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1
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>
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Maddrell, Susan. "ARTSDOC: Arts Documentation Service." Art Libraries Journal 11, no. 1 (1986): 21–24. http://dx.doi.org/10.1017/s0307472200004466.
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Computer technology, particularly in the area of data bases and networking systems, enables arts librarians to overcome some of the problems engendered by isolation and great distances. The Australia Council Library aims to provide greatly increased access to its large collection of press clippings on the arts in Australia through its data base, ARTSDOC. The artists’ file, a 22,500 record, A-Z sequence of press clippings covering the past decade, forms the basis of ARTSDOC. It is anticipated that input from 1986 onward will include all press clippings culled by the Library, whether they are artists’ clippings or more broadly subject based.
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Brittain, Corinne. "Unsettling Australia: The Role of Contemporary Urban Indigenous Visual Artists in a Re-Imagined Australia." International Journal of Social, Political and Community Agendas in the Arts 7, no. 3 (2013): 39–46. http://dx.doi.org/10.18848/2326-9960/cgp/v07i03/57774.
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Caust, Josephine. "Sustainability of Artists in Precarious Times; How Arts Producers and Individual Artists Have Adapted during a Pandemic." Sustainability 13, no. 24 (December 8, 2021): 13561. http://dx.doi.org/10.3390/su132413561.
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Making a living as an artist, whatever the discipline, is challenging. In addition to skills and talents, artists need resilience, adaptability, creativity, and the ability to withstand endless setbacks and rejections. Most critically, they need an on-going, stable income. Several studies have demonstrated that the income of most artists is usually very low. To survive, artists often find other sources of income aside from their creative work. Ideally, they also need a place to work, the capacity to do their work and a sense of validation from others of their work. When your livelihood disappears over night because of a pandemic, how do you then sustain that creative work? Using multiple sources of data and a qualitative methodology, including case studies and interviews, this paper addresses the ways that artists and producers from different art forms have addressed these challenges in Australia. It is concluded that while the impact of the pandemic on artists’ lives has been considerable, some artists have been able to survive, adapt, and move forward.
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Box, Kiernan, and Greg Aronson. "Protest Songs From Indonesia And Australia: A Musicological Comparison." Journal of Urban Society's Arts 9, no. 1 (December 19, 2022): 48–59. http://dx.doi.org/10.24821/jousa.v9i1.7146.
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Protest music is both commercially viable and an important tool for shaping community awareness of socio-political issues. Indonesian and Australian artists have produced protest music which has stimulated significant effect upon community attitudes and behaviours. Socio-political issues can be described and examined in songs using various lyrical methods, including strategic use of characters and narrative. Iwan Fals is a Javanese singer-songwriter who frequently employs satire and parody in relation to weighty political issues. Cold Chisel, Midnight Oil and Paul Kelly are Australian rock artists who have used real-life events as the inspiration for protest songs, many of which are delivered with a confrontational mode of lyric and performance. Compared to Australian acts, Indonesian artists have faced greater risk to personal freedom by engaging in protest music; this may explain why Indonesian protest songs are often presented with more subtle characteristics. from the abstract or from the body of the text, or from the thesaurus of the discipline. Lagu Protes dari Indonesia dan Australia: Perbandingan Musikologi. Musik protes layak secara komersial dan peranti penting untuk membentuk kesadaran masyarakat tentang masalah sosial-politik. Seniman Indonesia dan Australia telah menghasilkan musik protes yang memberikan pengaruh signifikan terhadap sikap dan perilaku masyarakat. Isu sosial-politik dapat dideskripsikan dan dikaji dalam lagu dengan menggunakan berbagai metode lirik, termasuk penggunaan karakter dan narasi yang strategis. Iwan Fals adalah penyanyi-penulis lagu Jawa yang sering menggunakan sindiran dan parodi terkait dengan isu-isu politik yang berat. Cold Chisel, Midnight Oil, dan Paul Kelly adalah artis rock Australia yang telah menggunakan peristiwa kehidupan nyata sebagai inspirasi untuk lagu-lagu protes, banyak di antaranya dibawakan dengan gaya lirik dan penampilan yang konfrontatif. Dibandingkan dengan artis Australia, artis Indonesia menghadapi risiko yang lebih besar terhadap kebebasan pribadi dengan terlibat dalam musik protes; ini mungkin menjelaskan mengapa lagu-lagu protes Indonesia seringkali disajikan dengan ciri-ciri yang lebih halus. dari abstrak atau dari tubuh teks, atau dari tesaurus disiplin.
