Academic literature on the topic 'Realism in art Australia'
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Journal articles on the topic "Realism in art Australia"
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Franklin, Adrian. "Where "Art Meets Life"." Journal of Festive Studies 1, no. 1 (May 13, 2019): 106–27. http://dx.doi.org/10.33823/jfs.2019.1.1.27.
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In Hobart, a litany of winter festivals flopped and failed until the arrival of Mona (Museum of Old and New Art), a private museum owned by mathematician, successful online gambler, and autodidact David Walsh. Since 2013, its new festival, Dark Mofo, not only has reignited long-somnolent traditions of midwinter festival imaginaries among its postcolonial society but also has proved to be an effective vehicle for galvanizing an all-of-community form of urban activation, engagement, and regeneration. It has also completely overwhelmed the city with visitors keen to participate in a no-holds-barred ritual week with major global artists and musicians keen to be on its carnivalesque platforms. While Mona has explored grotesque realism themes of sex, death, and the body in its darkened, labyrinthine and subterranean levels, Dark Mofo has permitted their mix of carnivalesque and Dionysian metaphors and embodied practices/politics to take over the entire city in a week of programmatic mischief and misrule at midwinter. Research by an Australian Research Council–funded study of Mona and its festive register will be used to account for its origins and innovation as well as its social, cultural, and economic composition and impact.
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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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Cox, Christopher James, and Mirko Guaralda. "Public Space for Street-Scape Theatrics. Guerrilla Spatial Tactics and Methods of Urban Hacking in Brisbane, Australia." Journal of Public Space 1, no. 1 (October 18, 2016): 113. http://dx.doi.org/10.5204/jps.v1i1.14.
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It could be argued that architecture has an inherent social responsibility to enrich the urban and spatial environments for the city’s occupants. However, how we define quality, and how ‘places’ can be designed to be fair and equitable, catering for individuals on a humanistic and psychological level, is often not clearly addressed. Lefebvre discusses the idea of the ‘right to the city’; the belief that public space design should facilitate freedom of expression and incite a sense of spatial ownership for its occupants in public/commercial precincts. Lefebvre also points out the importance of sensory experience in the urban environment. “Street-scape theatrics” are performative activities that summarise these two concepts, advocating the ‘right to the city’ by way of art as well as providing sensual engagement for city users. Literature discusses the importance of Street-scape Theatrics however few sources attempt to discuss this topic in terms of how to design these spaces/places to enhance the city on both a sensory and political level. This research, grounded in political theory, investigates the case of street music, in particular busking, in the city of Brisbane, Australia. Street culture is a notion that already exists in Brisbane, but it is heavily controlled especially in central locations. This study discusses how sensory experience of the urban environment in Brisbane can be enriched through the design for busking; multiple case studies, interviews, observations and thematic mappings provide data to gather an understanding of how street performers see and understand the built form. Results are sometime surprisingly incongruous with general assumptions in regards to street artist as well as the established political and ideological framework, supporting the idea that the best and most effective way of urban hacking is working within the system. Ultimately, it was found that the Central Business District in Brisbane, Australia, could adopt certain political and design tactics which attempt to reconcile systematic quality control with freedom of expression into the public/commercial sphere, realism upheld. This can bridge the gap between the micro scale of the body and the macro of the political economy through freedom of expression, thus celebrating the idiosyncratic nature of the city.
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Eastwood, John, Lynn Kemp, and Bin Jalaludin. "Each Is in Different Circumstances Anyway." SAGE Open 6, no. 4 (October 2016): 215824401667686. http://dx.doi.org/10.1177/2158244016676863.
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We present here a realist multilevel situational analysis of maternal depression. We use situational analysis to identify the interaction of mothers with social structures and the possible causal influence of those social structures on her well-being. The analysis moves from an emergent empirical approach toward the more reflexive and abductive approach of situational analysis, thus better informing our abductive reasoning and the generation of theory. Critical realism and symbolic interactionism provide the methodological underpinning for the study. The setting was South Western Sydney, Australia. Interviews of mothers and practitioners were analyzed using open coding to enable maximum emergence. Situational analysis was then undertaken using situational and social worlds/arena maps. Home and neighborhood situational analysis mapping and analysis of relations identified the following concepts: (a) expectations and dreams, (b) marginalization and being alone, (c) loss or absence of power and control, and (d) support and nurturing. The neighborhood and macro-arena situational analysis mapping and analysis of relations identified the following concepts: (a) social support networks, social cohesion and social capital; (b) services planning and delivery and social policy; and (c) global economy, business, and media. Emerging was the centrality of being alone and expectations lost as possible triggers of stress and depression within circumstances where media portrays expectations of motherhood that are shattered by reality and social marginalization. We further observe that powerful global economic and political forces are having an impact on the local situations. The challenge for policy and practice is to support families within this adverse regional and global economic context.
