Published 01 June 2019
Published 01 March 2019
Published 01 December 2018
Published 01 September 2018
Published 01 March 2018
Published 01 December 2017
Published 01 September 2017
Published 01 June 2017
Plots from the Left
A series of installations based on the notion of collecting and collections
Penny Malone and Shaz Harrison-Williams
Moonah Arts Centre, Moonah, Tasmania
1 - 14 December 2005
Published March 2006
Far from being at the forefront of Art History/Theory curricula, Indigenous art is frequently missing or relegated to the margins. Kleinert explores this fact through looking at the results of a recent report by Gregory Leong, Bronwyn Power, Penny Mason and Belinda Wright into the percentage of indigenous art material taught in Australian art schools. Furthermore this text focuses on a few recent initiatives which have attempted to strengthen the content of local art education in Australia.
Campbelltown Arts Centre
10 December 5 February 2006
Examines the fragility of the cross-institutional and inter-disciplinary debate. Raises issues of political intervention, globalisation and indigenous and non-indigenous identity and aesthetic. Refers to key figures Joan Kerr, Daniel Thomas, Mary Eagle, Narelle Jubelin, Michael Riley, Ross Gibson, Ricky Swallow, Patricia Piccinini, Tracey Moffatt, Dawn Casey, Terry Eagleton, Ian Burn, Djon Mundine, Diane Moon, George Lambert, Will Dyson, Ruby Lindsay, Christobel Pankhurst, Clive Bell, Roger Fry, Barbara Campbell, Raquel Ormella, Regina Walters, Joanna Callaghan, Martin Mischkulnig and Esme Timbery.
Grishin looks at the earliest teachings of Australian art history in Australian universities, commencing in the year 1946 with gradually diminishing staff and resources in more recent years. This text further examines some of the pressures against and valued roles of Australian art history in education institutions. Key figures referred to are Sidney Dickinson, Bernard Smith, James Mollison, Wally Caruana, Robyn Maxwell, Bea Maddock and William Morris.
Exhibition Review: Convenor Lyndall Jones
School of Creative Media, RMIT
with the Australia Council, Australian Film Commission and the Australian Centre for the Moving Image
ACMI, Melbourne, 7 - 9 September 2005
Pippa Dickson and Justy Phillips
3 - 23 December 2005
Inflight Gallery, Hobart
Anna Schwartz Gallery
Melbourne International Arts Festival
8 - 22 October 2005
In 1982 Ian Burn wrote an incisive essay for the exhibition Popular Melbourne landscape painting between the Wars. The exhibition, curated by Doug Hall for the Bendigo Art Gallery, included a range of landscape paintings by artists such as Penleigh Boyd and W.B. McInnes.
Respected educators, artists and curators took part in a no-holds-barred workshop coordinated by Dr Vivien Johnson on the teaching of Indigenous art at tertiary level. Appropriation of imagery, bicultural education and the delicate balance between serving the market for overseas students and the needs of local and indigenous students were among the issues discussed.
Holmes focuses on Ian Burns essay regarding the exhibition Popular Melbourne Landscape Painting Between the Wars to explore the nature of the regional landscape as it is depicted and analysed in Australian art and art theory. Discusses the works of: Penleigh Boyd, W.B. McInnes, Arthur Streeton, Harold Herbert, W.D. Knox, John Rowell, Will Rowell, Kenneth Clark, Stephen Bann, Geoff Parr, Marion Hardman, Max Angus, Olegas Truchanas, Peter Dombrovskis, Hamish Fulton, Mario Merz, Ger van Elk, Jan Dibbets, Richard Long, Mark Boyle, Nikolaus Lang, Raymond Arnold, Bea Maddock, Caspar David Friedrich, David Stephenson, Anne McDonald, Paul Zika, Wally Barda, Virginia Coventry, Adrian Hall, Old Mick Tjakamarra, Max Tjampitjinpa, Ronnie Tjampitjinpa, Don Tjungurrayi, Dick Pantimatu Tjupurrula, Greg Burgess, Norman Day, Jennifer Hill, Michael Viney, David Keeling, Richard Wastell, Tim Burns, Tim Morrison, Geoff Dyer, Kenny Gregan, Michaye Boulter, Sue Lovegrove, Jan Senbergs, John Caldwell, David Hansen, Lynne Andrews, Leigh Hobba, Philip Wolfhagen, Tim Burns, Martin Walch, Christl Berg, Nick Waterlow, Victoria Hammond, Tim Bonyhady, Margaret Scott, Edward Colless, Heather B Swan, Mary Knight and Peter Timms.
Thomas looks at the role of Australian art history within many of the countries leading undergraduate art courses. Discussed in relation to art museums and globalised art practice. Artists featured in this text are Robert Macpherson, Rover Thomas, Sydney Long, David Hansen, Tommy McCrae, Howard Taylor, Hossein Valamanesh and Tony Tuckson.