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Allen, Louis A. "The Artists and Their Work." Aboriginal Child at School 14, no. 4 (September 1986): 54–59. http://dx.doi.org/10.1017/s0310582200014553.
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No one knows when or where Aboriginal painting began. There is some agreement that the Australian Aborigines came from a Veddoid ancestry originating in South India and Ceylon. Since the term Vedda is derived from the Sanskrit Vyadha, meaning a hunter or one who lives from the chase, we can assume that this also was originally a hunting culture. There is evidence that these hunters made paintings in caves, using ashes and turmeric mixed with spittle, possibly to bring success to their hunting. We can only conjecture, with no factual evidence, that the earliest migrants to Australia have brought this custom with them.The Arnhem Land bark paintings evolved from pictures of fish, animals and people which the first inhabitants appear to have made in caves and rock shelters. We can assume that these designs of kangaroos, fish, and thin, sticklike spirits called Mimi were drawn for the same purposes as today: to depict the totemic ancestors so their help and support could more readily be invoked, to encourage game to reproduce and increase, to make magic, and to depict the limits or characteristics of the ‘country’ owned by a clan.
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Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.
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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.
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Bridgstock, Ruth. "Australian Artists, Starving and Well-Nourished: What Can we Learn from the Prototypical Protean Career?" Australian Journal of Career Development 14, no. 3 (October 2005): 40–47. http://dx.doi.org/10.1177/103841620501400307.
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Recent literature documents the demise of traditional linear careers and the rise of protean, boundaryless, or portfolio careers, typified by do-it-yourself career management and finding security in ongoing employability rather than ongoing employment. This article identifies key attributes of the ‘new career’, arguing that individuals with careers in the well-established fields of fine and performing arts often fit into the ‘new careerist’ model. Employment/career data for professional fine artists, performing artists and musicians in Australia is presented to support this claim. A discussion of the meta-competencies and career-life management skills essential to navigate the boundaryless work world is presented, with specific reference to Australian artists, and recommendations for future research.
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Mar, Phillip, and Kay Anderson. "Urban Curating." Space and Culture 15, no. 4 (November 2012): 330–43. http://dx.doi.org/10.1177/1206331212460623.
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This article examines the modes of emergence of “the local” in particular collaborative art projects in suburban Sydney (Australia) as outflows of singular interfaces between artists, institutions, audiences, and administrators. We begin analytically with the circulations that variously draw on and craft notions of locality and community in two projects staged in western Sydney, both involving nonlocal artists collaborating with business entities and arts institutions. In each case, specific circulations worked to produce a differently spatialized interplay of artists’ processes, aesthetic objects, events, performances and dialogues. The article develops a working conception of “interspatiality” that draws on actor network and assemblage concepts to elicit how creative labor entangles people, places, communities, and ways of working and thinking.
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Pardy, John. "Remembering and forgetting the arts of technical education." History of Education Review 49, no. 2 (November 12, 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.
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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.
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Butler, Sally. "‘Art for a New Understanding’: An Interview with Valerie Keenan, Manager of Girringun Aboriginal Art Centre." Arts 8, no. 3 (July 15, 2019): 91. http://dx.doi.org/10.3390/arts8030091.
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A network of Indigenous art and culture centres across Australia play a significant role in promoting cross-cultural understanding. These centres represent specific Indigenous cultures of the local country, and help sustain local Indigenous languages, traditional knowledge, storytelling and other customs, as well as visual arts. They are the principle point of contact for information about the art, and broker the need to sustain cultural heritage at the same time as supporting new generations of cultural expression. This interview with Dr Valerie Keenan, Manager of Girringun Aboriginal Art Centre in northern Australia, provides rare insight into the strategies, challenges, and aspirations of Indigenous art centres and how the reception of the art impacts on artists themselves. It provides a first-hand account of how Indigenous artists strive to generate a new understanding of their culture and how they participate in a global world.
