Trees
- Authors: Atkins, Rosalind
- Date: 2009
- Type: Text , Visual art work
- Full Text: false
- Description: Wood engravings, The Art Vault, Mildura, Vic
Contemporary Prints from Australia
- Authors: Atkins, Rosalind
- Date: 2009
- Type: Text , Visual art work
- Full Text: false
- Description: Bobick Gallery, University of West Georgia, Carrollton, Georgia, USA
Once Were Trees
- Authors: Atkins, Rosalind
- Date: 2012
- Type: Text , Visual art work
- Full Text:
2010 Silk Cut Award For Lincocut Prints
- Authors: Atkins, Rosalind
- Date: 2010
- Type: Text , Visual art work
- Full Text: false
Arboreal: Out on a limb
- Authors: Atkins, Rosalind
- Date: 2012
- Type: Text , Visual art work
- Full Text: false
Brachydactyly
- Authors: Atkins, Rosalind
- Date: 2011
- Type: Text , Visual art work
- Full Text:
Arborescence
- Authors: Atkins, Rosalind
- Date: 2012
- Type: Text , Visual art work
- Full Text: false
Reclaiming
- Authors: Atkins, Rosalind
- Date: 2009
- Type: Text , Visual art work
- Full Text: false
- Description: Wood engravings; sculpture, Art Gallery of Ballarat, Vic.
The State of Nature
- Authors: Atkins, Rosalind
- Date: 2009
- Type: Text , Visual art work
- Full Text: false
- Description: Prints and drawings, Australian Galleries, Melbourne, Vic.
Artists' prints made with integrity
- Authors: Atkins, Rosalind
- Date: 2010
- Type: Text , Visual art work
- Full Text: false
- Description: Australian Galleries, Australian Galleries, Melbourne Australia, 9 July - 1 August 2010.
Rosalind Atkins
- Authors: Atkins, Rosalind
- Date: 2009
- Type: Text , Visual art work
- Full Text: false
Vague Likeness
- Authors: Atkins, Rosalind
- Date: 2012
- Type: Text , Visual art work
- Full Text: false
Penders Forest
- Authors: Atkins, Rosalind
- Date: 2011
- Type: Text , Visual art work
- Full Text:
2010 Fremantle Arts Centre Print Award
- Authors: Atkins, Rosalind
- Date: 2010
- Type: Text , Visual art work
- Full Text: false
- Description: Fremantle Arts Centre
Rosalind Atkins & Ex De Medici
- Authors: Atkins, Rosalind , De Medici, eX
- Date: 2013
- Type: Text , Visual art work
- Full Text:
- Description: Each January for the last three years, Rosalind Atkins and eX de Medici pack the cars and head out on the long, hot and sublime drive to work at The Art Vault in MIldura. The Art Vault, a former Commonwealth Bank building was rebirthed by art patrons. Julie and Kevin Chambers, into a modern, well equipped printmaking workshop, studio, artist apartments and gallery in November 2008. Throughout the year, the copper plates and watercolour are ferried in the boot of the car back and forth between Melbourne (Atkins’ home town) and Canberra (de Medici’s home town). Equally, conversation revolving around the development of the imagery and progress of work takes place via email, SMS and phone conversations. The annual pilgrimage to Mildura results from mutual respect and desire to produce an edition which represents both of the artist’s concerns within their individual practices and ongoing friendship. Both artists function from very different perspectives, but it is easy to make a cohesive third meaning when there is a desire to do so, no matter the disparate positions. Where Atkins works from her abiding trust in the sentinel of the natural world, the Tree de Medici continues in her critique of the violent hegemon, the Human. Any set of evidence can be coerced into relationship, because every thing is in relationship, for good or for bad.
Carbon copy
- Authors: Atkins, Rosalind , Crawford, Marian , Purdy, Susan
- Date: 2011
- Type: Text , Visual art work
- Full Text:
Pretty air and useful things
- Authors: Bell, Dan , Mestrom, Sanne , Vivian, Alex
- Date: 2012
- Type: Text , Visual art work
- Full Text:
The making of meaning: Rapture and rupture in the garden
- Authors: Bennett, Anne
- Date: 2014
- Type: Text , Visual art work
- Full Text: false
Mates & Milkshakes : Corner shops in Ballarat
- Authors: Berry, Phillip
- Date: 2012
- Type: Text , Visual art work
- Full Text: false
- Description: Mates & Milkshakes : Corner shops in Ballarat Exhibition 2nd-13th May 2012 at Post Office Gallery, Ballarat. Phil Berry’s work brings to life the iconic Australian corner store - the local provedore selling everything from a bottle of milk or packet of cigarettes to a range of smallgoods. Once a hub and important landmark within the community, abuzz with conversation and ablaze with advertising slogans, they stood like social beacons amid the drab, dull endless sprawl of suburbia. Celebrating these abandoned often reused or reappointed places, Berry’s work not only highlights the disappearance of the personable local proprietors and their conjoined shop residences but also the sense of community that has disappeared with them.
The revolution is us
- Authors: Beuys, Joseph
- Date: 2019
- Type: Text , Visual art work
- Full Text: false
- Description: 25th-16th November 2019, Post Office Gallery, Federation University, Ballarat. ‘The Revolution is Us’ (La rivoluzione siamo Noi) showcases select films, works on paper and sculptures by internationally acclaimed German artist Joseph Beuys (1921 – 1986), one of the most influential Conceptual and performance artists of the second half of the 20th century. Known for his highly original and controversial ideas, themes and practices, including large editions of the same or similar works in “Multiples”, Beuys attempted to make art more democratic, collapsing the space between life and art through public discourse, performance and actions, believing “…everyone is an artist”. A sculptor, performance artist, printmaker, political activist, and teacher, Beuys was also an important contributor to the avant-garde FLUXUS movement alongside George Maciunas, John Cage, Alison Knowles, Nam June Paik and Yoko Ono, among others. Beuys championed the possibilities of artistic creation to enact positive social and political change and activate the intellectual and creative capacity in all of us. Through his notion of “social sculpture”, Beuys believed in the power of art to be able to activate and transform society. His “Multiples”, series were created in opposition to market forces and in response to making art accessible to all. As a teacher Beuys touched many and continues to do so today. Studying at the Kunstakademie Düsseldorf in 1947, Beuys was appointed professor of monumental sculpture at the Akademie in 1961 but was dismissed in 1972 after accepting students who had been previously rejected. Major works include How to Explain Pictures to a Dead Hare (1965), I Like America and America Likes Me (1974), 7000 Oak Trees (1982). Joseph Beuys’s work is held in collections worldwide including the Art Institute of Chicago, Museum of Modern Art, New York, The Tate, London; Hamburger Bahnhof, Berlin, and the Kunstmuseum Basel. Image: La rivoluzione siamo Noi (The Revolution is Us), 1972 © Copyright: Edition Staeck, Heidelberg