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Klonowska, Barbara. "Counterspaces of Resistance: Peter Carey’s Bliss." Anglica. An International Journal of English Studies, no. 30/1 (September 1, 2021): 67–78. http://dx.doi.org/10.7311/0860-5734.30.1.05.
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The article discusses how Peter Carey’s 1980 novel Bliss constructs and exam- ines various counterspaces both in and beyond the text. First, it shows how the plot jux- taposes the consumerist middle-class suburban model of life with an alternative lifestyle, presenting the attractions and limitations of both, yet preferring rather the latter. Secondly, at the level of literary convention, the text activates the strategies of comic social realism only to juxtapose them with elements of fantasy, fairy tale and myth, thus undermining the representational powers of the former and hinting at other possibilities of representation. Finally, the film adaptation of the novel shows how even rebellious or critical texts may become ‘domesticated’ or absorbed by the dominating logic of cultural production, thus once again demonstrating the ambivalent position of works of art in general, and this nov- el in particular. The article argues that the ambivalence engrained in the text is an intrinsic feature, not only of Australian culture or heterotopias but of most cultural products and practices inevitably entangled in the double logic of conforming and resistance.
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Law, R. M., T. Ziehn, R. J. Matear, A. Lenton, M. A. Chamberlain, L. E. Stevens, Y. P. Wang, et al. "The carbon cycle in the Australian Community Climate and Earth System Simulator (ACCESS-ESM1) – Part 1: Model description and pre-industrial simulation." Geoscientific Model Development Discussions 8, no. 9 (September 18, 2015): 8063–116. http://dx.doi.org/10.5194/gmdd-8-8063-2015.
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Abstract. Earth System Models (ESMs) that incorporate carbon-climate feedbacks represent the present state of the art in climate modelling. Here, we describe the Australian Community Climate and Earth System Simulator (ACCESS)-ESM1 that combines existing ocean and land carbon models into the physical climate model to simulate exchanges of carbon between the land, atmosphere and ocean. The land carbon model can optionally include both nitrogen and phosphorous limitation on the land carbon uptake. The ocean carbon model simulates the evolution of nitrate, oxygen, dissolved inorganic carbon, alkalinity and iron with one class of phytoplankton and zooplankton. From two multi-centennial simulations of the pre-industrial period with different land carbon model configurations, we evaluate the equilibration of the carbon cycle and present the spatial and temporal variability in key carbon exchanges. For the land carbon cycle, leaf area index is simulated reasonably, and seasonal carbon exchange is well represented. Interannual variations of land carbon exchange are relatively large, driven by variability in precipitation and temperature. We find that the response of the ocean carbon cycle shows reasonable agreement with observations and very good agreement with existing Coupled Model Intercomparison Project (CMIP5) models. While our model over estimates surface nitrate values, the primary productivity agrees well with observations. Our analysis highlights some deficiencies inherent in the carbon models and where the carbon simulation is negatively impacted by known biases in the underlying physical model. We conclude the study with a brief discussion of key developments required to further improve the realism of our model simulation.
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Lockart, Natalie, Garry Willgoose, George Kuczera, Anthony S. Kiem, AFM Kamal Chowdhury, Nadeeka Parana Manage, Lanying Zhang, and Callum Twomey. "Case study on the use of dynamically downscaled climate model data for assessing water security in the Lower Hunter region of the eastern seaboard of Australia." Journal of Southern Hemisphere Earth Systems Science 66, no. 2 (2016): 177. http://dx.doi.org/10.1071/es16015.
