Relevant bibliographies by topics / Art, Australian – 21st century

Academic literature on the topic 'Art, Australian – 21st century'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Art, Australian – 21st century"

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González Zarandona, José Antonio. "Between destruction and protection: the case of the Australian rock art sites." ZARCH, no. 16 (September 13, 2021): 148–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2021165087.

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Can heritage be practiced and thought outside the binary of exaltation vs. denigration? To answer this question posed by the editors, this paper will analyse the destruction and protection of Indigenous heritage sites in Australia, where the destruction of significant cultural heritage sites, mainly Indigenous heritage sites, is the result of biased and outdated practice of cultural heritage that divides Indigenous heritage (prior 1788) from Australian heritage (after 1788). This rift has caused an immense damage to Indigenous heritage around the country as it shows how in Australia heritage is practiced and thought outside the dualism of celebration versus destruction. In this paper, I will show how the destruction of Indigenous rock art sites has been a constant in the 20th and 21st century and how this destruction has been framed in media as a result of vandalism. By arguing that this framing is perpetuating the dualism of celebration versus destruction, I suggest that we can move out of this binary by considering the concept of iconoclasm to go beyond this dualism.
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Thorner, Sabra G. "The photograph as archive: Crafting contemporary Koorie culture." Journal of Material Culture 24, no. 1 (July 9, 2018): 22–47. http://dx.doi.org/10.1177/1359183518782716.

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In 2008, an Aboriginal Australian artist based in Melbourne, Australia, created a kangaroo-teeth necklace, revivifying an art/cultural practice for the first time in over a century. She was inspired to do so after viewing an 1880 photograph of an ancestor wearing such adornment. In this article, I bring the necklace and the photograph into the same analytical frame, arguing for the photograph as an archive itself. I consider the trajectories through which the 19th-century image has been replicated and circulated in various productions of knowledge about Aboriginal people, and how a 21st-century artist is mobilizing it not just as a repository of visual information, but also as an impetus to creative production. She produces objects of value and is making culture anew, in a context in which Aboriginality has long/often been presumed absent, extinct or elsewhere.
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Alexander, Elinor, and Alan Sansome. "Shaping the Cooper Basin's 21st century renaissance." APPEA Journal 52, no. 2 (2012): 690. http://dx.doi.org/10.1071/aj11104.

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The Department of Manufacturing, Innovation, Trade, Resources and Energy (DMITRE) SA has been successfully using competitive acreage releases to manage highly prospective Cooper Basin acreage since 1998. The expiry of long-term exploration licenses enabled the most significant structured release of onshore Australian acreage in the industry’s history—it has generated: 32 petroleum exploration licences (PELs) from ~70,000 km2 acreage; $432 million in guaranteed work program bids; 70 new field discoveries; $107.6 million royalties and $1.4 billion sales;and, increased gas supply-side competition. Cooper acreage turnover has also changed the makeup of Australia’s onshore exploration industry from numerous company-making discoveries. Since 1998, 10 acreage releases have been staged, enabled by the Petroleum Act 2000 (now the Petroleum and Geothermal Energy Act 2000), conjunctive agreements with Native Title claimants, access to multiple-use Innamincka and Strzelecki Regional Reserves, and transparent application and bid assessment processes. Despite delays, most recently due to flooding, all but three of the original PELs are in their second term and relinquished acreage has been incorporated into subsequent releases. All work-program variations have been kept above the second bid score (except one, where the second ranked bidder was consulted and approved the change) preserving bidding system integrity. DMITRE is planning new Cooper Basin acreage releases while contemplating acreage management options for emerging unconventional plays. Industry input to map the best possible future for the SA Cooper Basin continues to be welcomed.
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Hayward, Philip. "Firing up the Anthropocene: Conflagration, Representation and Temporality in Modern Australia." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 143–56. http://dx.doi.org/10.18778/2083-2931.12.09.

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The European colonization of Australia introduced a new population into a continent in which Indigenous people had practiced cyclic burning as a form of ecosystem maintenance since time immemorial. The settlers’ complete disdain for Indigenous knowledge and related practices caused these customs to largely fall into disuse. One result of this was an increased vulnerability of landscapes to bush fires, a factor that has risen to the fore in the early twenty-first century. The fires that have swept across the landscape with increasing frequency and ferocity have provoked fears of a rolling, fiery apocalypse that might make living in many areas of the continent untenable. This marks a new phase of settler anxiety that has been fuelled by extensive coverage of fires on broadcast and digital media platforms. Blending discussions of Indigenous culture, 19th-21st-century European settler visual art, literature and modern communications media, this article begins by examining the nature of Anthropocene modernity and the very different worldviews and practices of Australian Indigenous peoples. Particular attention is given to senses of time and of living and working with fire. Subsequent sections open up the topic with regard to the planetary present and how we might adjust to the future.
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Allatson, Paul, and Andrea Connor. "Ibis and the city: bogan kitsch and the avian revisualization of Sydney." Visual Communication 19, no. 3 (May 24, 2020): 369–90. http://dx.doi.org/10.1177/1470357220912788.

