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Journal articles on the topic 'Australian artists'
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1
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representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century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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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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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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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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Cameron, Liz. "Australian Indigenous sensory knowledge systems in creative practices." Creative Arts in Education and Therapy 7, no. 2 (January 28, 2022): 114–27. http://dx.doi.org/10.15212/caet/2021/7/4.
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The process of making is transmitting knowledge through an act of doing. Perceiving the body as a multisensory being pushes Australian Aboriginal artistic encounters that challenge other ways of thinking and doing. This article explores the nexus between Indigenous knowledge and creative practice as an embodied theoretical framework based on the human senses that may assist artists in deconstructing their current conventical thinking and broaden their interaction by deeply connecting with self and the environment. This article aims to highlight Indigenous practice-based methodologies that can inform the artist to practice research and teaching resources. Examining Indigenous creative knowledge systems can enable artists to experience not only an acquisition of content of Indigenous practices but develop a unique methodological Indigenous approach to how our senses offer a valuable contribution to the making experience.
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Szabó, Marianna, Ian Maxwell, Mitchell L. Cunningham, and Mark Seton. "Alcohol Use by Australian Actors and Performing Artists: A Preliminary Examination from the Australian Actors’ Wellbeing Study." Medical Problems of Performing Artists 35, no. 2 (June 1, 2020): 73–80. http://dx.doi.org/10.21091/mppa.2020.2012.
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BACKGROUND: Anecdotal and media reports suggest that actors and performing artists are vulnerable to high levels of alcohol use. However, little empirical research is available to document the extent and correlates of alcohol use amongst these artists, particularly in an Australian context. OBJECTIVE: This study investigated alcohol use in a sample of Australian actors and other performing artists and its associations with sociodemographic background, psychological wellbeing, and work stress. METHODS: An online survey was distributed to the Equity Foundation membership representing Australian actors and performing artists. The survey included questions on sociodemographic and occupational background and psychological wellbeing (DASS-21), as well as the AUDIT questionnaire to assess self-reported alcohol consumption. A sample of 620 performing artists responded to the survey, a large majority of whom were actors. RESULTS: Australian actors and performing artists appear to consume alcohol at levels that are higher than those found in the general Australian population. About 40% of men and 31% of women were classified as drinking alcohol at potentially harmful or hazardous levels. Alcohol use was not strongly associated with age, education, or income, but it had a relationship with poorer psychological wellbeing. About 50% of respondents reported that their alcohol drinking was related to work stress as a performer. This perception was more pronounced amongst those performers who reported drinking at harmful levels. CONCLUSIONS: Australian actors and performing artists appear to be an at-risk population for harmful or hazardous alcohol use.
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Volker, Joye, and Jennifer Coombes. "The art of life online: creating artists’ biographies on the web." Art Libraries Journal 34, no. 1 (2009): 12–16. http://dx.doi.org/10.1017/s0307472200015704.
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The World Wide Web has created significant changes in how cultural institutions, including galleries, communicate their role as custodians of cultural content and research. In this paper we discuss a number of initiatives involving the Research Library and curatorial sections at the National Gallery of Australia to bring information about Australian visual arts to an online audience.
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Allen, Louis A. "The Artists and Their Work." Aboriginal Child at School 14, no. 4 (September 1986): 54–59. http://dx.doi.org/10.1017/s0310582200014553.
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No one knows when or where Aboriginal painting began. There is some agreement that the Australian Aborigines came from a Veddoid ancestry originating in South India and Ceylon. Since the term Vedda is derived from the Sanskrit Vyadha, meaning a hunter or one who lives from the chase, we can assume that this also was originally a hunting culture. There is evidence that these hunters made paintings in caves, using ashes and turmeric mixed with spittle, possibly to bring success to their hunting. We can only conjecture, with no factual evidence, that the earliest migrants to Australia have brought this custom with them.The Arnhem Land bark paintings evolved from pictures of fish, animals and people which the first inhabitants appear to have made in caves and rock shelters. We can assume that these designs of kangaroos, fish, and thin, sticklike spirits called Mimi were drawn for the same purposes as today: to depict the totemic ancestors so their help and support could more readily be invoked, to encourage game to reproduce and increase, to make magic, and to depict the limits or characteristics of the ‘country’ owned by a clan.