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A key aim of the Eastern Seaboard Climate Change Initiative (ESCCI) is under-standing the effect of climate change on the eastern seaboard of Australia, and the implications for climate change adaptation in this area. The New South Wales (NSW) / Australian Capital Territory (ACT) Regional Climate Modelling project (NARCliM) has produced three dynamically downscaled reanalysis climate datasets along with 12 downscaled general circulation model (GCM) projections of current (1990–2009) and future climate. It is expected that the NARCliM dataset will be used for many climate change impact studies including water security assessment. Therefore, in this study we perform a case study investigation into the usefulness and limitations of using NARCliM data for water security assessment, using the Lower Hunter urban water supply system managed by Hunter Water Corporation. We compare streamflow and reservoir levels simulated using NARCliM rainfall and a gridded historical rainfall dataset (AWAP) and focus our analysis on the differences in the simulated streamflow and reservoir levels. We show that when raw (i.e. not bias-corrected) NARCliM rainfall and potential evapotranspiration (PET) data is used to simulate streamflow and reservoir storage levels, some of the NARCliM datasets produce unrealistic results when compared with the simulations using AWAP; for example, some NARCliM datasets simulate reservoirs at or near empty while the AWAP reservoir simulations rarely drop below 60%. The bias-corrected NARCliM rainfall (corrected to AWAP) produces estimates of streamflow and reservoir levels that have a closer, but still inconsistent, match with the streamflow and reservoir levels simulated using AWAP directly. The inconsistency between the simulations using bias-corrected rainfall and historical AWAP rainfall is potentially because while bias-correction reduces systematic deviations it does not fix temporal rainfall sequencing issues. Additionally, the NARCliM PET is not bias-corrected and using bias-corrected rainfall with uncorrected PET in hydrological models results in physical inconsistencies in the rainfall-PET relationship and simulated streamflow. We demonstrate that rainfall plays a large role in the streamflow simulations, while PET seems to play a large role in the reasonableness of the simulated reservoir dynamics by determining the evaporation losses from the reservoirs. The downscaled GCM datasets that simulate the greatest average PET for 1990–2009 show reservoirs often (unrealistically) near empty. This study highlights the need to assess the validity of all climate data for the applications required, with a focus on long-term statistics for reservoir modelling and ensuring realism and coherence across all projected variables.
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Law, Rachel M., Tilo Ziehn, Richard J. Matear, Andrew Lenton, Matthew A. Chamberlain, Lauren E. Stevens, Ying-Ping Wang, et al. "The carbon cycle in the Australian Community Climate and Earth System Simulator (ACCESS-ESM1) – Part 1: Model description and pre-industrial simulation." Geoscientific Model Development 10, no. 7 (July 6, 2017): 2567–90. http://dx.doi.org/10.5194/gmd-10-2567-2017.
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Abstract. Earth system models (ESMs) that incorporate carbon–climate feedbacks represent the present state of the art in climate modelling. Here, we describe the Australian Community Climate and Earth System Simulator (ACCESS)-ESM1, which comprises atmosphere (UM7.3), land (CABLE), ocean (MOM4p1), and sea-ice (CICE4.1) components with OASIS-MCT coupling, to which ocean and land carbon modules have been added. The land carbon model (as part of CABLE) can optionally include both nitrogen and phosphorous limitation on the land carbon uptake. The ocean carbon model (WOMBAT, added to MOM) simulates the evolution of phosphate, oxygen, dissolved inorganic carbon, alkalinity and iron with one class of phytoplankton and zooplankton. We perform multi-centennial pre-industrial simulations with a fixed atmospheric CO2 concentration and different land carbon model configurations (prescribed or prognostic leaf area index). We evaluate the equilibration of the carbon cycle and present the spatial and temporal variability in key carbon exchanges. Simulating leaf area index results in a slight warming of the atmosphere relative to the prescribed leaf area index case. Seasonal and interannual variations in land carbon exchange are sensitive to whether leaf area index is simulated, with interannual variations driven by variability in precipitation and temperature. We find that the response of the ocean carbon cycle shows reasonable agreement with observations. While our model overestimates surface phosphate values, the global primary productivity agrees well with observations. Our analysis highlights some deficiencies inherent in the carbon models and where the carbon simulation is negatively impacted by known biases in the underlying physical model and consequent limits on the applicability of this model version. We conclude the study with a brief discussion of key developments required to further improve the realism of our model simulation.
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Bryan-Wilson, Julia. "Occupational Realism." TDR/The Drama Review 56, no. 4 (December 2012): 32–48. http://dx.doi.org/10.1162/dram_a_00212.
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Since the 1970s, some artists have self-consciously inhabited their workaday jobs as art; this “occupational realism” invokes questions about the performance of labor and the value of art-making. What does it mean to be (emotionally, physically, mentally) “occupied” by one's work? And what does it mean to “occupy” labor as a strategic artistic operation?
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Steyn, Juliet. "Realism versus Realism in British Art of the 1950s." Third Text 22, no. 2 (March 2008): 145–56. http://dx.doi.org/10.1080/09528820802012737.
Full textDissertations / Theses on the topic "Realism in art Australia"
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Martinac, Krunoslav. "Red flags flying: Elements of socialist realism in Australian art." Thesis, Martinac, Krunoslav (2002) Red flags flying: Elements of socialist realism in Australian art. PhD thesis, Murdoch University, 2002. https://researchrepository.murdoch.edu.au/id/eprint/52755/.
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This thesis examines the emergence and development of Socialist Realism in Australia. Among twentieth century cultural narratives a significant position is occupied by the theme of realism in the visual arts as related to the social and particularly to the political or ideological context. The issue of reality transformed into a visual representation of social relations plays an especially important role in Eastern European artistic practices, dominated by the Soviet model of Socialist Realism. Socialist Realism is a worldwide artistic and cultural phenomenon that arose under the influences of the social changes in Russia at the end of the nineteenth and the beginning of the twentieth century.
