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Journal articles on the topic 'Glass art Australia History'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Ivanyshyn, Ostap. "Experiment in the art of Klaus Moje." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 265–77. http://dx.doi.org/10.37131/2524-0943-2019-39-18.

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The paper overviews a lifetime achievement of german native australian artist Klaus Moje in the field of decorative glass art. An article traces the development of his artwork in the late 1900th - early 2000th. Much attention is given to Moje`s innovative approach of traditional technique. It is made an attempt to evaluate the implementation of new methods and technics to the educational process. It is analysed a contribution of an artist in the context of the studio glass movement. The paper describes most creative periods and examines appropriate artworks. The results of collaboration between an artist and a manufacturer of coloured glass are revealed. Main articles to the theme is observed. The determination of kilnforming, as an independent medium technique is considered. The results obtained confirm the significant contribution of an outstanding artist, which allows to determine his prominent place in thу world history of art

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2

Elias, Ann. "Aquariums and human–animal relations at the Great Barrier Reef." Queensland Review 28, no. 2 (December 2021): 98–113. http://dx.doi.org/10.1017/qre.2022.6.

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AbstractIn the early twentieth century, great delight in the unique tropical beauty of the Great Barrier Reef, coupled with an opportunistic spirit for commercial development, inspired the commission of eye-catching posters and advertisements by Australian tourist organisations. The aim of this article is to discuss a pictorial device that developed alongside the rise of modern tourist advertising images of Great Barrier Reef – a split-level viewpoint that approximates the effect of looking at the Reef through the glass sides of an aquarium. Building on my earlier research published in 2019 on wildlife photography and the construction of the Great Barrier Reef as a modern visual spectacle, and combining art history with environmental history, this article also turns to coloured advertising lithographs. It argues that split-level visualisations separate human from non-human and elevate the idea of human superiority. With the Great Barrier Reef facing unprecedented ecological pressures, the historical images at the centre of this article are instructive for understanding the deleterious effects of anthropogenic impact, as well as early twentieth-century attitudes towards human–non-human relations.

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3

Blackman, Cally. "The Colour of Fashion at the Salon du Goût Français: A Virtual Exhibition of French Luxury Commodities, 1921–1923." Costume 56, no. 1 (March 2022): 51–73. http://dx.doi.org/10.3366/cost.2022.0218.

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This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.

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4

Lozanovska, Mirjana, and Akari Nakai Kidd. "‘Vacant Geelong’ and its lingering industrial architecture." Architectural Research Quarterly 24, no. 4 (December 2020): 353–68. http://dx.doi.org/10.1017/s1359135520000421.

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Once a prosperous manufacturing town, Geelong in Victoria, Australia is undergoing a process of deindustrialisation and, in turn, redefining its identity to better retain viability in a globalised world. For instance, the town bid to host a Guggenheim museum on its Eastern Beach shore at the turn of the millennium, and has recently become a UNESCO City of Design (2017). Like so many declining regional industrial towns, Geelong has been undercut by the new economic forces, and has sought a new identity in cultural economies. The ‘Vacant Geelong’ project, which began at Deakin University in 2015 and is ongoing, evolved as a response to vacant industrial architecture in Geelong. Major industries including Ford (vehicles), Alcoa (aluminium), timber sawmills, wool mills, Pilkington Glass, cement works, and the oil refinery once defined the town and its history as an industrial architectural landscape.1 Major industries transformed the architectural and cultural terrain. Despite these cycles of transformation and erasure, and counter to a progressive and chronological approach to change, the ‘Vacant Geelong’ project explored this vacancy of industrial operation, yet presence of industrial architecture. Through inscriptions – artworks, design projects, creative research, installations, texts – it addressed those material realities that did not leave, the industrial structures – silos, ducts, chimneys, warehouses – that give Geelong its continuing industrial architectural character.

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5

Smith, Bernard. "On Writing Art History in Australia." Thesis Eleven 82, no. 1 (August 2005): 5–15. http://dx.doi.org/10.1177/0725513605054354.

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6

Speck, Catherine. "Camouflage Australia: Art, Nature, Science and War." Australian Historical Studies 44, no. 1 (March 2013): 162–63. http://dx.doi.org/10.1080/1031461x.2013.761649.

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7

Shemyakina, Sophia. "History of One Portrait." Bulletin of Baikal State University 29, no. 1 (April 4, 2019): 32–38. http://dx.doi.org/10.17150/2500-2759.2019.29(1).32-38.

