Log in

Relevant bibliographies by topics / Australian painting

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Australian painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Australian painting.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Australian painting"

1

Geissler, Marie. "Indigenous Agency in Australian Bark Painting." Arts 11, no. 5 (September 7, 2022): 84. http://dx.doi.org/10.3390/arts11050084.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

Zhang, Chunyan. "Primeval Wilderness as Consolation in Hans Heysen’s Painting." Advances in Social Sciences Research Journal 10, no. 11 (November 5, 2023): 76–85. http://dx.doi.org/10.14738/assrj.1011.15802.

Full text

Abstract:

During the period of the 1920s and 1930s, representations of “authentic”, “wild” and “primeval” nature with a positive force and a sense of genuine beauty appeared in Australian painting, especially in the outback paintings of Hans Heysen (1877-1968). In his works, an admiration of the outback and the bush replaced the radical representations of the human battle against nature. This kind of representation demonstrates the attitude of certain Australian artists towards “wild” Australian nature (especially the outback and the bush) changed from perception of it as “alien” and “threatening”, to a growing sense of identification with it.

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

Zhang, Chunyan. "“Civilizing Nature” in Australian Painting." Advances in Social Sciences Research Journal 9, no. 12 (December 23, 2022): 328–38. http://dx.doi.org/10.14738/assrj.912.13639.

Full text

Abstract:

In Australian paintings and literary works of the colonial period, the wilderness and the Aboriginal people were represented as natural hurdles to be crossed and overcome, elements to be struggled against by the colonists who were attempting to “appropriate the environment exclusively to a British agenda of ‘civilization’ .” [1] This is manifestation of the Darwinian evolutionary rhetoric, the idea that societies progress from hunter-gatherer to Western industrialism in a linear hierarchy. This theme is prevalent in paintings and literature. Establishing this narrative was of paramount importance to the white settlers. It can be seen principally in the motif of “civilizing nature”, in which depictions of labour (images of the actual work of taming the wild landscape) or leisure (images of this work completed in the idyllic landscape) are stressed. This motif plays out the colonial agenda of celebrating masculine control over natural forces.

APA, Harvard, Vancouver, ISO, and other styles

6

Gillam, Barbara J. "Figure-Ground and Occlusion Depiction in Early Australian Aboriginal Bark Paintings." Leonardo 50, no. 3 (June 2017): 255–67. http://dx.doi.org/10.1162/leon_a_01423.

Full text

Abstract:

Aboriginal painting has been largely treated as conceptual rather than perceptual and its visual impact little examined. In this article the author shows the perceptual skill and innovation demonstrated by Aboriginal bark painters in depicting figure-ground and occlusion. This has heuristic value for studying occlusion perception and adds visual meaning to the conceptual meaning of the paintings.

APA, Harvard, Vancouver, ISO, and other styles

7

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

8

Hackforth-Jones, Jocelyn. "The colonial image: Australian painting 1800–1880." Journal of Historical Geography 16, no. 2 (April 1990): 272–73. http://dx.doi.org/10.1016/0305-7488(90)90122-r.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Ackland, Michael. "Australian Fiction and the Lure of Painting." Le Simplegadi 21, no. 23 (2023): 37–50. http://dx.doi.org/10.17456/simple-210.

Full text

Abstract:

Questo saggio studia il perché i pittori, le tecniche pittoriche e i temi legati all’arte siano presenti nella narrativa australiana dal colonialismo ad oggi. La pittura infatti ha rivestito a lungo un ruolo importante nei diari dei coloni e nella loro narrativa, diventando un emblema dei dilemmi rivelatori e delle ispirazioni condivise dagli autori. In breve, viene dimostrato come l’arte pittorica sia stata scelta come Arte Sorella della scrittura antipodea dei bianchi.

APA, Harvard, Vancouver, ISO, and other styles

10

WILLIS, R. J. "The earliest known Australian bird painting: a Rainbow Lorikeet, Trichoglossus haematodus moluccanus (Gmelin) by Moses Griffith, painted in 1772." Archives of Natural History 15, no. 3 (October 1988): 323–29. http://dx.doi.org/10.3366/anh.1988.15.3.323.