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The Australian White Ibis (Ibis) ( Threskiornis molucca) is one of three endemic Ibis species in Australia. In a short time frame beginning in the 1970s, this species has moved from inland waterways to urban centres along the eastern and southeastern seaboards, Darwin and the Western Australian southwest. Today Ibis are at home in cities across the country, where they thrive on the food waste, water resources and nesting sites supplied by humans. In this article, the authors focus on Sydney to argue that the physical and cultural inroads of Ibis, and the birds’ urban homeliness, are resignifying urban surfaces and the multispecies ecologies in which contemporary Australians operate. They explore how the very physical and sensory presence of Ibis disrupts the assumptions of many urban Australians, and visitors from overseas, that cities are human-centric or human-dominant, non-hybrid assemblages. They also introduce to this discussion of disrupted human expectations a cultural parallel, namely, the recent rise of Ibis in popular culture as an icon-in-the-making of the nation and as a totem of the modern Australian city itself. This trend exemplifies an avian-led revisualization of urban spaces, and is notable for its visual appeals to Ibis kitsch, and to working class or ‘bogan’ sensibilities that assert their place alongside cosmopolitan visions of being Australian. Sometimes kitsch Ibis imagery erupts across the urban landscape, as occurs with many Ibis murals. At other times it infiltrates daily life on clothing, on football club, university and business logos, as tattoos on people’s skin, and as words in daily idiom, confirmed by terms such as ‘picnic pirates’, ‘tip turkeys’ and ‘bin chickens’. The article uses a visual vignette methodology to chart Ibis moves into Sydney and the realms of representation alike, and thus to reveal how new zoöpolitical entanglements are being made in the 21st century.
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Coleman, Ellie, Rebecca Scollen, Beata Batorowicz, and David Akenson. "Artistic Freedom or Animal Cruelty? Contemporary Visual Art Practice That Involves Live and Deceased Animals." Animals 11, no. 3 (March 14, 2021): 812. http://dx.doi.org/10.3390/ani11030812.

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This paper examines a selection of 21st-century international examples of exhibited visual artworks involving live or deceased animals. It seeks to reveal the risks and benefits of unique encounters with animals through art and to consider the ethical implications of artwork deploying animals. Australian and international animal protection laws are not explicit when it comes to the sourcing of animals for art nor for the direct inclusion of animals in artworks. This lack leads to a variety of artistic practices, some considered ethical while others are viewed as controversial, bordering on animal cruelty. Artwork selection is determined by a focus on high-profile artists who intentionally use animals in their practice and whose reputation has been fostered by this intention. The study provides insight into how the intentional use of ethically sourced animals within art practice can be a method of addressing hierarchal human–animal imbalances. Further, this study identifies unethical practices that may be best avoided regardless of the pro-animal political statements the artists put forward. Recommendations of how to better determine what is an acceptable use of animals in art with a view to informing legal guidelines and artistic best practice are presented.
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Schuster, J. Mark. "Cultural policy—state of the art “taking cultural policy into the 21st century’ Brisbane, Queensland, Australia, 28–30 June 1995." European Journal of Cultural Policy 2, no. 1 (October 1995): 185–88. http://dx.doi.org/10.1080/10286639509358011.

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Pollard, Irina. "Bioscience-bioethics and life factors affecting reproduction with special reference to the Indigenous Australian population." Reproduction 129, no. 4 (April 2005): 391–402. http://dx.doi.org/10.1530/rep.1.00268.

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The demand for equality of recognition or respect is the dominant passion of modernity. The 20th century experienced a giant leap in technological inventiveness and ruthless use of technological power. In the 21st century, human welfare and environmental wellbeing demand fundamental political appraisal. We have the means, if we choose, to eradicate poverty and to responsibly protect the global environment. However, economic, political and cultural systems act to differentially allocate the benefits and risks for growth between socioeconomic groups. For example, it is a matter of pride that the neonatal mortality rate in affluent societies has dropped substantially since the late 1970s. However, the level of infant mortality (three times the national average) and low birthweight (13%) among the Indigenous Australian population is the highest in the country. With hindsight we now know that is the inevitable legacy of Australia’s colonial history. Chronic physical and psychological stress is recognized as an important etiological factor in many lifestyle diseases of the cardiovascular, immune and reproductive systems. Diseases of adaptation are further advanced by non-adaptive lifestyle choices, depression, alcoholism and other drug dependencies. This review describes the principles of bioscience ethics and targets equity issues as they affect human reproduction across generations with particular reference to the Indigenous population of Australia. The review also considers ways we may advance global and cultural maturity from the Indigenous Australian perspective and proposes an ecologically based model of preventative care. If we are to embrace fundamental social change and protect future children without threatening parents’ basic freedoms, then new beliefs and priorities – based on a compassionate understanding of biological systems – must evolve from the general public. Belief in human rights arising from a sense of human dignity is a collective outcome originating from individual commitment. The golden rule; that is, Nature’s principle of reciprocity, is fundamental in bridging the gap between knowledge and effective action.
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Kerr, Cheryl, and Cathryn Lloyd. "Pedagogical learnings for management education: Developing creativity and innovation." Journal of Management & Organization 14, no. 5 (November 2008): 486–503. http://dx.doi.org/10.1017/s1833367200002996.

