Academic literature on the topic 'Artists as cartographers Australia'
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Journal articles on the topic "Artists as cartographers Australia"
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Leggett, Mike. "Walking and Mapping: Artists as Cartographers." Leonardo 47, no. 5 (October 2014): 522. http://dx.doi.org/10.1162/leon_r_00878.
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Haft, Adele. "John Ogilby, Post-Roads, and the “Unmapped Savanna of Dumb Shades”: Maps and Mapping in Kenneth Slessor’s Poetic Sequence The Atlas, Part Two." Cartographic Perspectives, no. 72 (June 1, 2012): 27–66. http://dx.doi.org/10.14714/cp72.424.
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Written by the acclaimed Australian poet Kenneth Slessor, “Post-roads” is the second poem of his sequence The Atlas and of his collection Cuckooz Contrey (1932), in which it debuted. Like the other four Atlas poems, “Post-roads” begins with a quote from a prominent seventeenth-century map-maker; in this case, John Ogilby (1600–1676)—the celebrated British publisher, surveyor, and cartographer. Slessor not only transformed Ogilby’s work (and portrait) into poetic images, but made Ogilby’s “tireless ghost” the central character of his poem. This article, part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, begins by reproducing the poem and tracing the poem’s development in Slessor’s poetry notebook. To reconstruct his creative process, it details the poet’s debt to the ephemeral catalogue of atlases and maps in which he discovered his title, epigraph, central character, and a possible source for the colorfully named coaches and carriages that conveyed passengers not only throughout London and Britain beginning in the early seventeenth century, but also throughout Australia from around 1800 to 1920. After comparing poet and cartographer, we consider the poem’s relationship to two of Ogilby’s atlases: the monumental Britannia (1675) and the posthumous, if far more accessible Traveller’s Guide (1699, 1712). Both reveal how Ogilby—even from the grave—helped passengers like the poem’s “yawning Fares” trace their routes. Finally, after offering reasons for Slessor’s choice of “Guildford” out of all the place-names along the roads through England and Wales, and proposing literary inspirations for “Post-roads,” the paper returns to Slessor’s hero/artist.
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Wood, Denis. "Map Art." Cartographic Perspectives, no. 53 (March 1, 2006): 5–14. http://dx.doi.org/10.14714/cp53.358.
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Artists make maps. Inspired by maps made by the Surrealists, by the Situationists, by Pop Artists, and especially by Conceptualists of every stripe, artists in increasing numbers have taken up the map as an expressive medium. In an age less and less enamored of traditional forms of representation – and increasingly critical – maps have numerous attractions for artists. Beyond their formal continuities, maps and paintings are both communicative, that is, constructs intended to affect behavior. As the energy of painting has been dispersed over the past half century into earth art, conceptual art, installation art, performance art, video art, cyber art, and so on, it has dispersed the map as a subject along with it. The irresistible tug maps exert on artists arises from the map’s mask of neutral objectivity, from its mask of unauthored dispassion. Artists either strip this mask off the map, or fail to put one on. In either case artists simultaneously point to the mask worn by the map, while they enter unmasked into the very discourse of the map. In so doing map artists are erasing the line cartographers have tried to draw between their form of graphic communication (maps) and others (drawings, paintings, and so on). In this way map artists are reclaiming the map as a discourse function for people in general. The flourishing of map art signals the imminent demise of the map as a privileged form of communication. The map is dead! Long live the map!
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Weishaus, Joel. "Walking and Mapping: Artists as Cartographers. By Karen O’Rourke. Cambridge, MA. MIT Press, 2013." Arts 3, no. 2 (June 16, 2014): 298–302. http://dx.doi.org/10.3390/arts3020298.
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Crocker, W. T. "Mapmakers of Australia: The history of the Australian Institute of Cartographers." Cartography 18, no. 1 (June 1989): 26. http://dx.doi.org/10.1080/00690805.1989.10438441.
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Tetiana, Perga. "Outstanding Ukrainian artists in Australia: Vasil Tsybulsky." Ukraïnsʹka bìografìstika, no. 19 (October 23, 2020): 259–68. http://dx.doi.org/10.15407/ub.19.259.
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Burgess, Erica, and Paula Dredge. "Supplying artists' materials to Australia 1788-1850." Studies in Conservation 43, sup1 (January 1, 1998): 199–204. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.199.
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Zawadzki, Kamil. "Unemployment of professional artists: empirical evidence from Australia." Australian Journal of Social Issues 51, no. 1 (April 2016): 67–88. http://dx.doi.org/10.1002/j.1839-4655.2016.tb00365.x.
