Academic literature on the topic 'Modernism (Art) – Australia'
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Journal articles on the topic "Modernism (Art) – Australia"
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Howell, Catherine. "Changing Perspectives on Modernism in Australia: Cubism and Australian Art." Modernism/modernity 17, no. 4 (2010): 925–33. http://dx.doi.org/10.1353/mod.2010.0039.
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White, Jessica. "‘So many sparks of fire’: Dorothy Cottrell, modernism and mobility." Queensland Review 23, no. 2 (December 2016): 164–77. http://dx.doi.org/10.1017/qre.2016.27.
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AbstractThe broad brush strokes of Dorothy Cottrell's paintings in the National Library of Australia mark her as a modernist artist, although not one who painted the burgeoning Sydney Harbour Bridge or bright still-life paintings of Australian flora. Rather, she captured the dun surrounds of Ularunda Station, the remote Queensland property to which she moved in 1920 after attending art school in Sydney. At Ularunda, Cottrell eloped with the bookkeeper to Dunk Island, where they stayed with nature writer E.J. Banfield, then relocated to Sydney. In 1924 they returned to Ularunda and Cottrell swapped her paintbrush for a pen, writing The Singing Gold. After advice from Mary Gilmore, whom her mother accosted in a pub, Cottrell send it to the Ladies Home Journal in America. It was snapped up immediately, optioned for a film and found a publisher in England, who described it as ‘a great Australian book, and a world book’. Gilmore added, ‘As an advertisement for Australia, it will go far — the Ladies Home Journal is read all over the world’. Cottrell herself also went far, emigrating to America, where she wrote The Silent Reefs, set in the Caribbean. Cottrell's creative, intellectual and physical peregrinations — all undertaken in a wheelchair after she contracted polio at age five — show how the local references the international, and vice versa. Through an analysis of the life and writing of this now little-known Queensland author, this essay reflects the regional and transnational elements of modernism as outlined in Neal Alexander and James Moran's Regional Modernisms, illuminating how a crack-shot with a rifle once took Queensland to the world.
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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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Smith, Terry (Terry E. ). "Modernism & Australia: Documents on Art, Design and Architecture 1917-1967 (review)." Modernism/modernity 15, no. 2 (2008): 393–96. http://dx.doi.org/10.1353/mod.2008.0044.
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Messham-Muir, Kit. "From Tinkering to Meddling: Notes on engaging first year art theory students." Journal of University Teaching and Learning Practice 9, no. 2 (April 1, 2012): 23–34. http://dx.doi.org/10.53761/1.9.2.3.
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This paper considers the two-year-long process of redesigning Art Theory: Modernism, the initial core art theory course at The University of Newcastle in Australia, with the aim of increasing the academic engagement of first year fine art students. First year students are particularly vulnerable to dropping out if they feel disengaged from the University. This paper does not present any grand solutions for teaching today’s first year students. It does, however, consider ways of designing authentic assessment items that acknowledge the new conditions of pedagogy today. This paper offers ideas for engaging first year students, by creating multidimensional resources that include online material that supports yet provokes students; by challenging them with assessments that demand students produce knowledge and not simply retrieve information and; by reconsidering how faculty present information in lectures. The redesigning of the Art Theory: Modernism course was informed by current and ongoing research in teaching and learning and guided by student feedback administered by the Planning, Quality and Reporting unit at the University of Newcastle.
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Sim, Lorraine. "The Linocuts of Ethel Spowers: A Vision Apart." Modernist Cultures 15, no. 3 (August 2020): 354–76. http://dx.doi.org/10.3366/mod.2020.0301.
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This essay discusses the colour linocuts of the Melbourne-born artist and illustrator Ethel Spowers. Although Spowers was a key figure in modern art and design in Australia during the 1920s and 1930s, to date her linocuts have received little critical attention and are appraised only briefly and collectively as part and parcel of the Grosvenor School of Modern Art in London, where she studied for several months under the guidance of Iain Macnab and Claude Flight. This essay argues that her modernism provides an important contrast and supplement to accounts of modern everyday life offered by her British and European colleagues at the School, and canonical British and Anglo-American modernism more generally. Rejecting a view of modern life defined in terms of homogenisation, social alienation and adult experience, I discuss how Spowers's rhythmic compositions express choreographies of community and positive affect, and focus on the experience of children.