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AbstractThis paper argues that management education needs to consider a trend in learning design which advances creative learning through an alliance with art-based pedagogical processes. A shift is required from skills training to facilitating transformational learning through experiences that expand human potential, facilitated by artistic processes.This creative learning focus stems from a qualitative and quantitative analysis of an arts-based intervention for management development, called Management Jazz, conducted over three years at a large Australian University.The paper reviews some of the salient literature in the field, including an ‘Artful Learning Wave Trajectory’ Model. The Model considers four stages of the learning process: capacity, artful event, increased capability, and application/action to produce product. Methodology for the field-based research analysis of the intervention outcomes is presented. Three illustrative examples of arts-based learning are provided from the Management Jazz program. Finally, research findings indicate that artful learning opportunities enhance capacity for awareness of creativity in one's self and in others, leading, through a transformative process, to enhanced leaders and managers. The authors conclude that arts-based management education can enhance creative capacity and develop managers and leaders for the 21st century business environment.
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Kerr, Cheryl, and Cathryn Lloyd. "Pedagogical learnings for management education: Developing creativity and innovation." Journal of Management & Organization 14, no. 5 (November 2008): 486–503. http://dx.doi.org/10.5172/jmo.837.14.5.486.

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AbstractThis paper argues that management education needs to consider a trend in learning design which advances creative learning through an alliance with art-based pedagogical processes. A shift is required from skills training to facilitating transformational learning through experiences that expand human potential, facilitated by artistic processes.This creative learning focus stems from a qualitative and quantitative analysis of an arts-based intervention for management development, called Management Jazz, conducted over three years at a large Australian University.The paper reviews some of the salient literature in the field, including an ‘Artful Learning Wave Trajectory’ Model. The Model considers four stages of the learning process: capacity, artful event, increased capability, and application/action to produce product. Methodology for the field-based research analysis of the intervention outcomes is presented. Three illustrative examples of arts-based learning are provided from the Management Jazz program. Finally, research findings indicate that artful learning opportunities enhance capacity for awareness of creativity in one's self and in others, leading, through a transformative process, to enhanced leaders and managers. The authors conclude that arts-based management education can enhance creative capacity and develop managers and leaders for the 21st century business environment.
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Dissertations / Theses on the topic "Art, Australian – 21st century"

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Mason, Anthony, and n/a. "Australian coverage of the Fiji coups of 1987 and 2000: sources, practice and representation." University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090826.144012.

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For many Australians, Fiji is a place of holidays, coups and rugby. The extent to which we think about this near-neighbour of ours is governed, for most, by what we learn about Fiji through the media. In normal circumstances, there is not a lot to learn as Fiji rarely appears in our media. At times of crisis, such as during the 1987 and 2000 coups in Fiji, there is saturation coverage. At these times, the potential for generating understanding is great. The reporting of a crisis can encapsulate all the social, political and economic issues which are a cause or outcome of an event like a coup, elucidating for media consumers the culture, the history and the social forces involved. In particular, the kinds of sources used and the kinds of organisations these sources represent, the kinds of themes presented in the reporting, and the way the journalists go about their work, can have a significant bearing on how an event like a coup is represented. The reporting of the Fiji coups presented the opportunity to examine these factors. As such, the aim of this thesis is to understand the role of the media in building relationships between developed and developing post-colonial nations like Australia and Fiji. A content analysis of 419 articles published in three leading broadsheet newspapers, The Sydney Morning Herald, The Australian and The Canberra Times, examined the basic characteristics of the articles, with a particular focus on the sources used in these articles. This analysis revealed that the reports were dominated by elite sources, particularly representatives of governments, with a high proportion of Australian sources who provided information from Australia. While alternative sources did appear, they were limited in number. Women, Indian Fijians and representatives of non-government organisations were rarely used as sources. There were some variations between the articles from 1987 and those from 2000, primarily an increase in Indian Fijian sources, but overall the profile of the sources were similar. A thematic analysis of the same articles identified and examined the three most prevalent themes in the coverage. These indicated important aspects of the way the coups were represented: the way Fiji was represented, the way Australia's responses were represented, and the way the coup leaders were represented. This analysis found that the way in which the coups were represented reflected the nature of the relationship between Australia and Fiji. In 1987, the unexpected nature of the coup meant there was a struggle to re-define how Fiji should be understood. In 2000, Australia's increased focus on Fiji and the Pacific region was demonstrated by reports which represented the situation as more complex and uncertain, demanding more varied responses. A series of interviews with journalists who travelled to Fiji to cover the coups revealed that the working conditions for Australian media varied greatly between 1987 and 2000. The situational factors, particularly those which limited their work, had an impact on the journalists' ability to access specific kinds of sources and, ultimately, the kinds of themes which appeared in the stories. The variation between 1987 and 2000 demonstrated that under different conditions, journalists were able to access a more diverse range of sources and present more sophisticated perspectives of the coup. In a cross-cultural situation such as this, the impact of reporting dominated by elite sources is felt not just in the country being covered, but also in the country where the reporting appears. It presents a limited representation, which marginalises and downplays the often complex social, cultural and historical factors which contribute to an event like a coup. Debate and alternative ways of understanding are limited and the chance to engage more deeply with a place like Fiji is, by and large, lost.
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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House." Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.