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Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofeevich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of his art works known to natives of Irkutsk: stained glass windows «Irkutsk» in the hotel «Inturist», «The Blue Bird» in Bratsk community center, chandeliers in Irkutsk Music Theater, «Vostoksibsantechmontazh» and «Agrodorspecstroy» companies, and ornamental designs «Frozen sounds» and «Victory» in Irkutsk Art Museum Collection. Most of his designs and artifacts are stored in warehouses and are on exhibit in Irkutsk Art Museum, and all of them were featured in an exhibition. Besides the artist’s works, there were two other art works on display — «Portrait of B.T. Bychkov. Mural» and «Portrait of B.T. Bychkov on the optical glass» by painter-jewelers Natali and Arkadyi Lodyanovyh. This article is about the creative works of the glassware art artist himself and the story behind his portrait.

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8

Murcia-Mascarós, Sonia. "Glass science in art and conservation." Journal of Cultural Heritage 9 (December 2008): e1-e4. http://dx.doi.org/10.1016/j.culher.2008.10.001.

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9

Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVERÂ the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country.Â Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Galleryâ€™s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent

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10

Freestone, Robert, and Alan Hutchings. "Planning history in Australia: The state of the art." Planning Perspectives 8, no. 1 (January 1993): 72–91. http://dx.doi.org/10.1080/02665439308725764.

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11

Clark, John. "Asian Art History in Australia: Its Functions and Audience." Australian and New Zealand Journal of Art 16, no. 2 (July 2, 2016): 202–17. http://dx.doi.org/10.1080/14434318.2016.1237929.

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12

Sabol, F. Robert. "Studying Art History Through the Multicultural Education Looking-Glass." Art Education 53, no. 3 (May 2000): 12. http://dx.doi.org/10.2307/3193868.

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13

Boaden, Sue. "Education for art librarianship in Australia." Art Libraries Journal 19, no. 2 (1994): 5–6. http://dx.doi.org/10.1017/s0307472200008725.

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The growth of art history and art practice courses in Australia has been remarkable over the last 20 years. Unfortunately training for art librarianship has not matched this growth. There are eleven universities in Australia offering graduate degrees and post-graduate diplomas in librarianship but none offer specific courses leading towards a specialisation in art librarianship. ARLIS/ANZ provides opportunities for training and education. Advances in scholarly art research and publishing in Australia, the development of Australian-related electronic art databases, the growth of specialist collections in State and public libraries, and the increased demand by the general community for art-related information, confirm the need for well-developed skills in the management and dissemination of art information.

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14

Clark, Ian D. "Rock art sites in Victoria, Australia: a management history framework." Tourism Management 23, no. 5 (October 2002): 455–64. http://dx.doi.org/10.1016/s0261-5177(02)00011-0.

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15

Bialek, Goshka. "Glass as a Fine Art Medium: Brief History and the Role of Adriano Berengo as a Fine Art Glass Impresario." Arts 11, no. 1 (January 17, 2022): 19. http://dx.doi.org/10.3390/arts11010019.

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This article explores the role of glass as a medium in the fine arts rather than as a craft form. It includes a short history of glass as an art medium, the development of glass technologies and their application in the field of fine art. It reflects the distinctiveness of glass as a sculptural medium due to its optical properties and transparency; glass’s inherent characteristics create the unique possibility of using the space both outside and inside a solid object. This article, furthermore, demonstrates the importance of specific individuals in bringing glass as a fine art medium to the fore, in particular Adriano Berengo. Berengo proves exceptional in promoting glass in the field of fine arts and has been particularly effective in encouraging well-known artists to experiment with it as a medium. The article discusses the impact of his efforts to establish cooperation with great names from all over the world, from Ai Weiwei to Tony Cragg and from Jaume Plensa to César, who have passed through Adriano Berengo’s studio.

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16

Shen, Ziye. "How Can We Understand the Relationship Between Artists and Their Materials in the Production of Art Glass Through Modern Technology?" Art and Society 1, no. 3 (December 2022): 23–37. http://dx.doi.org/10.56397/as.2022.12.03.

