Australian art

In October 1911 newspapers in Sydney and Melbourne carried reviews of The Bush Boy’s Book (from hereon Bush Boy’s) by Donald Macdonald.

Under this title Mr. Donald Macdonald, the well-known member of the Argus literary staff, has issued a handbook of very practical value in all matters relating to Australian bush craft … The handbook is the sort of publication that everyone should have in his pocket on setting out for an excursion into the  bush, or to the seaside …

The book is compiled mainly for boys, and consequently is plain and simple in form, but it does not alter the fact that the adult can learn just as much from its letterpress and many diagrams as can the juvenile enthusiast. 

The book is indeed a manual for camping in the bush covering everything from how to choose a site  to dealing with snakes.

The book is in the genre of writing about camping. There were newspaper articles dealing with cooking in the bush camp prior to Macdonald’s book. In 1906 The Australasian published Bush Cooks.  In1909 The Mercury published Camping Out.  In 1911 The Herald published Cooking In Camp.  Maconald’s was the earliest book on the subject of camping. Almost half of its 260 pages concern food – what to bring, what to shoot or catch, and how to cook it. It is with these this article is concerned.

Wyman is a Palawa woman who was born in Sydney and raised in North Queensland (Dysart, Moranbah, Tolga and Mackay). Her own visual sense of identification and what would emerge in the public sphere as a question of both indigeneity and authenticity, were perplexing, challenging, and unresolved growing up—a matter further complicated by living in a diasporic context. Attending the Queensland University of Technology, Wyman’s initial desire to pursue painting was met with defiance. In the early noughts, art schools were navigating the politics of post-modernity and modernist disambiguation.  The jargon around the open studio practice of environmental art and transdisciplinary new media was used to discourage female painters from pursuing what was perceived as decorative, leaving the ‘history painting’ to the men.  Wyman eventually resurrected the act of painting through her own distinct language. Using a Turkey baster—the mythologised phallus perceived to be a tool for individually performed female insemination, was used by the artist to create drip paintings on canvas. Claiming this instrument was as an act of queering.

Photography at Prahran College in the 1970s was integrated into the art school, a pedagogical environment unlike the universities in which the medium is now taught. James McArdle remembers his experience there of the lecturers and student colleagues and argues for the value of this atelier model in the teaching of art.

In 1893 at Chicago's World Columbian Exposition, California devoted a great deal of resources to its promotion through a pavilion that created an image of California's "Spanish" past. This constructed history became incorporated into California's self-representation and impacted the identity of both the Anglo and Californio populations, and shows that exotic figures need not function through the logic of an opposite "other," as is usually theorized. By analyzing the role of architecture in California's Spanish "identity," the thesis locates the representational power of architecture closer to its function in discursive practices rather than to mere formal aspects.

Conceived and curated by Dr. James McArdle, this exhibition of works by academics of the La Trobe University School of Visual Arts and Design, Crosstalk, is a conversation of words and images between artists-as-researchers and researchers from other disciplines around common interests. In this catalogue you will find the responses of prominent academics, while on the wall and floor are the visual reciprocals.

It is tempting to follow a well worn path and draw up a simple formula that makes apparently natural connections between colour, geography and identity, especially in Australia. Such a formula is fashioned from a series of analogies that act as boosters for specific mythologies about Australia as a country, nation, culture or even design industry. Following the tourist public relations brochures, and the colours of Australian national sporting teams, you could wax lyrically about the golden yellow of the Wattle flowers or that dark bottle green that is symbolic of what?—Eucalyptus trees maybe. Note here the attribution of names for interior design colours found in charts for various paint companies. (see Fig. 1) An analysis of the history of colour chart nomenclature provides a fertile ground for reading a culture through the different names for colours. The names such as Drover's Swag, Walkabout, or Billabong's Edge, given to the paint samples in the Wattyl colour system,...

In 1964 David McGlashan was commissioned by well known art patrons John and Sunday Reed to build a house to display their collection of modem Australian art. The designated site was an area of land by the Yarra River that had been a favoured locale of Heidelberg school painters in the late-nineteenth century. Itself strongly indebted to modern art theory, the resultant building successfully accommodates the clients' engagement with both the art sheltered within and the evocative natural setting beyond its walls. McGlashan's design was widely recognized at the time as a pioneering statement of European modernist principles and was awarded the R.A.I.A Bronze Medal (Victorian Chapter) in 1968. Yet despite its renown within the history of Australian architecture, Heide remains relatively little studied. In part, perhaps, this is due to the complexities and multiple readings that the building deliberately invites. This article aims to redress that situation, by interpreting the design in terms of its powerful and constantly shifting impact upon a beholder moving around and through its various pathways

Creative Acts redefines the act of creation as an extraordinary journey that is just as compelling as the final artwork.
• State Library Victoria has commissioned 5 visionary Victorian artists – Peter Carey, Dr Chandrabhanu OAM, Deanne Gilson, Barry William Hale and Bundit Puangthong – to create new works that invite audiences to put their artistic methods under a microscope.
• With almost 600 artefacts on display, State Library Victoria’s rich archive offers a rare window into the inner worlds and workings of artists.
• Discover the spiritual connections, fascinating rituals and deeply personal quests that shape their work.

