, 2017 Colonial Hybrid Reimagined Hybrid Colonial from Raper – Gum-plant, & New-Holland of kangooroo 1789 on pencil and watercolour Ink, paper Arches 66 cm x 51 Anna’s work has been described variously as ‘a as ‘a has been described variously work Anna’s stop at we is important in modern that It BRONWYN COULSTON BRONWYN romantic and beautiful style’ (Zhang Tiejun, General General Tiejun, (Zhang and beautiful style’ romantic 2012), ‘derived and Culture, Art Harmony Manager, into the and mental excursion a physical from Boyd, (Arthur its myths’ landscape and Australian which through realm and innovative pure 1997) and ‘a Wuji, (Wang and life’ nature people can understand on has drawn , Anna Provenance Promiscuous 2012). In her sense of art and brought practise her wide ranging touch to works that are humour and delicate rigorous. engaging and intellectually challenging, find we That intervals our history. regular and review a light on the difficult and ugly to shine ways different openparts past and that we of our shared unique a have Artists in new ways. conversations with challenging subject to engage an audience ability has , Anna Provenance and in Promiscuous matters, aspects of our colonial history. many through worked outstanding artistic her her impeccable research, In viewpoint she brings to and the international ability questions of her she asks many her creations, playful, works that are while also creating audience, engaging and beautiful to view. Manager Nowra Gallery, Regional Shoalhaven

When invited to view some of Anna’s new works of Anna’s to view some When invited has this exhibition, Anna working towards In Anna Glynn has been a firm supporter Glynn the of Anna Gallery Regional Shoalhaven 2004. since it opened in been always have exhibitions and commissions Her as an profile and her increasing received well of pride artist of note has been a source Australian in the community. for many was she on the direction to offer comment and asked delighted to I was and ink pieces, exploring in her pen Australian that clearly referenced works view two pieces stood out both in the These colonial works. work, but also for the care of the detail and beauty and observation in the research that had been taken of of the oddities of colonial interpretations a these works, discussed As we animals. Australian fascination with colonial works and common interest , Provenance exhibition, Promiscuous and the emerged, fruit. soon bore viewingsubject, a to dedication absolute her displayed the globe and original works in collections across speaking to expertsvaried as botany, in fields as spent have We colonial interiors and colonial texts. into online collections and hours delving many so are we marvelling creatures at how odd some of the has not Anna familiar with appear in these drawings. but details of these colonial images, the only captured manifestations, in conjuring up tableaux and hybrid to an uncomfortable the viewer realisation she forces past two the art from that much of Australian a lens that lens, a European centuries has come from a landscape that aesthetic onto a foreign tried to force fit the mould. didn’t FOREWORD

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5 4 The colour photographs of rock carvings used in this essay are part of the work of the Living Sites Survey Team and Les Bursill c1998. The black and white photographs are courtesy of the Prihistoy Group 1972. All images are used with CULTURAL COLLABORATION permission.

I am an Aboriginal Archaeologist and Anthropologist. cliff faces at Bulli and around Bulli Pass. All places relatively good relations with the locals around the My work for the last 37 years has been in the research very familiar and where my people favoured camping. Tank Stream but that these relationships faltered and and discovery of traditional Aboriginal paintings, Getting images of animals and birds correct is eventually failed and Phillip was at a loss. I believe it drawings and engravings on and around campsites and essential for Aboriginal people. This aspect was of was acts such deforestation that would have severely rock shelters in the Illawarra and Shoalhaven regions. particular interest to me, knowing as I do the demand offended the locals. I first met Anna Glynn in 2017, when I was by elders for an absolute accuracy when capturing In another line drawing, Anna has used a black launching a book on the Illawarra pre colonisation animal behaviours in their art. Getting the key points swan as the hull of a Colonial vessel, sailing through and Anna was there. She discussed her work with me absolutely correct is essential in understanding the what appears to be Port Jackson. The black swan is a and I saw what I thought may be a confluence. We meaning of the drawing. known coloniser of wetlands, creeks and rivers. These

