Island in Yasni Exposé of Jane Bennett

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Jane Bennett, Artist @ Artist, Self Employed, Sydney

Birth name: Jane Bennett, Nickname: Jane Bennett Artist, Country: Australia, Language: English
I offer: Art, Artist, Paintings, Exhibition, Art Exhibition, Australia, Sydney, Pyrmont, Cockatoo Island, Anzac Bridge, Ships, Harbour, Eveleigh Railway Workshops, Maritime Industry, history, Wharves, Industrial Heritage, urban, National Trust, Change
Jane Bennett @ Artist ; Self Employed, Sydney

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Jane Bennett @ Sydney
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Jane Bennett @ Sydney
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Jane Bennett @ Sydney
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Jane Bennett @ Sydney
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Jane Bennett @ Sydney
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Jane Bennett @ Sydney
June 10  +
Jane Bennett @ Sydney
June 10  +
Jane Bennett @ Sydney
June 10  +

77 results for Jane Bennett

Picasa Web Albums - Jane Bennett, Artist - Cockatoo Island

Photos of paintings by Jane Bennett, Artist, 19 Jun 2010 - Cockatoo Island, Sydney, NSW Art Exhibition by Jane Bennett, Industrial Heritage Artist I first painted a series of works on Cockatoo Island in the early 1980's, when ships & submarines were still being built & repaired there, & the giant crane,Titan was lurking beside the north-west slipway. Now half the sheds & cranes (unfortunately including Titan) have gone, & Cockatoo Island has been reincarnated as a festival venue for comedy, art & music. After an absence of over 15 years, I returned to paint the island's transformation. Enquiries : janecooperbennett@gmail.com or frances@franceskeevilart.com.au
Jane Bennett @ Sydney
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picasaweb.google.com.au 2010-06-28  +  

Picasa Web Albums - Jane Bennett, Artist - Glebe Island

Photos of paintings by Jane Bennett, Artist, 21 Jun 2010 - I was "Artist in Residence" on the Glebe Island wharf, while the last Ro-ros (or car ships) arrived. The last Ro-ro to leave Glebe was the "Blue Hawk" in October 2008.
Jane Bennett @ Sydney
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picasaweb.google.com.au 2010-06-28  +  

Invalid URL: Annual Report 2009 | State Library of New South Wales: Separator Collection additions - Major purchases

Jane Bennett collection, 1995—2006. Oil on canvas and mixed media on paper. Artist Jane Bennett documents Sydney's disappearing industrial heritage and the decline of traditional industries. Bennett targets and records urban landscapes, often just before demolition or redevelopment. The collection documents construction of the Anzac Bridge, the Balmain and White Bay power stations, Cockatoo Island, cargo ships in Sydney Harbour, the last voyage of the Spirit of Tasmania; and the development of the Finger Wharf at Woolloomooloo. ML 1413 — ML1419
Jane Bennett @ Sydney
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sl.nsw.gov.au 2010-06-06  +  

One last push to torpedo a date with Davy Jones

ANDREW WEST March 24, 2010 OPPONENTS of the plan to scuttle a decommissioned navy ship off the Central Coast are mounting a last-minute campaign to overturn a decision of the federal Environment Minister, Peter Garrett, to approve the sinking. Yesterday the Environmental Defender's Office, acting for the No Ship Action Group, lodged an appeal with the Administrative Appeals Tribunal against Mr Garrett's decision to issue a sea dumping permit. Kirsty Ruddock, principal solicitor with the defender's office, who is running the appeal, said she was seeking an urgent decision, given the former warship HMAS Adelaide is due to be scuttled 1700 metres off the beach at Avoca Bay on Saturday morning. The Keneally government, spurred on by the commercial scuba diving industry, wants to create an artificial reef using the vessel, but some residents and environmental experts fear the ship will cause tidal problems that could reduce the size of Avoca beach by up to five metres. They also fear the potential for toxins, especially polychlorinated biphenyls, or PCBs, which were used to insulate wiring. Yesterday, as the Sydney artist Jane Bennett - who has documented on canvas the changing character of Sydney Harbour, from working port to playground of the wealthy - painted HMAS Adelaide from afar, the state Lands Minister, Tony Kelly, was on board trying to reassure the community. ''This was the pin-up ship, the navy's environmentally friendly ship, when it was built with new style paint, without lead and PCBs. We have removed any chance of there being any contaminants on the ship and undertaken a number of tests.'' He rejected claims that the vessel would damage marine life, saying the former HMAS Brisbane, sunk off the Queensland coast, was attracting 94 species of fish. But the minister conceded there had been no environmental assessment of the project, only a ''review of environmental factors'', which was a less stringent test. In its appeal, the Environmental Defender's Office cites three arguments against Mr Garrett's decision to issue the dumping permit. It says the decision ''is inconsistent with the 1996 Protocol to the Convention of Marine Pollution by Dumping of Wastes and Other Matter, 1972'', and argues the creation of an artificial reef, using the ship, is likely to endanger the coastal environment and release PCBs, heavy metals and other toxins. The matter is scheduled to be heard by Justice Garry Downes this morning, but Ms Ruddock expects a full hearing tomorrow. While the federal Environment Department, which also inspected the ship, has issued a statement saying the vessel does not contain PCBs - which had been stripped out during work at Garden Island - the No Ship Action Group and the National Toxics Network are still worried. They say tests were conducted on only five small samples taken from the ship.
Jane Bennett @ Sydney
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smh.com.au 2010-06-05  +  

