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Journal articles on the topic 'Art Australia History'

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Author: Grafiati

Published: 10 December 2022

Last updated: 21 February 2023

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1

Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVERÂ the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country.Â Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Galleryâ€™s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent

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2

Smith, Bernard. "On Writing Art History in Australia." Thesis Eleven 82, no. 1 (August 2005): 5–15. http://dx.doi.org/10.1177/0725513605054354.

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Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization." ARTMargins 11, no. 3 (October 1, 2022): 67–88. http://dx.doi.org/10.1162/artm_a_00326.

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Abstract In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores the origins and use of the ‘dotting’ typical of much Australian Aboriginal art of the Western and Central Deserts of Australia, as well as Aboriginal dot painting's circulation internationally, to consider how Aboriginal art's entry into the global art world might also represent an act of Indigenous self-determination. By leveraging the Western fascination with the ‘secret/sacred’ content often assumed to be hidden by these dots, Aboriginal artists have been able to generate an international market for their works. While Aboriginal communities remain among the most economically disadvantaged in Australia, Aboriginal art nevertheless provides a critical means by which Indigenous communities can support themselves, and, more importantly, operates as a form of cultural preservation and a tool by which Aboriginal peoples can assert their sovereignty.

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4

Boaden, Sue. "Education for art librarianship in Australia." Art Libraries Journal 19, no. 2 (1994): 5–6. http://dx.doi.org/10.1017/s0307472200008725.

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The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.

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Pardy, John. "Remembering and forgetting the arts of technical education." History of Education Review 49, no. 2 (November 12, 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.

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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.

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Nguyen, Anh. "Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017." Migration, Mobility, & Displacement 4, no. 1 (June 7, 2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.

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Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.

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Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.

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Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and indicates a growing concern by people with using graphic art to record their relationship with the site. Over the last millennium changes in the surviving frieze of paintings at Puritjarra record fundamental changes in graphic vocabulary, style, and composition of the paintings. These coincide with other evidence for changes in the geographic linkages of the site. As Puritjarra's place in the social geography changed, the motifs appropriate for the site also changed. The history of this rock shelter shows that detailed site histories will be required if we are to disentangle the development of central Australian graphic systems from the temporal and spatial variability inherent in the expression of these systems.

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8

Speck, Catherine. "Camouflage Australia: Art, Nature, Science and War." Australian Historical Studies 44, no. 1 (March 2013): 162–63. http://dx.doi.org/10.1080/1031461x.2013.761649.

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9

Trinh, Huong Thu. "The Heildelberg School in forming Australianness." Science and Technology Development Journal 17, no. 4 (December 31, 2014): 62–73. http://dx.doi.org/10.32508/stdj.v17i4.1575.

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In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.

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Freestone, Robert, and Alan Hutchings. "Planning history in Australia: The state of the art." Planning Perspectives 8, no. 1 (January 1993): 72–91. http://dx.doi.org/10.1080/02665439308725764.

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Clark, John. "Asian Art History in Australia: Its Functions and Audience." Australian and New Zealand Journal of Art 16, no. 2 (July 2, 2016): 202–17. http://dx.doi.org/10.1080/14434318.2016.1237929.

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Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.

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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.

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Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (January 2001): 185–216. http://dx.doi.org/10.1017/s0940739101771305.

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This article examines the issues surrounding the appropriation of indigenous culture, in particular art. It discusses the nature and context of Aboriginal and Torres Strait Islander art in Australia in order to establish why appropriation and reproduction are important issues. The article outlines some of the ways in which the Australian legal system has attempted to address the problem and looks at the recent introduction of the Label of Authenticity. At the same time, the article places these issues in the context of indigenous self-determination and examines the problematic use of such concepts as “authenticity.” Finally, the article looks beyond the Label of Authenticity and existing law of intellectual and cultural property, to sketch another possible solution to the problem.

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Lipscombe, Tamara A., Peta L. Dzidic, and Darren C. Garvey. "Coloniser control and the art of disremembering a “dark history”: Duality in Australia Day and Australian history." Journal of Community & Applied Social Psychology 30, no. 3 (December 2019): 322–35. http://dx.doi.org/10.1002/casp.2444.

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Clark, Ian D. "Rock art sites in Victoria, Australia: a management history framework." Tourism Management 23, no. 5 (October 2002): 455–64. http://dx.doi.org/10.1016/s0261-5177(02)00011-0.