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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.
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Roche, Judith D. "The role of the artist at the beginning of the twenty-first century: An exploration of dialectical processes in art and science with particular reference to biologically based art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1571.

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This thesis examines the role of the artist at the beginning of the twenty-first century. It focuses on the interaction between art and science in an exploration of the dialectical processes that may occur in that interaction. Researchers have recently developed techniques in stem cell technology and genetic modification that offer remarkable potential and bring possible advantages and disadvantages for scientists and the wider community. In response to these new technologies, scientists and artists have developed collaborative projects and, in some instances, artists have moved from the studio to the science laboratory to create work called sci-art, bio-art, or moistmedia. This new inter-disciplinary activity affords prospects of dialectical processes: it crosses many boundaries and disturbs some existing conventions and practices, and, for the artists involved, the access to innovative materials has moved their work into areas of new skills and concepts. The extent to which traditional artists and those with collaborative sci-art practices contribute to the debate on important social and cultural issues forms part of this study. The research data was gathered during semi-structured interviews with scientists and artists, of whom three scientists and five artists are involved in sci-art collaborations. Proposed dialectical processes identified in the data are outlined throughout the document. A discussion about the ways in which contemporary art and artists are located within the current social and cultural environment; the status accorded visual art education today; and the manner in which commentators and other members of the public regard the elements and functions of art, forms the initial framework. This is followed by an overview of biologically based art practices, worldwide, that provides a background for a discussion of sci-art collaborations. These collaborations are initiated by a wide range of individuals and organisations and, according to the participants, the intentions of the originator or funding body have the potential to influence the outcome of the collaboration. The research explores possible conflicts of interest between the parties involved in these interactions, and any perceived implications for creative freedom. This study also examines current attitudes towards the notion of creativity in science and art, the avant-garde, and the relevance of philosophy and theory in art practices. It discusses the extent to which technology influences the creative process, and highlights issues that augment, interrogate or philosophise about the role of the contemporary artist. The research found that, although the notion of Snow’s ‘two cultures’ still has supporters, there are more similarities than dissimilarities between scientists and artists. Although some instances of Hegelian dialectical processes were identified, the data residing in many of the participants’ responses called for a more post-structuralist, non-linear approach to the dialectic as described by Jervis (1998), Janesick (2000) and others. In this way, the data drew attention to many complex issues and tensions that emanate from the interaction between art, science, technology, government and commerce, and the interaction between artists and the culture and society in which they live at the beginning of the twenty-first century.
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Collins, Julie. "Ship of Fools." University of Ballarat, 2008. http://innopac.ballarat.edu.au/record=b1508425.

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The Ship of Fools is an ancient allegory that has long been a part of Western culture in literature, art and song... It has been chosen by many to comment on contemporary issues throughout history, highlighting the foibles of that society. The ship of fools however is also about our world, as a vessel, full of passengers of humanity, full of those who have no care what they do or where they are going... It is the 21st Century and we are all sailing on a Ship of Fools. We consume beyond reason, we want, and get the latest, newest, biggest things. We complain about interest rates and petrol prices, but consume beyond reason often with purchases on credit we don't really need.
Master of Arts (Visual Arts)
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Gray, Nigel. "His story, a novel memoir (novel) ; and Fish out of water (thesis)." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0095.

