Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA
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Emu Island: Modernism in Place
Emu Island: Modernism in Place Visual Arts Syllabus Stages 5 - 6 CONTENTS 3 Introduction to Emu Island: Modernism in Place 4 Introduction to education resource Syllabus Links Conceptual framework: Modernism 6 Modernism in Sydney 7 Gerald and Margo Lewers: The Biography 10 Timeline 11 Mud Map Case study – Sydney Modernism Art and Architecture Focus Artists 13 Tony Tuckson 14 Carl Plate 16 Frank Hinder 18 Desiderius Orban 20 Modernist Architecture 21 Ancher House 23 Young Moderns 24 References 25 Bibliography Front Page Margel Hinder Frank Hinder Currawongs Untitled c1946 1945 shale and aluminium collage and gouache on paper 25.2 x 27 x 11 24 x 29 Gift of Tanya Crothers and Darani Penrith Regional Gallery & The Lewers, 1980 Lewers Bequest Collection Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Copyright courtesy of the Estate of Margel Hinder Emu Island: Modernism in Place Emu Island: Modernism in Place celebrates 75 years of Modernist art and living. Once the home and studio of artist Margo and Gerald Lewers, the gallery site, was, as it is today - a place of lively debate, artistic creation and exhibitions at the foot of the Blue Mountains. The gallery is located on River Road beside the banks of the Nepean River. Once called Emu Island, Emu Plains was considered to be the land’s end, but as the home of artist Margo and Gerald Lewers it became the place for new beginnings. Creating a home founded on the principles of modernism, the Lewers lived, worked and entertained like-minded contemporaries set on fostering modernism as a holistic way of living. -
Helen Lempriere Mid-20Th Century Representations of Aboriginal Themes Gloria Gamboz
Helen Lempriere Mid-20th century representations of Aboriginal themes Gloria Gamboz The best-known legacy of the While living in Paris and London in half of the 20th century has created Australian painter, sculptor and the 1950s, Lempriere was influenced some contention, and these works are printmaker Helen Lempriere by anthropological descriptions of now being reinvestigated as part of (1907–1991) is the sculpture prize Australian Indigenous cultures, and a broader examination of emerging and travelling scholarship awarded in developed a highly personal and Australian nationhood. A study of her name. Less well known, however, expressive mode of interpretation Lempriere’s life, influences and key are her post–World War II works that blended Aboriginal themes with works provides an insight into the exploring Aboriginal myths, legends her own vision. The appropriation cultural climate of post–World War II and iconography. Twelve of these of Aboriginal themes by non- Australia, and the understanding of are held by the Grainger Museum Indigenous Australian women Aboriginal culture by non-Indigenous at the University of Melbourne, and artists like Lempriere in the first women artists. have recently been made available on the museum’s online catalogue.1 They form part of a wider collection of works both by, and depicting, Helen Lempriere, bequeathed by Lempriere’s husband, Keith Wood, in 1996.2 The collection is likely to have come to the Grainger Museum through a mutual contact, the Sydney- based curator, collector and gallery director Elinor -
Pre-Contact Astronomy Ragbir Bhathal
Journal & Proceedings of the Royal Society of New South Wales, Vol. 142, p. 15–23, 2009 ISSN 0035-9173/09/020015–9 $4.00/1 Pre-contact Astronomy ragbir bhathal Abstract: This paper examines a representative selection of the Aboriginal bark paintings featuring astronomical themes or motives that were collected in 1948 during the American- Australian Scientific Expedition to Arnhem Land in north Australia. These paintings were studied in an effort to obtain an insight into the pre-contact social-cultural astronomy of the Aboriginal people of Australia who have lived on the Australian continent for over 40 000 years. Keywords: American-Australian scientific expedition to Arnhem Land, Aboriginal astron- omy, Aboriginal art, celestial objects. INTRODUCTION tralia. One of the reasons for the Common- wealth Government supporting the expedition About 60 years ago, in 1948 an epic journey was that it was anxious to foster good relations was undertaken by members of the American- between Australia and the US following World Australian Scientific Expedition (AAS Expedi- II and the other was to establish scientific tion) to Arnhem Land in north Australia to cooperation between Australia and the US. study Aboriginal society before it disappeared under the onslaught of modern technology and The Collection the culture of an invading European civilisation. It was believed at that time that the Aborig- The expedition was organised and led by ines were a dying race and it was important Charles Mountford, a film maker and lecturer to save and record the tangible evidence of who worked for the Commonwealth Govern- their culture and society. -
Book History in Australia Since 1950 Katherine Bode Preprint: Chapter 1
