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Journal articles on the topic 'Art, Australian'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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

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

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2

Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, no. 2 (May 1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.

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3

Carruthers, Victoria, and Jaime Tsai. "Surrealism, Counter-Mapping and COVID: Confluences in Contemporary Asian Australian Art." International Journal of Surrealism 1, no. 2 (March 2024): 65–86. http://dx.doi.org/10.1353/ijs.2024.a922368.

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Abstract: COVID-19 originating in China was all it took to destabilize Australia's claim to a proud, multicultural society, and with it, the sense of place and belonging felt by much of the Asian Australian community. Living and working in Melbourne, the most locked-down city in the world during the COVID period, the Asian Australian multimedia and performance artists Eugenia Lim and James Nguyen witnessed firsthand the resurgence of sinophobia, which exposed the ongoing resilience of the government's former White Australia Policy in the national imagination. Working approximately one hundred years after André Breton's Dada excursion (1921), and the surrealist survey on "Irrational Embellishments" of Parisian monuments (1933), Lim and Nguyen's counter-mapping practices echo these reorientations of site that seek to dismantle ideological codifications of space and reestablish them as imaginative and inclusive. As a strategy of spatial contestation and world building, Lim and Nguyen counter-map several historical and culturally significant sites across Australia, offering a decolonial inflexion of the more iconoclastic gestures of their European progenitors. Refracted through the lens of COVID, these Asian-Australian interventions bring the underlying cultural and racial tensions in Australian society into sharp relief. Their work resists reductive narratives of nationhood and renders the Australian landscape permeable to an interplay of hybrid stories and identities.

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4

Thomson, John, and Joye Volker. "Australian visual arts: libraries and the new technologies." Art Libraries Journal 21, no. 1 (1996): 4–7. http://dx.doi.org/10.1017/s0307472200009676.

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Electronic networking has been welcomed in Australia not least because of its potential to help solve problems of distances within Australia and of the isolation of Australia. In the world as a whole, the Internet, and the World Wide Web in particular, is transforming the communication of art information and access to art images. Three Australian Web servers focus on the visual arts: Art Serve, Diva, and AusArts. A number of initiatives intended to provide online bibliographic databases devoted to Australian art were launched in the 1980s. More recently a number of CD-ROMs have been published. As elsewhere, art librarians in Australia need new skills to integrate these products of new technology into the art library, and to transform the latter into a multimedia resource centre.

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5

Wilczyńska, Elżbieta. "The Return of the Silenced: Aboriginal Art as a Flagship of New Australian Identity." Australia, no. 28/3 (January 15, 2019): 71–84. http://dx.doi.org/10.7311/0860-5734.28.3.07.

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The paper examines the presence of Aboriginal art, its contact with colonial and federation Australian art to prove that silencing of this art from the official identity narrative and art histories also served elimination of Aboriginal people from national and identity discourse. It posits then that the recently observed acceptance and popularity as well as incorporation of Aboriginal art into the national Australian art and art histories of Australian art may be interpreted as a sign of indigenizing state nationalism and multicultural national identity of Australia in compliance with the definition of identity according to Anthony B. Smith.

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6

Best, Susan. "Repair in Australian Indigenous art." Journal of Visual Culture 21, no. 1 (April 2022): 190–205. http://dx.doi.org/10.1177/14704129221088289.

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This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.

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7

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

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

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8

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

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

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9

Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.

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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.

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10

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

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

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11

Tréguier, Lucie, and William van Caenegem. "Copyright, Art and Originality: Comparative and Policy Issues." Global Journal of Comparative Law 8, no. 2 (September 25, 2019): 95–127. http://dx.doi.org/10.1163/2211906x-00802001.

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This article reviews the laws of France and of Australia in relation to artistic works copyright for useful articles. Australian law applies a different subsistence test to ‘applied art’ than to fine art, whereas French law makes no such distinction, applying the principle of ‘Unité de l’art’. The decision of the High Court of Australia in IceTV Pty Limited v Nine Network Australia Pty Limited [2009] 239 clr 458, which aligns the standard of originality more closely with that applied in European copyright law, invites reconsideration of the Australian approach in favour of a universal standard for all artistic works. A more contemporary understanding of what constitutes ‘art’ points in the same direction. In the result, there is no longer any need to apply a restrictive ‘artistic quality’ standard to works of applied art in Australia. Such an approach better aligns the tests of artistic copyright subsistence in different jurisdictions.

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12

Taçon, Paul S. C. "Australian Pleistocene rock art." Nature Human Behaviour 5, no. 3 (February 22, 2021): 301–2. http://dx.doi.org/10.1038/s41562-020-01043-y.

