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This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.
A Companion to Australian Art is a thorough introduction to the art produced in Australia from the arrival of the First Fleet in 1788 to the early 21st century. Beginning with the colonial art made by Australia’s first European settlers, this volume presents a collection of clear and accessible essays by established art historians and emerging scholars alike. Engaging, clearly-written chapters provide fresh insights into the principal Australian art movements, considered from a variety of chronological, regional and thematic perspectives. The text seeks to provide a balanced account of historical events to help readers discover the art of Australia on their own terms and draw their own conclusions. The book begins by surveying the historiography of Australian art and exploring the history of art museums in Australia. The following chapters discuss art forms such as photography, sculpture, portraiture and landscape painting, examining the practice of art in the separate colonies before Federation, and in the Commonwealth from the early 20th century to the present day. This authoritative volume covers the last 250 years of art in Australia, including the Early Colonial, High Colonial and Federation periods as well as the successive Modernist styles of the 20th century, and considers how traditional Aboriginal art has adapted and changed over the last fifty years. The Companion to Australian Art is a valuable resource for both undergraduate and graduate students of the history of Australian artforms from colonization to postmodernism, and for general readers with an interest in the nation’s colonial art history.
Miriam Stannage (b. 1939) is a relentless innovator. Her practice is founded upon a deep intellectual engagement with, and curiosity about, the challenges and nature of contemporary life. For the last fifty years, she has produced a dazzling range of works that resist easy categorization. Stannage has developed an aesthetic that celebrates the strange and beautiful that can be found in the everyday: from industrial building sites to suburban street verges laden with abandoned goods, and crumbling ghost towns as they disappear into the soil of the vast Australian continent. Miriam Stannage: Time Framed provides an analysis on this important contemporary artist's work, exploring her use of words and symbols, and the concept of vision in all of its senses. This survey presents Stannage's works, many of which have not been seen publicly, and documents the media she has worked in, specifically installation, photography, painting, video, prints and drawings, and artist's books. (Book accompanies exhibition of Stannage's work at the Lawrence Wilson Art Gallery, U. of Western Australia 7/30/16-9/24/16.) [Subject: Art, Biography]Ã?Â?Ã?Â?Ã?Â?Ã?Â?
In this highly original study, Vanessa Russ examines the gradual invention of Aboriginal art within the Art Gallery of New South Wales. This process occurred as the social histories of Australia expanded and recognised Aboriginal people, through wars and political shifts, and as international organisations began placing pressure on nation states to expand, diversify, and respect multicultural perspectives. This book explores a state art institution as a case study to consider these complex narratives through a single history of Aboriginal art from early colonisation until today. The book will be of interest to scholars working in art history, museum studies, and Indigenous studies.
Rosalie Gascoigne (1917–1999) was a highly regarded Australian artist whose assemblages of found materials embraced landscape, still life, minimalism, arte povera and installations. She was 57 when she had her first exhibition. Behind this late coming-out lay a long and unusual preparation in looking at nature for its aesthetic qualities, collecting found objects, making flower arrangements and practising ikebana. Her art found an appreciative audience from the start. She was a people person, and it pleased her that through her exhibiting career of 25 years, her works were acquired by people of all ages, interests and backgrounds, as well as by the major public institutions on both sides of the Tasman Sea.
This book provides an overview of Iacobelli's work from around 1984 to 2006. It includes his monumental drawings of the '80s, 'Side One' and 'Paintings In Oils, 'New Thinking Is Rare', 'DP', which comments on Australia's refugee politics.
Canberra’s dual status as national capital and local city dramatically affected the rise of a unique contemporary arts scene. This complex story, informed by rich archival material and interviews, details the triumph of local arts practice and community over the insistent cultural nation-building of Australia’s capital. It exposes local arts as a vital force in Canberra’s development and uncovers the influence of women in the growth of its visual arts culture. A broad illumination of the city-wide development of arts and culture from the 1920s to 2001 is combined with the story of Bitumen River Gallery and its successor Canberra Contemporary Art Space from 1978 to 2001. This history traces the growth of the arts from a community-led endeavour, through a period of responses to social and cultural needs, and ultimately to a humanising local practice that transcended national and international boundaries.