Australian Art

São discutidas algumas implicações para a arte visual que persistem da primeira à segunda década da holografia e alguns trabalhos recentes. Isso atualiza um artigo do autor em Leonardo de 1973. Uma breve discussão de tipos de holograma atualmente em uso é dada. A menção de artistas individuais de várias disciplinas de arte tradicional, agora usando holografia, é feita para indicar a necessidade de uma crítica. Há uma discussão da posição dos artistas no contexto da atividade comercial predominante em holografia. As atitudes em relação a questões levantadas pela arte holográfica são descritas, tais como as de excelência e do " conceito mestre " , no qual obras de arte se destinam a caber em uma hierarquia de exemplos são dados hologramas de autor combinado com outros meios de comunicação, de narrativa e tipos e aqueles em que uma função integrativa é demonstrada e utilizada como tema. Alguns dos hologramas de arco-íris multicolores também são descritos. Uma conexão feita entre holografia e pintura aborígene australiana indica uma influência no trabalho dela do ambiente australiano.

This essay discusses the recent artistic depictions of contemporary war by four artist-academics based in Australia. The families of all four have served in some of the twentieth century's major conflicts and, more recently, each has been commissioned in Australia or the UK to serve as war artists. Collaboratively and individually they produce artwork (placed in national collections) and then, as academics, have come to reflect deeply on the heritage of conflict and war by interrogating contemporary art's representations of war, conflict and terror. This essay reflects on their collaborations and suggests how Australia's war-aware, even warlike heritage, might now be re-interpreted not simply as a struggle to safeguard our shores, but as part of a complex, deeply connected global discourse where painters must re-cast themselves as citizens of the 'global South'.

Tom Nicholson’s work is often discussed in relation to memory or remembrance. Most commonly drawing is evoked as the mnemonic practice at the heart of his work – both the activities of drawing through to the expanded and collective practices of walking (or marching), which might be understood as a kind of drawing on a collective scale. This essay shifts this focus to ideas of ‘presence’ and ‘time’ in Nicholson’s work, and it maps these terms through the third in the Comparative Monuments series, Comparative Monument (Shellal), 2014-17. (iii) Explorations of ‘presence’ and its temporal modalities have a complex relationship within Comparative Monument (Shellal) where these concepts overlap, conflict and produce many knots and entanglements. Most significantly these occur between the spiritual and the secular, and between the terms “presence” and “present” (being present, the present moment of time). These complexities emerge from a series of works that each deal with the question of ...

For Ben Quilty portraiture is about the emotional relationship he develops with his subjects. The works he produced as part of his official war artist commission to Afghanistan in October 2011 reflect the bond he established with the Australian servicemen and women he met and befriended while attached to the Australian Defence Force (ADF). His task was to record and interpret the experiences of the Australians deployed as part of Operation Slipper in Kabul, Kandahar, and Tarin Kot in Afghanistan and at Al Minhad Airbase in the United Arab Emirates. After spending three weeks with these men and women, Quilty felt an overwhelming need to tell their stories.

This thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain.

Alhambrism The visit of the young Tom Roberts to the Alhambra Palace in Granada has long been considered a foundational moment for the future ‘father of Australian landscape painting’. Exposure to the bright sunlight and colours of southern Spain, and a friendship with two other technically advanced painters trained in Paris, are adduced to help explain Roberts’s move towards high-key painting with a broad touch (fig. 1). Roberts’s emphasis on painting in the open air, and his satisfaction with small sketches as self-sufficient pictures, was historicised by William Moore in a wellknown passage from 1934:

IntroductionRock art researchers come in all colours, shapes and sizes. Aside from archaeologists, there are artists, anthropologists, ethnographers, curators, conservators, chemists, computer scientists, cultural heritage managers, custodians, geologists, pre-historians, park rangers, environmental scientists, traditional owners and even infrastructure engineers. Equally, there are large numbers of passionate enthusiasts who support their devotion with a range of different day jobs. This paper acknowledges the valuable contributions made by all these people and more, but focuses on the relationship between rock art and art history, archaeologists and art historians, in an effort to expand the range and deepen the quality of arguments concerning rock art's meaning and value within the discipline of art history. In sequence to the engaging debates on the topic included in RAR 2013,30(2), it offers readers an alternative view, that of the status of rock art in art historical disco...