Book History in Australia since 1950 Katherine Bode Preprint: Chapter 1, Oxford History of the Novel in English: The Novel in Australia, Canada, New Zealand and the South Pacific since 1950. Edited by Coral Howells, Paul Sharrad and Gerry Turcotte. Oxford: Oxford University Press, 2017. Publication of Australian novels and discussion of this phenomenon have long been sites for the expression of wider tensions between national identity and overseas influence characteristic of postcolonial societies. Australian novel publishing since 1950 can be roughly divided into three periods, characterized by the specific, and changing, relationship between national and non-national influences. In the first, the 1950s and 1960s, British companies dominated the publication of Australian novels, and publishing decisions were predominantly made overseas. Yet a local industry also emerged, driven by often contradictory impulses of national sentiment, and demand for American-style pulp fiction. In the second period, the 1970s and 1980s, cultural nationalist policies and broad social changes supported the growth of a vibrant local publishing industry. At the same time, the significant economic and logistical challenges of local publishing led to closures and mergers, and—along with the increasing globalization of publishing—enabled the entry of large, multinational enterprises into the market. This latter trend, and the processes of globalization and deregulation, continued in the final period, since the 1990s. Nevertheless, these decades have also witnessed the ongoing development and consolidation of local publishing of Australian novels— including in new forms of e-publishing and self-publishing—as well as continued government and social support for this activity, and for Australian literature more broadly. -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
Nhulunbuy Itinerary
nd 2 OECD Meeting of Mining Regions and Cities DarwinDarwin -– Nhulunbuy Nhulunbuy 23 – 24 November 2018 Nhulunbuy Itinerary P a g e | 2 DAY ONE: Friday 23 November 2018 Morning Tour (Approx. 9am – 12pm) 1. Board Room discussions - visions for future, land tenure & other Join Gumatj CEO and other guests for an open discussion surrounding future projects and vision and land tenure. 2. Gulkula Bauxite mining operation A wholly owned subsidiary of Gumatj Corporation Ltd, the Gulkula Mine is located on the Dhupuma Plateau in North East Arnhem Land. The small- scale bauxite operation aims to deliver sustainable economic benefits to the local Yolngu people and provide on the job training to build careers in the mining industry. It is the first Indigenous owned and operated bauxite mine. 3. Gulkula Regional Training Centre & Garma Festival The Gulkula Regional training is adjacent to the mine and provides young Yolngu men and women training across a wide range of industry sectors. These include; extraction (mining), civil construction, building construction, hospitality and administration. This is also where Garma Festival is hosted partnering with Yothu Yindi Foundation. 4. Space Base The Arnhem Space Centre will be Australia’s first commercial spaceport. It will include multiple launch sites using a variety of launch vehicles to provide sub-orbital and orbital access to space for commercial, research and government organisations. 11:30 – 12pm Lunch at Gumatj Knowledge Centre 5. Gumatj Timber mill The Timber mill sources stringy bark eucalyptus trees to make strong timber roof trusses and decking. They also make beautiful furniture, homewares and cultural instruments. -
John Gould and David Attenborough: Seeing the Natural World Through Birds and Aboriginal Bark Painting by Donna Leslie*
John Gould and David Attenborough: seeing the natural world through birds and Aboriginal bark painting by Donna Leslie* Abstract The English naturalist and ornithologist, John Gould, visited Australia in the late 1830s to work on a major project to record the birds of Australia. In the early 1960s, around 130 years later, the English naturalist, David Attenborough, visited Australia, too. Like his predecessor, Attenborough also brought with him a major project of his own. Attenborough’s objective was to investigate Aboriginal Australia and he wanted specifically to look for Aboriginal people still painting in the tradition of their ancestors. Arnhem Land in the Northern Territory was his destination. Gould and Attenborough were both energetic young men, and they each had a unique project to undertake. This essay explores aspects of what the two naturalists had to say about their respective projects, revealing through their own published accounts their particular ways of seeing and interpreting the natural world in Australia, and Australian Aboriginal people and their art, respectively. The essay is inspired by the author’s curated exhibition, Seeing the natural world: birds, animals and plants of Australia, held at the Ian Potter Museum of Art from 20 March to 2 June 2013. An exhibition at the Ian Potter Museum of Art, Seeing the natural world: birds, animals and plants of Australia currently showing from 20 March 2013 to 2 June 2013, explores, among other things, lithographs of Australian birds published by the English naturalist and ornithologist John Gould [1804-1881], alongside bark paintings by Mick Makani Wilingarr [c.1905-1985], an Aboriginal artist from Arnhem Land in the Northern Territory (Chisholm 1966; McCulloch 2006: 471; Morphy 2012). -