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13

Cameron, Liz. "Celebrating Australian Indigenous Art." International Journal of the Arts in Society: Annual Review 6, no. 1 (2011): 185–92. http://dx.doi.org/10.18848/1833-1866/cgp/v06i01/35968.

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14

Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.

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The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.

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15

Bowdler, Sandra. "Repainting Australian rock art." Antiquity 62, no. 236 (September 1988): 517–23. http://dx.doi.org/10.1017/s0003598x00074639.

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16

Ewington, Julie. "Cubism and Australian Art." Australian and New Zealand Journal of Art 10, no. 1 (January 2009): 144–63. http://dx.doi.org/10.1080/14434318.2009.11432606.

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17

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

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

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18

Griffin, Lynn, Steven Griffin, and Michelle Trudgett. "At the Movies: Contemporary Australian Indigenous Cultural Expressions – Transforming the Australian Story." Australian Journal of Indigenous Education 47, no. 2 (June 21, 2017): 131–38. http://dx.doi.org/10.1017/jie.2017.15.

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Cinema is an art form widely recognised as an agent to change the social condition and alter traditional norms. Movies can be used to educate and transform society's collective conscience. Indigenous Australian artists utilise the power of artistic expression as a tool to initiate change in the attitudes and perceptions of the broader Australian society. Australia's story has predominately been told from the coloniser's viewpoint. This narrative is being rewritten through Indigenous artists utilising the power of cinema to create compelling stories with Indigenous control. This medium has come into prominence for Indigenous Australians to express our culture, ontology and politics. Movies such as Samson and Delilah, Bran Nue Dae, The Sapphires and Rabbit-Proof Fence for example, have highlighted the injustices of past policies, adding new dimensions to the Australian narrative. These three films are just a few of the Indigenous Australian produced films being used in the Australian National Curriculum.Through this medium, Australian Indigenous voices are rewriting the Australian narrative from the Indigenous perspective, deconstructing the predominant stereotypical perceptions of Indigenous culture and reframing the Australian story. Films are essential educational tools to cross the cultural space that often separates Indigenous learners from their non-Indigenous counterparts.

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19

Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives." Art Libraries Journal 44, no. 3 (June 12, 2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.

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The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.

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20

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

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

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21

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

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

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22

Black, Colin. "Contextualizing Australian radio art internationally." Radio Journal:International Studies in Broadcast & Audio Media 17, no. 2 (October 1, 2019): 271–89. http://dx.doi.org/10.1386/rjao_00009_1.

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Is Australian radio art practice qualitatively different from international practice? Has there been an Australian approach to radio art that was internationally perceived? Drawing on interviews of national and international radio art practitioners and art theory to analyse important contributions to the field, this article contextualizes Australian radio art against international practice to arrive at nuanced answers to these questions.

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23

Howell, Catherine. "Changing Perspectives on Modernism in Australia: Cubism and Australian Art." Modernism/modernity 17, no. 4 (2010): 925–33. http://dx.doi.org/10.1353/mod.2010.0039.

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24

White, Anthony. "Henry Dearing: Decentering Australian Art." International Journal of Arts Theory and History 17, no. 1 (2022): 25–38. http://dx.doi.org/10.18848/2326-9952/cgp/v17i01/25-38.

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25

Flood, Josephine. "Interpretation of Australian Rock Art." Time and Mind 6, no. 1 (January 2013): 59–64. http://dx.doi.org/10.2752/175169713x13500468476600.

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26

Matthews, C. D. "ART regulation: the Australian viewpoint." Human Reproduction 11, no. 7 (July 1, 1996): 1365–66. http://dx.doi.org/10.1093/oxfordjournals.humrep.a019397.

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27

Čerče, Danica. "Generating Alternative Worlds: The Indigenous Protest Poetry of Romaine Moreton." ELOPE: English Language Overseas Perspectives and Enquiries 7, no. 1 (May 17, 2010): 49–59. http://dx.doi.org/10.4312/elope.7.1.49-59.

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Since the 1980s, indigenous authors have had a high profile in Australia and their writing has made a significant impact on the Australian public. Given that poetry has attracted more indigenous Australians than any other mode of creative expression, this genre, too, has provided an important impetus for their cultural and political expression. Discussing the verse of Romaine Moreton, and taking up George Levine’s view (2000) that works of art are able to produce critical disruptions and generate alternative worlds, the article aims to show that Moreton’s mesmerising reflections on origin, dispossession, dislocation and identity of Australian indigenous peoples encouraged national self-reflection and helped create a meaningful existence for the deprived and the dispossessed. It also touches upon some other topics explored in Moreton’s poetry and provides evidence of its universal relevance.