Full text

Abstract:

A previously unknown painting of the rainbow lorikeet, Trichoglossus haematodus moluccanus (Gmelin),1 by the Welsh artist Moses Griffith (1747–1819), servant to Thomas Pennant, appears to be the earliest painting of an Australian bird. The painting, dated 1772, depicts a specimen likely taken to England by Joseph Banks, following Cook's First Voyage (1768–1771), and seen by Pennant and Griffith in London in September 1771.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Australian painting"

1

Gruner, Billy. "Painting the object : recent formal Australian painting." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4992.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.

Full text

Abstract:

Studio: The work submitted for examination in December 2007 at SCA Galleries, consists of a painting constructed within the gallery space, and is the culmination of the research undertaken during the Masters of Visual Arts program. Untitled (Vinyl wall composition) I (2007) investigates how the act of making can function as a speculative activity interested in both the materiality of painting and the architectural context in which the work is placed. Research Paper: The objective of this research paper is to investigate the theoretical concerns raised by the studio work. It explores the contemporary position of medium specificity through the work of Tony Tuckson, Robert Ryman, Bernard Frize, Alan Charlton, Daniel Buren and Katharina Grosse. Discussion of the work of each of these artists focuses on the way in which the physical characteristics of the materials used to construct a painting can inform how the work is read and the ways in which the architectural context can influence how a painting is perceived. Through exploring the practices of each of these artists and establishing the conceptual strategies employed by each, this paper seeks to locate the central concerns of my practice within the discourse of contemporary painting.

APA, Harvard, Vancouver, ISO, and other styles

3

Waldmann, Anna. "Desiderius Orban: an Australian romantic." Thesis, The University of Sydney, 1987. https://hdl.handle.net/2123/26267.

Full text

Abstract:

Desiderius Orban (1884-1986) was born in Hungary. He had been a successful painter and teacher in his country of origin and came to Australia in 1939 as a mature and formed artist. He gained recognition in the Sydney art circles relatively soon after his arrival, had a large number of exhibitions, took part in numerous competitions, became a member of various art groups. Orban published three books and ran an art school from 1941 until his death in October 1986. In an unpublished autobiography written in 1965, Orban commented about his artistic career: I always had doubt of my achievements. From nature I am sceptical towards my ability. I feel that my progress was a slow but a steady one. From the beginning my intellect played more important part than my emotions. On the other hand nearly all of my paintings have a romantic hint. This contradiction puzzled me a lot. I tried to fight against this romanticism without any success. Apparently my subconscious and my conscious mind disagree. In his teaching and writings Orban pursued the idea that a creative mind is a mind free of prejudice. In his paintings however, he was unable to flee from the restrictions of conventionalism until the 1960s Orban's desire to translate his creed into artistic terms was hindered by technical limitations. In Orban, the distinction between aesthetic thought and method of expression had produced a constant struggle that resulted in decades of influential romantic teaching and accomplished rather than distinguished middle-of-the-road painting. The denouement of this struggle was achieved in the latter part of his lit when Orban abandoned his semi-illusionist methods. Orban's threefold career as a painter, writer and teacher, was intertwined and has to be viewed in the context of Hungarian and Australian art and thinking, as well as politics and perceptions.

APA, Harvard, Vancouver, ISO, and other styles

4

Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.

Full text

Abstract:

Thesis (M.Visual Arts) -- La Trobe University, 2006.
Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.

APA, Harvard, Vancouver, ISO, and other styles

5

Sherwin, Fiona Gill Harry P. "Harry Pelling Gill, a practising artist /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahms5541.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Wheeler, Elizabeth. "Colour, immateriality & uncertainty in painting." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/28007.

Full text

Abstract:

The objective of the research paper is to explore the theoretical concerns raised in the studio work. The paper discusses concerns such as colour activity and perception; the interdependence of the material and the immaterial in painting; and the uncertainty inherent in the process of painting and how that relates to wider experiences of uncertainty. The discussion focuses on the practice of artists who engage with such concerns, comparing and highlighting commonalities in their work, the objective being to articulate the central concerns of my own practice and in doing so, po-sition it within the discourse of contemporary painting.

APA, Harvard, Vancouver, ISO, and other styles

7

Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.

