Tesi sul tema "Art, Australian"
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1
Verzhykivska, Alina. "Hidden treasures of Australian art". Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13043.
Testo completo
2
Mengler, Sarah Elizabeth. "Collecting indigenous Australian art, 1863-1922 : rethinking art historical approaches". Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709014.
Testo completo
3
Cirino, Gina. "American Misconceptions about Australian Aboriginal Art". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
Testo completo
4
Edwards, Deborah Lenore. "LUMINAL–KINETICS AUSTRALIAN MODERNISM: ARTIFICIAL LIGHT IN AUSTRALIAN ART an interpretive history". Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23537.
Testo completoAbstract (sommario):
The work of Australian artists who have incorporated artificial light into their works, (in ‘luminal-kinetics’), is the subject of this thesis. The term does not refer to the ‘technological spaces’ of light, as elaborated in photography or electronic screen devices, but to artists who have dealt with ‘embodied light’ by incorporating artificial light (and in one instance, natural light), into artworks, under the belief that illumination and motion are central themes of modern life. And in the twenty-first century, Indigenous artist Jonathan Jones has claimed the territories of (Western) modernism and light under an Indigenous politic to re-present bi-cultural encounters and histories. This constitutes a radically under-analysed area of Australian artistic practice, with thematics that both traverse expansive terrains, and include commonalities - such as a concern with utopian ideals, with synaesthesia, and with interdisciplinarity. Nonetheless the thesis does not mount an argument for luminal-kinetics as constituting a movement, style, or credo within Australian art. The claim it does make however, is that the medium of light, as a material, energy and a concept, has been a generative agent for the artists studied: that in light they recognised intrinsic qualities or some affective agency which enabled them to move into larger artistic arenas. I will argue that this phenomenon rests on the particular capacity of light to ‘seep’ between categories, media, artforms, and between cultural and social formations. This capacity, along with light’s symbolic potency, has amplified artistic practices, and enabled Jonathan Jones to position light as a central element in his de-colonising and Indigenising of Western visualisations, in order to re-configure the relationship which has existed between modernism and colonialism. The thesis argues that luminal-kinetics is an artistic form in which concepts concerning the material and immaterial, technological and metaphysical, and static and kinetic, take precedence over modernism’s traditional binaries, and thus it calls for alternative frameworks through which to analyse and theorise Australian modernism.
5
Gigler, Elisabeth. "Indigenous Australian art photography an intercultural perspective". Aachen Shaker, 2007. http://d-nb.info/990542270/04.
Testo completo
6
Devrome, Kelly. "The Oneiric Veil in contemporary Australian art". Thesis, University of Ballarat, 2012. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170.
Testo completoAbstract (sommario):
The Oneiric Veil in Contemporary Australian Art researches the use of the veil in modernist art and its generative capacity to visually evoke an oneiric space. The oneiric veil is a lens through which current conceptual approaches and practices in contemporary visual art can be understood. More precisely, the oneiric veil delineates an intermediary space present in current visual culture. Therefore, the research surveys the veil sign and applications of it employed by artists from an extended historical period to demonstrate connections that link the veil to the oneiric through traditional practice and theoretical concerns. (Taken from Abstract)Doctor of Philosophy
7
Hattam, Katherine, e katherine hattam@deakin edu au. "Art and Oedipus". Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.
Testo completo
8
Brooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia". University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.
Testo completoAbstract (sommario):
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
9
Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia". Thesis, University of Ballarat, 2005. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38083.
Testo completoAbstract (sommario):
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
10
Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia". University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.
Testo completoAbstract (sommario):
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
11
Mah, D. B., University of Western Sydney e of Performance Fine Arts and Design Faculty. "Australian landscape : its relationship to culture and identity". THESIS_FPFAD_Mah_D.xml, 1997. http://handle.uws.edu.au:8081/1959.7/257.
Testo completoAbstract (sommario):
This paper is an examination of the relationship of Australian landscape imagery to culture and identity. Visual and historical ideas in the Heidelberg School and more contemporary landscape work is assessed in relation to social history in the work of Ian Burn et al and the social history in the work of Anne Maree Willis. These two types of history are compared and conclusions are made about their similarities and differences in the articulation of identity and culture. It will be concluded that identity and culture are ideas and values which are recycled and relocated with the passage of time and that certain central themes reoccur in the construction of identity and cultureMaster of Visual Arts (Hons)
12
Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /". Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.
