Relevant bibliographies by topics / Exoticism in art Australia

Academic literature on the topic 'Exoticism in art Australia'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Exoticism in art Australia"

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YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (November 2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.

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AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron makes possible a deeper scrutiny of traditional gender roles in the production and reception of Western art. The film's formulaic plot and the backstage musical format render transparent the commercial impetus behind the creative process and demystify the role of the Romantic artist-genius. Finally, the transnational and transhistorical elements of the film – a mostly Australian production team and crew, American and British pop songs, a Parisian backdrop, the Bollywood-inspired show-within-a-show, numerous anachronisms that refuse to stay confined within the specified time setting of the late nineteenth century – disrupt the Classical ideals of artistic unity and integrity and suggest new postmodern geographies and temporalities. This article considers how Luhrmann, by simultaneously paying homage to and critiquing operatic practices in Moulin Rouge!, deconstructs and reinvents opera for the postmodern age.
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Khoo, Olivia. "Folding Chinese boxes: Asian exoticism in Australia." Journal of Australian Studies 24, no. 65 (January 2000): 200–208. http://dx.doi.org/10.1080/14443050009387604.

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Locke, Ralph P. "On Exoticism, Western Art Music, and the Words We Use." Archiv für Musikwissenschaft 69, no. 4 (2012): 318–28. http://dx.doi.org/10.25162/afmw-2012-0028.

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Keshmirshekan, Hamid. "The Question of Identity vis-à-vis Exoticism in Contemporary Iranian Art." Iranian Studies 43, no. 4 (September 2010): 489–512. http://dx.doi.org/10.1080/00210862.2010.495566.

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Teodorski, Marko. "Book Review: Aleksandra Mančić, Egzotizam i kanibalizam. Transmisije drugog i avangardni oblici prevođenja [Exoticism and Cannibalism. Transmissions of the Other and the Avant-Garde Forms of Translation]. Beograd: Službeni glasnik, 2017." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 165. http://dx.doi.org/10.25038/am.v0i17.280.

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How to cite this article: Teodorski, Marko. "Book Review: Aleksandra Mančić, Egzotizam i kanibalizam. Transmisije drugog i avangardni oblici prevođenja [Exoticism and Cannibalism. Transmissions of the Other and the Avant-Garde Forms of Translation]. Beograd: Službeni glasnik, 2017, 204 pp., ISBN 978-86-519-2096-0." AM Journal of Art and Media Studies 17 (2018): 165−168. doi: 10.25038/am.v0i17.280
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Lovings-Gomez, Lauren. "Antiquity, Exoticism, and Nature in Gold “Lotus and Dragon-fly” Comb with Cyprian Glass Fragment." Athanor 37 (October 23, 2019): 109–26. http://dx.doi.org/10.33009/fsu_athanor116679.

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In this paper, I aim to reconstruct the life of Ornamental Comb, with emphasis on its materiality. I argue that the centerpiece of ancient glass, framed in Art Nouveau ornamentation, transforms into a modern jewel in accordance with avant-garde notions of looking to the past to create something new. Finally, I will contend that decorative art objects, like the CMA’s Ornamental Comb, disrupt the perceived hierarchy between what is deemed “high” and “low” art at the fin-de-siècle.
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Parrott, June. "Art Education in Australia." Journal of Aesthetic Education 21, no. 3 (1987): 114. http://dx.doi.org/10.2307/3332877.

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Hornshaw, B. L. "Primitive Art in Australia." Mankind 1, no. 1 (February 10, 2009): 21–22. http://dx.doi.org/10.1111/j.1835-9310.1931.tb00841.x.

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SIDRI, Samira. "ART ET ARTIFICES DE LA PRÉFACE VIATIQUE : VOYAGEURS EN ORIENT." Analele Universității din Craiova, Seria Ştiinte Filologice, Langues et littératures romanes 25, no. 1 (January 24, 2022): 287–306. http://dx.doi.org/10.52846/aucllr.2021.01.20.

