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Full-Text Articles in Arts and Humanities
The Art Of Others: Nolde, Preston & Views Of Indigenous Art, Friederike Krishnabhakdi-Vasilakis
The Art Of Others: Nolde, Preston & Views Of Indigenous Art, Friederike Krishnabhakdi-Vasilakis
Faculty of Creative Arts - Papers (Archive)
The emergence of Australian Aboriginal art in post-colonial Australia reflects a history of cultural separation between European and Aboriginal art. Up to late 20th Century—Aboriginal culture was 'invisible' within the wider 'nation-building' identity. The definition, role and status of Aboriginal art has changed dramatically in Australia over the past thirty years, but in Europe no similar shift into a postcolonial ideology is evident.
A Speculative Venture: Contemporary Art, History And Hill End, Amanda Lawson
A Speculative Venture: Contemporary Art, History And Hill End, Amanda Lawson
Faculty of Creative Arts - Papers (Archive)
Writing in his diary on 2 January 1949, Australian artist, Donald Friend (1915- 1989), describes the events of the night before: Last night there was an impromptu dance - I should say a drunken Breughel peasant romp - at the hall to celebrate the New Year. It was improvised suddenly on the spot by those who had not been invited, and were furious at being left out, to a dance in Sofala, to which the lucky ones went in a bus. Later they went round the village gate-stealing .. .. (Friend 633) Friend writes from Hill End, an old gold-mining …
Kuninjku Modernism: New Perspectives On Western Arnhem Land Art, Ian Mclean
Kuninjku Modernism: New Perspectives On Western Arnhem Land Art, Ian Mclean
Faculty of Creative Arts - Papers (Archive)
Many of Australia's most interesting artists are not based in the few large metropolitan centres in which other countries focus their cultural effort. The wellspring of the Indigenous art movement is the numerous small communities and outstations in remote Australia. Further, the tiny fraction of Australians who live in these settlements outperform other Australian artists, no matter what measure is used. In this respect Australia lives up to its Antipodean legend; here everything is back to front: the centre is the periphery and the periphery the centre. However there is another way of looking at it. Australia might be a …
D>Art05 Distributed Art And Mobile Journeys, Su Ballard
D>Art05 Distributed Art And Mobile Journeys, Su Ballard
Faculty of Creative Arts - Papers (Archive)
There is time for the work to be examined, experimented with, and opened up to a visiting public. This kind of exhibition model has for a long time been problematic for works that do not exist within a defined 3D space, or a comfortably measured duration. D>Art05 and Mobile Journeys address the temporal and spatial restrictions of the exhibition model by making the work available for download both during and post-exhibition. Visitors to the exhibition could bring their mobiles and download any of the fourteen works in Mobile Journeys, in effect, mobilising the work.
Dlux Media Arts - D>Art05: Distributed Art And Mobile Journeys, Su Ballard
Dlux Media Arts - D>Art05: Distributed Art And Mobile Journeys, Su Ballard
Faculty of Creative Arts - Papers (Archive)
Exhibitions are often about product rather than process. Like a trade show demo, the curated exhibition is the opportunity for artists to showcase their research, innovation, and general creative endeavour alongside that of their peers. There is time for the work to be examined, experimented with, and opened up to a visiting public. This kind of exhibition model has for a long time been problematic for works that do not exist within a defined 3D space, or a comfortably measured duration. D>Art05 and Mobile Journeys address the temporal and spatial restrictions of the exhibition model by making the work …
The Limits Of Art History: Towards An Ecological History Of Landscape Art, A. Gaynor, Ian A. Mclean
The Limits Of Art History: Towards An Ecological History Of Landscape Art, A. Gaynor, Ian A. Mclean
Faculty of Creative Arts - Papers (Archive)
An ecological art history primarily concerns the relationship between the aesthetic and representational functions of landscape art, the environment it depicts and the ecology of this environment. Such investigation should enable us to determine whether particular aesthetic sensibilities or styles are more or less conducive to providing accurate ecological (Le. scientific) information, and what the limits of this information might be. An ecological art history would therefore, of necessity, engage with the science of ecology. Hence it requires an alliance with environmental and ecological historians as well as appropriate scientists. There are few examples of scholars drawing connections between the …