Relevant bibliographies by topics / Australian artists

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Australian artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Australian artists"

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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representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century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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Keller, Judith. "Songs of the Australian Landscape: The Art and Spirituality of Rosalie Gascoigne." Pacifica: Australasian Theological Studies 20, no. 3 (October 2007): 307–21. http://dx.doi.org/10.1177/1030570x0702000305.

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This article focuses upon the central motifs and symbols of the Australian abstract artist Rosalie Gascoigne (1917-1999) in an attempt to uncover the spirituality in her work, and to connect this with Australian spirituality and with spirituality in the wider Christian tradition. The author proposes such a connection to be the fruit of bringing to bear the religious imagination upon Gascoigne's work, that is, a capacity to attend to the contemplative, creative and sacramental layers in it. Such a capacity invites a response to the artist's work that is ultimately religious. For Australia to be known as land of the spirit ( Terra spiritus), theologians cannot neglect the work of artists such as Rosalie Gascoigne.
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Griffin, Lynn, Steven Griffin, and Michelle Trudgett. "At the Movies: Contemporary Australian Indigenous Cultural Expressions – Transforming the Australian Story." Australian Journal of Indigenous Education 47, no. 2 (June 21, 2017): 131–38. http://dx.doi.org/10.1017/jie.2017.15.

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Cinema is an art form widely recognised as an agent to change the social condition and alter traditional norms. Movies can be used to educate and transform society's collective conscience. Indigenous Australian artists utilise the power of artistic expression as a tool to initiate change in the attitudes and perceptions of the broader Australian society. Australia's story has predominately been told from the coloniser's viewpoint. This narrative is being rewritten through Indigenous artists utilising the power of cinema to create compelling stories with Indigenous control. This medium has come into prominence for Indigenous Australians to express our culture, ontology and politics. Movies such as Samson and Delilah, Bran Nue Dae, The Sapphires and Rabbit-Proof Fence for example, have highlighted the injustices of past policies, adding new dimensions to the Australian narrative. These three films are just a few of the Indigenous Australian produced films being used in the Australian National Curriculum.Through this medium, Australian Indigenous voices are rewriting the Australian narrative from the Indigenous perspective, deconstructing the predominant stereotypical perceptions of Indigenous culture and reframing the Australian story. Films are essential educational tools to cross the cultural space that often separates Indigenous learners from their non-Indigenous counterparts.
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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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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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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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Quijano Martínez, Jenny Beatriz. "Hugh Ramsay’s Self-Portrait: Re ections on a Spanish Master Painter." Boletín de Arte, no. 36 (October 30, 2017): 155–63. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3328.

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The interest in European masters from the past was a phenomenon related to the development of the artistic careers of many artists in Australia at the end of the nineteenth and beginning of the twentieth century. More than that, the copying or emulation of great works of art was seen to be a necessary part of an artist’s training1. This paper looks at Hugh Ramsay and his fascination with the painting Las Meninas (1656) by Velázquez as part of a larger study into understanding how the Spanish in uence was re ected in Australian art. Ramsay introduced elements from Las Meninas into his Portrait of the artist standing before easel, which took him to personify the role of the painter as Velázquez.
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KERR, JOAN. "THE DICTIONARY OF AUSTRALIAN ARTISTS Painters." Art Book 1, no. 2 (March 1994): 28. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00034.x.

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Le, Huong, Uma Jogulu, and Ruth Rentschler. "Understanding Australian ethnic minority artists’ careers." Australian Journal of Career Development 23, no. 2 (June 13, 2014): 57–68. http://dx.doi.org/10.1177/1038416214521400.

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Johanson, Katya, and Hilary Glow. "Reinstating the artist’s voice: Artists’ perspectives on participatory projects." Journal of Sociology 55, no. 3 (September 20, 2018): 411–25. http://dx.doi.org/10.1177/1440783318798922.