Invalid URL: Jane Bennett

Jane Bennett - Jackson's Landing from Glebe Island · Jane Bennett - Night, from the Anzac Bridge · Jane Bennett - Pyrmont Panorama ...
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franceskeevilart.com.au 2010-06-04  +  

Invalid URL: artfiles :: Jane Bennett's profile

JANE BENNETT W: www.franceskeevilart.com.au For over 25 years I have painted a comprehensive record of the industrial & maritime heritage of Sydney & surrounding areas, as an Artist in Residence on sites in Pyrmont, Cockatoo Island, Eveleigh Railway Workshops, the Woolloomooloo Fingerwharf & Walsh Bay Wharves. More about my work with Industrial Heritage: www.nsw.nationaltrust.org.au/eve nts/janebennett/ More biographical details can be seen at : au.linkedin.com/in/janebennettartist I am currently having a solo exhibition of paintings & drawings 'Closing the Gap' at the Frances Keevil Galleries, Bay Village, 28-34 Cross st, Double Bay 2028, from Tuesday 18th May - Tuesday 1st June 2010. Images from this exhibition can be seen at : www.franceskeevilart.com.au/Jane_Bennett.htm Images from this exhibition can also be seen at www.slideshare.net/JaneBennettArtist I have painted over 20 works from the summit of the Anzac Bridge during its construction 1994-5. Two of these form part of the collection of 16 of my paintings recently acquired by the Mitchell Library, State Library of NSW, for their permanent collection. The painting "Closing the Gap" is featured in the prestigious "ONE hundred" exhibition of 100 iconic cultural objects from the collection of the Mitchell Library to celebrate the centenary of its founding. Images from this exhibition can be seen at: www.onehundred.sl.nsw.gov.au/100-objects/Exhi bit-095.aspx Email me :janecooperbennett@gmail.com
Jane Bennett @ Sydney
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artfiles.com.au 2010-06-05  +  

Lost Worlds - Arts Reviews - Arts - Entertainment - smh.com.au

Jane Bennett's art documents the lost industrial heritage of Sydney. ... When Jane Bennett began painting Cockatoo Island over 20 years ago, the largest ...
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smh.com.au 2010-06-04  +  

Art exhibition by Jane Bennett "Closing the gap-Industrial Heritage of Anzac Bridge,Pyrmont,Cockatoo Island & White Bay"at Frances Keevil Gallery 18th May - 1st June 2010

Slideshow of recent solo exhibition of paintings from the past 25 years of industrial & maritime heritage from the historic precincts of Pyrmont, Glebe Island, Cockatoo Island & White Bay.
Jane Bennett @ Sydney
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slideshare.net 2010-06-05  +  

Crowds pay homage to Queen of cruisers

Crowds pay homage to Queen of cruisers NATALIE SCHEMBRI February 26, 2009 The Queen Mary 2, all 151,000-plus tonnes of her, eased majestically into a berth at the Garden Island naval base at first light on Thursday, watched by hundreds of spectators. On its second visit to Australia, the Cunard liner - measuring 345 metres long, 62 metres high and carrying more than 2,600 passengers - didn't fail to impress. Lots of locals got up early to see the ship, following her traffic-stopping maiden visit in 2007. Sydney artist Jane Bennett sat patiently waiting for the weather to clear so that she could capture the scene in oils. She watched as the passengers disembarked, observing that it was "a wonderful way to be introduced to Australia". "Sydney is the best destination for a 'monument' such as this," she said. The Queen Mary 2's colourful livery - deep red, royal blue and white - made it "fun for a painter", she said. The liner is making only a brief stop in Sydney, leaving for Tokyo at 1am (AEDT) on Friday. But she will visit again next year.
Jane Bennett @ Sydney
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news.smh.com.au 2010-06-07  +  

"A journey into our working past" Article in "Precinct" magazine by Bill Birtles issue 1/2006 pages 17-18

