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Relevant bibliographies by topics / Women artists Australia

Academic literature on the topic 'Women artists Australia'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Journal articles on the topic "Women artists Australia"

1

Devenish, Louise. "INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE." Tempo 74, no. 292 (March 6, 2020): 6–9. http://dx.doi.org/10.1017/s0040298219001128.

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AbstractThe collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers, gender diversity strategies in tertiary music education and the positive impacts of content targets in programming. Together these articles offer a wide range of perspectives on changing creation and performance practices, listening practices and audience attitudes to music in the twenty-first century. Contributors include leading scholar-performers active at the forefront of contemporary music in Australia, artists from the UK and USA, as well as national radio programmers and not-for-profit arts organisations.

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Rey, Jo, and Neil Harrison. "Sydney as an Indigenous place: “Goanna walking” brings people together." AlterNative: An International Journal of Indigenous Peoples 14, no. 1 (January 22, 2018): 81–89. http://dx.doi.org/10.1177/1177180117751930.

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Sydney, Australia, is rarely seen as an Indigenous place, yet over 52,000 Indigenous people live here. “Indigeneity” persists in educational discourse as a remote phenomenon, but the research reveals otherwise for many Indigenous people who continue to live in Sydney. This is reflected in the contemporary lives of seven Dharug women who constitute the basis of a doctoral project. The seven women disclose how caring and connectivity to place and people continue to be important markers of belonging to Country in the city. This article also draws on Judith Butler’s work to investigate the conditions of possibility for sustained collaboration between Indigenous and non-Indigenous people in Sydney. Through a collaborative project between local Dharug artists and teacher education students, we find that cross-cultural understandings are built through vulnerabilities, as much as they are through reason. Shared vulnerability provides the conditions for meeting on Country, and “goanna walking” takes us there.

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Kevin, Catherine. "So Fine. Contemporary Australian Women Artists Make History." History Australia 16, no. 1 (January 2, 2019): 212–14. http://dx.doi.org/10.1080/14490854.2019.1582410.

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Nunn, Pamela Gerrish, Anna Voigt, and Helen Topliss. "New Visions, New Perspectives: Voices of Contemporary Australian Women Artists." Woman's Art Journal 20, no. 2 (1999): 47. http://dx.doi.org/10.2307/1358986.

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

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

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Szabó, Marianna, Mitchell L. Cunningham, Mark Seton, and Ian Maxwell. "Eating Disorder Symptoms in Australian Actors and Performing Artists." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 171–78. http://dx.doi.org/10.21091/mppa.2019.4028.

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AIMS: Anecdotal evidence suggests that actors and other performing artists are under great pressure to conform to idealized appearances and body types. The pursuit of such appearances may trigger eating disorder symptoms, such as unhealthy attitudes towards body weight and shape. Thus far, there has been no dedicated empirical study of the prevalence of such problems in Australian actors and performing artists specifically. Therefore, this study sought to examine eating disorder symptomatology in Australian actors and performing artists. METHODS: An online survey was distributed to the Equity Foundation membership representing Australian actors and performing artists, of whom 573 individuals completed the survey. This survey gauged demographic information and eating disorder symptoms using the psychometrically validated Eating Disorder Diagnostic Scale (EDDS). RESULTS: A large proportion of actors reported unhealthy attitudes such as ‘feeling fat’ even though they are of normal weight or underweight; reported an extreme fear of gaining weight; and evaluated their self-worth based on their body weight and shape, particularly women. Results also showed that 2.5% of women in the study met the diagnostic criteria for anorexia nervosa and 13% met diagnostic criteria for bulimia nervosa based on their scores on the EDDS. DISCUSSION: Performers may be a particularly at-risk population for the development and/or maintenance for a range of eating disorders.

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Hoorn, Jeanette. "Know My Name: Australian Women Artists 1900 To Now." Australian and New Zealand Journal of Art 22, no. 1 (January 2, 2022): 128–32. http://dx.doi.org/10.1080/14434318.2022.2076035.

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Downey, Georgina. "Armchair tourists: Two ‘furniture portraits’ by expatriate South Australian women artists." Journal of Australian Studies 27, no. 80 (January 2003): 87–98. http://dx.doi.org/10.1080/14443050309387915.

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Szabó, Marianna, Ian Maxwell, Mitchell L. Cunningham, and Mark Seton. "Alcohol Use by Australian Actors and Performing Artists: A Preliminary Examination from the Australian Actors’ Wellbeing Study." Medical Problems of Performing Artists 35, no. 2 (June 1, 2020): 73–80. http://dx.doi.org/10.21091/mppa.2020.2012.