This already defined aesthetic influenced thereafter the other European communist and non-communist countries, the United States of America and Australia. Historical approaches to the problem of Socialist Realist doctrine have established a number of cliches which should be thoroughly challenged by new interpretations, questioning the fixed definition of historical avant-gardes as supposedly positive and progressive while traditional realistic practices are seen as regressive and totalitarian.
This thesis provides an insight into the artistic practice of Australian painters Noel Counihan. Yosl Bergner and Victor O’Connor, whose work embodies most of the contradictions and conflicts of the early Australian modernist scene. Modem art in Australia reflected the social and cultural situation in Europe in the 1930s and 1940s which shaped the emergence of Modernism in general in Australia. Australian artists in the Contemporary Art Society (1938) drew on European ideas in their attempts to develop a modem artistic practice that was both international and at the same time recognisably Australian. Important amongst these were a number of Socialist Realist artists whose artistic activity was strongly concerned about contemporary social issues, nationalism, national identity, economic depression and war, and the future of Australian society.
This study grows out of some recent interdisciplinary initiatives in language theory and new directions in the study of visual art. The analytical model of systemic-functional semiotics of art, as developed in the work of Michael Halliday and Michael O’Toole is applied to an interpretation of a selection of key works by Australian Socialist Realists. Through a close semiotic analysis internal visual facts and the historical and social context of their work are integrated into a complex structure of signs and their meanings in an endeavour to interpret the appearance and development of the doctrine as a significant practice in Australia in the period of the 1930s and 1940s.
This thesis is written in the conviction that visual representations are realisations of the social semiotic out of which they have grown, but at the same time they are a contribution to that social semiotic, participating in changing the context. My analysis of the Socialist Realist method which attempts to locate the picture within a rational system of perceptual codes suggests that works of art can be a starting point from which most of the aesthetic and social-political concerns of the period can be deduced.
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McKenzie, Vahri. "As the owl discreet essay towards a conversation, and, Carly's dance : a novel /." Connect to thesis, 2008. http://portalapps.ecu.edu.au/adt-public/adt-ECU2008.0015.html.
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Murray, Philippa, and pmurray@swin edu au. "The Floating World - An investigation into illustrative and decorative art practices and theory in print media and animation." RMIT University. Arts and Culture, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080506.143949.
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Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.
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Forrest, David. "Social Realism : a British art cinema." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10351/.
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Since the 1930s, realist cinema has maintained a consistent but ever-diversifying presence within the heart of British film culture. The broad term of social realism has come to represent numerous examples of films that reflect a range of social environments and issues, in a manner that rejects the artifice and escapism of more classically-oriented narrative models. Yet, there has been a tendency to view such films in the context of what they have to tell us about the issues and themes they invoke, rather than what they say about their art. When we think of the New Wave in France, or Neo-Realism in Italy we think of film movements which reflected their subjects with veracity and conviction, but we also see their products as cultural entities which encourage interpretation on the terms of their authorship, and which demand readings on the basis of their form. We are invited to read the films as we would approach a poem or a painting, as artefacts of social and artistic worth. Despite the continued prevalence of social realism in British cinema, there is no comparable compulsion in our own critical culture. This study seeks to address this imbalance. Beginning with the documentary movement of the 1930s and the realist cinema of wartime, I chart the history and progression of social realism in Britain, covering a wide range of directors such as Ken Loach, Mike Leigh, Alan Clarke and Shane Meadows and a number of film cycles, such as Free Cinema and the British New Wave. The key focus of my analysis lies on the aesthetic and formal constitution of the mode. I seek to highlight hitherto unrealised depths within the textual parameters of British social realism in order to propose its deserved status as a genuine and progressive national art cinema.
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Darley, Andrew David. "The computer and contemporary visual culture : realism, post-realism and postmodernist aesthetics." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259729.
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Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.
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Merlyn, Teri, and n/a. "Writing Revolution: The British Radical Literary Tradition as the Seminal Force in the Development of Adult Education, its Australian Context, and the Life and Work of Eric Lambert." Griffith University. School of Vocational, Technology and Arts Education, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040616.131738.