“The core of this building was an 1815 military hospital,” says Tony Brassil, gesturing upwards to the high stone ceilings of the café in the National Trust building on Observatory Hill. In the lobby, a wooden colonial staircase remains in place, while in a nearby room hang paintings that tell the story of the grandeur and beauty of industrial icons famous across Sydney. Leaning in, Mr Brassil continues the tale in a tone of respect and fascination. “It was converted in the 1850’s into a school building. One room was originally a science classroom with gas burners and lab equipment. Every building and heritage site has a story to tell.” Since Tony Brassil works at the National Trust as the Conservation Officer for Industrial Heritage, he knows the stories of many of Sydney’s oldest workplaces. Recently, the 13th Annual National Trust Heritage Awards celebrated heritage works of preservation, restoration and refurbishment under the banner theme ‘Industrial Heritage: Our Working Lives’. Shipyards, construction sites and incinerators are not often noted for their cultural value, but this year they formed the basis of the recent National Trust Heritage Festival, held over three weeks around Sydney. Now in its 26th year, the festival’s theme of ‘Industrial Hertiage – Our Working Lives’ incorporated a range of events and displays that focused on industry’s contribution to New South Wales, from the sites and structures to the people who worked in them. Reflecting this theme was a series of events in inner Sydney, ranging from talks and tours to photographic and art exhibitions. The 26th National Trust Heritage Festival exposed a new appreciation of Sydney’s industrial history and those who lived and worked on the sites. Bill Birtles reports. Despite this, one of the major exhibitions of the festival shed a very different light on industrial scenery. Jane Bennett’s collection of paintings titled ‘Sydney’s Disappearing Industrial Treasures’ managed to into our working history highlight the aesthetic value of work sites around Sydney, both old and modern. With a range of works spanning 20 years, many of Sydney’s iconic and lesser-known areas were on display, including scenes of Anzac Bridge and the sites of Cockatoo Island.
Jane Bennett @ Sydney
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fass.uts.edu.au 2010-06-13  +  

Precinct issue 1/ 2006 "Artist captures city’s heritage"

I determine what gets into the history books, what is remembered,” exclaims artist Jane Bennett. Discarding her regular uniform of steel-capped boots, a hard hat and a metal cage, Jane Bennett stands dwarfed by the high walls of Sydney’s National Heritage Centre where her exhibition, Sydney’s Disappearing Industrial Treasures, has been a tremendous success. A resident of West Pymble and formally trained at Sydney’s City Art Institution, the artist is fulfilling her quest to paint Sydney’s vanishing industrial sites. To date such disappearing sites have included industrial areas at Pyrmont, Cockatoo Island, the Woolloomooloo Finger Wharf, BHP Steel Works in Newcastle and the Balmain Power Station. “My artworks are a visual history, a map of the disappeared,” Jane Bennett says. “It’s a physically demanding job and at first I was swamped by it as I was testing myself against the epic scale of the landscape itself.” Such strain is not surprising due to the open-air nature of her work. The artist has climbed chimneys, to get a good painting angle and hitched a ride to the top of the ANZAC Bridge during an electrical storm to capture an industrial landscape below. The most dangerous incident of all was when she and her 60kg easel fell out a second floor window, rendering her desolate and unconscious, in an abandoned factory in Pyrmont. Perhaps Jane Bennett’s risk - taking stems from her belief that the harder you work the luckier you get. “Hard work has meant I have created a genre for myself in the art world as an urban landscape painter,” she says. It has also led to Ms Bennett’s many major awards including her most recent, the Inaugural Sydney Harbour Week Award for Artistic Achievement. Most influential was however the Marten Bequest Traveling Scholarship awarded in 1996 which enabled her to paint in England, Scotland, Germany, the Netherlands, France, Italy and Belgium. Jane Bennett’s works can be “very moody and quite dark” says Anni Turnbull curator of ‘Paradise, Purgatory and Hellhole: A history of Pyrmont and Ultimo’, an exhibition in which a selection of Jane Bennett’s artworks can currently be seen at the Powerhouse Museum. The artist aims to impose order on chaos within her works and she achieves this through depth rather than flatness in her artworks. “Shadow can be used to physically eat away at all form, creating anxiety and doubt,” she says. Although Ms Bennett incorporates the styles of classicism, romanticism and realism, she claims to draw greatest influence from the “cult of the romantic ruin and the Claudian landscape”. Like the classical artist Pironesi, whom she much admires, her works are focused on balance, harmony and composition. Jane Bennett is convinced she is painting the end of Sydney’s industrial revolution. “People argue these old buildings are junk,” but Sydney is “getting to be a city that doesn’t produce anything”. Always a realist, she “acknowledges that capturing the vision of Pyrmont and Sydney’s other industrial areas, before they change forever, is a race against time”. Jane Bennett’s most current exhibition is on display at the Taylor Galleries. Talking fondly of gallery owner Max Taylor, the artist says he “is the closest to a mentor, he never tried to talk me out of anything.” Ms Taylor,who has exhibited Jane Bennett for 10 years, says she is “intense about her unique works and posses a lot of integrity. “I am a commentator, the repository of memory, good, bad and indifferent,” says the artist “It’s my empire. If I paint it, I own it, I own Sydney!” she says with a grin. Reporter: Harriet Gollan
Jane Bennett @ Sydney
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fass.uts.edu.au 2010-06-05  +  

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