349:(1891–1984). Born in Estonia of Jewish parents, he migrated to Glasgow as a young man and studied sculpture at night-classes while working for a shipbuilding company. Being foreign-born, Schotz was not liable to be called up for war work, so the sculpture department at the School of Art functioned throughout the war. He was an excellent teacher: " had excellent rapport with his small group of students. Formal classes were held in the morning, then they had the studio to themselves for the rest of the day and into the evening. ... Schotz had the highly developed technical skills of a successful practising artist and was alive to the hands-on realities of making sculpture as much as he was to the compelling political and social ideas of the times." He also "supported refugees and worked throughout his life to bring their suffering to public notice. His home was a meeting place for artists, actors, writers, politicians and cultural leaders. He was an outstanding individual: energetic, intelligent humane and charming."
364:, where she became an important local sculptor. She was impressed by the cosmopolitan atmosphere and wider experience of the world brought to the Glasgow School by King and the other refugee students. She later recollected that: "There were assorted part-time students who came and went around the School of Art ... was always free with advice and help and tools and materials so that they became absorbed in our group. We were an astonishing mixture of cultures and it did us the world of good. ... They all offered the same unstinting friendship and hospitality spiced with that wonderful Jewish humour. I wondered how they could all be so clever."
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534:), to design a house for them. Boyd designed a basic, one-roomed house, which could be extended in modules over time. They did much of the building work themselves. They moved into the house at Christmas, 1952. They had no electricity for the first six months and no hot-water system for three years and the house had tanks for water. They did not have a car for a couple of years. During this time, the Kings' two daughters, Joanna and Angela, were born. King later referred to their lifestyle at this time as 'suburban pioneering', though such pioneering was not uncommon in the outer suburbs of Melbourne at this time.
474:, whom King later married, arrived later in 1947. King's early works at the Abbey were figurative, but not realistic. But it was during this period that King "made an arbitrary decision to move away from representational work". "I could not see how I could do any more with the figure, so I decided to move into what I call non-representational work. I don't like to call it abstraction as my work was not abstract in concept. I was groping for my own way." She had two exhibitions in London, then spent six months in Paris, which she enjoyed. In September 1949, she went to New York.
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advance how work will look in it. The landscape grips my imagination – I try to measure my work against the vast spaces of this country. Conquering the landscape does not rely on scale but simplicity and clarity of form expressing inner strength and tension. If my sculpture is outdoors or in the public domain I like it to arouse people's curiosity to explore the work. Multidimensional objects look different from every angle. The exciting thing about outdoor sculpture is the change with the light, the weather... everything is in constant flux. It becomes almost a living entity.
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253:. During that time, things became increasingly difficult for the Neufeld family. By the time King's father died in 1930, when she was 14, the family had lost most of its money. Her older sisters supported her to stay at school until she finished, in 1932, which enabled her to get a good education. She would have liked to have gone on to university, possibly to study medicine, but, financially, that was out of the question.
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808:. It is formed from 19mm steel, and consists of two upright steel circles, each 360 cm in diameter, and three folded metal planes; the total length is 6 metres. It provides the students with a unique resting place among its massive unfurling bands and is the focal point of one of the university's busiest outdoor spaces, the Union Lawn.
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Working with Heide Museum for Rings of Saturn, firstly we agreed on a maquette. Then when I saw the site I knew I had to enlarge the work to do what I call 'conquer the landscape'. The
Australian landscape is an enormously powerful landscape; vast and with clarity of atmosphere, and you never know in
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King entered the
Glasgow School of Art in 1941. She spent three years there. She said of this time: "I was very happy in Glasgow. It was actually the only time I could just work the way I wanted to and I worked very hard." She "felt comfortable with with whom she shared a European background. He was
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King finally got out of
Germany in 1939, with the help of German friends. One helped her get a visa for England. Another warned her that he had received his mobilisation papers and that she should leave as soon as possible. She spent about a year in domestic service with families in southern England.
