Annual Duldig Lecture

Annual Duldig Lecture of Sculpture

The annual Duldig Lecture on Sculpture was instituted in 1986 following the death of Karl Duldig and in association with the National Galleryof Victoria. The National Gallery of Victoria’s director, Dr Eric Westbrook was instrumental in establishing the lecture series to commemorate the life and work of Karl Duldig and Slawa Horowitz-Duldig.
 
For a full list of Lecturers and their topics, click HERE!
 
Prior to 2020 the Duldig Lecture was an in person event, however, due to Covid restrictions in 2020 it was moved online enabling international speakers, access to national and global audiences and recordings of the lectures for future reference.

2023 Duldig Lecture:Laurence Sillars – Experiencing Sculpture: the Henry Moore Institute at 30

During its 30th anniversary year, and on the eve of a major refurbishment project, Laurence will draw upon the Institute’s recent exhibition and research history to reflect upon its approaches to sculpture studies and the organisation’s priorities for its next chapter.

INTRODUCTION: Charlotte Day, Director Art Museums, The University of Melbourne

SPEAKER: Laurence Sillars is Head of the Henry Moore institute formerly the Head of Exhibitions of the Henry Moore Institute (Leeds, United Kingdom), since September 2017.  Before, Sillars was chief curator at Baltic Center for Contemporary Art between 2009-2017 and previously was curator of exhibitions and collections of Tate Liverpool between 2002-2009.

HENRY MOORE INSTITUTE: One of the largest sculpture galleries in Europe, the Institute is a part of The Henry Moore Foundation, set up by the sculptor Henry Moore (1898-1986) in 1977 to encourage appreciation of the visual arts, especially sculpture. The building opened in April 1993 as a centre for the study of sculpture. The Institute supports innovative sculpture projects, devises an imaginative programme of exhibitions and research worldwide, and preserves the legacy of Moore himself: one of the great sculptors of the 20th century, who did so much to bring the art form to a wider audience.

2022 Duldig Lecture: Dr Shawn Sobers – Public monuments and contested culture, Colston statue Bristol 

Dr Shawn Sobers is Professor of Cultural Interdisciplinary Practice and convenor of the Critical Race and Culture Research Group at University of the West of England (UWE). Shawn is also a filmmaker, photographer and writer and a member of the “We are Bristol History Commission” which was set up in 2020 in response to the toppling of the statue of Edward Colston, a 17th century English merchant, slave trader, and member of Parliament. Shawn speaks about his work on the Commission, the re-display of the Colston sculpture and ideas and issues around public monuments and contested culture. The Annual Duldig Lecture on Sculpture was inaugurated in 1986 to commemorate the life and work of the sculptor Karl Duldig and artist and inventor Slawa Horowitz-Duldig.

2021 Duldig Lecture: Maree Clarke – artist, curator and researcher

Maree Clarke – Yorta Yorta / Wamba Wamba / Mutti Mutti / Boonwurrung artist, curator and researcher. Our guest speaker Maree Clarke discusses her multimedia installations of photography, painting, sculpture and new technologies that further explore the customary rituals and ceremonies of her ancestors.

2020 Duldig Lecture: Dr Arie Hartog, MARCKS MEETS DULDIG

The Annual Duldig Lecture on Sculpture for 2020 PRESENTER: Dr Arie Hartog, Director of Gerhard Marcks Haus, Bremen, Germany.

INTRODUCTION : Dr Gerard Vaughan AM Former Director, National Gallery of Australia (NGA), and National Gallery of Victoria (NGV)

MARCKS MEETS DULDIG (an imaginary discussion somewhere around 1968) In 1932 German artist and sculptor, Gerhard Marcks (1889-1981), appeared to be “the next big thing” in German sculpture, however, events turned out quite differently as Marcks’ work was soon labelled as “degenerate art” by the Third Reich. Despite such persecution he continued to live in Germany between 1933 and 1945 and became one of the most important representatives of modern sculpture in German Post-War Art. That being so, what does the term “modern” mean exactly? What did it mean then, what does it mean today? The question becomes all the more interesting when you draw an imaginary line from Gerhard Marcks to Karl Duldig. Was Duldig modern? When and why?