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Journal articles on the topic 'Australian painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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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.

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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.

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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.

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

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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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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.

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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.

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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.

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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.

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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.

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

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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.

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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.

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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.

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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.

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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.

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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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12

Taylor, Ken. "A Symbolic Australian Landscape: Images in Writing and Painting." Landscape Journal 11, no. 2 (1992): 127–43. http://dx.doi.org/10.3368/lj.11.2.127.

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13

George, Alison. "Australian rock painting is at least 17,000 years old." New Scientist 249, no. 3323 (February 2021): 14. http://dx.doi.org/10.1016/s0262-4079(21)00309-2.

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14

Kaplan, Robert M. "The first Australian painting of schizophrenia by Ivor Francis." Australasian Psychiatry 22, no. 3 (June 2014): 300–303. http://dx.doi.org/10.1177/1039856214531631.

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15

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

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

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16

McKay, Judith. "Ellis Rowan: Flower-hunting in the Tropics." Queensland Review 10, no. 2 (November 2003): 89–97. http://dx.doi.org/10.1017/s1321816600003354.

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Ellis Rowan was Australia's most celebrated flower painter of the late nineteenth and early twentieth centuries. An emancipated woman far ahead of her time, she turned what her fellow Australian artists deemed a ‘genteel’ female pastime of flower painting into an adventurous and profitable career which took her all over the world. In a career spanning fifty years and ending with her death in 1922, she produced the phenomenal number of more than 3000 paintings, and succeeded in placing many of these in public collections. Rowan exhibited her work as far afield as London and New York and achieved acclaim at intercolonial and international exhibitions of art and industry (with the award of ten gold, fifteen silver and four bronze medals). Also a skilled writer and publicist, she recounted her travels in the popular press and in a book entitled A Flower-Hunter in Queensland and New Zealand, published in 1898. This paper focuses on the artist's work in Queensland, a favourite hunting ground, and on her association with the tropics which was an essential part of her mystique.

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17

Zhang, Chunyan. "The Theme of “Progress” in Australian and Chinese Cultures." Asian Culture and History 12, no. 1 (April 8, 2020): 35. http://dx.doi.org/10.5539/ach.v12n1p35.

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This paper discusses the theme of “progress” in Australian and Chinese cultures in the period of 1920s and 1930s. During this period, both cultures had an outpouring of patriotic and sentimental feelings. In this social context, both cultures constructed a theme of “progress” – the transformation of natural environment with human power, or the active participation in social life, for the purpose of “civilization”, a concept closely connected with the idea of social engagement, transformation and modernization. In Australia, this ideology was a continuation of the old idea of transforming “untamed” nature and bringing material progress through human labour; in China, it was a new theme which betrayed the old “reclusive” spirit. In Australia, it is represented most clearly in film, in China, it is represented in both film and painting.

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18

Geissler, Marie. "Cultural Tourism: Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA." Arts 8, no. 2 (May 20, 2019): 66. http://dx.doi.org/10.3390/arts8020066.

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This paper explores how the appeal of the imagery of the Arnhem Land bark painting and its powerful connection to land provided critical, though subtle messaging, during the post-war Australian government’s tourism promotions in the USA.

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19

Myers, Fred. "Emplacement and Displacement: Perceiving the Landscape Through Aboriginal Australian Acrylic Painting." Ethnos 78, no. 4 (December 2013): 435–63. http://dx.doi.org/10.1080/00141844.2012.726635.

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20

Deans, Jan, and Robert Brown. "Coming Closer: Sharing Australian Aboriginal Stories through Drawing, Painting and Words." International Journal of Diversity in Organizations, Communities, and Nations: Annual Review 4, no. 1 (2006): 0. http://dx.doi.org/10.18848/1447-9532/cgp/v04/39524.

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21

Rice, J. C. "Garnett Passe and the tonsillectomy gag." Journal of Laryngology & Otology 130, no. 4 (January 19, 2016): 329–31. http://dx.doi.org/10.1017/s0022215116000074.