arranged to meet again at my home to discuss what I PROVENANCE PROMISCUOUS areas are the most sought-after hunting, fishing and saw as a joining of ideas and cultures. general food gathering areas for my people. In my mind, the black swan vessel warns of the coming 6 art seeks to interpret European women and it appears disenfranchisement of the old people of this country. 7 to me that those Aboriginal people saw the clothing of An instance of birds carrying messages? the Europeans as part of their body. So in the Anna’s use of the original colonial images is Aboriginal representations the European women inspirational. I’ve always had a strong dislike for the often take on the appearance of kangaroos in dresses. colonial artists representations. Invariably kangaroos In Anna’s paintings a similar thing is is happening, look like either greyhounds or deer standing on their where Kangaroos are also depicted wearing colonial hind legs. Anna has repaired that damage and at the dress! So clearly I saw an absolute juxtaposition for same instance brought together colonial art and our work. Aboriginal perspectives. I also found a resonance with Anna’s use of native I feel that Anna has captured many elements of The colonisation of NSW occurred in the new animals and birds and her recognition of the colonial Australia. Her work highlights the unique elements of “Age of Enlightenment”. Surely then the newly artists limited knowledge of Australian fauna; the Australian bush and landforms. Her use of bird enlightened English gentlemen could have taken In my Masters thesis I looked at the types of particularly the complete misinterpretation of the life, the birds often appearing perched on the subject’s more time in getting their version closer to the fact. animals, birds and fish in traditional paintings and dingo, where the artist, no doubt working from Joseph shoulder also struck a chord with me. Aboriginal The late 1700s were the era of the new period of engravings. During that research I found a number of Banks’ descriptions, shows the dingo with distinct people recognise that birds are very often message science and nature, but the scientists of that day had depictions, mainly kangaroos, wallabies and fish. I fox-like attributes. bringers and perhaps the birds are bringing news of very shallow concepts of land management and also saw, occasionally engravings where European and In the painting of the fox/dingo, I was immediately the changes that will come with the new arrivals. sustainability and had far to go. Aboriginal peoples came together for the first time, drawn to the rock faces which to me were so In another painting, Anna has captured the and the Aboriginal people often conserved these reminiscent of areas of the Illawarra, particularly shocking disrespect the colonists had for the land. LES BURSILL OAM meetings in their drawing and engraving work. lower Hacking River, especially the parts of the South Her painting shows a land denuded of trees. Governor February 2018 There are several instances where the Aboriginal West Arm in Port Hacking. I was also reminded of the reported that initially there were “It is certainly a new world, “It a new creation. Every plant, a new creation. every fish & animal, shell tree LETTER FROM THOMAS PALMER, SEPTEMBER16 1795 bird insect different from the old.” the from insect different bird

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RIGHT Ink, watercolour and pencil paper Arches on 66 x 102 cm 2017 Black Swan Colonial Vessel Colonial Swan Black

, 2017

ABOVE Antipodean Wonderland: Antipodean Wonderland: Black Swan and Companions Ink, watercolour and pencil paper Arches on 66 x 102 cm

8 9 Shoalhaven Regional Gallery, Nowra 7 April to 2 June 2018 and Regional Tour

ANNA GLYNN: PROMISCUOUS PROVENANCE

This is a world of fantasia, a place on the cusp of illustrations of a waratah, a king parrot and reality and imagination, populated by bizarre grasshopper and places them in into a landscape that reimagined hybrid characters and featuring also features the visually dominant intervention of a strange natural history tableaux. It may chessboard (that refers to colonial floorcloths and the polarity between races black and white). The most reawaken a sense of wonder with our surrounding dramatic work is her panoramic photomontage in environment as we contemplate such a fiction chiffon, which createsEurotipodes with kangaroos and concerning this period of history. possums standing on islands in the sea, dressed in ANNA GLYNN colonial gowns but reading like Greek antiquities