Australian & New Zealand
Australian & New Zealand Art Collectors’ List No. 176, 2015 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848 Email: [email protected] Web: joseflebovicgallery.com 1. Ernest E. Abbott (Aust., JOSEF LEBOVIC GALLERY 1888-1973). The First Sheep Established 1977 Station [Elizabeth Farm], c1930s. Address: 103a Anzac Parade, Kensington (Sydney) NSW Drypoint, titled, annot ated “Est. by John McArthur [sic], 1793. Postal: PO Box 93, Kensington NSW 2033, Australia Final” and signed in pencil in Phone: +61 2 9663 4848 • Mobile: 0411 755 887 lower mar gin, 18.9 x 28.8cm. Small stain to image lower centre, Email: [email protected] • Website: joseflebovicgallery.com old mount burn. Open: Mon. to Sat. by appointment or by chance. ABN 15 800 737 094 $770 Member: Aust. Art & Antique Dealers Assoc. • Aust. & New Zealand Assoc. of English-born printmaker, painter and art teacher Abbott migrated to Aus- Antiquarian Booksellers • International Vintage Poster Dealers Assoc. • Assoc. of tralia in 1910, eventually settling in International Photography Art Dealers • International Fine Print Dealers Assoc. Melbourne, Victoria, after teaching art at Stott’s in South Australia. Largely self-taught, he took up drypoint etching, making his own engraving tools. Ref: DAAO. COLLECTORS’ LIST No. 176, 2015 2. Anon. Sydney From Kerosene Bay, c1914. Watercolour, titled in pencil lower right, 22.8 x 32.9cm. Foxing, old mount burn. Australian & New Zealand Art $990 Possibly inspired by Henry Lawson’s On exhibition from Wednesday, 1 April to Saturday, 16 May. poem, Kerosene Bay written in 1914: “Tis strange on such a peaceful day / All items will be illustrated on our website from 11 April. -
The Boomerang Effect. the Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6Pm
MEG Musée d’ethnographie de Genève Press 4 may 2017 The Boomerang Effect. The Aboriginal Arts of Australia 19 May - 7 January 2018 Preview 18 May 2017 at 6pm White walls, neon writing, clean lines: the MEG’s new exhibition «The Boomerang Effect. The Aboriginal Arts of Australia» welcomes its visitors in a space evocative of a contemporary art gallery. Here the MEG unveils one of its finest collections and reveals the wealth of indigenous Australia's cultural heritage. Visiting this exhibition, we understand how attempts to suppress Aboriginal culture since the 18th century have ended up having the opposite of their desired effect. When James Cook landed in Australia, in 1770, he declared the country to be «no one’s land» (terra nullius), as he recognized no state authority there. This justified the island's colonization and the limitless spoliation of its inhabitants, a medley of peoples who had lived there for 60,000 years, societies which up until today have maintained a visible and invisible link with the land through a vision of the world known as the Dreaming or Dreamtime. These mythological tales recount the creation of the universe as well as the balanced and harmonious relation between all the beings inhabiting it. It is told that, in ancestral times, the Djan’kawu sisters peopled the land by naming the beings and places and then lying down near the roots of a pandanus tree to give birth to sacred objects. It is related that the Dätiwuy clan and its land was made by a shark called Mäna. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
En E W S L E T T E R December 2020 No
ROYAL ART SOCIETY OF NEW SOUTH WALES eN E W S L E T T E R December 2020 No. 467 25-27 Walker Street, North Sydney NSW 2060 eMail: [email protected] Website: www.royalart.com.au Tel: (02) 9955 5752 Fax: (02) 9925 0064 Australia Post Publication No: 241613/00090 From the desk of the President – John Perkins FRAS This month has been relatively quiet, building up for 140th Anniversary Exhibition. The Art School Student Exhibition was a most successful event and even though we were restricted in numbers, a good crowd enjoyed the evening. Thanks to Art School Director Greg Hansell and Secretary Christine for their efforts and hard work in making this a successful exhibition. Our congratulations go to all the students and in particular the prize winners. Thanks to all the tutors who have braved it through this most difficult year and to the high standard of work their students have produced. I also extend my thanks to the sponsors, and especially our Gallery volunteers for their wonderful support during the year, just one more to go. We have received many excellent comments and a number of class enquiries for next year’s classes. Congratulations to Melissa Read Devine who was nominated and elevated to Fellow. We now look forward to our 140th Anniversary Exhibition which l am sure will be well supported by both our exhibitors and visitors. Unfortunately, we are still restricted to attendance numbers for the opening celebrations but please take the opportunity to view this important event. Stay safe and keep painting. -
Thesis Title
Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art.