Once you look into the forest and not just at it there's tucker everywhere. 1 In July 1988, the Australian Broadcasting Corporation (the ABC) screened something quite new in Australian television. Starting with a montage of a man in a khaki shirt, blue green trousers, boots and a hat that was cleft in the middle, picking leaves off bushes, tearing open a mollusc, improvising a bush washing machine with a flour drum and jam tin, leaping from one rock to the other, scrambling up solitary crags, driving a khaki four wheel drive, all in bush settings. He was Les Hiddins and the show was the Bush Tucker Man. Hiddins was a soldier in the Army aviation section. 'I found myself in the left-hand seat of a helicopter flying all around northern Australia and Arnhem Land … When you go to these very remote areas, you've got to ask yourself the question, 'how would I get on if something happened and I had to survive here?' So, I started doing it as a hobby.' 2 His 'hobby' was noticed by the Army and in 1987 Hiddins was awarded a Defence Fellowship to James Cook University to study northern Australian ethno-botany. The Department of Defence, particularly the Army, have got an interest in this sort of thing, because if we have soldiers out here in the paddock they need to know (how to survive) …It's my job to catalogue and analyse all the bush tucker resources around these areas and there's an awful lot that we don't know about. 3

Text from a publication describing the life and career of one of Dundee’s most significant artists, the Celtic Revival and symbolist painter Stewart Carmichael (1867-1950), produced to accompany the acclaimed 2017 exhibition in the Lamb Gallery, University of Dundee.

This chapter explores the collecting of ancient coins in Australia and the creation of private and public collections. It is focused on four important collectors and their coins. It considers something of the social relations in which these private collections were formed and seeks to take the discussion of antiquities in Australia outside the context of the public and academic world of museum collecting and collections.

Book details: https://www.routledge.com/Mediterranean-Collections-in-Australia-and-Aotearoa-New-Zealand-Perspectives-from-Afar/Richards-Minchin/p/book/9781032735238?srsltid=AfmBOopbRV-Sj3vHbFJHoV3FRothPjxWfsVHPOIl4ejnmsvZK3XsDSpr

Appliqué is another form of fabric ornamentation. It is a delightful way to create decorative fabric. Applique is one of the traditional and finest craft of India Appliqué is a French term that signifies the process of attaching one fabric or motifs to a foundation fabric by means of stitches, to form a design or a pattern. The patches are stitched onto the foundation fabric to create different forms and patterns, unlike patchwork in which small pieces of cut fabric are joined at the edge to make a larger piece of cloth. These designs are limited in order to preserve the decorative appliqué motifs and the present study was planned with an objective to collect the motifs of the Barmer area developed a new design and apply them Men's garments s and to diversify the product as consumers are demanding for new designs in apparels. The motifs were collected from the site and were used for apparel designing using Corel Draw software. Collected motifs were classified into broad and narrow border design, central design, and buti designs. These were used for designing on kurta using Computer-aided designing.

This essay attempts a survey of the Australian artists who worked in the world’s art colonies from the late nineteenth century until the present. It also looks at the art colonies in Australia that brought together Australian artists and artists from overseas..

Dame Nellie Melba (1861-1931) is remembered as the 'voice of Australia', and pursued an extraordinary career in opera, and later as a recitalist. In this paper I would like to encourage some consideration of Melba's role as a patron of artists, an area that has been discussed in an incidental way by her two biographers to date. Melba had extensive links with printmakers and painters, although it should be pointed out that in her own memoirs, Melodies and Memories, Melba herself didn't even discuss these extensive associations that took in a wide range of artists from Australia and beyond. Melba's well known frustration with Australians' ambivalent view of art can be seen as the motivation to want to show them not only the best of international art, particularly music, but also to give them the opportunity to see the significance of art produced in their midst. I would also argue that Melba's way of articulating her own strong sense of an Australian identity was a key factor in the types of art she gave patronage to. Two examples of Melba's patronage being exercised in this way are Melba's Gift Book of Australian Art and Literature (1915) and the Melba Scholarship at the Albert St Conservatorium.