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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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Antoinette, Michelle. "Monstrous Territories, Queer Propositions: Negotiating The Asia Pacific Triennial of Contemporary Art, between Australia, the Philippines, and Other (Island) Worlds." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 54–85. http://dx.doi.org/10.1163/23523085-00302004.
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For the 8th Asia Pacific Triennial of Contemporary Art (apt) (2015–16), Sydney-based artists Justin Shoulder and Bhenji Ra collaborated to present Ex Nilalang, a series of filmic and live portraits exploring Philippine mythology and marginalized identities. The artists’ shared Filipino ancestry, attachments to the Filipino diasporic community, and investigations into “Philippine-ness” offer obvious cultural connections to the “Asia Pacific” concerns of the apt. However, their aesthetic interests in inhabiting fictional spaces marked by the “fantastic” and the “monstrous”—alongside the lived reality of their critical queer positions and life politics—complicate any straightforward identification. If the Philippine archipelago and island continent of Australia are intersecting cultural contexts for their art, the artists’ queering of identity in art and life emphasizes a range of cultural orientations informing subjectivities, always under negotiation and transformation, and at once both the product of and in excess of these (island) territories.
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Bradford, Clare, Catherine Sly, and Xu Daozhi. "Ubby’s Underdogs: A Transformative Vision of Australian Community." Papers: Explorations into Children's Literature 24, no. 1 (January 1, 2016): 101–31. http://dx.doi.org/10.21153/pecl2016vol24no1art1112.
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In Black Words White Page (2004), his seminal study of Aboriginal cultural production in Australia, Adam Shoemaker notes that ‘when Oodgeroo Noonuccal’s first collection of poetry appeared in print in 1964, a new phase of cultural communication began in Australia’ (2004, p. 5). The ‘new phase’ to which Shoemaker refers pertains to the many plays, collections of poetry and novels by Aboriginal authors published between 1964 and 1988 and directed to Australian and international audiences. Flying under the radar of scholarly attention, Aboriginal authors and artists also produced significant numbers of children’s books during this time, including Wilf Reeves and Olga Miller’s The Legends of Moonie Jarl, published by Jacaranda Press in 1964 (see O’Conor 2007), Oodgeroo Noonuccal’s Stradbroke Dreamtime (1972), and the picture books of Dick Roughsey and many other Aboriginal authors and artists (see Bradford 2001, pp. 159-90).
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Geissler, Marie. "Indigenous Agency in Australian Bark Painting." Arts 11, no. 5 (September 7, 2022): 84. http://dx.doi.org/10.3390/arts11050084.
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In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with the world. Within the context of recent art and anthropological scholarship, the paiFntings are understood as artefacts of Indigenous ‘agency’. They are products of the intentional action of artists through which power is enacted and from which change has followed. This paper reveals how the paintings were influential to their audiences and the discourses arising from their display through the agency of the artists who made them, and the curators who selected them. It underlines how Indigenous agency associated with the aesthetic and semantics values of bark painting has been and continues to be a powerful mechanism for instigating cultural, social, economic and political change. As such, it points to the wealth of Indigenous agency yet to be documented in the other collections of bark painting that are held in institutions in Australia and throughout the world.
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Hamilton, Donald G. "Australian doctors and the visual arts: Part 5. Doctor‐artists in South Australia, Tasmania, Western Australia and Queensland." Medical Journal of Australia 145, no. 10 (November 1986): 531–35. http://dx.doi.org/10.5694/j.1326-5377.1986.tb139460.x.
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Quilty, Patrick. "Neumayer in Australia: his scientific legacy." Proceedings of the Royal Society of Victoria 123, no. 1 (2011): 11. http://dx.doi.org/10.1071/rs11011.
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Georg von Neumayer (1826-1909) is a major figure in the history of Australian and Antarctic science. He came to Australia twice, in 1852 and 1857–1864, the first time as a sailor and the second as the scientist who established the Flagstaff Observatory in Melbourne. He came here at a time when the scientific tradition was firmly established in Europe (its home) but new to Australia where there was little or no homegrown scientific establishment. His main contributions are in the fields of terrestrial magnetism, the early days of oceanography, and the potential of polar research. He built and managed the Flagstaff Observatory, conducted a magnetic survey of Victoria, visited Tasmania to re-measure the magnetic parameters at Rossbank Observatory, worked to identify the most efficient sailing routes for shipping between Europe and Australia and collaborated with other scientists and artists during his sojourn here. On return to Europe, he became a major influence in the Heroic Era of Antarctic exploration.