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JOHNSTON, RYAN. "MODERN TIMES: THE UNTOLD STORY OF MODERNISM IN AUSTRALIA AND MODERNISM & AUSTRALIA: DOCUMENTS ON ART, DESIGN AND ARCHITECTURE, 1917-1967 BY ANN STEPHEN ET AL. (EDS)." Art Book 17, no. 1 (February 2010): 38–39. http://dx.doi.org/10.1111/j.1467-8357.2010.01079_3.x.
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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War." Modernist Cultures 15, no. 3 (August 2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.
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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of heart. In the two decades after the Second World War, Lindsay found himself defending modernism against both its Cold War co-optation as the in-house aesthetic of the capitalist ‘Free World’ and its reflex denigration within Soviet and international Communist aesthetics. Against the elevation of modernism in the Anglo-American academy and its cultural-diplomatic deployment by agencies of the state, against the uncritical celebration of realism and its Soviet-sphere derivatives, Lindsay proposed a subaltern tradition of experimental art characterised by its utopian symbolism and national-popular inflection. For Lindsay, this tradition reached back to Elizabethan times, but it included modernism as one of its moments. From the vantage of the Cold War, Lindsay now identified the Fanfrolico project as itself an ‘Australian modernism,’ elements of which might yet fuse to form a more perfect socialist realism.
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Martin, Paul, and John C. Becker. "A Tale of Two Systems: Conflict, Law and the Development of Water Allocation in Two Common Law Jurisdictions." International Journal of Rural Law and Policy, no. 1 (October 21, 2011): 1–19. http://dx.doi.org/10.5130/ijrlp.i1.2011.2605.
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This paper examines how the law governing water has evolved in the United States and Australia. The evolution of water law in these jurisdictions demonstrates that the ‘scientific modernism’ that prioritises economics and hydrology as the pivots around which water institutions are designed may be an incomplete model. From the history we recount, we suggest that, ranking equally with these considerations in shaping water law and policy, is the broader framework of laws and institutions, and legal culture within a society. These factors shape the types of solutions to conflicts in a society and determine, to a substantial degree, the solutions to water conflicts that become law, which then in part determine future legal solutions. This observation is of more than theoretical importance. Towards the end of this paper we consider the latest water modernist experiment, the Australian Water Act. We suggest that closer attention to social factors and legal traditions would have resulted in a more effective law. We believe this holds important lessons for water policy generally.
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Huppatz, D. J. "Modern Times: The Untold Story of Modernism in Australia." Design and Culture 2, no. 2 (July 2010): 243–45. http://dx.doi.org/10.2752/175470710x12696138525866.
Full textDissertations / Theses on the topic "Modernism (Art) – Australia"
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
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Master of PhilosophyGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
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Stephen, Ann. "Looking through conceptual art : a dialogue between Ian Burn and his collaborators." Thesis, Queensland University of Technology, 2003.
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A monograph on Ian Burn poses major problems and opportunities for art historical inquiry. A central dilemma concerns the challenge that his Conceptual art raises for biography. How is it possible to turn a conversational practice into a monograph?
In Looking Through Conceptual Art Bum's dialogical art is engaged in a series of imaginary and actual encounters with the work of other artists. The ten chapters mark out the passage of a life through a series of exchanges. Each chapter begins at a specific historical moment however its internal dynamic pursues a conversational rather than a temporal logic. Their breadth-from regional landscape with Albert Namatjira, self-portraiture with Bum's Australian masters, appropriation with Sidney Nolan, abstraction with Piet Mondrian,
collaboration with Mel Ramsden, Conceptual art with Art & Language, provincialism with Jackson Pollock, the political legacy of Conceptual art with Fernand Leger and the readymade with 'Em Malley'-represents the challenge that Bum poses for Conceptual art. The structure loosens the diachronic inevitability of biography and traces instead a non-linear surface that articulates and frames the spacing between different cultures, practices and collaborations.