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28

Zhang, Rui, and Fanke Peng. "Connection: Digitally Representing Australian Aboriginal Art through the Immersive Virtual Museum Exhibition." Arts 13, no. 1 (December 27, 2023): 9. http://dx.doi.org/10.3390/arts13010009.

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In 2022, the National Museum of Australia launched an immersive virtual exhibition of Australian Aboriginal art: Connection: Songlines from Australia’s First Peoples, which was created and produced by Grande Experiences, the same team that produced the multisensory experience Van Gogh Alive. The exhibition employs large-scale projections and cutting-edge light and sound technology to offer a mesmerizing glimpse into the intricate network of Australian Aboriginal art, which is an ancient pathway of knowledge that traverses the continent. Serving as the gateway to the Songlines universe, the exhibition invites visitors to delve into the profound spiritual connections with the earth, water, and sky, immersing them in a compellingly rich and thoroughly captivating narrative with a vivid symphony of sound, light, and color. This article examines Connection as a digital storytelling platform by exploring the Grande Experiences company’s approach to the digital replication of Australian Aboriginal art, with a focus on the connection between humans and nature in immersive exhibition spaces.

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29

Healy, Chris. "When we look at pictures: Travel television and the intimacy of companion memory." Memory Studies 6, no. 3 (June 28, 2013): 262–72. http://dx.doi.org/10.1177/1750698013482645.

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Remembering in ‘modern’ Australia arises first and foremost through the transcultural processes of settler colonialism. This article explores some questions of memory’s cultures through a discussion of ‘travel television’. It argues that this kind of television is an example of a hybrid or non-human form of remembering that I call companion memory. I consider two examples: the 1950s television series, Australian Walkabout, and a recent television series on Australian indigenous art, Art + Soul. I conclude by considering how memory and travel might help us think about the kinds of intimacy and proximity implied by the notion of ‘memory up close’.

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

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

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31

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

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

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32

Archer, Anita, and David M. Challis. "‘The Lucky Country’: How the COVID-19 Pandemic Revitalised Australia’s Lethargic Art Market." Arts 11, no. 2 (April 5, 2022): 49. http://dx.doi.org/10.3390/arts11020049.

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Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.

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33

Farrell, Lindsay, Paula Schulz, and Monica Nebauer. "Art Research in Australian Catholic Hospitals." International Journal of Social, Political and Community Agendas in the Arts 11, no. 4 (2016): 11–26. http://dx.doi.org/10.18848/2326-9960/cgp/v11i04/11-26.

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34

CLEGG, JOHN. "Science, Theory, and Australian Prehistoric Art." Mankind 12, no. 1 (May 13, 2010): 42–50. http://dx.doi.org/10.1111/j.1835-9310.1979.tb00676.x.

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35

Mithen, Steven, and Robert Layton. "Australian Rock Art: A New Synthesis." Man 29, no. 1 (March 1994): 211. http://dx.doi.org/10.2307/2803544.

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36

Yip, Andrew. "The National 2017: New Australian Art." Australian and New Zealand Journal of Art 17, no. 2 (July 3, 2017): 256–60. http://dx.doi.org/10.1080/14434318.2017.1450065.

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37

Rey, Una. "Australian Art Exhibitions: Opening Our Eyes." Australian and New Zealand Journal of Art 19, no. 2 (July 3, 2019): 260–62. http://dx.doi.org/10.1080/14434318.2019.1675572.

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38

Jordan, Caroline, Helen McDonald, and Sarah Scott. "Australian Art and its Aboriginal Histories." Australian Historical Studies 54, no. 4 (October 2, 2023): 597–605. http://dx.doi.org/10.1080/1031461x.2023.2261166.

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39

Hunter, Mary Ann. "Youth Arts Festivals and the Politics of Participation." Canadian Theatre Review 106 (March 2001): 16–20. http://dx.doi.org/10.3138/ctr.106.003.

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Artrage, Next Wave, Take Over, Come Out, Loud and Fried are just some of the myriad youth arts festivals held in Australia in recent years. Usually supported by government arts funding and curated by professional producers, these festivals attract young artists, young audiences and lots of attention from those interested in new or emerging performance practices. Festival participation is increasingly popular among Australians, with over 30 per cent of eighteen-to-twenty-four-year-olds having attended a festival in the year prior to the last population census (Bureau of Statistics). Each state hosts at least one major recurrent youth arts festival, and many are vehicles for the development and presentation of new Australian theatre. Multimedia, interactive art and cross-art form performance often gain top billing in programming that privileges the innovative, highlights the social and sometimes inadvertently prescribes “the young.”

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Blessing, Peta Jane, and Simon Underschultz. "Expanding our reach: Special Collections and Archives of the NGA Research Library." Art Libraries Journal 44, no. 3 (June 12, 2019): 139–46. http://dx.doi.org/10.1017/alj.2019.19.

