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Journal articles on the topic 'Australian art history'

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Author: Grafiati

Published: 10 December 2022

Last updated: 20 February 2023

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1

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

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

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2

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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3

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

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

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4

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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5

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

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

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6

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

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

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7

Gilmour, Joanna. "Rattling Spears: A History of Indigenous Australian Art." Australian Historical Studies 48, no. 3 (July 3, 2017): 453–55. http://dx.doi.org/10.1080/1031461x.2017.1337485.

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8

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

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

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9

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

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

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10

Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.

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Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and indicates a growing concern by people with using graphic art to record their relationship with the site. Over the last millennium changes in the surviving frieze of paintings at Puritjarra record fundamental changes in graphic vocabulary, style, and composition of the paintings. These coincide with other evidence for changes in the geographic linkages of the site. As Puritjarra's place in the social geography changed, the motifs appropriate for the site also changed. The history of this rock shelter shows that detailed site histories will be required if we are to disentangle the development of central Australian graphic systems from the temporal and spatial variability inherent in the expression of these systems.

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11

Grishin, Alexander. "A New History of Australian Art: Dialectic between Indigenous and Non-Indigenous Art." International Journal of the Humanities: Annual Review 6, no. 7 (2008): 97–104. http://dx.doi.org/10.18848/1447-9508/cgp/v06i07/42490.

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12

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

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

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13

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

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

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14

Lipscombe, Tamara A., Peta L. Dzidic, and Darren C. Garvey. "Coloniser control and the art of disremembering a “dark history”: Duality in Australia Day and Australian history." Journal of Community & Applied Social Psychology 30, no. 3 (December 2019): 322–35. http://dx.doi.org/10.1002/casp.2444.

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15

Robertson, Carmen. "Utilising PEARL to Teach Indigenous Art History: A Canadian Example." Australian Journal of Indigenous Education 41, no. 1 (August 2012): 60–66. http://dx.doi.org/10.1017/jie.2012.9.

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This article explores the concepts advanced from the Australian Learning and Teaching Council (ALTC)-funded project, ‘Exploring Problem-Based Learning pedagogy as transformative education in Indigenous Australian Studies’. As an Indigenous art historian teaching at a mainstream university in Canada, I am constantly reflecting on how to better engage students in transformative learning. PEARL offers significant interdisciplinary theory and methodology for implementing content related to both Canadian colonial history and Indigenous cultural knowledge implicit in teaching contemporary Aboriginal art histories. This case study, based on a third-year Indigenous art history course taught at University of Regina, Saskatchewan in Canada will articulate applications for PEARL in an Aboriginal art history classroom. This content-based course lends itself to an interdisciplinary pedagogical approach because it remains outside the traditional disciplinary boundaries accepted in most Eurocentric-based histories of art. Implementing PEARL both theoretically and methodologically in tandem with examples of contemporary Indigenous art allows for innovative ways to balance course content with the sensitive material required for students to better understand and read art created by Indigenous artists in Canada in the past 40 years.

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Taçon, Paul S. C., Sally K. May, Daryl Wesley, Andrea Jalandoni, Roxanne Tsang, and Kenneth Mangiru. "History Disappearing: The Rapid Loss of Australian Contact Period Rock Art." Journal of Field Archaeology 46, no. 2 (January 26, 2021): 119–31. http://dx.doi.org/10.1080/00934690.2020.1869470.

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17

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

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

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18

Lummis, Geoffrey William, Julia Elizabeth Morris, and Graeme Lock. "The Western Australian Art and Crafts Superintendents’ advocacy for years k-12 Visual Arts in education." History of Education Review 45, no. 1 (June 6, 2016): 115–30. http://dx.doi.org/10.1108/her-12-2014-0045.

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Purpose – The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development. Design/methodology/approach – A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period. Findings – This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987). Originality/value – The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.

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19

Warren, Kate. "A Brief History of The Australian Women’s Weekly Art Prize, 1955–1959." Australian and New Zealand Journal of Art 18, no. 2 (July 3, 2018): 242–58. http://dx.doi.org/10.1080/14434318.2018.1516497.

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Gunn, Robert, and Susan Lowish. "Australian Rock Art in the Expanded Field: History, Meaning, and Contemporary Context." Australian and New Zealand Journal of Art 19, no. 2 (July 3, 2019): 139–41. http://dx.doi.org/10.1080/14434318.2019.1701383.

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21

Lindsay, Elaine, and Deborah Stevenson. "Art and Organisation: Making Australian Cultural Policy." Labour History, no. 79 (2000): 251. http://dx.doi.org/10.2307/27516761.

