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The history of printmaking in Australia.
This revised and enlarged edition of The Prints of Margaret Preston includes thirteen new works discovered since the original publication in 1987, and twenty-two works that are reproduced for the first time. Margaret Preston (1875-1963) is one of Australia's most celebrated modernists. In the 1920s and thirties she created exuberant decorative compositions which have remained among the most popular of all Australian artworks. Modern, cosmopolitan, and intensely colored, Preston's woodblock prints and paintings of still-life subjects and the Sydney metropolis captured a moment of extraordinary innovation in the history of Australian art. Preston was the country's first serious advocate of Aboriginal art; her early appropriation and promotion of Aboriginal imagery to the cause of modernism has contributed to her ongoing significance.
Printed: Images by Australian artists 1942-2020 traces the history of printmaking by Australian artists during an era of dramatic changes in Australian society and the visual arts. Arranged in three sections, it begins with the innovative wartime policy initiatives of the Commonwealth. Reconstruction Scheme which laid the groundwork for crucial development in the arts. In this period émigré artists and Australian artists returning home helped established printmaking societies, art galleries and publishers -- which underpinned the growing popularity of this most democratic of art forms. The second section explores the rise of political and social posters, which became one of the most dynamic forms of print practice in the 1970s and 1980s, and prints by Aboriginal and Torres Strait Islander artists which have been at the forefront of Australian art since the 1970s. The book's final section discusses the continuing responses by printmakers to key concerns of our time, focusing on the themes of land and identity.
From 30 March to 3 June 2007 the Natiional Gallery of Australia will hold an exhibition titled The Story of Australian Printmaking 1801- 2005. The exhibition will feature works from 1801 to the present and will include illustrated books, posters, artists' prints and billboard sized political posters.
The story of Australian art does not begin and end with landscape. This book puts flowers front and centre, because they have often been ignored in preference for more masculine themes. Departing from where studies of single flower artists leave off, Useless Beauty embraces the general topic of flowers in Australian art and shines new light on a slice of Australian art history that extends from 1880 to 1950. It is the first book of broad chronology to discuss Australian art through blossoms, which it does by addressing stories of major figures including Hans Heysen, Margaret Preston and Sidney Nolan, as well as specific objects such as surreal flowers, Aboriginal flowers and war flowers. Whether modern or conservative, the artists in this study shared an intellectual and emotional passion for flora. This was true for men as well as women, despite blossoms being a more traditionally feminine subject. Through spectacular reproductions of historical and contemporary artworks drawn from collections in Australia, the United States, Britain and New Zealand, Useless Beauty explores how flowers influenced the psyche, governed rituals, defined identity and brought a psychological dimension to the everyday. The peak years for flower-centricity in Australian art were between 1920 and 1940 when flowers were known as the apotheosis of useless beauty.
This study evaluates how the ideology of Socialist Realism, developed by the Soviets in policies and the practices of art, has been influential in the Asia-Pacific region from 1917 until today. Focusing primarily on Russia, then China, Vietnam, Korea, Singapore, Indonesia, the Philippines and Australia, this book demonstrates how each society adopted and adapted the Soviet example to make some of the most important imagery of recent history. Included is an examination of how the practice of Western art history, the nature of art history in Asia and the forces of the Cold War have led to this influence being inadequately acknowledged across Asia and more widely. The book will be relevant to those interested in art history, Asian studies, political history and cultural history.
Hurley's Australia showcases his impressive visual celebration of Australia in the period immediately after the Second World War. In his mission to capture Australia for Australians he travelled throughout the country photographing its vast landscape, its modern cities, its industrial strength and its agricultural riches. The vision he created captures, the essence of a younger, more innocent nation.