Three fundamental questions inform all the conversations and are at the heart of Bum's practice: How is it possible to make art from a different (marginal) place? What role can
painting and perception play in Conceptual art ? And what are the political implications of Conceptual art?
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McNamara, Phillip Anthony. "A modernist sensibility and Christian wit in the work of Tom Gibbons." University of Western Australia. School of Architecture and Fine Arts, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0124.
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This thesis is an investigation of how spiritual ideas have contributed to West Australian academic and artist Tom Gibbons’s approach to Modernism. Against the backdrop of the local context I show how Gibbons’s 1950s undergraduate and 1960s post-graduate studies in the area of the occult and esoteric influences on Early Modernism provided him with an atypical perspective on Modernism itself but that this perspective resulted in his development of a Modernist sensibility particularly suitable for the type of questions asked about art in the later part of last century. My thesis traces Gibbons’s development of an integrated aesthetic “theory” that bridged for him the gap between a host of contrary sources. For Gibbons the bridge between divergent views on art, from the Modern period to the Renaissance period, is an ahistorical perspective based on Christian Immanence. He thus adopted a perspective that redefined the metaphysical aspects of Modernist abstraction through a particular approach to realism which celebrates the everyday world because of the Christian structures that for him condition it. I argue that his sensibility, which combines the stylistic features of a Modernist literature witty juxtaposition, irony and paradox with the concept of Christian Immanence, resulted in an oeuvre which can be read as a particular example of what Ken Wilber in the late 1990s termed Integral Studies. I argue that underlying Gibbons’s use of Christian Immanence is the Integralist’s understanding that the world’s great philosophical and spiritual traditions approach consciousness and experience through similar ideas. The argument presented, in agreement with writers such as Wilber, is that Gibbons’s capacity to develop a sense of life’s irony and metaphor, and to then use this as a capacity to embrace the beauty and outrageousness of the whole, is a mature spirituality that provides an integrated perspective filled with joy for the ordinary. I conclude that his art provides a particular example of how the loss of meaning felt by Modernists may be addressed.
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Bogle, Michael, and ariel@netspace net au. "Arthur Baldwinson. Regional modernism in Sydney 1937-1969." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.150421.
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This thesis examines the career of Arthur Baldwinson (1908-1969), a Sydney-based modernist architect. It argues that Baldwinson was a central figure in the development of a modernist domestic architecture in Australia from the late 1930s until the late 1950s through his practice as well as his activist role in the development of the Australian design reform and arts organisations: the Modern Architecture Research Group (MARS); the Designers for Industry Association of Australia (DIAA); and the Contemporary Art Society (CAS). It is further argued that Baldwinson designed and built two of Sydney's first authentically modernist houses before the 1939-45 War and that his subsequent development and refinement of a regional methodology for modernism in Sydney's domestic architecture is at the centre of the later regionalist styles of the late 1950s and early 1960s currently described as the
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De, Largy Healy Jessica. "The spirit of emancipation and the struggle with modernity : land, art, ritual and a digital knowledge documentation project in a Yolngu community, Galiwin'ku, Northern Territory of Australia." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0360.
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La recherche repose sur un terrain ethnographique dans la municipalité aborigène de Galiwin'ku, en Terre d'Arnhem (Australie). Elle examine les stratégies empiriques mises en oeuvre par des anciens Yolngu à l'aide des nouvelles technologies (NTIC) afin de produire des représentations signifiantes de la modernité pour les jeunes générations. Ces représentations furent initiées par une expérimentation avec un projet de numérisation de leur système de savoir et interculturelle du savoir. L'analyse met à jour les façons dont les Yolngu s'affirment en tant qu'acteurs de la modernité à travers la restauration de leur agencéité dans l'histoire. Elle montre comment les interprétations du passé trouvent à travers la performance rituelle une expression actualisée qui articule le passé ancestral dans une relation dynamique avec les défis de la modernité auxquels les Yolngu font face quotidiennementThis research is based on ethnographic fieldwork in the Aboriginal township of Galiwin'ku, in Arnhem Land (Australia). It examines some empirical strategies conceived by Yolngu leaders with new information and communication technologies in order to produce meaningful representations of modernity for the young generations. These representations were instigated by their experiment with a digital knowledge documentation project and the possibilities for local and intercultural knowledge transmission this experiment gave rise to. The thesis illustrates how Yolngu assert their place in modernity through the restoration of their agency in history. It shows how, through ritual performances interpretations of the past find actualised expressions which articulate the ancestral past in a dynamic relationship with the challenges of modernity that Yolngu face in their daily lives
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Zeegers, Margaret, and bhoughton@deakin edu au. "A Mercantilist Cinderella: Deakin University and the Distance Education Student in the Postmodern World." Deakin University. Faculty of Education, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20030404.161615.
