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Emu Island: Modernism in Place
Emu Island: Modernism in Place Visual Arts Syllabus Stages 5 - 6 CONTENTS 3 Introduction to Emu Island: Modernism in Place 4 Introduction to education resource Syllabus Links Conceptual framework: Modernism 6 Modernism in Sydney 7 Gerald and Margo Lewers: The Biography 10 Timeline 11 Mud Map Case study – Sydney Modernism Art and Architecture Focus Artists 13 Tony Tuckson 14 Carl Plate 16 Frank Hinder 18 Desiderius Orban 20 Modernist Architecture 21 Ancher House 23 Young Moderns 24 References 25 Bibliography Front Page Margel Hinder Frank Hinder Currawongs Untitled c1946 1945 shale and aluminium collage and gouache on paper 25.2 x 27 x 11 24 x 29 Gift of Tanya Crothers and Darani Penrith Regional Gallery & The Lewers, 1980 Lewers Bequest Collection Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Copyright courtesy of the Estate of Margel Hinder Emu Island: Modernism in Place Emu Island: Modernism in Place celebrates 75 years of Modernist art and living. Once the home and studio of artist Margo and Gerald Lewers, the gallery site, was, as it is today - a place of lively debate, artistic creation and exhibitions at the foot of the Blue Mountains. The gallery is located on River Road beside the banks of the Nepean River. Once called Emu Island, Emu Plains was considered to be the land’s end, but as the home of artist Margo and Gerald Lewers it became the place for new beginnings. Creating a home founded on the principles of modernism, the Lewers lived, worked and entertained like-minded contemporaries set on fostering modernism as a holistic way of living. -
Mapping Landscapes of the Mind: a Cadastral Conundrum in the Native Title Era
Mapping landscapes of the mind: A cadastral conundrum in the Native Title era Graeme Neate President, National Native Title Tribunal Presented at the UN-FIG Conference on Land Tenure and Cadastral Infrastructures for Sustainable Development, Melbourne, Australia 25-27 October 1999 ABSTRACT When the Crown progressively assumed sovereignty over different parts of Australia, groups of Aboriginal and Torres Strait Islander peoples had their own laws and customs which made them traditional owners of different parts of the land. Despite more than two centuries of colonisation, traditional links to land have survived and are exercised in some places. Through the prism of their cultural heritage, traditional owners of the land see geological features and items of vegetation as instances of Dreamtime activity. The stories, the songs, the ceremonies and the language are embedded in the land but are maintained in the minds of successive generations of traditional owners. The features of the landscape can be observed by all, but their meaning and significance is known to the few. In that sense, the traditional estates of indigenous groups are landscapes of the mind. The legal recognition of indigenous peoples’ rights and interests in land, and laws providing for the recognition and protection of areas of particular significance to indigenous Australians, have generated the need to precisely describe the location and extent of indigenous interests in land. That requirement gives rise to numerous issues about how indigenous peoples’ rights are to be -
Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA
arts Article Cultural Tourism: Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA Marie Geissler Faculty of Law Humanities and the Arts, University of Wollongong, Wollongong, NSW 2522, Australia; [email protected] Received: 19 February 2019; Accepted: 28 April 2019; Published: 20 May 2019 Abstract: This paper explores how the appeal of the imagery of the Arnhem Land bark painting and its powerful connection to land provided critical, though subtle messaging, during the post-war Australian government’s tourism promotions in the USA. Keywords: Aboriginal art; bark painting; Smithsonian; Baldwin Spencer; Tony Tuckson; Charles Mountford; ANTA To post-war tourist audiences in the USA, the imagery of Australian Aboriginal culture and, within this, the Arnhem Land bark painting was a subtle but persistent current in tourism promotions, which established the identity and destination appeal of Australia. This paper investigates how the Australian Government attempted to increase American tourism in Australia during the post-war period, until the early 1970s, by drawing on the appeal of the Aboriginal art imagery. This is set against a background that explores the political agendas "of the nation, with regards to developing tourism policies and its geopolitical interests with regards to the region, and its alliance with the US. One thread of this paper will review how Aboriginal art was used in Australian tourist designs, which were applied to the items used to market Australia in the US. Another will explore the early history of developing an Aboriginal art industry, which was based on the Arnhem Land bark painting, and this will set a context for understanding the medium and its deep interconnectedness to the land. -
En E W S L E T T E R December 2020 No