For much of the nineteenth century Australia was reckoned as a country where there was little need for fashionable dress, yet early visitors to Melbourne commented on the inhabitant’s interest in dress and the plethora of shops which catered for a fashion-conscious clientele. Boosted by the influx of emigrants in the 1850s and a new-found wealth from the goldfields, Melbourne quickly became home to an array of dressmakers, drapers and department stores. Surviving items of dress from the mid-nineteenth to the early-twentieth century not only attest to the commercial aspect of the clothing industry, but also provide an insight into a society which was finely attuned to the role of fashion as a signifier of prosperity and respectability.

Durante su vida se le catalogó de bruja, hereje, promiscua. Y es que su obra pictórica, más allá de tratar meras temáticas populares, se centró en el simbolismo neopagano, que acompañado de su personal culto al dios griego Pan —figura que, al ser vinculada en tiempos modernos a la fertilidad, ha creado el consenso errado de representar al ángel caído por excelencia— le trajo más de un problema. Sin embargo, más allá de acoger estas expresiones peyorativas con recato y dolor, Rosaleen Norton admitió sentirse orgullosa de sus prácticas espirituales, incluso autodenominándose como hechicera de nacimiento.

El Palacio magazine. ISSN: 0031-0158

Panama-California International Exposition
Panama-California Exposition (1915 : San Diego, Calif.)
Exhibitions
Exhibition buildings
Architecture
Buildings, structures, etc.
Architectural models
Human settlements
Pueblos
Pueblo architecture
Missions, Spanish
Spanish mission buildings
Church buildings
San Diego (Calif.)
Balboa Park (San Diego, Calif.)
Pecos Pueblo (N.M.)
Pecos National Historical Park (N.M.)

Here: After
Fairfield City Museum & Gallery, 26 February – 26 June 2021
Artists: Serwah Attafuah, Kalanjay Dhir, Leila El Rayes & Justine Youssef, Michelle Ly, Jazz Money
Curator: Tian Zhang

Here: After presents radical and fantastical visions for our future. Acting as fortunetellers, soothsayers, dreamers—artists from Fairfield and beyond come together to manifest alternative realities that are intricately personal and connected to place. Speculating on the here and the after, the exhibition imagines expansive, grounded and saturated tomorrows.

This book chapter from the Cambridge Companion series provides an introduction to nineteenth-century Asian American literature and the early history of Chinese immigrants in the United States. In the first section, I address the history of the Chinese in America, focusing on key economic issues and laws related to immigration. In the second section, I track the widely known figure of the “Heathen Chinee” through works of the 1870s and 1880s, highlighting how this literary trope directly mediated political and economic issues of the period, while also illustrating its shaping role in English-language writings by early Chinese immigrants (Wong Chin Foo and Yan Phou Lee). Some of this latter work, I conclude, anticipates the later emergence of Asian American politics and the contemporary racialization of Asians as America’s model minority.

Anna Ivanova has continuously developed her feminist aesthetics through various media -painting, drawing, animation, collage, textile art. Having graduated from the Department of Graphic Arts (Nizami State Pedagogical University, Tashkent, 1987-1993), A. Ivanova emerged within a constellation of contemporary artists formed around Georgia-born practitioner Yanis Salpinkidi (1944-) and his school, distinct, inter alia, for its philosophy of colour and creative freedom in the face of the reified remnants of the Socialist Realism ideology. Since 1993, A. Ivanova has embarked upon an independent career path, honing and perfecting the dialectic of form and colour in her easel painting. This dialectic evolved, toward the mid-2000s, into the narrativeinformed impasto representations of the multiple facets of women's day-to-day labour and leisure in individual and group portraits, or genre scenes in domestic and public settings like the kitchen and the bathroom, the subway and the bazaar: one of many examples of these depictions can be seen in the painting Conversation (2010). Women and the working-class femininity mark A. Ivanova's continuing oeuvre, for instance in her textile artwork Cotton Harvester (2023) referencing Tursunoy Akhunova , Heroine of Socialist Labour in 1959 and 1978 who contributed to the development of the Uzbek SSR cotton industry.

Paris-based Australian artist Anthony White’s exhibition, 'AFTER EUREKA: The Studies for Manifestation', presents a compelling exposition of the painterly gesture as a form of dissent. These ten intimate studies for Manifestation, a body of work first exhibited in 2023, are an outcome of a National Library of Australia 2020 Creative Arts Fellowship. These high key coloured paintings have their genesis in White’s research into Sidney Nolan’s 1966 mural of the 1854 Eureka Stockade and represent a complex dialogue across time and place and between representation and abstraction.

Presented at the Eureka Centre Ballarat to mark the 170th anniversary of the Eureka Stockade.

The document explores the life and work of architect Frank Mead, focusing on his partnership with Irving Gill and their contributions to modern architecture in Southern California.

Frank Mead began the California portion of his architectural career in San Diego in 1907, shortly after resigning from the Bureau of Indian Affairs.
His partnership with Irving Gill marked a significant turning point in Gill's career. A strong case could be made that Mead's impact on Gill sparked the true beginning of modern architecture in Southern California.