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Callus, Ron, and Mark Cole. "Live for Art — Just Don't Expect to Make a Living from it: The Worklife of Australian Visual Artists." Media International Australia 102, no. 1 (February 2002): 77–87. http://dx.doi.org/10.1177/1329878x0210200109.
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Visual artists make up one of the few occupational groups in Australia where the majority of those working in the field are not regulated by awards or agreements that set minimum rates of pay and conditions. This is because most artists are self-employed and therefore lie outside the industrial relations regulatory framework. This article builds on the results of a survey of members of the National Association of Visual Artists (NA VA). The survey was designed to provide a picture of the income sources and activities of persons who work in the arts industry. For the majority of artists, the paid work undertaken as an artist was not their main source of income. These artists supplemented their art-producing income with other art and non-related income-producing work. A significant proportion of NAVA members work for a living in the visual arts industry as teachers, arts administrators, curators or in other art-related work; many of these also produce art in their spare time. The data collected were then used to develop a typology based on the combination of artists' time-use and income-generating activities. The typology was generated through the use of a cluster analysis that revealed three major groups of artists and a number of subgroups within these three major groupings. Given the complexities of the artist's labour market experiences, a number of options are canvassed as to how the precarious nature of artists' work could better be managed. One approach to regulation is to accept the realities of the artists' labour market and build around this through a system of accruing entitlements that come from working in the industry rather than for any one individual or organisation. It is suggested that governments could also take a different approach by recognising the special nature of artists' work, specifically the fact that artists move in and out of the labour market over their lifetimes. A whole-of-life approach to the problem is therefore necessary.
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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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Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (December 17, 2018): C02. http://dx.doi.org/10.22323/2.17040302.
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During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.
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Bowker, Sam. "No Looking Back." Australian Journal of Islamic Studies 4, no. 1 (July 17, 2019): 18–32. http://dx.doi.org/10.55831/ajis.v4i1.153.
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This is a critical review of changes in the two years since I wrote “The Invisibility of Islamic Art in Australia” for The Conversation in 2016. This includes the National Museum of Australia’s collaborative exhibition “So That You May Know Each Other” (2018), and the rise of the Eleven Collective through their exhibitions “We are all affected” (2017) in Sydney and “Waqt al-Tagheer – Time of Change” (2018) in Adelaide. It considers the representation of Australian contemporary artists in the documentary “You See Monsters” (2017) by Tony Jackson and Chemical Media, and the exhibition “Khalas! Enough!” (2018) at the UNSW.
These initiatives demonstrate the momentum of generational change within contemporary Australian art and literary performance cultures. These creative practitioners have articulated their work through formidable public networks. They include well-established and emerging artists, driven to engage with political and social contexts that have defined their peers by antagonism or marginalisation.
There has never been a ‘Golden Age’ for ‘Islamic’ arts in Australia. But as the Eleven Collective have argued, we are living in a time of change. This is an exceptional period for the creation and mobilisation of artworks that articulate what it means to be Muslim in Australia.
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Reichelt-Brushett, Amanda, and John Smith. "Connecting Silos - Inviting Art and Science Interactions." Leonardo 45, no. 5 (October 2012): 484–85. http://dx.doi.org/10.1162/leon_a_00453.
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In tertiary education in Australia there are often clear divisions between disciplines defined by hierarchy that is established for administrative purposes. These purposes often conflict with notions of trans-disciplinary study by creating an environment of competition rather than one of collaboration. Through this project we brought together science and art by developing a ‘hands on’ workshop where scientists and artists explored tools and techniques from unfamiliar disciplines. Collaborative projects and self emersion post workshop resulted in an exhibition of outcomes. The development of these outcomes challenged both artists and scientists to explore their discipline boundaries and connectivity by using tools and knowledge in unique ways.
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McQuilten, Grace. "Who is afraid of public space? Public art in a contested, secured and surveilled city." Art & the Public Sphere 8, no. 2 (December 1, 2019): 235–54. http://dx.doi.org/10.1386/aps_00023_1.
