An Overview of Australian Arts
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The Art of Philip Wolfhagen a Newcastle Art Gallery and Tasmanian NEWCASTLE ART GALLERY, NSW Museum and Art Gallery Travelling Exhibition
Photographer: Tristan Sharp Philip Wolfhagen studio in Tasmania (2012) ABOUT THESE PAGES FOR EXHIBITION DATES PLEASE SEE THE TOUR SCHEDULE BELOW. This webpage supports the exhibition, Illumination The art of Philip Wolfhagen A Newcastle Art Gallery and Tasmanian NEWCASTLE ART GALLERY, NSW Museum and Art Gallery travelling exhibition. 22 June - 11 August 2013 Designed in conjunction with the Illumination The art of TASMANIAN MUSEUM AND ART GALLERY, TAS Philip Wolfhagen Education kit, this webpage provides 13 September - 1 December 2013 insight into the materials, artists, music and places that are important to Wolfhagen, and is recommended as an ad- THE AUSTRALIAN NATIONAL UNIVERSITY DRILL HALL GAL- ditional resource for teachers and students or for general LERY, ACT public use. 20 February - 6 April 2014 Surveying the twenty five year career of Australian painter CAIRNS REGIONAL GALLERY, QLD Philip Wolfhagen, Illumination The art of Philip Wolfhagen 9 May - 6 July 2014 explores the artist’s enchantment with the Australian land- scape, the tactility and intimacy of his painting process, his TWEED RIVER ART GALLERY, NSW command of colour and use of signature devices such as 8 August - 12 October 2014 the split picture plane. HAMILTON ART GALLERY, VIC Wolfhagen’s work is held in major public and corporate 15 November 2014 - 1 February 2015 collections in Australia and in private collections nationally and internationally, with the largest national public col- GIPPSLAND ART GALLERY, VIC lection of his work currently owned by the Newcastle Art 14 February - 12 April 2015 Gallery. Newcastle Art Gallery strongly supports experience-based learning and advises that this webpage be used in conjunc- tion with a visit to the exhibition. -
Australia Council Nationhood, National Identity and Democracy
AUSTRALIA COUNCIL FOR THE ARTS SUBMISSION NATIONHOOD, NATIONAL IDENTITY AND DEMOCRACY INQUIRY October 2019 1 CONTENTS Contents 2 About the Australia Council 3 Executive summary 4 Submission 6 Our arts shape and communicate our cultural identity 6 First Nations arts are central to understanding who we are as Australians 7 Our diverse artistic expression is reshaping our contemporary national identity 9 Our creative expressions are an antidote to declining public trust and social divisions 13 Conclusion 14 Policy options 15 2 ABOUT THE AUSTRALIA COUNCIL The Australia Council is the Australian Government’s principal arts funding and advisory body. We champion and invest in Australian arts and creativity. We support all facets of the creative process and are committed to ensuring all Australians can experience the benefits of the arts and feel part of the cultural life of this nation. The Australia Council’s investment in arts and creativity presents a vital opportunity to develop Australia’s identity and reputation as a sophisticated and creative nation with a confident, connected community. Australia’s arts and creativity are among our nation’s most powerful assets, delivering substantial public value across portfolios: investing in the arts is investing in the social, economic and cultural success of our nation. For half a century the Australia Council has invested in activity that directly and powerfully contributes to Australia’s cultural identity and social cohesion. Our vision Creativity Connects Us1 is underpinned by five strategic objectives: • More Australians are transformed by arts experiences • Our arts reflect us • First Nations arts and culture are cherished • Arts and creativity are thriving • Arts and creativity are valued. -
The Arts—Visual Arts
Resource Guide The Arts—Visual Arts The information and resources contained in this guide provide a platform for teachers and educators to consider how to effectively embed important ideas around reconciliation, and Aboriginal and Torres Strait Islander histories, cultures and contributions, within the specific subject/learning area of The Arts- Visual Arts. Please note that this guide is neither prescriptive nor exhaustive, and that teaching staff are encouraged to consult with their local Aboriginal and Torres Strait Islander community in engaging with the material contained in the guide. Page 2: Background and Introduction to Aboriginal and Torres Strait Islander Visual Arts Page 4: Timeline of Key Dates in the Contemporary History of Aboriginal