Songs from Cold Mountain

SFCM cover

Songs from Cold Mountain
307 Poems by Chinese poet Han Shan (8-9th C)
In standard Chinese and English, trans. by Span Hanna
Introduction by the translator, with Pronunciation Guide
Appendices and Bibliography
352 pp, standard paperback (230 x 150 mm)

No one knows who Han Shan was. The name means “Cold Mountain”, after
the place where he lived, under a crag in the mountains of Zhejiang Province,
near the town of Tiantai. He was a recluse, avoiding visitors (as he frequently
tells us in his poems), but from time to time visiting the large monastery of
Guoqing Si (Kuo-ch’ing Ssu) at Tiantai, where he was befriended by two
monks, Feng Gan (Feng Kan) and Shi De (Shih Te). Legend has it that he
scrawled his poems on random surfaces: rocks, trees, the walls of houses.
Someone collected them, and the body of work has been retained. His life is
tentatively (but convincingly) dated around 720 – 810 CE.

In January 1991 Span Hanna was travelling in eastern China, and noticed
there was a Han Shan Temple nearby. He caught a bus and while in the area
found a bookshop where he bought some books, among them a complete
collection of Han Shan’s poems. It was a 1988 reprint by Guanghua Temple
(Putian, Fujian Province) of an older edition dated c.1932.

The book went home with him, and in June 2014 he decided to read it
formally, from beginning to end, and attempt to translate it, partly a project
to keep his Chinese skills alive, and partly also to share the work with a few
close friends who could not read Chinese but had some appreciation and
understanding of Chinese poetry and philosophy. This volume is a result of
those endeavours.

Cover image:
Unknown artist
Depiction of Han Shan Te’-Ch’ing, 1600

https://au.blurb.com/b/9546581-songs-from-cold-mountain

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Doreen Goodchild

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In One Small Measure Judith Brooks, an artist herself and Doreen Goodchild’s daughter, presents a lively account of her mother’s life as an artist in Adelaide and beyond, from the years immediately after World War One until the last years of the 20th century.
The monograph is presented to coincide with a retrospective of the art of her parents, Doreen and John Goodchild, for History Month at the Royal South Australian Society of Arts Gallery in Adelaide in 21 April – 12 May 2019. John Goodchild was President of the Society 1937– 40 and Doreen was the inaugural Secretary of the Society’s Sketch Club, founded in 1923.

Judith Brooks was born in 1936 in Adelaide. She grew up observing their lives as artists and later in life became an artist herself, exhibiting regularly in venues such as Kensington Gallery. She wrote a self-published book on her father after his death, in the early 1980s, with much of the research compiled by her mother, the subject of this book.

The monograph is published by the Royal SA Society of Arts.

 

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100th Anniversary Exhibition – Part Two

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Wladyslaw Dutkiewicz, Design for Adelaide Festival 1968

2018 marked the 100th anniversary of the Polish-born artist Wladyslaw Dutkiewicz’s birth. A commemorative exhibition of 40 works was mounted at Murray Bridge Regional Gallery in May-June 2018. Although a large exhibition, it was thought more could be shown – hence a second exhibition of another forty works – large, medium and small paintings, watercolours, drawings and sculpture – was mounted at the Royal SA Society of Arts Gallery in Adelaide.

The exhibition was opened by Christine Garnaut, Associate Professor, Planning and Architectural History and Director, Architecture Museum, School of Art, Architecture and Design at University of South Australia on Sunday 20 January 2019 at 2 pm.

There was also a book launch by arts writer Samela Harris of Adam Dutkiewicz’s latest monograph on the Adelaide sculptor Andrew Steiner OAM, Past President and Honorary Life Member of the Society. Steiner was a long-time friend of Wlad, getting to know him through his amateur theatrical group The Art Studio Players. Steiner acted in Wlad’s second production, Maxim Gorky’s The Lower Depths, presented as a fringe production for the inaugural Adelaide Festival in 1960. Samela’s father, Max Harris, described it as a “theatrical tour de force”.

Adam also made a limited edition of his biography of his father available as a paperback for the first time throughout the exhibition. It is available from the Society and the publisher for $60 plus postage and handling.