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This thesis tells the story of an historical tradition of radical literacy and literature that is defined as the British radical literary tradition. It takes the meaning of literature at its broadest understanding and identifies the literary and educational relations of what E.P. Thompson terms 'the making of the English working class' through its struggle for literacy and freedom. The study traces the developing dialectic of literary radicalism and the emergent hegemony of capitalism through the dissemination of radical ideas in literature and a groundswell of public literacy. The proposed radical tradition is defined by the oppositional stance of its participants, from the radical intellectual's critical texts to the striving for literacy and access to literature by working class people. This oppositional discourse emerged in the fourteenth century concomitant with nascent capitalism and has its literary origins in utopian vision. This nascent utopian imagination conceived a democratic socialism that underpinned the character of much of the following oppositional discourse. The thesis establishes the nexus of the oppositional discourse as a radical literary tradition and the earliest instances of adult education in autodidacticism and informal adult education. The ascent of middle class power through the industrial revolution is shadowed by the corresponding descent of the working class into poverty. Concomitant with this social polarisation is the phenomena of working class literary agency as the means to political and economic agency. While Protestant dissenting groups such as the Diggers and Levellers were revolutionary activists, it was Methodism that formed a bulwark against revolution. Yet it was their emphasis on self-improvement that contributed to an increasingly literate populace. Radical texts produced and disseminated by individuals and organisations and read by autodidactics and informal reading groups are seminal in the formation of a working class identity. Spearheaded by the Chartist movement, education became a central ethic of working class politics and the civil struggle for economic and political justice throughout the nineteenth and well into the twentieth centuries. The avant garde movements of the early twentieth century are analysed as a strand of this tradition. The narrative of the thesis then moves to the penal colony of Australia and explores the radical literary tradition's development there. Early colonial culture is seen as having a strong impetus towards a developing a native literary expression of the new land. Where conservative colonial literature struggled to differentiate itself from formal British literary models, the radical heritage and its utopian vision of a working man's paradise gave definitive expression to the Australian experience. This expression was strongly influenced by Chartist ideals. The British radical literary tradition is thus seen to have had a dominant influence in the development of a native radical literary tradition that strove to identify the national character. Socialist thought developed in Australia in concert with that in the parent culture, and anarchist and libertarian trends found a ready home amongst independent minded colonials. Yet, in preventing the formation of a native aristocracy the small radical population made a compromise with liberalism that saw a decidedly conservative streak develop in the early labour movement. There were little in the way of sophisticated radical literary offerings at first, but from the mid-nineteenth century a vanguard of radicals produced a thriving native press and other fugitive text forms. At the turn of the century the native radical literary tradition was vibrantly diverse, with a definitive style that claimed literary ownership of the Australian character. However, exhausted by the battles over WWI conscription and isolated by censorship, the Communist Party of the Soviet Union was able to subsume the vanguard position from the socialists. The Party laid claim to the Australian radical literary tradition, at once both strengthening it with the discipline of a Marxist ideology and diminishing its independence and diversity. Party literary theory centred upon the issue of class, developing a doctrine of socialist realism that communist writers were expected to practice. How well a writer adhered to socialist realist principles became a measure of their class position and loyalty. Drawing more from primary sources, the thesis develops an analysis of the intellectual development of the Australian post-WWII writer Eric Lambert through his experience of class instability during Depression and war. The study examines Lambert's decision to join the Party and his literary response to his experiences of war, the Party, the turmoil of 1956 and life after the Party. Lambert's body of work is then analysed as the unintentional memoir of a writer working as an adult educator in the radical literary tradition. Lambert's struggles, for artistic independence within the narrow precepts of Party dogma and with class tensions, were common amongst intellectuals committed to the communist cause. Like many of his peers, Lambert resigned from the Party at the end of 1956 and suffered a period of ideological vacuum. However, he continued to write as a Marxian educator, seeking to reveal that which makes us human in the humanity of ordinary people. It is concluded that, while the Party did much to foster disciplined cohesion, the mutual distrust it generated amongst its intellectuals suppressed the independent thought that had kept the radical literary tradition alive. Although the Party developed an ideological strength within the radical literary tradition, its dominance over thirty years and subsequent fall from grace acted to fragment and discredit that centuries-old tradition which it subsumed. An argument is made for a reinvestment of the centrality of the radical literary tradition in the education of adults for the maintenance of social justice and the democratic project.
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Qian, Zifan. "Enhanced realism in the development of my painting." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3919.
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It is a basic truth that the artist must have independent experience and personality in order to create art from life. Combining a traditional realistic style with some elements of abstract composition fits my personality. My paintings represent a pursuit of this idea that is the enhanced realism in the development of my painting.
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Reason, Akela M. "Beyond realism history in the art of Thomas Eakins /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2195.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Zhu-Nowell, Xiaorui. "Capitalist realism : making art for sale in Shanghai, 1999." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111501.
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Thesis: S.M. in Architecture Studies, Massachusetts Institute of Technology, Department of Architecture, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 103-105).