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AbstractKevin Kane has written about the painting by Barbara Hepworth of Garnett Passe performing a tonsillectomy, and wondered about the way in which the gag appears to be suspended. This article traces historically the various methods of holding the gag for tonsillectomy, and postulates that what is illustrated in the Hepworth painting is a jack owned by the late Dr Sydney Cocks, who not only was a friend of Passe but who also commenced the discussions with Passe's widow, Barbara, concerning the formation by her of a trust to support young Australian ENT surgeons, which eventually became The Garnett Passe and Rodney Williams Memorial Foundation.

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22

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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23

Hutchison, Margaret. "Dominion Imaginings: Commemorating WWI in Australian, Canadian and New Zealand Official Painting." Journal of Australian Studies 44, no. 4 (October 1, 2020): 515–34. http://dx.doi.org/10.1080/14443058.2020.1837916.

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

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25

Arya, Rina. "The Influence of Roy de Maistre on Francis Bacon." Religion and the Arts 21, no. 5 (2017): 607–22. http://dx.doi.org/10.1163/15685292-02105001.

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Very little is said about the Australian artist Roy de Maistre in scholarship on Francis Bacon, apart from the fact that he provided guidance about painting processes and other technical issues. There are a number of reasons for this and this article seeks to look at the relationship between de Maistre and Bacon. Although their period of overlap was short-lived, lasting less than a decade, de Maistre was an important figure in Bacon’s early career and significant in his transition from design to painting. Since De Maistre aided Bacon both in his development as a painter and also in his career by introducing him to useful contacts and involving him in exhibitions, perhaps the focus should now be placed on points of stylistic and thematic influence.

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26

Alcock, Sharon. "Painting Country: Australian Aboriginal artists’ approach to traditional materials in a modern context." AICCM Bulletin 34, no. 1 (December 2013): 66–74. http://dx.doi.org/10.1179/bac.2013.34.1.008.

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27

Alcock, Sharon. "Painting Country: Australian Aboriginal artists’ approach to traditional materials in a modern context." AICCM Bulletin 34, no. 1 (December 2014): 66–74. http://dx.doi.org/10.1179/bac.2014.34.1.008.

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28

Thomas, P. S., B. H. Stuart, N. McGowan, J. P. Guerbois, M. Berkahn, and V. Daniel. "A study of ochres from an Australian aboriginal bark painting using thermal methods." Journal of Thermal Analysis and Calorimetry 104, no. 2 (February 15, 2011): 507–13. http://dx.doi.org/10.1007/s10973-011-1336-9.

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29

Royo-Grasa, Pilar. "Painting the Australian Landscape with a South-Asian Brush: An Interview with Roanna Gonsalves." Le Simplegadi, no. 18 (November 2018): 283–93. http://dx.doi.org/10.17456/simple-119.

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30

Hassan, Ihab. "Painting a Continent – or Nothing: A Personal Essay on a Theme In Contemporary Australian Art." Religion and the Arts 8, no. 2 (2004): 159–73. http://dx.doi.org/10.1163/1568529042791263.

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Greenwell, C., D. Sullivan, N. Goddard, Bedford Bedford, and T. Douglas. "Application of a novel banding technique and photographic recapture to describe plumage development and behaviour of juvenile Fairy Terns." Australian Field Ornithology 38 (2021): 49–55. http://dx.doi.org/10.20938/afo38049055.

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The Australian Fairy Tern Sternula nereis nereis is a seabird that breeds along the coast and whose small populations are dispersed over vast stretches of the Australian seaboard and nearshore islands. In recent years, citizen science programs have been developed to bolster monitoring efforts to better understand breeding success and identify site threat profiles. The development of protocols that facilitate the collection of consistent measurements is important for long-term monitoring of this threatened (Vulnerable) species. This study describes plumage development and age-related behaviour in juvenile Australian Fairy Terns using direct observations and photographic recapture of individually marked birds. This information may be used as the basis for the development of a field ageing guide, enabling the collection of standardised information on colony demographics and juvenile development. A temporary colour-banding study was trialled by painting nail varnish onto 15 Australian Bird and Bat Banding Scheme (ABBBS) incoloy bands, avoiding the need to band nestlings with additional readable or PVC colour-bands. The varnish remained intact, albeit chipped, on four surviving birds that were resighted ≤80 days after banding, enabling the identification of individuals away from the colony site, without the need for recapture. The temporary marking of ABBBS bands using nail varnish offered an effective short-term solution for identifying individual juvenile Fairy Terns in the field and for describing plumage changes over a period of c. 3 months.