and Torres Strait Islander Visual Arts Page 8: Aboriginal and Torres Strait Islander Visual Artists and Artworks Page 9: Aboriginal and Torres Strait Islander Visual Arts Centres/Organisations Page 10: Aboriginal and Torres Strait Islander Visual Arts Exhibitions and Celebratory Events Page 12: Other Online Guides/Reference Materials Page 13: Reflective Questions for Visual Arts Staff and Students Please be aware this guide may contain references to names and works of Aboriginal and Torres Strait Islander people that are now deceased. External links may also include names and images of those who are now deceased. Page | 1 Background and Introduction to Aboriginal and Torres Strait Islander Visual Arts “I believe that art is a language for interpreting who you are, and I can’t find any satisfaction other than painting… Aboriginal people have always had a vast, rich culture and I am part of this. There are many things, which are too numerous to mention about the treatment of [Aboriginal and Torres Strait Islander peoples] but through my art I have identity and strength.”— Raymond Meeks, Aboriginal visual artist. -
The Making of Indigenous Australian Contemporary Art
The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................ -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Module Details
Paper: 07; Module No: 04: E Text (A) Personal Details: Role Name Affiliation Principal Investigator: Prof. Tutun Mukherjee University of Hyderabad Paper Coordinator: Prof. Suchorita Chattopadhyay Jadavpur University Coordinator for This Module: Prof. Tutun Mukherjee University of Hyderabad Content Writer: Mr. Ayan Ghosh CIIL, Mysore Content Reviewer: Prof. Tutun Mukherjee University of Hyderabad Language Editor: Prof. Tutun Mukherjee University of Hyderabad (B) Description of Module: Items Description of Module Subject Name: English Paper No & Name: 07; Canadian, Australian and South Pacific Literatures in English Module No & Title: 04; Aboriginal Australia: History and Literature Pre-requisites: Basic knowledge of English Objectives: To provide an idea of Australian Aboriginal History and Literature Key Words: Australian Aboriginal History, Australian Aboriginal Literature, Australian Literature 1 Contents I. What is Aboriginality? II. Brief history of Aborigines III. Introduction to Indigenous Culture IV. Introduction to Aboriginal Art V. Aboriginal Music VI. Aboriginal Paintings VII. Papunya Tula or Papunya Art VIII. Aboriginal Literature IX. What is dream Time? X. Dreamtime and Indigenous Literature XI. Aboriginal Literature and its position XII. Famous Literary personnel XIII. Glimpses of Aboriginal Films XIV. Conclusion About the Module: In this module we are going to learn that what the Aborigine actually means, from where this term came from and for whom it is being used. In addition to this we are going to learn about Aboriginal History, about their land in a brief manner. We will discuss some of their art form and will try to get acquainted with their culture in the first half of this module. In the second part, we will learn that what the ‘Dreamtime’ actually is and how is it related with their literature. -
Far North Queensland
Far North Queensland Arts in Daily Life: Queenslanders and the arts provides a comprehensive look at how Queenslanders engage in the arts, as well as their opinions and beliefs about the arts. This research continues from the 2009 research More than bums on seats: Queenslanders and the arts. The research was commissioned by Arts Queensland in partnership with the Australia Council for the Arts. The research was conducted by instinct and reason, an independent market research consultancy. Difference between overall Queensland totals, Queensland regions and between 2009 and 2013 are not statistically significant unless stated. Almost all Far North Queenslanders are engaged in the arts Nine in 10 Far North Queenslanders participated in, attended an arts activity or read creative writing in 2013 (Figure 1). Figure 1: Levels of engagement, including reading (Far North Queensland region 2009 and 2013) 100% 90% 97% 95% 80% 92% 89% 70% 60% 50% 2009 40% 47% 50% 30% 2013 20% 10% 8% 3% 0% Engaged in at least Receptively Creatively Neither participated one art form participated in at Participated in at nor attended least one art form least one art form (Attended at least (Participated in at one art form or read) least one art form) Far North Queenslanders are making or creating art Fifty per cent of Far North Queenslanders are making and creating arts. Far North Queenslanders are most likely to participate in music and visual arts and craft. Far North Queenslanders attend the arts and read Ninety five per cent of Far North Queenslanders have engaged in the arts by attending a gallery, live music, theatre or dance, or by reading literature. -