2019 also marked the 20th anniversary of the artist’s passing.

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Wladyslaw Dutkiewicz

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Peter Medlen, Wladyslaw Dutkiewicz 1962, gelatin-silver photograph

Wladyslaw Dutkiewicz (b. 1918 Stara Sol, Poland) was a painter, sculptor, writer, actor, stage designer and theatre director. After arriving in Adelaide in 1950 he was first noticed for his set designs for plays. He made a strong impact on art in South Australia with his forceful expressionist paintings and experimental and innovative modes of abstraction. In the 1950s and 1960s he was widely regarded as a leader of the lively modern art movement in Adelaide.
By the decade’s end he was included in publications on Australian art and international exhibitions in London and a little later Beverly Hills. After suffering head injuries in a car accident in 1956 he was forced to give up painting for a few years to recover his memory and colour vision. He formed the Art Studio Players, working with The Method from 1959-62 and producing several plays for the company, and directed two plays for the Adelaide University Theatre Guild, in 1959 and 1967. He later appeared as an actor in several Crawford Production television dramas in Melbourne.
He held over 40 solo exhibitions in Adelaide and other capital cities, and participated in over 100 exhibitions overall.  He continued painting until his death in Adelaide in 1999. Three survey exhibitions have been mounted since his death. A monograph was published in 2006 and a full biography in 2013, available through blurb.com; it was released in paperback in 2019.

Wlad’s part in the origin of the Polish Art Foundation in Australia:

https://www.polishartfoundation.org.au/paf-history

Wlad’s part in the career of Adelaide actor Barbara West and the Adelaide festivals:

https://adelaideaz.com/articles/adelaide-actor-barbara-west-works-with-w-adys-aw-dutkiewicz-s-art-studio-players-and–method–theatre-in-1950s

Wlad’s influence on artist Syd Ball:

https://www.sullivanstrumpf.com/assets/Uploads/Paul-McGillick-22Music-of-the-Spheres22-Habitusliving-Issue-21-October-December-2013.pdf

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100th Anniversary Exhibition

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Opened on 5 May 2018 at 2.30 pm. Opening speaker: Dr Christine Nicholls, Senior Lecturer, College of Humanities, Arts and Social Sciences, Flinders University.

An exhibition of work by the late Polish-Australian artist Wladyslaw Dutkiewicz (1918-1999).

http://theconversation.com/wlads-worlds-polish-resistance-fighter-slavic-space-age-modernist-legendary-australian-artist-96192

Wlad was trained in Poland and Paris, was a partisan in World War Two, and fled to freedom ahead of the advancing Red Army in 1945. He spent four years in a Displaced Persons’ camp in Hohenfels, Bavaria, before migrating to Australia in 1949. He settled in Adelaide in 1950 and lived there until his death.

The exhibition is curated by Dr Adam Dutkiewicz, the artist’s second son, who is a prominent Adelaide art historian and publisher of small press editions on local art and artists.  It presents a selection of around 40 works from the family collection and on loan from private collections and the Art Gallery of South Australia.

The exhibition is part of the 2018 History Festival and is proudly supported by the Royal SA Society of Arts, Inc. The exhibition concluded on 10 June 2018.

http://www.murraybridgegallery.com.au/coming-soon/2018/5/4/wladyslaw-dutkiewicz-100th-anniversary-exhibition

https://historyfestival.sa.gov.au/history-festival-events-search?field_event_date_picker%5Bdate%5D=27%2F04%2F2018&field_event_date_picker_1=&field_event_type=51&field_event_type%5B51%5D=51&field_tourism_region=1694&field_tourism_region%5B1694%5D=1694&search_api_aggregation_1=Wladyslaw+Dutkiewicz

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A second part to this exhibition was held at the Royal South Australian Society of Arts Gallery from 20 January – 10 February 2019. Wladyslaw Dutkiewicz: Adelaide Modernist, featuring an entirely different set of oils, watercolours and drawings, and was opened by Associate Professor Christine Garnaut, Planning and Architectural History, and Director, Architecture Museum, School of Art, Architecture and Design, University of South Australia.
A paperback edition of Adam’s biography of the artist – Wladyslaw Dutkiewicz: A Partisan for Art – was produced for the exhibition.