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The National Gallery of Australia Research Library and Archives (NGARL&A) offers unique collections and provides vital services within the contemporary Australian art world, but there has been a seismic shift in their users and use. This paper will explore the impact this change has had on our roles as art archivists and provide insight into new ways these collections are being used.

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Petelin, George. "Visual Art Doctorates: Practice-Led Research or Research Per Se?" Media International Australia 118, no. 1 (February 2006): 25–33. http://dx.doi.org/10.1177/1329878x0611800105.

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As part of a benchmarking project commissioned in 2002 by ACUADS, the Australian Council of University Art and Design Schools, I conducted a series of focus groups with candidates for higher degrees in Visual Art in Australia in order to gain some insight into how the terminology of research was understood and used by visual art higher degree students. The present paper makes use of that data and examines to what extent practice-led research can engage in a general research debate.

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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.

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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.

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HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.

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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.

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Keller, Judith. "Songs of the Australian Landscape: The Art and Spirituality of Rosalie Gascoigne." Pacifica: Australasian Theological Studies 20, no. 3 (October 2007): 307–21. http://dx.doi.org/10.1177/1030570x0702000305.

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This article focuses upon the central motifs and symbols of the Australian abstract artist Rosalie Gascoigne (1917-1999) in an attempt to uncover the spirituality in her work, and to connect this with Australian spirituality and with spirituality in the wider Christian tradition. The author proposes such a connection to be the fruit of bringing to bear the religious imagination upon Gascoigne's work, that is, a capacity to attend to the contemplative, creative and sacramental layers in it. Such a capacity invites a response to the artist's work that is ultimately religious. For Australia to be known as land of the spirit ( Terra spiritus), theologians cannot neglect the work of artists such as Rosalie Gascoigne.

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Volker, Joye, and Jennifer Coombes. "The art of life online: creating artists’ biographies on the web." Art Libraries Journal 34, no. 1 (2009): 12–16. http://dx.doi.org/10.1017/s0307472200015704.

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The World Wide Web has created significant changes in how cultural institutions, including galleries, communicate their role as custodians of cultural content and research. In this paper we discuss a number of initiatives involving the Research Library and curatorial sections at the National Gallery of Australia to bring information about Australian visual arts to an online audience.

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

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

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McPhee, John. "Forgetting our past." Art Libraries Journal 14, no. 2 (1989): 12–15. http://dx.doi.org/10.1017/s0307472200006180.

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While a great deal of the material evidence of Australian art of the past has been lost as a result of bushfires, other natural causes, accidents, or carelessness, even more has been deliberately destroyed. Artists or their families have often wished to erase the memory of convict or immigrant origins, youthful indiscretions, or previous marriages. The failure of national and state governments to formulate policies to ensure the preservation of business archives (including the archives of architectural firms and art galleries) continues to allow valuable material to be lost. Surviving archival material is often dispersed, occasionally inaccessible, and not infrequently inadequately catalogued. Fortunately nationwide initiatives have been launched – not a moment too soon – by the National Library of Australia and the Library of the Australian National

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Beck, Luke. "Our Father who art in Town Hall: Do local councils have power to pray?" Alternative Law Journal 46, no. 2 (March 17, 2021): 128–33. http://dx.doi.org/10.1177/1037969x21996364.

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Many local councils in Australia commence their meetings with prayer. Case law in the United Kingdom holds that English local councils do not have power to commence their meetings with prayer. This article argues that the reasoning of the UK case law applies with equal force in Australia with the result that the practice of many Australian local councils of incorporating prayers into their formal meetings is unlawful.

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Hilton-Smith, Simon, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng, and Xiaorui Guan. "Exhibition Reviews." Museum Worlds 10, no. 1 (July 1, 2022): 257–89. http://dx.doi.org/10.3167/armw.2022.100121.

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[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)

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Volker, Joye. "Changing roles, changing realities: Australian art librarians in a brave new world." Art Libraries Journal 31, no. 2 (2006): 19–28. http://dx.doi.org/10.1017/s0307472200014449.

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As we all cope with an e-everything world, libraries are moving to accommodate WOW (words on the web) as well as POP (print on paper) in their collections. This has led to a realignment in organisational structures, particularly in university contexts. This paper addressed two major issues: firstly the challenges that major institutional reorganisations in Australia have placed on universities and, in particular, on art schools; secondly the way these challenges may be met, based on actions and solutions to improve access to Australian visual arts information resources which followed from an extensive survey by the National Library of Australia in co-operation with ARLIS/ANZ. These results encourage art libraries to develop partnerships and networking with their parent institution and other libraries and cultural institutions on a national level.

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