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In the wake of multiple global crises, fears of terrorism, rising nationalistic sentiments globally and the pervasive impacts of gender-based violence in public spaces, contemporary urban cities are permeated with surveillance, anxiety, fear and division. In this context, what role can (and should) public art be playing? This article explores this question in the context of Melbourne, a major metropolitan centre in Australia, which has been ruptured by the multiplying effects of highly publicized episodes of street violence, isolated terrorist attacks, high-profile murders and politically driven narratives about youth gangs. Looking at the work of female artists Maryann Talia Pau, Amy Spiers and Catherine Ryan, and artists from African Australian communities including Ez Deng, Atong Atem and Asia Hassan, the article addresses questions about agency and marginalization for artists working in public space, and considers how marginalized community groups may face barriers to creating artworks that engage directly in mainstream public spaces.
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Jones, Stephen. "Synthetics: A History of the Electronically Generated Image in Australia." Leonardo 36, no. 3 (June 2003): 187–95. http://dx.doi.org/10.1162/002409403321921389.
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This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.
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O'Connor, Sue, Jane Balme, Jane Fyfe, June Oscar, Mona Oscar, June Davis, Helen Malo, Rosemary Nuggett, and Dorothy Surprise. "Marking resistance? Change and continuity in the recent rock art of the southern Kimberley, Australia." Antiquity 87, no. 336 (June 1, 2013): 539–54. http://dx.doi.org/10.1017/s0003598x00049115.
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Enhanced by recent survey, the authors define new kinds of rock art along the Lennard and Fitzroy rivers in Western Australia—black pigment and scratch-work images featuring anthropomorphic figures with elaborate head-dresses. These are shown to belong to the Contact period and represent the response of Indigenous artists to European land-taking by recalling and restating traditional themes from earlier times.
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Gilfillan, Emily, and Guy Morrow. "Sustaining artistic practices post George Brandis’s controversial Australia Council arts funding changes: cultural policy and visual artists’ careers in Australia." International Journal of Cultural Policy 24, no. 2 (March 2, 2016): 186–204. http://dx.doi.org/10.1080/10286632.2016.1153083.
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Boaden, Sue. "Art information networks in Asia and the Pacific." Art Libraries Journal 11, no. 4 (1986): 4–7. http://dx.doi.org/10.1017/s0307472200004855.
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As former colonial links and reliance on a technologically-developed ‘West’ recede into the past, Asian and Pacific countries, including Australia, are becoming increasingly aware of one another as neighbours. Circulation of exhibitions, artists’ visits, cultural festivals, government and UNESCO activities, and art publishing, provide a network for sharing art and art information between countries in this region. Among art libraries, those in Australia and New Zealand participate in the network represented by ARLIS/ANZ; the IFLA Section of Art Libraries and its global role offers scope for further developments. An Asian/Pacific ‘ARLIS’ is proposed.
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Daniel, Ryan. "Artists and policy: a case study of the creative industries in north-eastern Australia." International Journal of Cultural Policy 20, no. 5 (December 18, 2013): 553–65. http://dx.doi.org/10.1080/10286632.2013.870163.
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Koenig, Jennifer, Jon C. Altman, and Anthony D. Griffiths. "Artists as Harvesters: Natural Resource Use by Indigenous Woodcarvers in Central Arnhem Land, Australia." Human Ecology 39, no. 4 (June 10, 2011): 407–19. http://dx.doi.org/10.1007/s10745-011-9413-z.
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Hadok, John. "Performing Arts Healthcare in Australia—A Personal View." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 82–84. http://dx.doi.org/10.21091/mppa.2008.2016.
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In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very capable!—Marilyn Bliss—to whom I am forever grateful) proved too much. After much lost money and sleep, and with a feeling of crushing defeat, I cancelled the project. As sometimes happens, the momentum has continued. From that quixotic project has grown a new organization, the Australian Society for Performing Arts Healthcare (ASPAH).
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Stoffers, Manuel, Blake Morris, Alan Meyer, Younes Saramifar, Andrew Cobbing, Martin Emanuel, Rudi Volti, Caitlin Starr Cohn, Caitríona Leahy, and Sunny Stalter-Pace. "Book Reviews." Transfers 7, no. 1 (March 1, 2017): 145–65. http://dx.doi.org/10.3167/trans.2017.070113.