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32

Ma, Junqian. "Cooperative Activity as Mediation in the Social Adjustment of Chinese International Students." Journal of International Students 7, no. 3 (July 1, 2018): 856–75. http://dx.doi.org/10.32674/jis.v7i3.305.

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Social adjustment is one of the most difficult and long-lasting challenges for international students who study in a new country. This paper uses a case study of cooperative painting activity conducted in Australian setting, in which two Chinese and three other students from different countries participated, in order to assess the efficiency of cooperative activity in mediating the social adjustment of international students. It argues that three factors determine its mediating function: namely, 1) the relaxing, pushy, and thematic setting, 2) the mediator’s role, and 3) communications and interactions. The study provides a new approach to future practices aiming to support the social adjustment of international students.

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de Bruyn, Dirk. "Paul Winkler: Migrating from analogue to digital practice." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 107–22. http://dx.doi.org/10.1386/ap3_00007_1.

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This article investigates the self-taught experimental animation practice of German-Australian moving image artist Paul Winkler. His practice embraces an array of image manipulation techniques, some of which he invented. This practice originated in 1964, spanning over 50 years, and has recently productively migrated from analogue to digital production. What happens to this practice when we move to digital production? Winkler’s trajectory offers a case study in the shifts and resilience of experimental animation practice through the lens of Vilém Flusser’s ‘technical image’. Flusser’s concept was developed in response to a pervasive digital culture but also reaches back into proto-cinema, maps and prehistoric cave painting.

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Mclean, Ian. "Global Indigeneity and Australian Desert Painting: Eric Michaels, Marshall McLuhan, Paul Ricoeur and the End of Incommensurability." Australian and New Zealand Journal of Art 3, no. 2 (January 2002): 33–53. http://dx.doi.org/10.1080/14434318.2002.11432716.

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Dunlop, Richard. "Images 2: Contemporary Australian Painting, N. Drury, ed., Craftsman House, 1994, $120.00. - Fairweather, Murray Bail, Craftsman House, 1994, $60.00." Queensland Review 2, no. 2 (September 1995): 86–87. http://dx.doi.org/10.1017/s1321816600000945.

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Imran, Saqib, Rizwan Ali Naqvi, Muhammad Sajid, Tauqeer Safdar Malik, Saif Ullah, Syed Atif Moqurrab, and Dong Keon Yon. "Artistic Style Recognition: Combining Deep and Shallow Neural Networks for Painting Classification." Mathematics 11, no. 22 (November 7, 2023): 4564. http://dx.doi.org/10.3390/math11224564.

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This study’s main goal is to create a useful software application for finding and classifying fine art photos in museums and art galleries. There is an increasing need for tools to swiftly analyze and arrange art collections based on their artistic styles as a result of the digitization of art collections. To increase the accuracy of the style categorization, the suggested technique involves two parts. The input image is split into five sub-patches in the first stage. A DCNN that has been particularly trained for this task is then used to classify each patch individually. A decision-making module using a shallow neural network is part of the second phase. Probability vectors acquired from the first-phase classifier are used to train this network. The results from each of the five patches are combined in this phase to deduce the final style classification for the input image. One key advantage of this approach is employing probability vectors rather than images, and the second phase is trained separately from the first. This helps compensate for any potential errors made during the first phase, improving accuracy in the final classification. To evaluate the proposed method, six various already-trained CNN models, namely AlexNet, VGG-16, VGG-19, GoogLeNet, ResNet-50, and InceptionV3, were employed as the first-phase classifiers. The second-phase classifier was implemented as a shallow neural network. By using four representative art datasets, experimental trials were conducted using the Australian Native Art dataset, the WikiArt dataset, ILSVRC, and Pandora 18k. The findings showed that the recommended strategy greatly surpassed existing methods in terms of style categorization accuracy and precision. Overall, the study assists in creating efficient software systems for analyzing and categorizing fine art images, making them more accessible to the general public through digital platforms. Using pre-trained models, we were able to attain an accuracy of 90.7. Our model performed better with a higher accuracy of 96.5 as a result of fine-tuning and transfer learning.