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His Story takes the form of a fictive but autobiographically based investigation into the child and young adult I used to be, and follows that protagonist into early adulthood. It tries to show the damage done to that character and the way in which he damaged others in turn. As Hemingway said, We are all bitched from the start and you especially have to hurt like hell before you can write seriously. More importantly, the main protagonist is somebody who became concerned with, and cognizant of the main political and social events of his day. His life is set in its social context, and reaches out to the larger issues. That is to say, the personal events of the protagonist's life are recorded alongside and set in the context of the major events taking place on the world stage. The manuscript is some sort of hybrid of novel, autobiography, and historical and social document. As Isaac Bashevis Singer said, The serious writer of our time must be deeply concerned about the problems of his generation. In order to make His Story effective in sharing my ideas and beliefs, and, of course, in order to protect the innocent and more particularly, the guilty, it is created in the colourful area that is the overlap between memory and fiction. When we tell the stories of our lives to others, and indeed, to ourselves, we prise them out of memory's fingers and transform them into fiction. To write autobiography well, as E.L. Doctorow said, you have to invent everything, even memory.
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Flynn, Warren. "Fragments of the moon (novel) ; and." University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0073.

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Fragments of the Moon is a novel set mostly in South Korea, examining relationships between people, interpersonal spaces, architectural spaces and landscape through a cross-cultural context. Matt, a graduate architect from Perth, Australia, finds himself increasingly vulnerable to cultural confusion as he adjusts to life away from his home and friends. Having initially assumed that Seoul's western facade echoes its social dynamic, Matt increasingly discovers that the Confucianism which underpins much of contemporary Korean society makes all relationships far more complex than his assumptions had allowed. Together with a Canadian student who is seeking to find the essence of a different Korea through her investigation of Buddhism, and through meeting diverse Korean characters, readers will discover several of the many facets of contemporary Korean culture. Readers will be encouraged to test the slippery surfaces on which familiar and unfamiliar attitudes to bodies, landscape and created spaces rest. 'Body, Space, Ideas of Home: Cross-cultural Perspectives' (thesis) The thesis examines the interaction of body space, architectural space, landscape, and emotional states in contemporary literary fiction from several cultural perspectives. Bodies, landscapes, and architectural spaces are shown to be devices through which contemporary authors with different cultural backgrounds have expressed character and explored ideas, especially thematic concerns related to cultural or cross-cultural confusion or understanding. Notions of 'feeling at home' and 'being alien' are investigated through the work of authors who either have a cross-cultural heritage (e.g. Jhumpa Lahiri a Bengali/American), or who write about a culture which is not their own (e.g. Dianne Highbridge, an Australian writing about Japan). Several chosen authors explore the relationships between the spiritual and the physical, the metaphysical and the corporeal. These elements are particularly highlighted when examining the narratives of Tim Winton (The Riders, 1994) and Simone Lazaroo (The World Waiting To Be Made, 1994); and two of Japan's most popular writers, Haruki Murakami (Norwegian Wood, 2000) and Banana Yoshimoto (Lizard, 1995). For some writers, this exploration of spaces forms the focal point of their work; for others, it is an important facet of their narrative world, which helps to ground their writing for contemporary readers whose own backgrounds must also influence their understandings.
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Fozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.

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Having a personal connection through several family members to the life and work of Ngaanyatjarra Elder Mr Ward, I found his death in custody in outback Western Australia unsettling and incomprehensible. As the circumstances of his death were revealed, I became aware of glaring omissions in the telling of his story and the circumstances that led to his death. Through my engagement with the subsequent media reporting, official documents and personal conversations, I recognised a profound lack of understanding of difference and otherness within a shared history and space in Western Australia. The initial aim of my project was to investigate the incomprehensible through the lens of Ngaanyatjarra Elder Mr Ward’s death; however, ethically, this proved a difficult path to negotiate. Through my research, I came to understand that the continued use of the dominant language of the coloniser, which is embedded in social practices and academic discourse is, in part, continuing to perpetuate white privilege. The ethical problems raised inspired me to develop an approach, which although oblique, would nevertheless enable fresh insight into otherness and difference in a multi-cultural society. The particular concern of this practice-led research project is not to exploit the trauma of others but to raise awareness of this social space through my work, giving rise to new understandings and possible relations. This research gathered key texts from Walter Benjamin and Theodor Adorno, to facilitate the transfer of the written form of Denkbild, a literary device manipulating the codes of language to visualise the process of thought, into a painting practice. The Denkbild (thought-image) is a Euro-centric genre of exploratory philosophical writing, crafted in response to a society witnessing tremendous change as a result of the devastating impact of WWI and WWII. Through this creative project, the challenge was to re-activate the Denkbild through painting and accompanying text to investigate deaths in custody and interrogate the connected issues of ethics, politics and inequality, which is written into the shared spaces of Western Australia. The Denkbild is then developed further with the addition of Henri Lefebvre’s threedimensional spatial application of dialectical thinking and the creative practice of selected Australian artists. Through this addition, the binary dialectical framework of the Denkbild is expanded to reflect contemporary thinking on the concept of space as a social product. This perspective emerges to enable fresh insight into Aboriginal understandings of space as representing an ‘eternal now’, such that a mutual understanding of space is manifested. My painting practice reflects and informs this transition, as I moved from the painting studio to selected locations to record information and experiences that developed my research position. To achieve the project’s aims, I engaged in reflexivity and praxis as the methodological tools to guide my research. Through painting, my research extended across interdisciplinary fields including visual arts practices, philosophical history and literature, to interrogate a spatial dynamic, revealing marginalised insights and connecting interrelationships between sites. For the purpose of this research, the paintings, exhibitions and exegesis function on two levels: as an avenue into mediation of Western Australian culture and as a methodological approach to visual art practice. My research culminated in the exhibition, Ghostcards of WA 2017 at the Spectrum Project Space, ECU, Mount Lawley. This project is significant as it renews the Denkbild to further the unique relationship between conceptual and representational categories that binds together experience, object and practice to form an interrogative tool for critical inquiry. In the application of this method to a Western Australian context, new thinking is encouraged through the inclusive reading of space and the collapsing of misunderstandings perpetuated in historicism through a shared recognition of the inherent value of space/sites which— far from being incomprehensible, reactive, nostalgic and solipsistic—are comprehensible, active, prescient, abundant and social.
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Andrews, Allison Parker. "21st Century Zen Garden." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/757.