Christine Nicholls’ 6-page article on the 100th Anniversary Exhibition was published in Asian Art News 28, no. 4 (2018), pp. 52-57.

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SJ Ostoja-Kotkowski

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Joseph Stanislaw Ostoja-Kotkowski (1922-1994) – Untitled, c.1958, Arbroath Stirling, oil on canvas – 97 x 115.5 cm. Private Collection. Photograph courtesy of Leonard Joel, Melbourne.

Some time ago I photographed the above work, an abstract in oil by the late artist Stan Ostoja-Kotkowski (1927-1994)  in a  private collection in Adelaide.  Since then, a number of new things by the artist have come into my in-tray via email and Facebook.

One of the impressive items was a mural that had been left intact since 1960, in a house that had gone up for sale. This was very similar to work I had seen 20 years ago that was presented as part of the 6th Australian Architectural Convention Exhibition (6AACE) held in Botanic Park, Adelaide, in 1956. Stan was well known in Adelaide for his murals in hotels and restaurants, and his murals and bas-relief sculptures became very sought after in bars, hotels and corporate offices in South Australia and beyond. He held his first solo exhibition in Adelaide at the RSASA Gallery in June 1955.

Stan was also an impressive sculptor and photographer. Some years ago I worked at Flinders University Art Museum at Bedford Park SA accessioning work from a large collection of graphics, photographs and documentary material that was left to the Museum. It also included numerous oil paintings and examples of transitional works as he moved away from oils to plastics and electronic technologies, in op art and what would become his multimedia art that incorporated electronics, photography, light and laser projection and sometimes human performance. One of those images was incorporated into his profile that I included in my collaboration with Gary Sauer-Thompson in 2016, titled Abstract Photography: Re-evaluating visual poetics in Australian modernism and contemporary practice (Moon Arrow Press, 2016).

Ostoja installation 3

Around 2000 I managed to save a mural that had been installed in the international terminal at Adelaide airport – with the cooperation of the airport’s management, I managed to secure the work on permanent loan to Flinders University, with the help of the then Directors of the Museum, Doreen Mellor then Gail Greenwood. After negotiations, the mural was installed in the foyer of the IT Building on campus.

You can see some preparatory drawings here: https://collections.slsa.sa.gov.au/resource/PRG+919/79

I recently found another example of Ostoja’s oil painting style from the late 1950s in Adelaide:

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Joseph Stanislaw Ostoja-Kotkowski (1922-1994) – Not titled (Abstract), 1962 Arbroath, Stirling SA,  oil – 120 x 90cm.  Private collection.

An amusing historical video exists that captures this artists experimental activities in Adelaide in 1962: https://youtu.be/bYP-Su8YP7k

Note that the narrator mispronounces Stan’s surname on each occasion – a sign of the times!

I just found a wallet of photographic prints of works by Ostoja-Kotkowski. There is no information on the packet. Many of the images (paintings, sculptures, photographs, installations, studio) are recognisable from the collection in the State Library of SA – they could have been provided to me by Ian Davidson around the time he was working on his manuscript on Ostoja, because many of the images translate to that project. The works appear to be from his first solo exhibition at RSASA in 1955.

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A Visual History – volume two

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OTHER SIGNIFICANT ARTISTS

As I undertook compiling, editing and designing volume one of the Society’s history in 2016, it became clear that many significant artists could not be accommodated within the framework I had set up in the book to provide an overview of the foundations and main affiliations and actors. I was determined to have the book as comprehensive as possible, and for it to be a complete publication in itself: hence the inclusion of a selection of artists from the Society’s first fifty years and the inclusion of profiles of all the Presidents and most of the significant officials and the Honorary Life Members of the Society.

The book worked well overall, but how could such a survey of South Australian art not include stalwarts of the Society who were not officials but had served on Council, some of them for decades, like Gwen Barringer, and other major artists like Margaret Preston, Dorrit Black, Horace Trenerry and Sir Ivor Hele? There were many more modern artists, especially after World War Two, of considerable importance, who should be recorded in such a history; and the current membership should also be considered and compete for inclusion.