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This is a thesis presented on the position of the distance education student at a distance education university in the present era. Traditionally, the distance education student has been a sort of Cinderella: marginalised, being constructed as some form of lesser version of the on campus one. A largely invisible part of the higher education system in Australia since 1911, the distance education student has really only come to be foregrounded in university education discourses from 1983 onwards. It was not until then that the distance education student emerged from hidden pools identified by Karmel (1975), and since then the construction of this student has undergone a number of modifications, mapped in this thesis. At the same time university education itself has undergone a series of modifications, not least of which has been its taking on mercantilist overtones as investments made by students in their own careers and professional development. The modifications, also mapped in this thesis, have progressed to the stage where the construction of the old distance education student is now one of a flexible learner in a mercantilist system of university education. The notion of distance education and the distance education student has undergone significant shifts, redefinitions and constructions, which are tracked in this thesis. My research has focussed on a number of pertinent questions, based on a study of Deakin University and its practice since its establishment.
The thesis draws on a number of works which have been informed by those of Foucault, and I have framed my research questions accordingly. I have asked why and how Deakin University came into being as a distance education provider at tertiary level. What were the conditions of its establishment and progression in relation to the political events, economic practices and communication technology in use over time?
To consider such questions, I needed to analyse the changes that I had seen occurring in the context of wider restructurings in university education. These had occurred in the context of government forging a closer interconnectedness between education and national economic aims and objectives at the same time as it demanded greater productivity in the face of commercial and industrial sector pushes for applied knowledge.
Poststructuralist philosophical developments offer tools to explore not only questions of power, but the practical outcomes of questions of power, and how the complicity of individuals is established. This thesis explores ways in which such considerations helped to shape the changing constructions of the distance education student from a marginalised, disadvantaged and under-represented participant in higher education to a privileged, well catered for and advantaged learner. These same considerations are used to explore ways in which they have helped to shape university distance education courses from a perceived second-rate form of higher education to a prototype that better captures the essential elements of learning for what has been styled in a postmodern world as the Information Age. Overlaid on these considerations is a changing view of the economics of such provision of higher education.
It is anticipated that this thesis will contribute to developing new understandings of the construction of subjectivities in relation to the distance education university student specifically, and to the university student generally, in the postmodern world. The implications of this examination are not inconsiderable for students and academics in a self-styled Information Society.
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Evans, Michaela Skye. "The elusive clean machine : rational order and play in a public railway." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0106.