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This study aims to investigate the many forms of the preface in relation to the conditions of its production and the profile of the preface writer in certain travel accounts in Morocco, Algeria, Egypt, or Turkey from the seventeenth to the twentieth centuries. It is interesting to see the diversity of the construction of the self in the prolegomenes, intended to enhance the good reception of the narrative. From the simple traveller in search of exoticism to the passionate missionary, the prefaces of travel relationships offer an array of discursive strategies where the narrator's ethos underpins a rhetoric specific to the travel literature. Lady Montagu, Bugéja, Eberhardt, Montesquieu, Loti and other travellers invite the reader not only to explore a travel experience, but also to grasp the secrets of a rhetorical approach consciously undertaken.
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Loges, Natasha. "Exoticism, Artifice and the Supernatural in the Brahmsian Lied." Nineteenth-Century Music Review 3, no. 2 (November 2006): 137–68. http://dx.doi.org/10.1017/s147940980000063x.

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Perhaps as a consequence of the late-nineteenth-century tendency to differentiate Brahms from the Wagnerian coterie at all costs, his enduring interest in exoticism has received little attention. This is not unreasonable, since his untexted works show no evidence of any foreign links further than Hungary. In addition, for obvious reasons, the specific tropes associated with exoticism, or more specifically orientalism, manifested themselves most clearly through art-forms better equipped to portray specific verbal content, such as opera, literature and painting, none of which is strongly associated with Brahms. Biographically, it is even harder to reconcile Brahms with exoticism, since the connotations of sensuality sit oddly with the bürgerlich North German Protestant work ethic that generally defines perceptions of him. Still, the effect of over 30 years in cosmopolitan Vienna cannot be overlooked; also Brahms was a friend and supporter of artists as well as of musicians. Although Max Klinger and Adolf von Menzel spring primarily to mind, his interest in German painters dated from his early twenties, following his visit to the Schumanns in Düsseldorf. In particular, from the mid-1860s onwards he expressed constant interest in the works of the painter Anselm Feuerbach. Interestingly, both Brahms's and Feuerbach's concept of orientalism, specifically through the Persian poet Hafis, was mediated by the poetry of Georg Friedrich Daumer. This study will explore the simultaneous burgeoning of interest shown by Brahms in his Hafis settings and Feuerbach in his works Hafis vor der Schenke and Hafis am Brunnen in the mid-1860s, as well as the background of the poet who inspired them both.
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Dissertations / Theses on the topic "Exoticism in art Australia"

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Guégan, Xavier. "Samuel Bourne and Indian natives : aesthetics, exoticism and imperialism." Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/2218/.

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Samuel Bourne (1834-1912), one of the most prestigious Victorian English commercial photographers to have worked in British India, is best known for his photographs of the Himalayas. Bourne's work features in general studies of photography of the period; his representations of the Indian landscape have been the object of studies and several exhibitions. Bourne was in India initially from 1863 to 1870 thereby establishing his career as a professional photographer. Soon after his arrival he started a business with the experienced photographer Charles Shepherd. Within a few years, the firm of Bourne & Shepherd became recognised as being a directing influence over British-Indian photography. The photographs were taken either in studio or on location, and included individual and group portraits of both the British and Indians, topographical images in which peoples were incidental, as well as a range of representations of Indian life, customs and types. These images were informed by, and in turn contributed to, an expanding body of photographic practice that mixed, to varying degrees, authenticity and aesthetic style. Whilst Bourne's work was significant and influential in the representation of Indian peoples, no substantial study has been undertaken until now. The aim of this thesis is to redress this imbalance. The central focus highlights the specific character of the images portraying Indian people. This specificity was determined by a combination of technical and 'authorial' factors, by the audience to which they were addressed — ranging from the general public in Britain to the family circle of wealthy Indians — by commercial considerations, and by current and evolving notions of authority, race and gender. The first two chapters seek to frame Bourne's work by first examining the political and cultural context of photography in India during the mid-nineteenth century, then by focusing on the context of the photographer's own production. The following three chapters are concerned with the study of the photographs themselves regarding what they depict and the questions they raise such as gender, racial identities and imperialism. The last chapter is an attempt to assess the significance of these photographs by comparing them with the work of Lala Deen Dayal, and highlighting different perspectives on Bourne's work regarding British India and Western societies. Placed in the context of the development of photography as a medium of record and representation, this thesis aims to show that Bourne's work is a significant historical source for understanding British cultural presence in post-Mutiny India.
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Medvedev, Natasha. "The contradictions in Vereshchagin's Turkestan series visualizing the Russian Empire and its others /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835633981&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.

