DOCSLIB.ORG

Masterpieces from Paris

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

artonview artonview ISSUE 60 ISSUE 60 • summer 2009 • SUmm E r 2009 NATIONAL GALLE r Y OF MASTERPIECES FROM PARIS AUST r Van Gogh, Gauguin, Cézanne & beyond ALIA POST-IMPRESSIONISM FROM THE MUSÉE D’ORSAY CANBERRA ONLY 4 DECEMBER 2009 – 5 APRIL 2010 TICKETS: NGA.GOV.AU HOTEL PACKAGES: VISITCANBERRA.COM.AU/PARIS 1300 889 024 PRESENTING PARTNERS PRINCIPAL PARTNERS VAN GOGH, GAUGUIN, CEZANNE AND BEYOND The National Gallery of Australia is an Australian Government Agency CULTURE WARRIORS IN WASHINGTON Vincent van Gogh Van Gogh’s bedroom at Arles 1889 (detail), Musée d’Orsay, Paris, © RMN (Musée d’Orsay) / Hervé Lewandowski Z00 40383 The National Gallery of Australia is an Australian Government Agency Issue 60, summer 2009–10 published quarterly by 2 Director’s foreword National Gallery of Australia GPO Box 1150 6 Foundation Canberra ACT 2601 nga.gov.au 8 Sponsorship and Development ISSN 1323-4552 exhibitions and displays Print Post Approved pp255003/00078 10 Culture Warriors storm Washington © National Gallery of Australia 2009 Bronwyn Campbell Copyright for reproductions of artworks is held by the artists or their estates. Apart from 14 Masterpieces from Paris: Van Gogh, Gauguin, uses permitted under the Copyright Act 1968, Cézanne and beyond no part of artonview may be reproduced, transmitted or copied without the prior Christine Dixon permission of the National Gallery of Australia. Enquires about permissions should be made in collection focus/conservation writing to the Rights and Permissions Officer. 22 Celebrating two outstanding sculptors: The opinions expressed in artonview are not necessarily those of the editor or publisher. Bert Flugelman and Inge King editors Eric Meredith Deborah Hart designer Kristin Thomas 26 Kenneth Tyler Collection online photography Eleni Kypridis, Barry Le Lievre, Brenton McGeachie, Steve Nebauer, Gwen Horsfield David Pang, John Tassie acquisitions rights and permissions Nick Nicholson advertising Erica Seccombe 30 J Miller Marshall Fossicking for gold printed in Australia by Blue Star Print, Miriam Kelly Melbourne enquiries 32 John Skinner Prout Break of Day Plains The editor, artonview and The River Barwon, Victoria National Gallery of Australia GPO Box 1150 Emma Colton Canberra ACT 2601 36 Mawalan Marika The Milky Way [email protected] advertising Chantelle Woods Tel: (02) 6240 6557 34 Devare & Co Prince Yeshwant Rao Holkar and Fax: (02) 6240 6427 [email protected] his sister Manorama Raje RRP $9.95 includes GST Gael Newton Free to members of the National Gallery of Australia 34 Erich Heckel White horses Jacklyn Babington For further information on National Gallery of Australia Membership: 36 Walter Burley Griffin Desk chair for Newman College Membership Coordinator Robert Bell GPO Box 1150 Canberra ACT 2601 Tel: (02) 6240 6504 40 Travelling exhibitions [email protected] 42 Faces in view (cover) Paul Gauguin Tahitian women (Femmes de Tahiti) 1891 (detail) oil on canvas 69 x 91.5 cm Musée d’Orsay, Paris gift of Countess Vitali in memory of her brother Viscount Guy de Cholet, 1923 © RMN (Musée d’Orsay) / Hervé Lewandowski Director’s foreword Félix Vallotton Our exhibition Masterpieces from Paris: Van Gogh, Paul Gauguin’s Tahitian women 1891 (see the cover of this The ball or Corner of the park with child (Le ballon Gauguin, Cézanne and beyond, Post-Impressionism issue) is both monumental and decorative. Paul Cézanne au Coin de parc avec from the Musée d’Orsay is arguably the most important is the master of still-life, and Kitchen table (Still-life with enfant) 1899 oil on card, laid on wood exhibition to come to the National Gallery of Australia basket) 1888–90 fulfils his own prophecy: ‘I shall astonish panel 48 x 61 cm in Canberra. Never before have so many famous works Paris with an apple!’ Cézanne’s beloved Mount Saint- Musée d’Orsay, Paris of art been brought together for one exhibition in this Victoire c 1890 is a classic image for the development bequest of Carle Dreyfus 1953 © RMN (Musée d’Orsay) / country. It is important for Australia because Australian of the modern landscape. The exhibition examines the Hervé Lewandowski collections are not rich in Post-Impressionist pictures evolution of Post-Impressionism, announcing the break and unfortunately never will be. We are delighted to from Impressionism. The masterpieces in this exhibition be co-curating this exhibition with the Musée d’Orsay mark the arrival of modern art—diverse in style, colourful, in Paris, which holds the most significant collection of experimental and committed to the new. Post-Impressionist art in the world. The works in this The Gallery has published a beautifully designed exhibition rarely leave the Musée d’Orsay, even singly, and illustrated book to mark this important occasion. It and never before in these numbers. includes essays by Guy Cogeval, President of the Musée Visitors to the exhibition will encounter Vincent van d’Orsay, Stéphane Guégan and Sylvie Patry, curators from Gogh’s Bedroom at Arles 1889, his intense yet simple the Musée d’Orsay, and the National Gallery of Australia’s rendition of coloured surfaces influenced by Japanese Christine Dixon. There are entries on each work written by aesthetics. Van Gogh’s Starry night 1888 is of course iconic. National Gallery of Australia curatorial staff. 