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1
Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
Full textAbstract:
The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
2
Schilo, Ann. "Folk art in Australia: A discursive analysis." Thesis, Schilo, Ann (1993) Folk art in Australia: A discursive analysis. PhD thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/52760/.
Full textAbstract:
Informed by the writings of Michel Foucault, this thesis investigates the discourse on folk art in Australia. Emphasis is placed on exploring the recent emergence of a body of statements that contribute to its Australian specificity.
This thesis considers the various discursive strategies that construct the domain of folk art in this country, including the contribution played by overseas folkloric studies in establishing the field. By using a framework operating under the principle of distance and immediacy, the processes of production and dissemination of cultural goods are examined to reveal how material folk culture is located as a peripheral artistic practice. In this regard, the systems of exclusion that operate within high art discourses to define and marginalise women's artistic practice are surveyed as a concomitant discursive domain.
A study of makeshift furniture is undertaken to elucidate how these strategies combined with processes of connoisseurship are involved in constructing the domain of Australian folk art and the appraisal of its cultural value. In the final analysis, attention is given to the subject of aesthetics and the appreciation of folk art.
3
Vernon, Kay. "Searching for the surreal in Australian modernism." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/28545.
Full textAbstract:
[Surrealism] changed the face of art. Everything has changed. (James Gleeson)
A pervasive modern sensibility
This study adopts several approaches to surrealist practices in Australia. The
first is an historiographical one, in which I map surrealism's (re)presentafion
in Australian art historical texts. Second, I identify the emergence of
surrealism in modernist discourses in Australia, including mass media and
popular culture. I then contextualise surrealism in an epistemology of
privileged subjectivity in Australia, in which an understanding of Freud,
Jung, theosophy and Bergson are seen to inflect the apprehension of
surrealism. As psychoanalysis in particular is so crucial to an understanding
of surrealism, I have attempted to identify those ideas of Freud active in its
construction. In addition, I have included reference to Jacques Lacan, whose
ideas were constituted in the psychoanalysis of Freud and initiated in the
surrealist milieu. I have also drawn on the discourses of rhetoric to unpack
the surreal in Australian landscape practices in the 19405. And as surrealism
developed in Melbourne, particularly, against a background of various
claims on the left, I have situated it also in marxist discourses.
Over the past two decades in art historical texts, surrealism has been
recuperated as crucial to the construction of a legitimate Australian
modernism. These arguments have been rehearsed thoroughly in the review
of the literature in Chapter I. The explanation for this resurgence can be
attributed partly to the emergence in art history, as in other academic
disciplines, of theoretical concerns active also in surrealism, particularly
psychoanalysis and marxism. But there are still gaps in this recuperative
project which this study will attempt to address. First, with few exceptions
in the texts I draw on in the review of the literature in Chapter 1, surrealism
is represented as having emerged in Australian visual art practices at the end
of the 19305 and continuing into 1940s. But as this study will show
surrealism, like the latent signifier in the 'return of the repressed', insisted in
signifying practices in Australia during the 19303, particularly through mass
media and popular discourses. Surrealism as a contemporary European style
or tendency became available initially through imported reproductions and
in publications, such as Minotaure and Herbert Read's Art Now and in local
magazines such as Stream and Manuscripts. As the decade progressed
surrealist imagery was appropriated increasingly as the latest modern style
for photographs and advertisements in such popular Australian magazines
as The Home and Man and also Art in Australia.
4
Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.
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Young, Amanda M., University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Several interpretations of the Blue Mountains : a juxtaposition of ideas over two hundred years." THESIS_FPFAD_SD_Young_A.xml, 1997. http://handle.uws.edu.au:8081/1959.7/607.
Full textAbstract:
In 1815 the Blue Mountains were first identified as a unique landscape when Governor Macquarie took a tour over them and located the nineteenth century principles of the Sublime and Picturesque within its' landscape. Until this time the Blue Mountains were considered to be a hostile impenetrable barrier to the West. This paper examines some of the ways the Blue Mountains has been represented in the past, and has been identified as a tourist destination through interpretations imposed on the landscape by the tourist industry since that time. The areas covered deal with the heritage of British Colonialism as a way of forming opinions about the Australian landscape. Then, the theories of the Picturesque and Sublime are examined when applied to the Blue Mountains landscape. The final chapters in this paper deal with contemporary issues that have shaped the way the tourist industry is encouraged to encounter the Blue Mountains landscapeMaster of Arts (Hons)
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Bemrose, Anna. "A servant of art : Robert Helpmann in Australia /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17332.pdf.
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Susino, George J. "Microdebitage and the archaeology of rock art an experimental approach /." Connect to full text, 1999. http://hdl.handle.net/2123/606.
Full textAbstract:
Thesis (M. Sc.)--University of Sydney, 2000.Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.
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Shorter, Mark Travers. "Variety theatre, performance art and the carnivalesque." Phd thesis, Sydney College of the Arts, 2011. http://hdl.handle.net/2123/12477.
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Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.
Full textAbstract:
This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.
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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.
Full textAbstract:
My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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Garnons-Williams, Victoria. "Art teacher pre-service education : a survey of the attitudes of Queensland secondary, and tertiary art educators." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26115.
Full textAbstract:
This study compares the views of three groups of art educators - secondary, tertiary pre-service lecturers, and scholars - about the content and structure considered important in art teacher pre-service education.
Items of program content and structure, as well as issues in art-teacher preparation were gleaned from the writings of selected scholars and incorporated into a survey questionnaire. The survey was distributed to secondary art educators throughout Queensland and to art pre-service lecturers throughout Australia. An analysis of the results identifies areas and degrees of agreement and difference on items both within and between groups. The study can assist the development of art teacher pre-service programmes that reflect the values of both theoreticians and practitioners of art education.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Brooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.