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Bruce D. Epperson, Bicycles in American Highway Planning: The Critical Years of Policy-Making 1969–1991 (Jefferson, NC: McFarland & Company, 2014), 248 pp., $45Carlton Reid, Roads Were Not Built for Cars: How Cyclists Were the First to Push for Good Roads & Became the Pioneers of Motoring (Washington, DC: Island Press, 2015), 360 pp., $30Karen O’Rourke, Walking and Mapping: Artists as Cartographers (London: MIT Press, 2016), 328 pp., £22.95Jason Weems, Barnstorming the Prairies: How Aerial Vision Shaped the Midwest (Minneapolis: University of Minnesota Press, 2015), 368 pp., 116 b&w photos, 16 color plates, $122.50 (hardback), $35 (paperback)Christopher Schaberg and Mark Yakich, eds., Airplane Reading (Alresford, UK: Zero Books, 2016), 213 pp., $22.95 (paperback)Catherine L. Phipps, Empires on the Waterfront: Japan’s Ports and Power, 1858–1899 (Cambridge, MA: Harvard University Press, 2015), 308 pp., 6 maps, 3 tables, $39.95James Longhurst, Bike Battles: A History of Sharing the American Road (Seattle: University of Washington Press, 2015), 294 pp., $34.95David N. Lucsko, Junkyards, Gearheads, and Rust: Salvaging the Automotive Past (Baltimore: Johns Hopkins University Press, 2016), 283 + xii pp., 10 illustrations, $44.95Steven E. Alford and Suzanne Ferris, An Alternative History of Bicycles and Motorcycles: Two-Wheeled Transportation and Material Culture (Lanham, MD: Lexington Books, 2016), 189 pp., $80Harald Fischer-Tiné, Pidgin-Knowledge: Wissen und Kolonialismus (Zurich and Berlin: Diaphanes, 2013), 104 pp., €10Colson Whitehead, The Underground Railroad (New York: Doubleday, 2016), 320 pp., $26.95
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Steele, Dominic. "Fishing in Port Jackson, New South Wales–more than met the eye." Antiquity 69, no. 262 (March 1995): 47–60. http://dx.doi.org/10.1017/s0003598x00064292.
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Contemporary diaries and the water-colours of artists such as the Port Jackson Painter vividly tell of Aboriginal life when the First Fleet in 1788 settled its cargo of convicts in Australia. Fishing was important around the waters of Port Jackson, whose Aboriginal inhabitants are recorded to have used the techniques of spear-fishing and angling. Were other methods also used? Fish remains from a shell midden provide an opportunity to investigate.
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Cole, Noelene, and Alan Watchman. "AMS dating of rock art in the Laura Region, Cape York Peninsula, Australia – protocols and results of recent research." Antiquity 79, no. 305 (September 2005): 661–78. http://dx.doi.org/10.1017/s0003598x00114590.
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The authors describe rock art dating research in Australia using the oxalate method. While the array of dates obtained (which range from c. 1200 to c. 25 000 BP) show a satisfactory correlation with other archaeological data, there are mismatches which suggest that some motifs were often imitated by later artists, and/or that the mineral accretions continued to form periodically, perhaps continuously, as a regional phenomenon over a long period of time.
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Cortina G., Cecilia Z., Rochelle Wigley, and Shachak Pe'eri. "The GEBCO and NOAA Chart Adequacy Workshop." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-51-2019.