Full text

Abstract:

My employment in the Paintings Section of the Conservation Department of the Australian National Gallery began in June 1983, however my internship did not begin until March 1984 under the supervision of Allan Byrne. At that time, the paintings section was divided, rather arbitrarily, into: paintings pre-1940, headed by Ilse King and; paintings post-1940, headed by Allan Byrne. Because of the departure of the then senior curator of conservation Dr Nathan Stolow, Allan Byrne became acting senior curator. When Allan Byrne took up the position of lecturer in paintings conservation at C.C.A.E., Ilse King then became acting senior curator and my supervisor; the division within the painting section was then disbanded. Jac Macnaughtan departed temporarily from the department to undertake study and to work at the Tate Gallery and at the Courtauld Institute in London leaving me with the paintings section. I was fortunate enough to have at first one assistant Simon Hartas, then two assistants, Mark Henderson and Les Cormack to help with the task of backing, framing and restretching paintings. There was no formal training programme for an intern - work was undertaken as it came into the department and as it was allotted. For the sake of simplicity and ease of handling the dissertation is divided into 3 parts: Part 1 includes the Functions and Facilities of the conservation department. Part 2 includes an outline of painting conservation practice within the gallery and details of conservation work undertaken. Part 3 comprises a project on some of the properties of hardboard. As the gallery has in its collection a considerable number of paintings on hardboard, to augment my knowledge and perhaps give some insight into the nature of hardboard, this project was undertaken in conjunction with the internship.

APA, Harvard, Vancouver, ISO, and other styles

8

Parker, Margaret Ina, and margaret_p@optusnet com au. "Landscape Painting: Connection, Perception and Attention." La Trobe University. Visual arts and design, 2006. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080225.113947.

Full text

Abstract:

I investigate the lived experience, the actuality of responding to land as a painter. This thesis consists of intensive investigations in the field and further exploration in the studio, resulting in a body of paintings and drawings which form the exhibition. The exegesis explores theories and ideas surrounding the work. The psychological engagement between people, land and art is of major concern. The choice of place selected to paint and the subject matter of rocks is discussed. Painters who work outside or have painted at the same site are considered for comparison with my working methods or concerns. The selective view is intimate. The format of the image and the composition are discussed in terms of proximity and space. Consideration of the psychology of engagement with land and landscape painting, either as an observer or painter, is a major component of the research. This examination of human psychological development illuminates the origin of our sense of self and how we relate to the land on which we live. The premise of this enquiry is the idea that art and culture could reflect human psychological development. Do art objects contribute to cultural understanding of the relationship of person to environment? A phenomenological perspective is incorporated in this exploration of the interrelation of vision, perception and attention. Can the reality of experience be transferred into the art work? The deep attention to the landscape of Australian Aboriginal people serves as a cultural reference for these investigations. This study concludes that sentient consciousness involving responsibility for land is an open, effective way of perceiving and depicting landscape. Responsibility for land can be encouraged by the development of cultural ideas based around landscape and can be the result of feeling connected to land. Art can contribute to changes in attitudes to land.

APA, Harvard, Vancouver, ISO, and other styles

9

Piper, Jennifer Ann. "White, Carey and Nolan : national myth in Australian literature and painting." Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446272.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Australian painting"

1

Murray, Cree Laura, and Drury Nevill 1947-, eds. Australian painting now. London: Thames & Hudson, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Murray, Cree Laura, and Drury Nevill 1947-, eds. Australian painting now. North Ryde, Sydney, NSW: Craftsman House, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Splatt, William. Australian landscape painting. Ringwood, Vic., Australia: Viking O'Neil, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Eileen, Chanin, ed. Contemporary Australian painting. Roseville, NSW, Australia: Craftsmans House, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

(Australia), National Portrait Gallery, ed. Impressions: Painting light & life. Canberra: National Portrait Gallery, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Smith, Bernard. Australian painting 1788-1990. 3rd ed. Melbourne: Oxford University Press, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Terry, Smith, and Heathcote C. R, eds. Australian painting, 1788-2000. 4th ed. South Melbourne, Vic: Oxford University Press, 2001.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Splatt, William. Masterpieces of Australian painting. Ringwood, Victoria, Australia: Viking O'Neil, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Terry, Smith, ed. Australian painting, 1788-1990. 3rd ed. Melbourne: Oxford University Press, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Eagle, Mary. A story of Australian painting. Chippendale, Sydney: Macmillian Australia, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Australian painting"

1

Fitzpatrick, Lesley. "Secular, Savage and Solitary: Death in Australian Painting." In The Unknown Country: Death in Australia, Britain and the USA, 15–30. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25593-1_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Brumm, Adam, Adhi Agus Oktaviana, and Maxime Aubert. "Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia." In Deep-Time Images in the Age of Globalization, 31–44. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_3.

