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‘My own sort of heaven’
Widely regarded as a major Australian artist, Rosalie Gascoigne first exhibited in 1974 at the age of fifty-seven. She rapidly achieved critical acclaim for her assemblages which were her response to the Monaro landscape surrounding Canberra. The great blonde paddocks, vast skies and big raucous birds contrasted with the familiar lush green harbour city of Auckland she had left behind. Her medium: weathered discards from the landscape. By her death in 1999, her work had been purchased for major public art collections in Australia, Aotearoa New Zealand and New York, and had been exhibited across Europe and Asia. Gascoigne’s story is often cast in simple terms—an inspirational tale of an o...
Living with the Anthropocene
Australia — and the world — is changing. On the Great Barrier Reef corals bleach white, across the inland farmers struggle with declining rainfall, birds and insects disappear from our gardens and plastic waste chokes our shores. The 2019–20 summer saw bushfires ravage the country like never before and young and old alike are rightly anxious. Human activity is transforming the places we live in and love. In this extraordinarily powerful and moving book, some of Australia's best-known writers and thinkers — as well as ecologists, walkers, farmers, historians, ornithologists, artists and community activists — come together to reflect on what it is like to be alive during an ecologica...
Degenerates and Perverts
An account of an exhibition that brought the Australian public face- to-face for the first time with the experimental art that had been developing in Europe during the early decades of the 20th century. The 1939 Herald Exhibition was the first 'blockbuster' exhibition to come to Australia.
Catalog of Copyright Entries. Third Series
Includes Part 1A, Number 1: Books (January - June) and Part 1B, Number 1: Pamphlets, Serials and Contributions to Periodicals (January - June)
A History of Aboriginal Art in the Art Gallery of New South Wales
In this highly original study, Vanessa Russ examines the gradual invention of Aboriginal art within the Art Gallery of New South Wales. This process occurred as the social histories of Australia expanded and recognised Aboriginal people, through wars and political shifts, and as international organisations began placing pressure on nation states to expand, diversify, and respect multicultural perspectives. This book explores a state art institution as a case study to consider these complex narratives through a single history of Aboriginal art from early colonisation until today. The book will be of interest to scholars working in art history, museum studies, and Indigenous studies.