The artist-instigated exhibition Art for Sale (1999), which partially operated as a fully functioning 'art supermarket' inside a large shopping mall, was one of the most important exhibitions that took place during the development of Shanghai's experimental art-scene in the 1990s, a time when the influx of consumer capitalism was becoming a key mechanism of life in the city. Organized by the artist-curators Xu Zhen, Yang Zhenzhong and Alexander Brandt, the exhibition was divided into two sections, a supermarket and an exhibition space, and included 33 artists who were prompted to create a pair of works, one for each section. The supermarket section consisted of works that were at once art objects and commercial goods, many of them bizarre amalgamations of familiar household items, and visitors were able to self-select "merchandise" to purchase; therefore, becoming "art consumers" for the first time in post-revolutionary China. Post-1989 China was a uniquely volatile social and political environment; the failure of the 1989 democracy movement incentivized the rise of state-directed capitalism, and Deng Xiaoping was championing a new official ideology of the Communist Party of China- "Socialism with Chinese characteristics", which doubled as a strategy to thwart the democratic movement of the time. Necessarily, the Shanghai art scene of the 1990s must be seen in the context of these pro-consumerist state policies, as almost overnight, the state attempted to turn a nation of workers into a nation of consumers. This transition was rife with tension. An emerging ideology of consumerism had to be cleverly negotiated with and against a strong residual ideology of Mao-era policies and values. It was a historical moment of incredible flux and ideological hybridity in which the necessary contradiction of "socialist capitalism" could take root. The Art for Sale exhibition was deftly self-reflexive about these permutable conditions of the late 1990s, and this thesis argues that it functioned as a way to worry the question of consumerism in China through making consumption into an aesthetic act; considering, challenging and often subverting the contingent future of capitalism that the state was trying to enact. Through the introduction of Capitalist Realism, an art historical movement begun by East German artists in 1960s West Germany, this thesis links Art for Sale with previous examples of artists using consumerism as an aesthetic strategy, arguing that Capitalist Realism can be used as an interpretive heuristic for understanding how conceptual art practices emerged in 1990s China as a critique of Western consumerism.
by Xiaorui Zhu-Nowell.
S.M. in Architecture Studies
Books on the topic "Realism in art Australia"
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Kozhevnikova, A. K. Realisticheskai︠a︡ shkola zhivopisi Avstralii. Sankt-Peterburg: [s.n.], 2005.
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Gallery, Hayward, South Bank Centre, Australian National Gallery, and Australian Bicentennial Authority, eds. Angry penguins and realist painting in Melbourne in the 1940s: Hayward Gallery, London, 19 May to 14 August 1988. [London]: The Centre, 1988.
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Hurlston, David. Ron Mueck. [Melbourne]: National Gallery of Victoria, 2011.
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Company, Melbourne Theatre, ed. Realism. Strawberry Hills, NSW: Currency Press in association with Melbourne Theatre Company, 2009.
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Gunderson, Jessica Sarah. Realism. Mankato, MN: Creative Education, 2008.
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Gunderson, Jessica Sarah. Realism: Odysseys. Mankato, MN: Creative Education and Creative Paperbacks, 2016.
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Malpas, James. Realism. Cambridge: Cambridge Univ. Press, 1997.
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Realism. Harmondsworth: Penguin, 1990.
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Realism. Harmondsworth, Middlesex: Penguin, 1987.
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Karlen, Roy. Expressionism and realism. New York, N.Y: Lafayette Park Gallery, 1990.
Find full textBook chapters on the topic "Realism in art Australia"
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Paul, Erik. "Realism." In Australia in the US Empire, 159–202. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76911-0_5.
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Paul, Erik. "Planetary Realism." In Australia in the Anthropocene, 109–56. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-8178-4_4.
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Paul, Erik. "On Planetary Realism." In Australia in the Anthropocene, 1–8. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-8178-4_1.
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Rosebury, Brian. "Objections from Historical Realism." In Art and Desire, 22–61. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19496-4_2.
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Rosebury, Brian. "Objections from Moral Realism." In Art and Desire, 62–91. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19496-4_3.
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Arandelovic, Biljana. "Socialist Realism in Art." In Public Art and Urban Memorials in Berlin, 257–77. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73494-1_6.
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Sillars, Stuart. "Romantic Realism." In British Romantic Art and the Second World War, 51–77. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-09918-4_3.
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Crouch, Christopher. "Realism and Objectivity." In Modernism in Art, Design and Architecture, 112–38. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27058-3_7.
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Shklovskii, Viktor. "Art as Technique." In From Symbolism to Socialist Realism, edited by Irene Masing-Delic, 64–81. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618111449-008.
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Brown, Paul. "Realism and Computer-Integrated Manufacture." In Computers in Art, Design and Animation, 12–20. New York, NY: Springer New York, 1989. http://dx.doi.org/10.1007/978-1-4612-4538-4_2.