With such thoughts in mind I put the idea of a second volume to the management and the Council, and they agreed but noted the stress the first publication had imposed on the Society’s limited means. I knew a second volume would be important in order to be thorough and to promote the Society and its contemporary relevance in the broader art community in South Australia. With a few exceptions — such as John Kay and William Maxwell, who might have been included in the first volume — this volume is mostly confined to the years since artists themselves have managed the Society, extending back to 1909. The inclusion of the two profiles mentioned does offer an opportunity to revise the background to the organisation here: in the case of Maxwell, his profile is not recorded in art history books elsewhere and is of particular interest to the Society because Past President and Honorary Life Member Dr John Dowie AM, Adelaide’s best sculptor of the 20th century, penned the article in Kalori, the society’s journal.

In many respects this second volume is a better survey of the Society’s talent across its history, because it shows some of its most famous artists and gives a better idea about the vitality of the mid-late 20th century and the approaches of its contemporary membership. But where to stop, and who to include? Many discussions were undertaken and suggestions made in the Society’s office over 2016 and early 2017, but my brief from Bev Bills and Vikki Waller was to provide a wide spread of genres and media and to ensure that former and younger members were also included, being especially aware of prize winners in the Society’s major exhibitions and the impetus provided by the Youthscape programme.

The result is a book that cuts a cross-section through the current art scene in Adelaide. The two volumes, in combination including 300 chapters and over 1,050 images, provide a significant overview of art in South Australia since colonisation, and it is the first encyclopedia-like volume since 1969. It is hoped this volume, and its accompanying one from 2016, will both set standards and provide inspiration.

[Volume Two was available at the RSASA Gallery for $50.00. It was launched a Adelaide Town Hall by the Lady Mayoress Genevieve Theseira-Haese during the History Festival in May 2018. It is now sold out]
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Jan Dutkiewicz

Jan Dutkiewicz (b. 1911, Stara Sol, Poland, d. Katowice, Poland, 1983)

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Wladyslaw Dutkiewicz

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Wladyslaw Dutkiewicz – photo by Peter Medlen, 1962

Upon his arrival in Australia in 1949, Wladyslaw Dutkiewicz’s art was not too
experimental: the paintings he managed to execute in Bavaria after the war were
solid exercises in landscape, still-life and portraiture, in which he searched to
find his “voice”. They were produced in a well-crafted, rather academic style, but
showed flair with brushwork and a finely tuned sensibility and flair for expression
and abstraction. His early paintings here, however, indicate an amazing and
torrential outpouring of pent-up creative energy. Wlad’s first solo exhibition was
at Curzon Gallery, Adelaide, in early June 1951; the work caused a sensation
among the circles of artists and exhibition-goers. During his first solo shows at
the RSASA patrons were seen queuing up the stairs and outside of the Institute
Building waiting for the gallery to open.

The enormous and wide-reaching impact Wlad had on the art world in
Adelaide extended beyond visual arts. The research undertaken on the Adelaide
theatre scene in the exhibition A Brush with the Stage (1992) fully
revealed his experience in theatre, both in Hohenfels in Germany and in
Adelaide. We discovered, for instance, that he had retained his concept sketch for
a set for the opera La Traviata, which he had prepared in post-war Germany, and exhibited it in his first major exhibition in Australia in 1951. It was a surprise to find that his sepia-coloured, daguerreotype-like sets for Francis Flannagan’s production of Alexander Ostrovsky’s A Man Must Live, in November 1950, were his first achievements to catch the eyes of critics in Australia. Soon after he was commissioned to design sets for Iris Hart’s production of Federico Garcia Lorca’s The House of Bernarda Alba (1951) and again for Flannagan’s interpretation of Ivan Turgenev’s A Month in the Country (1952). While recovering from his accident in 1957, he collaborated with Thomas Steel on the set designs for John Edmund’s productions of Fallen Angels and Bus Stop, and collaborated with Jacqueline Hick, with whom he often painted in the studio of Francis Roy Thompson, on Anna Karenina in 1959.