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Carter, Michelle, and Chris Carter. "The Creative Business Model Canvas." Social Enterprise Journal 16, no. 2 (March 11, 2020): 141–58. http://dx.doi.org/10.1108/sej-03-2019-0018.
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Purpose Creative and cultural producers, like social enterprises, operate in a complex business environment where the value proposition is difficult to define, and the organisational motivations are not always financially driven. In the case of Australian visual artists, low incomes and limited access to government funding magnify the importance of developing sustainable business models. This paper aims to present the Creative Business Model Canvas (CBMC), a reinterpretation of Osterwalder and Pigneur’s CBMC (2010), for the benefit of a visual artist’s business planning. Design/methodology/approach This qualitative study uses data from semi-structured interviews to analyse and evaluate the effectiveness of the Osterwalder and Pigneur’s BMC (2010) for use by creative artists to understand the value of their artwork beyond traditional profit-driven business models. A modified canvas is presented to capture a clearer snapshot of creative arts practice with a focus on value propositions that possess dimensions of symbolic value. Findings This study found that the symbolic value of an artist’s practice is difficult to capture using Osterwalder and Pigneur’s CBMC (2010). An artist value proposition is composed of the artifact, artistic services and the artist’s identity. The creative CBMC, as a modified CBMC, captures aspects of the artistic identity such as professional achievements, personal life and the artist’s authenticity. Originality/value This study builds on Osterwalder and Pigneur’s CBMC and reimagines it for use by visual artists and art-based social enterprise organisations where the notion of value can be challenging to articulate.
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Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.
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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.
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Bridgstock, Ruth. "Australian Artists, Starving and Well-Nourished: What Can we Learn from the Prototypical Protean Career?" Australian Journal of Career Development 14, no. 3 (October 2005): 40–47. http://dx.doi.org/10.1177/103841620501400307.
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Recent literature documents the demise of traditional linear careers and the rise of protean, boundaryless, or portfolio careers, typified by do-it-yourself career management and finding security in ongoing employability rather than ongoing employment. This article identifies key attributes of the ‘new career’, arguing that individuals with careers in the well-established fields of fine and performing arts often fit into the ‘new careerist’ model. Employment/career data for professional fine artists, performing artists and musicians in Australia is presented to support this claim. A discussion of the meta-competencies and career-life management skills essential to navigate the boundaryless work world is presented, with specific reference to Australian artists, and recommendations for future research.
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Kevin, Catherine. "So Fine. Contemporary Australian Women Artists Make History." History Australia 16, no. 1 (January 2, 2019): 212–14. http://dx.doi.org/10.1080/14490854.2019.1582410.
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Bradford, Clare, Catherine Sly, and Xu Daozhi. "Ubby’s Underdogs: A Transformative Vision of Australian Community." Papers: Explorations into Children's Literature 24, no. 1 (January 1, 2016): 101–31. http://dx.doi.org/10.21153/pecl2016vol24no1art1112.
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In Black Words White Page (2004), his seminal study of Aboriginal cultural production in Australia, Adam Shoemaker notes that ‘when Oodgeroo Noonuccal’s first collection of poetry appeared in print in 1964, a new phase of cultural communication began in Australia’ (2004, p. 5). The ‘new phase’ to which Shoemaker refers pertains to the many plays, collections of poetry and novels by Aboriginal authors published between 1964 and 1988 and directed to Australian and international audiences. Flying under the radar of scholarly attention, Aboriginal authors and artists also produced significant numbers of children’s books during this time, including Wilf Reeves and Olga Miller’s The Legends of Moonie Jarl, published by Jacaranda Press in 1964 (see O’Conor 2007), Oodgeroo Noonuccal’s Stradbroke Dreamtime (1972), and the picture books of Dick Roughsey and many other Aboriginal authors and artists (see Bradford 2001, pp. 159-90).