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Nagy, Renata. "Nanban World Map Screens." Re:Locations - Journal of the Asia-Pacific World 3, no. 2 (April 6, 2020): 20–32. http://dx.doi.org/10.33137/relocations.v1i1.33629.
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The following paper investigates the ways in which European cartography blended with Japanese Buddhist cosmology and created a hybrid form of maps during the period of Japan’s first cultural encounter with Europeans in the second half of the 16th century and the early 17th century. The maps of Dutch cartographers heavily influenced these so-called nanban world-map screens created by Japanese artists. Nevertheless, their companion screens often depicted a local map of Japan in the gyoki tradition deeply embedded in the Buddhist faith system. With a focus on a seventeenth-century pair of folding screens, called the Nanban-Bunka-kan, the study argues, on the one hand, that Japanese artists used the European world map model to reinvent Japan’s global significance, which had been diminished by Buddhist cosmology. On the other hand, the companion screens express Japan’s desire to retain its traditions within the Buddhist realm, and they also emphasize its rejection of any possible foreign colonization. The placement of these seemingly two contrasting world views side-by-side supported the nationalistic ideals of Japanese war lords, who exploited these hybrid maps to validate their unification goals of the archipelago and conquests of foreign lands based on Japan’s newly acquired significance.
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Medynska-Gulij, Beata. "Who were cartographers of manuscript topographic maps in the Enlightenment?" Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-247-2019.
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<p><strong>Abstract.</strong> The most difficult challenge is to provide the name of the cartographer, i.e. the author of graphic picture of topography with the use of watermedia on paper, for each important European topographic work. Even though we know the names of chiefs of survey and the most important engineers in field mapping teams, it is not possible to precisely describe their role in creating graphic style for fair copy. The aim of this study was to identify several types of design authorship of manuscript topographic maps in the Enlightenment.</p><p>Wrede’s map of Silesia was developed under King Frederick II’s supervision, who was himself theoretically and practically competent in map making. The mapping and the resulting protraction copy were made by Wrede and his team, but the draughtsmen were probably coordinated by Oelsnitz, head of the Potsdam drawing room. Such a hierarchical production structure, might also be recognized in the map of Norway developed by order of Huth &ndash; the Staatsminister and mathematician &ndash; who delegated the coordination of surveying and drawing activities to Staffeldt. In fact, the men responsible for the original map were cartographer Stabell and other engineers. A similar solution would explain the map of the Electorate of Hanover, produced by Hogrewe and his subordinate engineers, formally supervised by du Plat, but with the personal involvement of King George III in the decisions over segment division and cartographic content.</p><p>Institutional authorship, or maps produced by the head of a specific drawing room and his subordinate draughtsmen. The map of England, attributed to Gardner and the personnel of the Tower of London drawing room, was developed according to this system. Authorship in tandem: those engineers who performed field surveys and sketches, and later produced fair copies (e.g. Roy and Sandby’s map of Scotland) &ndash; the former drew topographic objects and the latter was the sole author of landform painting; Avico and Carello (map of Susa Valley) &ndash; both put their ink signatures on the map, independent of the cartouche content.</p><p>Collective authorship where the maps were produced by draughtsmen associated with particular drawing rooms or employed to draw maps according to the protracted copies supplied. The former included, for instance, the case of the map of NE France with Lorraine (from Naudin’s atelier) or the over 3,000 map segments (map of the Habsburg Dominion) developed by officers in Vienna. A further example would be the map of Austrian Netherlands, most probably involving draughtsmen educated in France.</p><p>The comparison of maps with the actual topographic situation in the countryside, also made us realize that the perception and cartographic work of various groups of map-making officers in similar cultural and surveying conditions, but in different topographic situations, might be interpreted as elements in a broader phenomenon of the understanding of space in the Enlightenment. The use of water-based media allowed for the representation of lands throughout Europe. No other technique offered map makers and artists an opportunity to reflect landscape so realistically. It is, no wonder, then, that it strongly affected the development of modern principles for cartographic design, even being translated through into the engraving and lithographic world of print. The map-making initiatives conducted in the Enlightenment were distinctive, helping define an age and a new emerging Europe. In these manuscript maps, we can see how eighteenth-century European contemporaries helped develop conventions &ndash; in the use of line, color, perspective, tone and topographic form &ndash; that shaped how their world was seen: on maps, in art, in the political imagination.</p>
Dissertations / Theses on the topic "Artists as cartographers Australia"
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Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.
