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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.
'Painting matters to Australia and Australians as it does in few other countries. It has formed our consciousness, our sense of where we come from, and who we are. It cries out for wider recognition and acknowledgement.' - Patrick McCaughey Why has Australia, an island continent with a small population, produced such original and powerful art? And why is it so little known beyond our shores? Strange Country: Why Australian Painting Matters is Patrick McCaughey's answer.
A unique history of the Australian art market since World War II. Van den Bosch traces the development of the Australian art market from a small, parochial outpost to its integration into the major international art markets.
Sasha Grishin is a leading Australian art historian, art critic and curator who has published some twenty books and over two thousand articles on various aspects of art. This book is his magnum opus, a comprehensive and definitive history of Australian art. Australian Art: A History provides an overview of the major developments in Australian art, from its origins to the present. The book commences with ancient Aboriginal rock art and early colonialists' interpretations of their surroundings, and moves on to discuss the formation of an Australian identity through art, the shock of early modernism and the notorious Heide circle. It finishes with the popular recognition of modern Indigenous art and contemporary Australian art and its place in the world.
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.
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.
... over the course of half a century, Daniel has asked and answered the questions that no one else has thought of. Originality, curiosity, generosity and intellectual precision have always been at the heart of his work. Andrew Sayers, former director of the National Portrait Gallery, CanberraNo one knows more about Australian art than Daniel Thomas. Over the past sixty years, he has shaped Australian art history, championing women artists such as Grace Cossington Smith and extending the appreciation of art beyond museum walls to include performance and environmental art. Daniel's exhibitions and purchases - as the first museum professional at the Art Gallery of New South Wales, inaugural curator of Australian art at the National Gallery in Canberra, and director of the Art Gallery of South Australia - have defined our national canon of art.Covering the period from 1958 to 2020, Recent past: writing Australian art is the first anthology of Thomas's writings and presents an overview of Australian art, at once authoritative and idiosyncratic, bringing alive both old and new art.Daniel life's work has been to make art more widely understood and enjoyed. Yet most of his writings have appeared in specialist publications which are often now difficult to source. This book celebrates Daniel's contribution to Australian art and will introduce his writings to new generations of art enthusiasts.
During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.
This book is a celebration of the Shirley Sherwood Collection of contemporary botanical art, made over a period of 30 years by Dr Shirley Sherwood and considered the most important private collection of its kind in the world. In 2018 the 1000th painting was added to the collection, a pocket handkerchief by Coral Guest.