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This essay explores the relationship between the artist and their materials in the production of glass art through modern technology, and the role of glass as a medium in art rather than as a form of craft. It includes a brief history of glass as an artistic medium, the development of glass techniques and their application in the field of art. It reflects on the uniqueness of glass as a sculptural medium because of its optical properties and transparency. The rise of the American Studio Glass movement, a landmark in the history of glass art at the time, changed the tradition of using glass, and many artists began to use it to express their own artistic ideas and aesthetic views, enriching the language of glass art and making it an independent material for artistic expression. With the development of glass as a fine art media and the removal of technical limits on its use, we are seeing an increasing number of artists take use of the aesthetic and conceptual possibilities it provides. The essay uses case studies to show some artists started from materials and made some new attempts to combine works with new media.

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17

Egger, Garry, Andrew Binns, John Stevens, and Stephen Penman. "Lifestyle Medicine in Australia: A Potted History—So Far." American Journal of Lifestyle Medicine 14, no. 2 (March 2020): 147–49. http://dx.doi.org/10.1177/1559827619840002.

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Lifestyle medicine commenced in Australia in response to the rise in chronic diseases following the epidemiological transition that began in the 1980s. Today, it is flourishing with an annual conference, a variety of multidisciplinary members, and a developed pedagogy for the “art-science.”

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18

Smith, Bernard. "The Preference for the Primitiveand on writing art history in Australia." Third Text 18, no. 5 (September 2004): 513–16. http://dx.doi.org/10.1080/0952882042000251697.

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19

Fessel, Sonja. "The glass plates of Ludwig Bickell: Invaluable sources for art history and the history of photography, for conservation and cultural studies." Art Libraries Journal 45, no. 1 (January 2020): 24–34. http://dx.doi.org/10.1017/alj.2019.37.

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The photography collection of the German documentation centre for art history, Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg (DDK), comprises more than 2.8 million objects. These include roughly 500,000 glass negatives, of which nearly 3,000 were made by the first Hessian state conservator Ludwig Bickell between 1870 and 1901. These early glass plates show a large number of retouchings and traces of their production and usage. This makes them rich sources for photographic and art historical or cultural historical research as well as conservation studies.

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20

Maravillas, Francis. "Constellations of the contemporary: Art / Asia / Australia." Journal of Australian Studies 32, no. 4 (December 2008): 433–44. http://dx.doi.org/10.1080/14443050802471335.

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21

Scott, Heather Gilderdale. "Art of Light: German Renaissance Stained Glass." Renaissance Studies 22, no. 4 (September 2008): 576–83. http://dx.doi.org/10.1111/j.1477-4658.2008.00496.x.

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22

Beniakh, Nataliia. "Glass Art Department at Lviv National Academy of Arts: unique centre of contemporary glassmaking." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 53–56. http://dx.doi.org/10.37131/2524-0943-2019-41-04.

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The preconditions for the emergence of professional art education in the field of art glass in Lviv and Galicia are considered. The history of artistic glass and its influence on the development of the modern center in Lviv on the basis of the Lviv National Academy of Arts is analyzed. The history of the Department began in 1961 with an experiment, when at Lviv State Institute of Applied and Decorative Art (today Lviv National Academy of Arts) a small department of plastic and glass art was opened. Full formation of the unit took place in 1963–1964 and corresponded to the needs of provision with the specialists of experimental workshop of glass art of Lviv Experimental Ceramic and Sculpture Factory of those times. The curriculum of basic art disciplines is formed in accordance with the specificity of the material – glass art and is focused on consideration of the importance of imaginative or constructive thinking, according to selected specialized direction. For decades, the staff of the Glass Department keep contact with glass artists in the whole world, participates in organization of international symposiums and exhibitions, meetings with students, lectures, workshops with the participation of the most famous artists in the world. Since 1989, the teachers and staff of the Department have been actively participating in the organization of International Symposiums of Blown Glass that are the most long-lasting continuous forums of glass artists in the world nowadays. On the base of the Department, mini-symposiums for students took place, and in 2013 and 2016, a scientific and creative workshop (glass-melting furnace) became the main base for the work of famous glass artists from different countries of the world. Every three years the students have an opportunity to observe the work of the most world well-known glass artists from various countries, participate in workshops and lectures. The purpose of the article is to analyze the activities of the Department of Art Glass of the Lviv National Academy of Arts in the modern studio movement.

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23

Nguyen, Anh. "Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017." Migration, Mobility, & Displacement 4, no. 1 (June 7, 2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.

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Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.

