Promiscuous Provenance, Anna Glynn
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Parramatta's Archaeological Landscape
Parramatta’s archaeological landscape Mary Casey Settlement at Parramatta, the third British settlement in Australia after Sydney Cove and Norfolk Island, began with the remaking of the landscape from an Aboriginal place, to a military redoubt and agricultural settlement, and then a township. There has been limited analysis of the development of Parramatta’s landscape from an archaeological perspective and while there have been numerous excavations there has been little exploration of these sites within the context of this evolving landscape. This analysis is important as the beginnings and changes to Parramatta are complex. The layering of the archaeology presents a confusion of possible interpretations which need a firmer historical and landscape framework through which to interpret the findings of individual archaeological sites. It involves a review of the whole range of maps, plans and images, some previously unpublished and unanalysed, within the context of the remaking of Parramatta and its archaeological landscape. The maps and images are explored through the lense of government administration and its intentions and the need to grow crops successfully to sustain the purposes of British Imperialism in the Colony of New South Wales, with its associated needs for successful agriculture, convict accommodation and the eventual development of a free settlement occupied by emancipated convicts and settlers. Parramatta’s river terraces were covered by woodlands dominated by eucalypts, in particular grey box (Eucalyptus moluccana) and forest -
EORA Mapping Aboriginal Sydney 1770–1850 Exhibition Guide
Sponsored by It is customary for some Indigenous communities not to mention names or reproduce images associated with the recently deceased. Members of these communities are respectfully advised that a number of people mentioned in writing or depicted in images in the following pages have passed away. Users are warned that there may be words and descriptions that might be culturally sensitive and not normally used in certain public or community contexts. In some circumstances, terms and annotations of the period in which a text was written may be considered Many treasures from the State Library’s inappropriate today. Indigenous collections are now online for the first time at <www.atmitchell.com>. A note on the text The spelling of Aboriginal words in historical Made possible through a partnership with documents is inconsistent, depending on how they were heard, interpreted and recorded by Europeans. Original spelling has been retained in quoted texts, while names and placenames have been standardised, based on the most common contemporary usage. State Library of New South Wales Macquarie Street Sydney NSW 2000 Telephone (02) 9273 1414 Facsimile (02) 9273 1255 TTY (02) 9273 1541 Email [email protected] www.sl.nsw.gov.au www.atmitchell.com Exhibition opening hours: 9 am to 5 pm weekdays, 11 am to 5 pm weekends Eora: Mapping Aboriginal Sydney 1770–1850 was presented at the State Library of New South Wales from 5 June to 13 August 2006. Curators: Keith Vincent Smith, Anthony (Ace) Bourke and, in the conceptual stages, by the late Michael -
Course Number and Title: CAS AH 374 Australian Art and Architecture
Course Number and Title: CAS AH 374 Australian Art and Architecture Instructor/s Name/s: Peter Barnes Course Dates: Spring Semester, Fall Semester Office Location: BU Sydney Programs, Australia, a division of BU Study Abroad Course Time: Two sessions per week in accordance with class schedule: one session of 4 + hours and one session of 2 hours in a 7-8 week teaching half of a semester. Location: Classrooms, BU Sydney Academic Centre, Sydney, Australia, and multiple out-of-classroom field trips as scheduled, one of which is a 12 hour day long field trip outside the city to Canberra, Australia’s national capital and home to National Art Galleries, and Museums. Course Credits: 4 BU credits plus 2 BU Hub units Contact Information: [email protected] Office Hours: 15 minutes prior to and following course delivery or by appointment. TA/TF/Learning Assistant information, if relevant: 0 Principal Lecturers: Peter Barnes Guest Lecturers: Vary in accordance with available artists. One example is: Tom Carment, a working artist Question-driven Course Description: *How have European art traditions influenced the art practice of Australia’s indigenous peoples and how in turn has Aboriginal culture impacting the art of non-indigenous Australians? *The 18th century voyages to the southern ocean placed artists in a prominent role as practitioners of the new science of observation and experimentation promoted by the Royal Society. How does this differ from the idealist aesthetics of the Royal academy and what impact did this have on art in Australia during -
AH374 Australian Art and Architecture