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[Truncated abstract] Rational order and play are often conceptualised as oppositional forces. In modern urban life especially, rational order is presented as destructive of a playful orientation towards life eschewing mystery through coherence, spontaneity through predictability, and contingency through systematic planning. In turn, the postmodern debate often asserts the reinvigoration of free, playful, and contingent individuals whose collective acts are destructive of the rationality of modern order with the present, in contrast to the past, offering a condition of enduring and unremitting uncertainty. This thesis explores the dynamic relation between rational order and play in urban society through an ethnographic account of a public commuter railway in Perth, Western Australia. Notwithstanding this ethnographic setting, the thesis addresses questions of broader significance through an analysis of the railway as an instance of public space and state techno-bureaucratic order. I investigate the creative process through which the state attempts to standardise the various operational components of the railway as well as the reasons underpinning the state's desire to produce what I term a 'clean machine'. In turn, I investigate how differentially positioned actors live within this carefully crafted machine. I do so by following the stories, experiences, and practices of: government administrators charged with building the railway; the managers who oversee the network's operation; the staff members who operate trains, clean stations, and discipline passengers; and the railway's end-users, including passengers and graffiti artists. ... In examining the two tensions of rational order/play and revelation/ concealment, I attempt to explicate how it is that people experience life as simultaneously coherent and serendipitous. In the thesis, I document the ways in which railway officials, passengers, and graffiti artists express a pervasive ambivalence towards their experience of the railway system. On the one hand, these actors experience the railway as a system of constraint that produces 'robotic' behaviours and automated transactions. On the other, they see the railway as a liberating space that enables autonomous expression and spontaneous interaction. By examining these contending experiences and associated sentiments, I highlight the railway as a stimulating site within which to explore the meaning and significance of urban modernity. Lastly, this thesis contributes to debate on the challenges posed by the character of contemporary social processes to anthropological research methodology. I illustrate the utility of such methods as written and photographic diaries as well as mental-mapping exercises, but primarily advocate the documentary and analytical advantages of participant observation in a mobile field-site. I assert that while participant observation poses a number of personal and professional challenges in this setting, these challenges uncover the stimulating complexity of contemporary urban life. To this end, I contest emergent academic commentary that propounds the destabilisation of anthropological techniques in what is frequently described as an equally destabilised world.
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Topliss, Helen. "Australian female artists and modernism, 1900-1940." Phd thesis, 1992. http://hdl.handle.net/1885/133859.
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The thesis provides a revaluation of the art of Australian women artists in the
period 1900-1940. In the first instance, this study attempts to answer the
question posed by a number of male historians: "Why were there so many
succesful Australian women artists in the period between the two world wars?"
My answer has involved the analysis of three major phenomena:
1. The women's emancipation movement which enfranchised women and
gave them the key to education and subsequently to the professions.
2. The women artists of the early twentieth century were the direct benefactors
of the women's movement, the confidence that the new woman acquired
enabled her to continue her studies abroad for the first time in significant
numbers.
3. Women artists became identified with modernism and also for their
contribution to the arts and crafts movement. Critics have noted that there was
a large proportion of women artists involved with various aspects of the
modernist movement. The question has not been examined before in
Australian art because there has not been any enquiry into their collective
artistic genealogies, nor has the interconnectedness of much of their art been
noticed before. When this is analysed, it becomes clear that women had a
special affinity with aspects of modernism because of their gendered artistic
education in the nineteenth century which rendered them particularly sensitive
to some aspects of modernism. This is clear in most of the case studies of the
women artists whose careers I examine here.
My study has been conducted from the point of view established by certain
feminist critics and art historians whose theories have provided an important
perspective on the art of this period. This perspective is a necessary one, it
hinges on the concepr of "difference" in women's artistic expression. This
theory of "difference" also provides a parallel to the sociological study of women's liberation at the beginning of this century (the data for which IS
provided in the Appendices at the end of the thesis). The theory of "difference"
can be seen to link up with an analysis of gendered art education and thus
facilitates an understanding of why it was that so many women readily
pursued the criteria for modernist art.
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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/1048161.
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Research Doctorate - Doctor of Philosophy (PhD)Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. The development of the Newcastle Technical College Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show Group artists first as students of this new art school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and promising future of the fine arts in Newcastle.
Books on the topic "Modernism (Art) – Australia"
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Frank, Williams John. The quarantined culture: Australian reactions to modernism, 1913-1939. New York: Cambridge University Press, 1995.
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Stephen, Ann. Modernism & Australia: Documents on art, design and architecture 1917-1967. Carlton, Vic: Miegunyah Press, 2006.
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Rayment, Helen. Australian modernism: The complexity and the diversity. North Caulfield, Vic: Lauraine Diggins Fine Art Pty. Ltd., 1992.
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Topliss, Helen. Modernism and feminism: Australian women artists, 1900-1940. Roseville East, NSW: Craftsman House, 1996.
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Grace Crowley's contribution to Australian modernism and geometric abstraction. Newcastle: Cambridge Scholars Pub., 2010.
