Buying British: Sir Kenneth Clark’s Purchases of Modern British Art for the Art Gallery of South Australia

2019 ◽  
Vol 19 (1) ◽  
pp. 70-89
Author(s):  
Margot Osborne
Keyword(s):  
South Australia ◽  
Art Gallery ◽  
British Art

Islamic Art at The Art Gallery of South Australia

SUHUF ◽  
2015 ◽  
Vol 2 (2) ◽  
pp. 285-290
Author(s):  
James Bennett
Keyword(s):  
South Australia ◽  
Art Museum ◽  
Islamic Art ◽  
Art Gallery ◽  
Public Display ◽  
The Past ◽  
Australian Continent ◽  
European Colonization ◽  
History Of ◽  
The City

OVER  the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country.  Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Gallery’s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent

scholarly journals Come to Daddy? Claiming Chris Cunningham for British Art Cinema

2016 ◽  
Vol 13 (2) ◽  
pp. 243-261 ◽  
Author(s):  
James Leggott
Keyword(s):  
Film Culture ◽  
Live Performance ◽  
Art Cinema ◽  
Art Gallery ◽  
Feature Film ◽  
British Art ◽  
Music Production ◽  
Short Films ◽  
History Of ◽  
The Many

Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism.

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