2 national gallery of australia It has been three months since the Hon Peter Garrett AM, Withers and another attributed to Percy Lindsay is on loan Minister for the Arts in Australia, launched Culture Warriors from the Castlemaine Art Gallery. This is a rare at the Katzen Arts Center in Washington. The exhibition opportunity to see side-by-side these three interesting has received critical acclaim in the United States: The works painted together at the same moment in Creswick, Washington Post said, ‘Australian Indigenous Art Victoria, in 1893. Triennial: Culture Warriors is one of the most revolutionary One of the most remarkable nineteenth-century exhibitions of its ilk. Though the show acts as the most Australian paintings recently acquired was Tom Roberts’s civil of diplomats, it also subverts expectations …’. oil sketch of breathtaking brevity, Shearing shed, Newstead The showing of the exhibition in Washington is a triumph 1893–94, an iconic depiction of a sunlit landscape and for Australia, Aboriginal people and Aboriginal art, as well one of the artist’s finest works left in private hands. It as for the National Gallery of Australia. Culture Warriors is was largely funded by a successful national appeal, the the largest contemporary Indigenous art exhibition ever to Masterpieces for the Nation Fund, and the Gallery is very leave Australian shores and is part of the Australia Presents grateful to those who generously donated to the fund. cultural initiative to promote Australia in America. From the early twentieth century, the Gallery acquired It has been an outstanding year for acquisitions of a desk chair that Walter Burley Griffin designed as part major works of art in all collection areas, both in numbers of his 1915 concept for the University of Melbourne’s of works purchased and in numbers and value of works Newman College, his second largest project in Australia given. Many gaps have been strategically filled. In after his designs for the national capital in 1913. Australian art, our growing collection of early colonial art Our Aboriginal and Torres Strait Islander collection was recently enhanced by the acquisition of a fascinating grew substantially during the year, in the lead-up to the pre-gold rush John Skinner Prout watercolour of the opening of the new Indigenous galleries later in 2010. Barwon River near Geelong in 1847; it is one of his few Among the very recent works acquired is a large early bark Victorian works and our earliest landscape from that state. painting by Mawalan Marika. Marika was an important Another even more brilliant and lively watercolour sketch leader in Yirrkala in the Northern Territory and a key figure by Prout, Break of Day Plains, Tasmania c 1845, was also in the development of the distinctive style of bark painting acquired. Together, these works are fine representations from Arnhem Land. of the artist’s Australian period. We continue to raise From India, the Gallery acquired an interesting group funds for the Turneresque masterpiece in watercolour by of hand-coloured photographs from the nineteenth and Conrad Martens, Campbell’s Wharf 1857, through the early twentieth centuries. Among them is a stunning new Members Acquisition Fund, which we highlighted 1918 photographic portrait of the young Prince Yeshwant in the last issue of artonview. The painting, which is in and his younger sister Manorama Raje of Indore. The immaculate condition, came directly from a Scottish photograph is exquisitely hand-coloured and retains its branch of the Campbell family. With the assistance of original gilded frame. The work not only enriches our Asian Gallery members it will be our finest work by this, the photography collection but also has a special connection to most eminent New South Wales colonial artist. Thanks our two Brancusi Bird in space sculptures, which Yeshwant go to those members who have already responded to the commissioned at the beginning of the 1930s for his palace invitation to play a direct role in acquiring an important outside Indore. These works, among the Gallery’s greatest work for the National Collection. It is still possible to treasures, were acquired in 1973. contribute and we hope members will consider giving $100 The Gallery acquired White horses (Weisse Pferde) 1912 towards this exceptional and rare work now on display in by Erick Heckel for our international prints collection. This the colonial gallery. landscape is markedly different to the figurative work that We also recently acquired Fossicking for gold 1893 underpinned the early German Expressionist movement by English-born Australian artist J Miller Marshall.
Recommended publications
  • Annual Report 2010–11