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24

Mohammad, Mahizan Hijaz, and Aznan Omar. "Colonial Architecture on Local History Through Glass Sculpture." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 17–26. http://dx.doi.org/10.24191/idealogy.v6i1.250.

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The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflections and studio experimentation. Samples and images of location on site retrieved to study the visual aspect of the buildings and applied as part f the artwork. Artwork explorations are conducted to relate the material and techniques to the context of the study. The British occupation existed in Malaysia for more than two hundred years from 1795 until 1957. In Malaysia generally there are four typical colonial styles of architecture which are Moorish, Tudor, Neo Classic and Neo Gothic (A Ghafar Ahmad, 1997). The tin mining industry has brought merchant and workers to Central Perak such as Gopeng and Batu Gajah. According to (Syed Zainol Abidin Ibid,1995), during 1900 till 1940s, there are three architectural style that influenced the construction of commercial building and shop houses which are adaptation style, eclectic and Art Deco. However, after time the Colonial buildings have decayed and turn into ruins. The beauty and style of the Colonial architecture has inspired the researcher to study the building since it is visible in the surrounding central Perak and keeps an interesting story of the past. Working with glass, the researcher will fabricate the idea of colonial building and glass as a work of art.

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25

Van Leeuwen, Julia. "The Stained-Glass Windows in the Entrance Hall of the Rijksmuseum: A Coloured National Art History." Rijksmuseum Bulletin 70, no. 1 (March 15, 2022): 26–57. http://dx.doi.org/10.52476/trb.11721.

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Little attention has thus far been paid to the creation of the stained-glass windows in the Rijksmuseum’s Entrance Hall. However, a study of the pictorial programme for the windows reveals some remarkable choices. Driven by the ambition to present a broader overview of Dutch culture than had been disseminated until that time, the Catholic trio of Pierre Cuypers, Victor de Stuers and Joseph Alberdingk Thijm designed an iconographic programme for the stained-glass windows in the Entrance Hall. The programme for the stained-glass windows gives an overview of the major representatives of Dutch art history. Striking among them are two artists from the Northern Netherlands – Willem van Heerle and Jan van Terwen – who played almost no role in the Dutch art-historical canon at that time. The fact that these relatively unknown artists feature in the pictorial programme for the windows clearly indicates that the emphasis lies on the Roman Catholic Middle Ages and shows that it is a coloured version of Dutch art history.

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26

Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (January 2001): 185–216. http://dx.doi.org/10.1017/s0940739101771305.

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This article examines the issues surrounding the appropriation of indigenous culture, in particular art. It discusses the nature and context of Aboriginal and Torres Strait Islander art in Australia in order to establish why appropriation and reproduction are important issues. The article outlines some of the ways in which the Australian legal system has attempted to address the problem and looks at the recent introduction of the Label of Authenticity. At the same time, the article places these issues in the context of indigenous self-determination and examines the problematic use of such concepts as “authenticity.” Finally, the article looks beyond the Label of Authenticity and existing law of intellectual and cultural property, to sketch another possible solution to the problem.

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27

Gook, Leonid, and Halyna Khavkhun. "APPLICATION OF ART GLASS IN INTERIORS OF PUBLIC BUILDINGS." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 166–71. http://dx.doi.org/10.32347/2519-8661.2021.22-23.166-171.

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The aim of the research is to identify the compositional methods of using art glass in the interiors of public buildings in order to increase their aesthetic expressiveness. In the article the information on the history of art glass development is given. According to the results of the historical analysis, it is concluded that new directions of glass application arose with the development of new technologies of glass production and processing - this process continues to this day. An overview of the state of study of the problem, in particular the research of Kazakova L.V., F.Petryakova, Som-Serdyukova O.M., Daineko V.V., and identified the main areas in which research is conducted. The physical properties of glass and its types by technological features are considered. A historical overview of the development of gutnitsy on the territory of Ukraine. The two main trends in studio glassmaking to date have been identified and a conclusion has been drawn about the evolution of art glass from the subject form to the art object. The current state of art glass formation is characterized by associativity, metaphoricalness, and increased decorativeness. The classification of art glass according to the function of application in public interior is carried out. The basic compositional methods of placing art glass in the space of public interior are revealed. Three degrees of integration of art glass with elements of architecture are formulated: the decor on architectural elements, as a part of architectural elements, is directly an architectural and constructive element. Examples of objects that demonstrate the integration of art glass with architectural elements are given. Henri Matisse's stained glass windows in the Dominican Sisters' Chapel in Mans, France, are described as an example of the use of the "rhythm" compositional technique and Dale Chihuly's glass garden gallery in Seattle with a glass installation that dominates the pavilion. It is concluded that the choice of compositional methods of including art glass in the interior space depends on many factors - the functional purpose of the room, the specifics of space, its size, etc. and should take into account aspects of its psychological impact on man, principles of structural and compositional organization and features life processes.