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22

Tsokhas, Kosmas. "British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries." Australian Historical Studies 51, no. 2 (April 2, 2020): 237–38. http://dx.doi.org/10.1080/1031461x.2020.1746996.

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23

Denton, Derek. "Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 1 (2007): 97. http://dx.doi.org/10.1071/hr07005.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.

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Denton, Derek. "Erratum to: Kenneth Baillieu Myer 1921 - 1992." Historical Records of Australian Science 18, no. 2 (2007): 305. http://dx.doi.org/10.1071/hr07005_er.

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Kenneth Baillieu Myer was elected to the Fellowship of the Australian Academy in April 1992, under the provision for special election of people who are not scientists but have rendered conspicuous service to the cause of science. Myer was a significant figure in Australian history by virtue of his contribution to the origins or early development of major national institutions, most notably the Howard Florey Laboratories of Experimental Physiology and Medicine, the School of Oriental Studies at the University of Melbourne, the Victorian Arts Centre and the National Library of Australia. He successfully fostered new research in organizations such as the Division of Plant Industry of the CSIRO and helped build the Oriental Collection of the Art Gallery of New South Wales.

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25

Diprose, Rosalyn. "The Art of Dreaming: Merleau-Ponty and Petyarre on Flesh Expressing a World." Cultural Studies Review 12, no. 1 (August 5, 2013): 32–43. http://dx.doi.org/10.5130/csr.v12i1.3411.

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I do not understand painting very well, and especially not Australian Indigenous painting, the dot painting of Western and Central Desert artists such as Kathleen Petyarre. I grew up without art on the wall, among gum trees, red dirt, dying wattle, and ‘two thirds (blue) sky’. While this might suggest that I inhabit the same landscape as Petyarre, I also grew up without ‘the Dreaming’, the meaning that this dot painting is said to be about. How and why then can this painting have the impact on me that it does? And, given the history of colonisation in Australia, including the colonisation of Indigenous meanings, what is the politics of the impact of that painting?

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26

Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.

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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).

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Wilczyńska, Elżbieta. "Transculturation and counter-narratives: The life and art of the Wurundjeri artist William Barak." Journal of New Zealand & Pacific Studies 10, no. 1 (June 1, 2022): 51–67. http://dx.doi.org/10.1386/nzps_00092_1.

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A few decades ago the culture of Aboriginal Australians was believed to have been removed or assigned to the margins. It was considered static and primitive, produced by uncivilized and barbaric peoples. Since the 1980s the view has been successfully challenged and recent art histories produced in settler colonial countries emphasize that Indigenous cultures were neither stuck in the past nor resistant to change. Its development was due to contact between the Indigenous and settler societies and the cross-cultural interactions the contact engendered in political, social and artistic life. This was often against the backdrop of conquest and displacement, which was the result of colonization. Adopting as the main frame of the discussion the theory of transculturation and the concept of counter-narrative from cultural studies, this article will show these different types of encounters and their influence on the life and art of William Barak, a nineteenth-century Aboriginal Australian statesman, leader of a Woi Wurrung nation and an artist. It will also show ‐ again through transculturation ‐ what trajectory the Australian mainstream society followed from initial separation and exclusion, through assimilation to an integration of Indigenous Australians in the artistic and social life. The counter-narrative concocted on the basis of those encounters produces a nuanced picture of loss, survival and strength as experienced by William Barak and his peoples.

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Curran, Georgia. "Amanda Harris. Representing Australian Aboriginal Music and Dance, 1930–1970." Context, no. 47 (January 31, 2022): 85–87. http://dx.doi.org/10.46580/cx80760.

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In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having on the Australian art music scene of today. As such, the book makes an important contribution to the ‘truth telling’ of Australian history while also showing that—despite the severe policies during this era, including the banning of speaking in Indigenous languages and restricting the performance of ceremony—Aboriginal people have remained active agents in driving their own engagements and asserting their own culturally distinct modes of music and dance performance. This resilience against significant odds has been aptly described by one of the book’s contributors, Yorta Yorta and Dja Dja Warrung cultural leader, visual and performance artist, curator and opera singer Tiriki Onus, as ‘hiding in plain sight,’ referring to the ways in which Aboriginal people ensured the continued practice and performance of their culture by doing so in public, the only place they were allowed to…

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Condé, Anne-Marie. "John Treloar, Official War Art and the Australian War Memorial*." Australian Journal of Politics & History 53, no. 3 (September 3, 2007): 451–64. http://dx.doi.org/10.1111/j.1467-8497.2007.00469.x.