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Claire Bishop argued that the ethical lens applied to socially engaged arts practice encourages ‘authorial renunciation’ in favour of collaboration and limits the opportunity to expose such practice to critical reception. This article responds to Bishop’s implicit call to envision an artist-centred framework for participatory arts by identifying the motivations and beneficial discoveries that artists make when they seek out the creative involvement of others. Based on interviews with Australian performing artists who have established socially engaged practices, the article aims to bring about a form of ‘authorial reinstatement’ into the value system around participatory arts practice. It identifies a range of motivations for artists who establish socially engaged or participatory practice, from self-developmental to altruistic; and from arts-focused to community- and society-focused. The article argues that using these motivations to inform indicators of achievement for participatory practice provides new opportunities for critical interrogation of those practices.
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Dissertations / Theses on the topic "Australian artists"

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Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.

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Joumaa, Jamal. "Australian artists of Arabic origin : identity and hope." Thesis, View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/41020.

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Despite the migration of some artists of Arabic origin to Australia since 1947, experimental Australian artists of Arabic origin only began to gain attention for their work from 1975 onwards. The works of those artists who have a migrant background, distinguished, on one hand, by the continuous link between themselves and their cultural heritage and the political and human conditions of their homelands, and on the other hand, being inspired by the social, cultural and political issues of Australian life, which reflect the type and nature of relationships between the artists and their host society. It is important to note the commonalities in efforts of artists to realize their arts with individual imprints, in an attempt to create an aesthetic contribution that confirms their own particularity. In their cultural trends, originating from the values and concerns of their social existence; exploring new artistic values and symbols, and working through different artistic trends and techniques, in ways that reflect their visions about art as a duty, and represent a cultural, aesthetic and moral responsibility, toward the societies of their homelands and their adopted country. At present, this art activity is recognized as having made a vital contribution to Australian cultural life, incorporating serious artistic and cultural concerns, represented by a group of exhibitions. Thus, this study is in the frame of these cultural and artistic efforts, dating to the beginning of this activity in Australia, studying the educational, political, social conditions, which help in the development of this art. It focuses on exposing the artistic elements and their aesthetic and cultural values, the symbols and their relegations, which appear in the works of the participant artists in the frame of the study.
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Joumaa, Jamal. "Australian artists of Arabic origin identity and hope /." View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/41020.

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Thesis (D.C.A.)--University of Western Sydney, 2009.
A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Creative Arts. Includes bibliographies.
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Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.

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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
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Adsit, Melanie Hope. "Caught between worlds: urban aboriginal artists." Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.

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Robertson, Kate. "The siren song: Identity, belonging and Australian artists abroad, 1890-1914." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10447.

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This thesis is concerned with the siren-call that lured Australian artists abroad between 1890 and 1914, and the considerations of both identity and belonging that this travel allowed, instigated and perhaps demanded. This moment in British-Australian historiography is especially significant in covering the years that were immediately pre- and post-federation, with this timespan inevitably informing the movement of artists between Australia and Europe and their understandings of their place in the world. Those artists who ventured abroad followed a general pattern, going first to Paris to complete their studies before moving to London seeking to establish a career. They formed communities based on a common connection to Australia whilst also interacting with the broader creative community, notably through participating in clubs and societies. Such intersections proved significant in my examination of the negotiation and fashioning of identity, with Australian artists assuming various guises, for instance: professional and bohemian, spouse and painter, local and traveller. The contribution of this thesis to current literature lies in my efforts to rethink and redefine the fixedness of the identity of Australians, revealing how through living in Paris – the centre of art – and London – the heart of the Empire – artists contemplated, manipulated and invented their very selves. It was not my intention to simply compile biographical data, though I have researched the lives of the artists who will be addressed, but rather to explore the connections between them as part of a broader juncture in British-Australian history. The thesis traverses the broad thematic concerns of bohemia, communities, Empire, imagination, place, and travel, focussing ultimately on the multifaceted conception of authenticity, belonging and identity for those artists who heeded the overwhelming urge to engage with and participate in the Old World.
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Foster, Susanne. "Contemporary indigenous art reflecting the place of prison experiences in indigenous life /." Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.pdf.