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"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
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Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." Thesis, University of Ballarat, 2005. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38083.
Full textAbstract:
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
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Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.
Full textAbstract:
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
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Mah, D. B., University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Australian landscape : its relationship to culture and identity." THESIS_FPFAD_Mah_D.xml, 1997. http://handle.uws.edu.au:8081/1959.7/257.
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This paper is an examination of the relationship of Australian landscape imagery to culture and identity. Visual and historical ideas in the Heidelberg School and more contemporary landscape work is assessed in relation to social history in the work of Ian Burn et al and the social history in the work of Anne Maree Willis. These two types of history are compared and conclusions are made about their similarities and differences in the articulation of identity and culture. It will be concluded that identity and culture are ideas and values which are recycled and relocated with the passage of time and that certain central themes reoccur in the construction of identity and cultureMaster of Visual Arts (Hons)
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Smith, Claire E. "Situating style: an ethnoarchaeological study of social and material context in an Australian aboriginal artistic system." Phd thesis, University of New England, 1994. http://hdl.handle.net/1885/266544.
Full textAbstract:
This is an ethnoarchaeological study of style in the visual arts of Aboriginal people living in the Barunga region of the Northern Territory, Australia. My main concern is the development of a practical framework for the analysis of style in indigenous visual arts. This framework integrates the notions of style, semiotics and social strategy in an attempt to deal with the dynamics of image creation and perception. The principal result is that the morphological characteristics of style are influenced systematically by the historically situated positions of both producer and interpreter and by the differing strengths, possibilities and constraints of different raw materials. Moreover, each raw material has inherent qualities that make it particularly suitable for specific social uses. Since different media within an artistic system are likely to exhibit a unique combination of stylistic characteristics, including differing degrees of diversity, it is incorrect to assume that a single art form will be indicative of an artistic system as a whole. My conclusions are that research needs to be focused clearly on the contexts in which archaeological art occurs and comparative studies need to compare like with like. Single explanations are unlikely to be sufficient since it is most likely that they tell only part of the story. In addition, seemingly anomalous evidence should not be discounted, but should be used as a basis for inquiry into the likelihood of alternative scenarios that coexist with the main explanation.
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Walters, Anne E. "Making art-the child's perspective." Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/36630/1/36630_Digitised%20Thesis.pdf.
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Current research into the status of art in primary school education suggests that there is overwhelming support for a more vigorous approach to the artistic and creative development of children in Australian education. A recent Australian Council Report (Costantoura, 2000) into the arts in Australia found that as many as 85% of Australian adolescents and adults felt that involvement in the arts "should be an important part of the education" (p. 86) of every child.
Despite such support however, there is a lack of emphasis on the creative arts in the curriculum of many Australian primary schools and there are few schools which would consider themselves particularly well-equipped with either the teaching or practical resources to facilitate a dynamic and progressive arts program. Art education is predominantly the responsibility of classroom teachers in primary schools in Australia and, while many teachers manage to provide their students with outstanding experiences in visual art, the priority assigned to the subject can vary according to the interests and skills of individual teachers and/ or school principals.
How then do young recipients of a visual arts education view their involvement in the subject? Is it an important part of their education and can they explain in what ways they are able to see value (or not) in further participation in artmaking? While adults present the bulk of research, discussion, planning, and evaluation on the subject of art in education, this study considers the perspectives of a group of children aged between eight and ten years from three schools, who have elaborated broadly upon their thoughts and feelings on the subject.
Although the intention of the study was to consider children's perspectives as artmakers, and the interview questions guided the information collected, pre-determined outcomes and predicted responses were not set. Collection of data was based upon (1) informal discussion and semi-structured interviews with children, (2) collection of artwork and photographic material, (3) participant observation in the classroom during art classes. Using Strauss and Corbin's (1990) approach to grounded theory, collected material was decoded and analysed, and the triangulated material was used to isolate a number of possible key issues or categories. These related to the importance of the teacher's approach to artmaking classes and the subsequent effect of this upon children's individual and general attitude to artmaking, the ramifications of using art to broaden cultural appreciation and association, and the need for increased understanding of the cognitive aspects of artmaking.
The overarching outcomes emerging from the study concentrate on the value which can be attributed to the children's perspectives. What the children had to say about artmaking requires further investigation and this study provides a glimpse into what children think about art and artmaking. The key finding, and that which has formed the basis for theory building is that the children's perspectives contain significant insight and understanding that is both important and useful to educators working with them - as well as educators and researchers investigating the value and development of art in education.
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Pennings, Mark W. "Charles Wheeler and the nude in Australia." Connect to thesis, 1991. http://repository.unimelb.edu.au/10187/1432.
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The place for Charles Wheeler’s nudes in Australian art history has not been adequately gauged by art historians. He was one of Australia’s most notable painters of the nude, not perhaps because his vision was particularly inventive or original, but rather because he was an important, conservative conduit of that European tradition. Wheeler was very popular with the buying public over many decades, but success with his nudes was fundamentally a critical one. The positive response to Wheeler’s nudes, paintings which combined elements of the academic tradition and more fashionable conventions, presents an intriguing reflection on the nature of art criticism in Australia. The style of Wheeler’s discourse is indebted not only to late nineteenth century British models, as it was represented in the writings of critics such as R.A.M. Stevenson, who was primarily concerned with technique, but also to current debates about art and morality. One of the determining characteristics of this discourse was an interest in defining the limits between naked and nude. Critics were particularly concerned to protect the nude as a genre against moral attack by refusing to engage in a discussion of its sensual aspects. While the public was keen to debate the moral problems associated with the nude, the critics were anxious to avoid these issues. They felt that questions of morality were not central to artistic merit, and sensed that by engaging in discussion of this kind, the nude was on danger of being brought into disrepute.