AH374 Australian Art and Architecture The search for beauty, meaning and freedom in a harsh climate Boston University Sydney Centre Spring Semester 2015 Course Co-ordinator Peter Barnes [email protected] 0407 883 332 Course Description The course provides an introduction to the history of art and architectural practice in Australia. Australia is home to the world’s oldest continuing art tradition (indigenous Australian art) and one of the youngest national art traditions (encompassing Colonial art, modern art and the art of today). This rich and diverse history is full of fascinating characters and hard won aesthetic achievements. The lecture series is structured to introduce a number of key artists and their work, to place them in a historical context and to consider a range of themes (landscape, urbanism, abstraction, the noble savage, modernism, etc.) and issues (gender, power, freedom, identity, sexuality, autonomy, place etc.) prompted by the work. Course Format The course combines in-class lectures employing a variety of media with group discussions and a number of field trips. The aim is to provide students with a general understanding of a series of major achievements in Australian art and its social and geographic context. Students should also gain the skills and confidence to observe, describe and discuss works of art. Course Outline Week 1 Session 1 Introduction to Course Introduction to Topic a. Artists – The Port Jackson Painter, Joseph Lycett, Tommy McCrae, John Glover, Augustus Earle, Sydney Parkinson, Conrad Martens b. Readings – both readers are important short texts. It is compulsory to read them. They will be discussed in class and you will need to be prepared to contribute your thoughts and opinions. -
Investigation of Metallic Media in First Fleet Natural History Watercolours
Investigation of metallic media in First Fleet natural history watercolours Kate Hughes The 8th AICCM Book, Paper and Photographic Symposium Art Gallery of New South Wales 7-9 May 2014 ABSTRACT The use of metallic media had been observed in the State Library of New South Wales First Fleet era natural history watercolour collections. Ten drawings within SLNSW’s First Fleet collection were identified as containing metallic media. A further ten drawings possibly containing metallic media were identified in other cultural institutions collections. Portable X- ray fluorescence was used to identify the metallic media in drawings in the SLNSW’s and the National Library of Australia’s collections. Metallic areas were identifies as gold, brass or silver. Microscopic examination of the application methods used revealed gold and brass leaf were the most common materials and were applied in a layered technique. Watercolour was applied to the gold and brass leaf to create iridescent effects. This technique was documented in artist manuals of the time. The limited availability of artist materials in First Fleet era Australia would have dictated artists’ selection of metallic media. Keywords: First Fleet, Sydney Bird Painter, Gilding, Watercolour, Natural History, Gold INTRODUCTION The State Library of New South Wales holds a premier collection of natural history watercolours from the First Fleet era. The recent acquisition of the TAL & Dai-ichi Life Derby Collection of Natural History Watercolours in 2011 has brought these collections into focus and has provided a broader context for their investigation, particularly the use of metallic media. Ten watercolours were identified in the SLNSW’s collections and a possible ten more in other cultural institutions related collections. -
Phillip and the Eora Governing Race Relations in the Colony of New South Wales
Phillip and the Eora Governing race relations in the colony of New South Wales Grace Karskens In the Botanic Gardens stands a grand monument to Arthur Phillip, the first governor of New South Wales. Erected 1897 for the Queen Victoria's Diamond Jubilee, the elaborate fountain encapsulates late nineteenth century ideas about society and race. Phillip stands majestically at the top, while the Aboriginal people, depicted in bas relief panels, are right at the bottom. But this is not how Phillip acted towards Aboriginal people. In his own lifetime, he approached on the same ground, unarmed and open handed. He invited them into Sydney, built a house for them, shared meals with them at his own table.1 What was Governor Arthur Phillip's relationship with the Eora, and other Aboriginal people of the Sydney region?2 Historians and anthropologists have been exploring this question for some decades now. It is, of course, a loaded question. Phillip's policies, actions and responses have tended to be seen as a proxy for the Europeans in Australia as whole, just as his friend, the Wangal warrior Woolarawarre Bennelong, has for so long personified the fate of Aboriginal people since 1788.3 The relationship between Phillip and Bennelong has been read as representing not only settler-Aboriginal relations in those first four years but as the template for the following two centuries of cross-cultural relations. We are talking here about a grand narrative, driven in part by present-day moral conscience, and deep concerns about on-going issues of poverty, dysfunction and deprivation in many Aboriginal communities, about recognition of and restitution for past wrongs and about reconciliation between black and white Australians. -
