Berthe Morisot (Madame Eugène Manet) : exposition de son œuvre, du 5 au 23 mars 1896, chez Durand-Ruel /

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Gail Sorronda - New York, Paris, London, Sydney

QUT Fine Arts Fashion Design graduate Gail Reid is making a name for herself nationally and internationally. As one of the first QUT graduates to establish and sustain her own label, it begs the question how, why and what's next for her career aspirations.

Paris 1947 : The woman of fashion

Paris 1947 is the site of one of twentieth century fashion’s fictive highpoints. The New Look combined drama and poetics through an abiding rhetoric of elegance. In doing so it employed traditional modes of femininity, casting the woman of fashion in the guise of an ambiguous ‘new’ figure: half fairytale princess, half evil witch. This fashionable ideal was widely disseminated through key photographic representations, Willy Maywald’s 1947 image of the Bar Suit being a case in point. It was precisely such mythic formulations of ‘woman’ which Simone de Beauvoir was to take to task just two years later with the publication of The Second Sex. Driven by frustration with the status quo of real women, de Beauvoir recognised the role of fictive representations, both textual and visual in defining women. This paper reads key sections of The Second Sex through a comparative analysis of two iconic images of French women from 1947; Cartier-Bresson’s classic portrait of de Beauvoir and Willy Mayhold’s spectacular evocation of Christian Dior’s New Look. Cued by a compelling range of similarities between these images this paper explores links between fashion, feminism and fiction in mid-century French culture.

Exposition

During the course of study in semester 1, the first year BFA Dance (Performance) students were exposed to various dance genres (in terms of technical training) and associated practices. They were required to gain physical fitness and increase technical accomplishment, strength, flexibility and stylistic versatility through their training. The students also experienced dancing as soloists, with partners and in larger group scenarios. Exposition presents these elements experienced, through a pure dance work. Movement vocabulary was formed employing several methods: specifically choreographed for the individual student; through task-based instruction, which the students constructed; and from learning pre-existing material. Thom Willems dramatic and layered musical score informed the construction of new movement vocabulary; the development of pre-existing material; and the structure of the work.

Breeding and fecundity of the endemic Australian gudgeon, sleepy cod Oxyeleotris lineolatus (Steindachner 1867) (Eleotridae)

Sleepy cod (Oxyeleotris lineolatus Steindachner) is a tropical species of eleotrid native to northern Australia. A related species, sand or marbled goby, is the highest priced freshwater fish in Asia, and a market for a similar fish exists in expatriate Chinese communities. Sleepy cod breed when minimum temperatures reach 24 °C for more than 3 days. During the breeding season the genital papilla is broad and flattened in females compared to the triangular papilla of males and juveniles. Spawning pairs were usually of approximately equal size. Females could spawn up to 10 times during one breeding season. Wet weather increased the frequency of spawning. Eggs were usually laid hanging from the underside of a surface. Most spawning occurred between 05:00 and 10:00 h. Females attended egg masses immediately after spawning, after which males cared for eggs until hatching, 3–5 days later. Agitation of the egg mass was essential for development. The mean number of eggs per spawning was 43 130. Larvae commenced feeding 2–5 days after hatching, on plankton from 100 to 250 m in size. A spawning trap used to collect egg masses is described. The breeding biology of sleepy cod is considered to be an adaptation to the monsoonal tropics.

Outdoor portrait of Ellen Bernkopf nee Catzenstein with her husband Hans Bernkopf; Paris, France. Portraits Couples

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Albert Einstein at blackboard; College de France, Paris France Portraits Men

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Jacob Judey-Barosin with his wife Sonia nee Finkel after the end of World War II; Paris Portraits Couples

Early in 1943 the Barosins were arrested and sent to the deportation camp in Gurs. They were freed by French authorities and went into hiding until their liberation in 1944 in Paris. In 1947 they emigrated to the United States.

Artist Rafaello Busoni seated in his studio next to one of his paintings; Paris.

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Isaac Ottenberg Collection 1832-1867

Official German documents for Isaac Ottenberg, dated 1851, 1852, 1854. Also included is a handwritten letter to Herr Cronebold, June 1863.

Albert Einstein, Paul Langevin, Princesse de Noeille, and Paul Painleve; Paris Portraits Groups

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Outdoor portrait of Ellen Bernkopf nee Catzenstein with her husband Hans Bernkopf; Paris, France. Portraits Couples

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Boris Guerrit being thanked in Jerusalem for having sheltered in his mother-in-law's home in Soisy-sur-Seine his cousin Sonia and her husband Jacob Judey-Barosin from September 1943 until the liberation of Paris in August 1944 Portraits Groups

Early in 1943 the Barosins were arrested and sent to the deportation camp in Gurs. They were freed by French authorities and went into hiding until their liberation in 1944 in Paris. In 1947 they emigrated to the United States.