ROYAL ART SOCIETY OF NEW SOUTH WALES eN E W S L E T T E R December 2020 No. 467 25-27 Walker Street, North Sydney NSW 2060 eMail: [email protected] Website: www.royalart.com.au Tel: (02) 9955 5752 Fax: (02) 9925 0064 Australia Post Publication No: 241613/00090 From the desk of the President – John Perkins FRAS This month has been relatively quiet, building up for 140th Anniversary Exhibition. The Art School Student Exhibition was a most successful event and even though we were restricted in numbers, a good crowd enjoyed the evening. Thanks to Art School Director Greg Hansell and Secretary Christine for their efforts and hard work in making this a successful exhibition. Our congratulations go to all the students and in particular the prize winners. Thanks to all the tutors who have braved it through this most difficult year and to the high standard of work their students have produced. I also extend my thanks to the sponsors, and especially our Gallery volunteers for their wonderful support during the year, just one more to go. We have received many excellent comments and a number of class enquiries for next year’s classes. Congratulations to Melissa Read Devine who was nominated and elevated to Fellow. We now look forward to our 140th Anniversary Exhibition which l am sure will be well supported by both our exhibitors and visitors. Unfortunately, we are still restricted to attendance numbers for the opening celebrations but please take the opportunity to view this important event. Stay safe and keep painting. -
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 ................................................................................................ -
Art Gallery of New South Wales 2017: Our Year in Review
Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 201 7 2017 ART GALLERY OF NEW SOUTH WALES 2017 2 Art Gallery of New South Wales 2017 Art Gallery of New South Wales 2017 3 Our year in review 4 Art Gallery of New South Wales 2017 6 OUR VISION 7 FROM THE PRESIDENT David Gonski 8 FROM THE DIRECTOR Michael Brand 10 2017 AT A GLANCE 12 SYDNEY MODERN PROJECT 16 ART 42 IDEAS 50 AUDIENCE 62 PARTNERS 78 PEOPLE 86 BOARD OF TRUSTEES 88 EXECUTIVE 89 CONTACTS 90 2018 PREVIEW The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales stands. We respectfully acknowledge their Elders past, present and future. Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. page 4: A view from the Grand Courts to the entrance court showing Bertram Mackennal’s Diana wounded 1907–08 and Emily Floyd’s Kesh alphabet 2017. 6 Art Gallery of New South Wales 2017 DAVID GONSKI AC PRESIDENT ART GALLERY OF NEW SOUTH WALES TRUST and the Hon Adam Marshall MP, Glenfiddich, Herbert Smith Freehills, Minister for Tourism and Major Events. JCDecaux, J.P. Morgan, Macquarie Group, Macquarie University, The funding collaboration between McWilliam’s Wines & Champagne government and philanthropists for Taittinger, Paspaley Pearls, Sofitel our expansion will be the largest in FROM Sydney Wentworth, the Sydney the history of Australian arts. -
Australian Aboriginal Oral Traditions
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace Oral Tradition 1/2 (1986): 231-71 Australian Aboriginal Oral Traditions Margaret Clunies Ross 1. Aboriginal Oral Traditions A History of Research and Scholarship1 The makers of Australian songs, or of the combined songs and dances, are the poets, or bards, of the tribes, and are held in great esteem. Their names are known in the neighboring tribes, and their songs are carried from tribe to tribe, until the very meaning of the words is lost, as well as the original source of the song. It is hard to say how far and how long such a song may travel in the course of time over the Australian continent. (Howitt 1904:414) In 1988 non-Aboriginal Australians will celebrate two hundred years’ occupation of a country which had previously been home to an Aboriginal population of about 300,000 people. They probably spoke more than two hundred different languages and most individuals were multilingual (Dixon 1980). They had a rich culture, whose traditions were centrally concerned with the celebration of three basic types of religious ritual-rites of fertility, initiation, and death (Maddock 1982:105-57). In many parts of Australia, particularly in the south where white settlement was earliest and densest, Aboriginal traditional life has largely disappeared, although the memory of it has been passed down the generations. Nowadays all Aborigines, even in the most traditional parts of the north, such as Arnhem Land, are affected to a greater or lesser extent by the Australian version of Western culture, and must preserve their own traditions by a combination of holding strategies. -
The 1948 Wubarr Ceremony Performed for the American–Australian Scientific Expedition to Arnhem Land1
20. The Forbidden Gaze: The 1948 Wubarr ceremony performed for the American–Australian Scientific Expedition to Arnhem Land1 Murray Garde They bin make im Ubarr, everyone bin go there, make that Ubarr, and they bin look that didjeridu. ‘Hey! Ubarr alright!’ And everyone they bin know…I went in front. They tell me…‘This thing you can’t tell im kid, you can’t tell im friend, you can’t tell im anybody, even your wife. You find your son…you can’t tell im story about Ubarr, you got to tell im what I’m telling you now. This “outside” story. Anyone can listen, kid, no-matter who, but this “inside” story you can’t say. If you go in Ring-place, middle of a Ring- place, you not supposed to tell im anybody…but oh, e’s nice.’ 2 — Bill Neidjie Introduction Anthropology in Australia in the early twentieth century was dealing very much with the exploration and description of the unknown. The political and cultural underpinnings of the European project to colonise and document unknown peoples and places across the globe tell us as much about Western views of science and cultural development as they do about its colonial subjects of investigation. The unknown was in a process of being revealed, rationalised, classified and collected. In his preface to Charles Mountford’s Records of the American–Australian Scientific Expedition to Arnhem Land, the Australian Minister of State for Information, Arthur Calwell, described Arnhem Land as 1 Whilst this chapter discusses some aspects of ceremonial secrecy, it does not mention cultural information that is not in the public domain. -