From 1959 until 1962 he ran his own theatre group, the Art Studio Players, resprising his activities in DP camps after the war, directing several productions and acting in some of them, including Maxim Gorky’s The Lower Depths (1960). He later acted in television dramas for Crawford Productions in Melbourne.  His final stage production was Henrik Ibsen’s The Wild Duck for the Adelaide University Theatre Guid, in 1967.

In painting, Wlad’s exploration of modernist styles and his personal synthesis of them, in his first several years in Adelaide, were truly remarkable, especially in the context of Australian art of the period. This was duly noted by a number of people attuned to contemporary art, most notably Max Harris and Ivor Francis, who wrote glowing reports on this “New Australian” artist and the impact he was having on the local art scene.
Within a year Lisette Kohlhagen and Dorrit Black, before her death in 1951, were also heaping praise while the conservative reviewers were horrified. The debate about radical modernism in Adelaide was reignited well before the French Painting Today touring exhibition in 1953, an event often highlighted as a turning point in Australian art, as it heralded the rise of abstract painting.

Wlad had won the Cornell Prize at the Contemporary Art Society on its inaugural occasion in 1951 and again in 1955; in the intermediate years he won several medals and prizes, and later the Advertiser Prize (shared with Erica McGilchrist). He was one of seven artists featured in the film Painting 1950-1955 South Australia, selected by his peers at the CAS of SA. He was included in Survey 1 at National Gallery of Victoria in 1958; the Helena Rubinstein at Art Gallery of NSW in 1958; Contemporary Australian Art at Auckland Art Gallery 1960 (which later toured to two other public galleries in New Zealand – Sarjeant Gallery, Whanganui and Christchurch Art Gallery); Recent Australian Painting, at Whitechapel Gallery, London, 1961; and Australian Artists at Raymond Burr Galleries in Beverly Hills, USA (1961).

He had major survey exhibitions in Royal SA Society of Arts 1961; Lidums Gallery 1975; Greenhill Galleries, Adelaide 1989; Hilton International Hotel, Adelaide, 1991; Royal SA Society of Arts 1993; BMG Art 1995; and Royal SA Society of Arts, 2005.

In recent years he was featured in Paint[h]ing at the Australian Experimental Art Foundation in Adelaide (2010), curated by Domenico de Clario; Cubism and Australian Art, at Heide Museum of Modern Art (2009), curated by Lesley Harding and Sue Cramer; and Modern Being, Art Gallery of South Australia (2016-17), curated by Tracey Lock and Ellie Freak.

Below are links to major exhibitions the artist was involved with over the last decade and to his works on paper donated to the State Library of South Australia after his death.

https://www.heide.com.au/exhibitions/cubism-australian-art

http://collections.slsa.sa.gov.au/resource/PRG+1385/70

 

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Adam Dutkiewicz

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Adam Dutkiewicz, photo by Ursula Dutkiewicz, 2010

Adam Jan Dutkiewicz was born in Adelaide in 1956. He matriculated at Adelaide
Boys’ High School then went on an extended gap year during which he attended
the “university of life”. In the early-mid 1980s he studied Creative Writing,
Printmaking, Drawing and Painting at Hartley CAE and Communications
Studies as it transitioned to the Magill campus of the University of South
Australia. During this time he was managing editor and publisher of Words And
Visions (arts showcase) magazine, which became WAV Publications, producing
18 issues of the magazine and several books of fiction and poetry by mostly
South Australian writers. In 1986 he co-edited The Land of Ideas, a collection of
short stories for children, with Pauline Wardleworth; and in the following year
edited Tales from Corytella, the collected stories of Flexmore Hudson, his old
English teacher at high school. He worked as an assistant to Professor Ian Forbes
on the history of the Queen Victoria Hospital in 1987.

In 1990 he travelled overseas, absorbing art and theatre. Upon his return he completed his Honours year, working with Dr Catherine Speck. In 1991–92 he worked as an assistant to Dr Stephanie Schrapel and designer Katherine Sproul on the historic A Brush with the Stage exhibition, in conjunction with the Performing Arts Collection. In October 1992 he held his first major solo exhibition at RSASA and was elected Fellow and shortly thereafter President of the society.