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Jeppesen, Travis. "Towards a 21st century expressionist art criticism." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1812/.

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This thesis explores the following questions: What might a 21st century expressionist art criticism consist of? How does such a mode of “art writing” relate to oppositional strategies often employed by certain artists challenging the boundaries traditionally separating art from writing? What role does the body play in such a model of writing? What role might fiction play in an expressionist art criticism? The intended outcome is to render a new model of writing “in the expanded field,” to borrow Rosalind Krauss’s phrase. The essays and pieces of writing comprising this dissertation have been organized into four sections. The first part, “Bad Writing,” lays the groundwork for the three stylistic modes of expressionist art criticism that follow: the Expressionist Essay, Ficto-criticism, and Object-Oriented Writing. Prefaces before each section elaborate the conceptual thinking involved in arriving at each particular designation, as well as the positioning of each mode in the overall conception of a 21st century expressionist art criticism. This thesis begins with the argument that art criticism must first and foremost be understood as a literary art form. This is an issue of intentionality that must be asserted at the outset, one that resonates with John Dewey’s notion of criticism’s re-creative and imaginative aim. It is one of the essential qualities that distinguishes art criticism from the art historical endeavor. I contend that the practice of art criticism is an art form in and of itself, one that, following the poet-critic model (or, more aptly, anti-model) advanced by Baudelaire and Apollinaire, is essentially complementary to the art object. This complementarity is what the task of an expressionist art criticism hopes to achieve. Thus, this thesis should be considered as an example of an art writing practice in the context of a thesis-based dissertation.
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Rhea, Jonthan P. "THE NEOTERICS A PANTHEON FOR THE 21ST CENTURY." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1897.

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My thesis work explores the spiritual embodiments of 21st century culture by creating a set/series of sights, sounds and other sensory experiences that are symbolically representative of a new pantheon called The Neoterics and its mythology. It examines the human quest for stability (survival, community, and mental/physical/ financial stability) in a world of constant change. The exhibition introduces the six members of the pantheon as the embodiments of the primitive or basic needs, contemporary wants, and future desires of humanity, at least from the perspective of Westernized culture. This paper looks at mythology’s role in the 21st century. It examines the artistic process of creating and representing mythological entities in the gallery and museum space. It peers through the lenses of the literary theory of ‘carrier bag fiction’ and the theory of the artistic gifts in relationship to the exhibition. Finally concluding with where this new mythology might go as it expands and grows in the future.
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Books on the topic "Art, Australian – 21st century"

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Linda, Michael, and Art Gallery of South Australia., eds. 21st century modern: 2006 Adelaide Biennial of Australian art. Adelaide, S. Aust: Art Gallery of South Australia, 2006.

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Power + colour: New painting from the Corrigan collection of 21st century Aboriginal art. Melbourne, Australia: Macmillan, 2012.

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Reason, Robert. Bravura: 21st century Australian craft : incorporating the Maude-Vizard Wholohan Art Prize Purchase Awards. Adelaide: Art Gallery of South Australia, 2009.

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Pilkington, Glenn. Year 12 perspectives 2009. Edited by Art Gallery of Western Australia. Perth, W.A: Art Gallery of Western Australia, 2010.

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Ken, Watson, Jones Jonathan, and Perkins Hetti 1965-, eds. Tradition today: Indigenous art in Australia. Sydney: Art Gallery of New South Wales, 2004.