Australia & the Pacific
Australia & the Pacific Maggs Bros. Ltd. 48 Bedford Square London WC1B 3DR Telephone: +44 (0)20 7493 7160 Email: [email protected] © Maggs Bros Ltd 2020 A HANDSOME PORTRAIT OF THE PIRATE-EXPLORER 1 BOISSARD (Robert). Sir Francis Drake. Engraving, with etching, measuring 186 by 126mm. Trimmed to plate mark, and on the right margin just inside, a small hole repaired just touching the ‘c’ of Frauncis in the legend. Inlaid into a paper mount. Nd. but after 1590. £2,250 Sir Francis Drake (1540-1596) was the first English circumnavigator, and only the second after Magellan. His voyage extended British maritime power into the Pacific for the first time, threatened the Spanish empire in America to its heart, opened a new age in British seamanship, and made Drake a rich man. Sailing from Plymouth in December 1577, the expedition reached Patagonia in June 1578, weathered a near mutiny, and saw the second ship, the Elizabeth, turn back during the stormy passage through the Straits of Magellan. Drake sailed on alone in the Golden Hind, raiding Spanish commerce along the Pacific coast of the Americas, and culminated his piracy with the seizure of a major treasure galleon. This exploit allowed him to pay a 4600% dividend to his backers on returning to England. In 1579 he explored northward up the California coast, discovered San Francisco Bay, and went as far north as Vancouver. He then crossed the Pacific, took on a cargo of spices in the East Indies, and went home by the Cape of Good Hope, arriving back at Plymouth in September 1580. -
Investigation of Metallic Media in First Fleet Natural History Watercolours Kate Hughes
Investigation of metallic media in First Fleet natural history watercolours Kate Hughes ABSTRACT The use of metallic media had been observed in the State Library of New South Wales First Fleet era natural history watercolour collections. Ten drawings within SLNSW’s First Fleet collection were identified as containing metallic media. A further ten drawings possibly containing metallic media were identified in other cultural institutions collections. Portable X-ray fluorescence was used to identify the metallic media in drawings in the SLNSW’s and the National Library of Australia’s collections. Metallic areas were identifies as gold, brass or silver. Microscopic examination of the application methods used revealed gold and brass leaf were the most common materials and were applied in a layered technique. Watercolour was applied to the gold and brass leaf to create iridescent effects. This technique was documented in artist manuals of the time. The limited availability of artist materials in First Fleet era Australia would have dictated artists’ selection of metallic media. Keywords First Fleet, Sydney Bird Painter, Gilding, Watercolour, Natural History, Gold INTRODUCTION The State Library of New South Wales holds a premier collection of natural history watercolours from the First Fleet era. The recent acquisition of the TAL & Dai-ichi Life Derby Collection of Natural History Watercolours in 2011 has brought these collections into focus and has provided a broader context for their investigation, particularly the use of metallic media. Ten watercolours were identified in the SLNSW’s collections and a possible ten more in other cultural institutions related collections. The identification of what metallic materials were used by artists in colonial Australia was identified as a priority as well as investigation of the application technique and skill required by the artists. -
Kinsella Feb 13
MORPHEUS: A BILDUNGSROMAN A PARTIALLY BACK-ENGINEERED AND RECONSTRUCTED NOVEL MORPHEUS: A BILDUNGSROMAN A PARTIALLY BACK-ENGINEERED AND RECONSTRUCTED NOVEL JOHN KINSELLA B L A Z E V O X [ B O O K S ] Buffalo, New York Morpheus: a Bildungsroman by John Kinsella Copyright © 2013 Published by BlazeVOX [books] All rights reserved. No part of this book may be reproduced without the publisher’s written permission, except for brief quotations in reviews. Printed in the United States of America Interior design and typesetting by Geoffrey Gatza First Edition ISBN: 978-1-60964-125-2 Library of Congress Control Number: 2012950114 BlazeVOX [books] 131 Euclid Ave Kenmore, NY 14217 [email protected] publisher of weird little books BlazeVOX [ books ] blazevox.org 21 20 19 18 17 16 15 14 13 12 01 02 03 04 05 06 07 08 09 10 B l a z e V O X trip, trip to a dream dragon hide your wings in a ghost tower sails crackling at ev’ry plate we break cracked by scattered needles from Syd Barrett’s “Octopus” Table of Contents Introduction: Forging the Unimaginable: The Paradoxes of Morpheus by Nicholas Birns ........................................................ 11 Author’s Preface to Morpheus: a Bildungsroman ...................................................... 19 Pre-Paradigm .................................................................................................. 27 from Metamorphosis Book XI (lines 592-676); Ovid ......................................... 31 Building, Night ...................................................................................................... -