Topographic Representations in Classical Aboriginal Traditions
9 • Icons of Country: Topographic Representations in Classical Aboriginal Traditions PETER SUTTON INTRODUCTION tent of their classical tradition, however, even where little of it may be known to them through firsthand experi After more than two hundred years of colonial and post ence. 1 Indigenous Australian traditions are no more fixed colonial influence from a predominantly Anglo-Celtic or static than others, but they have been subject to greatly culture, Australian Aboriginal people have retained their accelerated changes in the colonial and postcolonial pe cultural identity as a group, comprising a large set of sub riod of the past two centuries. For this reason it is useful groups, across the Australian continent (fig. 9.1). At this to distinguish classical traditions from postclassical tradi time they are a small minority of between 2 and 3 percent tions within contemporary Aboriginal culture. in a nation of eighteen million people. In most regions Classical traditions are those that were practiced at the their ancient cultural traditions have been partly or heav time the first permanently dwelling non-Aborigines ar ily modified by a combination of forces, including an rived in Australia,2 and many of them have persisted early phase of scattered violent conflicts with colonizers, among certain groups. Postclassical traditions depart sig depopulation owing mainly to disease, compulsory nificantly from those of the ancient past. The most widely school education and institutionalization, and alcohol known and internationally acclaimed of the classical tra abuse. ditions is usually subsumed, in English, under the phrase In the more fertile areas of eastern and southwestern "Aboriginal art." For this category of representations Australia, many aspects of these classical cultural tradi tions have been seriously expunged. -
American Misconceptions About Australian Aboriginal Art
AMERICAN MISCONCEPTIONS ABOUT AUSTRALIAN ABORIGINAL ART A thesis submitted To Kent State University in partial Fulfillment of the requirements for the Degree of Master of Arts By Gina Cirino August 2015 © Copyright All rights reserved Except for previously published materials Thesis written by Gina Cirino B.A., Ohio University, 2000 M.A., Kent State University, 2015 Approved by ___________________________________ Richard Feinberg, Ph.D., Department of Anthropology, Masters Advisor ___________________________________ Richard S. Meindl, Ph.D., Chair, Department of Anthropology _____________________________________ James L. Blank, Ph.D., Dean, College of Arts and Sciences TABLE OF CONTENTS.……………………………………………………………………..….iv LIST OF FIGURES.……………………………………………………………………………..vii LIST OF TABLES..…………………………………………………………………………….viii ACKNOWLEDGMENTS..………………………………………..………………………....…..ix CHAPTER I. RELEVANCE OF THIS STUDY………………………………………………………...1 Introduction………………………………………………………………………………..1 Objectives of thesis……………………………………………………………………..…2 Contents of thesis…………………………………………………………………...……..4 Persecution of Aboriginal groups……………………………………………………...….5 Deception of the Australian Government…………………………………………7 Systemic discrimination and structural Violence………………………………....9 Correlations between poverty and health………………………………………...13 Human Development Index (HDI)………………………………………………………14 Growing responsibilities of anthropologists……………………………………………..17 II. OVERVIEW OF ABORIGINAL ART …………………………………………………20 Artworld Definitions……………………………………………………………………..20 The development -
Just Not Australian
JUST NOT AUSTRALIAN Just Not Australian brings CULTURAL MEDIATION TRAINING PACK together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood. The show engages with the moral and ethical undertones of the loaded rejoinder ‘un- Australian’ – a pejorative now embedded in our national vocabulary that continues to be used to further political agendas and to spread nationalistic ideals of what it means to be Australian. This training pack outlines how the practice of Cultural Mediation can be engaged to translate the broad themes and manage the difficult conversations that this exhibition may ignite, as well as provide a vocabulary and further reading to encuourage an inclusive and culturally safe Black Flag, 2016, sequins, seed beads, cotton thread, cotton poplin, 30 x 59 cm. Courtesy the artist and Artereal Gallery, Sydney. Photos: Zan Wimberley space. Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW. UQ ART MUSEUM Museums & Galleries of NSW (M&G NSW) has been ABOUT ANESHKA MORA ABOUT THIS researching and providing training on the practices of Cultural Mediation with the aim to equip gallery and museum staff with the tools to implement this Aneshka Mora is queer, scholar of colour living on TRAINING PACK engagement strategy across the sector. Cultural Cameraygal Country in the Eora Nation, who is broadly Mediation is about deepening the engagement of interested in contemporary art strategies of decoloniality audiences at a peer-to-peer level through personal within the limits of institutions and settler-colonialism. -
Historical Ironies: the Australian Aboriginal Art Revolution*
Historical ironies: the Australian Aboriginal art revolution* Elizabeth Burns Coleman Margaret Preston, an Australian painter, has been credited as the first non- anthropologist to begin to explore Australian Aboriginal art as an art. Preston saw in Aboriginal painting the well-spring for an ‘indigenous art of Australia’. The seeking of a national identity, and specifically a connection with place, is common to many if not most societies, reflecting a Herderian idea of art, language and culture shaped by land, and a connection between people and place. But if this is common to most societies, it is perhaps most keenly felt in colonial settler states. For Preston, if there were to be a truly national art, it would be through inspiration from Aboriginal art and its relation to land; all it needed was the ‘all seeing eye of the Western Artist to adapt it to the 20th century’.1 What she did not expect was that this ‘indigenous art of Australia’ would be produced by Aboriginal people. Over two decades ago, art historian Nicholas Thomas wrote that the Anglo- Australian dominance of high art had given way before the ‘astonishing emergence of modern Aboriginal art’.2 These paintings, which emerged from Papunyu Tula in the 1970s, have been variously described as ‘Australia’s only artistic revolution’, ‘the most significant corpus of art made in Australia during the twentieth century, ‘perhaps the greatest significant cultural achievement of Australia’s post-white settlement history’.3 Moreover, as Ian McLean points out in his forthcoming anthology of Aboriginal art, ‘No Australian art movement has produced so much work by so many artists for so long, and in the process established a whole new market along with a string of specialist galleries, indeed a brand new industry, as well as created new departments in state art galleries and new courses in academia’. -
Performing Arts Advocacy in Australia
Performing arts advocacy in Australia John Daley About the author A discussion paper commissioned by the Australian John Daley is one of Australia’s leading policy thinkers. He was Chief Executive Major Performing Arts Group of the Grattan Institute for its rst 11 years, and led it to become the leading This discussion paper was commissioned by the Australian Major Performing domestic policy think tank in Australia, publishing extensively on government Arts Group as its last substantial project. The members of AMPAG were given priorities, institutional reform, budget policy, and tax reform. the opportunity to comment on a draft of the discussion paper, but the author is responsible for its contents, and all remaining errors or omissions. He has 30 years’ experience spanning academic, government and corporate roles at the University of Melbourne, the University of Oxford, the Victorian This discussion paper was written by John Daley in his personal capacity. Bel Department of Premier and Cabinet, consulting rm McKinsey and Co, and Matthews and Bethwyn Serow provided research assistance for some aspects of ANZ Bank. the discussion paper. John is currently the Chair of the Australian National Academy of Music, which The author thanks for their extremely helpful contributions numerous members is one of the Arts8 performance training and education institutions that receive of Australia’s arts and culture community, in organisations, peak bodies, funds from the Commonwealth government. He is also a Director of the Myer government agencies, universities, and their personal capacity. Foundation. Previously, he was the Deputy Chair of the Malthouse Theatre, Deputy Chair of the Next Wave Festival, and the Chair of the Strategy and The paper is based on information available in April 2021.