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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.
Coursework. "March 2005" Bibliography: leaves 179-190.
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Rivett, Mary I. "Yilpinji art 'love magic' : changes in representation of yilpinji 'love magic' objects in the visual arts at Yuendumu /." Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.mr624.pdf.

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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.
Coursework. "January, 2005" Bibliography: leaves 108-112.
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Butler, Sally. "Emily Kngwarreye and the enigmatic object of discourse /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16427.pdf.

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Gerard-Austin, Anne. "The greatest voyage: Australian painters in the Paris salons, 1885-1939." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10462.

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From the 1880s, the first generation of Australian artists began to travel abroad and many chose Paris, the undisputed capital of the arts in the nineteenth century, as their final destination. With them began a long tradition to go to the French capital to complete one’s artistic training and obtain acceptance in official artistic circles there. This thesis attempts to reveal the extent of Australian artists’ engagement with Parisian artistic practices from 1885 to 1939. The argument is divided into two main sections: the first section investigates the notions of expatriatism, migration and sense of belonging among the Australian community in the French capital, while the second section explores the responses Australian artists brought to Parisian artistic institutions. The research pays particular attention to their participation in the major Paris Salons and the rare Australian solo exhibitions organised in Paris in the early twentieth century. The result underlines the predominant position of Rupert Bunny, the most successful and best-integrated into Parisian art circles during the five decades he spent in France. A crucial component of this research is a dictionary of artists active in Paris and an illustrated catalogue of their works in colour. If the predominance of the Salon system slowly attenuated during the twentieth century, the tradition prospered until the Second World War among foreign artists. The thesis is not an exhaustive account of the Australian presence in Paris and does not take in account some Australian artists such as John Power and Anne Dangar who took alternative paths in the early 1920s, the focus here is rather on the painters who exhibited at least once in the official Paris Salons.
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Books on the topic "Australian artists"

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Australian artists, Australian birds. North Ryde, NSW, Australia: Angus & Robertson, 1989.

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Weight, Greg. Australian artists: Portraits. Neutral Bay, N.S.W: Chapter & Verse, 2004.

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Alex, Selenitsch, ed. Australian artists books. [Parkes, A.C.T.]: National Gallery of Australia, 2008.

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Australia, National Gallery of. Australian artists books. [Parkes, A.C.T.]: National Gallery of Australia, 2008.

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Judith, Ryan. Tiwi: Art & artists. Melbourne, Vic: Council of Trustees of the National Gallery of Victoria, 2020.

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Geoff, Gaylard, and Roberts Tom 1935-, eds. Australian impressionist & realist artists: 210 works by 70 living australian artists. [Australia]: Graphic Management Services, 1990.

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101 contemporary Australian artists. Melbourne, Victoria, Australia: National Gallery of Victoria, 2012.

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Daniel, Palmer, ed. Twelve Australian photo artists. [Annandale, N.S.W.]: Piper Press, 2009.

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Hawley, Janet. Encounters with Australian artists. St. Lucia, Queensland: University of Queensland Press, 1993.

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Rollinson, Julie. Australian art and artists. Marrickville, N.S.W., Australia: Science Press, 1996.

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Book chapters on the topic "Australian artists"

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Trapè, Roberta. "Australians’ Literatures and Cultures in Tuscany." In Biblioteca di Studi di Filologia Moderna, 129–43. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-597-4.11.

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Italy has been the destination of a lifetime for an endless stream of travellers and since the start of Australian travel to Italy, Tuscany has always had a special and persistent attraction for Australian writers and artists. The connection between Italy and Australia will be explored here highlighting two periods in which Tuscany, and particularly Florence and Prato, became active and lively hubs for the reflection and study of the relationship between Australia and Italy. I will refer to a conference organised by Gaetano Prampolini and Marie Christine Hubert in 1989 at the University of Florence, “An Antipodean Connection: Australian Writers, Artists and Travellers in Tuscany”, and to the first decade of the 21st century when Anna Maria Pagliaro was Director of the Monash Prato Centre (2005-2008).
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Robson, Julie. "Artists in Australian Academies: Performance in the Labyrinth of Practice-Led Research." In Practice as Research in the Arts, 129–41. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137282910_7.