Make Not Only Macroscopic Studies, but Also Meticulous Enlargements
- 612 - iii. Artists Some amateur enthusiasts were famed more for their drawings than for their collections of plants. Those First Fleeters and other early settlers who shared Captain John Hunters "pretty turn for 315 drawing" were worthily succeeded. Luch of the later botanical art was inspired by the same old motives. Some were simply moved "by the 316 sight of plants with quaint and beautiful characteristics" to paint them for personal pleasure, or for the pleasure and information of friends 317 ; others sketched, painted or photographed plants because they were commissioned to do so or because such work came into their professional ambit; some were moved by purely scientific motives to make not only macroscopic studies, but also meticulous enlargements of dissections to indicate previously unknown morphological characteristics 318 However motivated in hobby or profession, the preparation of faithful delineations of plants had the scientifically significant effects of concentrating the observational skill of the artists themselves, and of developing botanical awareness in others. vhen an artists work was published his contribution to science was immeasurably greater, but the 315 Surgeon John Valites term for Hunters artistic skill. See Thesis I,-)p.94-95. For the botanical art of John Hunter, George Raper, Henry Brewer, the "Port Jackson Painter", Thomas Watling, Ferdinand Bauer and John William Lewin, see Thesis I, Chapter VI. 316 Thesis I,p.92, 317 It is interesting to note that during the 1040s, "Mrs. Jones" of 10 OConnell Street, Sydney, undertook to make and send to England "wax replicas of Telopea speciosissima, Rock Lily, etc. from £4-4-0 for collections". -
Hannah Gadsby's Oz
A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-496-7 http://www.theeducationshop.com.au STUDY GUIDE Overview Australian stand up comedian Hannah Gadsby is a closet Closet art-critic and art scholar. Armed with a rapier wit and desire to pick beneath the paint, she travels across the continent on a stand-up comedian mission to debunk the myths of the Australian Identity as defined by our art canon. If our great works are to be believed, the average Aussie is a bloke in a hat who is Hannah Gadsby hell bent on conquering our gum-tree infested landscape singlehandedly. Why has this mono-vision of Australia is on a mission to persisted for so long? debunk the myths Surely there is more to us than our most famous artworks suggest? From first settlement to Federation to post-mul- ticulturalism, Hannah will forge an irreverent new image of of the Australian who we think we are through a re-examination of Australian art history. By digging a bit deeper and uncovering often- identity perpetuated ignored histories and artists, Hannah will take on these painted white/male clichés to show us a more colourful and by our national art. feminine vision of Australia. Knocking on the studio doors of some of this country’s most interesting contemporary artists, Hannah will engage with a new generation who are determined to break open the ideas of what it means to be Australian. Many of these artists’ works speak directly to our historical canon, chal- lenging its point of view and re-interpreting it to ignite the SCREEN EDUCATION © ATOM 2014 © ATOM SCREEN EDUCATION issues still haunting our political and cultural landscapes. -
THE Lycett ALBUM
THE Lycett ALBUM Drawings of Aborigines and Australian scenery with commentary by Jeanette Hoorn THE Lycett ALBUM Drawings of Aborigines and Australian scenery with commentary by Jeanette Hoorn National Library of Australia © 1990 National Library of Australia National library of Australia Cataloguing-in-Publication I.ycett, Joseph, ca. 1775-1828. The Lycett album: drawings of Aborigines and Australian scenery. Bibliography. ISBN 0 642 10507 3. I. Lycett, Joseph, ca. 1775-1828. |2|. Aborigines, Australian, in art. I. Hoorn, Jeanette. II. National Library of Australia. III. Title. 741.994 Edited for publication by Dana Rowan and Carol Miller Designed by Michael Pugh Printed by Owen King Printers Pty Ltd, Melbourne Contents Foreword vii Introduction 1 The Watercolours 7 References 29 The Plates 31 Foreword In 1972, the National Library of Australia purchased from Sotheby and Company in London an album of twenty watercolour drawings dating probably from the 1820s and attributed to the convict artist Joseph Lycett (c. 1775-1828). The drawings, each measuring approximately 17.8 x 28 cm, depict aspects of Aboriginal life in New South Wales. The album, bound in half morocco leather and measuring 34 x 23.5 cm, appears to have been assembled at a later date. The title page carries an inscription which incorrectly identifies the contents as 'Drawings of the Natives & Scenery of Van Diemens Land 1830'. The album was offered for sale by Mrs C.E. Blake, a grand-daughter of Charles Albert La Trobe whose signature appears on the inside of the upper cover, and great-grand-daughter of Charles Joseph La Trobe, Lieutenant-Governor of Victoria 1851-54.