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The trees have now grown up on the once bare hillside. The windows at the front of the house look over a garden where King's sculptures sit among the eucalypts and shrubs. Inside, the house is full of books and art works: small sculptures, paintings, prints, postcards, ceramics, aboriginal artefacts
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of 1937 and his other war-inspired painting and sculpture and the work of other
European artists were now the subject of endless discussion." However, the cultural transition was not all one way. The Glasgow choirs sang Scottish folk songs and Afro-American spirituals: music that had been suppressed
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This sculpture was commissioned in 2008 by
ConnectEast as part of the EastLink collection. It is located at the junction of the EastLink Trail and the Dandenong Creek Trail, near the EastLink Motorway, Melbourne. It is made up of three steel rings, each 2.5 metres in diameter and painted red. It is
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It was installed in 1973. The structure consists of three stainless steel panels, reminiscent of aircraft wings, the tallest nearly 8 metres high, which are separate but related to each other. In the centre is a bronze structure standing on a plinth. A plaque mounted on the plinth explains that the
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Inge King was at the forefront of the development of non-figurative sculpture in
Australia. She was a founding member of the Centre 5 group of sculptors. This group grew from a meeting convened by Julius Kane in Melbourne in 1961 to "help foster greater public awareness of contemporary sculpture in
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Building her own home and rearing children helped to bring a certain stability to King’s life after the unsettling experience of leaving two countries to live in a third. Here everything was so very different from the old world it took time to mend the breaks, first with
Germany where much she had
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was not New York. King found it "almost
Victorian". Her first impression of her adopted country was: "Rather flat, like a can of flat beer." But, she said, "I made up my mind I will not look back. You see, I had emigrated once, and the first emigration is the hardest to adjust to. I think people do
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King was 17 when Hitler came to power on 30 January 1933. Two of her older sisters, now married, decided to emigrate: one to
Palestine, another to the US. By 1934, when she was 18, King was effectively on her own. She went to live with other young people in a small Zionist commune, where she worked
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Her year of birth is incorrectly given in many published sources as 1918. As a result, erroneous dates have been assigned by inference to a number of the events in her early life which, in turn, have led to inconsistencies in accounts of her life. These inconsistencies have been resolved as far as
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Back in London, she and
Grahame King decided to marry. As a German refugee, she could have emigrated to America, but Grahame, as an Australian, could not get a residency permit. She did not want to stay in Europe, and, after visiting New York, "equated Australia with the USA, as part of the bright
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The bush at Warrandyte looked strange to her when King first went there in 1951. But "Ten years later ... I started to adjust to this continent - and then it took another ten years to find my own style." But as King noted: "Had I gone on living in Europe, my work would have been very different."
526:, a small settlement in the Yarra valley, about 25 km north-east of Melbourne. In the early 1950s, it was a rural area, rather isolated, and lacking most of the services now taken for granted in suburban areas (such as roads, water, sewerage and electricity). The Kings asked the architect,
286:, who taught her the basic skills of wood-carving and modelling in clay. King worked with him until she was accepted into the Berlin Academy of Fine Arts in 1937, when she was 21, one of only three non-Aryan students there (all women). She was forced to leave about a year later, not long before
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King was starting to think about being an artist, though this was really a second choice. But art was something she could do with minimal resources, so long as she could support herself. King was influenced both by mediaeval sculpture and by Expressionist sculpture, an important part of German
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Many of King's large-scale works are found in public spaces and on university campuses. She had more than 26 solo exhibitions and participated in more than 60 group exhibitions in Australia and New Zealand and also in London and New York. She had a retrospective exhibition at the
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society. The war brought migrants and refugees into Britain. As Glasgow was not a protected area, it was one of the places where they could live. This brought a substantial increase in the number of Jewish residents in the city, as well as the development of a Polish community.
787:, Canberra, was King's first significant public commission, gained as the result of a competition. The memorial had to symbolise the aspirations and the achievements of the RAAF, as embodied in the Air Force motto: Per Ardua ad Astra (through adversity to the stars).
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This sculpture was commissioned by Esso Australia for a site outside its building on the south bank of the Yarra River in Melbourne. It was installed in 1995. The sculpture is built in polychrome steel. Its dimensions are 780 cm by 670 cm by 350 cm.