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Stein, Jesse Adams. "Patternmaker-Artists: Creative Pathways for Industrial Craftspeople in the Context of Australian Deindustrialisation." In Palgrave Studies in Oral History, 191–224. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-87243-4_7.

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Britain, Ian. "Donald Friend: An Australian Artist’s Affair with Italy." In Transnational Lives, 263–72. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277472_21.

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Fielke, Giles. "Personal Films and Transcultural Visions: An Interview with the Artist Filmmaker Paul Winkler." In German-Australian Encounters and Cultural Transfers, 83–94. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6599-6_6.

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Butler, Rex, and A. D. S. Donaldson. "A Chain of Ponds: On German and Australian Artistic Interactions." In German-Australian Encounters and Cultural Transfers, 193–208. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-6599-6_13.

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Wright, Christine. "‘in the midst of the Goths’: The Artistic, Literary and Cultural Legacy of Veterans." In Wellington's Men in Australia, 132–50. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306035_8.

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Kerby, Martin, Malcom Bywaters, and Margaret Baguley. "Australian War Memorials: A Nation Reimagined." In The Palgrave Handbook of Artistic and Cultural Responses to War since 1914, 553–73. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96986-2_30.

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Kerby, Martin, Margaret Baguley, Nathan Lowien, and Kay Ayre. "Australian Not by Blood, but by Character: Soldiers and Refugees in Australian Children’s Picture Books." In The Palgrave Handbook of Artistic and Cultural Responses to War since 1914, 309–26. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96986-2_18.

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Daniel, Ryan. "Reimagining Higher Education Curricula for Creative and Performing Artists: Creating More Resilient and Industry-Ready Graduates." In Mental Health and Higher Education in Australia, 151–60. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8040-3_9.

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Conference papers on the topic "Australian artists"

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Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.

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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Saniga, Andrew, and Andrew Wilson. "Barbara van den Broek. Contributions to the Disciplines of Landscape Architecture, Town Planning and Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4024pu9ad.

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Barbara van den Broek (1932-2001) trained as an architect in Auckland, New Zealand before moving to Brisbane with her husband and fellow architect Joop, where they established an architectural practice. van den Broek went on to run an office as a sole practitioner and took on architecture and landscape architecture projects. Over the course of her career she completed post-graduate diplomas in Town and Country Planning, Landscape Architecture and Education, and a Master of Science – Environmental Studies, and collaborated on a number of key projects in Queensland and Papua New Guinea (PNG). Our paper will build an account of her career. In assessing the significance of her contribution to landscape architecture, planning and architecture in Australasia, it will bring a number of other spheres into the frame: conservation and Australia’s environment movement; landscape design and the bush garden; and van den Broek’s personal development that included artistic expression, single parenthood, teaching, and the navigation of male-dominated professional environments to develop a practice that contributed to town planning projects in cities across Australia, and made significant contributions to landscape projects in Queensland and PNG.
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Mađanović, Milica, Cameron Moore, and Renata Jadresin Milic. "The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4007piywz.

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In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper will discuss the role of architectural research in the architecture of Gummer and Ford, the Auckland-based practice, often described as one of the most prolific bureaus in interwar New Zealand. The paper is a fraction of a three-staged project, “Gummer and Ford,” developed by a team of researchers from the Unitec Institute of Technology in response to an event recognised as a milestone in the New Zealand architectural calendar – the 2023 centenary of the firm’s establishment. This paper explores the design principles of William Gummer, the principal designer of the firm. From 1914 to 1935, Gummer consistently published his view that the goal of the architect was to cater to humanity’s highest instincts. He was unwavering but vague on how this is achieved; through composition, unity, contrast, proportion and scale, appropriate use of materials is all needed to produce buildings of good character. But what did he really mean by this? A close reading of three books Gummer considered invaluable to architectural students – The Essentials of Composition as Applied to Art by John Vredenburgh Van Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The Mistress Art by Reginald Bloomfield – offers a direct insight into the influences behind his thinking about architecture and his architectural production. Directly traceable to Gummer, the three titles include clear, precise instructions on both the functional and artistic nature of architectural design. Interestingly, this paper employs a method not dissimilar to Gummer’s design method. These books taken together, along with Gummer’s own writing, a study of renderings and construction drawings, and close observation of the buildings, an architectural analysis of Gummer’s work becomes possible – it is what Gummer himself referred to as Architectural Research. This historically focused study will bring a new perspective to understanding the value and contribution of traditional architects, not only in New Zealand but other English-speaking countries.
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Filho, Everton Chaves Correia, and Lia Camurça Costa. "RESISTÊNCIA DE HELMINTOS AOS BENZIMIDAZÓLICOS: UMAREVISÃO DE LITERATURA." In II Congresso Brasileiro de Parasitologia Humana On-line. Revista Multidisciplinar em Saúde, 2022. http://dx.doi.org/10.51161/conbrapah/32.