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Egger, Garry, Andrew Binns, John Stevens, and Stephen Penman. "Lifestyle Medicine in Australia: A Potted History—So Far." American Journal of Lifestyle Medicine 14, no. 2 (March 2020): 147–49. http://dx.doi.org/10.1177/1559827619840002.

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Lifestyle medicine commenced in Australia in response to the rise in chronic diseases following the epidemiological transition that began in the 1980s. Today, it is flourishing with an annual conference, a variety of multidisciplinary members, and a developed pedagogy for the “art-science.”

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Smith, Bernard. "The Preference for the Primitiveand on writing art history in Australia." Third Text 18, no. 5 (September 2004): 513–16. http://dx.doi.org/10.1080/0952882042000251697.

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Gregory, Jenny. "Stand Up for the Burrup: Saving the Largest Aboriginal Rock Art Precinct in Australia." Public History Review 16 (December 27, 2009): 92–116. http://dx.doi.org/10.5130/phrj.v16i0.1234.

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The Dampier Rock Art Precinct contains the largest and most ancient collection of Aboriginal rock art in Australia. The cultural landscape created by generations of Aboriginal people includes images of long-extinct fauna and demonstrates the response of peoples to a changing climate over thousands of years as well as the continuity of lived experience. Despite Australian national heritage listing in 2007, this cultural landscape continues to be threatened by industrial development. Rock art on the eastern side of the archipelago, on the Burrup Peninsula, was relocated following the discovery of adjacent off-shore gas reserves so that a major gas plant could be constructed. Work has now begun on the construction of a second major gas plant nearby. This article describes the rock art of the Dampier Archipelago and the troubled history of European-Aboriginal contact history, before examining the impact of industry on the region and its environment. The destruction of Aboriginal rock art to meet the needs of industry is an example of continuing indifference to Aboriginal culture. While the complex struggle to protect the cultural landscape of the Burrup, in particular, involving Indigenous people, archaeologists, historians, state and federal politicians, government bureaucrats and multi-national companies, eventually led to national heritage listing, it is not clear that the battle to save the Burrup has been won.

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Tsokhas, Kosmas. "British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries." Australian Historical Studies 51, no. 2 (April 2, 2020): 237–38. http://dx.doi.org/10.1080/1031461x.2020.1746996.

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Hamilton, Judy. "Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism." Queensland Review 20, no. 2 (October 30, 2013): 203–14. http://dx.doi.org/10.1017/qre.2013.21.

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Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.

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Maravillas, Francis. "Constellations of the contemporary: Art / Asia / Australia." Journal of Australian Studies 32, no. 4 (December 2008): 433–44. http://dx.doi.org/10.1080/14443050802471335.

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Lummis, Geoffrey William, Julia Elizabeth Morris, and Graeme Lock. "The Western Australian Art and Crafts Superintendents’ advocacy for years k-12 Visual Arts in education." History of Education Review 45, no. 1 (June 6, 2016): 115–30. http://dx.doi.org/10.1108/her-12-2014-0045.

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Purpose – The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development. Design/methodology/approach – A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period. Findings – This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987). Originality/value – The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.

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Diprose, Rosalyn. "The Art of Dreaming: Merleau-Ponty and Petyarre on Flesh Expressing a World." Cultural Studies Review 12, no. 1 (August 5, 2013): 32–43. http://dx.doi.org/10.5130/csr.v12i1.3411.

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I do not understand painting very well, and especially not Australian Indigenous painting, the dot painting of Western and Central Desert artists such as Kathleen Petyarre. I grew up without art on the wall, among gum trees, red dirt, dying wattle, and ‘two thirds (blue) sky’. While this might suggest that I inhabit the same landscape as Petyarre, I also grew up without ‘the Dreaming’, the meaning that this dot painting is said to be about. How and why then can this painting have the impact on me that it does? And, given the history of colonisation in Australia, including the colonisation of Indigenous meanings, what is the politics of the impact of that painting?

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Tran, Ngoc Cao Boi. "RESEARCH ON THE ORIGINAL IDENTITIES OF SOME TRADITIONAL PAINTINGS AND ROCK ENGRAVINGS OF AUSTRALIAN ABORIGINAL COMMUNITIES." Science and Technology Development Journal 13, no. 3 (September 30, 2010): 43–57. http://dx.doi.org/10.32508/stdj.v13i3.2160.