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Jane Eckett: "Binary Star: Inge and Grahame King", 3, n.4; also 4, n.8, which refers to records of the "Vereinigte Staatsschulen für freie und angewandte Kunst". In the interview with Stanhope in 2006, King says that she started there in 1936-7, but this may be a
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King finished her formal study in 1944. The next couple of years were difficult. She spent the time teaching in nursery schools, a job she liked but which she found demanding. She did not do any further work of her own until she returned to live in London.
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in 1992 and a joint exhibition with her husband, the print-maker Grahame King, at McClelland Gallery in 2004. Another retrospective exhibition including the work of Grahame King (who died in 2008) was held at the National Gallery of Victoria in 2014.
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James Gleeson: Transcript of interview with Inge King, 18 October 1979, for the research library, National Library of Australia, Canberra, 21. Personal details and quotations in the article, unless otherwise noted, have come from pages 21-32 of this
829:. The sculpture was commissioned by the Victorian Arts Centre in 1974. Construction was completed in 1976, and the work was installed in its present position in 1981. It is made from 50mm mild steel and stands 5.2m high, 15.1m wide and 13.7m deep.
275:(1867–1945), whose work she admired. Kollwitz' advice to King about a career in art was "Don’t do it if you can help it. It is so difficult". Nevertheless, King did go on. She said: "I haven’t regretted it. I agree with her, it’s difficult."
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in exchange for board and lodging. She said of this experience: "I owe them a lot ... This commune ... gave me or taught me some independence, which was invaluable", and, most importantly, taught her "to survive without money".
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Warsaw was another significant work by King from this period, a small sculpture whose inspiration comes from her response to the events in Europe. Having completed it, King knew that she would never make another work like it.
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The artwork produced by the refugee students at the art school was quite different from that of the other students. They "were doing harsh and emotional art fuelled by bitterness and anger. They had long conversations about
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not realise that. ... these experiences ... fundamentally it does something to your whole system." She was unable to make sculpture for several years. But she knew that she could not go back to Germany to live.
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show. She found the American painters inspiring because of their vitality. Also "in 1949-50, New York ... after war-torn Europe, it was sparkling, it was clean, it was very safe still." She went to see
205:; 26 November 1915 – 23 April 2016) was a German-born Australian sculptor. She received many significant public commissions. Her work is held in public and private collections. Her best known work is
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477:" was an incredible experience because, well, I really made a point of meeting people. I took some of my carvings with me and I exhibited them ." People she met there included the sculptor
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on 26 November 1915, the youngest of four girls in a well-to-do Jewish family. Her early childhood was typical one for a child of her class and time in a European city. But after
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In late 1942, Schotz organised an important exhibition of European Jewish art in Glasgow. Most of these works had been smuggled out of Europe. The exhibition included works by
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described it as the "outstanding item" among the recent acquisitions, "the first really 'modern' piece of sculpture in the city’s permanent collection". King's later piece,
314:. She spent two terms there, in 1940, before it was closed on account of the German bombing raids on London. She also went to evening classes in life drawing at the
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446:, Hertfordshire, near London. King was a fairly early resident there. Quite a number of Australian artists lived at the Abbey at various times. These included
1886:"Sculpture trail invites people to enjoy public art treasures at the University of Melbourne : The Voice : News : The University of Melbourne"
290:(9–10 November 1938). While she was there, she supported herself by undertaking commercial work (such as carving architectural ornaments) for the sculptor,
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and bark paintings, cover every available surface. King said: "Robin Boyd used to come up here and say 'This house should look awful, but it doesn't.'"
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Glasgow was a quite cosmopolitan place. There had been a Jewish community there for many years, which brought intellectual and cultural energy to the
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2009: Australian Arts Council Visual Arts Emeritus Award, in recognition of her central role in raising the profile of modern sculpture in Australia
326:, which accepted her, but Edinburgh was in a restricted area and King, as a foreign national, could not live there. They suggested she apply to the
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is the major sculptural drawcard for the Arts Centre precinct and one of our most prominent and valued works of art. It has been listed on the
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new world where she could work in a lively and adventurous atmosphere and rear a family." The Kings left London for Melbourne early in 1951.