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Geissler, Marie. "Indigenous Agency in Australian Bark Painting." Arts 11, no. 5 (September 7, 2022): 84. http://dx.doi.org/10.3390/arts11050084.
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In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with the world. Within the context of recent art and anthropological scholarship, the paiFntings are understood as artefacts of Indigenous ‘agency’. They are products of the intentional action of artists through which power is enacted and from which change has followed. This paper reveals how the paintings were influential to their audiences and the discourses arising from their display through the agency of the artists who made them, and the curators who selected them. It underlines how Indigenous agency associated with the aesthetic and semantics values of bark painting has been and continues to be a powerful mechanism for instigating cultural, social, economic and political change. As such, it points to the wealth of Indigenous agency yet to be documented in the other collections of bark painting that are held in institutions in Australia and throughout the world.
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Szabó, Marianna, Mitchell L. Cunningham, Mark Seton, and Ian Maxwell. "Eating Disorder Symptoms in Australian Actors and Performing Artists." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 171–78. http://dx.doi.org/10.21091/mppa.2019.4028.
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AIMS: Anecdotal evidence suggests that actors and other performing artists are under great pressure to conform to idealized appearances and body types. The pursuit of such appearances may trigger eating disorder symptoms, such as unhealthy attitudes towards body weight and shape. Thus far, there has been no dedicated empirical study of the prevalence of such problems in Australian actors and performing artists specifically. Therefore, this study sought to examine eating disorder symptomatology in Australian actors and performing artists. METHODS: An online survey was distributed to the Equity Foundation membership representing Australian actors and performing artists, of whom 573 individuals completed the survey. This survey gauged demographic information and eating disorder symptoms using the psychometrically validated Eating Disorder Diagnostic Scale (EDDS). RESULTS: A large proportion of actors reported unhealthy attitudes such as ‘feeling fat’ even though they are of normal weight or underweight; reported an extreme fear of gaining weight; and evaluated their self-worth based on their body weight and shape, particularly women. Results also showed that 2.5% of women in the study met the diagnostic criteria for anorexia nervosa and 13% met diagnostic criteria for bulimia nervosa based on their scores on the EDDS. DISCUSSION: Performers may be a particularly at-risk population for the development and/or maintenance for a range of eating disorders.
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Winarnita, Monika, Reagan Maiquez, and Raelene Wilding. "Mixed-Race Habits: Articulations of Female Asian-Australian Artists." Journal of Intercultural Studies 41, no. 6 (October 20, 2020): 723–39. http://dx.doi.org/10.1080/07256868.2020.1831455.
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Fry, Tim R. L. "Heterogeneity in Auction Price Distributions for Australian Indigenous Artists." Economic Record 96, no. 313 (March 12, 2020): 177–86. http://dx.doi.org/10.1111/1475-4932.12535.
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Price-Williams, Douglass, and Rosslyn Gaines. "The Dreamtime and Dreams of Northern Australian Aboriginal Artists." Ethos 22, no. 3 (September 1994): 373–88. http://dx.doi.org/10.1525/eth.1994.22.3.02a00050.
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Box, Kiernan, and Greg Aronson. "Protest Songs From Indonesia And Australia: A Musicological Comparison." Journal of Urban Society's Arts 9, no. 1 (December 19, 2022): 48–59. http://dx.doi.org/10.24821/jousa.v9i1.7146.