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Different from many other communities, Australian aboriginal communities had lived separately from the rest of the world without any contact with great civilizations for tens of thousands of years before English men’s invasion of Australian continent. Hence, their socio-economic development standards was backward, which can be clearly seen in their economic activities, material culture, mental culture, social institutions, mode of life, etc. However, in the course of history, Australian aborigines created a grandiose cultural heritage of originality with unique identities of their own in particular, of Australia in general. Despite the then wild life, Aboriginal Art covers a wide medium including painting on leaves, wood carving, rock carving, sculpture, sandpainting and ceremonial clothing, as well as artistic decorations found on weaponry and also tools. They created an enormous variety of art styles, original and deeply rich in a common viewpoint towards their background – Dreamtime and Dreaming. This philosophy of arts is reflected in each of rock engravings and rock paintings, bark paintings, cave paintings, etc. with the help of natural materials. Although it can be said that most Aboriginal communities’ way of life, belief system are somewhat similar, each Australian aboriginal community has its own language, territory, legend, customs and practices, and unique ceremonies. Due to the limit of a paper, the author focuses only on some traditional art forms typical of Australian aboriginal communities. These works were simply created but distinctively original, of earthly world but associated with sacred and spiritual life deeply flavored by a mysterious touch. Reflected by legendary stories and art works, the history of Australian Aboriginal people leaves to the next generations a marvelous heritage of mental culture.

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Antoinette, Michelle. "A space for ‘Asian-Australian’ art: Gallery 4A at The Asia-Australia Arts Centre." Journal of Australian Studies 32, no. 4 (December 2008): 531–42. http://dx.doi.org/10.1080/14443050802471434.

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Ouzman, Sven, Paul S. C. Taçon, Ken Mulvaney, and Richard Fullager. "Extraordinary Engraved Bird Track from North Australia: Extinct Fauna, Dreaming Being and/or Aesthetic Masterpiece?" Cambridge Archaeological Journal 12, no. 1 (April 2002): 103–12. http://dx.doi.org/10.1017/s0959774302000057.

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An extraordinary engraved bird track was located in the Weaber Range of the Keep River region of Northern Territory, Australia, in July 2000. This engraved track is dissimilar to most other examples in Australian rock-art, differing in shape, size and detail from the thousands of engraved, painted or beeswax depictions of bird tracks known from sites across the continent. Importantly, it also differs in technique from other engraved tracks in the Keep River region, having been rubbed and abraded to a smooth finish. We explore three approaches to the engraved track's significance, that it: a) depicts the track of an extinct bird species; b) relates to Aboriginal beliefs regarding Dreaming Beings; and c) is a powerful aesthetic achievement that reflects rare observation of emu tracks. We conclude that the Weaber bird track engraving most probably represents a relatively recent visual expression of ancient Aboriginal thoughts that have been transmitted through the centuries via story-telling and rock-art. This discussion highlights problems of assigning identification and meaning to ancient art but also suggests that aspects of history may be passed across generations for much longer than is commonly realized.

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NELSON, D. E., G. CHALOUPKA, C. CHIPPINDALE, M. S. ALDERSON, and J. R. SOUTHON. "RADIOCARBON DATES FOR BEESWAX FIGURES IN THE PREHISTORIC ROCK ART OF NORTHERN AUSTRALIA." Archaeometry 37, no. 1 (February 1995): 151–56. http://dx.doi.org/10.1111/j.1475-4754.1995.tb00733.x.

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Denton, Derek. "Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 1 (2007): 97. http://dx.doi.org/10.1071/hr07005.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.

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Denton, Derek. "Erratum to: Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 2 (2007): 305. http://dx.doi.org/10.1071/hr07005_er.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.

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Marcus, Julie. "What's at Stake? History Wars, the NMA and Good Government." Cultural Studies Review 10, no. 1 (September 13, 2013): 134–48. http://dx.doi.org/10.5130/csr.v10i1.3548.