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an intelligent master who encouraged her to explore.... Years later King discovered that he had found her 'a very demanding student'".
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valued was destroyed, and then with Britain where she had been welcomed and had received most of her formal education in sculpture.
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Register since 1992, and is noted by the National Trust as King's "most monumental work of art, and probably most significant"
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She found England far more old-fashioned and conservative than the Berlin she had come from. This was quite a shock.
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245:(1918–1933), though a culturally stimulating time, was never stable. Conditions were made more difficult by the
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in Bulleen, a suburb of Melbourne. Shortly after the dedication of this work, in August 2006, King said:
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at Harvard, who was interested in her work. He offered to facilitate a scholarship for her for the
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in Germany and was a revelation to refugees like King, who understood its relevance to the times.
404:, Ernst Barlach and Benno Schotz himself. The Glasgow Art Gallery acquired a bronze sculpture by
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A fellow student of Schotz's at Glasgow at this time was Margaret Priest, who later emigrated to
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The sculpture of Inge King, including her 2009 exhibition "Sculpture: Maquettes and Recent Work"
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This work was installed in 1980, on a small lawn outside the Union Building at the heart of the
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2003:. Melbourne University Gallery, The University of Melbourne. Essay by Jenny Zimmer, (1982),
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see Arnold Shore's October 1952 review of a joint show by Inge and Graham King at
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Brien, 29. Pages 28-43 give an account of classes at Glasgow with Benno Schotz.
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and swapped books and newspapers about politics and art in Europe. Picasso’s
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Richard J. Evans: The Third Reich in Power, 168-175. A major exhibition of "
1206:(1999 commissioned by the Australia Fund), Residence of the Prime-minister,
1988:, (2009), MacMillan Mini-Art Series Number 10, Series editor Jenny Zimmer,
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The Dame Elisabeth Lifetime Achievement Award For Australian Sculpture 2015
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The Dame Elisabeth Lifetime Achievement Award For Australian Sculpture 2015
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on the basis of the drawings she had brought with her and her time at the
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322:, where there were no facilities for sculpture. King then applied to the
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241:, conditions in Germany became increasingly difficult. The period of the
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1749:(Melbourne, Vic. : 1848 - 1957), p. 5. Retrieved 8 July 2015, from
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Melbourne: 'Inge King's art has "the gadget air"' (21 October 1952).
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avant-garde art, and particularly by the work of the wood-carver,
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is located in the Sir Rupert Hamer Garden, in the grounds of the
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documentary on Inge King and her sculpture, by Amanda King and
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Exhibition, Commissions and Awards list at Australia Galleries
1763:"Mrs Ingeborg Victoria King: Member of the Order of Australia"
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Her third sister subsequently was murdered in the holocaust.
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junction of the EastLink Trail and the Dandenong Creek Trail
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265:(1870–1938). The Nazis considered such art to be decadent (
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Trimble, 9. Also now in the National Gallery of Australia.
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Jewish emigrants from Nazi Germany to the United Kingdom
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Department of the Prime Minister and Cabinet (Australia)
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Quoted in Jenny Brown: "The Queen of Modern Sculpture",
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Trimble, 4. Also Jane Eckett: "Renewed Vows", p 5, n 24.
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Australia". Members of the group included Julius Kane,
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The Kings bought an acre of land on a bare hillside at
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Zara Stanhope: "Inge King: Playing Seriously", 1. In
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intended that people can walk through the sculpture.
620:. A five-minute extract is available online from the
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Inge Kings's best known sculpture is the monumental
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167:Australian Arts Council Visual Arts Emeritus Award
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1152:Museum and Art Gallery of the Northern Territory
541:King had to come to terms with her new country.
2103:Jewish emigrants from Nazi Germany to Australia
2046:Sculpture: 'MoonBird' at the Lodge, Canberra
1537:The Glasgow Herald, 29 January 1943, page 2.
233:(née Ingeborg Viktoria Neufeld) was born in
1751:http://nla.gov.au/nla.news-article23217241
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1986:Inge King: Small Sculptures and Maquettes
1913:The Beach media release Forward surge.pdf
1790:Professor Snell, Australian Arts Council
294:(1878–1964), who was on the staff there.