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28

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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NELSON, D. E., G. CHALOUPKA, C. CHIPPINDALE, M. S. ALDERSON, and J. R. SOUTHON. "RADIOCARBON DATES FOR BEESWAX FIGURES IN THE PREHISTORIC ROCK ART OF NORTHERN AUSTRALIA." Archaeometry 37, no. 1 (February 1995): 151–56. http://dx.doi.org/10.1111/j.1475-4754.1995.tb00733.x.

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30

Pardy, John. "Remembering and forgetting the arts of technical education." History of Education Review 49, no. 2 (November 12, 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.

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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.

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31

Lipscombe, Tamara A., Peta L. Dzidic, and Darren C. Garvey. "Coloniser control and the art of disremembering a “dark history”: Duality in Australia Day and Australian history." Journal of Community & Applied Social Psychology 30, no. 3 (December 2019): 322–35. http://dx.doi.org/10.1002/casp.2444.

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32

Johnson, Virgil C. "Visual Ephemera: Theatrical Art in Nineteenth Century Australia (review)." Victorian Studies 44, no. 4 (2002): 704–6. http://dx.doi.org/10.1353/vic.2003.0025.

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Hamilton, Judy. "Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism." Queensland Review 20, no. 2 (October 30, 2013): 203–14. http://dx.doi.org/10.1017/qre.2013.21.

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Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.

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34

Beniakh, Nataliia. "Challenges and prospects for the world studio glass development: based on the results of the International Scientific and Practical Conference-presentation “World Studio Glass. Tradition and Experiment”." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 17–20. http://dx.doi.org/10.37131/2524-0943-2019-42-03.

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The international studio glass movement, which emerged in the 1960s and became an important phenomenon in the recent history of decorative arts, today faces new challenges of today. The movement of studio glass has led to the emergence of a new concept in contemporary art - fine glass, which in recent decades has formed new artistic values. Despite the global nature of the spread of the studio movement, the common vector of the development of art glass in the direction of liberation from industrial dependence poses new requirements and challenges to glass artists, designers, national schools. The desire for imagery and ideology prevails in modern glass. National schools have a clear identity and are distinguished by their own individuality. The International Scientific and Practical Conference-presentation of the creativity of world-famous glass artists “World Studio Glass. Tradition and Experiment” was held within the frames of the XI International Blown Glass Symposium in Lviv. Every three years the artists meet in Lviv, demonstrate their skills on the workshop basis of the only Glass Art Department in Ukraine and tell the public about their experience. Creative meetings took place in the Gallery of Lviv National Academy of Art during the period from October 7 to October 10, 2019. The project was implemented with the support of the Ukrainian Cultural Fund. In the reports, delivered during four days of the Conference, the current issues of the contemporary glass art development and professional education, the formation of creative workshops and artistic groups, the roles of festivals, symposiums in the glass art development, the use of new techniques and technologies in postindustrial eraб, were discussed. Generally, the speakers analysed a wide range of problems and phenomena of the studio glass, shared their own observations and considerable researches of individual technological processes. The participants in the Conference touched in their reports on the important issues of culture dialogue, the development of contemporary studio movement, the impact of the latest technologies on traditional methods of processing. Much attention was paid to the discussion of the main tendencies of glass art development. The speakers concentrated on acute challenges of modernity, which glass artists are faced with, and which are, at the same time, universal for all representatives of contemporary decorative art. The range of works is very wide: from small handicrafts to landscape glass, sculptures, performance, installations and so on. The contemporary glass is utilitarian, duplicated works and original author’s projects. This is a constant balancing between the tradition and new experiments, between the genres and kinds of art.

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Kotliar, Elena Romanovna, and Ekaterina Sergeevna Kuznetsova-Bondarenko. "The Role of Stained Glass in the Sacred Visual Semiosis of Religious Buildings in Crimea." Философия и культура, no. 10 (October 2022): 12–24. http://dx.doi.org/10.7256/2454-0757.2022.10.38998.