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Protest music is both commercially viable and an important tool for shaping community awareness of socio-political issues. Indonesian and Australian artists have produced protest music which has stimulated significant effect upon community attitudes and behaviours. Socio-political issues can be described and examined in songs using various lyrical methods, including strategic use of characters and narrative. Iwan Fals is a Javanese singer-songwriter who frequently employs satire and parody in relation to weighty political issues. Cold Chisel, Midnight Oil and Paul Kelly are Australian rock artists who have used real-life events as the inspiration for protest songs, many of which are delivered with a confrontational mode of lyric and performance. Compared to Australian acts, Indonesian artists have faced greater risk to personal freedom by engaging in protest music; this may explain why Indonesian protest songs are often presented with more subtle characteristics. from the abstract or from the body of the text, or from the thesaurus of the discipline. Lagu Protes dari Indonesia dan Australia: Perbandingan Musikologi. Musik protes layak secara komersial dan peranti penting untuk membentuk kesadaran masyarakat tentang masalah sosial-politik. Seniman Indonesia dan Australia telah menghasilkan musik protes yang memberikan pengaruh signifikan terhadap sikap dan perilaku masyarakat. Isu sosial-politik dapat dideskripsikan dan dikaji dalam lagu dengan menggunakan berbagai metode lirik, termasuk penggunaan karakter dan narasi yang strategis. Iwan Fals adalah penyanyi-penulis lagu Jawa yang sering menggunakan sindiran dan parodi terkait dengan isu-isu politik yang berat. Cold Chisel, Midnight Oil, dan Paul Kelly adalah artis rock Australia yang telah menggunakan peristiwa kehidupan nyata sebagai inspirasi untuk lagu-lagu protes, banyak di antaranya dibawakan dengan gaya lirik dan penampilan yang konfrontatif. Dibandingkan dengan artis Australia, artis Indonesia menghadapi risiko yang lebih besar terhadap kebebasan pribadi dengan terlibat dalam musik protes; ini mungkin menjelaskan mengapa lagu-lagu protes Indonesia seringkali disajikan dengan ciri-ciri yang lebih halus. dari abstrak atau dari tubuh teks, atau dari tesaurus disiplin.
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Maher, Katie. "Traveling with Trained Man." Transfers 10, no. 2-3 (December 1, 2020): 83–102. http://dx.doi.org/10.3167/trans.2020.1002306.
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Abstract This article considers the railways as a decolonial option for moving toward mobility justice. It views the photographic artwork Trained Man by Ngalkban Australian artist Darren Siwes through a mobilities lens, considering how the artist plays with time and attends to space, making visible what colonial projects of protection and assimilation have attempted to erase. Attending to the truths and imaginaries that reside and move with Trained Man, it draws on the work of Aboriginal and Black artists, scholars, and activists to trace Australia's past and present colonial history of training Aboriginal people into whiteness. It considers the railways as carrying “two lines of destiny” with potential moving in both colonial and decolonial directions. The article concludes by suggesting that shared spaces such as the railways open possibilities for mobilizing the decolonial project.
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Matthews, David. "Peter Sculthorpe at 60." Tempo, no. 170 (September 1989): 12–17. http://dx.doi.org/10.1017/s004029820001799x.
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Peter Sculthorpe's career has been one of remarkable unity of vision and consistency of purpose. From the start, he set out to create a music which, while universal in content, would be specifically Australian in its idiom. At the time he was growing up, this was not an over-simplistic aim, especially when Sculthorpe looked at the music then being written in Australia and saw that, by and large, it was hopelessly dependent on European manners and cultural traditions that could only be acquired at second-hand. Australians were then, and still are, in the process of self-discovery; the best Australian artists have learned that their own country can provide them with richer material for their work than can distant Europe. Painters, especially, have found the extraordinary Australian landscape, where trees shed their bark instead of their leaves, and prehistoric animals roam in a red desert, a potent source of inspiration. Even in the 19th century the painters of the Heidelberg school, in responding to the glaring Australian light, produced work quite different in feeling from the French Impressionists who were their models. In the 20th century a true national school has come into being, whose major figures have all helped to define the Australian landscape's peculiar strangeness – Lloyd Rees, Russell Drysdale, Fred Williams, Arthur Boyd, Sidney Nolan.
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Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 469–93. http://dx.doi.org/10.1590/s1809-43412013000100019.
