Blindspot: Regional Art Histories in Australia

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.

More from this Issue

What Should Australian Art Historians Teach?

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.

Sasha Grishin

Dictionary of Australian Artists Online 2006

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 need of local and indigenous students were among the issues discussed.

Vivien Johnson

Stars of Track and Field

Campbelltown Arts Centre 10 December 5 February 2006

Dominique Angeloro

St Sebastian: Fiona Tan

Fiona Tan Anna Schwartz Gallery Melbourne International Arts Festival 8 - 22 October 2005

Sophie Knezic

The Necessity of (Un)Australian Art History for the New World

McLean examines the current state of art in Australia as both a positive force and one essentially unAustralian. As he states There may be plenty of interesting artists from Australia but few aspire to make Australian art. McLean looks at the work of artists Tracey Moffatt, Gordon Bennett, John Citizen, Henri Matisse, John Peter Russell, Tony Nathan and John Mawurndjul in an attempt to address some of the issues surrounding the case for unAustralian art.

Ian McLean

Art History For Artists or For Others

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.

Daniel Thomas

On Radical Revisionism

This text looks at two key paintings by Melbourne magic realist artist Julia Ciccarone, which come from a 1996 show at the Robert Lindsay Gallery called Fictitious Voyages. These works are illustrations of the text A New Discovery of Terra Australis, or, The Great Southern Land, originally published in 1676 by one Gabriel de Foigny. These images are deconstructed in relation to past and present histories and what Butler believes are two major attitudes concerning the way things are seen and valued. Other artists here referred to include Gordon Bennett, Colin McCahon, Mondrian, Michael Stevenson, Scott Redford and Mikala Dwyer.

Rex Butler

Istanbul Biennale the 9th Istanbul Biennial

Istanbul is wonderful, especially when a major contemporary art event the 2005 9th International Istanbul Biennial - complements Ottoman glories, the odd bit of 5th century Christian Emperor Justinian, eponymous baths, acres of bazaar, and an elegant gloss on life.

Alison Carroll and Caroline Williams

Strange Strolls

Strange Strolls Curator: Perdita Phillips Participating Artists: Begum Basdas (Istanbul), Paulo Bernardino and Maria Manuela Lopes (Lisbon), Viv Corringham (London), Robert Curgenven (Katherine), Lawrence English (Brisbane), Aaron Coates Hull (Wollongong), Minaxi May (Fremantle), Roxane Permar (Shetland Islands), Perdita Phillips (Fremantle), Virve Pulver and Aili Vahtrapuu (Estonia), Ric Spencer (Fremantle), Kieran Stewart (Perth), Dorothee von Rechenberg (Switzerland), and Walter van Rijn (Netherlands) 18 November - 18 December 2005 Moores Building, Fremantle

Darren Jorgensen

Art History in a Post-Medium Age

Marshs article is largely in response to Bernard Smiths article In Defence of Art History (I&II) published in Art Monthly 2000. Smiths essays were part of a larger debate between art historians and those aligning themselves with either the new art history, or postmodern methodologies associated with cultural studies or virtual culture. Marsh refers to the works of key figures such as Rosalind Krauss, Hal Foster, Peter Greenaway, David Lynch, Caravaggio, Lyndal Walker, David Rosetzky, Versacci, Clement Greenberg, Roland Barthes, Michel Foucault, Louis Althusser, Jean Baudrillard, Walter Benjamin, Thomas Crow and Marcel Proust.

Anne Marsh

Tides Apart: Pippa Dickson and Justy Phillips

tides apart Pippa Dickson and Justy Phillips 3 - 23 December 2005 Inflight Gallery, Hobart

Julie Payne

Doldrum, Nicholas Folland; Gloria Novi Saeculi, Genia Chef

Gloria Novi Saeculi (Glory of the New Century), Genia Chef Experimental Art Foundation, Adelaide 7 October - 5 November 2005

Stephanie Radok

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