Testo completo
13
Susino, George J. "Microdebitage and the archaeology of rock art an experimental approach /". Connect to full text, 1999. http://hdl.handle.net/2123/606.
Testo completoAbstract (sommario):
Thesis (M. Sc.)--University of Sydney, 2000.Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.
14
Vernon, Kay. "Searching for the surreal in Australian modernism". Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/28545.
Testo completoAbstract (sommario):
[Surrealism] changed the face of art. Everything has changed. (James Gleeson)
A pervasive modern sensibility
This study adopts several approaches to surrealist practices in Australia. The
first is an historiographical one, in which I map surrealism's (re)presentafion
in Australian art historical texts. Second, I identify the emergence of
surrealism in modernist discourses in Australia, including mass media and
popular culture. I then contextualise surrealism in an epistemology of
privileged subjectivity in Australia, in which an understanding of Freud,
Jung, theosophy and Bergson are seen to inflect the apprehension of
surrealism. As psychoanalysis in particular is so crucial to an understanding
of surrealism, I have attempted to identify those ideas of Freud active in its
construction. In addition, I have included reference to Jacques Lacan, whose
ideas were constituted in the psychoanalysis of Freud and initiated in the
surrealist milieu. I have also drawn on the discourses of rhetoric to unpack
the surreal in Australian landscape practices in the 19405. And as surrealism
developed in Melbourne, particularly, against a background of various
claims on the left, I have situated it also in marxist discourses.
Over the past two decades in art historical texts, surrealism has been
recuperated as crucial to the construction of a legitimate Australian
modernism. These arguments have been rehearsed thoroughly in the review
of the literature in Chapter I. The explanation for this resurgence can be
attributed partly to the emergence in art history, as in other academic
disciplines, of theoretical concerns active also in surrealism, particularly
psychoanalysis and marxism. But there are still gaps in this recuperative
project which this study will attempt to address. First, with few exceptions
in the texts I draw on in the review of the literature in Chapter 1, surrealism
is represented as having emerged in Australian visual art practices at the end
of the 19305 and continuing into 1940s. But as this study will show
surrealism, like the latent signifier in the 'return of the repressed', insisted in
signifying practices in Australia during the 19303, particularly through mass
media and popular discourses. Surrealism as a contemporary European style
or tendency became available initially through imported reproductions and
in publications, such as Minotaure and Herbert Read's Art Now and in local
magazines such as Stream and Manuscripts. As the decade progressed
surrealist imagery was appropriated increasingly as the latest modern style
for photographs and advertisements in such popular Australian magazines
as The Home and Man and also Art in Australia.
15
Heron, Julie. "The art of homecoming". Thesis, University of Ballarat, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/43455.
Testo completoAbstract (sommario):
This project is concerned with exploring a particular cluster of ideas and stories concerning Homecoming, most notably the presence of the Woman Who Waits for the traveller to return. Underlying the storied aspects of the visual work are the deeper intentions of soulfulness, personal therapy and social interaction. Although profoundly autobiographical, the metaphoric images I have produced are not only a means to touch others but are inclusive of a broader experience than simply my own. Throughout the following exegesis I draw on the disciplines of psychology, sociology, mythology and history, to explore the metaphoric presences of the deities Hestia and Hermes and their relationship to ideas of Home and Not - Home. Particular qualities associated with Home may, for the traveller, become symbolically embodied within the figure of The Woman Who Waits. This simple perception of The Woman Who Waits, and the process of waiting for the traveller to return was explored and expanded through autobiographic art practice combined with visual and theoretical research. Throughout the project the expression of emotive autobiographic issues through the running use of metaphor has been combined with increasing technical control and subtlety along with sustained explorations of spatial and compositional dynamics.Masters (Visual Arts)
16
Heron, Julie. "The art of homecoming". University of Ballarat, 2002. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14603.
Testo completoAbstract (sommario):
This project is concerned with exploring a particular cluster of ideas and stories concerning Homecoming, most notably the presence of the Woman Who Waits for the traveller to return. Underlying the storied aspects of the visual work are the deeper intentions of soulfulness, personal therapy and social interaction. Although profoundly autobiographical, the metaphoric images I have produced are not only a means to touch others but are inclusive of a broader experience than simply my own. Throughout the following exegesis I draw on the disciplines of psychology, sociology, mythology and history, to explore the metaphoric presences of the deities Hestia and Hermes and their relationship to ideas of Home and Not - Home. Particular qualities associated with Home may, for the traveller, become symbolically embodied within the figure of The Woman Who Waits. This simple perception of The Woman Who Waits, and the process of waiting for the traveller to return was explored and expanded through autobiographic art practice combined with visual and theoretical research. Throughout the project the expression of emotive autobiographic issues through the running use of metaphor has been combined with increasing technical control and subtlety along with sustained explorations of spatial and compositional dynamics.Masters (Visual Arts)
17
Shelley, Roger James. "‘SELBY WARREN: AUSTRALIAN BUSH ARTIST AND TRIBE OF ONE’". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16844.