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The creative power and the economic valorization of Indigenous Australian arts tend to surprise outsiders who come into contact with it. Since the 1970s Australia has seen the development of a system connecting artist cooperatives, support policies and commercial galleries. This article focuses on one particular aspect of this system: the gradual incorporation of Aboriginal objects and knowledge by the country's museums. Based on the available bibliography and my own fieldwork in 2010, I present some concrete examples and discuss the paradox of the omnipresence of Aboriginal art in Australian public space. After all this is a country that as late as the nineteenth century allowed any Aborigine close to a white residence to be shot, and which until the 1970s removed Indigenous children from their families for them to be raised by nuns or adopted by white people. Even today the same public enchanted by the indigenous paintings held in the art galleries of Sydney or Melbourne has little actual contact with people of Indigenous descent.
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Drury, Nevill. "Australian art books and the international marketplace." Art Libraries Journal 13, no. 4 (1988): 26–28. http://dx.doi.org/10.1017/s0307472200005964.
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Art book publishers in countries remote from the main world markets have to overcome formidable problems if they are to succeed in publishing books on the art and artists of their own countries. Quality cannot be sacrificed, but the books must be economically viable. Co-publishing offers the best strategy for increasing sales of appropriate publications overseas; co-editions, featuring well known artists, may do well enough to subsidise other books which have an important contribution to make to the documentation of the nation’s art but which are less likely to sell abroad.
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Bowker, Sam. "No Looking Back." Australian Journal of Islamic Studies 4, no. 1 (July 17, 2019): 18–32. http://dx.doi.org/10.55831/ajis.v4i1.153.
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This is a critical review of changes in the two years since I wrote “The Invisibility of Islamic Art in Australia” for The Conversation in 2016. This includes the National Museum of Australia’s collaborative exhibition “So That You May Know Each Other” (2018), and the rise of the Eleven Collective through their exhibitions “We are all affected” (2017) in Sydney and “Waqt al-Tagheer – Time of Change” (2018) in Adelaide. It considers the representation of Australian contemporary artists in the documentary “You See Monsters” (2017) by Tony Jackson and Chemical Media, and the exhibition “Khalas! Enough!” (2018) at the UNSW.
These initiatives demonstrate the momentum of generational change within contemporary Australian art and literary performance cultures. These creative practitioners have articulated their work through formidable public networks. They include well-established and emerging artists, driven to engage with political and social contexts that have defined their peers by antagonism or marginalisation.
There has never been a ‘Golden Age’ for ‘Islamic’ arts in Australia. But as the Eleven Collective have argued, we are living in a time of change. This is an exceptional period for the creation and mobilisation of artworks that articulate what it means to be Muslim in Australia.
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SAUTER, WILLMAR. "Introduction: Festival Culture in Global Perspective." Theatre Research International 30, no. 3 (October 2005): 237–39. http://dx.doi.org/10.1017/s0307883305001483.
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According to the Australia Council, the 152 arts festivals held in that country during the season of 1993–4 had a combined operating expenditure of Australian $58.3 million and were attended by 2.2 million visitors. At the same time, these festivals provided 32,000 paid engagements for Australian artists. Considering this massive expansion of festivals in terms of artistic arena, national marketplace and international industry, the scholarly interest in this phenomenon has taken new directions. To study the productions seemed not to be enough, nor was it satisfactory to survey audience attendance or to investigate economic turnouts. Obviously festivals did something more than promote theatrical performances.
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Nunn, Pamela Gerrish, Anna Voigt, and Helen Topliss. "New Visions, New Perspectives: Voices of Contemporary Australian Women Artists." Woman's Art Journal 20, no. 2 (1999): 47. http://dx.doi.org/10.2307/1358986.
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Bennett, Dawn. "Creative Migration: a Western Australian case study of creative artists." Australian Geographer 41, no. 1 (March 2010): 117–28. http://dx.doi.org/10.1080/00049180903535626.
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Chiu, Melissa. "The transcultural dilemma: Asian Australian artists in the Asia debate." Journal of Australian Studies 24, no. 65 (January 2000): 27–34. http://dx.doi.org/10.1080/14443050009387582.
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Astbury, Leigh. "Cash buyers welcome: Australian artists and bohemianism in the 1890s." Journal of Australian Studies 11, no. 20 (May 1987): 23–37. http://dx.doi.org/10.1080/14443058709386941.