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37

Lovell, Sue. "‘The trees and grass and river and myself’: Vida Lahey and Madge Roe as cultural subjects." Queensland Review 23, no. 1 (May 31, 2016): 49–61. http://dx.doi.org/10.1017/qre.2016.6.

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AbstractMadge Roe was a Brisbane-based illustrator who specialised in Australian flora and fauna. She captured the everyday in sketches and line illustrations to share with family and friends, and donated her time and talents to public causes. Although an avid supporter of and participant in Brisbane cultural groups, she was not a leading artist. Vida Lahey, however, was highly respected nationally and developing an international reputation. Both artists were embedded in family networks that sustained and promoted their well-being; both engaged with Brisbane culture, though in very different ways. In this paper, I argue for thinking holistically about culture and place as they are engaged by meaning-making ‘subjects’. Through Lahey's painting, Memoriam to Madge Roe, Roe's death notice and family sources, I focus on the articulation by subjects of geo-cultural meanings. By using this term, I indicate that meaning making is closely tied to place, to transitions between places and to the family as a form of subject ‘placement’.

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38

Trinh, Huong Thu. "Ned Kelly’s legend through the series of paintings of Sidney Nolan." Science & Technology Development Journal - Social Sciences & Humanities 1, no. X1 (June 30, 2017): 29–42. http://dx.doi.org/10.32508/stdjssh.v1ix1.429.

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The paper approaches cultural studies in a way which tells us about a life-time story of Ned Kelly, who is a legend, an Australian hero and beloved by many Australians, through the series of 27 paintings of Sidney Nolan. Ned Kelly is an Australian icon man. Both the painter and the main character of the novel are famous and express Australianness well. In this paper, the writer bases on figurative language, the colour of paintings and the life story of the main character to show the Australian nationalism, national myth and Australianness.

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Rajkowski, Raymonda, Nicole Andrea Tse, and Beckett Rozentals. "Interviewing artists exhibited in The Field (1968): The use of acrylic paints in a seminal exhibition of Australian colour field painting." Studies in Conservation 61, sup2 (June 2016): 321–23. http://dx.doi.org/10.1080/00393630.2016.1190907.

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SHEA, GLENN M., and JODI J. L. ROWLEY. "Resolution of the types and type localities of some early nominal species of the Australian myobatrachid frog genus Pseudophryne Fitzinger, 1843." Zootaxa 4407, no. 1 (April 9, 2018): 51. http://dx.doi.org/10.11646/zootaxa.4407.1.3.

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The types and type localities of Bombinator australis Gray, 1835, Pseudophryne bibronii Günther, 1859, and Phryniscus albifrons Duméril, Bibron & Duméril, 1854, are defined. The nominal type locality for B. australis, Swan River, is considered to be in error. The source of the specimen, Joseph Wright, owned property in the Swan River colony in Western Australia, but later resided in Sydney, the latter locality within the known range of the species. We designate a specimen in the Museum National d’Histoire Naturelle, Paris as lectotype of Pseudophryne bibronii, restricting the type locality of both species to Parramatta, near Sydney, based on the published statements of the collector, François Péron. The holotype of Phryniscus albifrons, a species defined by a painting of a specimen, was likely to have been collected by Jules Verreaux, but the only extant Pseudophryne obtained from Verreaux does not match the type illustration. Verreaux is renowned for the numerous errors in the localities associated with his specimens, and the locality for this specimen, Moreton Bay, Queensland, is likely to be another such error. Resolution of these issues facilitates ongoing taxonomic work on the genus using genetic and morphological data.