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Souliere, Rolande. "Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada." Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.
Full textAbstract:
The debate of Indigenous art as contemporary art in Western art discourse has been ongoing since the acceptance of Indigenous art as contemporary art in the early 1990s. This has resulted in a collision of four diverse fields; Western art history, Western art criticism, anthropology and Indigenous cultural material. The debate stems from the problematised way the term contemporary is defined by globalised Euro-Western art and its institutions. This thesis considers the value of applying the concept of the contemporary to Indigenous art practices and art, in particular as a mode for cultural self-determination in order to avoid the historical domination of Western art history, history and its discursive power arrangements. The term, concept or theory of the contemporary remains elusive, indefinable and widespread in Western art discourse. Various definitions exist and are based on notions of openness, newness or plurality. Criticism of the contemporary’s openness has led to speculation of the contemporary as a valid concept or theory and or as a field of art practice, particularly its claim to social or political engagement and its inability to historicise current art. This thesis contends that the openness of the contemporary concept provides a gateway in which to situate it in a much broader cultural analysis that embraces different historiographies and worldviews. Thereby directly contributing to the ongoing critical discourse of Indigenous art as contemporary art debate. This thesis contributes to addressing this debate by proposing a definition of the contemporary that bridges history, art history and contemporary art and explores the potential for administering a contemporary art practice within this view. It highlights the historical analysis of the journey of Indigenous art from the ethnographic to the contemporary art museum by examining Indigenous rupture and transformation through Western history and art history. The thesis examines Terry Smith’s recent contextualisation of contemporary theory, as Smith is the only art historian to include Indigenous art in the discussion on contemporary theory.[1] Richard Meyer’s theory on the contemporary is also examined as Meyer is unique in approaching contemporary theory from an artistic practice that embraces co-temporalities, art production and modes of trans-historicity. In ‘rendering the past as newly present’, this thesis proposes methods of contemporary art analysis in the examination of contemporary Indigenous artworks in the context that the socio-political and cultural use of contemporary art as a form of history production. Description of Creative Work An exhibition of one large installation took place at Sydney College of the Arts Galleries, Sydney in September 2016. Media included two- and three-dimensional artworks that were hung on the walls and placed on the floor. The installation used Indigenous forms, designs, processes and social, political, and cultural content as a result of the thesis research and demonstrated Indigenous artists are creating their Indigenous histories within the context of contemporary art. Photographic documentation is available in Appendix 3. [1] Terry Smith, What is Contemporary Art? (Chicago: University of Chicago Press, 2009), 133.
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Williams, Court. "Sensitive skin." Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
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The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
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Carroll, Peter J. "The old people told us: verbal art in Western Arnhem Land." Phd thesis, University of Queensland, 2022. http://hdl.handle.net/1885/268560.
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AIM
This thesis is based on a collection of stories (most of which relate to bark paintings), that were told to me by speakers of the Kunwinjku language of the Northern Territory of Australia. My objective is to show that these particular stories have an important role in the transmission of Kunwinjku culture. I do this by seeking to understand the stories and how they are used by Kunwinjku people. I first consider the stories in the original
Kunwinjku language; secondly I relate the stories to the western Arnhem Land artistic traditions; and thirdly I examine their social context. The important role of such stories in cultural transmission is reflected in the phrases daborrabolk kandimarneyolyolmeng "the old people told us stories" and kandimarneyolyolmi "they used to tell us stories" which occur in many stories. I have included one of these phrases as part of my thesis title.
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Zammit, Carmen. "The art of healing : A journey through cancer : Implications for art therapy." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1224.
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This thesis is designed to investigate how art assisted in the healing process of a person suffering from a life threatening illness. The research method used is a clinical case study. This study is a form of evaluative research, a systematic data-based inquiry concerning the participant's engagement with art in her healing process, a process which unfolds as being both life affirming and spiritually enriching. This case study takes a qualitative approach, with its emphasis on the participant's own account of her behaviour. The participant is a fifty-three year old woman, a psychiatrist and psychotherapist, who was diagnosed with multiple myeloma seven years ago. Multiple myeloma is cancer of the bone marrow and blood, a medically incurable form of cancer (Mayo Clinic, 1996; Macpherson, 1995). The principles of Holistic Medicine and Arts Medicine provide the theoretical framework. Data was accumulated from multiple sources: in-depth, open-ended interviews; direct observation; video-tapes; audio-tapes; written documentation and artwork. Art therapy literature reveals a scarcity of formal evaluative research in the area of how art assists people in their healing of a life-threatening illness (Malchiodi, 1993a, l993b). This research project follows the tradition of existing studies and formally documents one person's journey. The aim is to assist in efforts to develop art interventions that will promote healing for people suffering from serious illnesses, and in many cases, those facing imminent death.
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Sefer, Ibrahim. "Newly arrived children's art / story book 2004." [Adelaide]: Migrant Health Service, 2004. http://www.health.sa.gov.au/library/Portals/0/drawings-and-dreams-newly-arrived-childrens-art-story-book.pdf.
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This project was funded by the Department for Families and Communities A collaboration between Ibrahim Sefer, newly arrived boys and girls aged between 4 and 14 years from Culturally and Linguistically Diverse Backgrounds and the Migrant Health Service (Adelaide Central Community Health Service).
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Sanzaro-Nishimura, Jennifer. "Emblems of Identity : Seeking Popular Symbols that Identify Contemporary Australians." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/366942.
