Geach Memorial Award for portraiture twice. Last year her portrait of Sarah Peirse was highly commended in the Archibald prize. She also paints mood-filled architectural interiors and both the Art Gallery of New South Wales and the High Court of Australia recently acquired excellent examples of those works. Jude is a previous podcast guest and you can hear more about her  life and how she became an artist in episode 28. We met at the gallery for this interview where I also filmed Jude talking about her work. That video will be online soon. You can also see my 2017 video of Jude in her studio here. To hear Jude Rae speak with me about her recent work press 'play' beneath the above photo. Show Notes Jude RaeJude Rae on Instagram 'SL425', 2020, oil on linen, 112 x 137.5cmPhoto: Felicity Jenkins 'SL426', 2020, oil on linen, 122 x 137.5cmPhoto: Felicity Jenkins 'SL427', 2020, oil on linen, 122 x 137.5cmPhoto: Felicity Jenkins 'SL424', 2020, oil on linen, 112 x 137.5cmPhoto: Felicity Jenkins 'SL428', 2020, oil on linen, 112 x 137.5cmPhoto: Felicity Jenkins Detail of 'SL428' in progress (unfinished) 'Interior 370 (foyer I)', 2017, oil on linen, 260 x 198cmCollection: Art Gallery of NSW 'SL189', 2006, oil on linen, 1050 x 1350mm Installation view Jude Rae: 424 - 428, at The Commercial, Sydney, 2020 (photo: The Commercial)

With the implementation this week of Nova Scotia's new vaping product tax it's become clear the province is determined to destroy the industry, forcing thousands of vapers back to smoking.  The new tax is not only draconian but cruel as the end result is that smoking in the province of Nova Scotia is now more financially viable than vaping. In this episode of RegWatch, Nova Scotia vape shop owner Margaret Preston walks viewers through the new tax and shares correspondence with government compliance officers as she seeks clarification in her struggle to keep her business afloat.  Only on RegWatch by RegulatorWatch.com Released: September 17, 2020 Exec. Producer: Brent Stafford This episode is supported by: FLAVOUR CRAFTERS Make RegWatch happen, go to https://support.regulatorwatch.com https://youtu.be/9MXNXyiVQEw

AH4A is back with an examination of Margaret Preston’s 1958 work Aboriginal Glyph, and lots of thoughts about what it means for a white womanContinue ReadingEpisode 25: Aboriginal Glyph

Margaret Preston was one of Australia’s leading female modernist artists!  Preston was a printmaker & one of the first non-indigenous Australian artists to incorporate aboriginal motifs into her work.  In this episode you will also learn about a printmaking method that you can try using simple art materials.  Music by, Craig Rollison.  Email:eaa.handsonarthistory@gmail.com.  Find lesson examples on my Instagram @ art_integrated_ed.

Welcome to Season 2 of ART WANK - this season we are kicking off with the fabulous artist Nicola Woodcock. You can find her at https://www.nicolawoodcock.com or on her instagram https://www.instagram.com/nicolawoodcockartNicola has her upcoming show BUSHWALK is opening on 17 - 28 June in Paddington at St Cloche or you can see it online from Wednesday night at 6 pm and you can purchase online and you can check it out at  https://saintcloche.comNicola did the 100 DAY challenge https://www.the100dayproject.orgNicola uses oil pastels as her chosen medium she recommends her favourite brand of NEOPASTEL - you can get this at the local art store check them out https://www.carandache.com/us/en/neopastel-s-1096.htmNicola referred to her favourite print of the Australian artist Margaret Preston and she is also her favourite artist that she would like to meet https://www.artgallery.nsw.gov.au/collection/works/?artist_id=preston-margaretNicola runs the Pittwater Artist Trail keep an eye on the website for news https://www.google.com/search?client=safari&rls=en&q=pittwater+artists+trail+2020&ie=UTF-8&oe=UTF-8Nicola's favourite artist tool is the oil pastel her favourite colour is ASH grey She uses the Sennelier fixative https://www.google.com/search?client=safari&rls=en&q=sennelier+oil+pastel+fixative&ie=UTF-8&oe=UTF-8CONTACTSSubmit any questions by emailing http://fiona@fionaverity.com.au DM us on our instagramFollow us on Instagram: http://instagram.com/fionaverity  http://instagram.com/julienicholsonartisthttp://instagram.com/art.wankPodcast artwork by Ingrid Kwong contact her  http://littlescapes.com.au