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Babaev, Kirill V. "From the Stone Age to Post-Vanguard: On the Transformation of Aboriginal Australian Painting in the Late 20th and Early 21st Century." Actual Problems of Theory and History of Art 12 (2022): 554–62. http://dx.doi.org/10.18688/aa2212-05-43.

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Wolny, Ryszard W. "Andrew Taylor: Australia’s Poet of the (Extra)Ordinary." European Journal of Language and Literature 5, no. 3 (September 25, 2019): 7. http://dx.doi.org/10.26417/ejls.v5i3.p7-10.

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Andrew Taylor (1940-) has been regarded as one of the most significant living Australian poets largely due to the fact of his unusual use of the poetic language and the selection of topics. He undoubtedly belongs to the group of the poets, like John Kinsella, who create mastery in their so-called ‘niche’ market, quietly continuing to produce compositions of remarkable quality, and receiving national and international recognition for their achievements. Andrew Taylor’s Impossible Preludes (Poems 2008-2014) is a unique and beautiful retrospective on life, love and everything in between, with its full array of extraordinariness embedded in the ordinariness of everyday life. Each line is a story within itself, painting a picture for the reader to follow as vividly as one might expect in an art gallery. Every poem is full of colour and weight as it takes you on a journey into the mind of this creative and talented individual. Therefore, the aim of this paper is to disclose these elements in Andrew Taylor’s poetry that make it so extraordinary in its ordinariness and find out possible sources of this idiosyncrasy.

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Perry, Barbara. "The Pictorial Collection of the National Library of Australia." Art Libraries Journal 13, no. 1 (1988): 23–25. http://dx.doi.org/10.1017/s0307472200005526.

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The National Library of Australia at Canberra includes a Pictorial Collection comprising paintings, drawings, prints and photographs which illustrate the history of Australia. The Collection is being actively developed, the ultimate goal being a comprehensive visual record of all aspects of Australian life. The Collection is open to the public, and is served by a photographic unit; a selection of pictures are always on display, and items are lent to exhibitions elsewhere. A publications programme is to culminate in the production of an illustrated catalogue. Data on selected items in the Collection is being entered into the Australian Bibliographic Network database.

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Aires Franceschini, Marcele. "Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue." Acta Scientiarum. Language and Culture 41, no. 2 (October 1, 2019): e45306. http://dx.doi.org/10.4025/actascilangcult.v41i2.45306.

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The idyllic approach of this article deals with the dialogue between two distinct artworks: poems from the book Africa (Taylor, 2000), emphasizing the poem ‘Waikiki’, by the Australian poet, journalist and filmmaker Ken Taylor; and the movie Boy (Curtis, Gardiner, & Michael, 2010), directed by the New Zealander film-director, actor and writer Taika Waititi. The poems and the movie are connected by synesthetic perceptions, mostly related to painting, colorizing and shaping that are displayed in the described scenarios. Hereby, these aspects were theoretically reviewed by the following authors: Rimbaud (1966), Kandinsky (1977), Ostrower (1977), Bachelard (1986, 2011), Cytowic (1993), Berger (2008), Lambert (2010), among others. The method of analysis includes the concepts in which the art producers uncovers the relationship between nature and the self, considering the fact that beyond poet and director, respectively Taylor and Waititi are also painters. Nature is widely open before their meditative eyes, therefore rather than outreaching the natural world with motionless expectations; both portray idyllic wonders related to individual/cultural scopes. As a result, from its amorphous state, words transmute themselves into landscapes, sensations, and forms. The aim was to follow the paths that image evocates in the description of each author, since they share contemplativeness, surrounded by consciousness, perceptions and freedom, all demanded during the creative process.

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Flood, Josephine. "Culture in Early Aboriginal Australia." Cambridge Archaeological Journal 6, no. 1 (April 1996): 3–36. http://dx.doi.org/10.1017/s095977430000158x.