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The subject of the study is the role of stained glass in the visual semiosis of religious buildings in Crimea. The object of the study is the stained glass decor of the sacred architecture of the Crimea. The research uses the methods of cultural (hermeneutic and semiotic) and artistic (idiographic and structural) analysis of stained glass art in the sacred space of Crimean architecture, the method of analysis of previous studies, the method of synthesis in conclusions regarding the development of stained glass in the Crimean cult architecture. In the study, the authors considered the following areas of the topic: the development of stained glass art of the Crimea in sacred architecture; the meaning of color and subject symbols in stained glass compositions of religious buildings of the Crimea. The main conclusions of the study are: 1. Stained glass art, more precisely, its subject component, is not authentic for the Crimea, it appears in the decor of residential and public buildings during the late XIX century, the beginning of the eclecticism of Art Nouveau and imitation of Gothic and Byzantine models. Colored glass in earlier periods decorated the windows of well-to-do houses of representatives of various Crimean ethnic groups, however, stained glass as a phenomenon was not characteristic of sacred structures. 2. Due to its geographical location, Crimea is a multicultural and multi-confessional territory, where various religious trends developed: ancient pantheism, Byzantine Orthodox Christianity, Catholicism and Protestantism with the colonization of Catherine's time, Islam, Ashkenazi and Sephardic Judaism. Stained glass windows in religious buildings of various faiths, in addition to decorative function, play a symbolic role, conveying through color, symbolism of abstract and object forms one or another sacred meaning. 3. A special contribution of the authors to the study of the topic is the cataloging, art history and cultural description of examples of stained glass art in the sacred architecture of the Crimea. The scientific novelty of the study is that the authors for the first time carry out an ontological analysis of stained glass art in the sacred visual semiosis of the Crimea and analyze its semiotic aspects.

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Baer, Kurt. "Spanish Colonial Art in the California Missions." Americas 18, no. 1 (July 1989): 33–54. http://dx.doi.org/10.2307/979751.

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Art work throughout almost the entire history of the Church has been primarily didactic. Man was taught through the arts of sculpture, painting, mosaic, and stained glass, all that he should know of the creation of the world, the dogmas of religion, the virtues, the hero-saints, and during the middle ages especially, the range of the sciences, the arts and crafts. Thus, in the latter half of the eighteenth century when the Franciscans came to the remote outposts in California, they brought with them the pictures and statues by which the simple and ignorant Indian might learn, through his eyes, much of what he was to know of his new faith. “Through the medium of art the highest conceptions of theologian and scholar penetrated to some extent the minds of even the humblest of the people.”

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Reppo, Monika. "SLOW AND DISCONNECTED? THE HISTORIOGRAPHY OF 17TH–18TH CENTURY GLASS IN ESTONIA AND THE PROSPECTS OF INTERDISCIPLINARY RESEARCH BASED ON A CASE STUDY OF PÄRNU COUNTY." Baltic Journal of Art History 18 (December 30, 2019): 211–30. http://dx.doi.org/10.12697/bjah.2019.18.06.

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This article provides an overview of the research into 17th–18thcentury glass in Estonia that has been lacking to date. Works onindustrial archaeology, artefact studies and genealogy are discussed,thereby offering a useful reference point for comparative studies onregional dynamics, influences on glass consumption and production,and the origins of foreign products, merchants and glassmakers. Theuse of art as an iconographic source is described in an attempt topresent material that could help to realise art history’s full potentialin studying glass in Estonia during this period. The potential ofinterdisciplinary research that combines all of the sources notedabove is highlighted through a case study on the research prospectsof Pärnu glassworks based on previously unstudied and unpublisheddata. Based on information from archival records, genealogy,cartography and typology, it is determined that a factory did existin Pärnu in the first half of the 17th century that could potentially beeven older than the factory at Hüti. This could significantly changeour understanding of the beginning of glass production in Estonia.

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Ó Foghlú, Billy, Daryl Wesley, Sally Brockwell, and Helen Cooke. "Implications for culture contact history from a glass artefact on a Diingwulung earth mound in Weipa." Queensland Archaeological Research 19 (December 5, 2016): 1. http://dx.doi.org/10.25120/qar.19.2016.3499.