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BACKGROUND: Anecdotal and media reports suggest that actors and performing artists are vulnerable to high levels of alcohol use. However, little empirical research is available to document the extent and correlates of alcohol use amongst these artists, particularly in an Australian context. OBJECTIVE: This study investigated alcohol use in a sample of Australian actors and other performing artists and its associations with sociodemographic background, psychological wellbeing, and work stress. METHODS: An online survey was distributed to the Equity Foundation membership representing Australian actors and performing artists. The survey included questions on sociodemographic and occupational background and psychological wellbeing (DASS-21), as well as the AUDIT questionnaire to assess self-reported alcohol consumption. A sample of 620 performing artists responded to the survey, a large majority of whom were actors. RESULTS: Australian actors and performing artists appear to consume alcohol at levels that are higher than those found in the general Australian population. About 40% of men and 31% of women were classified as drinking alcohol at potentially harmful or hazardous levels. Alcohol use was not strongly associated with age, education, or income, but it had a relationship with poorer psychological wellbeing. About 50% of respondents reported that their alcohol drinking was related to work stress as a performer. This perception was more pronounced amongst those performers who reported drinking at harmful levels. CONCLUSIONS: Australian actors and performing artists appear to be an at-risk population for harmful or hazardous alcohol use.

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Bunda, Tracey, Robyn Heckenberg, Kim Snepvangers, Louise Gwenneth Phillips, Alexandra Lasczik, and Alison L. Black. "Storymaking Belonging." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 153–79. http://dx.doi.org/10.18432/ari29429.

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Sometimes data invites more of us. To be physically held and touched, through hands creating and crafting with matter, cultivating a closer connection to the fibres, threads, textures and sinews of data. Through touching and shaping the materiality of data, other beings, places and times are aroused. Here, we share the story of data that invited more of us and how this has spurred the creation of an exhibition titled Stories of Belonging with Indigenous and non-Indigenous artist/scholars for an arts festival in Queensland, Australia. This work by the collective, SISTAS Holding Space, deeply interrogates our ontological positionality as researchers, in particular what this means in the Australian context – a colonised nation populated through waves of migration. The scars of colonization, migration and shame are held and heard through Black and White Australian women creating and interrogating belonging alongside each other – listening and holding space for each other. We air the pains of ontological destruction, silencing, disconnection and emptiness. Through experimental making research methodology, we argue the primacy of storying and making, and for provoking resonant and entangled understandings of belonging and displacement.

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Dissertations / Theses on the topic "Women artists Australia"

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Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.

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Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.

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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation

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McDonald, Michelle. "Selling Utopia marketing the art of the women of Utopia /." Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.

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Thesis (MA)--Macquarie University, Institute of Early Childhood.
Includes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
265, [48] p

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Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.

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Introduction: I find myself in the pantry, cleaning shelves, in the laundry, water slopping around my elbows, at the washing line, pegging clothes. I watch myself clean shelves, wash, peg clothes. These are the rhythms that comfort. That postpone. (The Painted Woman, Sue Woolfe, p. 170) As a marginalised group in Australian art history and society, women artists possess a valuable and vital craft tradition which inevitably influences all aspects of their arts practice. Installation art, which has its origins in the craft tradition, has only been acknowledged in the art mainstream this decade; yet evolved in the home of the 1950s. The social policies of this era are well documented for their insistence on women remaining in the home in order to achieve personal success in their lives. This cultural oppressiveness paradoxically resulted in a revolution in women's art in the environment to which they were confined. Women's creative energies were diverted and sublimated into the home, resulting in aesthetic statements of individuality in home decoration. As an art movement, women's installation art in the home provided the similar structures to formally recognised art schools in the mainstream, and include: informal networks and training (schools); matriarchs within the community who were knowledgable in craft traditions and techniques and shared these with younger women (mentorships); visiting other homes and providing constructive advice (critiques); and women's magazines and glory boxes (art journals and sketch books). A re-examination of this vital period in women's art history will reveal the social policies and cultural influences which insidiously undermined women's art, which was based on craft traditions.

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Peacock, Janice, and n/a. "Inner Weavings: Cultural Appropriateness for a Torres Strait Island Woman Artist of Today." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.140720.

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This exegesis examines the context of my studio work submitted for the degree of Doctor of Visual Art at Griffith University in 2004. My art practice reflects my identity, which is complex and many-stranded, but at its core is my identity as a 21st century woman of Torres Strait Islander descent. I also acknowledge multiple heritages and, like many of my contemporaries, I am a descendant of those two thirds of the Torres Strait population who now live on the Australian mainland. Having been born and brought up on the mainland also means that I am connected to, and have been affected by, wider Australian Indigenous issues, particularly those resulting from the alienation and dislocation which stem from colonialism. Therefore, as I draw from both traditional and contemporary modes and theory to explore the appropriateness of my art practice, this exegesis centres on the question: What constitutes culturally appropriate practice for me as a contemporary Torres Strait Island woman?

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O'Neill, Lorraine. "From canter to cantor: Negotiating constraints, and the perceptions of elitism in serious leisure pursuits : The experiences of a high performing athlete and artist." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1826.