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I want to place the fate of the National Museum of Australia (NMA) in the context of some of the political strategies that underpin the electoral placidity and public acceptance of a government so radically reshaping Australian democratic institutions. A national museum that reaches and engages with a national constituency can be an important place for the vigorous public debate that democracy requires. In such a place, political doctrines and dogmas, cultural fantasies and assumptions, historical interpretations and good old common-sense may all be scrutinised as well as confirmed. Such a place sits beside schools and universities, public libraries and art galleries and festivals, each of which provides the opportunity for reflection as well as for congratulation. As with the other publicly funded but independent sites of public reflection, the National Museum is to be reined in and redirected. It is to become ‘balanced’. Nothing could more surely ring its death knell. In future, the museum’s visitors will reflect along the narrow and limited lines of carefully delineated ‘alternatives’ that in fact confine and constrain rather than enlarge understanding.

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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.

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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.

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Johnson, Virgil C. "Visual Ephemera: Theatrical Art in Nineteenth Century Australia (review)." Victorian Studies 44, no. 4 (2002): 704–6. http://dx.doi.org/10.1353/vic.2003.0025.

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Geissler, Marie. "Contemporary Indigenous Australian Art and Native Title Land Claim." Arts 10, no. 2 (May 11, 2021): 32. http://dx.doi.org/10.3390/arts10020032.

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This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural materials as supporting evidence. Specifically, the text highlights the effective agency of indigenous visual expression as a communication tool within the Australian legal system. Further, it evaluates this history within an indigenous Australian art context, instancing where of visual art, including drawings and paintings, has been successfully used to support the main evidence in native title land claims. The focus is on three case studies, each differentiated by its distinct medium, commonly used in indigenous contemporary art—namely, ink/watercolours on paper, (Case study 1—the Mabo drawings of 1992), acrylics on canvas (Case study 2—the Ngurrara 11 canvas 1997) and ochre on bark, (Case study 3—The Saltwater Bark Collection 1997 (onwards)). The differentiation in the stylistic character of these visual presentations is evaluated within the context of being either a non-indigenous tradition (e.g., represented as European-like diagrams or sketches to detail areas and boundaries of the claim sites in question) or by an indigenous expressive context (e.g., the evidence of the claim is presented using traditionally inspired indigenous symbols relating to the claimant’s lands. These latter images are adaptations of the secret sacred symbols used in ceremonies and painting, but expressed in a form that complies with traditional protocols protecting secret, sacred knowledge). The following text details how such visual presentations in the aforementioned cases were used and accepted as legitimate legal instruments, on which Australian courts based their legal determinations of the native land title.

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McIntosh, R. A. "From Farrer to the Australian Cereal Rust Control Program." Australian Journal of Agricultural Research 58, no. 6 (2007): 550. http://dx.doi.org/10.1071/ar07148.

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Australia has a proud history in the development of rust-resistant wheat, a history that has evolved with the development of knowledge of host–pathogen genetics and the continuing transition of plant breeding from an art to science. William Farrer, who migrated to Australia to relieve his problem of tuberculosis, witnessed rust problems on farmers’ fields and addressed the problem as a private individual. Before the rediscovery of Mendel’s principles of inheritance he, like contemporaries in other countries, appreciated that variability was present and was inherited such that different traits could be recombined. He appreciated that there were 2 separate rusts and that both, particularly the less frequent stem rust, had to be present for effective selection in breeding programs. The University of Sydney has the oldest Faculty of Agriculture in the country and one of its first graduates initiated, in 1921, studies on cereal rust pathogen variability, host resistance, and resistance breeding. That program continues to the present time with the recurring themes of pathogen variability, host resistance, and the best ways of achieving lasting resistance. Until the 1970s, most of the knowledge of rust variability at the national level was applied to the University’s breeding program, targeted to prime hard-quality wheat for northern NSW. Following the 1973 rust epidemic in southern Australia, a National Wheat Rust Control Program was initiated, and it has evolved through several steps to the present Australian Cereal Rust Control Program with international dimensions. This paper reviews some of the history, development, applications, and achievements of 88 years of cereal rust research.

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O’Reilly, Chiara. "Collecting French art in the late 1800s at the Art Gallery of New South Wales." Journal of the History of Collections 32, no. 2 (March 18, 2019): 313–25. http://dx.doi.org/10.1093/jhc/fhz006.