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Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.
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Caines, Rebecca English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Troubling spaces: The politics of ???New??? community-based guerrilla performance in Australia." Awarded by:University of New South Wales, 2008. http://handle.unsw.edu.au/1959.4/36750.
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This thesis examines the politics of twenty-first century ???guerrilla??? performance. It historicises site-specific, political performance by examining ???guerrilla??? art forms from the 1960s to the present. It argues that recent community-based, site-specific performance events can be seen as a ???new??? type of guerrilla work, as they utilise techniques which challenge public space, authorship and control without resorting to traditional guerrilla forms of didactic street protest. The author establishes two main political tactics of the community-based guerrilla artist. The first is the utilisation of a problematised definition of ???community??? and the second is an understanding of physical, conceptual and experiential ???space??? as open to intervention. Community-based performance and site-specific art practices are investigated and space and community are placed into critical theoretical frameworks using post-structural and spatiality theory. The author then argues that post-structured communities which are based on an ethics of difference can trouble and create site, conceptual space and place (site/concept/place) through contemporary guerrilla performance events. Three examples of community-based guerrilla performance in Australia are examined. The first case study explores Western Sydney based Urban Theatre Projects and their 1997 performance event TrackWork. The second focuses on community-based hip-hop artist Morganics and his facilitation of two hip-hop tracks Down River and The Block in 2001. The third considers US theatre director Peter Sellars??? problematic curation of the 2002 Adelaide Festival of the Arts. In all three case studies, guerrilla artists are shown working with post-structured communities to challenge and trouble site/concept/place in order to improve the lives of their participants and audiences. This thesis proposes new post-structural frameworks for the powerful presence of community and site in performance events, thus contributing to performance and cultural studies and to the emerging field of community-based performance scholarship.
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Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
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McCarron, Robyn Janelle. "Performing arts and regional communities : the case of Bunbury, Western Australia /." Access via Murdoch University Digital Theses Project, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.
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Thomson, Jonathan Wyville. "From aestheticism to the modern movement: Whistler, the artists Colony of St. lves and Australia, 1884-1910." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B29293479.
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McKay, Duncan Robert. "Drawn from artists’ lives: An empirical study of the situation and realisation of professional visual art practices in the Western Australian Field of cultural production." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/2006.
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This thesis presents the findings of empirical research on the working lives of visual artists living and working in Western Australia. No detailed studies of this kind have previously been undertaken in a Western Australian context, though a series of national, economically framed studies have surveyed Australian artists working in a variety of art forms about their working lives on five occasions since the early 1980s. Collectively the reports published from these five studies make up the most comprehensive picture of artists’ economic activity that has been available to policymakers and others involved in arts and culture in this country (Australia Council, 1983; Throsby & Hollister, 2003; Throsby & Mills, 1989; Throsby & Thompson, 1994; Throsby & Zednik, 2010). Seldom, however, has other suitable empirical data been collected from Australian artists facilitating the evaluation of the findings, methods and assumptions underlying economic research in this area. The detailed qualitative data collected for this research both augments and interrogates the findings of national quantitative studies, assessing their applicability to the particular circumstances of professional visual artists working in this state.
Artists’ working lives were examined using data in two forms: Curriculum Vitaes (CVs) of 322 Western Australian visual artists, published on commercial gallery websites; and in-depth interviews with a diverse sample of 20 Western Australian visual artists. This data has provided access to what Florian Znaniecki (1934) has called the humanistic coefficient: the understandings that social actors have of the situations within which they are acting. Without this understanding it is not possible to properly account for social activity, such as professional art practice. CVs have rarely been used as a data source for research, so this study has taken an innovative methodological approach and has demonstrated the potential for further development of these methods and this form of social data. CVs of visual artists were used to examine the Western Australian field of cultural production, and to produce a network-map of the social values and the complex relationships between artists, commercial galleries and other entities in the field.
In-depth interviews with 20 visual artists, practising in different media, at different stages of their career and earning their living in diverse ways, have provided detailed accounts of how visual artists construct their professional artistic identities and sustain their creative practice in Western Australia. Through qualitative analysis of these accounts, a new conceptual model of the labour of visual art has emerged, in which artists’ work is considered across four interrelated kinds of cultural production. 1) Artists define their practice, making it real for themselves. 2) Artists create the conditions in which they can define and maintain their practice. 3) Artists attract validation of their practice, seeking to make it real for other people. Throughout their work to establish the cultural reality of their practice, 4) artists also strive to maintain the integrity of their practice, to ensure that they continue to recognise themselves within it. The development of this conceptual model, the CV study and the rich contextual material obtained through interviews have informed the multi-dimensional understanding of the work of professional artists presented in this thesis, challenging and building upon previous research.