Testo completoAbstract (sommario):
In this thesis I have looked at the life and works of the Australian self-taught artist, Selby Warren, who was born in 1887 and spent his whole life in rural New South Wales near the small, inland city of Bathurst. Warren was typical of many self-taught artists in that he was completely untrained in art, unaware of the artworld and, having worked as a labourer, only began painting in earnest after semi-retiring at the age of seventy-six. Almost a decade later he was discovered by an art lecturer who introduced him to a city dealer and gallery owner and his work was exhibited in commercial galleries in Sydney, Melbourne and Brisbane. During this brief (three year) period he was reasonably well known in art circles but this soon ended and he spent the remaining years of his life in his home town of Trunkey Creek. He died in 1979 aged 91. Warren exemplified the experiences shared by many self-taught artists both in Australia and overseas. I consider the events involved in the growth of interest in self-taught art and the ensuing influences it (and related phenomena like primitivism and primitive art) had on approaches to modern art movements from the turn of the twentieth-century until about 1980 in Europe, America and Australia. George Melly’s idea of the ‘tribe of one’ 1 and how it relates to artists like Warren and his ilk is explored. An analysis of Warren’s paintings and those of his Australian, European and American contemporaries is provided in a response to the view that it is the sometimes unusual lives rather than the output of self-taught artists that is too often used in the discussion of a unique, but not uncommon, art form.
18
Coulter-Smith, Graham. "Appropriation en abyme : the postmodern art of Imants Tillers". Thesis, De Montfort University, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247657.
Testo completo
19
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.
Testo completoAbstract (sommario):
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
20
Calderone, Ursula University of Ballarat. "I hope that I have got some art". University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12783.
Testo completoAbstract (sommario):
In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness.Master of Visual Arts
21
Calderone, Ursula. "I hope that I have got some art". Thesis, University of Ballarat, 2008. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/54811.
Testo completoAbstract (sommario):
In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness.Master of Visual Arts
22
Calderone, Ursula. "I hope that I have got some art". University of Ballarat, 2008. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14619.
Testo completoAbstract (sommario):
In this thesis I have researched what I believe is the powerful, catalytic effect of poetry on the creative work of some artists. I have chosen three, Australian painters; Sidney Nolan, James Gleeson and Brett Whiteley. I have looked carefully at how the works of various poets have influenced and inspired these artists. I have put forward the idea that this engagement with the poetic realm has greatly enhanced the artist’s creative form-making. Indeed these artists have acknowledged their strong links with the world of poetry. I have touched very briefly on the ideas of some renowned philosophers who stress society’s need for fine works of art. In my opinion great works of art can come from this linking of painting with poetry and therefore, this nexus is to be encouraged. I have in my own painterly works looked to the poets for inspiration. In The Wimmera Series of landscape works, I read Brian Edwards’ and Homer Reith’s poetry, and found in their imagery a rich source of creative ideas. I continued to read the works of the poets and found that the poetry of Ezra Pound, Dante Alighieri, Judith Wright and the works of many others, were an inspirational and catalytic force. I have also discovered on this artistic journey that the very writing of poetry, my own attempts in this field, seemed to bring to my painting, a sharper, a more analytical and critical focus. Renowned art critics and art historians have criticised contemporary art for its lack of the poetic, and its boring shallowness. I would urge artists to engage with the poetic realm, and this interplay between painting and poetry, may produce fine works of lasting greatness.Master of Visual Arts
23
West, Sharon Ann, e sharon west@rmit edu au. "A pictorial historical narrative of colonial Australian society: examining settler and indigenous culture". RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.102857.