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This exegesis explores emblems of identity worn by contemporary Australians. Emblems are intrinsic to most cultures and have specific histories within Europe, Japan and Indigenous Australia. I investigate the historic use of emblems as a visual language of identification and their relationship to the manner in which society and its communities are structured. Notably, this research focuses on the constructed Australian identity as conveyed through the symbols that adorn leisure-wear and apparel worn at Australian sporting events. Through globalisation and marketing, symbols have been co-opted for “high end” fashion accessories and worldwide distribution. This thesis examines the implications of heraldry, Japanese kamon (family crests) and Indigenous designs in the popular-culture context. The exegesis also analyses the seemingly inextricable connection between alcohol consumption and popular team sports in Australia through branded sponsorship of major sporting codes (mainly male).Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Vaughan, Pam. "..and the rabbit." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/27960.
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A small number of framed prints can be seen on approach to the exhibition. They are black and white — the predominant colours of the entire exhibition. Viewers will walk into a dimly lit room and see a frail, house-shaped structure made out of Perspex plates. The plates have images scratched into them, some with the residue of ink. Inside the house is an old iron rabbit trap as well as lighting which casts imprecise shadows into the surroundings. Around the walls are a series of charcoal drawings on paper. Most of the images are of a single object or figure. Circling around the room and weaving in and out of the viewers will be Pam on an old pushbike.
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Knezevic, Nina. "Interpreting the autobiographical archive." Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/13893.
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Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
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Studio:
The work submitted for examination in December 2007 at SCA
Galleries, consists of a painting constructed within the gallery
space, and is the culmination of the research undertaken during
the Masters of Visual Arts program. Untitled (Vinyl wall
composition) I (2007) investigates how the act of making can
function as a speculative activity interested in both the
materiality of painting and the architectural context in which the
work is placed.
Research Paper:
The objective of this research paper is to investigate the
theoretical concerns raised by the studio work. It explores the
contemporary position of medium specificity through the work of
Tony Tuckson, Robert Ryman, Bernard Frize, Alan Charlton, Daniel
Buren and Katharina Grosse.
Discussion of the work of each of these artists focuses on the way
in which the physical characteristics of the materials used to
construct a painting can inform how the work is read and the ways
in which the architectural context can influence how a painting is
perceived.
Through exploring the practices of each of these artists and
establishing the conceptual strategies employed by each, this
paper seeks to locate the central concerns of my practice within
the discourse of contemporary painting.
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Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.
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Johnston, Iain Gray. "The Dynamic Figure Art of Jabiluka: A study of ritual in early Australian rock art." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148425.
Full textAbstract:
This thesis is an investigation of ritual practice in
the Dynamic Figure rock art of Jabiluka in Mirarr Country,
Australia. Painted across western Arnhem Land, Dynamic Figure art
constitutes the earliest easily recognisable body of rock art in
this region of northern Australia. Despite its antiquity, its
most striking attributes are the extremely detailed depictions of
human figures with a plethora of material culture, that are
engaged in a range of narrative scenes. This thesis explores how
the material culture, scenes and other attributes of Dynamic
Figure art are acutely associated with ritual and the insights
this rock art provides into past ritual behaviour. The highly
detailed work of Dynamic Figure artists has enabled the
identification of ritual indicators derived from archaeological
and anthropological investigation of ritual practice. These
ritual indicators provide insights into aspects of the esoteric
and actual performative forms of ritual behaviour. These detailed
depictions also provide further insights into people’s
lifeways, revealing evidence about society, gender, initiation
and material culture during the period of Dynamic Figure art
production. In this thesis, I demonstrate the value of rigorous
analysis and investigation of one type of rock art from a defined
study area, in contrast to previous studies in the region with
broad spatial and temporal boundaries. This focused approach
incorporates the multi-vocal sources available in northern
Australia to consider inquiries not possible of broader studies.
The Dynamic Figure art of Jabiluka demonstrates the significance
of ritual places, headdresses and aspects of both continuity and
discontinuity in art production in northern Australia and further
highlights the significance of rock art to understand ritual
practice and people’s past lifeways.
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Morton, Jennifer Heather. "Desert voices, pitjantjatjara women's art and craft production in Ernabella, South Australia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22544.pdf.
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Berryman, James (Jim) Thomas. "From field to fieldwork : the exhibition catalogue and art history in Australia." Phd thesis, Canberra, ACT : The Australian National University, 2005. http://hdl.handle.net/1885/9528.
Full textAbstract:
This thesis examines the transformation of the exhibition catalogue in Australia, from modest exhibition documentation to autonomous publication. This discussion is largely confined to exhibition catalogues produced by Australia's public galleries between approximately1965-2002. The thesis considers why the exhibition catalogue experienced such a dramatic change in such a relatively short period. The thesis reveals how catalogues are shaped by the internal tensions and external pressures experienced by art institutions as their roles and responsibilities change over time. During the period in question, catalogues have kept track of developments in art history by experimenting with changing curatorial fashions and critical approaches. Viewed as a time series, the exhibition catalogue reveals subtle and significant clues about art in its changing institutional setting. The thesis explores the professionalisation of the public gallery network, the nexus between academic art history and the museum, and pressures affecting the management of exhibitions in Australia. Each of these factors has influenced the development of the exhibition catalogue. It is shown how catalogues possess a multiplicity of values, which are often contradictory, and how these values determine the catalogue's practical, commemorative and informative functions. To better understand the relationship between the art museum and the contexts and discourses within which art is produced and disseminated for critical appraisal, this thesis will draw upon a body of theoretical literature broadly known as the sociology of art. The work of Pierre Bourdieu provides a general theoretical framework. Methodologically, the thesis is qualitative. The massive proliferation of exhibition catalogues in Australia since the mid-1970s has meant that the samples examined are broadly representative. In this respect, the thesis has followed the examples of earlier, though less comprehensive, studies from abroad.