282:(1892–1988), a wood-carver influenced by
2001:Inge King, Sculpture 1945-1982: A Survey
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1352:Judith Trimble: Inge King Sculptor, 2-3.
316:London Central School of Arts and Crafts
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2168:21st-century Australian women artists
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1182:McClelland Gallery and Sculpture Park
1166:McClelland Gallery and Sculpture Park
768:Melbourne Arts Centre, St Kilda Road.
422:(1947), was a response to this work.
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2178:Alumni of the Glasgow School of Art
1956:, (2014) Macmillan Art Publishing.
1140:(1976/1977), Sculpture park in the
930:37° 53′ 58.24″ S, 145° 12′ 50.25″ E
775:Royal Australian Air Force Memorial
442:, an artists' community located in
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2058:Inge King and Grahame King Website
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1767:Australian Honours Search Facility
1134:Sculpture Park, Melbourne-Bundoora
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697:37° 47′ 49.51″ S, 144° 57′ 43.4″ E
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2153:21st-century German women artists
2148:20th-century German women artists
2143:21st-century Australian sculptors
2123:Naturalised citizens of Australia
2118:Members of the Order of Australia
2093:20th-century Australian sculptors
2026:Capturing the spirit of the times
2014:
1984:Judith Trimble and Ken McGregor,
1972:, (1996), Craftsman House N.S.W.
1436:Margaret Priest: An Artist’s Life
142:(1972–74), Melbourne Arts Centre.
2173:People from Warrandyte, Victoria
1501:Quoted Trimble, 5; O’Brien 26-7.
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592:Member of the Order of Australia
221:Early years: Berlin to Melbourne
215:Member of the Order of Australia
162:Member of the Order of Australia
2138:Prussian Academy of Arts alumni
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622:National Film and Sound Archive
585:Recognition, honours and awards
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16:Australian sculptor (1915–2016)
1933:"Inge King: Playing Seriously"
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1263:List of centenarians (artists)
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1190:(1995), Deakin Museum of Art,
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564:, Inge King, Vincas Jomantas,
500:Institute of Design in Chicago
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1548:National Gallery of Australia
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1227:National Gallery of Australia
1142:National Gallery of Australia
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420:Musicians: Homage to Zadkine
341:The head of sculpture at the
113:Royal Academy of Arts, London
1937:Artlink Magazine Vol 26 no 4
1910:The Melbourne Arts Centre.
1268:List of German women artists
1237:National Gallery of Victoria
1218:Eastern Freeway in Melbourne
1120:National Gallery of Victoria
1082:National Gallery of Victoria
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578:National Gallery of Victoria
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1823:Australian History Timeline
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602:A Thousand Different Angles
324:College of Art in Edinburgh
249:of the early 1920s and the
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1053:Heide Museum of Modern Art
1021:Heide Museum of Modern Art
781:Royal Australian Air Force
414:, for its collection. The
1568:Eckett: "Binary Star", 7.
1416:Eckett, "Binary Star", 5.
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1919:7 September 2007 at the
1110:University of Queensland
306:She was accepted at the
2083:Australian centenarians
1883:UniNews Vol. 13, No. 8
1846:. Australian Galleries.
806:University of Melbourne
705:University of Melbourne
568:, Teisutis Zikaras and
530:(cousin of the artist,
2133:Artists from Melbourne
1184:, Langwarrin, Victoria
1168:, Langwarrin, Victoria
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783:Memorial, situated on
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278:King found a teacher,
110:Berlin Academy of Arts
2128:Sculptors from Berlin
1650:Gabriella Coslovich,
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827:Melbourne Arts Centre
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343:Glasgow School of Art
328:Glasgow School of Art
211:Melbourne Arts Centre
116:Glasgow School of Art
2051:3 March 2016 at the
2021:Article in Art Forum
1954:The Art of Inge King
1819:"Inge King Sculptor"
1732:, 24 September 2011.
1719:, 22 September 1982.
1697:, 31 September 1992.