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Croft, Pamela Joy, and n/a. "ARTSongs: The Soul Beneath My Skin." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
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This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
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Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College, and Centre for Cultural Research. "Transexperience and Chinese experimental art, 1990-2000." THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.
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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.Doctor of Philosophy (PhD)
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McDonald, Michelle. "Selling Utopia marketing the art of the women of Utopia /." Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.
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Thesis (MA)--Macquarie University, Institute of Early Childhood.Includes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
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Books on the topic "Artists as cartographers Australia"
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Walking and mapping: Artists as cartographers. Cambridge, MA: MIT Press, 2013.
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Urban, Frank. Mapmaker: Life and spice in Africa, Europe, Australia and Asia. Port Macquarie, N.S.W: Frank Urban, 2008.
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Earth-mapping: Artists reshaping landscape. Minneapolis, Minn: University of Minnesota Press, 2005.
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McCarthy, J. E. Mapmakers of Australia: The history of the Australian Institute of Cartographers. [Canberra, A.C.T?: Australian Institute of Cartographers, 1988.
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Pring, Adele. Aboriginal artists in South Australia. [Adelaide]: Dept. of Employment, Education, Training, and Youth Affairs, 1998.
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Art of Australia. Sydney, N.S.W: Pan Macmillan Australia, 2008.
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Walker, Sue. Artists' tapestries from Australia 1976-2005. Roseville, N.S.W: Beagle Press, 2007.
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Pearce, Barry. Swiss artists in Australia, 1777-1991. Sydney: Art Gallery of New South Wales, 1991.
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Walker, Sue. Artists' tapestries from Australia 1976-2005. Roseville, N.S.W: Beagle Press, 2007.
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Kartograf Ivan Klobucarić i Rijeka: Rijeka i kvarnersko primorje na starim zemljopisnim kartama s naročitim obzirom na doprinos hrvatskog kartografa Ivana Klobučarića. Rijeka: Adamić, 2002.
Find full textBook chapters on the topic "Artists as cartographers Australia"
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Daniel, Ryan. "Reimagining Higher Education Curricula for Creative and Performing Artists: Creating More Resilient and Industry-Ready Graduates." In Mental Health and Higher Education in Australia, 151–60. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8040-3_9.
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Trapè, Roberta. "Australians’ Literatures and Cultures in Tuscany." In Biblioteca di Studi di Filologia Moderna, 129–43. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-597-4.11.
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Italy has been the destination of a lifetime for an endless stream of travellers and since the start of Australian travel to Italy, Tuscany has always had a special and persistent attraction for Australian writers and artists. The connection between Italy and Australia will be explored here highlighting two periods in which Tuscany, and particularly Florence and Prato, became active and lively hubs for the reflection and study of the relationship between Australia and Italy. I will refer to a conference organised by Gaetano Prampolini and Marie Christine Hubert in 1989 at the University of Florence, “An Antipodean Connection: Australian Writers, Artists and Travellers in Tuscany”, and to the first decade of the 21st century when Anna Maria Pagliaro was Director of the Monash Prato Centre (2005-2008).
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Archer, Robyn. "A View from Australia." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2642.
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Dragan Klaić’s faith in festivals as a uniting cultural force seems to have had much in common with the altruistic beginnings of the Edinburgh Festival. While it is true that post-war Edinburgh desperately needed new economic drivers, there is no reason to doubt the founders’ desires for a cultural framework that might help to pull Europe together again. Klaić’s desire was to deconstruct the silos of national identity and construct in their place platforms on which the differences in language and practice could be better understood and shared. While Melina Mercuri’s desires for better understanding between the different cultures of Europe resulted in many positive collaborations and much-needed sources of mobility for artists through the European Capital of Culture programme, the programme has also bred a kind of necessary civic bragging that I doubt Klaić would have found productive. This account of international arts festivals in Australia is less one of bragging (though that too has had its place) and more one of early ignorance, gradual evolution and a happy present. International arts festivals in Australia were first built entirely on the Edinburgh model. When first Perth in Western Australia, and then Adelaide in South Australia, cloned that model to their relatively isolated cities, the core desire was to bring ‘culture’ to those cities. Not that Perth and Adelaide lacked artists and performances, but those who had been to Edinburgh felt that Australian audiences were rarely exposed to the ‘best’ of culture. The significantly named Elizabethan Theatre Trust and entrepreneurs such as Ken Brodziak, already toured international shows and artists: I myself was taken by our science teacher, along with a few fellow students, to see Vivien Leigh play Portia in The Merchant of Venice, in 1962.