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30

Gregory, Jenny. "Stand Up for the Burrup: Saving the Largest Aboriginal Rock Art Precinct in Australia." Public History Review 16 (December 27, 2009): 92–116. http://dx.doi.org/10.5130/phrj.v16i0.1234.

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The Dampier Rock Art Precinct contains the largest and most ancient collection of Aboriginal rock art in Australia. The cultural landscape created by generations of Aboriginal people includes images of long-extinct fauna and demonstrates the response of peoples to a changing climate over thousands of years as well as the continuity of lived experience. Despite Australian national heritage listing in 2007, this cultural landscape continues to be threatened by industrial development. Rock art on the eastern side of the archipelago, on the Burrup Peninsula, was relocated following the discovery of adjacent off-shore gas reserves so that a major gas plant could be constructed. Work has now begun on the construction of a second major gas plant nearby. This article describes the rock art of the Dampier Archipelago and the troubled history of European-Aboriginal contact history, before examining the impact of industry on the region and its environment. The destruction of Aboriginal rock art to meet the needs of industry is an example of continuing indifference to Aboriginal culture. While the complex struggle to protect the cultural landscape of the Burrup, in particular, involving Indigenous people, archaeologists, historians, state and federal politicians, government bureaucrats and multi-national companies, eventually led to national heritage listing, it is not clear that the battle to save the Burrup has been won.

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31

Antoinette, Michelle. "A space for ‘Asian-Australian’ art: Gallery 4A at The Asia-Australia Arts Centre." Journal of Australian Studies 32, no. 4 (December 2008): 531–42. http://dx.doi.org/10.1080/14443050802471434.

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32

De Lorenzo, Catherine. "More than Skin and Bones: A Recent Australian Public Art Project Re-evaluating History." de arte 54, no. 2 (May 4, 2019): 22–40. http://dx.doi.org/10.1080/00043389.2019.1611192.

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33

Szulakowska, Urszula. "Rose Farrell and George Parkin: Art history and “primitivism” in contemporary Australian performance photography." Continuum 8, no. 1 (January 1994): 395–405. http://dx.doi.org/10.1080/10304319409365658.

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34

Loaney, Denis. "Australian Indigenous Art Innovation and Culturepreneurship in Practice: Insights for Cultural Tourism." Arts 8, no. 2 (April 9, 2019): 50. http://dx.doi.org/10.3390/arts8020050.

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Indigenous cultural tourism offers significant future opportunities for countries, cities and Indigenous communities, but the development of new offerings can be problematic. Addressing this challenge, this article examines contemporary Australian Indigenous art innovation and cultural entrepreneurship or culturepreneurship emanating from Australia’s remote Arnhem Land art and culture centres and provides insight into the future development of Indigenous cultural tourism. Using art- and culture-focused field studies and recent literature from the diverse disciplines of art history, tourism, sociology and economics, this article investigates examples of successful Indigenous artistic innovation and culturepreneurship that operate within the context of cultural tourism events. From this investigation, this article introduces and defines the original concept of Indigenous culturepreneurship and provides six practical criteria for those interested in developing future Indigenous cultural tourism ventures. These findings not only challenge existing western definitions of both culture and culturepreneurship but also affirm the vital role of innovation in both contemporary Indigenous art and culturepreneurial practice. Equally importantly, this investigation illuminates Indigenous culturepreneurship as an important future-making socio-political and economic practice for the potential benefit of Indigenous communities concerned with maintaining and promoting their cultures as living, growing and relevant in the contemporary world.

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McIntosh, R. A. "From Farrer to the Australian Cereal Rust Control Program." Australian Journal of Agricultural Research 58, no. 6 (2007): 550. http://dx.doi.org/10.1071/ar07148.

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Australia has a proud history in the development of rust-resistant wheat, a history that has evolved with the development of knowledge of host–pathogen genetics and the continuing transition of plant breeding from an art to science. William Farrer, who migrated to Australia to relieve his problem of tuberculosis, witnessed rust problems on farmers’ fields and addressed the problem as a private individual. Before the rediscovery of Mendel’s principles of inheritance he, like contemporaries in other countries, appreciated that variability was present and was inherited such that different traits could be recombined. He appreciated that there were 2 separate rusts and that both, particularly the less frequent stem rust, had to be present for effective selection in breeding programs. The University of Sydney has the oldest Faculty of Agriculture in the country and one of its first graduates initiated, in 1921, studies on cereal rust pathogen variability, host resistance, and resistance breeding. That program continues to the present time with the recurring themes of pathogen variability, host resistance, and the best ways of achieving lasting resistance. Until the 1970s, most of the knowledge of rust variability at the national level was applied to the University’s breeding program, targeted to prime hard-quality wheat for northern NSW. Following the 1973 rust epidemic in southern Australia, a National Wheat Rust Control Program was initiated, and it has evolved through several steps to the present Australian Cereal Rust Control Program with international dimensions. This paper reviews some of the history, development, applications, and achievements of 88 years of cereal rust research.