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This paper reports on a glass artefact found on an earth mound at Diingwulung in Wathayn Country, near Weipa, far north Queensland. Despite intense research efforts and cultural heritage management surveys over many years, and the fact that they have been reported commonly within the ethnographic literature, such artefacts have been found rarely outside of Aboriginal mission contexts. As well as describing the artefact, its location and the frontier contact complex of the area, this paper includes the background of knapped glass artefacts in Australia, archaeological and ethnographic descriptions of Indigenous glass use in far north Queensland and the methodology of glass artefact analysis. Although it is only a single artefact, we argue that this glass piece has much to reveal not only regarding its chronology, use, and the function of the site where it was found, but also about culture contact, persistence of traditional technology, connections to Country and the continuity and extent of post-contact Indigenous occupation of the area.

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Hunt, Jane E. "‘Victors’ and ‘victims'?: Men, women, modernism and art in Australia." Journal of Australian Studies 27, no. 80 (January 2003): 65–75. http://dx.doi.org/10.1080/14443050309387913.

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Gregory, Jenny. "Stand Up for the Burrup: Saving the Largest Aboriginal Rock Art Precinct in Australia." Public History Review 16 (December 27, 2009): 92–116. http://dx.doi.org/10.5130/phrj.v16i0.1234.

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The Dampier Rock Art Precinct contains the largest and most ancient collection of Aboriginal rock art in Australia. The cultural landscape created by generations of Aboriginal people includes images of long-extinct fauna and demonstrates the response of peoples to a changing climate over thousands of years as well as the continuity of lived experience. Despite Australian national heritage listing in 2007, this cultural landscape continues to be threatened by industrial development. Rock art on the eastern side of the archipelago, on the Burrup Peninsula, was relocated following the discovery of adjacent off-shore gas reserves so that a major gas plant could be constructed. Work has now begun on the construction of a second major gas plant nearby. This article describes the rock art of the Dampier Archipelago and the troubled history of European-Aboriginal contact history, before examining the impact of industry on the region and its environment. The destruction of Aboriginal rock art to meet the needs of industry is an example of continuing indifference to Aboriginal culture. While the complex struggle to protect the cultural landscape of the Burrup, in particular, involving Indigenous people, archaeologists, historians, state and federal politicians, government bureaucrats and multi-national companies, eventually led to national heritage listing, it is not clear that the battle to save the Burrup has been won.

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Al-lami, Alaa H. "The Pictures of the Camel In Islamic Codex Munimnemat Al-Hariri." Al-Adab Journal 1, no. 125 (June 15, 2018): 25–36. http://dx.doi.org/10.31973/aj.v1i125.39.

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The Arabic Islamic Art had deep roots in history partly inherited by ancient traditions and cultures. Different supports were employed in artistic decoration (metalwork, ivory, glass, ceramics, etc.). The subject of this study is focused on the art of using decorations and illustrations in manuscripts, which is a feature of Arabic Islamic art. One of the most important school in writing and art of manuscripts was the Baghdad School of Illustrations

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Warner, Deborah. "The Claude Glass: Use and Meaning of the Black Mirror in Western Art (review)." Technology and Culture 46, no. 4 (2005): 865–66. http://dx.doi.org/10.1353/tech.2006.0048.

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Nabizada, Torpikay. "Art and Industry in Abbasid Governance Era." Shanlax International Journal of Arts, Science and Humanities 8, no. 3 (January 1, 2021): 13–19. http://dx.doi.org/10.34293/sijash.v8i3.3549.

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Abbasid governance era has a special place in history and is considered a huge civilization area of economy, agriculture, industry, and art with its achievements. The aim of this article is to present the Abbasid civilization industry and art. From the art aspect, beautiful artwork, painting, architecture, and music were under severe considerations and stated how music and art were considered and valued by Abbasid caliphs in their artistic meetings. But in as a look toward the industry of the era, papermaking, glass work, carpet weaving, and others introduced as their industry. The result of this article stated some parts of Abbasid governance era art and industry besides their helpful civilization practices in which would be a helpful task for art and industry history fans.

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AL-HASSAN, AHMAD Y. "AN EIGHTH CENTURY ARABIC TREATISE ON THE COLOURING OF GLASS: KITĀB AL-DURRA AL-MAKNŪNA (THE BOOK OF THE HIDDEN PEARL) OF JĀBIR IBN ḤAYYĀN (c. 721–c. 815)." Arabic Sciences and Philosophy 19, no. 1 (March 2009): 121–56. http://dx.doi.org/10.1017/s0957423909000605.