March 2018 PROVENANCE PROMISCUOUS from another ancient civilisation, while European imagery – a cow, church spire, and landscape – Australia’s ‘discovery’ by the Europeans was at the appears along the other edge of the fabric, upside 10 heart of a philosophical and scientific adventure in down. stories contained within the land is the thread that 11 the Age of Enlightenment. The Great South Land was In this work, Glynn has spent time in the archives unites her artwork across a range of media. In this imagined, embroidered, and envisioned long before with the early painters, writers, and artefacts such as exhibition she has created a lively reimagining of the its reality was experienced. However, this element in clothing, using this springboard to recreate an early drawings by John Lewin, George Stubbs, The Australia’s young narrative has slipped under the altogether new and playful reality with the wrongness Port Jackson Painter, George Raper and others, weight of the often dark and destructive histories that that their European eyes conjured from our now creating a fictional landscape that reflects and extends transpired subsequent to 1770. The sense of a mystical familiar landscapes. George Stubb’s early renderings the words of Captain John Hunter (1737–1821) who and magical land at the bottom of the world, where of Kongouro from (1768–71) has a head continent was, as Glynn suggests, “a type of Chinese sailed with Governor Arthur Phillip on . In flora and fauna were exotically and unknowably HMS Sirius like a dog, and barely there paws curling tentatively whispers”, combining the visual cues and tools of the his 1789 journal, Hunter describes the creatures he wrong, pervades the imagination. While the fantasy from its chest. Glynn’s drawn response is After George artists’ pasts with the unfamiliar reality of their encounters in Australia as coming about through “a was in some ways prescient, the plants and animals Stubbs & John Hawkesworth An Animal of a New Species contemporary. promiscuous intercourse between the different sexes discovered with Terra Australis were even more (1773), taking the shape of the Stubbs’ kangaroo and Glynn’s paintings of kangaroos stitched around of all these different animals”. Glynn extends his idea incredible; this land and its peoples were, to European in-filling it with evocative vertical Chinese their necks implies the cobbled together nature of the with the title of this exhibition, “Promiscuous eyes, unimaginably strange. Yet as Anna Glynn has watercolour style landscape that expands to fit the imagery by colonial artists, the way that the familiar Provenance”, which acknowledges the multiple discovered, this exchange was not one-sided. The animal’s body, detail translated into country. Raper’s was adapted to create the new, and speaks to the antecedents to the vexed question of Australian colonists – their elaborate gowns, domestic animals landscapes are filled in and detailed, his similacra of inability of the human eye to adjust rapidly to histories and identity. She dresses kangaroos in and different technologies – were also wondered at, an English countryside extended as his kangaroo newness. Equally, the transplanting of an English colonial gowns, depicted in exquisitely wrought elaborated and recorded by Australia’s Indigenous sports a beautiful, off the shoulder gown, inColonial landscape and architecture to a place where it proved Chinese watercolour technique, detail of its fabric peoples in cave paintings and carvings. Hybrid Reimagined from Raper – Gum-plant, & patently unsuitable remembers the lack of revealing early landscape paintings. Her Antipodean Glynn’s curiosity about landscape, nature and the kangooroo of New-Holland 1789. The valiant attempts understanding of the physical realities of this place. Wonderland Reimagined from John Hunter takes his on the part of the early artists to document this new Glynn met Aboriginal artist and anthropologist RIGHT Eurotipodes (detail), 2018 Photomontage on chiffon Panorama 140 x 900cm