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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
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Schilo, Ann. "Folk art in Australia: A discursive analysis." Thesis, Schilo, Ann (1993) Folk art in Australia: A discursive analysis. PhD thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/52760/.

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Informed by the writings of Michel Foucault, this thesis investigates the discourse on folk art in Australia. Emphasis is placed on exploring the recent emergence of a body of statements that contribute to its Australian specificity. This thesis considers the various discursive strategies that construct the domain of folk art in this country, including the contribution played by overseas folkloric studies in establishing the field. By using a framework operating under the principle of distance and immediacy, the processes of production and dissemination of cultural goods are examined to reveal how material folk culture is located as a peripheral artistic practice. In this regard, the systems of exclusion that operate within high art discourses to define and marginalise women's artistic practice are surveyed as a concomitant discursive domain. A study of makeshift furniture is undertaken to elucidate how these strategies combined with processes of connoisseurship are involved in constructing the domain of Australian folk art and the appraisal of its cultural value. In the final analysis, attention is given to the subject of aesthetics and the appreciation of folk art.
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Bemrose, Anna. "A servant of art : Robert Helpmann in Australia /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17332.pdf.

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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.

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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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Garnons-Williams, Victoria. "Art teacher pre-service education : a survey of the attitudes of Queensland secondary, and tertiary art educators." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26115.

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This study compares the views of three groups of art educators - secondary, tertiary pre-service lecturers, and scholars - about the content and structure considered important in art teacher pre-service education. Items of program content and structure, as well as issues in art-teacher preparation were gleaned from the writings of selected scholars and incorporated into a survey questionnaire. The survey was distributed to secondary art educators throughout Queensland and to art pre-service lecturers throughout Australia. An analysis of the results identifies areas and degrees of agreement and difference on items both within and between groups. The study can assist the development of art teacher pre-service programmes that reflect the values of both theoreticians and practitioners of art education.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.

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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.
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Pennings, Mark W. "Charles Wheeler and the nude in Australia." Connect to thesis, 1991. http://repository.unimelb.edu.au/10187/1432.

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The place for Charles Wheeler’s nudes in Australian art history has not been adequately gauged by art historians. He was one of Australia’s most notable painters of the nude, not perhaps because his vision was particularly inventive or original, but rather because he was an important, conservative conduit of that European tradition. Wheeler was very popular with the buying public over many decades, but success with his nudes was fundamentally a critical one. The positive response to Wheeler’s nudes, paintings which combined elements of the academic tradition and more fashionable conventions, presents an intriguing reflection on the nature of art criticism in Australia. The style of Wheeler’s discourse is indebted not only to late nineteenth century British models, as it was represented in the writings of critics such as R.A.M. Stevenson, who was primarily concerned with technique, but also to current debates about art and morality. One of the determining characteristics of this discourse was an interest in defining the limits between naked and nude. Critics were particularly concerned to protect the nude as a genre against moral attack by refusing to engage in a discussion of its sensual aspects. While the public was keen to debate the moral problems associated with the nude, the critics were anxious to avoid these issues. They felt that questions of morality were not central to artistic merit, and sensed that by engaging in discussion of this kind, the nude was on danger of being brought into disrepute.
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Brooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.

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"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.
Master of Arts (Visual Arts)
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Books on the topic "Exoticism in art Australia"

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Richardson, Donald. Art in Australia. Melbourne, Australia: Longman Cheshire, 1988.

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Art of Australia. Sydney, N.S.W: Pan Macmillan Australia, 2008.

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1964-, Croft Brenda L., ed. Indigenous art: Art Gallery of Western Australia. Perth, WA: Art Gallery of Western Australia, 2001.

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Si loin si près: L'exotisme aujourd'hui. Paris]: Klincksieck, 2011.

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Musées historiques de la ville du Havre, ed. Paul & Virginie: Un exotisme enchanteur : 30 novembre 2013 - 18 mai 2014. [Paris]: Nicolas Chaudun, 2014.

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Les peintres du Bosphore au XVIIIe siècle. Paris: ACR, 1989.

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Winter, Tomáš. Lovesick exoticism: The collection of non-European ethnic art of Adolf Hoffmeister. Prague: Artefactum, 2010.

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Grottanelli, Vinigi L. Australia, Oceania, Africa nera. Torino: UTET, 1987.