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Abstract From the nineteenth century, Sydney’s Art Gallery of New South Wales has been a marker of cultural ambition in Australia. This paper critically considers five large French paintings purchased at the end of the nineteenth century at significant expense by the gallery. Feted by contemporaries as examples of the French academic style, they formed part of plans to develop a representative collection to further understanding of art in the colony and, over time, they have taken on a rich role in the collective cultural memory. Through close examination of these paintings, their historical reception, criticism, reproduction and traces in the gallery’s archives this article reveals a history of taste, class and the formation of the cultural value of art. Using an object-based approach, it positions these works as evidence of changing cultural ideas within the context of a state collection to offer new insight into their status, the gallery itself, and the multiple roles of public art collections.

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Shaw, Margaret. "Following the textile trail: acquisition of South and Southeast Asian art books from an Australian perspective." Art Libraries Journal 18, no. 2 (1993): 15–19. http://dx.doi.org/10.1017/s0307472200008294.

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Australia has traditionally adopted a Eurocentric outlook which has begun to be modified in the last decade by reappraisal of the country’s location in the Asia-Pacific region. The Australian National Gallery has only recently developed its collections of the textiles of South and Southeastern Asia and of related research materials, yet it already accommodates the world’s leading public collection of Indian textiles exported to Southeast Asia. Acquisition of both contemporary and antiquarian library materials has been complicated by the range of languages and cultures involved, the history of the textile trade, colonial publishing, and the problems encountered in dealing with a varying degree of organisation in local publishing and distribution. Nonetheless, with patience, as a result of travelling, by means of networking, and with the help of distributors, it has proved possible to build a worthwhile collection without depending too exclusively on Western publications.

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Hunt, Jane E. "‘Victors’ and ‘victims'?: Men, women, modernism and art in Australia." Journal of Australian Studies 27, no. 80 (January 2003): 65–75. http://dx.doi.org/10.1080/14443050309387913.

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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.

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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).

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Lennon, Jane L. "Lisanne Gibson and Joanna Besley, Monumental Queensland: Signposts on a Cultural Landscape." International Journal of Cultural Property 13, no. 1 (February 2006): 121–23. http://dx.doi.org/10.1017/s0940739106000051.

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Lisanne Gibson and Joanna Besley, Monumental Queensland: Signposts on a Cultural Landscape. Pp. 268. $49.95. St Lucia, Queensland: University of Queensland Press, 2004.By surveying and documenting outdoor cultural objects, the authors of this book seek to inform communities about the significance of their public art objects and to provide a starting point for people to value such artworks as expressing what is unique about their experience and understanding of Queensland, Australia (p. 7). However, this begs the question of public value. People in colonial times (nineteenth century) gave private subscriptions to have public monuments and memorials erected, and currently, Queensland has a Public Art Agency whose enabling legislation makes it mandatory for all public works projects to fund public art works associated with and integral to new construction, as part of the “Art Built-In” program. Queenslanders clearly like monuments!

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Curran, Georgia. "Amanda Harris. Representing Australian Aboriginal Music and Dance, 1930–1970." Context, no. 47 (January 31, 2022): 85–87. http://dx.doi.org/10.46580/cx80760.

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In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having on the Australian art music scene of today. As such, the book makes an important contribution to the ‘truth telling’ of Australian history while also showing that—despite the severe policies during this era, including the banning of speaking in Indigenous languages and restricting the performance of ceremony—Aboriginal people have remained active agents in driving their own engagements and asserting their own culturally distinct modes of music and dance performance. This resilience against significant odds has been aptly described by one of the book’s contributors, Yorta Yorta and Dja Dja Warrung cultural leader, visual and performance artist, curator and opera singer Tiriki Onus, as ‘hiding in plain sight,’ referring to the ways in which Aboriginal people ensured the continued practice and performance of their culture by doing so in public, the only place they were allowed to…

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Wander, Maggie. "Making new history: Contemporary art and the temporal orientations of climate change in Oceania." Journal of New Zealand & Pacific Studies 9, no. 2 (December 1, 2021): 155–78. http://dx.doi.org/10.1386/nzps_00072_1.