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Shaw, Margaret. "Following the textile trail: acquisition of South and Southeast Asian art books from an Australian perspective." Art Libraries Journal 18, no. 2 (1993): 15–19. http://dx.doi.org/10.1017/s0307472200008294.

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Australia has traditionally adopted a Eurocentric outlook which has begun to be modified in the last decade by reappraisal of the country’s location in the Asia-Pacific region. The Australian National Gallery has only recently developed its collections of the textiles of South and Southeastern Asia and of related research materials, yet it already accommodates the world’s leading public collection of Indian textiles exported to Southeast Asia. Acquisition of both contemporary and antiquarian library materials has been complicated by the range of languages and cultures involved, the history of the textile trade, colonial publishing, and the problems encountered in dealing with a varying degree of organisation in local publishing and distribution. Nonetheless, with patience, as a result of travelling, by means of networking, and with the help of distributors, it has proved possible to build a worthwhile collection without depending too exclusively on Western publications.

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Harris, Amanda. "Indigenising Australian music: authenticity and representation in touring 1950s art songs." Postcolonial Studies 23, no. 1 (January 2, 2020): 132–52. http://dx.doi.org/10.1080/13688790.2020.1727968.

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Dowling, Peter. "Truth versus art in nineteenth‐century graphic journalism: The colonial Australian case." Media History 5, no. 2 (December 1999): 109–25. http://dx.doi.org/10.1080/13688809909357955.

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Marcus, Julie. "What's at Stake? History Wars, the NMA and Good Government." Cultural Studies Review 10, no. 1 (September 13, 2013): 134–48. http://dx.doi.org/10.5130/csr.v10i1.3548.

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I want to place the fate of the National Museum of Australia (NMA) in the context of some of the political strategies that underpin the electoral placidity and public acceptance of a government so radically reshaping Australian democratic institutions. A national museum that reaches and engages with a national constituency can be an important place for the vigorous public debate that democracy requires. In such a place, political doctrines and dogmas, cultural fantasies and assumptions, historical interpretations and good old common-sense may all be scrutinised as well as confirmed. Such a place sits beside schools and universities, public libraries and art galleries and festivals, each of which provides the opportunity for reflection as well as for congratulation. As with the other publicly funded but independent sites of public reflection, the National Museum is to be reined in and redirected. It is to become ‘balanced’. Nothing could more surely ring its death knell. In future, the museum’s visitors will reflect along the narrow and limited lines of carefully delineated ‘alternatives’ that in fact confine and constrain rather than enlarge understanding.

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Frieman, Catherine, and Sally K. May. "Navigating Contact: Tradition and Innovation in Australian Contact Rock Art." International Journal of Historical Archaeology 24, no. 2 (September 9, 2019): 342–66. http://dx.doi.org/10.1007/s10761-019-00511-0.

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McAuliffe, Chris. "The game of nationhood: art, football, and Australian federation." Journal of Australian Studies 37, no. 4 (December 2013): 520–34. http://dx.doi.org/10.1080/14443058.2013.841724.

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Tavendale, Olwyn. "Painting Country: Spatial, Somatic and Linguistic Experience in Central Australian Aboriginal Art." Oceania 89, no. 1 (March 2019): 104–23. http://dx.doi.org/10.1002/ocea.5212.

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Ouzman, Sven, Paul S. C. Taçon, Ken Mulvaney, and Richard Fullager. "Extraordinary Engraved Bird Track from North Australia: Extinct Fauna, Dreaming Being and/or Aesthetic Masterpiece?" Cambridge Archaeological Journal 12, no. 1 (April 2002): 103–12. http://dx.doi.org/10.1017/s0959774302000057.

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An extraordinary engraved bird track was located in the Weaber Range of the Keep River region of Northern Territory, Australia, in July 2000. This engraved track is dissimilar to most other examples in Australian rock-art, differing in shape, size and detail from the thousands of engraved, painted or beeswax depictions of bird tracks known from sites across the continent. Importantly, it also differs in technique from other engraved tracks in the Keep River region, having been rubbed and abraded to a smooth finish. We explore three approaches to the engraved track's significance, that it: a) depicts the track of an extinct bird species; b) relates to Aboriginal beliefs regarding Dreaming Beings; and c) is a powerful aesthetic achievement that reflects rare observation of emu tracks. We conclude that the Weaber bird track engraving most probably represents a relatively recent visual expression of ancient Aboriginal thoughts that have been transmitted through the centuries via story-telling and rock-art. This discussion highlights problems of assigning identification and meaning to ancient art but also suggests that aspects of history may be passed across generations for much longer than is commonly realized.