    Annual Report 2010–11

    ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher.
  • European Influences in the Fine Arts: Melbourne 1940-1960

    European Influences in the Fine Arts: Melbourne 1940-1960

    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
  • Aboriginal Art - Resistance and Dialogue

    Aboriginal Art - Resistance and Dialogue

    University of New South Wales College of Fine Arts School of Art Theory ABORIGINAL ART - RESISTANCE AND DIALOGUE The Political Nature and Agency of Aboriginal Art A thesis submitted by Lee-Anne Hall in fulfilment of the requirements for the degree of Master of Art Theory CFATH709.94/HAL/l Ill' THE lJNIVERSllY OF NEW SOUTH WALES COLLEGE OF FINE ARTS Thesis/Project Report Sheet Surnune or Funily .nune· .. HALL .......................................................................................................................................................-....... -............ · · .... U · · MA (TH' rn ....................................... AbbFinlname: . ·......... ' ....d ........... LEE:::ANNE ......................lend.............. ................. Oher name/1: ..... .DEBaaAH. ....................................- ........................ -....................... .. ,CVlalJOn, or C&ltltal &1YCOIn '"" NVCfllt)'ca It:.... ..................... ( ............................................ School:. .. ART-����I��· ...THEORY ....... ...............................··N:t�;;�?A�c·���JlacjTn·ar··................................... Faculty: ... COLLEGE ... OF. ...·Xr"t F.J:blll:...................... .AR'J: ..................... .........................-........................ n,1e:........ .................... •••••••••••••••••••••••••••••••••• .. •••••• .. •••••••••••••••••••••••••• .. •• • .. ••••• .. ••••••••••• ..••••••• .................... H ................................................................ -000000000000••o00000000
  • To What Extent Can Libyan Intellectual Property Laws Protect Traditional Cultural Expressions from Unauthorised Use?

    To What Extent Can Libyan Intellectual Property Laws Protect Traditional Cultural Expressions from Unauthorised Use?

    To what extent can Libyan intellectual property laws protect traditional cultural expressions from unauthorised use? A thesis submitted in fulfilment of the requirement for the award of the degree of Doctor of Philosophy by Abdolhamed Masoud M Agal The School of Law The Faculty of Professions The University of Adelaide, Australia 2016 Table of Contents Abstract .................................................................................................................................. iv Declaration............................................................................................................................. vi Acknowledgements ............................................................................................................. vii Dedication ........................................................................................................................... viii 1 General introduction to the thesis ................................................................................. 1 1.1 Introduction ......................................................................................................................... 1 1.2 Research objectives ............................................................................................................. 5 1.3 Research questions .............................................................................................................. 6 1.4 Methodology ......................................................................................................................
  • Australian Indigenous Petitions