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Link, Global Arts. Exploring culture and community for the 21st century: Global Arts Link, Ipswich : a new model for public art museums. Edited by Henson Barbara 1942-. Ipswich, Qld: Global Arts Link, 1999.

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Russ, Nadia. Neopoprealism starz: 21st century art. New York: Xlibris Corp, 2009.

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Sayers, Andrew. Aboriginal artists of the nineteenth century. Melbourne: Oxford University Press in association with National Gallery of Australia, 1996.

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Carol, Cooper, ed. Aboriginal artists of the nineteenth century. Melbourne: Oxford University Press in association with National Gallery of Australia, 1994.

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Imagery in the 21st century. Cambridge, Mass: MIT Press, 2011.

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Book chapters on the topic "Art, Australian – 21st century"

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Barry, Kristin M. "Reclaiming Rock Art: Descendant Community Investment in Australian and New Zealand Patrimony." In Transforming Heritage Practice in the 21st Century, 265–81. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14327-5_19.

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Sunderland, Graham, and Ian Stewart. "Police leadership in the 21st century." In Australian Policing, 39–54. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-5.

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Birch, Philip, Michael Kennedy, and Erin Kruger. "Examining Australian policing in the 21st century." In Australian Policing, 1–4. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-1.

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Prenzler, Tim, and Rick Sarre. "Community safety, crime prevention, and 21st century policing." In Australian Policing, 283–98. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-21.

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Koul, Rekha B., Rachel Sheffield, and Leonie McIlvenny. "STEM, TVCs, and Makerspaces in the Australian Curricula." In Teaching 21st Century Skills, 171–88. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-4361-3_10.

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Brick, Jo. "Manoeuvre in the 21st century." In Australian Perspectives on Global Air and Space Power, 160–69. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003230656-19.

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Thomas, Stuart D. M. "Public health and its interface with police practice in the 21st century." In Australian Policing, 253–66. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-19.

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Speck, Catherine. "Australian Art in the Nineteenth-Century." In A Companion to Nineteenth-Century Art, 299–314. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118856321.ch18.

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Walsh, Michael. "The Rise and Rise of Australian Languages." In Endangered Languages in the 21st Century, 9–20. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003260288-3.

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Nash, David. "A Note on an Australian Homophone Loanshift." In Endangered Languages in the 21st Century, 258–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003260288-20.

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Conference papers on the topic "Art, Australian – 21st century"

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Collins, Pauline Therese. "The Benefits of an action reflective assessment using role-plays in teaching mediation." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9192.

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Introducing action reflection learning into a law course to instil life-long learner skills and enable students to adapt to a new style of lawyering is essential if 21st Century lawyer needs are to be met. The paper describes the assessment, and the use of active reflective learning in a mediation course taught in an Australian law school. The benefits of such learning are described with specific attention to law teaching. Student reflections indicate the notable difference this teaching method had for their learning and development of a conflict resolution advocacy style.
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Howley, Peter, Ayse Bilgin, and Elena Prieto. "Engaging students and teachers through statistics towards greater connection and social responsibility." In Teaching Statistics in a Data Rich World. International Association for Statistical Education, 2017. http://dx.doi.org/10.52041/srap.17308.

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Arresting statistical anxiety and connecting students with statistics is critical in the big data age and for future generations to be socially responsible citizens. This paper outlines a national project-based learning activity, which facilitates interdisciplinary projects, engages students from varied backgrounds with varying areas of interest, and develops key communication, research and statistical skills aligned with national school curriculum outcomes. Allowing students to take the lead, determine the context and self-diagnose are powerful motivators. A mentoring model connecting industry, primary, secondary and tertiary educators has been invaluable to the project’s success. Australian school teachers are saying “21st Century learning at its best”, “motivates and engages students”. Mentors are saying “I was inspired by their keenness”, “provides students a unique opportunity”. Students are saying “engaging, educational and enjoyable”. Over 1000 students engaged with the competition in 2016.
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Benter, Markus M., Ian G. Bywater, and Ken E. Scott. "Low Ash Fuel and Chemicals From the Convertech Process." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-351.

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A new, efficient process for reducing the ash content, drying and fractionating raw lignocellulosic materials into chemicals and a dry solid end product, eminently suitable as a fuel for conventional boilers or for milling to a fine powder for gas turbine firing, shows strong potential for renewable power generation. The dry, low ash solids, termed “Cellulig™”, will also be suitable for gasification and to drive gas turbines. Sustainable liquid and gaseous fuels will become increasingly necessary in the 21st century to reduce dependence on imported fuels, to replace dwindling supplies of oil and natural gas and to avoid environmental damage from green house gases. Convertech Group Ltd. has built a demonstration biomass processing plant at Burnham, Canterbury, New Zealand, with investment from the energy industry and the Australian Energy Research and Development Council. The essential chemical and process engineering elements are described and the current and future development opportunities outlined.
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Erdman, Lisa. "Annual Checkup: Pharmaceuticals for the 21st Century." In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179013.

