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'Studio' presents an extraordinary anthology of visual and verbal insights into the way paintings are made, and the complex blend of motivation and inspiration that sustains the painter in his or her solitary search for meaning.
Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period. These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies. Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.
Lowell Tarling recorded Martin Sharp's life, and his effect on his friends, over twenty years. Now two volumes in one, in advance of the film of these books - GHOST TRAIN... Sharp: The Road to Abraxas - Part One, 1942-1979 Sharper: Bringing It All Back Home - Part Two, 1980-2013 'Like the Ancient Mariner, it's also a ghastly tale. I could understand the events at Luna Park a bit. I was trying to understand them and then suddenly there was this poetic language working to say: this is a crucifixion, Golgotha, death by fire. And then it starts to fit into Apocalyptic vision. It was Abraxas if you like - the dark face and the light face. To look upon Abraxas is blindness. To know it is sickness. To worship it is death. To fear it is wisdom. To assist it not is redemption. I don't know what it means. I've never been able to work it out. You get a Pop Art Parallel. It was the Year of the Child, the place of Golgotha, the Place of the Skull, and the Ghost Train. You then get these events that are caused by plotting, not caring for kids, carelessness, living a human life - the way of the world.' - Martin Sharp, 4 March 1984
What do Persian robes of honour, 20th-century still-life painting, fur garments, and 18th-century porcelain all have in common? Prized, possessed and modelled, they highlight the deep connections we share with cultural objects. Establishing new connections between people and things via artistic media and material culture, this highly interdisciplinary volume brings together both established and emerging scholars in the fields of art history, material culture, museum and heritage studies and literary studies to investigate the intersection of the personal with the material. Raising vital questions of cultural identity, belonging and selfhood, Material Selves is the first book of its kind to consider the relationship between people and things across transcultural and transhistorical contexts. It employs innovative methodologies across ten chapters and critically expands on current models for understanding the dynamic relationship between people and things by tracing the central role objects have played in the construction, creation and performance of identity throughout history. Structured around four key sections exploring biography and narrative; adornment and ornament; reclamation and intervention; and subjects and objects, the volume presents a global selection of case studies that explore, amongst other things, Margaret Olley's enduring fame, the significance of the Khil'a in Safavid Persia and early modern Europe, and 17th-century French painter Charles LeBrun's royal portraiture. Fusing these with contemporary theories of identity, the contributors provide analyses informed by posthumanism, the environmental humanities, race and gender. At the same time, they confront vital questions of identity, agency, and materiality, and highlight the way in which we use objects to tell stories, construct myths and make sense of our place in the world. In doing so, the book illuminates a wide range of cultural and chronological settings whilst giving close attention to the mobility of people and things between, across, and through time and place.
Thirty-eight-year-old lawyer Audrey is tired of not being seen. Not seen by her mother, who always preferred her golden brother. By her sleazy boss, who works her to the bone, without reward or recognition. By her self-obsessed colleagues, who want her to help them fix their lives without any acknowledgement of her own. Her social life consists of late nights in the office, visits to her ageing parents, trivia nights with a group of relative strangers, and evenings at home with her pet rabbit Joni. One night, unable to get the attention of the bartender in her local, she walks out without paying for her wine. This small rebellion leads to another, and more. Liberated by her invisibility, Audrey wreaks havoc in the lives of her friends and workmates. Until a painful reminder from the past pushes her into a reckoning, and things really start to spiral out of control.
A “beautifully told story of love and growth” set in post-WWII South Africa (Booklist). When disfigured soldier George Harding returns from the front, he moves a poor family into the servant’s quarters of his family’s South African estate, saving them from financial ruin—and initiating a series of events that will change all of their fates forever. Among the new tenants at Harding’s Rest is Cressida, a young girl haunted by phantoms of World War II and the Holocaust, and terrified by Harding’s gnarled body. Invited to the main house to help bring Harding’s hopelessly timid nephew out of his shell, Cressida makes an impression on her family’s benefactor. As she blossoms into womanhood, Cressida slowly becomes beguiled by what once repulsed her, in this strange and beautiful decades-spanning novel that “blends Dickensian musings on class with a Brontë-like love story” (San Francisco Chronicle). “Cressida, a young girl who watches those around her patch up their wounds from the war and carry on with the weight of pretense, is as observant and as wickedly truthful as any Jane Austen character.” —Amy Tan
Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. In this second of two volumes, Lowell Tarling offers us a way into the enigmatic and reclusive artist, through his extensive interviews with Sharp and all of his trusted friends, touching on the many dramas of life at Sharp's home studio, Wirian; his productions and search for meaning with regard to the Luna Park Fire; his spiritual search and death in 2013. 'I think what Lowell has done here is admirable, removing himself from the narrative. This book will be of interest to a wider audience who don't even know who Martin is. I predict this book will become a genuine hit.' - Peter Kingston.
The reputations of artists are curious things, influenced by factors beyond the quality of the work. Affairs of the Art explores the role those left behind play in burnishing an artist's reputation after he or she dies. Through interviews with those handling the estates of artists including Fred Williams, Brett Whiteley, John Brack, Howard Arkley, Bronwyn Oliver, George Baldessin and Albert Tucker, as well as a raft of art dealers, academics, curators and auctioneers, Strickland traverses the strange alleyways of the art market, where power resides with those who hold the best stock, and highlights the sometimes heart-wrenching way emotion and duty intersect in the making of decisions by those left behind.