Les Bursill last year. When she showed him this body metamorphosis, it offers a voice to those who were of work, he was struck by its similarity to traditional voiceless. Aboriginal art from Camden, done after the This imaginative reworking of colonial and MacArthurs’ arrived, which include rock carvings pre-colonial art in paintings, drawings, fabric and of colonial women in dresses. Glynn suggests, sound, together with the hybridization of her own “This opened up an opportunity for a whole new practice and broad perspectives, is beautiful and conversation”. evocative. At its heart are questions about the human This intersection of two worlds, in this early experience, new horizons, and a subversion of the seminal moment for Australia’s Indigenous people dominant view with a probing at the experience of the and the colonists alike, is poignant. While Glynn does other and the Indigenous. Glynn’s reintroduction of not make any direct reference to Aboriginal people in these early paintings, the flawed ability to see in the her work, the sense that the intersection of these two earnest efforts of these early artists, remind me of 12 worlds changed everything, irrevocably destructive the way in which humanity is currently exploring, 13 for the country; its Indigenous inhabitants, plants and considering and imagining outer space – science animals exists obliquely in the brittle delicacy of her and the cultural imagination together perhaps still technique and subjects. unable to conceive of the potential strangenesses These lively and appealing images have the that may emerge. potential to highlight and imaginatively extend the current Australian conversation about identity, and to LOUISE MARTIN-CHEW expose the presumptions on which the colonial nation March 2018 was based. In 2018 the imperial imprint on Australia’s psyche has been shrugged off, the concept ofterra nullius overwhelmingly disproven and rejected, and so many other cultures enrich and extend the population that now occupies this continent. At the same time, many of Australia’s populace are ready to acknowledge the prior ownership of this continent, the historical PREVIOUS PAGE (LEFT) PREVIOUS PAGE (RIGHT) destructiveness wrought on the Aboriginals, and the Attributed to J.W. Lewin, George Raper, Dromaius changing contemporary realities of the Australian unsigned, Kangaroos, noaehollandiae, emu. multicultural nation. In these images, the historical 1800–06 Drawing No 67, 1792 layers continue to build, and Glynn’s treatment Oil on canvas Watercolour Royal College of Surgeons, The Raper Collection, evokes, accepts and extends agency to all of those who London Natural History Museum, have gone before, like an echo chamber capable of London annimals that I ever Saw…” JOURNALS AND LETTERS RALPH OF LT. CLARK1787–92 “Capt. Shea Kild to day one of the to day Shea Kild “Capt. Kankeroos it is the most curiest of Kankeroos

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RIGHT Colonial Hybrid: Hybrid: Colonial J.W. from Reimagined Lewin – Male & female red kangaroo in a Liverpool 1819 landscape Plains Ink, watercolour and pencil paper Arches on x 6651 cm 2017

ABOVE Colonial Hybrid: Hybrid: Colonial Stubbs from Reimagined 1770 Kongouro 2017 Ink, watercolour and pencil paper Arches on x 6651 cm

15 14

None of what any of us write or say about this of us write or say of what any None all part building on the are of a continuum, We An exploration of our world that is driven by exploration An LOUISE ANEMAAT LOUISE experience and understanding. And the compulsion And experience and understanding. signal the enduringto try sense of it. They to make the need to and curiosity, of human vitality nature to try the to understand explore, push boundaries and in it. world and our place history will be the definitive period in Australian other to say, be more will always There last word. new things know, yet don’t we things interpretations, to wonder about. of those who came scholarship and interpretations work is Anna’s very us which is before humbling. now part of that continuum of re-examination and art inter- re-interpretation. incorporates Her techniques and time periods, between relationships and and conceptualisation, reality representation fantasy. in and has so often been encapsulated curiosity, turned out to be useful has historically always images, should that we basic premise the Without for society. the universe, and interpret explore our world, explore just And no art, no stories. science, would be no there tell about ourselves as the stories that we are as we that we as a nation the stories are so we individuals, tell, the good stories and the ugly ones. March 2018 March

Her work extends the motif of copying which has work extends the motif Her continue do these early colonial drawings Why such as these help us understand where Drawings us that survival remind is not just about food They exist in part as a tribute to early drawings These only recently become a central partthe story become a central of only recently of art as forgery copying not or of in the colony, practice and valuable a valid as but rather something lesser, to of responding as a way drawings, of circulating way the appetite of of feeding new, the fascination of the to possess their own drawings gentlemen collectors work is Anna’s their knowledge. and to fill in gaps in of images and the in the authority interested of drawing. historically loaded tradition which do the original images, Why today? to matter has so beautifully re-interpreted, to continue Anna so they so highly sought after, are fascinate? Why collectable? of the unique way a record They’re come from. we’ve a reminder are They colonised. was in which Australia politics, that history is not all about bureaucracy, respond, how they also about people, It’s economics. about what they do when facing the worst. They’re inspiring or land as awe to the of responding ways heritage. or precious as endless resource alienating, it is also about intellectual engagement and shelter, and with the world, about channels of curiosity of ideas that the exchange about valuing interest, open to about staying They’re our horizons. broaden momentsyou can get this is when and that difference, creativity. of real our incessant inquisitiveness about what lies beyond knowledge, what is outside our current our reach,