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Yustiono, Dr. "Art, Artist and Culture in 21st Century Indonesian Contemporary Art." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338675.

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Shields, Rebecca, and Ritesh Chugh. "Preparing Australian High School Learners with 21st Century Skills." In 2018 IEEE International Conference on Teaching, Assessment, and Learning for Engineering (TALE). IEEE, 2018. http://dx.doi.org/10.1109/tale.2018.8615207.

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Scott, Kenneth C. "MaxHeadRoom of the 21st century." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253774.

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Jaques, Susan. "Same Yet Different: A Comparison of Pipeline Industries in Canada and Australia." In 2000 3rd International Pipeline Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/ipc2000-106.

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Canada and Australia are remarkably similar countries. Characteristics such as geography, politics, native land issues, and population are notably similar, while the climate may be considered the most obvious difference between the two countries. The pipeline industries are similar as well, but yet very different in some respects too. This presentation will explore some of the similarities and differences between the pipeline industries in both countries. The focus of the discussion will be mainly on long-distance, cross-country gas transmission pipelines. The author of this paper spent 4 years working for TransCanada PipeLines in Calgary in a pipeline design and construction capacity, and has spent 2.5 years working for an engineering consultant firm, Egis Consulting Australia, in a variety of roles on oil and gas projects in Australia. Topics to be addressed include the general pipeline industry organisation and the infrastructure in both countries. The history of the development of the pipeline industry in each country provides insight as to why each is organised the way it is today. While neither system is “better” than the other, there are certain advantages to Canada’s system (nationally regulated) over Australia’s system (currently state-regulated). The design codes of each country will be compared and contrasted. The pipeline design codes alternate in level of detail and strictness of requirements. Again, it cannot be said that one is “better” than the other, although in some cases one country’s code is much more useful than the other for pipeline designers. Construction techniques affected by the terrain and climate in each country will be explored. Typical pipeline construction activities are well known to pipeliners all over the globe: clear and grade, trench, string pipe, weld pipe, coat welds, lower in, backfill and clean up. The order of these activities may change, depending on the terrain and the season, and the methods of completing each activity will also depend on the terrain and the season, however the principles remain the same. Australia and Canada differ in aspects such as climate, terrain and watercourse type, and therefore each country has developed methods to handle these issues. Finally, some of the current and future opportunities for the 21st century for the pipeline industry in both countries will be discussed. This discussion will include items such as operations and maintenance issues, Canada’s northern development opportunities, and Australia’s national gas grid possibilities.
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Bobeck, Patricia. "THE 21ST CENTURY ART OF FINDING GROUNDWATER IN KARST." In 51st Annual GSA South-Central Section Meeting - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017sc-289627.

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Wallace, Patrick T., and Steve Lee. "Gear error corrections on the Anglo-Australian Telescope." In 1994 Symposium on Astronomical Telescopes & Instrumentation for the 21st Century, edited by Larry M. Stepp. SPIE, 1994. http://dx.doi.org/10.1117/12.176174.

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Reports on the topic "Art, Australian – 21st century"

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Kholoshyn, I., T. Nazarenko, O. Bondarenko, O. Hanchuk, and I. Varfolomyeyeva. The application of geographic information systems in schools around the world: a retrospective analysis. IOP Publishing, March 2021. http://dx.doi.org/10.31812/123456789/4560.

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The article is devoted to the problem of incorporation geographic information systems (GIS) in world school practice. The authors single out the stages of GIS application in school geographical education based on the retrospective analysis of the scientific literature. The first stage (late 70 s – early 90s of the 20th century) is the beginning of the first educational GIS programs and partnership agreements between schools and universities. The second stage (mid-90s of the 20th century – the beginning of the 21st century) comprises the distribution of GIS-educational programs in European and Australian schools with the involvement of leading developers of GIS-packages (ESRI, Intergraph, MapInfo Corp., etc.). The third stage (2005–2012) marks the spread of the GIS school education in Eastern Europe, Asia, Africa and Latin America; on the fourth stage (from 2012 to the present) geographic information systems emerge in school curricula in most countries. The characteristics of the GIS-technologies development stages are given considering the GIS didactic possibilities for the study of school geography, as well as highlighting their advantages and disadvantages.
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Chilcoat, Richard A. Strategic Art: The New Discipline for 21st Century Leaders. Fort Belvoir, VA: Defense Technical Information Center, October 1995. http://dx.doi.org/10.21236/ada301857.

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Knouse, Edgar M. Effects-Based Targeting and Operational Art in the 21st Century. Fort Belvoir, VA: Defense Technical Information Center, February 1999. http://dx.doi.org/10.21236/ada363060.

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