Castlemaine Art Museum has in its collection this untitled painting by Melbourne artist Mary Meyer (1878–1975).
Little known and represented in few of the major texts on Australian impressionist painters, her work has only recently been appearing at auction; perhaps a hopeful sign of her re-evaluation.

The story of US Pioneer Tire & Rubber Companies and Their Advertising. Chapter from the Thesis Dissertation: The Forgotten Years of Bibendum. Michelin’s american period in Milltown: Design, Illustration and Advertising by Pioneer Tire Companies (1900-1930)

Knjiga „Somborska pisma iz Beča – prepiska somborskih izaslanika u Beču iz vremena elibertacije (1746-1748)“ prikazuje trideset i jedno sačuvano pismo opunomoćenih somborskih izaslanika, koja su nastala između marta 1746. i septembra 1748. godine. Ta pisma spadaju u arhivski izvor od najvećeg značaja za proučavanje razdoblja elibertacije Sombora – svakako jednog od najvažnijih poduhvata u istoriji grada, koji je presudno uticao na njegovo urbano formiranje. Osim istorijske važnosti, ona predstavljaju i prvorazredno lingvističko svedočanstvo jer su pisana na čistom narodnom jeziku somborskih Srba i Bunjevaca i slikovito svedoče o govoru Somboraca polovinom 18. stoleća. Predstavljena prepiska pruža nam uvid u detalje koji nisu deo zvaničnih dokumenata i često ukazuju na put i način na koji se dolazilo do njih. Svojom dinamikom ova prepiska rekonstruiše sled događaja i svedoči o atmosferi u kojoj se borba za elibertaciju Sombora odvijala, dajući nam ili nagoveštavajući i slike onoga što se dešavalo „iza zavese“. Ona danas predstavlja arhivističko blago najviše kategorije, a ujedno ukazuje i na respektabilnu svest nekadašnjih arhivista Gradske arhive somborskog Magistrata, koji ta pisma, mada ne predstavljaju zvanična dokumenta, nisu odbacili ili uništili kao nebitna, nego su ih, sa osećajem za njihov istorijski značaj, sačuvali kroz vekove. Sva pisma objavljena su u ovoj knjizi vizuelno, sa opisom, izvornim tekstom (ćiriličkim ili latiničkim) i sa prevodom na savremeni srpski jezik.

Руђер Бошковић је од 5. априла 1757. до 4. марта 1758. боравио у Бечу где је био стручни вођа у име Република Луке у спору са Војводством Тосканом, која је на пограничној реци изградила бране које су изазивале поплаве на пољима Луке. Током тог боравка, Бошковић је написао своје монументално дело "Теорија природне филозофије". У раду приказујемо разлоге и место место његовог боравка у Бечу.

There is obvious joviality in the blocky, comical figures
populating Heroes. In part, they resemble nostalgic
children’s cartoons of the 90s and early 2000s. These
styles developed in tandem with modern art; just think
of the reduced anatomy of humanoid beings populating
avant-garde canvases. Both were exercises in testing the
austere limits of visual economy. Morrissey plays upon
this tension, too.

IBSN 9780522880250 (hardback) 328pp. AUD $120 These days, in exhibitions of contemporary art, we are habituated to the artist's statement, usually displayed as a block of text on the wall or published in an accompanying catalogue, so much so that it has now become de rigueur, a ubiquitous and integral part of any new exhibition. Art students are given guidance on how to write a statement as part of their undergraduate studies -I once taught such a course to students in the UK and in China. Not all of the students were enamored with the artist's statement. One of them, a talented painter, commented that the quality of the work didn't seem to matter as long as you could talk [or write] about it at length. Occasionally, a brave or inarticulate student would write a single sentence (or none at all) to accompany his/her exhibition. The idea was, I suppose, that the art should stand on its own and communicate visually or not at all. It was this idea that underpinned my own art training in London in the mid-1970s: an acknowledgment that painting was a visual language that should stand free and not be shored up by words. Of course, as art students, we all read the forewords to the latest exhibition catalogues, but these were usually written by critics and almost never by the artist him/herself. Sometimes an artist might give an interview, as Francis Bacon did for David Sylvester in 1973, when he said:

An extended book review of Andrew Turley's Nolan's Africa. Nolan's African paintings are beautifully reproduced in this sumptuous volume as an accompaniment to Turley's fascinating and groundbreaking narrative. Pierse writes of how, in exhibitions of contemporary art today, we have become habituated to the artist's statement. Pierse questions whether the multi-layered 'messages' in Sidney Nolan's paintings should have been revealed at the time of their first showing at Marlborough Fine Art in 1963, or 'cancelled' after their creation as Nolan himself wished.