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Not only a record of what they found, with the only a record Not and sometimes published, circulated Shared, but super connected today, think we’re We is Provenance work in Promiscuous Glynn’s Anna has Anna of sources, range a divergent Using passage of time the drawings are also a benchmark also a are passage of time the drawings and particularlyfor what has been achieved, what has They’re been lost or has survived against the odds. change, scrutinised of environmental for evidence Often loss of biodiversity. lost species and habitats, for species, words Indigenous inscribed with the local of language and record they can also be a priceless culture. colonial drawings over, copied and pored borrowed, very the veryare by which much about the process into world consciousness. emerged idea of Australia us that people were remind colonial drawings but still highly connected and in a slower operating artists, collectors, sophisticated world where back and travelled specimens and ideas drawings, distances. forth vast across of of that sense of the strangeness a reinterpretation first encounters with the the early colonial artists’ and fauna. its flora landscape, Australian her own and created colonial drawings taken manifestations hybrid antipodean world with strange of the past. Her and wonder the curiosity that invoke sometimes surprising and disorienting combinations of historical and contemporary subjects insert history They into history. the present And into the present. alienating the and us of just how wondrous remind so puzzling and new it landscape was, Australian seemed almost the stuff of fairy tales.

Of course, there were many people who hated people many were there Of course, enough people who were were But there – especially with their high market easy to forget It’s a connection a time capsule, like they’re Today

of the , tell us so much about the value and us so much about the value Fleet, tell of the First about the fascination that the uses of drawings, world they felt for the natural Britain and Europe and about in 1788, Wales South found in New to a world to the new and the unfamiliar, responses reversed’. was in which ‘nature Life in a convict everythe colony. minute of being in without of the world was on the far side colony question a difficult, bewildering and alienating harsh and unfamiliar, climate was The experience. challenging and unpredictable. was the environment a food shortages and dire and rationing were There been dumped,crippling sense of isolation, of having abandoned and forgotten. even boasting delighted by the contrasts, captivated, that they’d Some wrote home. about them in letters … or of ‘the most beautiful place…’, at ‘the arrived confusion and the ‘sweet views’ of romantic variety the young For [of] of nature.’ hand the careless new … every was ‘everything Elizabeth Macarthur: … and was novelty … all everybird, insect, flower, …’ of eager curiosity noticed with a degree was were these early colonial drawings – that today values about fascination, were not about art. They acquisitiveness and the quest for knowledge. world as it existed in the Sydney with the natural basin at a decisive moment in history. The drawings that originated from the early years of the early years originated from that drawings The following the arrival Cove, at Sydney the settlement DRIVEN BY CURIOSITY BY DRIVEN

17 16

Colonial Hybrid: Colonial wedding in Kangaroo Lewin’s dress worn by Agnes Thompson on pencil and watercolour Ink, paper Arches 102 x 66 cm 2017

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Colonial Hybrid: Colonial Wedding in Kangaroo Lewin Dress 1845 2017 on pencil and watercolour Ink, paper Arches 56 x 46 cm

18 19

Colonial Hybrid: Port Hybrid: Colonial Jackson Painter Bag-ga-ree Dress Ann Wedding in Marsden 1822 2017 on pencil and watercolour Ink, paper Arches 102 x 66 cm

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Colonial Hybrid: Stubbs Stubbs Hybrid: Colonial Ballgown in 1770 Kongouro Annfrom Marsden 1820 2017 on pencil and watercolour Ink, paper Arches 102 x 66 cm Arts Korea-Australia Finalist Foundation Prize 2017

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Colonial Hybrid: George Hybrid: Colonial Raper Kangooroo of New evening in 1789 Holland dress from Anna King 1805 2017 on pencil and watercolour Ink, paper Arches 102 x 66 cm Kilgour Prize, 2017 Finalist Newcastle Art Gallery

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Colonial Hybrid: Lewin’s Lewin’s Hybrid: Colonial Kangaroo in day dress worn by Julia Johnston 2017 on pencil and watercolour Ink, paper Arches 102 x 66 cm

23 22

, c1819 ABOVE Attributed to J.W. Lewin, Attributed J.W. to Male female red and kangaroo in a Liverpool landscape Plains Mitchell Library, State Library of NSW