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Ivanyshyn, Ostap. "Experiment in the art of Klaus Moje." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 265–77. http://dx.doi.org/10.37131/2524-0943-2019-39-18.

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The paper overviews a lifetime achievement of german native australian artist Klaus Moje in the field of decorative glass art. An article traces the development of his artwork in the late 1900th - early 2000th. Much attention is given to Moje`s innovative approach of traditional technique. It is made an attempt to evaluate the implementation of new methods and technics to the educational process. It is analysed a contribution of an artist in the context of the studio glass movement. The paper describes most creative periods and examines appropriate artworks. The results of collaboration between an artist and a manufacturer of coloured glass are revealed. Main articles to the theme is observed. The determination of kilnforming, as an independent medium technique is considered. The results obtained confirm the significant contribution of an outstanding artist, which allows to determine his prominent place in thу world history of art

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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (January 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.

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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.

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van Damme, Wilfried. "Not What You Expect: The Nineteenth-Century European Reception of Australian Aboriginal Art." Konsthistorisk Tidskrift/Journal of Art History 81, no. 3 (September 2012): 133–49. http://dx.doi.org/10.1080/00233609.2012.702682.

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Lee, Alan. "Art Education and the National Review of Visual Education." Australian Journal of Education 53, no. 3 (November 2009): 217–29. http://dx.doi.org/10.1177/000494410905300302.

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The recently completed review of visual education, First we see, makes recommendations that contrast sharply with most traditional forms of art teaching in Australian schools. Although the review implicitly stands against a narrow conception of a visual education founded on artistic and aesthetic concerns, I argue that the concept of ‘visuacy’ that the review offers as a complement to literacy and numeracy is misconceived as an educational objective. Theories of art education today derive from a history of ideas about creativity and self-expression, while classroom practice is dominated by the uncritical imitation of the contemporary adult art world. The confusion of values shows most acutely in the way visual arts education culminates at Year 12 level with students being recruited into a large-scale art competition that lacks an educational justification even though it wins wide public approval.

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Taçon, Paul S. C., and Sally Brockwell. "Arnhem Land prehistory in landscape, stone and paint." Antiquity 69, no. 265 (1995): 676–95. http://dx.doi.org/10.1017/s0003598x00082272.

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Western Arnhem Land is a small area (by Australian standards) on the north coast where remarkable sequences of sediment illuminate its complex landscape history. Matching the enviromental succession is an archaeological sequence with lithic sites running back into the Pleistocene. The famous richness of the region's rock-art also documents the human presence, again over a great time-depth, and gives a direct report of how ancient Arnhem Landers depicted themselves. By ‘bridging’ between these three themes, a rare and perhaps unique synthesis can be built.

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NELSON, E. C. "GOODING, J. Wildflowers in art. Artists impressions of Western Australian wildflowers 1699£1991. Art Gallery of Western Australia, Perth; 1991. Pp 96; illustrated. Price: Aus$ 29.95. ISBN: 0-7309-3600-7." Archives of Natural History 19, no. 2 (June 1992): 288. http://dx.doi.org/10.3366/anh.1992.19.2.288.

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O'Sullivan, Patrick, and Judith Maitland. "Greek and Latin Teaching in Australian and New Zealand Universities: A 2005 Survey." Antichthon 41 (2007): 109–20. http://dx.doi.org/10.1017/s0066477400001787.

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The study of Latin and Ancient Greek at tertiary level is crucial for the survival of Classics within the university sector. And it is not too much to say that the serious study of Greco-Roman antiquity in most, if not all, areas is simply impossible without the ancient languages. They are essential not just for the broad cross-section of philological and literary studies in poetry and prose (ranging at least from Homer to the works of the Church Fathers to Byzantine Chroniclers) but also for ancient history and historiography, philosophy, art history and aesthetics, epigraphy, and many branches of archaeology. In many Classics departments in Australia, New Zealand and elsewhere, enrolments in non-language subjects such as myth, ancient theatre or epic, or history remain healthy and cater to a broad public interest in the ancient Greco-Roman world. This is, of course, to be lauded. But the status of the ancient languages, at least in terms of enrolments, may often seem precarious compared to the more overtly popular courses taught in translation. Given the centrality of the ancient languages to our discipline as a whole, it is worth keeping an eye on how they are faring to ensure their prosperity and longevity.

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