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This paper examines the history of glass colouring. It reviews Kitāb al-Durra al-maknūna of Jābir ibn Ḥayyān, which deals with the subject. The manuscript of this practical treatise was discovered recently. Part one of the paper deals with Jābir as a philosopher and chemist. The art of lustre-painting on glass originated in Syria during the Umayyad Caliphate in the eighth century and was soon practised in the neighbouring area. The paper reviews Arabic literature that deals with the colouring of glass until the 13th century, and with pre-Islamic and Latin books of recipes that deal with glass colouring. Recipes for cast coloured glass are very few and scant in non-Arabic literature, and lustre-painting on glass was not mentioned in any treatise outside Arabic, even in the works of Theophilus and Neri. The colouring of glass gemstones by colour diffusion is not mentioned also. The paper compares the recipes of Kitāb al-Durra with the results of modern analysis of existing Islamic stained glass objects. There is a close correspondence, and the main indispensable ingredients in both cases are silver and copper compounds. Part one ends with an account of lāzaward as cobalt oxide in glass colouring. Part two of the paper gives a representative selection of recipes from Kitāb al-Durra for the three methods of glass colouring.

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Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.

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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.

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Bryant, Keith L. "Roman Temples, Glass Boxes, and Babylonian Deco: Art Museum Architecture and the Cultural Maturation of the Southwest." Western Historical Quarterly 22, no. 1 (February 1991): 45. http://dx.doi.org/10.2307/968727.

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Kaino, Lorna. "The ‘Problem of Culture’: A Case Study of Some Arts Industries in Southwest Western Australia." Media International Australia 101, no. 1 (November 2001): 127–39. http://dx.doi.org/10.1177/1329878x0110100114.

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This paper presents a case study of three glass art studios situated in the southwest of Western Australia. The study is designed to provide a model for a larger study of the arts industries that will contribute to a strategic analysis of cultural policies for arts industry development. Its purpose is to offer insights into why arts policy frameworks and arts development strategies in the southwest of Western Australia appear to have had limited outcomes consistent with their arts industry objectives. It proposes that one of the reasons — difficult to formalise in policy documents but a persistent theme in informal discussions I have had with arts practitioners all over the southwest region — is a conceptual problem related to instrumentalities charged with the responsibility of implementing arts policy and development. I propose that this is a ‘problem of culture ‘. I explore this proposition in relation to cultural policy planning and development at the regional level within a wider framework at the state and federal levels in Australia and internationally.

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Rudolph, Conrad. "Inventing the Exegetical Stained-Glass Window: Suger, Hugh, and a New Elite Art." Art Bulletin 93, no. 4 (December 2011): 399–422. http://dx.doi.org/10.1080/00043079.2011.10786016.

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Tsokhas, Kosmas. "British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries." Australian Historical Studies 51, no. 2 (April 2, 2020): 237–38. http://dx.doi.org/10.1080/1031461x.2020.1746996.

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Koleini, Farahnaz, Philippe Colomban, Innocent Pikirayi, and Linda C. Prinsloo. "Glass Beads, Markers of Ancient Trade in Sub-Saharan Africa: Methodology, State of the Art and Perspectives." Heritage 2, no. 3 (August 6, 2019): 2343–69. http://dx.doi.org/10.3390/heritage2030144.

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Glass beads have been produced and traded for millennia all over the world for use as everyday items of adornment, ceremonial costumes or objects of barter. The preservation of glass beads is good and large hoards have been found in archaeological sites across the world. The variety of shape, size and colour as well as the composition and production technologies of glass beads led to the motivation to use them as markers of exchange pathways covering the Indian Ocean, Africa, Asia, Middle East, the Mediterranean world, Europe and America and also as chronological milestones. This review addresses the history of glass production, the methodology of identification (morphology, colour, elemental composition, glass nanostructure, colouring and opacifying agents and secondary phases) by means of laboratory based instruments (LA-ICP-MS, SEM-EDS, XRF, NAA, Raman microspectroscopy) as well as the mobile instruments (pXRF, Raman) used to study glass beads excavated from sub-Saharan African sites. Attention is paid to the problems neglected such as the heterogeneity of glass (recycled and locally reprocessed glass). The review addresses the potential information that could be extracted using advanced portable methods of analysis.

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