Full textConference papers on the topic "Realism in art Australia"
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Gavrilov, D. M. "Traditions of Realism in the Contemporary Art." In Судьбы национальных культур в условиях глобализации: между традицией и новой реальностью. Челябинск: Челябинский государственный университет, 2022. http://dx.doi.org/10.47475/9785727118559-28.
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Li, Qiuyu. "Australia Media Studies." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.058.
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Wei, Pang. "The Transformation of Contemporary Photography Expression--Beyond Realism." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.073.
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Liedtke, Walter. "Optical instruments and realism in European art ca. 1400-1800." In Frontiers in Optics. Washington, D.C.: OSA, 2004. http://dx.doi.org/10.1364/fio.2004.fww2.
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Smith, Warren F., Michael Myers, and Brenton Dansie. "F1 in Schools: An Australian Perspective." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-86240.
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The Australian Government and industry groups have been discussing the projected “skills shortage” for a number of years. This concern for the future is mirrored in many countries including the USA and the UK where the risk is not having sufficient skilled people to realise the projects being proposed. Growing tertiary qualified practicing engineers takes time and commitment but without the excitement of the possibility of such a career being seeded in the youth of the world, school leavers won’t be attracted to engineering in sufficient numbers. In response, one successful model for exciting school children about engineering and science careers is the international F1inSchools Technology Challenge which was created in the UK in 2002 and implemented in Australia in 2003. It is now run in over 300 Australian Schools and 33 countries. In the Australian context, the program is managed and promoted by the Reengineering Australia Foundation. It is supported and fostered through a range of regional hubs, individual schools and some exceptional teachers. Presented in this paper are some perspectives drawn particularly from the Australian experience with the program over 10 years — which by any measure has been outstanding. The F1inSchools model has been designed specifically through its association with Formula One racing to attract the intrinsic interests of students. It is based on the fundamentals of action learning. Role models and industry involvement are utilised as motivation modifiers in students from Years 5 to 12. While immersing children in project based learning, the program explicitly encourages them to engage with practicing mentors taking them on a journey outside their normal classroom experience. In this program, students have the opportunity to use the design and analysis tools that are implemented in high technology industries. Their experience is one of reaching into industry and creative exploration rather than industry reaching down to them to play in a constrained and artificial school based environment. Anecdotally F1inSchools has been very successful in positively influencing career choices. With the aim of objectively assessing the impact of the program, doctoral research has been completed. Some key findings from this work are summarized and reported in this paper. The children involved truly become excited as they utilise a vehicle for integration of learning outcomes across a range of educational disciplines with a creative design focus. This enthusiasm flows to reflective thought and informed action in their career choice. As a result of F1inSchools, students are electing to follow engineering pathways and they will shape tomorrow’s world.
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Weerakkody, Niranjala. "Mobile Phones and Children: An Australian Perspective." In InSITE 2008: Informing Science + IT Education Conference. Informing Science Institute, 2008. http://dx.doi.org/10.28945/3252.
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Mobile phones in Australia record one of the world’s highest rates of ownership among children under 18. This paper examines issues of mobile phones and Australian children and the various discourses (systematic frames) used in discussing their effects. These are the optimistic (gains); pessimistic (losses, costs or harms); pluralistic (technology per se is neutral but how it is used matters); historical development (importance and skills learnt); futuristic predictions (promises and dangers); current uses (connectivity, convergence and interactivity); and techno-realist view (as a mixed blessing). Taking the Justification View of Technology that sees technological adoption as a gamble and borrowing from Joshua Meyrowitz, it examines how mobile phones have eroded parental power over how, when, where and with whom their children communicate, while at the same time, becoming a ‘digital leash’ for parents to re-establish their control and an ‘umbilical cord’ of children to remain connected with parents at all times.
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Alex, Marylyn, Danielle Lottridge, Jisu Lee, Stefan Marks, and Burkhard Wüensche. "Discrete versus Continuous Colour Pickers Impact Colour Selection in Virtual Reality Art-Making." In OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3441000.3441054.
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Martin, Professor the Hon Stephen. "The Black Art of Economic Forecasting Lessons from Australia." In Annual International Conference on Qualitative and Quantitative Economics Research. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2251-2012_qqe15.01.
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Xuemin, Heng. "Aboriginality Construction of the Magic Realism in Mo Yan’s Novels." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.90.
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Kera, Denisa. "From Data Realism to Dada Aggregations: Visualizations in Digital Art, Humanities and Popular Culture." In 2010 14th International Conference Information Visualisation (IV). IEEE, 2010. http://dx.doi.org/10.1109/iv.2010.99.
Full textReports on the topic "Realism in art Australia"
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Tyson, Paul. Sovereignty and Biosecurity: Can we prevent ius from disappearing into dominium? Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp3en.