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Introdução: Em 2010, registrou-se cerca de 1 bilhão de casos de doenças causadas por helmintos no mundo. Diante disso, a Organização Mundial da Saúde (OMS) sugeriu a quimioprofilaxia periódica como tratamento preventivo de verminoses. A principal classe medicamentosa utilizada são os anti-helmínticos benzimidazólicos, que se mostraram eficazes no tratamento de verminoses, mas com potencial limitado em algunscasos. Logo, surgiu a hipótese de que uma exposição prolongada a tais drogas seria capaz de selecionar helmintos mais resistentes. Objetivos: 1) Compreender o mecanismo de ação dos benzimidazólicos; 2) Investigar a presença de resistência à medicação. Material e métodos: O presente estudo é uma revisão de literatura realizadamediante a busca pelos descritores “drugs resistance”, “helminths” e “benzimidazole”, na base de dados PubMed. Foram encontrados 439 artigos, dos quais 9, realizados entre os anos de 2010 a 2022, foram selecionados. Resultados: Estudos demonstram que benzimidazólicos agem na ligação à proteína β-tubulina, subunidade de microtúbulos, estruturas responsáveis pela homeostase celular. Dessa forma, estes sofrem encurtamento, resultando na morte celular do parasita. Todavia, após a descoberta de resistência à medicação em animais, questionou-se a presença de helmintos resistentes adrogas em humanos. Pesquisas feitas através de qPCR comprovaram a influência de fatores genéticos e ambientais na resistência parasitária. Com isso, foi identificado um polimorfismo de nucleotídeo único, nos códons 167, 198 e 200 do gene da β-tubulina, responsáveis por alterações celulares, impedindo a associação de benzimidazólicos ao sítio de ligação desta proteína. Ademais, o número de helmintos de vida livre, sensíveis à medicação, diminui a cada administração errônea de drogas, dosagens em curto período de tempo, e ao clima quente e seco, selecionando parasitas resistentes. Estudos brasileiros e australianos mostraram que A. lumbricoides, N. americanus e T. trichiura são os helmintos com maior prevalência de cepas resistentes. Entretanto, os benzimidazólicos conseguiram eliminar a maioria desses vermes. Conclusão: Comprovou se a existência de helmintos resistentes aos benzimidazólicos. Contudo, a prevalência dos mesmos ainda é baixa, sendo uma preocupação de saúde pública para os próximos anos, visto que o número de cepas resistentes aumenta com a administração errada de drogas e com mutações genéticas dos próprios parasitas.
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Reports on the topic "Australian artists"

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Hearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.

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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albany and Denmark. Queensland University of Technology, September 2021. http://dx.doi.org/10.5204/rep.eprints.213126.

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Located a 45-minute drive apart from each other in WA’s Great Southern Region, Albany and Denmark attract creative practitioners who are drawn to the region’s natural beauty and country lifestyle. A regional services hub, Albany has a robust creative services presence with a legacy media sector that functions as a hub for public and commercial media organisations servicing Great Southern and the Wheatbelt. Denmark, while a much smaller town, is renowned nationally as an enclave for locally, nationally, and internationally acclaimed artists and creatives.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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