    Australian Indigenous Petitions

    Australian Indigenous Petitions: Emergence and Negotiations of Indigenous Authorship and Writings Chiara Gamboz Dissertation Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of Arts and Media Faculty of Arts and Social Sciences October 2012 ORIGINALITY STATEMENT 'l hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the proiect's design and conception or in style, presentation and linguistic expression is acknowledged.' Signed 5 o/z COPYRIGHT STATEMENT 'l hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or digsertation in whole or part in the Univercity libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertiation.
  • Core Knowledge Art History Syllabus

    Core Knowledge Art History Syllabus

    Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation.
  • Rise of Modernism

    Rise of Modernism

    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
  • The James Gleeson Oral History Collection

    The James Gleeson Oral History Collection

    research library Painted in words: the James Gleeson oral history collection It doesn't matter how the paint is put on, as long as something is said. Jackson Pollock Rosemary Madigan Eingana 1968 The Research Library at the National Gallery of Australia Oral history has an interesting place in a museum carved English lime wood collects catalogues raisonn•, auction catalogues, rare serials context. It revolves around the power and reliability of 61.0 x364.8 x30.4cm and books and other printed and pictorial media relating memory and the spoken word in an environment that National Gallery of Australia, Canberra to the visual arts. In addition to bibliographic collections, more often values the written word, the document, the Purchased 1980 the library keeps manuscripts and documentary material image and the object. Spoken words have a number of Murray Griffin such as diaries, photographs and ephemera. It also holds qualities that make them different from other ways of Rabbit trapper's daughter 1936 communicating. They are able to capture the emotions linocut, printed in colour, from a collection of ninety-eight recorded interviews and multiple blocks behind what it means to be a person who is living printed image 35.0 x 27.8 cm transcripts with Australian artists created in the late 1970s, and making art at a particular time in history. And the National Gallery of Australia, before the National Gallery of Australia was built. Canberra storytelling in the interview captures both the pleasures of The interviews were conducted by the well-known memory and the act of creativity.
  • Picture Paradise # Richard Larter # Gleeson Interviews

    Picture Paradise # Richard Larter # Gleeson Interviews

    artonview artonview artonview ISSUE No.54 ISSUE No.54 winter 2008 W I N T E R 2008 NATIONAL Richard Larter Sliding easy 1970 (detail) synthetic polymer paint on composition board National Gallery of Australia, Canberra Purchased 1970 G A L L E R Y O F AUSTRALIA a retrospective Canberra only 20 June – 14 September 2008 The National Gallery of Australia is an Australian Government Agency PICTURE PARADISE ¬s¬RICHARD LARTER ¬s¬¬',%%3/.¬).4%26)%73 Jan JanBillycan Billycan (Djan (Djan Nanundie) Nanundie) Yulparija Yulparija people people All the All Jilathe Jila2006 2006 acrylic acrylic binder binder with withlangridge langridge dry pigmentdry pigment and andmarble marble dust dust on plyboard on plyboard National National Gallery Gallery of Australia, of Australia, Canberra Canberra Purchased Purchased 2007 2007 © Jan © BillycanJan Billycan (Djan (Djan Nanundie) Nanundie) A.W.W.A.W.W. Plâté Plâtéand Co & Co Sinhalese Sinhalese man man c. 1920c. 1920 (detail) (detail) gelatin gelatin silver silver photograph photograph Collection: Collection: David David Knaus, Knaus, California California A NATIONALA NATIONAL GALLERY GALLERY OF OF AUSTRALIA AUSTRALIA TRAVELLING TRAVELLING EXHIBITION EXHIBITION PICTUREPICTURE PARADISEPARADISE ArtArt Gallery Gallery of Southof South Australia, Australia, Adelaide, Adelaide, SA, SA, 20 June20 June – 31 – August31 August 2008 2008 ArtArt Gallery Gallery of Westernof Western Australia, Australia, Perth, Perth, WA, WA, 20 September20 September – 23 – November23 November 2008 2008 GalleryGallery of Modernof Modern
  • Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970S Sydney

    Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970S Sydney

    Heather Barker and Charles Green, Flight from the Object: Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970s Sydney HEATHER BARKER AND CHARLES GREEN Flight from the Object: Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970s Sydney ABSTRACT In the early 1970s, within the small art worlds of Melbourne and Sydney, the contributions of art theorist Donald Brook were as crucial to the innovation of Conceptual art as the art itself. He was an important, prescient but ultimately lonely participant in these developments, as were artists Peter Kennedy and Mike Parr, and alternative Sydney galleries Inhibodress and the University of Sydney workshop, Tin Sheds. Brook considered that national identity was irrelevant in art; was resolutely concerned with art but not at all concerned with “Australian art”. He was opposed to a methodology that excluded everything that did not fit into a preconceived and often teleological system, insisting that if a theory could not account for post-object art then the theory was flawed and not the art. While conceding that there may have been a basis for claims that post- object art was ‘simply not art’, he criticised conservatives for resisting post-object art, insisting that the issue was still to be argued. Introduction This essay examines the turn away from defensive nationalism to internationalist autobiography in the art and theories of contemporary art during the early 1970s. It is paradoxical that this turn occurred in the process of young artists’ disillusionment with an art movement that was the most truly globalised and the least tainted by nationalism or provincialism – Conceptual art.
  • The Land Rights Movement

    The Land Rights Movement

    25 YEARS OF NATIVE TITLE RECOGNITION Contents Settlement and 1 disposession Yirrkala Bark Petitions 1963 2 The Freedom Ride 1965 2 Wave Hill Station walk off 3 1966–1975 Gove Land Rights case 4 1968–1971 Aboriginal Tent Embassy 4 1972 Yolgnu claimants in the Land Rights case over the Gove Peninsula discuss aspects of Racial Discrimination Act 5 the hearing outside the courtroom in Canberra, September 1970. Source: National Archives of Australia. 1975 Reproduced with permission from Department of Foreign Affairs and Trade Aboriginal Land Rights (NT) 6 © Commonwealth of Australia. Act 1976 Noonkanbah 6 THE ROAD TO NATIVE TITLE: 1978–1980 THE LAND RIGHTS MOVEMENT Mabo No 2 6 1982–1992 Settlement and dispossession Paul Keating Redfern 7 From the time of first European settlement, Aboriginal and Torres Strait Islander Speech 1992 Australians have fought to maintain, and have recognised, their traditional rights to ownership of land. In 1788 the colony of New South Wales was established and the founding of Australia as a British colony had begun. The colony was settled on the basis of the doctrine of international law whereby the continent was deemed to be terra nullius—land belonging to no-one. Despite the obvious presence of Indigenous people, in the eyes of the British the land was considered to be practically unoccupied, without settled inhabitants and without settled law. The Colony was claimed for the British Sovereign on 26 January 1788. There is ongoing debate about the legal status of the ‘settlement’ as the land was clearly occupied and; there was no treaty and no (declared) war.
  • I Think I See

    I Think I See

    THE FRONT COVER of this volume makes reference to the during most of the time that the Meyerhoffs were collect- I think I see . Meyerhoff eye. It is, quite appropriately, a hidden reference, ing. The critical landscape was divided, to put it only a little requiring visual discovery. (Take a moment to find it.) too simply, between the formalism of Clement Greenberg, HARRY COOPER On the back cover, the absent protagonist in a drawing by the existentialism of Harold Rosenberg, and the pluralism Roy Lichtenstein stammers, “I . I’ll think about it!”— as of Leo Steinberg. The leader into the 1970s was Greenberg, if that personal cry had to fight to be heard through the whose later writings, perhaps taking Emerson’s fantasy impersonal media of the Ben-day Dot and the 1950s comic of a transparent eyeball too literally, made opticality the strip. The repeated “I” in the word balloon, taken together sine qua non of aesthetic quality. In the work of abstract with the trick on the front cover, suggests a pun: I = eye. expressionists Clyfford Still, Barnett Newman, and Mark That pun has a famous lineage. “I become a transparent Rothko, Greenberg discovered a pictorial space so devoid eyeball; I am nothing; I see all,” wrote Ralph Waldo Emer- of normal cues about depth that only a disembodied eye son in “Nature” (1836) about being alone in the woods. could imagine entering it. Almost every up-and-coming In a fantasy of pure (in)visibility, the eye, that regal organ artist defined himself or herself in relation to this orthodoxy, for Emerson, replaces the I.