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<p><strong>Abstract.</strong> On July 23, NOAA Coast Survey hosted a three-day Chart Adequacy Workshop that included participants from 13 countries. This is the fourth Chart Adequacy Workshop held at National Oceanic and Atmospheric Administration’s (NOAA) Silver Spring, Maryland campus. This was the fourth workshop hosted by NOAA and Nippon Foundation / General Bathymetric Chart of the Oceans (GEBCO) Training Program at the Center for Coastal and Ocean Mapping, UNH. Unlike previous years (2017, 2016, 2015), the focus of this week was on networking and support for the upcoming International Cartographic Association (ICA) Working Group on Marine Cartography meeting held on July 26 and in preparation for next year’s International Cartographic Conference (ICC).</p><p> The main goal of the workshop is to provide training for professional cartographers and hydrographers on techniques for assessing nautical chart adequacy using publicly-available information, such as satellite images and maritime automatic identification system (AIS) data. . The participants received an overview on Coast Survey datasets, processes, and requirements for nautical charts. They also learned about pre-processing hydrographic data, such as loading charts, uploading imagery, and applying electronic navigation charts (ENCs) and AIS point data. Through a series of lab units, the attendees practiced performing the concepts they learned.</p><p>The 2018 participants were from Australia, Greece, Ireland, Japan, Latvia, Madagascar, Mexico, Nigeria, Peru, Poland, St. Vincent and the Grenadines, Taiwan, and Trinidad and Tobago. The international nature of the event allows the participants to meet and learn from cartographers from a variety of backgrounds and expertises. Thee individuals include Nippon Foundation / GEBCO training program students and those nominated by their home hydrographic offices and their travel was sponsored through funds secured by the workshop organizers.</p><p> The workshop was developed in part too address the need to improve the collection, quality, and availability of hydrographic data world-wide, and increase the standardization of chart adequacy evaluations across the globe. Coast Survey is currently working with the International Hydrographic Organization (IHO) to recommend participants for next year’s workshop towards the end of July, 2019.</p>
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Meyrick, Julian, Tully Barnett, and Robert Phiddian. "The conferral of value: the role of reporting processes in the assessment of culture." Media International Australia 171, no. 1 (September 24, 2018): 80–94. http://dx.doi.org/10.1177/1329878x18798704.
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This article considers the role of reporting processes in the assessment of arts and culture and argues that a determination of an organisation’s or event’s value is the result of a chain of administrative and political interactions. The ‘conferral of value’ on a particular cultural activity may be seen as the outcome of a multi-stakeholder dialogue involving governments, funding agencies, cultural organisations and individual artists. The article emerges from a mixed-methods research project, Laboratory Adelaide: The Value of Culture, underway at Flinders University. The project works with three industry partners: the State Library of South Australia, the State Theatre Company of South Australia and the Adelaide Festival. A sketch of the history of the problem of culture’s value is given, together with the historical background of the arts in South Australia. The article concludes with a brief overview of two innovative reporting frameworks – sustainability reporting (GRI) and Integrated Reporting (IR) – and the potential gains for the cultural sector in the reporting reforms now happening in South Australia across all public bodies at a state government level.
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Murwanti, Aprina. "Mapping Strategy of Practicing Visual Art for Academic Purpose: a Perspective from Indonesia." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 291–96. http://dx.doi.org/10.18844/prosoc.v4i11.2884.
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Practice-based research was formally introduced in western academic institutions after the emergence of PhD visual art practice in early 1980 in Australia. This practice-based research approach became an alternative for artists to claim equality of art practice as research for academic purposes. Utilising Graeme Sullivan’s framework, ‘Art Practice as Research’, this paper maps visual art practice perceived as research in Indonesia. Interviews and focus group discussions from a total of 27 participants were analysed to map the symptoms of practice-based research approach in Indonesian visual art practice. This paper gives the strengths and weaknesses in the way participants (artists, curator, lecturer, undergraduate and postgraduate students as well as art manager) in Indonesia approach the practice of visual art in the academic context. Through this research, traces on how visual art is practiced in the academic context reveal the distinct Indonesian visual art practice at the higher education institution level. Keywords: Practice-based research, visual art practice, academic.
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Devenish, Louise. "INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE." Tempo 74, no. 292 (March 6, 2020): 6–9. http://dx.doi.org/10.1017/s0040298219001128.
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AbstractThe collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers, gender diversity strategies in tertiary music education and the positive impacts of content targets in programming. Together these articles offer a wide range of perspectives on changing creation and performance practices, listening practices and audience attitudes to music in the twenty-first century. Contributors include leading scholar-performers active at the forefront of contemporary music in Australia, artists from the UK and USA, as well as national radio programmers and not-for-profit arts organisations.
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Salama, Dr Yousra Mohamed. "EGYPT IN THE EYES OF THE FIRST FRENCH PHOTOGRAPHERS." Journal of Historical Studies 1, no. 1 (January 6, 2020): 1–18. http://dx.doi.org/10.47941/jhs.357.