Testo completoAbstract (sommario):
This exegesis covers a period of research and art practice spanning from 2004 to 2007. I have combined visual arts with theoretical research practice that considers the notion of Australian colonialism via a post colonial construct. I have questioned how visual arts can convey various conditions relationships between settler and Indigenous cultures and in doing so have drawn on both personal art practice and the works of Australian artists of the 19th and 20th centuries. These references demonstrate an ongoing examination of black and white relations portrayed in art, ranging from the drawings of convict artist, Joseph Lycett, through to the post federation stance of Margaret Preston, whose works expressed a renewal of interest in Indigenous culture. In applying a research approach, I have utilised a Narrative Enquiry methodology with a comparative paradigm within a Creative Research framework, which allows for various interpretations of my themes through both text and visuals. These applications also express a personal view that has been formed from family and workplace experiences. These include cultural influences from my settler family history and settler historical events in general juxtaposed with an accumulated knowledge base that has evolved from my personal and professional experience within Indigenous arts and education. I have also cited examples from Australian colonial and postcolonial art and literature that have influenced the development of my visual language. These include applying stylistic approaches that incorporate various artistic aspects of figuration and the Picturesque and literal thematic mode based on satire and social commentary. Overall, my research work also expresses an ongoing and evolving process that has been guided and influenced by current Indigenous and non-Indigenous Australian postcolonial critical thinking and arts criticism, assisting within the development of my personal views and philosophies .This process has supported the formation of a belief system that I believe has matured throughout my research and art practices, providing a personal confidence to assert my own analytical stance on colonial history.
24
Johnston, Iain Gray. "The Dynamic Figure Art of Jabiluka: A study of ritual in early Australian rock art". Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148425.
Testo completoAbstract (sommario):
This thesis is an investigation of ritual practice in
the Dynamic Figure rock art of Jabiluka in Mirarr Country,
Australia. Painted across western Arnhem Land, Dynamic Figure art
constitutes the earliest easily recognisable body of rock art in
this region of northern Australia. Despite its antiquity, its
most striking attributes are the extremely detailed depictions of
human figures with a plethora of material culture, that are
engaged in a range of narrative scenes. This thesis explores how
the material culture, scenes and other attributes of Dynamic
Figure art are acutely associated with ritual and the insights
this rock art provides into past ritual behaviour. The highly
detailed work of Dynamic Figure artists has enabled the
identification of ritual indicators derived from archaeological
and anthropological investigation of ritual practice. These
ritual indicators provide insights into aspects of the esoteric
and actual performative forms of ritual behaviour. These detailed
depictions also provide further insights into people’s
lifeways, revealing evidence about society, gender, initiation
and material culture during the period of Dynamic Figure art
production. In this thesis, I demonstrate the value of rigorous
analysis and investigation of one type of rock art from a defined
study area, in contrast to previous studies in the region with
broad spatial and temporal boundaries. This focused approach
incorporates the multi-vocal sources available in northern
Australia to consider inquiries not possible of broader studies.
The Dynamic Figure art of Jabiluka demonstrates the significance
of ritual places, headdresses and aspects of both continuity and
discontinuity in art production in northern Australia and further
highlights the significance of rock art to understand ritual
practice and people’s past lifeways.
25
Young, Amanda M., University of Western Sydney, of Performance Fine Arts and Design Faculty e School of Design. "Several interpretations of the Blue Mountains : a juxtaposition of ideas over two hundred years". THESIS_FPFAD_SD_Young_A.xml, 1997. http://handle.uws.edu.au:8081/1959.7/607.
Testo completoAbstract (sommario):
In 1815 the Blue Mountains were first identified as a unique landscape when Governor Macquarie took a tour over them and located the nineteenth century principles of the Sublime and Picturesque within its' landscape. Until this time the Blue Mountains were considered to be a hostile impenetrable barrier to the West. This paper examines some of the ways the Blue Mountains has been represented in the past, and has been identified as a tourist destination through interpretations imposed on the landscape by the tourist industry since that time. The areas covered deal with the heritage of British Colonialism as a way of forming opinions about the Australian landscape. Then, the theories of the Picturesque and Sublime are examined when applied to the Blue Mountains landscape. The final chapters in this paper deal with contemporary issues that have shaped the way the tourist industry is encouraged to encounter the Blue Mountains landscapeMaster of Arts (Hons)
26
Wang, Kang Ning. "Sino‐Australian Nomads: Identity Politics And The Art Of Migrants". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/15088.