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Westwood, Jill. "Hybrid creatures : mapping the emerging shape of art therapy education in Australia." Thesis, Goldsmiths College (University of London), 2010. http://handle.uws.edu.au:8081/1959.7/506680.
Full textAbstract:
This PhD provides the first organized view of art therapy education in Australia. It focuses on the theories that are used in this specialized teaching and learning process. It evolved from the authors’ immersion in the field as a migrant art therapy educator to Australia from the UK and a desire to be reflexive on this experience. The research questions aimed to discover the field of art therapy education in Australia: to find out what theories and practices were taught; and where the theoretical influences were coming from, in order to develop understanding of this emerging field. Positioned as a piece of qualitative research a bricolage of methods were used to gather and analyse information from several sources (literature, institutional sources, and key participants, including the author) on the theories and practices of art therapy training programs in Australia. This also included investigating other places in the world shown to be influential (USA and UK). The bricolage approach (McLeod, 2006) included: phenomenology; hermeneutics; semi-structured interviews; practical evaluation (Patton, 1982, 1990/2002); autoethnography (Ellis and Bochner, 2000); heuristic (Moustakas, 1990); and visual methodologies (Kapitan, 2010). These were used to develop a body of knowledge in the form of institution/program profiles, educator profiles, country profiles and an autoethnographic contribution using visual processes. Epistemologically, the project is located in a paradigm of personal knowledge and subjectivity which emphasizes the importance of personal experience and interpretation. The findings contribute knowledge to support the development of art therapy education and the profession in Australia, towards the benefit, health and wellbeing of people in society. The findings show a diverse and multi-layered field of hybrid views and innovative approaches held within seven programs in the public university and private sectors. It was found that theories and practices are closely linked and that theoretical views have evolved from the people who teach the programs, location, professional contexts (health, arts, education, social, community) and the prevailing views within these contexts, which are driven by greater economic, socio-political forces and neo-liberal agendas. The university programs generally teach a range of the major theories of psychotherapy underpinned with a psychodynamic or humanistic perspective. Movement towards a more integrative and eclectic approach was found. This was linked to being part of more general masters programs and economic forces. The private sector programs are more distinctly grounded in a particular theoretical perspective or philosophical view. Key words distilled from the profiles included: conflict, transpersonal, survival through art, pedagogy, epistemology, theory driven by context and mental health. Important issues for art therapy education were identified as: the position and emphasis on art; working with the therapy/education tension; the gender imbalance in the profession; Indigenous perspectives; intercultural issues and difference. The horizons of the field revealed the importance of developing the profile of the profession, reconciling differences towards a more inclusive view and the growth of research. A trend towards opportunities in the social, education and community areas was found, driven by the increasing presence of discourses on arts and wellness.
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Westwood, Jill. "Hybrid creatures : mapping the emerging shape of art therapy education in Australia." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/6318/.
Full textAbstract:
This PhD provides the first organized view of art therapy education in Australia. It focuses on the theories that are used in this specialized teaching and learning process. It evolved from the authors’ immersion in the field as a migrant art therapy educator to Australia from the UK and a desire to be reflexive on this experience. The research questions aimed to discover the field of art therapy education in Australia: to find out what theories and practices were taught; and where the theoretical influences were coming from, in order to develop understanding of this emerging field. Positioned as a piece of qualitative research a bricolage of methods were used to gather and analyse information from several sources (literature, institutional sources, and key participants, including the author) on the theories and practices of art therapy training programs in Australia. This also included investigating other places in the world shown to be influential (USA and UK). The bricolage approach (McLeod, 2006) included: phenomenology; hermeneutics; semi-structured interviews; practical evaluation (Patton, 1982, 1990/2002); autoethnography (Ellis & Bochner, 2000); heuristic (Moustakas, 1990); and visual methodologies (Kapitan, 2010). These were used to develop a body of knowledge in the form of institution/program profiles, educator profiles, country profiles and an autoethnographic contribution using visual processes. Epistemologically, the project is located in a paradigm of personal knowledge and subjectivity which emphasizes the importance of personal experience and interpretation. The findings contribute knowledge to support the development of art therapy education and the profession in Australia, towards the benefit, health and wellbeing of people in society. The findings show a diverse and multi-layered field of hybrid views and innovative approaches held within seven programs in the public university and private sectors. It was found that theories and practices are closely linked and that theoretical views have evolved from the people who teach the programs, location, professional contexts (health, arts, education, social, community) and the prevailing views within these contexts, which are driven by greater economic, socio-political forces and neo-liberal agendas. The university programs generally teach a range of the major theories of psychotherapy underpinned with a psychodynamic or humanistic perspective. Movement towards a more integrative and eclectic approach was found. This was linked to being part of more general masters programs and economic forces. The private sector programs are more distinctly grounded in a particular theoretical perspective or philosophical view. Key words distilled from the profiles included: conflict, transpersonal, survival through art, pedagogy, epistemology, theory driven by context and mental health. Important issues for art therapy education were identified as: the position and emphasis on art; working with the therapy/education tension; the gender imbalance in the profession; Indigenous perspectives; intercultural issues and difference. The horizons of the field revealed the importance of developing the profile of the profession, reconciling differences towards a more inclusive view and the growth of research. A trend towards opportunities in the social, education and community areas was found, driven by the increasing presence of discourses on arts and wellness.
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Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
Full textAbstract:
This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
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McDonald, Michelle. "Selling Utopia marketing the art of the women of Utopia /." Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.
Full textAbstract:
Thesis (MA)--Macquarie University, Institute of Early Childhood.Includes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
265, [48] p
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Kelaita, Paul. "Suburban Queer: Infrastructure and Art in Greater Western Sydney." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18854.