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Art Gallery of New South Wales, ed. Sydney moderns: Art for a new world. Sydney: Art Gallery of New South Wales, 2013.
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Art Gallery of South Australia., ed. Modern Australian women: Paintings & prints 1925-1945. Adelaide: Art Gallery of South Australia, 2000.
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Pioneers of modernism: The arts and crafts movement in Australia. Carlton, Vic: Miegunyah Press/Melbourne University Publishing, 2008.
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The Australian scapegoat: Towards an antipodean aesthetic. Nedlands, W.A: University of Western Australia Press, 1986.
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Duggan, Laurie. Ghost nation: Imagined space and Australian visual culture, 1901-1939. St. Lucia, Queensland, Australia: University of Queensland Press, 2001.
Find full textBook chapters on the topic "Modernism (Art) – Australia"
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Back, Laura. "The Many Modernisms of Australian Art." In A Companion to Modern Art, 319–38. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118639948.ch17.
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Russ, Vanessa. "Modernism and an Australian Aboriginal Art Collection." In A History of Aboriginal Art in the Art Gallery of New South Wales, 74–110. Names: Russ, Vanessa, author.Title: A History of Aboriginal Art in the Art Gallery of New South Wales / Vanessa Russ.Description: New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003128014-3.
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Taylor, Emmeline. "The Lucky Country." In Armed Robbers, 47–67. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198855132.003.0004.
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‘The Lucky Country’ outlines three key pivotal mythscapes in Australia’s cultural history: convict ancestry, the nineteenth-century gold-rush ‘diggers’, and the ‘Anzacs’. These powerful symbols of contemporary nationhood abound with legendary characters such as Ned Kelly encapsulating the essence of Australianness. The culturally distinct aspirations of ‘the Australian Dream’ are explored in this chapter, alongside the ways in which the frustrations of lack of opportunity and self-fulfilment translate into criminal behaviour. Some have argued that as the Golden Era has given way to post-industrialism, a crisis of masculinity has ensued. The stable narratives of modernity—family, identity, and belonging—have become fractured and fluid. As jobs are no longer for life, families are splintered, people become dislocated, and so, against this unstable backdrop, a project of constant reinvention emerges as a central life task. This chapter examines how instructive narratives of masculinity forged in the industrial era have been displaced in Australia, producing a culturally distinct expression of criminality.
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Giles, Paul. "Antiphonal Arts." In Backgazing: Reverse Time in Modernist Culture, 233–66. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830443.003.0006.
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This chapter considers how the literary representation of time after World War II was shaped by intersections with music and the visual arts. Taking its title from Djuna Barnes’s verse drama The Antiphon (1958), it argues that an antiphonal quality was implicit within works of canonical modernism, which similarly involve interplays between proposition and response, high and low. It suggests how a similar kind of recursive pattern informs Samuel Beckett’s narratives, organized as they are around a dialectic between nostalgia for the sublime and a cathexis of bathos. In relation to Patrick White’s burlesque styles, it argues that this can be seen not as marginal to constructions of modernism, but as endemic to modernism’s antiphonal arts. It also considers the mutual influences of White and Australian painter Sidney Nolan, while discussing the significance of the latter’s collaboration with Boston poet Robert Lowell.
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Dundyak, Iryna. "TRANSFORMATIONAL TENDENCIES OF THE UKRAINIAN DIASPORA ECCLESIASTICAL PAINTING." In Art Spiritual Dimensions of Ukrainian Diaspora, 54–74. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-3.
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Ecclesiastical painting of the diaspora is considered as an integral part of the artistic tradition of Ukrainian religious culture. The artistic processes that took place in ecclesiastical painting against the background of historical and cultural changes in the Ukrainian diaspora in the second half of the XXth century are being analyzed. Attention is paid to important art objects located in the compact settlements of the communities of the Ukrainian Western Diaspora in Europe, Australia, the USA, and Canada. The role of transformational processes of ecclesiastical painting on the example of works of R. Hluvko, J. Hnizdovsky, M. Levytsky, O. Mazuryk, J. Novoselsky are being investigated. The analyzed works clearly demonstrate modernist changes in aesthetic landmarks almost in line with stylistic changes in European art. The issue of artistic features of ecclesiastical painting of the diaspora is critically covered. Problems of temple ensemble, modern stylistic directions of temple concepts, etc. are being singled out.