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Everyone experiences leisure differently but, for people who excel in a chosen field, a hobby can become a serious goal-oriented leisure pursuit. Many talented people, however, fail to reach their leisure goals due to constraints. This study explored individual life experiences of serious leisure participants. It focused on the lived experiences of individual event [horse] riders and opera singers who successfully negotiated their constraints, enabling them to reach their high performance goals. The purpose of this study was to explore positive personal strategies that individuals used to negotiate constraints in serious leisure. This was done by exploring intrapersonal, interpersonal and structural leisure constraints using an individual’s life experiences. During the process of this study, elitism in the leisure pursuits of event riding and opera singing, and the perceptions about individuals who participate in these activities, were also explored. A multidisciplinary approach was used in this study using a two stage mixed research methodology. The first stage explored the lived experiences of two individuals through a series of in-depth case study interviews, followed by interviews with their parents and coaches. Focus groups followed to establish if a wider group of participants within the same leisure pursuits experienced similar findings. The second stage of the study used a quantitative method, which consisted of a broader national survey. The survey data validated the qualitative findings and strengthened study outcomes. The findings of this study related to the opportunity-seeking skills an individual develops throughout their leisure life. These opportunity-seeking skills were linked to the likes, needs and wants an individual must have to reach a high performance level. It also found four principal ‘C Factors’ important to individual decision-making processes: conditioning, change, choice and control. Research findings revealed that early support and encouragement, however small, conditioned and motivated individuals to start and continue in a particular leisure activity. It also showed that those who had the ability to improve their talent, who personally believed in themselves, who viewed difficulties or complicated situations positively, and sought opportunities to enhance their leisure goals and change constraint outcomes, continued to succeed. Individuals had to make choices to enable them to control their goal achievement and deal with constraints throughout their leisure life. High performance success was found to be related to superior opportunity-seeking skills. Constraints arising from perceptions of elitism within serious leisure pursuits were found to be based on an individual’s life experiences and societal opinions, and not on the actual activity itself. In this study the strength of an individual’s motivation and self-belief, had a direct influence on their perceptions of constraints, and how they personally used opportunity-seeking to negotiate these constraints. Although the ability to predict which athletes or artists will become national or world class is limited, the conceptual framework developed in this study based on successful constraint negotiation strategies, could aid individuals wishing to reach a high performance level, and guide their parents and coaches to provide optimal support.

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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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Phillips, Dimity. "Impressions of distance : a study of women printmakers practising in regional Australia 1993-2003." Phd thesis, 2005. http://hdl.handle.net/1885/150792.

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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.

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Smith, Avis Carol. "Changing fortunes: the history of China Painting in South Australia." 2009. http://hdl.handle.net/2440/59391.

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This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281
Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009

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Books on the topic "Women artists Australia"

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Queensland Art Gallery. Gallery of Modern Art, ed. Contemporary Australia: Women. South Brisbane, Qld: Queensland Art Gallery, 2012.

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A dictionary of women artists of Australia. Roseville East, NSW, Australia: Craftsman House, 1991.

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Ngala, Inkamala Clara, ed. Hermannsburg potters: Aranda artists of central Australia. St. Leonards, Sydney, N.S.W: Craftsman House, 2000.

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Eickelkamp, Ute. "Don't ask for stories--": The women from Ernabella and their art = "Tjukurpa tjapintja wiya--" : minyma anapalanya ngurara tjutangku warka palyantja craftroomangka. Canberra: Aboriginal Studies Press, 1999.

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Women of flowers: Botanical art in Australia from the 1830s to the 1960s. Canberra: National Library of Australia, 2009.

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Stephen, Gray. The artist is a thief. Crows Nest, NSW: Allen & Unwin, 2001.

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1963-, Dever Maryanne, ed. Wallflowers and witches: Women and culture in Australia, 1910-1945. St. Lucia, Qld., Australia: University of Queensland Press, 1994.

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Sight lines: Women's art and feminist perspectives in Australia. Tortola, BVI: Craftsman House in association with Gordon and Breach, 1992.

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Gemmell, Nikki. Alice Springs. New York: Penguin Books, 2000.

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M, Silverman Stephen, and New York Public Library for the Performing Arts. Billy Rose Theater Division., eds. Divas: The fabulous photography of Kenn Duncan : from the Billy Rose Theatre Division of the New York Public Library for the Performing Arts. New York: Universe, 2008.

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Book chapters on the topic "Women artists Australia"

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"Women beyond Bohemia: Suffrage, Travel and Imagined Worlds." In Identity, Community and Australian Artists, 1890–1914. Bloomsbury Visual Arts, 2019. http://dx.doi.org/10.5040/9781501332876.ch-006.

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Nunn, Pamela Gerrish. "Owning femininity: Thea Proctor and the Australian Avant-garde." In Women Artists and the Decorative Arts 1880–1935, 73–95. Routledge, 2019. http://dx.doi.org/10.4324/9781315194486-5.

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Jordan, Caroline. "Emma Macpherson in the “blacks’ camp” and other Australian interludes: a Scottish lady artist’s tour in New South Wales in 1856–57." In Intrepid Women, 89–107. Routledge, 2017. http://dx.doi.org/10.4324/9781315092461-8.

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