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McQuilten, Grace. "Who is afraid of public space? Public art in a contested, secured and surveilled city." Art & the Public Sphere 8, no. 2 (December 1, 2019): 235–54. http://dx.doi.org/10.1386/aps_00023_1.
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In the wake of multiple global crises, fears of terrorism, rising nationalistic sentiments globally and the pervasive impacts of gender-based violence in public spaces, contemporary urban cities are permeated with surveillance, anxiety, fear and division. In this context, what role can (and should) public art be playing? This article explores this question in the context of Melbourne, a major metropolitan centre in Australia, which has been ruptured by the multiplying effects of highly publicized episodes of street violence, isolated terrorist attacks, high-profile murders and politically driven narratives about youth gangs. Looking at the work of female artists Maryann Talia Pau, Amy Spiers and Catherine Ryan, and artists from African Australian communities including Ez Deng, Atong Atem and Asia Hassan, the article addresses questions about agency and marginalization for artists working in public space, and considers how marginalized community groups may face barriers to creating artworks that engage directly in mainstream public spaces.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Hamilton, Donald G. "Australian doctors and the visual arts: Part 5. Doctor‐artists in South Australia, Tasmania, Western Australia and Queensland." Medical Journal of Australia 145, no. 10 (November 1986): 531–35. http://dx.doi.org/10.5694/j.1326-5377.1986.tb139460.x.
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Orenstein, Claudia. "The New Victory Danish Festival: A New Perspective on Puppetry and Family Entertainment." TDR/The Drama Review 52, no. 3 (September 2008): 187–95. http://dx.doi.org/10.1162/dram.2008.52.3.187.
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Claudia Orenstein reconsiders the notion of “entertainment for the whole family” via a puppetry-centered program that, by drawing on the power of performing objects, delves into the uncanny and fantastical to appeal to young minds, inventive artists, and adventurous adult spectators alike. Edward Scheer considers the aesthetics of disappearance within Australian performance artist Mike Parr's most recent series of actions, Amerika, which involve extreme physical demands even as they posit the body as subject simultaneously to its own presence and absence.
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Scheer, Edward. "The Performance of Disappearance: Mike Parr's Amerika." TDR/The Drama Review 52, no. 3 (September 2008): 195–201. http://dx.doi.org/10.1162/dram.2008.52.3.195.
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Claudia Orenstein reconsiders the notion of “entertainment for the whole family” via a puppetry-centered program that, by drawing on the power of performing objects, delves into the uncanny and fantastical to appeal to young minds, inventive artists, and adventurous adult spectators alike. Edward Scheer considers the aesthetics of disappearance within Australian performance artist Mike Parr's most recent series of actions, Amerika, which involve extreme physical demands even as they posit the body as subject simultaneously to its own presence and absence.
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Hillier, Benjamin. "Jon Stratton, Jon Dale and Tony Mitchell, eds. An Anthology of Australian Albums: Critical Engagements." Context, no. 47 (January 31, 2022): 93–96. http://dx.doi.org/10.46580/cx26553.
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An Anthology of Australian Albums: Critical Engagements is a welcome addition to the growing body of work that examines Australian popular music from a critical and scholarly perspective. It was conceptualised by eminent Australian musicologist Tony Mitchell as an academic companion to the often excellent work of non-academic journalists examining Australian popular music albums. As such, this book provides a critical perspective on Australian albums across a range of genres, from black metal to hip-hop, singer-songwriters, and the ever-present pub-rock bands that dominate the landscape of Australian popular music. This perspective leads the volume to consider some of these more common topics from new angles, omitting many of the great works of the canon of Australian rock royalty from the 1970s (AC/DC, The Angels, et al.) in favour of significant yet overlooked or marginalised artists. It is also decidedly contemporary in its choice of albums to analyse, with ten of the fifteen chapters focused on albums released in the twenty-first century, thus providing a valuable insight into recent developments in Australian popular music. Finally, the volume’s focus on individual works and albums makes it a useful complement to other scholarly volumes, such as Sounds of Then, Sounds of Now: Popular Music in Australia…
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Szabó, Marianna, Mark Seton, Ian Maxwell, and Mitchell L. Cunningham. "Psychological Well-Being of Australian Actors and Performing Artists: Life Satisfaction and Negative Affect." Medical Problems of Performing Artists 37, no. 2 (June 1, 2022): 106–17. http://dx.doi.org/10.21091/mppa.2022.2016.