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Coyle, Rebecca. Apparition: Holographic art in Australia. Sydney: Power Publications, 1995.

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1798-1863, Delacroix Eugène, ed. Eugène Delacroix au Maroc: Les heures juives. Casablanca: MémoArts, 2012.

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Book chapters on the topic "Exoticism in art Australia"

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Catt, James. "Australia: QMS in IVF Centres." In Quality Management in ART Clinics, 233–37. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-7139-5_21.

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von Beyme, Klaus. "From Exoticism to Postcolonial Art: Theorizing and Politicizing Art in the Age of Globalisation." In Politics in South Asia, 179–88. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09087-0_13.

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Balme, Jane, Sue O’Connor, and Michelle C. Langley. "Marine shell ornaments in northwestern Australia." In The Archaeology of Portable Art, 258–73. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315299112-16.

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Wright, Christine. "‘an art which owes its perfection to War’: Skills of Veterans." In Wellington's Men in Australia, 93–114. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306035_6.

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McLeod, W. R. "Certification Procedures in Australia and New Zealand." In Psychiatry The State of the Art, 231–32. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_34.

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Goldney, Robert D. "Videotape in Psychiatric Education in Adelaide, South Australia." In Psychiatry The State of the Art, 339–44. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_53.

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Carter, David. "Yiwarra Kuju—One Road: Storytelling and History Making in Aboriginal Art." In Transcultural Connections: Australia and China, 219–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5028-4_14.

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Veth, Peter. "From Discovery to Commoditization: Rock Art Management in Remote Australia." In A Companion to Rock Art, 546–61. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch31.

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Taçon, Paul S. C., June Ross, Alistair Paterson, and Sally May. "Picturing Change and Changing Pictures: Contact Period Rock Art of Australia." In A Companion to Rock Art, 420–36. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch24.

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Legino, Rafeah, David Forrest, and Nurhanim Zawawi. "Asian Clothing Collection from Museum Victoria Australia." In Proceedings of the Art and Design International Conference (AnDIC 2016), 125–33. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_15.

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Conference papers on the topic "Exoticism in art Australia"

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Sundari, R., T. Rohidi, S. Sayuti, and Hartono Hartono. "Exoticism of Barongan Kusumojoyo Demak Regency: The Art of East Coast of Central Java." In 2nd Workshop on Language, Literature and Society for Education. EAI, 2019. http://dx.doi.org/10.4108/eai.21-12-2018.2282744.

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Li, Qiuyu. "Australia Media Studies." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.058.

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Martin, Professor the Hon Stephen. "The Black Art of Economic Forecasting Lessons from Australia." In Annual International Conference on Qualitative and Quantitative Economics Research. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2251-2012_qqe15.01.

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Seevinck, Jennifer, Linda Candy, and Ernest A. Edmonds. "Exploration and reflection in interactive art." In the 20th conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1228175.1228202.

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O'Brien, J. "Construction Automation and Robotics in Australia - A State-of-the-Art Review." In 8th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1991. http://dx.doi.org/10.22260/isarc1991/0009.

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O'Brien, J. "Robotics and Intelligent Machines in Australia - A State of the Art Report." In 9th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1992. http://dx.doi.org/10.22260/isarc1992/0010.

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Carley, James T., and Tom Denniss. "Electrical Energy from Ocean Waves—History and State of the Art in Australia." In 27th International Conference on Coastal Engineering (ICCE). Reston, VA: American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40549(276)272.

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Peel*, Frank J., Gillian M. Apps, Esther Sumner, and David “Stan” Stanbrook. "The Dark Art of Palaeobathymetry: How Can We Reconstruct the Shape of the Sea Floor in Structurally Active Regions?" In International Conference and Exhibition, Melbourne, Australia 13-16 September 2015. Society of Exploration Geophysicists and American Association of Petroleum Geologists, 2015. http://dx.doi.org/10.1190/ice2015-2203072.

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Marquis, Jenefer, and Theodor Wyeld. ""Seeing Mardayin': Instability and Ambiguity in the Art of John Mawurndjul, Kuninjku, Arnhem Land, Northern Australia." In 2009 13th International Conference Information Visualisation, IV. IEEE, 2009. http://dx.doi.org/10.1109/iv.2009.81.

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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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