1693:Rebecca Lancashire,
1312:Australian Galleries
1308:"Farewell Inge King"
1233:Rings of Jupiter (3)
1158:, Northern Territory
1102:, Melbourne-Bundoora
1001:Heidelberg, Victoria
612:was screened on the
489:. She saw her first
280:Hermann Nonnenmacher
2183:Jewish centenarians
2098:German centenarians
1654:, 22 November 2003.
1132:La Trobe University
1128:Dialogue of Circles
1100:La Trobe University
2158:Women centenarians
2031:Article in The Age
1970:Inge King Sculptor
1892:on 28 January 2008
1743:Peter Bray Gallery
1593:vol 26 no 4, 2006.
1434:Phillipa O'Brien:
318:until it moved to
302:London and Glasgow
251:depression of 1929
180:Ingeborg Viktoria
1994:978-1-921394-26-3
1715:Memory Holloway,
1192:Deakin University
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362:Western Australia
217:in January 1984.
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2113:Jewish sculptors
2108:German sculptors
1968:Judith Trimble,
1962:978-192-225200-5
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382:Camille Pissarro
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57:26 November 1915
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37:Inge King (2008)
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1374:Gleeson, 22-23.
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1223:Wandering Angel
1074:
1067:see more images
1049:Rings of Saturn
1046:
1043:Rings of Saturn
1037:see more images
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993:Stainless steel
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953:Rings of Saturn
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910:Stainless steel
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831:see more images
819:
810:see more images
802:
777:
740:
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665:
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634:
606:Frontyard Films
587:
557:
512:
491:Jackson Pollock
460:Oliffe Richmond
436:
304:
292:Otto Hitzberger
268:Entartete Kunst
247:hyper-inflation
243:Weimar Republic
228:
223:
213:. She became a
190:
173:
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79:(aged 100)
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2043:
2038:
2033:
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2016:
2015:External links
2013:
2012:
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1799:on 22 May 2009
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487:Barnett Newman
479:Herbert Ferber
456:Phillip Martin
448:Robert Klippel
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416:Glasgow Herald
386:Max Liebermann
370:Käthe Kollwitz
312:Berlin Academy
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837:Forward Surge
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823:Forward Surge
817:
816:Forward Surge
812:
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760:Painted steel
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720:Forward Surge
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468:Bernard Smith
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464:Noel Counihan
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452:James Gleeson
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263:Ernst Barlach
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207:Forward Surge
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140:Forward Surge
138:
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84:
75:23 April 2016
74:
70:
66:
65:German Empire
62:
45:
41:
34:
29:
22:
19:
2000:
1985:
1969:
1953:
1936:
1927:
1912:
1906:
1894:. Retrieved
1890:the original
1879:
1874:Trimble 116.
1870:
1865:Trimble 115.
1861:
1856:Trimble, 72.
1852:
1835:
1822:
1813:
1801:. Retrieved
1797:the original
1786:
1774:. Retrieved
1766:
1757:
1746:
1737:
1729:
1724:
1716:
1711:
1706:Trimble, 24.
1702:
1694:
1689:
1684:Trimble, 22.
1672:Trimble, 20.
1668:
1659:
1651:
1646:
1637:
1628:
1623:Gleeson, 27.
1619:
1614:Stanhope, 1.
1610:
1605:Gleeson, 26.
1590:
1585:
1580:Gleeson, 25.
1564:
1555:
1542:
1533:
1524:
1515:
1506:
1497:
1488:
1479:
1474:Gleeson, 24.
1470:
1465:O’Brien, 28.
1461:
1452:
1443:
1435:
1430:
1421:
1412:
1403:
1393:
1370:
1357:
1348:
1339:
1330:
1320:
1311:
1302:
1292:
1281:
1244:
1239:, Melbourne
1232:
1225:(2000), The
1222:
1214:The Sentinel
1213:
1203:
1197:
1187:
1177:
1171:
1161:
1147:
1137:
1127:
1122:, Melbourne
1115:
1105:
1095:
1089:
1084:, Melbourne
1077:
1065:
1060:
1048:
1047:
1042:
1033:
1028:
853:
848:
836:
835:
822:
820:
815:
803:
798:
785:Anzac Parade
778:
617:
601:
574:
558:
549:
544:
540:
536:
521:
513:
504:
476:
472:Grahame King
437:
428:
424:
419:
412:Music Group]
409:
394:Jankel Adler
390:Josef Herman
379:
366:
355:
351:
347:Benno Schotz
340:
332:
305:
296:
277:
266:
259:
255:
230:
229:
206:
201:
187:
183:
179:
178:
139:
135:Notable work
77:(2016-04-23)
18:
2078:2016 deaths
2073:1915 births
1896:21 December
1841:"Inge King"
1641:Stanhope 1.