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This article explores artistic production in the region of Oceania that resists the ahistorical and future-oriented temporality of climate change discourse, as it perpetuates colonial structures of power by denying Indigenous futures and ignoring the violent histories that have led to the current climate breakdown. In the video poem Anointed (2018), prominent climate justice activist Kathy Jetñil-Kijiner strategically combines spoken word poetry with visual montage in order to situate Cold War nuclear tests by the US military within the same temporal plane as rising sea levels currently threatening the Marshall Islands. Katerina Teaiwa’s exhibition Project Banaba (2017) similarly mobilizes archival imagery in order to visualize the genealogical relationship between Banabans and the settler landscapes of Aotearoa New Zealand and Australia. Sean Connelly’s architectural and design practice in Hawaii Futures, an ongoing digital design project that engages with the threats of sea level rise and coastal erosion in Hawaii, problematizes linear formations of time and favours a future structured around cyclical, ecological time instead. Interacting with vastly different sites, strategies and temporalities, these three multidisciplinary projects provide critical alternatives to the ahistorical framing of colonial climate change in Oceania and thus play a crucial role in constructing a more just future.

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Asmer, Kadri. "Letters from the Past: Armin Tuulse’s Archive in Tartu." Baltic Journal of Art History 13 (October 9, 2017): 219. http://dx.doi.org/10.12697/bjah.2017.13.10.

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In 2015, the correspondence of Professor of Art History Armin Tuulse (1907–1977) and his wife Liidia Tuulse (1912–2012), which dates back to 1944 when the family escaped to Sweden, arrived at the Estonian Literary Museum. A significant part of the archive is comprised of the correspondence between the spouses, along with frequent contacts with exile Estonian cultural figures and Armin Tuulse’s work-related communications with colleagues in Europe, the U.S. and Australia. The main objective of this article is to take a first look at the material and highlight the main points of emphasis in the correspondence of the exile Estonians in the 1940s and 1950s. At that time, the main issue (in addition to worries about everyday hardships and living conditions) was related to the continuation of their work and keeping Estonian culture alive in a foreign cultural and linguistic space.In order to understand Armin Tuulse’s position in Sweden, the article also takes a look back onto his activities in the Department of Art History of the University of Tartu in the 1930s and 1940s, when Sten Karling (1906–1987) from Sweden came to teach in Tartu. Under Karling’s guidance, Tuulse became a dedicated scholar and later the first Estonian to become a professor of art history.

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McDonald, Gay. "Aboriginal art and cultural diplomacy: Australia, the United States, and theCulture Warriorsexhibition." Journal of Australian Studies 38, no. 1 (December 18, 2013): 18–31. http://dx.doi.org/10.1080/14443058.2013.859168.

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Lentfer, Carol J., Matthew W. Felgate, Robynne A. Mills, and Jim Specht. "Human history and palaeoenvironmental change at Site 17, Freshwater Beach, Lizard Island, northeast Queensland, Australia." Queensland Archaeological Research 16 (February 12, 2013): 141. http://dx.doi.org/10.25120/qar.16.2013.227.

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Late Holocene patterns of change in occupation and use of islands along the eastern coast of Queensland have long been debated in terms of various drivers, though much of this discussion relates to regions south of Cairns, with comparatively little study of the far northern Great Barrier Reef islands. The numerous middens, stone arrangements and art sites on Lizard Island suggest long-term use by Indigenous people, but recent discoveries of pottery give tantalising glimpses of a prehistoric past that may have included a prehistoric economy involving pottery. Here we review previous archaeological surveys and studies on Lizard Island and report on new archaeological and palaeoenvironmental studies from the Site 17 midden at Freshwater Beach, with an oldest date of 3815–3571 cal BP. We identify two major changes in the archaeological and palaeoenvironmental records, one associated with more recent European influences and the other at c.2000 cal BP. Pottery from the intertidal zone is as yet undated. When dates become available the relationship between the Site 17 results reported here and the use of pottery on the island may be clarified.

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Hook, George. "Using spatial technology to locate the view illustrated in Eugene von Guérard’s painting of the Kosciuszko massif." Proceedings of the Royal Society of Victoria 130, no. 1 (2018): 18. http://dx.doi.org/10.1071/rs18002.

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The colonial artist Eugene von Guérard travelled extensively throughout south-eastern Australia sketching thousands of views during his three-decade-long sojourn in Australia. His field drawings are renowned for their fidelity to nature and observational accuracy, but the validity of the latter claim depends on comparing drawings with the view at the sites where he sketched. The location of the view in some artworks, such as Mount Kosciusko, seen from the Victorian Border, has eluded art historians and aficionados who have ventured into the field. This article discusses the collation of clues from historical narratives, maps and surveying techniques to limit the search area for the vantage point where he sketched the view on which he based his painting of the Kosciuszko massif. Novel use of spatial technology utilising satellite imagery, Global Positioning System (GPS) and Shuttle Radar Topography Mission (SRTM) data, particularly digital elevation models, to locate the actual site is explored, and the topographical accuracy of his sketches evaluated when compared with photographs taken from close to the site. Finally, the potential value of using spatial technology in art history field work is discussed.