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Drawing on Milbank and Agamben, a politico-juridical anthropology matrix can be drawn describing the relations between ius and bios (justice and political life) on the one hand and dominium and zoe (private power and ‘bare life’) on the other hand. Mapping movements in the basic configurations of this matrix over the long sweep of Western cultural history enable us to see where we are currently situated in relation to the nexus between politico-juridical authority (sovereignty) and the emergency use of executive State powers in the context of biosecurity. The argument presented is that pre-19th century understandings of ius and bios presupposed transcendent categories of Justice and the Common Good that were not naturalistically defined. The very recent idea of a purely naturalistic naturalism has made distinctions between bios and zoe un-locatable and civic ius is now disappearing into a strangely ‘private’ total power (dominium) over the bodies of citizens, as exercised by the State. The very meaning of politico-juridical authority and the sovereignty of the State is undergoing radical change when viewed from a long perspective. This paper suggests that the ancient distinction between power and authority is becoming meaningless, and that this loss erodes the ideas of justice and political life in the Western tradition. Early modern capitalism still retained at least the theory of a Providential moral order, but since the late 19th century, morality has become fully naturalized and secularized, such that what moral categories Classical economics had have been radically instrumentalized since. In the postcapitalist neoliberal world order, no high horizon of just power –no spiritual conception of sovereignty– remains. The paper argues that the reduction of authority to power, which flows from the absence of any traditional conception of sovereignty, is happening with particular ease in Australia, and that in Australia it is only the Indigenous attempt to have their prior sovereignty –as a spiritual reality– recognized that is pushing back against the collapse of political authority into mere executive power.
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Kukreja, Prateek, Havishaye Puri, and Dil Rahut. Creative India: Tapping the Full Potential. Asian Development Bank Institute, January 2023. http://dx.doi.org/10.56506/kcbi3886.
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We provide the first reliable measure on the size of India’s creative economy, explore the many challenges faced by the creative industries, and provide recommendations to make India one of the most creative societies in the world. India’s creative economy—measured by the number of people working in various creative occupations—is estimated to contribute nearly 8% of the country’s employment, much higher than the corresponding share in Turkey (1%), Mexico (1.5%), the Republic of Korea (1.9%), and even Australia (2.1%). Creative occupations also pay reasonably well—88% higher than the non-creative ones and contribute about 20% to nation’s overall GVA. Out of the top 10 creative districts in India, 6 are non-metros—Badgam, Panipat (Haryana), Imphal (Manipur), Sant Ravi Das Nagar (Uttar Pradesh), Thane (Maharashtra), and Tirupur (Tamil Nadu)—indicating the diversity and depth of creativity across India. Yet, according to the United Nations Conference on Trade and Development, India’s creative exports are only one-tenth of those of the People’s Republic of China. To develop the creative economy to realize its full potential, Indian policy makers would like to (i) increase the recognition of Indian culture globally; (ii) facilitate human capital development among its youth; (iii) address the bottlenecks in the intellectual property framework; (iv) improve access to finance; and (v) streamline the process of policy making by establishing one intermediary organization. India must also leverage its G20 Presidency to put creative economy concretely on the global agenda.
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Бондаренко, Ольга Володимирівна, Світлана Вікторівна Мантуленко, and Андрій Валерійович Пікільняк. Google Classroom as a Tool of Support of Blended Learning for Geography Students. CEUR-WS.org, 2018. http://dx.doi.org/10.31812/123456789/2655.
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Abstract. The article reveals the experience of organizing blended learning for geography students using Google Classroom, and discloses its potential uses in the study of geography. For the last three years, the authors have tested such in-class and distance courses as “Cartography and Basics of Topography”, “Population Geography”, “Information Systems and Technologies in Tourism Industry”, “Regional Economic and Social World Geography (Europe and the CIS)”, “Regional Economic and Social World Geography (Africa, Latin America, Asia, Anglo-America, Australia and Oceania)”, “Socio-Economic Cartography”. The advantages of using the specified interactive tool during the study of geographical disciplines are highlighted out in the article. As it has been established, the organization of the learning process using Google Classroom ensures the unity of in-class and out-of-class learning; it is designed to realize effective interaction of the subjects learning in real time; to monitor the quality of training and control the students’ learning achievements in class as well as out of it, etc. The article outlines the disadvantages that should be taken into account when organizing blended learning using Google Classroom, including the occasional predominance of students’ external motivation in education and their low level of readiness for work in the classroom; insufficient level of material and technical support in some classrooms; need for out-of-class pedagogical support; lack of guidance on the content aspect of Google Classroom pages, etc. Through the test series conducted during 2016-2017, an increase in the number of geography students with a sufficient level of academic achievements and a decrease of those with a low level of it was revealed.
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.
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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.