Testo completoAbstract (sommario):
Description of my artwork My MFA creative work consists of a body of work of 14 pieces of various sized abstract paintings that will be exhibited at one of the galleries in the February Postgraduate Examination Exhibition at the Sydney College of the Arts. The entire project consists of works on paper using the medium of ink, gouache, acrylics, pencil and digital data. Entitled ‘Forms from the Twilight Zone ’ this body of work is largely an experimentation aimed at using mixed medium to project globalised features of identity arts such as oriental style painting meeting western styles; resulting in a combined style influenced by my personal circumstances. Abstract of research paper My research paper is designed to explore the issues of identity. Artists and their works mostly have their genesis in and are influenced by their cultural identities with global politics playing an additional crucial role affecting these arts. My research led to the discovery that Chinese cultural identity artists create art that, due to its political characteristics, has become known and popular in the West, and that these characteristics generate identity issues to both these Chinese artists and to the West. In the research process, theories involving modern arts form a trajectory to my approach of the art world of the 21st century while an ongoing investigation of the situation of visual arts, in both international and domestic dimensions, provides facts for synthesis of these theories. The conclusion of my research is based on the fact that a combination of styles is part of art history. The nature of this combination depends on the ideas and the beliefs that an artist is subjected to in the approach to his or her own art.
27
Parker, Margaret Ina. "Landscape painting : connection, perception and attention /". Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.
Testo completoAbstract (sommario):
Thesis (M.Visual Arts) -- La Trobe University, 2006.Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
28
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/.
Testo completoAbstract (sommario):
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.
29
Petersen, Kim Jorja. "Sustainability of Remote Aboriginal Art Centres in Australian Desert Communities". Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/1170.
Testo completoAbstract (sommario):
This PhD thesis investigates and analyses the functions and business practices that underpin the sustainability and performance of remote Aboriginal Art Centre Cooperatives. The thesis draws extensively on the work of Mazzarol et al (2011a; 2011b; 2012a; 2012b; 2012c) and develops a new culturally appropriate Combined Framework for use as a research tool that enables a systematic analysis of the sustainability of remote Aboriginal Art Centres.
30
Foster, Susanne. "Contemporary indigenous art reflecting the place of prison experiences in indigenous life /". Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.pdf.
Testo completoAbstract (sommario):
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "March 2005" Bibliography: leaves 179-190.
31
Smith, Claire E. "Situating style: an ethnoarchaeological study of social and material context in an Australian aboriginal artistic system". Phd thesis, University of New England, 1994. http://hdl.handle.net/1885/266544.
Testo completoAbstract (sommario):
This is an ethnoarchaeological study of style in the visual arts of Aboriginal people living in the Barunga region of the Northern Territory, Australia. My main concern is the development of a practical framework for the analysis of style in indigenous visual arts. This framework integrates the notions of style, semiotics and social strategy in an attempt to deal with the dynamics of image creation and perception. The principal result is that the morphological characteristics of style are influenced systematically by the historically situated positions of both producer and interpreter and by the differing strengths, possibilities and constraints of different raw materials. Moreover, each raw material has inherent qualities that make it particularly suitable for specific social uses. Since different media within an artistic system are likely to exhibit a unique combination of stylistic characteristics, including differing degrees of diversity, it is incorrect to assume that a single art form will be indicative of an artistic system as a whole. My conclusions are that research needs to be focused clearly on the contexts in which archaeological art occurs and comparative studies need to compare like with like. Single explanations are unlikely to be sufficient since it is most likely that they tell only part of the story. In addition, seemingly anomalous evidence should not be discounted, but should be used as a basis for inquiry into the likelihood of alternative scenarios that coexist with the main explanation.
32
Dreise, Mayrah Yarraga. "Constructing Place: Australian Aboriginal Art Practice at the Cultural Aesthetic Interface". Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366227.
Testo completoAbstract (sommario):
This exegesis frames my creative research. It details the cultural theories, histories, artists, arts practices and creative processes that have influenced the project. The exegesis provides an insight into the creative journey, conceptual thinking and arts products that have assisted me in answering the research question - Can artworks become a form of cultural agency whereby Aboriginal Place is realised not reconceptualised? Drawing from place-based methodologies, post-colonial theories, subaltern studies and Aboriginal ways of working, this research aspired to engage the viewer within a dialectic that realised the tensions and challenges Aboriginal artists have in presenting a sense of Place within artworks. It considered how Aboriginal art can both educe and challenge viewers’ cultural constructions of Aboriginal peoples, which impact on the reception, promotion and categorisation of Aboriginal art. The project asked, if whiteness is the imposed spatial aesthetic, how can Aboriginal Place, a culturally and communally held understanding of the world ever be realised? The creative research considered to what extent an Aboriginal artwork is both ‘a white thing’ and ‘a black thing’. The research interrogated knowledge intersections, Western and Indigenous, located within the cultural aesthetic interface. Through creative praxis artificial binaries existing within the Australian arts industry - traditional and contemporary, remote and urban, authentic and inauthentic, individual and collective - were challenged.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
33
HIRSH, JACOB. "Wild Country: Australian masculinity from the frontier to the social front". Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20105.
