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Australian Art
This comprehensive survey uniquely covers both Aboriginal art and that of European Australians, providing a revealing examination of the interaction between the two. Painting, bark art, photography, rock art, sculpture, and the decorative arts are all fully explored to present the rich texture of Australian art traditions. Well-known artists such as Margaret Preston, Rover Thomas, and Sidney Nolan are all discussed, as are the natural history illustrators, Aboriginal draughtsmen, and pastellists, whose work is only now being brought to light by new research. Taking the European colonization of the continent in 1788 as his starting point, Sayers highlights important issues concerning colonial art and women artists in this fascinating new story of Australian art.
Sayre Family
Thomas Sayre came with his family from England to Lynn, Massachusetts, in the early 1630's. Among descendants of Thomas were clergymen, surgeons, attorneys, ambassadors, and representatives of almost every profession. Francis B., cowboy, professor of law, and ambassador, was son-in-law of former President Woodrow Wilson. Zelda was the wife of American novelist, F. Scott Fitrzgerald, and subject of one of his books. David A. was a silversmith, banker, and founder of Lexington's Sayre School. Many Sayre descendants were taken by wars in service to America and never had the chance to win recognition for their abilities. SAYRE FAMILY another 100 years, in a large part, focuses on the early pione...
What Katie Did
Katie Langloh Parker was a white woman who notated the Aboriginal language Euahlayi and collected the legends from the Noongahburrahs in the latter decades of the nineteenth century. But her publication of the legends is controversial. There have been both critical and supportive critiques of her work, but little on the woman herself who accomplished something extraordinary as a nineteenth century squatter's wife in the outback.
Pursuit of the New: Louise Hanson-Dyer, Publisher and Collector
This book on the Australian music publisher and patron Louise Hanson-Dyer brings together, for the first time, an international group of scholars with expertise in the history of early French musicology and sound recording; fine art and design; and critical editions and music publishing in France. With a focus on the interwar period, it aims to synchronise Hanson-Dyer’s Melbourne and Paris ventures, seeing her work in a global perspective and showing how she played a significant role in the transnational cultural relationship between Australia and France. Hanson-Dyer had vision and objectives and the drive to realise them; this volume situates the consolidation of her role as cultural activist in early twentieth-century Europe and Australia and presents new light on her publication of critical musical editions, her art collections and early sound recordings.
Indigenous Cultures in an Interconnected World
Papers based on the 1997 Fulbright Symposium of the same name.
The Making of Indigenous Australian Contemporary Art
This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.
Why Study Literature?
This book presents new ways of thinking about the historical, epistemological and institutional role of literature, and aims at providing a theoretically well-founded basis for what might otherwise be considered a relatively unfounded historical fact, i.e. that both literature and the teaching of literature hold a privileged position in many educational institutions. The contributors take their point of departure in the title of the volume and use narratological, historical, cognitive, rhetorical, postcolonial and political frameworks to pursue two separate but not necessarily related questions: Why literature? and, Why study? This collection brings together theoretical studies and critical analyses on literature as a medium among, and compared to, other media and includes essays on the physical and mental geography of literature, focusing on the consequences and values of its reading and studying.