Full text

Abstract:

AbstractUntil recent years, most western scholars had overlooked the existence of rock art in Indonesia or viewed it as being of limited antiquity and of largely regional-interest only. In 2014, however, an Indonesian-Australian team announced the results of a program of Uranium-series (U-series) dating of rock art in Maros-Pangkep, Sulawesi, including a surprisingly early antiquity of at least 39.9 ka for a hand stencil and 35.4 ka for a figurative animal painting. U-series dating more recently has yielded minimum ages for figurative animal painting of 40 ka in Kalimantan and 45.5 ka in Maros-Pangkep, with the latter presently constituting the world’s oldest dated example of representational art. Indonesia’s previously little-known rock art has been propelled to the global stage. Here, we examine how scholars are grappling with the implications of ‘ice age art’ in Indonesia and its integration, for the first time, into models of early human artistic culture in other parts of the world. In particular, we discuss the seemingly close stylistic parallels between Late Pleistocene figurative animal art in Indonesia and early representational depictions of animals in the Arnhem Land and Kimberley regions of northern Australia. We consider scenarios that could explain these similarities, including the idea that a single figurative rock art style spread into Australia from Wallacea during the early movements of our species in the region.

APA, Harvard, Vancouver, ISO, and other styles

3

Glikson, Michal. "Australia and India: The Second Scroll: Australind." In Peripatetic Painting: Pathways in Social, Immersive, and Empathic Art Practice, 65–187. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-4005-6_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Burns, Emily C. "Frontier Impressionisms in the United States and Australia." In Mapping Impressionist Painting in Transnational Contexts, 49–64. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003044239-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Glikson, Michal. "India, Pakistan and Australia: The Third Scroll: IndoPak." In Peripatetic Painting: Pathways in Social, Immersive, and Empathic Art Practice, 189–252. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-4005-6_4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Glikson, Michal. "Pakistan and Australia: The First Scroll: Canberra and Other Ideas." In Peripatetic Painting: Pathways in Social, Immersive, and Empathic Art Practice, 15–63. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-4005-6_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Blundell, Valda, and Donny Woolagoodja. "Rock Art, Aboriginal Culture, and Identity: The Wanjina Paintings of Northwest Australia." In A Companion to Rock Art, 472–87. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch27.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Kubota, Sachiko. "Innovation of Paintings and Its Transmission: Case Studies from Aboriginal Art in Australia." In Social Learning and Innovation in Contemporary Hunter-Gatherers, 229–34. Tokyo: Springer Japan, 2016. http://dx.doi.org/10.1007/978-4-431-55997-9_19.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Hampson, Jamie, and Sam Challis. "Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation." In Deep-Time Images in the Age of Globalization, 275–88. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_19.

Full text

Abstract:

AbstractBoth on and off the rocks, it is clear that many pictographs and petroglyphs are powerful cultural and social ‘tools’ as well as sacred beings. Indeed, in certain regions of many countries, cultural and socio-political identity is shaped, manipulated, and presented through rock paintings and engravings. In this chapter, we focus on re-contextualised and appropriated Indigenous heritage and rock art motifs, in commercial settings, in sports team mascots, and as integral components of political and national symbols—there are illuminating similarities (as well as differences) that span the globe. Case studies include instances where descendants of the original artists have re-imagined and adapted the meanings and uses of motifs, and also where non-Indigenous/non-descendant groups have appropriated rock art imagery—often without consultation with or permission from Traditional Owners and heritage managers. We offer results from fieldwork and study in North America, northern Australia, and southern Africa.