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D. Brunn, Stanley. "Perspective Chapter: Creative Mapping and Mapping Creativity." In Creativity [Working Title]. IntechOpen, 2022. http://dx.doi.org/10.5772/intechopen.102729.
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Creative efforts showing places and human/environmental features are integral to understanding our evolution of knowledge. Throughout human history, the construction of maps for personal, commercial or political control has been instrumental in displaying food production, faith landscapes, human migration, transportation networks, environmental conditions, human welfare and much more. The visible products about environmental settings and human well-being from prehistoric artists, explorers, cartographers and geographers to those using satellites, GIS and social media reflect rich imaginations about the place and environmental knowledge. Historical creative efforts are addressed as well as ongoing geographic searches and mapping to improve our understanding of the planet’s human and environmental features. Creative curiosities about places local, planetary and extra-planetary will forever be part of human histories.
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"Unsettling Landscape: An Artists’ Conversation." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.9.
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"Unsettling Landscape: An Artists’ Conversation." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.9.
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Mee, Nicholas. "The Flat Earth Society." In Celestial Tapestry, 272–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851950.003.0026.
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Chapter 25 explains the construction and use of the astrolabe with reference to Geoffrey Chaucer’s A Treatise on the Astrolabe. The astrolabe is a rotating map of the heavens constructed using a stereographic projection of the celestial sphere. The projection techniques required to create this map is reminiscent of the projections used by artists to show perspective, and it is closely related to the techniques of cartographers. The most familiar world maps are produced using the Mercator projection devised by Gerardus Mercator in the sixteenth century. Johannes Vermeer included maps in many of his paintings, most notably The Geographer and The Astronomer, and the figure in these painting might be the great microscopist Antonie van Leeuwenhoek. The architect Philip Steadman made an in-depth study of whether Vermeer employed a camera obscura when painting.
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"Lives of Artists, Identities of Countries: Dependence, Displacement, Identity, and Australia in Peter Carey’s Theft." In Engaging with Literature of Commitment. Volume 2, 245–56. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207850_018.
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Glowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives." In Indigenising Anthropology with Guattari and Deleuze, 281–96. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0010.
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This chapter presents digital forms of anthropological restitution developed in the late 1990’s and early 2000 by Barbara Glowczewski with different Aboriginal peoples for their own use and a larger audience. She designed the CD-ROM Dream Trackers (Yapa Art and Knowledge of the Australian Desert published by Unesco) with 51 elders and artists from the Central Australian community of Lajamanu in the Northern Territory. Quest in Aboriginal Land is an interactive DVD based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aimed to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Reticular or network thinking, Glowczewski argues, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so-called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies. First published in 2002.
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Corn, Aaron. "Rights and Recognition." In The Oxford Handbook of Global Popular Music, C49.S1—C49.N3. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190081379.013.49.
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Abstract The 1960s brought significant changes to Australian Government law and policy that began the process of redressing systemic injustices suffered by Indigenous peoples. This coincided with influential experiences of rock and other globalized popular styles that inspired Indigenous musicians to explore and experiment with new forms of musical expression. By the 1980s, popular music had become an influential vehicle for publicly expressing of Indigenous values and aspirations as Indigenous Australians asserted new claims for due recognition and rights. This chapter addresses the diverse and dynamic approaches that characterize Indigenous expressions through popular music. It explores the original music of Indigenous artists who have contributed substantially to promoting improved recognition and rights for Indigenous Australians, and to shaping public perspectives on vital matters for Indigenous and all Australians, including land rights, native title, child removals, incarceration rates, nationhood, racism, reconciliation, and constitutional recognition. It also reviews existing scholarship on Indigenous popular music in Australia, and examines current thinking and research approaches surrounding studies in this field. Drawing upon the author’s extensive research collaborations with Indigenous musicians, communities, and scholars since 1996, the author critically examines the progress and direction of debates into surrounding Indigenous Australian popular music, and identifies trends that are informing both musical and research developments in this field into the future. While it is not possible to address all Indigenous popular music and musicians or related research in this chapter, the author seeks to offer an insight to their depth and diversity.
Conference papers on the topic "Artists as cartographers Australia"
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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.
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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.
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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
Reports on the topic "Artists as cartographers Australia"
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Hearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.
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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.
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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.