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On the basis of recent archaeological evidence it seems that humans first entered the Australian continent about 60,000 years ago. These first ocean-going mariners had a high level of technological and economic skill, and had spread right across Australia into a wide variety of environments by about 35,000 years ago. Pigment showing clear signs of use occurs in almost all Australia's oldest known occupation sites, and evidence of self-awareness such as necklaces and beads has been found in several Pleistocene rock shelters. Rituals were carried out in connection with disposal of the dead, for at Lake Mungo there is a 25,000-year-old cremation, and ochre was scattered onto the corpse in a 30,000-year-old inhumation. Complex symbolic behaviour is attested at least 40,000 years ago by petroglyphs in the Olary district, and other evidence suggests a similar antiquity for rock paintings. The special focus of this article is cognitive archaeology, the study of past ways of thought as derived from material remains, particularly the development of early Australian artistic systems.

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

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

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Greenop, Kathryn R., Susan Peters, Lin Fritschi, Deborah C. Glass, Lesley J. Ashton, Helen D. Bailey, Rodney J. Scott, et al. "Exposure to household painting and floor treatments, and parental occupational paint exposure and risk of childhood brain tumors: results from an Australian case–control study." Cancer Causes & Control 25, no. 3 (December 12, 2013): 283–91. http://dx.doi.org/10.1007/s10552-013-0330-x.

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Landsberg, Hannelore, and Marie Landsberg. "Wilhelm von Blandowski's inheritance in Berlin." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 172. http://dx.doi.org/10.1071/rs09172.

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This article discusses Blandowski’s collections held in various libraries and museums in Berlin, Germany. Wilhelm von Blandowski (1822-1878) was a Prussian ‘Berliner’. He was born in Upper Silesia, a province of Prussia. He worked there in the mining industry and later attended lectures in natural history at the University of Berlin. Following a period in the army, he was influenced by the March Revolution in Germany in 1848. As a result, he left the civil service and migrated to Australia. Blandowski’s first approach to the Museum of Natural History in Berlin was an offer of objects, lithography and paintings ‘forwarded from the Museum of Natural History, Melbourne Australia’ in 1857. After returning to Prussia, Blandowski tried unsuccessfully to get support for publishing Australien in 142 photographischen Abbildungen. Today the Department for Historical Research of the Museum of Natural History owns more than 350 paintings as the ‘Legacy Blandowski’. The paintings illustrate Blandowski’s time in Australia, his enormous knowledge of natural history, his eye for characteristic details of objects and his ability to instruct other artists and to use their work. The text will show these aspects of Blandowski’s life and work and will give an insight into the database of Blandowski’s paintings held at the Humboldt University, Berlin.

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Castillo, Greg. "Spinifex People as Cold War Moderns." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 71–94. http://dx.doi.org/10.5195/contemp.2015.144.

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Aboriginal Australian contemporary artists create works that express indigenous traditions as well as the unprecedented conditions of global modernity. This is especially true for the founders of the Spinifex Arts Project, a collective established in 1997 to create so-called “government paintings”: the large-scale canvases produced as documents of land tenure used in negotiations with the government of Western Australia to reclaim expropriated desert homelands. British and Australian nuclear testing in the 1950s displaced the Anangu juta pila nguru, now known to us as the Spinifex people, from their nomadic lifeworld. Exodus and the subsequent struggle to regain lost homelands through paintings created as corroborating evidence for native title claims make Spinifex canvases not simply expressions of Tjukurpa, or “Dreamings,” but also artifacts of the atomic age and its impact on a culture seemingly far from the front lines of cold war conflict.

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Greenop, Kathryn R., Susan Peters, Lin Fritschi, Deborah C. Glass, Lesley J. Ashton, Helen D. Bailey, Rodney J. Scott, et al. "Erratum to: Exposure to household painting and floor treatments, and parental occupational paint exposure and risk of childhood brain tumors: results from an Australian case–control study." Cancer Causes & Control 25, no. 9 (June 20, 2014): 1241–42. http://dx.doi.org/10.1007/s10552-014-0419-x.

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