While living on the Greek island of Hydra in the mid-1950s, Australian artist Sidney Nolan started working on paintings depicting Anzac soldiers and the Gallipoli Campaign. This series of paintings and drawings, later known as the ‘Gallipoli Series’, occupied the artist for the following twenty years. While on Hydra, Nolan came to think of Anzac soldiers in conjunction with the heroes of the Trojan War who fought just across the Dardanelles centuries earlier. This paper looks at how and why Nolan used Trojan themes in his ‘Gallipoli Series’. It argues that ancient parallels allowed Nolan to explore broader concepts of war and their relation to Australia; that the paintings ask viewers to consider what Homer would have thought about Anzac soldiers. The paper also traces Nolan’s shift in emphasis as time progressed. Originally the artist focussed on capturing loss of innocence and the horror experienced during war, but as he grew older the need to capture war’s complexity and meaning ...

Introduction On his journey back to Australia in 1919, official war correspondent and historian Charles Bean wrote a detailed proposal for an Australian war memorial museum that included sketches of the façade and a floor plan for the projected building (Figure 1). The memorial was to be monumental, built in the neo-classical revival style, and include dedicated spaces for the display of art, photography, models (dioramas) and documents. A massive central hall would display large objects, but, more importantly, the walls would become the heart of the building, holding a roll of honour listing of all those who died in military service during the First World War. The sketch, and Bean’s proposal as a whole, reveal the true scope and original purpose of Australia’s official war art scheme: to create a grand gallery of history paintings depicting Australia’s military involvement in the First World War. There are over 70 large paintings on Bean’s list of planned commissions – and more tha...

The article examines the Still Life paintings of the major Australian artist John Brack (1920-1999), specifically his "battle" series. It explains how we can understand these strange modernist pictures - which depict groups of pencils, pens and playing cards gathered on table tops - as signifying battles. Several specific paintings are analysed. Noting Brack's reference in conversation to Tolstoy, the discussion sets the paintings against the Russian novelist's explanation (in an article on "War & Peace") of how an artist or writer can represent something as complex as a battle. Especial attention is focussed on the still life painting based on a diagram of the Battle of Waterloo. The last part of the discussion probes the potential meaning of the later "Battle" still-life paintings, where the playing cards spell out words. A potential allusion here to Richard Hoggart's "The Uses of Literacy" is tested. pp8.

... from Hungerford Bridge and large sculptural works, such as Powell and Moya's Skylon, dotted the terraces between the pavilions.46 Last's article drew a response in September 1953 from the director of the design school at Woollahra Art Centre, Dora Sweetapple, who agreed ...

The moment of creative transition for Fred Williams is signalled by a painting he completed after he had been in London nearly four years. Tree Loppers, a large oil of 1955, marks that step where the promising youngster metamorphoses into a mature artist.

In its Australian application, the term ‘Aboriginal art’ has come to mean a vast range of things in differing forms, from rock art to new media, drawn from all parts of the continent and dating from 40-60,000 years to the present. By tracing the use of this term through the archive, more specific information is revealed about its origin, development, and range of past meanings. This process of investigation and contextualisation contributes to an historical understanding of the basis of a number of preconceived notions about this mutable category some of which continue to apply in the present day. Between then and now lies a complex web of connections and networks where information is circulated, augmented and changed. By closely examining published writings on ‘Aboriginal art’, it is possible to demonstrate that when secondary accounts relay first encounters to wider audiences, sometimes the initial interpretation is copied forward; sometimes it is modified and sometimes discarded ...