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NELSON, E. C. "GOODING, J. Wildflowers in art. Artists impressions of Western Australian wildflowers 1699£1991. Art Gallery of Western Australia, Perth; 1991. Pp 96; illustrated. Price: Aus$ 29.95. ISBN: 0-7309-3600-7." Archives of Natural History 19, no. 2 (June 1992): 288. http://dx.doi.org/10.3366/anh.1992.19.2.288.

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Berryman, Jim. "Art and national interest: the diplomatic origins of the “blockbuster exhibition” in Australia." Journal of Australian Studies 37, no. 2 (June 2013): 159–73. http://dx.doi.org/10.1080/14443058.2013.781052.

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Caldwell, Holly, Carolyn Philpott, and Maria Grenfell. "Exploring Tasmania’s History and Landscape in Music for Children’s Performance: Don Kay’s There Is an Island (1977)." Context, no. 48 (January 2023): 1–20. http://dx.doi.org/10.46580/cx46584.

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Tasmanian composer Don Kay (b. 1933) has made a significant contribution to music in his island state and in Australia more broadly in a career spanning over six decades. Many of his works explore aspects of Tasmania’s landscape and history, especially its Indigenous past, and of his 300 works, approximately ten percent are designed specifically for children to perform. Through these latter works, Kay has made a substantial contribution to educating children about locally relevant topics, a practice often overlooked within the context of art music and education. Kay’s works are regularly performed and held in high regard, particularly in Tasmania; however, his music has rarely been discussed in detail in the literature before now. In this article, we begin to address this gap by examining one of Kay’s most successful works for children to perform, There is an Island (1977), within the context of his work as a composer and educator. Drawing on primary data collected from the composer via interviews and surveys, relevant existing literature and our analyses of the score and recording of There is an Island,the article aims to illuminate the processes Kay has employed to write music for children that connects them with Tasmania’s landscape and history; and to demonstrate the ongoing relevance and significance of such work within Australian music.

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Cobden, Rommy, Chris Clarkson, Gilbert J. Price, Bruno David, Jean-Michel Geneste, Jean-Jacques Delannoy, Bryce Barker, Lara Lamb, and Robert G. Gunn. "The identification of extinct megafauna in rock art using geometric morphometrics: A Genyornis newtoni painting in Arnhem Land, northern Australia?" Journal of Archaeological Science 87 (November 2017): 95–107. http://dx.doi.org/10.1016/j.jas.2017.09.013.

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Martinez, Katharine. "The Research Libraries Group: new initiatives to improve access to art and architecture information." Art Libraries Journal 23, no. 1 (1998): 30–37. http://dx.doi.org/10.1017/s0307472200010798.

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This survey of the achievements of the Research Libraries Group (RLG) and its Art and Architecture Group shows the effectiveness of a collaborative approach in developing best practices and standards, and implementing new methodologies and technologies, to benefit the international art library and research communities. RLG members in Europe, North America and Australia include many of the major art research libraries. RLG offers services such as the RLIN bibliographic database and the MARCADIA retrospective conversion service in conjunction with projects documenting sales catalogue records (SCIPIO), preserving serials (the Art Serials Preservation Project) and facilitating the interloan of material between members. More recently the partnership between the RLG and the Getty Information Institute has made available an enormous range of art documentation work carried out by the Getty: standards and authority control work such as the Art & Architecture Thesaurus, the Union List of Artists’ Names and the Thesaurus of Geographic Names. In the 1980s the RLG conducted a survey identifying information needs in the humanities, which has led to resources such as the Bibliography of the History of Art becoming widely accessible, with the Provenance Index to follow shortly. This partnership is now active in the museum field, attempting to bridge the gap between the domains of secondary and primary materials in the field of art research. The REACH project (Record Export for Art and Cultural Heritage) is experimenting with the export of existing machine-readable data from heterogeneous museum collection systems, and testing the feasibility of designing a common interface for access which will complement RLG’s other resources.

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