Full textAbstract:
Since the 1990s, cultural geographers have used a variety of methodologies to track the physical migration of queers toward inner-city space and explored the wider cultural imaginaries that have grown up around this phenomenon. This thesis engages with recent theoretical accounts of metronormativity, or the idea that queer subjectivities are best served by urban environments. Invoking Scott Herring’s concept of ‘queer infrastructure’ and Karen Tongson’s account of queer exurban performance cultures in Greater Los Angeles, I consider engagements of intra-urban space in contemporary queer art by Sydney-based artists and collectives. This research departs from longstanding and recent Australian critiques of suburbia, which tend to frame the suburbs through either class homogeneity or ethnic multiculturalism, and demonstrates how queer-identified artists negotiate the apparent disconnection between the queer and the suburban in their art practices. Chapters one and two track the emergence and consolidation of queer urban studies as an interdisciplinary field. Chapter three provides a new reading of Sydney’s queer history via a focus on suburban rather than urban cultures. Chapter four looks at how queer exhibition practices in the western and south-western suburbs of Sydney articulate institutional, cultural, and social ecologies that bridge centre and periphery. The subsequent chapters each focus on one artwork: a performance staged in an outer-suburban shopping arcade that combines vogue, martial arts, and life-history narration; a video work that redeploys infrastructural tropes from a Bronski Beat music video in order to consider the queer trajectory from suburbs to city and back; and another video work that documents a six-hour drive around greater Sydney by a group of eight queer friends. Overall, this thesis illuminates how contemporary queer art practices in Greater Western Sydney reposition queerness as a central part of the suburbs and the suburbs as a central part of queer Sydney.
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Williams, Holly. "The cluttered mind and the illusory nature of perception and reality." Thesis, The University of Sydney, 2005. https://hdl.handle.net/2123/28047.
Full textAbstract:
This paper is conceived of as an overview and a discussion positing that there is
inherent uncertainty in the subject, and that installation art can act as a revelatory
agent in the viewer’s understanding of this uncertainty. This - the recognition of
uncertainty - can be achieved through the inclusion of uncertainty itself as a trope in
artwork.
The self and subjectivity are open to a myriad of speculation and theory. Informing
my discussion are theories of the uncanny, the abject and Buddhist discourse of the
misapprehension of self. In this paper, I will focus on the concept of uncertainty in
relation to subjectivity and suggest the existence of the narratizing process that
determines the individual’s sense of self and perception of the world. This proposes
an idea of the ‘self’ as a fiction, and includes discussions surrounding narcissism (the
shoring up of identity), anxiety (existential fear), certainty (misguided search for
solidity of self), imagination (the fictionalising process and the amelioration of
anxiety), the interstice (breaks in the cognitive narrative).
As well as my own work, 1 am focussing on artists whoutilize elements of fantasy
and the uncanny in their work, namely Mike Nelson, et a1., Gregor Schneider, Eija-
Liisa Ahtila and Gregory Crewdson.
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Denholm, Michael. "Art magazines in Australia, 1963-1990 : a study of values, influence and patronage." Thesis, Canberra, ACT : The Australian National University, 1994. http://hdl.handle.net/1885/139448.
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Stephen, Ann. "Looking through conceptual art : a dialogue between Ian Burn and his collaborators." Thesis, Queensland University of Technology, 2003.
Find full textAbstract:
A monograph on Ian Burn poses major problems and opportunities for art historical inquiry. A central dilemma concerns the challenge that his Conceptual art raises for biography. How is it possible to turn a conversational practice into a monograph?
In Looking Through Conceptual Art Bum's dialogical art is engaged in a series of imaginary and actual encounters with the work of other artists. The ten chapters mark out the passage of a life through a series of exchanges. Each chapter begins at a specific historical moment however its internal dynamic pursues a conversational rather than a temporal logic. Their breadth-from regional landscape with Albert Namatjira, self-portraiture with Bum's Australian masters, appropriation with Sidney Nolan, abstraction with Piet Mondrian,
collaboration with Mel Ramsden, Conceptual art with Art & Language, provincialism with Jackson Pollock, the political legacy of Conceptual art with Fernand Leger and the readymade with 'Em Malley'-represents the challenge that Bum poses for Conceptual art. The structure loosens the diachronic inevitability of biography and traces instead a non-linear surface that articulates and frames the spacing between different cultures, practices and collaborations.
Three fundamental questions inform all the conversations and are at the heart of Bum's practice: How is it possible to make art from a different (marginal) place? What role can
painting and perception play in Conceptual art ? And what are the political implications of Conceptual art?
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Van, den Bosch Annette. "The art market since 1940 : a model of relationships between key players and the interactions between aesthetic and financial values." Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/26264.
Full textAbstract:
The interaction between aesthetic and financial values which has developed in the art market since 1945 constitutes a new situation for the practice of art and poses new problems for aesthetic theory. There have been previous studies of the relationships between artists and dealers, and of the role of collectors, museums s and auction houses in the sale of works of art. However, no single study has attempted to construct a model of the market which takes account of the principal players and their interactions. In New York, the different processes for value formation in art, aesthetic value and financial value (or price), become thoroughly mixed in the development of a market for American Modernism.
The model of the market which is developed in volume one is a simplifie d representation of a historical situation. The analysis concentrates on a few major elements in the system: tastemakers and collectors, dealers and museums, artists and public policy. The leading role played by tastemakers, and the limited number of key players, leaves the art market open to manipulation. The expansion and acceleration of the New York artworld/market system into Europe and Australia in the 1960s is traced. The impact of increased investment in art, and the role of corporate collectors and their relationships to museums is examined in both the international market and the Australian market.