Testo completo
34
Joumaa, Jamal. "Australian artists of Arabic origin identity and hope /". View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/41020.
Testo completoAbstract (sommario):
Thesis (D.C.A.)--University of Western Sydney, 2009.A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Creative Arts. Includes bibliographies.
35
Jones, David John. "The Australian ‘Settler’ Colonial-Collective Problem". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/365954.
Testo completoAbstract (sommario):
This studio-based project identifies and interrogates the Australian denial of violent national foundation as a ‘settler’ problem, which is framed by the contemporary clinical and social concept of a ‘vicious cycle of anxiety’. The body of work I have produced aims to disrupt the denial of invasion and the erasure of Aboriginal culture through accepted narratives of European settlement of Australia. By aligning collective denial with anxiety, it presents a pathway for remediation through situational exposure; in this case, through works of art. The critical perspective on the invasion and colonisation of Australia is presented in the discursive and nondiscursive modes of communication of the coloniser not to arbitrate or appease but to amplify the content. The structure of the exegesis also draws from Aboriginal narrative methodology and integrates with, and is informed by, the studio production in printmaking using demanding traditional European graphic techniques such as etching and aquatint.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
36
Williams, Court. "Sensitive skin". Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
Testo completoAbstract (sommario):
The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
37
King, Victoria School of Art History & Theory UNSW. "Art of place and displacement: embodied perception and the haptic ground". Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/22495.
Testo completoAbstract (sommario):
This thesis examines the relationship between art and place, and challenges conventional readings of the paintings of the late Aboriginal Anmatyerr elder Emily Kame Kngwarray of Australia and Canadian/American modernist artist Agnes Martin. In the case of Kngwarray, connections between body, ground and canvas are extensively explored through stories told to the author by Emily???s countrywomen at Utopia in the Northern Territory. In the case of Agnes Martin, these relationships are explored through personal interview with the artist in Taos, New Mexico, and by phenomenological readings of her paintings. The methodology is based on analysis of narrative, interview material, existing critical literature and the artists??? paintings. The haptic and embodiment emerge as strong themes, but the artists??? use of repetition provides fertile ground to question wholly aesthetic or cultural readings of their paintings. The thesis demonstrates the significance of historical and psychological denial and erasure, as well as transgenerational legacies in the artists??? work. A close examination is made of the artists??? use of surface shimmer in their paintings and the effects of it on the beholder. The implications of being mesmerized by shimmer, especially in the case of Aboriginal paintings, bring up ethical questions about cultural difference and the shadow side of art in its capacity for complicity, denial, appropriation and commodification. This thesis challenges the ocularcentric tradition of seeing the land and art, and examines what occurs when a painting is viewed on the walls of a gallery. It addresses Eurocentric readings of Aboriginal art and looks at the power of the aesthetic gaze that eliminates cultural difference. Differences between space and place are explored through an investigation of the phenomenology of perception, the haptic, embodiment and ???presentness???. Place affiliation and the effects of displacement are examined to discover what is often taken for granted: the ground beneath our feet. Art can express belonging and relationship with far-reaching cultural, political, psychological and environmental implications, but only if denial and loss of place are acknowledged.
38
Giambazi, Kelsey Ashe. "Imaginary Aesthetic Territories: Australian Japonism in Printed Textile Design and Art". Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/70734.
Testo completoAbstract (sommario):
This creative production thesis considers how Japanese aesthetic philosophies have influenced textile design and art by examining its use, significance and representation in fashion and art in Australia. Correlations between the space indicated in Japanese pictorial principles and the open space of the Australian landscape are considered, as are the conventions of constructed exoticism inherent to Japonism. The thesis and creative works respond to issues of Australian cultural identity, hybridity, orientalism and cultural yearning.
39
Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction". Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Testo completoAbstract (sommario):
Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
40
Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction". University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Testo completoAbstract (sommario):
Master of PhilosophyGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
41
Adsit, Melanie Hope. "Caught between worlds: urban aboriginal artists". Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.