LEFT Awaiting discovery, discovery, Awaiting after Lewin 2015 Ink and pencil on Arches paper 133 x 98cm of Collection Kedumba Australian Drawings, GalleryOrange Regional

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ABOVE 2016 After George Stubbs & AnJohn Hawkesworth: animal of a new species, 1773 Ink and pencil on Arches paper 102cm X 65cm

LEFT After Governor Hunter Kang-oo-roo or pa-ta- garang 2017 Ink and pencil on Arches paper 102cm X 65cm

25 24 PROMISCUOUS PROVENANCE

RIGHT Colonial Hybrid Absent 2 Absent Hybrid Colonial Ink, watercolour and pencil paper Arches on 31 x 23 cm 2017

ABOVE Colonial Hybrid Absent 1 Absent Hybrid Colonial 2017 Ink, watercolour and pencil paper Arches on 31 x 23 cm

27 26 PROMISCUOUS PROVENANCE

ABOVE & RIGHT & ABOVE Black Swan / After Port Jackson Painters 2016 Ink and pencil on Arches paper 65 x 102 cm , 1788–92 ,

LEFT Port Jackson Painter, The black Swan the size of an English Swan. Native name Mulgo Collection Watling Natural History Museum, London

28 29 PROMISCUOUS PROVENANCE

RIGHT Antipodean Wonderland: Antipodean Wonderland: Native Dog and Friends 2017 Ink, watercolour and pencil paper Arches on x 6651 cm

ABOVE Antipodean Wonderland: Antipodean Wonderland: John from Reimagined Hunter 2017 Ink, watercolour and pencil paper Arches on x 6651 cm

31 30 me for you my dear wife…” my me for you “I only Shot one Cocka Too… “I only Shot one Cocka I hope to God to be able to get I hope to God to be able to beautiful bird… most they are Some alive to carry home with JOURNALS AND LETTERS RALPH OF LT. CLARK1787–92

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, RIGHT Antipodean Wonderland: Antipodean Wonderland: Tableaux Cockatoo of Port Jackson 2017 Ink, watercolour and pencil paper Arches on 66 x 102 cm

ABOVE Antipodean Wonderland: Antipodean Wonderland: Tableaux Jervis Bay 2017 Ink, watercolour and pencil paper Arches on 66 x 102 cm

33 32 PROMISCUOUS PROVENANCE

RIGHT Antipodean Wonderland: Antipodean Wonderland: Bird parade at Botany Bay (detail) 2017 Ink, watercolour and pencil paper Arches on x 6651 cm

ABOVE Antipodean Wonderland: Antipodean Wonderland: brush bronzewingTableaux 2017 Ink, watercolour and pencil paper Arches on x 6651 cm

35 34

ABOVE 51 x 6651 cm Antipodean Wonderland: Antipodean Wonderland: Illawarra Tableaux 2017 Ink, watercolour and pencil paper Arches on LEFT Joseph Lycett, View on the Illawarra about River, 80 New Sydney, from miles South Wales Mitchell Library, State Library of New South Wales

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ABOVE Antipodean Wonderland: Antipodean Wonderland: Shark of Port Jackson Ink, watercolour and pencil paper Arches on x 6651 cm 2017 defaced.” Quite fresh not a leaf of it Quite fresh them was found a Prayer Book found a Prayer them was

“…two Sharks were caught this Sharks were “…two JOURNALS AND LETTERS RALPH OF LT. CLARK1787–92 morning…in the Belly of one of morning…in the Belly of

37 36 PROMISCUOUS PROVENANCE RIGHT Stubbs Dingo – History Within 2017 Ink and pencil on Arches paper 65 x 102cm

ABOVE Antipodean Wonderland: Antipodean Wonderland: dingo Stubbs Tableaux 2017 Ink, watercolour and pencil paper Arches on x 6651 cm

38 39 (detail) 2018 (detail) OVERLEAF Eurotipodes chiffon on Photomontage Panorama 140 x 900cm All images © Anna Glynn and used images © Anna All courtesy of the artist Nowra, Gallery, Regional © Shoalhaven 2018 Nowra Gallery, Regional Shoalhaven Cataloguing-in-publication Promiscuous Provenance ISBN 978-0-6483014-0-0 All rights reserved. No part rights reserved. of this No All or be reproduced publication may means, form or by any in any transmitted or mechanical, without the prior electronic the publisher other than permission from 1968 Act Copyright under the that permitted and subsequent amendments. , Archaeologist , Archaeologist