During his time as President he oversaw the production of a number of historic exhibitions, including surveys for Jacqueline Hick, Francis Roy Thompson, Wladyslaw Dutkiewicz, the first of two survey exhibitions by visiting Chinese master artist Fu Hua, Rita Hall and the society’s Sketch Club. He also edited and produced Kalori, the society’s journal. During his presidency membership grew and he pursued an agenda of eclecticism, elevated professionalism and modernisation of the society (he brought computers into the RSASA office) and its membership, which met with considerable resistance. His term received support from Quit (later Foundation SA), which promoted a healthy, non-smoking lifestyle, so he was able to publish an extensive array of catalogues with most of the aforementioned and other society exhibitions. He exhibited the first example of digital art shown in the Society. His dedicated and hard-working Secretaries were Jan Howser, Donna West Brett, and Maria Maiorano. His Council was supportive and appreciative of his long hours and total commitment.

From June 1992 until November 2005 he worked as freelance art critic for The Advertiser newspaper and has also worked for Business Review Weekly, Art Monthly Australia online, and The Independent Weekly (2006–08). He also curated several exhibitions of work by his father and other family members, and an exhibition on Polish-Australian artists for Polart at Adelaide Festival Centre.

In 1997 he was awarded a scholarship by the University of South Australia to undertake a doctoral degree at the South Australian School of Art in visual art history and theory. His thesis was essentially a history of abstract painting in Australia. He is the author of numerous catalogue essays and monographs, including on his father and uncle and other post-war, South Australian émigré artists and architects, and was a state editor and writer for Australian Modern Design, published in Brisbane. His photographic essay of the salt fields at Dry Creek, The Path to Salt was published in 2012; after which he produced a full biography on his late father, Wladyslaw Dutkiewicz: A Partisan for ArtFrancis Roy Thompson: Painter of Grace & Rebellion (2014) with Carrick Hill; and Abstract Photography: Re-evaluating Visual Poetics in Australian Modernism and Contemporary Practice (2016), and Adelaide Art Photographers c.1970-2000 (2020) with photographer Gary Sauer-Thompson.

Since 2011 he has pursued photography as his principal artistic medium. In 2014-15 he tutored at the SA School of Art and at the School of Communications at University of SA. Since then he was commissioned to produce A Visual History: the Royal SA Society of Arts, 1856-2016 (two volumes); a monograph on local sculptor Andrew Steiner (see Moon Arrow Press for entry); and a small monograph on the artist Doreen Goodchild for her daughter Judith Brooks. In 2018-19 he presented two retrospective exhibitions of his late father Wladyslaw Dutkiewicz’s work to celebrate the 100th anniversary of his birth, at Murray Bridge Regional Gallery (for the History Festival) then at the Royal SA Society of Arts (where he had held many of his early exhibitions and been a member of Council and Selection Committee).

Adam closed Moon Arrow Press at the end of 2020 but has continued to work as Honorary Historian for the Royal SA Society of Arts. In recent years he has produced two volumes under the title of Historical Documents of the Royal SA Society of Arts, examining in more detail material relating to the Society in the second half of 19th Century, and has been working on the RSASA Collections with Collections’ Officer Doris Unger. This work culminated in the exhibitions Malcolm Carbins: Silent Depths in March 2022, and Re Collection, on show at the Society during the History Festival in may 2022. For this work, and the previous Early Settler Artists of South Australia, 1836-1856 (2021) document, he was awarded South Australian Historian of the Year 2022 in the Closing Ceremony of the History Festival.

The citation reads:

Historian of the Year: Adam Dutkiewicz
Adam as the historian for the Royal SA Society of Arts has collated and documented the history of the RSASA since its beginning in 1856. The judges were unanimous in acknowledging Adam’s continuing research into artists in South Australia, culminating in the history exhibition the RSASA held in conjunction with the Pioneers Association in May 2021. This wonderful display of art and history showed a dedication and quality that will inspire others in investigating our history.

https://historycouncilsa.org.au/enewsletter/

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