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Current: Contemporary Art From Australia and New Zealand is the first comprehensive survey of all that is cutting edge in Australian and New Zealand contemporary practice. In a landmark publication, the book features eighty artists, carefully chosen to best reflect the vibrancy of art of the moment. While Current could be seen as a hot list of contemporary taste in the tradition of Taschen's Art Now, inclusivity is the book's abiding theme. Current is also underpinned by scholarship with commissioned essays by the region's leading writers and curators. Current's beautifully designed pages are filled with many names familiar to followers of contemporary art - including Paddy Bedford, Simryn Gill, Ah Xian, Tracey Moffatt, Shaun Gladwell and Del Kathryn Barton - along with some of the region's freshest new talents, such as Benjamin Armstrong, Monica Tichacek, Rohan Wealleans, Francis Upritchard and Sean Cordeiro & Claire Healy, whose photograph of the contents of a German apartment wrapped in orange twine graces the book's front cover. Current captures the unique essence of contemporary practice in Australia and New Zealand, charged with the dynamic between Indigenous, western and Asian cultures. The eighty selected artists encompass a diversity of culture and subject and employ every available medium, from painting, photography and performance to installation and video art. Current's contextual essays are written by leading authorities in their fields, including Robert Leonard, Victoria Lynn, Justin Paton, Rachel Kent, Nick Waterlow and Brenda L. Croft, who has convened an important roundtable of Indigenous curators to explore the question of the contemporary within Aboriginal art.
This book brings together leading scholars and practitioners to take stock of the frictions generated by a tumultuous time in the Australian art field and to probe what the crises might mean for the future of the arts in Australia. Specific topics include national and international art markets; art practices in their broader social and political contexts; social relations and institutions and their role in contemporary Australian art; the policy regimes and funding programmes of Australian governments; and national and international art markets. In addition, the collection will pay detailed attention to the field of indigenous art and the work of Indigenous artists. This book will be of interest to scholars in contemporary art, art history, cultural studies, and Indigenous peoples.
Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia's love affair with the exhibition thrives. Discover the untold stories of the world's most important art event through one hundred years of Australian modern art.
Showcases some of Australia's most celebrated contemporary practitioners. Their engaging work, across a variety of media including painting, drawing, prints, sculpture, installation, new media and the moving image, photography, fashion and textiles, and Indigenous art, reveals the vital creativity of Australian artists today.
This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.
In Australia, the artist’s engagement with the museum is traditionally regarded as having an important role in the colonial project but, as times have changed, the post-colonial viewpoint has come to the fore. The authors of Australian Artists and the Museum propose that the artists’ engagement has moved from politically informed critique taking place in museums of fine art, towards a critique of the creation of knowledge taking place in non-art museums, assuming new forms, including the artist acting as curator, art interventions that highlight the use of taxonomic modes of display and categorization, and the engagement with the aesthetics of collections to suggest different readings of objects and artefacts.
Published in conjunction with the exhibition FIONA HALL: WRONG WAY TIME at the Australian Pavilion, Venice Biennale 2015, and exhibition tour 2016-17.Fiona Hall is a distinguished Australian artist best known for her dexterous and inventive transfiguration of materials into forms that animate our relationship with the natural world.In her exhibition for the Venice Biennale, FIONA HALL: WRONG WAY TIME, she brings together hundreds of disparate elements which find alignments and create tensions around three intersecting concerns: global politics, finances and the environment. In common with many of us, Hall sees in these failed states 'a minefield of madness, badness, sadness, in equal measure', stretching beyond the foreseeable future. Her lifelong passion for the natural environment can be intensely felt in works that respond to our persistent role in its demise, or the perilous state of various species.
Subtle and wide-ranging in its account, this study explores the impact of Australian art in Britain in the two decades following the end of World War II and preceding the 'Swinging Sixties'. In a transitional period of decolonization in Britain, Australian painting was briefly seized upon as a dynamic and reinvigorating force in contemporary art, and a group of Australian artists settled in London where they held centre stage with group and solo exhibitions in the capital's most prestigious galleries. The book traces the key influences of Sir Kenneth Clark, Bernard Smith and Bryan Robertson in their various (and varying) roles as patrons, ideologues, and entrepreneurs for Australian art, as well as the self-definition and interaction of the artists themselves. Simon Pierse interweaves multiple issues of the period into a cohesive historical narrative, including the mechanics of the British art world, the limited and frustrating cultural scene of 1950s Australia, and the conservative influence of Australian government bodies. Publishing for the first time archival material, letters, and photographs previously unavailable to scholars either in Britain or Australia, this book demonstrates how the work of expatriate Australian artists living in London constructed a distinct vision of Australian identity for a foreign market.