What do you imagine when you think of a painting of flowers by a woman artist? It might be a Margaret Olley still life set in her crowded Paddington terrace or a Margaret Preston with a striped tablecloth or it might be a close up Georgia O'Keefe with all its erotic interpretations. But it might also be considered less serious - just a pretty picture painted in a domestic setting. It was partly for that reason that Laura Jones initially resisted the flower as subject matter, until it was clear to her that that’s what she should be painting. Her exploration of the flower has developed over the years and took an interesting direction in her spectacular recent show ‘Too Much, Not Enough’ at Sophie Gannon Gallery. The show sold out quickly and a waiting list is in place for collectors. Jones is also a passionate environmentalist and her show at Olsen gallery last year resulted from residencies in the Great Barrier Reef after a severe bleaching event. Those works were both awe-inspiring and shocking. In this episode, we talk about the flowers and the reef as well as Jones' portraiture and a lot about process and colour. Jones grew up in Kurrajong near the Blue Mountains, west of Sydney. This episode starts off with her talking about a time when she was studying for her Masters at the College of Fine Art at the UNSW, working part time as a florist and planning to move into a new studio which was to become the creative Birmingham studios in the Sydney suburb of Alexandria. Feature photo above (cropped) by Rachel Kara Upcoming events 'Laura Jones', Olsen Gallery, 17 November - 8 December Solo show with Olsen Gallery 2019, date tba. Show notes Laura Jones Laura Jones at Olsen Gallery Laura Jones at Sophie Gannon Gallery Leah Fraser at Arthouse Gallery Abdul Abdullah Alan Jones Ben Quilty Euan Macleod Nicholas Harding Elisabeth Cummings Marieke Hardy YouTube video with audio from the interview with footage from 'Too Much Not Enough', show at Sophie Gannon Gallery (below) https://www.youtube.com/watch?v=JgPxcoQmXi8

Amy Mullins returns for another episode of Uncommon Sense with four very interesting interviews. Our regular guest Ben Eltham from New Matilda comes in to chat about the current state of federal politics. Amber Jamieson from the Guardian US calls in to fill us in on US politics this week. The Curator at the Heide Museum of Modern Art Lesley Harding talks with Amy about their Making Modernism exhibition, which brings together the work of American icon Georgia O'Keeffe with modernist masterpieces by pioneering Australian artists Margaret Preston and Grace Cossington Smith. Mark Wakeham, the CEO of Environment Victoria on the State Government's recently announced reforms to the EPA Vic.

She feels that this is a mechanical age - a scientific one - highly civilised and unaesthetic. She knows that the time has come to express her surroundings in her work. All around her in the simple domestic life is machinery - patent ice-chests that need no ice, machinery does it; irons heated by invisible heat; washing up machines; electric sweepers, and so on. They all surround her and influence her mind … Margaret Preston, 1927 'Implement blue' is one of Margaret Preston's most innovative works, embodying the values of progressive, modern living. Its restricted palette and strict analysis of form exemplify Preston's quest to isolate and resolve pictorial problems within the still-life genre. The domestic vessels have been renamed 'implements' and reduced to essential forms.

Margaret Preston (1875 - 1963), Flying over the Shoalhaven River [Flying over the Shoalhaven] 1942. Painting, oil on canvas 50.6 h x 50.6 w, framed 68.6 h x 68.6 w x 6.8 d cm. Purchased 1973. © Margaret Rose Preston Estate. Licensed by Viscopy.

Margaret Preston (1875 - 1963), Dry river bed NT 1953. Print, stencil, printed image 30.0 h x 34.8 w cm, sheet 34.0 h x 37.0 w cm. Purchased 2000. © Margaret Rose Preston Estate. Licensed by Viscopy.

Margaret Preston was used to seeing the earth from the air. By 1942 the artist had visited Europe and North America, and had travelled extensively throughout much of Asia, the Pacific Islands, Central and South America and Australia. During her travels she visited many places and sought out the Indigenous art of other cultures, yet it was the Indigenous art of Australia that inspired her most. Preston travelled extensively throughout remote areas of Australia to see Indigenous paintings and carvings. She studied the collections at the Australian Museum in Sydney and published articles and lectured on Indigenous art. From 1932 to 1939 Preston lived in the bush at Berowra, close to Ku-ring-gai Chase National Park north of Sydney, where her great passion for the natural environment of Australia was reinforced. During the Second World War, Preston, like many others, developed a strong nationalist sentiment and in 1942 published an article titled ‘The orientation of art in the post-war Pacific’. In this article she argued for the development of a ‘National Australian Culture’ through an exchange of ideas between Indigenous and non-Indigenous artists. She also suggested that Australians should actively exchange ideas with their Asian neighbours. In Flying over the Shoalhaven River Preston combined her knowledge of Indigenous Australian, Asian and western art with a modernist aesthetic. The linear quality of the composition and the flattened areas of colour reflect her skills in woodblock printmaking. Using an earthy palette of browns, greys and ochres, Preston suggested the bush with dabs and dots of paint. She mirrored the overcast sky in the silvery stretch of river and depicted a number of low-lying clouds casting shadows on the earth. While the aerial perspective displays Preston’s knowledge of Indigenous Australian and Chinese methods of representing the land from above, the experience of flying over the Shoalhaven River was her own.