Testo completo
42
Rivett, Mary I. "Yilpinji art 'love magic' : changes in representation of yilpinji 'love magic' objects in the visual arts at Yuendumu /". Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.mr624.pdf.
Testo completoAbstract (sommario):
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "January, 2005" Bibliography: leaves 108-112.
43
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.
Testo completoAbstract (sommario):
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
44
Carroll, Peter J. "The old people told us: verbal art in Western Arnhem Land". Phd thesis, University of Queensland, 2022. http://hdl.handle.net/1885/268560.
Testo completoAbstract (sommario):
AIM
This thesis is based on a collection of stories (most of which relate to bark paintings), that were told to me by speakers of the Kunwinjku language of the Northern Territory of Australia. My objective is to show that these particular stories have an important role in the transmission of Kunwinjku culture. I do this by seeking to understand the stories and how they are used by Kunwinjku people. I first consider the stories in the original
Kunwinjku language; secondly I relate the stories to the western Arnhem Land artistic traditions; and thirdly I examine their social context. The important role of such stories in cultural transmission is reflected in the phrases daborrabolk kandimarneyolyolmeng "the old people told us stories" and kandimarneyolyolmi "they used to tell us stories" which occur in many stories. I have included one of these phrases as part of my thesis title.
45
Shiel, Erin Patricia. "Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15995.
Testo completoAbstract (sommario):
During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. My exegesis considers these different forms and draws some links between the creative processes of the artists interviewed and the writing of poetry.
46
Sutherland, Ann. "Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941". Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.
Testo completoAbstract (sommario):
Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European empires, the establishment of the League of Nations in 1920 and the rise of American power after 1930. The thesis opens with the nation a member of the British War Office in 1918 and ends with Australia a member of the Pacific War Council which formed in Washington DC in 1942.
While post-WWII initiatives in cultural diplomacy have been studied, their antecedents have been rarely noted in either the literature on Australian diplomacy, or within the history of Australian art and its exhibition. This thesis seeks to address this oversight, necessarily doing so from a broad multidisciplinary perspective. The profiled exhibitions are detailed as to their origins and content within their historical backdrop, the politics and the people involved. The thesis argues that visual arts exhibitions established a distinguishing aspect of national projection in the interwar period, one which remains embedded in policy and the public cultural programs of government and the national, state, and regional art galleries.
I draw three principal findings from the presented research. The exhibitions discussed enrich our knowledge of the various ways the nation managed its strategic interests as an internationally aligned nation after 1918. Secondly, it addresses a gap which will continue while the many public actors captured by cultural diplomacy - the participants, their objectives and location, institutional arrangements, and foreign and strategic policy – are investigated in isolation from each other. Finally, my hope is that this thesis will make an original contribution to an understanding of the role of exhibitions within the modernisation and the cosmopolitanising of the nation, including the important contribution of artists and arts institutions, business, and public administrators to those exhibitions in the inter-war period.
47
Gunn, Anthea Caroline. "Imitation realism and Australian art". Phd thesis, 2010. http://hdl.handle.net/1885/109407.
Testo completoAbstract (sommario):
The work of the Imitation Realists has rightly been seen as marking the start of the
widespread use of assemblage and popular culture by Australian artists during the
1960s. Viewed within the context of their training and the debates of the Australian
art world in the 1950s, it can be seen that the impetus for their work was to find an
alternative form of 'Australian' art. The stated objective of this thesis is to
demonstrate how the work of the Imitation Realists adapted and contributed to
changes to art in Australia. This is achieved by considering the work of Mike
Brown, Ross Crothall and Colin Lanceley in the context of the debates that shaped
the reception and production of art in Australia, including changing ideas concerning
materials, exhibition display and the national identity. Their art, exhibitions and
statements are closely analysed to show how the group formed, worked together and
why they later disbanded.
It is argued in this thesis that Imitation Realism arose as a response to what the
artists saw as the inadequacy of local art practice. This was a result of a
disconnection that they saw between contemporary art and daily life in Australia.
The Imitation Realists found that both abstract and figurative painters were at a
remove from modern urban life as they experienced it. They tried to form an
authentic mode of art that connected with the materiality of the everyday.