OAM Thank you to Trudi for pulling the to Trudi you Thank to the staff at catalogue together, Gallery Regional Shoalhaven for their City assistance and to Shoalhaven Board Arts and the Shoalhaven Council able to pursue are for ensuring we and for supportingambitious projects art regional exhibition in high quality Australia. scholarly to the authors of the you Thank within this catalogue for offering essays their expertise subject in their different Les Bursill matters. and Anthropologist; Louise Martin- and Anthropologist; writer; and Louise Anemaat, Art Chew, Library & Director, Executive State Library Services, of Information NSW. Fletcher Design: Trudi Service Ulladulla Printing Printing:

A division of ACKNOWLEDGMENTS We would like to acknowledge and to acknowledge would like We contributedthank all those who have ways. many to this exhibition in so librarians curators, the archivists, To Library;and historians at the Mitchell & Arts of Applied the Museum History the Natural Sydney; Sciences, London; the Maritime Museum, College the Royal Greenwich; Museum, London and Museum, of Surgeons time, your Living Museums; Sydney advice and willingness to open your been crucialcollections for study have in is grounded in ensuring this project colonial history. Australia’s given their time, those who have To over looked books, opened their address and helped us out when drafts various expertise our scope and our beyond Oakford, needed, Jack were networks Les Bursill, Anne-Louise Anna Rentell, Glynis Louise Anemaat, Thompson, and Peter Jones Hill, Julee Scott Jones, in been invaluable have you Dalmazzo; helping to bring this exhibition to completion.

PROMISCUOUS PROVENANCE Anna Glynn researching Glynn researching Anna Collection Fleet First the at the Natural History 2017 London, Museum, Broadcasting Commissions RadioBroadcasting Commissions National Documentaries’‘360 in 2011 has She and been in included the 2013. following publications: ‘Contemporary ,’ ‘Artists and Galleries of Dictionary Australia,’ ‘A Women of Artists in Australia,’ Who ‘Who’s of Australian Visual Buyers Artists’, ‘A Guide to Australian Art’ & the Dictionary Australian of Artists Online. She regularly exhibits the Whyalla Art Prize, the of recipient Kedumba Drawing she Award. In 2013 was a finalist‘Australian in the Art in ongoing recognising her Asia Awards’ commitment to international collaboration. She won the Animation section International the at 2010 Film Festival, Ireland and the won 2009 Australian Historic Houses Trust, Art Prize.Meroogal In 2009 Women’s narrativeher painting Hunter’ ‘Brave was chosen as the Australian iconic Concise image the ‘A for of cover History Australia’. of internationally: including the Art Museum Zhu Qi of Zhan, Peking University/China and the Kyoto Museum/Japan. soundscape Her works featuredwere the on Australian

Her internationalHer reputation has hasShe been selected BOAA, for Award winningAward Australian artist, Anna Glynn draws a diversified on practice drawing, painting, incorporates that making,film image, moving installation, sculpture, animation, writing,photography, music, sound and live performance. strives She to create visually poetic work investigating the connection between humans and nature, land and place, the physical and the ephemeral. grown through interdisciplinary collaborations art of and science exploring landscape and nature to create site-responsive artworks examining the amplifiedresponse that a physical engagement with the natural environment has the power to evoke. hasShe been to commissioned in 2018 collaborate Ecology ‘Art, on & Science Project’ in USA, & Australia Sweden as well as another project examining threatened species in Australia. Biennale Of Australian Art In 2018. was work her acquired the for 2017 Parliament House Art Collection Australia, was she a finalist in the KAAF and Kilgour Prizes and was a finalist in the Women’s Ravenswood Art Prize. was: she Winner In 2016 Noosa Art Award, finalist in the Heysen Prize Landscape, for finalist in the Mandorla Art she Award. In 2015 was: selected the for Byron Bay International Film Festival, finalist in BIOGRAPHY

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