The second volume of the thesis develops a model of the interactions between the international market and a national market, in Australia. The study of the Australian market shows the impact of the New York investment market model in the 1960s, and the full reproduction of the New York model in Sydney in the 1970s. Changing patterns in artists' careers and new processes for reputation formation are examined. The interactions between public sector arts policy and the market, the growth of museums, and the role of all dare in widening the audience for art, are discussed in relation to both the United States and Australia.
The model shown in evolution is a dynamic system. Various crises both financial and aesthetic forced the market to restructure. Some artists actively participated in the system, others developed new norms or practices. The increased use of art for investment led to an emphasis on male reputations in museums and in dealers' galleries - the modern masters syndrome - which was resisted by women artists. Active debates have taken place and legislation has been formulated to resist the most obvious manipulations of the market. The use of a model of the market may enable all those concerned to focus debate on the processes for the formation of aesthetic or financial value (or price) in the artworld/market system.
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Van, den Bosch Annette. "The art market since 1940: a model of relationships between key players and the interactions between aesthetic and financial values." Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/26277.
Full textAbstract:
The interaction between aesthetic and financial values which has developed in the art market since 1945 constitutes a new situation for the practice of art and poses new problems for aesthetic theory. There have been previous studies of the relationships between artists and dealers, and of the role of collectors, museums and auction houses in the sale of works of art. However, no single study has attempted to construct a model of the market which takes account of the principal players and their interactions. In New York, the different processes for value formation in art, aesthetic value and financial value (or price), become thoroughly mixed in the development of a market for American Modernism.
The model of the market which is developed in volume one is a simplified representation of an historical situation. The analysis concentrates on a few major elements in the system: tastemake|$ and collectors, dealers and museums, artists and public policy. The leading role played by tastemakers, and the limited number of key players, leaves the art market open to manipulation. The expansion and acceleration of the New York artworld/market system into Europe and Australia in the 1960s is traced. The impact of increased investment in art, and the role of corporate collectors and their relationships to museums is examined in both the international market and the Australian market.
The second volume of the thesis develops a model of the interactions between the international market and a national market, in Australia. The study of the Australian market shows the impact of the New York investment market model in the 1960s, and the full reproduction of the New York model in Sydney in the 1970s. Changing patterns in artists' careers and new processes for reputation formation are examined. The interactions between public sector arts policy and the market, the growth of museums, and the role of all three in widening the audience for art, are discussed in relation to both the United States and Australia.
The model shown in evolution is a dynamic system. Various crises both financial and aesthetic forced the market to restructure. Some artists actively participated in the system, others developed new norms or practices. The increased use of art for investment led to an emphasis on male reputations in museums and in dealers' galleries - the modern masters syndrome - which was resisted by women artists. Active debates have taken place and legislation has been formulated to resist the most obvious manipulations of the market. The use of a model of the market may enable all those concerned to focus debate on the processes for the formation of aesthetic or financial value (or price) in the artworld/market system.
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Gibson, Lisanne. "Art and Citizenship- Governmental Intersections." Thesis, Griffith University, 1999. http://hdl.handle.net/10072/367010.
Full textAbstract:
The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
Arts, Education and Law
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Whetter, Elise. "Applied aspirations : design and applied art at the Ballarat Technical Art School during the early twentieth century." Thesis, Federation University Australia, 2021. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/177503.
Full textAbstract:
Applied art and design schools operate at the nexus of art, industry, and education. During the early decades of the twentieth century, the regionally located Ballarat Technical Art School (BTAS) was the leading institution of its kind in Victoria, Australia, amid shifting economic, cultural, and pedagogical conditions. Emerging from a 1907 amalgamation of institutions, and subsequently administrated by the School of Mines Ballarat (SMB), BTAS was equipped with the assets, experience, and historic reputation necessary to surpass its provincial and metropolitan rivals. This micro-historical case-study employs qualitative analysis of primary sources to investigate the aims, outputs, and importance of BTAS, contextualised by the expectations and influences it operated under during the inaugural principalship of artist and educator, Herbert Henry Smith. Smith oversaw the training of designers, craftspeople, artists, and teachers from 1907 until his retirement in early 1940—a period of tumultuous events, fiscal obstacles, and social and cultural debate. The institution was accountable to diverse stakeholders and arbiters of taste, and successive cohorts learned in a contested space between tradition, origination, and modernisation. Pierre Bourdieu’s cultural theory serves to navigate this web of hierarchies, assumptions, and tensions, while secondary sources help contextualise findings. This thesis also discusses the suite of drawing, design and material-based disciplines delivered at BTAS as single subjects, full courses, and supplementary art-trade training. Throughout, featured students provide examples of regionally trained, Australian designer-maker and artist-teacher experiences. BTAS students learned from ambitious and skilled men and women, benefited from strong professional networks, and fostered a notable esprit-de-corps. The school was significant for its contribution to female technical training. The school’s pre-eminent position was modified during the late 1920s, when much art and art-teacher training was re-centred in Melbourne. Yet, the valuable, compelling, and widespread influence of Ballarat Technical Art School graduates resonated for decades.Doctor of Philosophy
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Chen, Albert Yi Fu 1967. "Art and social dislocation : a Chinese diasporic condition." Monash University, Dept. of Fine Arts, 2004. http://arrow.monash.edu.au/hdl/1959.1/5203.
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Lambeth, Paul University of Ballarat. "If I Belong Here...How Did That Come To Be?" University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12814.