Assemblage enabled the artists to break through the impasse they perceived in
contemporary art. Their work was one instance of a widespread interest in the
'primitive' and assemblage shared by artists in Europe and the United States. As
virtually no precedent existed for their art in Australia, it is contextualised
internationally in this thesis. This identifies that the Imitation Realists shared the
practice of using deliberately naive techniques and styles to create work that sought
to capture creativity at its most basic level. The Imitation Realists used assemblage
to respond to modern life as a whole, not just to modernism within the visual arts.
48
Topliss, Helen. "Australian female artists and modernism, 1900-1940". Phd thesis, 1992. http://hdl.handle.net/1885/133859.
Testo completoAbstract (sommario):
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.
49
Lawrenson, Anna Louise. "Flesh + blood : appropriation and the critique of Australian colonial history in recent art practice". Phd thesis, 2007. http://hdl.handle.net/1885/110373.
Testo completoAbstract (sommario):
In the final two decades of the twentieth century Australian society was preoccupied with its
own history. So ubiquitous was this interest, that bookshops were crammed with popular
histories and historical fictions, TV networks aired historical re-enactments and devoted
whole series to its exploration and re-creation. In part, this increased awareness of history
was stimulated by the 200-year anniversary of white settlement simultaneously celebrated by
many non-Indigenous Australians and condemned by Indigenous protestors. Throughout the
1990s the debate over historical fact and its place within society- or the 'history wars' - took
centre stage moving beyond academic circles and into political and public discourse. At the
heart of this debate was what Bain Attwood called the 'new history', which incorporated the
hitherto absent perspectives of Indigenous Australians. This new version of history examined
discrepancies between dominant settler accounts of historical events and those provided by
Indigenous people, often in the form of oral testimony. A more vocal Indigenous population
also forced these new perspectives on Australian history into being, as increased calls for
land rights recognition and social justice became prominent.
The debate was so prominent that it permeated many areas of Australian society, the visual
arts provides one such example. This thesis is concerned with how the popularisation of
history was contended in the visual arts. I argue that Australian artists have used
appropriation as an effective means of engaging in a discourse on colonialism; of
communicating with the past, and of ensuring that that past remained a highly visible
concern of the present Through its reliance on existing images, appropriation enables artists
to condense the space between the quoted image and their new work. It therefore demands
that the quoted image be seen as a concern of the present. This strategy was implemented by
a significant number of Indigenous and non-Indigenous Australian practitioners during the
last two decades of the twentieth century. Moreover, it provides an important point of
intersection between the artistic practice of Indigenous and non-Indigenous artists. Rather
than seeking to document the history of appropriation in Australia, this thesis is concerned
with highlighting how appropriation has become the basis of a critical commentary on
historical narratives of colonialism.
50
Schmidt, Chrischona. "'I paint for everyone' - the making of Utopia art". Phd thesis, 2012. http://hdl.handle.net/1885/156288.
Testo completoAbstract (sommario):
At the core of this research is the history and development over the past four decades of the Utopia art movement in Central Australia. Initiated as an adult education programme teaching batik-making in the late 1970s it has since become nationally and internationally renowned. However, much of its history is not recorded, nor are the artworks and its records kept in a database entertained by a community art centre or similar institution. Despite this apparent lack of recording and documentation much has been written about the artworks as well as about some artists from Utopia. Critics engaging with art from Utopia praise it in terms of 'abstract', 'abstract expressionist', 'impressionistic' and even 'similar to European masters of the 20th century'. I question whether these similarities are a result of the close interaction with the art world and possibly even the reaction to the demands made on 'artists' to satisfy a certain prevailing taste in the arts? How do artists negotiate these market demands and their relationships with the art world? I argue that through close observation of artistic practices and negotiation processes between artists and art dealers, artists' agency can be uncovered. Throughout the history of the art movement artists have had to become their own agents in dealing with art dealers, wholesalers, curators and collectors. Being one's own agent in the art world might have a far greater influence on the art than has been discussed to date. Influences of art dealers, the art world, families, artists in the community, everyday life and the constraints associated with living in a remote community all affect the creation of artworks. By looking at the artworks through the framework of influence, similarities and differences in art from Utopia become apparent. The different currents and sub-currents found in Utopia art will be defined and described by means of a close formal analysis of the artworks. Combining this formal analysis with methods of new art history, such as qualitative interviews and observation of art practice, will reveal the influences and effects on artworks. Finally this examination of artworks and relationships in the art world will facilitate a better understanding of the emerging of local art movements, their development and their multi-layered histories. Furthermore it will give a point of comparison for further studies and research into Indigenous art histories throughout Australia. -- provided by Candidate.