APA, Harvard, Vancouver, ISO, and other styles

10

"Encountering Australian Painting." In Imagining the Antipodes, 27–62. Cambridge University Press, 1997. http://dx.doi.org/10.1017/cbo9780511470202.004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Australian painting"

1

Jin, Xin. "Crossing Landscape and Architecture: Embodiment of A-Perspectival Space in Wang Shu’s Oblique Drawings." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5027psugw.

Full text

Abstract:

Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system. First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms. By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.

APA, Harvard, Vancouver, ISO, and other styles

2

Tobin, Genevieve Mary. "The silver lining: preliminary research into gold-coloured varnishes for loss compensation in two 19th C silver gilded frames." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13498.

Full text

Abstract:

Golden varnishes appear on frames, furniture, wall hangings, leatherwork, panel paintings, mural paintings, and polychromy, and were applied to white metal gilding to imitate gold and other semi-precious materials. Despite the number of examples in cultural heritage there are few publications that discuss the ethical considerations of treating coloured silver gilded surfaces. The chromatic reintegration of gold-coloured varnishes on white metal gilding present specific material and technical challenges. In 2021 the Art Gallery of New South Wales (AGNSW) treated two identical late 19th century silver gilded frames for portraits by Joseph Backler from the Australian collection. In addition, a third portrait required the fabrication of a reproduction frame identical to the others. Conservation of the frames presented an opportunity for carrying out experiments into coloured coatings for loss compensation on silver gilding exploring applications for select conservation paints, dyes, and synthetic resins as substitutes for shellac. The results of experiments demonstrate that with the right application Liquitex Soluvar Gloss Varnish, Laropal A81 and Paraloid B72, present gloss levels and visual film forming properties comparable to shellac coatings when applied to burnished gilding. Additional tests with various dye colours illustrate that Orasol ® dye mixtures in colours Yellow 2GLN, Yellow 2RL, and Brown 2GL are reliable colour imitations for traditional gold-coloured varnishes. Although this research is preliminary, it may inform the selection and application of appropriate retouching materials for compensating losses to burnished silver leaf and golden varnishes in gilding conservation.

APA, Harvard, Vancouver, ISO, and other styles

3

Lu, Duanfang. "A Conceptual Framework for Architectural Historiography." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4005p6e3c.

Full text

Abstract:

Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty).

APA, Harvard, Vancouver, ISO, and other styles

4

Kulkarni, Mugdha. "Unfolding the Secrets of Vijaydurg Fort." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5028p2dab.

Full text

Abstract:

In India historic forts have been attracting the attention of Indian and Western scholars in recent times. National and international heritage institutions like ICOFORT-ICOMOS (International Scientific Committee on Fortifications and Military Heritage – International Council on Monuments and Sites), ASI (Archaeological Survey of India) and State Archaeology Departments are focusing on the study of these forts, aiming for their conservation. This paper presents a history and analysis of Vijaydurg Fort, one of the Maratha Sea forts of the Konkan region of Maharashtra, built along the coastline of Arabian Sea from 1657 to 1740 C.E. Vijaydurg Fort was an important naval station during the Maratha rule in order to administer the southern part of the Konkan coastline. This paper provides a brief review of the literature on Vijaydurg Fort, and an historical overview of it, and then focuses on a graphic record of the place that comprises maps from both the Maratha and British periods as well as drawings and paintings. The paper seeks to establish what this unique and significant graphic record contributes to an understanding of Vijaydurg Fort. Why was it located where it was, what factors affected its design and its evolution, and why did it maintain its importance over time despite change in the ruling dynasties? The paper shows that Vijaydurg Fort was strategically placed, given the cultural and maritime context, and that the design of the fort has evolved as per the requirements of each ruler and the activities carried out in and around it. Today the fort is accessed only from land, but the design and shape, including the proximity of gates and bastions to the inner built forms, convey its former maritime purpose. The fort was certainly placed at a strategic location using the natural features and it has evolved and undergone physical changes with the changing dynasties. The amendments mostly dealt with expansion and strengthening with smart defence mechanism aimed at safeguarding the trade and maritime activity of the region.

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Australian painting"

1

Coombs, HC opening exhibition of contemporary Australian paintings at Art Gallery - September 1955. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_pn-002886.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!