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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.
For over 50 years between the 1760s and the early 19th century, the pioneers who sailed from Europe to explore the Pacific brought back glimpses of a new world in the form of oil paintings, watercolors and drawings--a sensational view of a part of the world few would ever see. Today these works represent a fascinating and inspiring perspective from the frontier of discovery. It was Sir Joseph Banks, President of the Royal Society, who popularized the placement of professional artists on British ships of exploration. They captured striking and memorable images of everything they encountered: exotic landscapes, beautiful flora and fauna, as well as remarkable portraits of indigenous peoples. These earliest views of the Pacific were designed to promote the new world as enticing, to make it seem familiar, to encourage further exploration and, ultimately, British settlement. Drawing on both private and public collections from around the world, this lavish book collects oil paintings, watercolors, drawings, prints and other documents from those voyages, and presents a unique glimpse into an age where science and art became irrevocably entwined.
During 1996 and 1997, T. Marshall Hahn donated a substantial portion of his collection of contemporary folk art to the High Museum of Art in Atlanta. His gift was the first major collection of self-taught art primarily from the South to be given to a general interest American museum. The Hahn Collection comprises more than 140 paintings, works on paper, and sculptures created by more than forty artists and is particularly strong in work by African American self-taught artists. The three essays in this book provide a context for this extraordinary gift. An interview with Hahn by Lynne E. Spriggs, the High's Curator of Folk Art, traces his personal collecting history. An essay by Joanne Cubbs, the High's first curator of folk art, explores conceptual and aesthetic themes common to Southern folk art, and an essay by Lynda Roscoe Hartigan, Chief Curator at the Smithsonian American Art Museum, presents an overview of the developing awareness of and market for Southern folk art. The catalogue section features color reproductions and short essays on eighty-five of the most significant objects in the Collection.
"This volume is published for the occasion of the Getty's citywide grant initiative Pacific Standard Time: Art in Los Angeles 1945-1980 and accompanies the exhibition Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950- 1970, held at the J. Paul Getty Museum, Los Angeles."