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Giles, Paul. "Conclusion." In Backgazing: Reverse Time in Modernist Culture, 267–72. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830443.003.0007.
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This concluding chapter takes its title from a book of photographs about Australia published in 1931 by E. O. Hoppé. The cover of The Fifth Continent showed the photographer atop a globe looking back at a map of Australia, and it is this attempt to reconstitute the world in relation to alternative spatial perspectives that provided the impetus for Hoppé’s work. Similarly, to read authors such as Slessor or Dark in parallax with canonical types is not only to correlate relatively neglected figures with modernism’s larger orbit, but also to highlight various neglected aspects of more established writers, the complex ways in which their narratives face backwards as well as forwards. The particular force of backgazing within a sphere of modernism thus lies in the way it resists conventional classifications by projecting not an oppositional but a reversible world, one whose boundaries are rendered enigmatic.
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"Institutional Inertia and the National Gallery of Victoria in Australia." In Foreign Currency Volatility and the Market for French Modernist Art, 145–76. BRILL, 2021. http://dx.doi.org/10.1163/9789004468719_007.
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Hung, Sheng. "Irene Chou (周綠雲) (1924–2011)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2092-1.
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Irene Chou was an acclaimed modern ink painter and an active participant in the ink painting movement in Hong Kong in the 1960s and 1970s. The ‘impact structural stroke’ and blob-splashes are some of her signatures in her paintings. Born in Shanghai, she graduated from St. John’s University with a degree in economics in 1945. She then moved to Hong Kong in 1949 with her husband Evan Yang (1920–78) who was a writer and film director. Chou migrated to Australia in 1992, and passed away there.
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Giles, Paul. "What Time Collects." In Backgazing: Reverse Time in Modernist Culture, 199–232. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830443.003.0005.
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Arguing that one of the most negative consequences of modernism’s traditional designs has been the way they have tended to marginalize or exclude major writers on the basis of ideological assumptions that are never made explicit, this chapter reads Australian novelist Eleanor Dark and American fiction writer James T. Farrell alongside each other. Both writers interrogated conventional understandings of modernism as a phenomenon predicated upon a rhetoric of liberal progress. Instead, Dark and Farrell both seek aesthetically to track back into the past, and they both adduce in their different ways a collectivist understanding of society, one in which individualism is interwoven in complex ways with communal sympathies. Hence the complex fictions of both writers mediate a heterodox version of temporality, in which the recursive passage from present to past carries as much weight as the existential charge from present to future.
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Muecke, Stephen. "Goolarabooloo Futures: Mining and Aborigines in Northwest Australia." In The Postcolonial Contemporary, 208–23. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823280063.003.0010.
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In our apparently postcolonial age, colonization is proceeding apace in Goolarabooloo country near Broome in Western Australia where sovereignty has never been ceded, and no treaty ratified. The colonial ‘settler’ economy was established in the late 19th century with the pearling and pastoral industries, but today it is multinational mining companies (‘extraction colonialism’) that are extending their reach with the urging of the State government and even some Aboriginal agencies. This ethnographic study describes two ‘worlds’: Those (the ‘Moderns’) who like to see themselves as ‘naturally’ extending the territory of a universalist modernity via their institutions of science and technology, governmental organisation, the law and the economy. Under scrutiny, this world turns out to be less robust institutionally and conceptually than it pretends to be; it operates with fantasies, blunders, poor planning, little negotiation and waste. Often it works, but in the instance of the four-year struggle between Woodside Energy and the Goolarabooloo, the latter was able to resist the former’s desire to build a liquefied gas plant on their traditional land. Woodside and its partners left with billions of dollars wasted in the effort. The ‘world’ of the Indigenous Goolarabooloo is the second group of institutions my extended ethnography will describe.
Conference papers on the topic "Modernism (Art) – Australia"
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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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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.
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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.