1632:Trimble 17.
1546:Now in the
1528:O'Brien 41.
1519:O’Brien 27.
1510:O'Brien 27.
1425:Gleeson 24.
1388:Trimble, 4.
1343:Gleeson 21.
1325:transcript.
1194:, Melbourne
1172:Silent Gong
1148:Lunar Image
1138:Temple Gate
1072:Other works
1008:Coordinates
938:ConnectEast
925:Coordinates
692:Coordinates
632:Major works
562:Lenton Parr
532:Arthur Boyd
483:Mark Rothko
320:Northampton
239:World War I
94:Nationality
2067:Categories
1663:Gleeson 29
1483:Trimble 5.
1274:References
1229:, Canberra
1210:, Canberra
1144:, Canberra
1112:, Brisbane
857:See images
849:Shearwater
799:Sun Ribbon
793:see images
645:Sun Ribbon
616:programme
528:Robin Boyd
524:Warrandyte
444:New Barnet
99:Australian
53:1915-11-26
1776:5 October
1747:The Argus
1297:possible.
1245:Red Rings
1208:The Lodge
1154:(MAGNT),
1116:Black Sun
1096:Encounter
1029:Red Rings
985:Sculpture
962:Inge King
902:Sculpture
879:Inge King
870:Red Rings
752:Sculpture
729:Inge King
677:Sculpture
654:Inge King
516:Melbourne
510:Melbourne
231:Inge King
164:(AM) 1984
128:Sculpture
104:Education
87:Australia
83:Melbourne
25:Inge King
2049:Archived
1917:Archived
1591:Artlink,
1257:See also
1247:(2008),
1235:(2006),
1216:(2000),
1204:Moonbird
1180:(1991),
1150:(1980),
1130:(1976),
1118:(1975),
1108:(1971),
1098:(1968),
1080:(1948),
998:Location
915:Location
765:Location
618:Artscape
374:Guernica
150:Centre 5
147:Movement
1730:The Age
1717:The Age
1695:The Age
1652:The Age
1162:Jabaroo
990:Subject
972: (
907:Subject
889: (
825:at the
739: (
682:Subject
666:1980–82
664: (
662:1980–82
335:Glasgow
202:Neufeld
2007:
1992:
1976:
1960:
1803:12 May
1286:(2009)
1198:Nayads
1174:(1989)
1156:Darwin
1092:(1966)
1090:Oracle
982:Medium
959:Artist
899:Medium
876:Artist
757:Medium
726:Artist
674:Medium
651:Artist
600:2010:
590:1984:
408:, the
235:Berlin
226:Berlin
200:
155:Awards
97:German
61:Berlin
1844:(PDF)
1438:, 26.
1018:Owner
935:Owner
702:Owner
358:Perth
2005:ISBN
1990:ISBN
1974:ISBN
1958:ISBN
1898:2007
1805:2009
1778:2022
974:2006
970:2006
967:Year
891:2008
887:2008
884:Year
779:The
749:Type
741:1972
737:1972
734:Year
659:Year
614:ABC1
604:, a
514:But
485:and
466:and
345:was
188:King
184:Inge
72:Died
43:Born
360:in
198:née
2069::
1935:.
1825:.
1821:.
1769:.
1765:.
1677:^
1598:^
1573:^
1379:^
1310:.
572:.
502:.
481:,
462:,
458:,
454:,
450:,
400:,
396:,
392:,
388:,
384:,
330:.
192:AM
85:,
63:,
1939:.
1900:.
1829:.
1807:.
1780:.
1550:.
1314:.
976:)
893:)
743:)
668:)
624:.
195:(
186:"
182:"
55:)
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