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BACKGROUND: Anecdotal evidence and media reports suggest that actors and other performing artists experience high levels of depression, anxiety, and stress. However, no empirical study has examined the psychological well-being of this professional group. OBJECTIVE: The Australian Actors’ Wellbeing Study (AWS) was conducted to examine the general wellbeing of Australian actors and performing artists. The present paper, reporting on data from the AWS, focuses on two aspects of respondents’ psychological well-being: life satisfaction and the experience of negative affect. METHODS: An online survey including several questionnaires was distributed to the Equity Foundation membership representing Australian actors. We report results from the Satisfaction with Life Scale (SWLS) and the Depression Anxiety Stress Scales (DASS) and examine their associations with respondents’ sociodemographic and occupational background, including their relationship status and any relationship stress, income from performing, and time taken away from performing. RESULTS: A sample of 782 Australian actors responded to the survey, with 582 participants completing the DASS and 568 the SWLS. Participants reported lower levels of life satisfaction and higher levels of depression, anxiety, and stress than found in the Australian general population. Being in a relationship was associated with better psychological well-being; however, work stress often impacted negatively on relationships. Income had little association with psychological well-being, unless the respondent felt under financial stress. Respondents who took extended periods of time away from performing reported less life satisfaction and more depression than others. CONCLUSION: Australian actors may be at a high risk for poor psychological health. Further research is necessary to establish causality among the variables we examined and to investigate protective factors that may increase well-being in the context of the performing arts industry.
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Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
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The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.
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McPhee, John. "Forgetting our past." Art Libraries Journal 14, no. 2 (1989): 12–15. http://dx.doi.org/10.1017/s0307472200006180.
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While a great deal of the material evidence of Australian art of the past has been lost as a result of bushfires, other natural causes, accidents, or carelessness, even more has been deliberately destroyed. Artists or their families have often wished to erase the memory of convict or immigrant origins, youthful indiscretions, or previous marriages. The failure of national and state governments to formulate policies to ensure the preservation of business archives (including the archives of architectural firms and art galleries) continues to allow valuable material to be lost. Surviving archival material is often dispersed, occasionally inaccessible, and not infrequently inadequately catalogued. Fortunately nationwide initiatives have been launched – not a moment too soon – by the National Library of Australia and the Library of the Australian National
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Hoorn, Jeanette. "Know My Name: Australian Women Artists 1900 To Now." Australian and New Zealand Journal of Art 22, no. 1 (January 2, 2022): 128–32. http://dx.doi.org/10.1080/14434318.2022.2076035.
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Downey, Georgina. "Armchair tourists: Two ‘furniture portraits’ by expatriate South Australian women artists." Journal of Australian Studies 27, no. 80 (January 2003): 87–98. http://dx.doi.org/10.1080/14443050309387915.
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Goldstein, Tara. "The Bridge: The Political Possibilities of Intergenerational Verbatim Theater." Qualitative Inquiry 26, no. 7 (April 15, 2019): 833–39. http://dx.doi.org/10.1177/1077800419843947.
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This article introduces the reader to the work of Australian verbatim theater artists Donna Jackson, Bindi Cole Chocka, and James Henry. It describes the artists’ remount of Vicki Reynolds’s verbatim play The Bridge, which tells the story of the collapse of the Melbourne West Gate Bridge in 1970. I discuss the remount of the play as an intergenerational verbatim theater project which not only tells an important story from Australian working-class history to new audiences who haven’t heard it before, but also deepens the story through additional research and music. I also discuss the play as a project that uses political truths from the past to do new political work in the present.