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The French invasion of Egypt sparked a national passion for all of Egypt's ancient Pharaonic history. Napoleon not only came to invade Egypt, but brought with him more than 150 scientists, cartographers, artists, naturalists and even musicians and painters; Observing the details of ancient sites and existing customs, the result was the huge work "Description of Egypt", published between 1809 and 1829, in twenty volumes, containing about 900 inscriptions. The French scientist François Arago (1786 - 1853) regretted that photography had not been invented yet. As he announced in Paris on January 7, 1839, he invented the photographic design designed by Louis-Jacques-Mandé Daguerre to copy millions of hieroglyphs covering the exterior of the great monuments at Thebes, Memphis, Karnak, etc., you'll need decades of hordes of painters, but with the invention of Daguerre, one person is enough to do so.In announcing the invention of photography, Arago pledged to harness this invention in the service of science - and was intended to replace the cartoons of the book Description of Egypt; The attention of photographers, they showed the beauty of the region, as well as recording the landmarks of this civilization. These early photographers also presented a series of unique images of Egypt, thereby deepening the French public's sense of the greatness of the Egyptian civilization, and the world in general, with the legacy they documented. Thousands of years ago, they have stimulated those who will come after them to see all these tourist places, and the interest in the region, which has already increased with the development in the process of photography, which contributed to the increase of desire and see those places and take pictures of them.
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Ospishcheva-Pavlyshyn, Mariia. "Image of Ukraine in the Works of Western Artists (Kyiv Murals)." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 59–64. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235128.
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The article addresses the classification of Kyiv murals of the early 21st century, made by foreign artists (USA, Canada, France, United Kingdom, Belgium, Australia, Spain, Portugal, Argentina, Brazil, Costa Rica, South Africa, etc.). The image of Ukraine in the work of these artists, who got to know Ukraine forcedly, episodically, and inevitably scarcely, isthe image of the Other on the territory of this Other. As a result, “others” (foreign artists) overcome their own otherness and enter into cultural dialogue with other culture and the city, the notable part of which their murals become. Along with animalistic motifs (mainly ornithological), this area is dominated by the archetypal images of Ukrainian history and culture, bizarrely supplemented by their own reminiscences and additions (mural Berehynia). However, signs of simulacrum is not the case. It is rather a carnival fantasy that traces the influence of Baroque culture, which has deep roots in Ukraine. There are precedents of collaboration with Ukrainian authors (mural Vidrodzhennia (Renaissance) by Julien Malland and Oleksii Kyslov). Occasionally, foreign artists use only certain attributes of local life (embroidery pattern), directly reflect on the impressions of the present, transplanting them into the European context (mural Night Kyiv). Also from time to time they turn to real characters of national history and culture (Serhii Nigoian, Lesia Ukrainka, in the latter case Guido van Helten boldly reformed the established image iconography of the “daughter of Prometheus”, giving his heroine the features of a modern feminist), as well as sports (gymnast Hanna Rizatdinova). It was concluded that there is a long-term cultural dialogue between the West and Ukraine, with the first party presenting maximum interest and tolerance.
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Wason Singh, Ruchika. "Performing in the pandemic: The COVID-19 chronicles of Asian mother artists." Performing Ethos: International Journal of Ethics in Theatre & Performance 12, no. 1 (November 1, 2022): 85–101. http://dx.doi.org/10.1386/peet_00048_1.
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This article seeks to collect stories and make heard the voices of mother artists of Asian descent/Asia, about their experiences during the COVID-19 pandemic. The focus is on documenting the implications of their experiences during the pandemic, on their maternal role performance and their studio practice. Some of the points of departure proposed to the artists include disruptions in routines, re-prioritization of work, changes in durational attention given to the work before the pandemic, the psychological and physiological impact of the pandemic on individual health to impede role performance, and the impact of the challenges/changes on the sense of self/identity. At the same time there is also a curiosity about the coping mechanisms they might have sought to counter the situations. I have curated the collection of narratives by inviting Phaptawan Suwannakudt (Australia and Thailand), Nidhi Agarwal (India), Monika Lin (China and United States), Tazeen Qayyum (Canada and Pakistan) and Arisa Chinen (Japan) to share their stories. Their artistic responses will be in the form of text and image.
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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.