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Hunters and the Hunted
"Graeme Sturgeon left the New Zealand Army after returning from Vietnam and landed "the best bloody job I ever had." Seeking to avoid civilian life Graeme became a deer culler in the Ruahine Ranges. Deer culling was a perfect fit for a man with his background and training. New mates regularly passed through the various camps he was assigned to and life was just fine. A roving inclination kept Graeme exploring and looking into new country mainly in the surrounding blocks, always wondering what was over the next hill until he came to the Mangohane country, which became his spiritual home. Meat hunting and possums were a natural progression when the price of venison went up and possum skins were fetching good money, the addition of Julie his future wife, made life even sweeter. When the helicopter borne venison recovery industry turned to live capture he became Joe Keeley's shooter/catcher and life became an adrenaline filled roller coaster of a ride until he and Joe parted ways. These chapters are the first written from the shooter's rather than the pilot's perspective. He later gained his own helicopter licence and flew both in New Zealand and Australia."--Publisher's description.
The Darkroom
Anne Marsh's treatise on the art of photography traces its theoretical underpinning from the early debates between the rationalists and the fantasists, through psychoanalytical interpretations, to the theatre of desire. She investigates the role of photography in ghostly performances', the masking of desire' and high camp aesthetics' - through to performance art' and the role of the photographer as a gender terrorist' - as in the work of Del LaGrace Volcano. The study concludes with notable examples of postmodern photography as they have occurred in the Australian context. This ground-breaking work by a leading Monash University academic will interest all students of photography and followers of recent trends in art and art theory.
A Quest for Enlightenment
The most publicly accessible art of the late Roger Kemp is perhaps the magnificent tapestries that hang in the great hall of the National Gallery of Victoria. This major figure of Australia's post war art world is the subject of Christopher Heathcote's latest book.
Sacred Places
Memorials to Australian participation in wars abound in our landscape. From Melbourne's huge Shrine of Remembrance to the modest marble soldier, obelisk or memorial hall in suburb and country town, they mourn and honour Australians who have served and died for their country. Surprisingly, they have largely escaped scrutiny. Ken Inglis argues that the imagery, rituals and rhetoric generated around memorials constitute a civil religion, a cult of ANZAC. Sacred Places traces three elements which converged to create the cult: the special place of war in the European mind when nationalism was at its zenith; the colonial condition; and the death of so many young men in distant battle, which impell...
The Crossley Gallery, 1966-1980
When, in 1966, Tate Adams opened Crossley Gallery in a lane off Bourke Street, Melbourne, he ioneered the importation of contemporary Japanese prints by masters such as Munakata and Sasajima. These were shown alongside those emerging local artist printmakers including at that time Fred Williams, Roger Kemp, George Baldessin, Bea Maddock and many others. This productive collision of cultures soon established the Crossley Gallery and its associated activities - such as the Crossley Print Workshop - as the hub of activity in this art form. The book contains memoirs of those associated with the Gallery and features prints shown or commissioned by Tate Adams - a leading printmaker himself. It provides first-hand insights into a previously under-examined aspect of the development of contemporary art in Australia. Also comes as a special edition with original wood engraving by Tate Adams, special cloth binding and a slip-case.
A Place to Remember
This book charts the Shrine's history from the first fatalities of the Gallipoli landing to the present day.
Rosalie Gascoigne
Rosalie Gascoigne (1917–1999) was a highly regarded Australian artist whose assemblages of found materials embraced landscape, still life, minimalism, arte povera and installations. She was 57 when she had her first exhibition. Behind this late coming-out lay a long and unusual preparation in looking at nature for its aesthetic qualities, collecting found objects, making flower arrangements and practising ikebana. Her art found an appreciative audience from the start. She was a people person, and it pleased her that through her exhibiting career of 25 years, her works were acquired by people of all ages, interests and backgrounds, as well as by the major public institutions on both sides of the Tasman Sea.
Limited Recall
Ken Scarlett, one of Australia's best known curators and writers on sculpture, has this time written and illustrated a series of 30 short stories which draw upon his imagined and real experiences of life from adolescence through to the present. The stories are light-hearted, humorous, sometimes satirical and occasionally focused on the art-world as he found it during his career as a sculptor, art educationalist, curator and world traveller.
Sculpture
None
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.