Full textAbstract:
The purpose of this research is to contribute a non indigenous perspective to current discourse on sense of place in contemporary Australia. The research employs a number of strategies to investigate current responses to our geographic and historical time position. Within the exegesis there is a vers libre poem, written from the imagined viewpoint of members of the Burke and Wills’ expedition. The poem is supported by a superimposition of the Don Quixote story over that of the ill-fated inland Australian explorers. [...]Master of Arts (Visual Arts)
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Goodwin, Christine Alice. "Landscape art in rural Australia." 2005. http://arrow.unisa.edu.au:8081/1959.8/24989.
Full textAbstract:
This research involved an examination of landscape art, the nexus of art and landscape architecture, within a rural Australian context. Four completed landscape art projects from different regions of the country were selected as case studies, and through a methodology of layering data to create a matrix of physical, social and cultural, and design factors, the case studies were analysed and compared to identify commonalities and differences. The influence on the design outcome by diverse factors such as climate, landform, community profile, local history, and the methodologies employed during project planning and implementation was examined. The process of community consultation and participation was seen as particularly important in this context, so was examined in depth. The Design Practice Methodology developed by Fifth Creek Studio, who specialise in landscape architecture, public art and urban design, was combined with Action Research, Heuristics and other methodologies to form the basis of the thesis methodology. This was supported by oral histories, interviews and a questionnaire with case study participants. The analysis and synthesis of complex and interwoven aspects of landscape art projects in rural communities provides the basis from which to formulate a design framework for future landscape art projects.thesis (MArchitecture(Research))--University of South Australia, 2005.
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Coleman, Elizabeth Burns. "Aboriginal art, identity and appropriation." Phd thesis, 2001. http://hdl.handle.net/1885/149791.
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Huda, Shireen. "Art auctions in Australia : their development and role in the Australian art market, with special reference to Christie's and Sotheby's." Phd thesis, 2003. http://hdl.handle.net/1885/148532.
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Collins, Darryl. "Asian art and Australia: 1830s-1930s." Phd thesis, 1992. http://hdl.handle.net/1885/10746.
Full textAbstract:
In researching this topic, I have developed chapters on a
History of Taste in Australia (as related to Asia),
incorporating discussion of the late-nineteenth century art
movements of Chinoiserie, Japonisme and Aestheticism
(chapters 1 to 3). Chapters 4, 5, 6 and 7 focus on
particular visual and cultural phenomena throughout
Australia which are correlated to these movements, and are
largely documented from primary sources. As an overview of
the growth and content of Asian collections within
Australia, chapter 8 presents a national view - from the
founding of private colonial collections through to the establishment and development of state museum collections.
The concluding chapter draws together social and cultural
themes with particular emphasis on Australia's intercultural
relationship with Japan. Further investigation
into Asian cultural interchange with Australia from the
1930s is mandatory to extend this to the present.
Although references are made to the cultures of China,
Japan and Southeast Asia, for a variety of reasons it was
Japan which was to play the most important role in shaping
cultural exchange with Australia. Australia's geographic
position, almost due south of the great land and island
masses known as the 'East' induced an access with the
possibility of trade, the exchange of persons, and the
importation of cultural artefacts.
I gratefully acknowledge select data on museum collections;
specific information was provided by a numerically small,
but dedicated group of curators responsible for Asian
collections throughout Australia. Their assistance has
been invaluable in compiling histories of the major state
collections.
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Body, Ralph Mark. "Behind the Scenes: Hans Heysen’s Art World Networks." Thesis, 2019. http://hdl.handle.net/2440/120159.
Full textAbstract:
The artist Hans Heysen is closely associated with the South Australian regional environment, which featured as the subject matter of his most celebrated works. At the same time, however, he also rapidly established a national reputation, achieving critical and commercial success in the interstate art worlds of Melbourne and Sydney. This dissertation investigates the significant role of Heysen’s art world networks in establishing, shaping and maintaining his career and reputation. Most of the existing scholarship on Heysen has either been biographical or concerned with analysing the style and subject matter of his paintings. While previous authors have alluded to the importance of his networks, these have not been their central focus of study. Similarly, Heysen’s ties to the urban Australian art worlds where his works were exhibited, reviewed and sold have been little researched. Heysen’s networks encompassed fellow artists, art critics, publishers, dealers, collectors and museum trustees and directors. Due to his geographical isolation written correspondence played an essential role in his long-distance career management, with the letters he exchanged providing valuable insights into the importance of his networks. Consequently, this dissertation has involved intensive archival research, cross-referencing the archives of Heysen and his correspondents, together with studying historic exhibition catalogues, art magazines and published reviews. The interpretation of this material has been informed by two complementary conceptual frameworks. The first is Howard Becker’s conceptualisation of art (and art world success) as the product of collaborative activity. This has been utilised when analysing the specific operations of Heysen’s networks. The second is Pierre Bourdieu’s notion of a ‘Field of Cultural Production,’ a metaphorical, changing space in which cultural agents compete for symbolic capital. These ideas have been employed to examine the structure of the Australian art world and the construction of reputation. This research demonstrates the essential role of Heysen’s art world networks in representing and advancing his interests. The support of key associates enabled Heysen to withstand the threats to his career presented by anti-German sentiments during the First World War, the impact of the Depression on the art market and the ascendency of modernism. While he generally benefited from his networks, the entrenched conservatism or overt commercial concerns of some of Heysen’s associates proved detrimental to his reputation. This dissertation shows that while Heysen’s traditionalist style and subject matter did not change dramatically over the course of his lengthy career, there were considerable shifts in the way in which he displayed, promoted and sold his works which reflected broader changes in the Australian art world. Similarly, perceptions of Heysen progressed from regarding him as an innovator in the Edwardian period, to an establishment figure during the interwar decades and finally as the last representative of a past generation. Heysen is shown to have been a strategically-minded professional who closely monitored both his own critical fortunes and those of other Australian artists.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2019