Friday Essay: Who Owns a Family's Story? Why It's Time to Lift the Berndt Field Notes Embargo
31/08/2020 Friday essay: who owns a family's story? Why it's time to lift the Berndt field notes embargo Academic rigour, journalistic flair Vincent Copley senior and Vincent Copley junior at Redbanks Conservation Park, Burra, in June, 2018. They are holding Ngadjuri book, with their grandfather and great-grandfather, Barney Waria, on the cover. Photo: C.J. Taylor, Flinders University. Friday essay: who owns a family’s story? Why it’s time to lift the Berndt field notes embargo September 14, 2018 6.34am AEST Imagine your grandfather was interviewed about his life, over many hours, some 80 years Authors ago. Everything he says is written down, enough to fill more than 20 notebooks. You’ve heard that those notebooks hold stories of your grandparents and their grandparents. Stories they would tell as they sat around a fire in the winter, by a river in Claire Smith summer. There are stories about the sports they played, the food they ate, their Professor of Archaeology, College of spirituality, how they celebrated important events. Stories about their songs, dances, Humanities, Arts and Social Sciences, Flinders University artworks. Stories of the events that shaped them, many of which play out even now. Then you learn that the wife of the person who wrote down your grandfather’s stories has locked the notebooks away. You and your family are not allowed to read them. Gary Jackson This is how it is for a number of Aboriginal people today, among them 81-year-old Vincent Research Associate in Archaeology, Flinders University (Vince) Copley senior, co-author of this article. -
MARGARET TUCKSON 12 November 1979
JAMES GLEESON INTERVIEWS: MARGARET TUCKSON 12 November 1979 JAMES GLEESON: Well, Margaret, a lot of our work’s been done for us by Daniel in that introduction to the Memorial Exhibition to the catalogue, and that gives a great deal of biographical material. In fact, all that we’ll need, except that you mentioned to me that there were a few corrections that had come to light since then. Could we put on record what those corrections were? MARGARET TUCKSON: Yes. These came from Tony’s sister, Ruth Thornton, who lives in England. It was after I sent her a copy of the Retrospective Exhibition catalogue that she said there were a few corrections she could add to it. I have them written here. So perhaps I’ll just read them out from this. JAMES GLEESON: Good, yes. MARGARET TUCKSON: It’s from the chronology section of the catalogue, the corrections are for. It’s on page 19. So she lists it, as it is in the catalogue, by years. For 1921 she just says that that’s all correct except that there were only seven years in age between she and Tony. We said there were eight, I think. Nineteen thirty-four, ’37, she says, I thought he had a matriculation certificate. Better than School Certificate but not really important. At this he was living with father and stepmother in New Southgate, London. This is why he picked Hornsey Art School—it was quite near’. I think we had the wrong art school there. Nineteen thirty-eight his father died, in November, the 22nd. -
Etnologia E Indigenismo Na Austrália
115 ETNOLOGIA E INDIGENISMO NA AUSTRÁLIA Stephen G. Baines Brasília 1991 1 ETNOLOGIA E INDIGENISMO NA AUSTRÁLIA Stephen G. Baines Este trabalho surgiu como parte da temática de um projeto de pesquisa que visa comparar etnologia indígena no Brasil e na Austrália e sua relação com política indígena e indigenista. O projeto visa focalizar o caso da Austrália, examinando a etnologia como espelho para se refletir sobre o caso do Brasil Pretendo aprofundar a temática enfocando temas específicos como a construção da alteridade ("aboriginalidade" e "indianidade") nos respectivos países; as maneiras em que populações nativas têm sido incorporadas na antropologia; os conceitos a respeito de uma antropologia nacional; o espaço da antropologia nos dois países e sua configuração local; a ideologia de sistema interétnico e história de luta nos dois países, além de temas como a noção de autodeterminação nativa. Berndt & Tonkinson (1988) observam um ímpeto novo do exterior e desdobramentos dentro da Austrália, como, por exemplo, o início do Aboriginal Land Rights (Northern Territory) Act, de 1976, que deram uma vitalidade nova à etnologia. No Brasil, uma série de trabalhos de Alcida Ramos (1987, 1988, 1990), João Pacheco de Oliveira (1988, 1989, 1990), Roberto Cardoso de Oliveira (1978, 1988a) e outros refletem sobre os temas de política indígena, política indigenista e etnologia, enquanto trabalhos de Roberto Cardoso de Oliveira (1988b), Mariza Peirano (1981, 1987, 1988, 1989), Leonardo Figoli (1990), Guillermo Rubens (1990) e outros abordam estilos -
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.