Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
The Waterlow Killings
Anthony Waterlow left his decrepit room in a run-down boarding house at 4.45 p.m on Monday 9 November 2009. By 6 p.m, the 42-year-old was seen leaving another home: his sister Chloe's in Randwick. He left behind her slaughtered body and that of their father; celebrated art curator Nick Waterlow. The pair had been stabbed multiple times, in front of Chloe's three young children. The Waterlow Killings delves beneath the public face of a successful and affluent family, to reveal private suffering that even their closest friends could not have guessed. The story takes us deep into the world of musical, literary and visual artists who defy conventionality, push boundaries and become international...
A Double Spring
Raw and beautifully told, this is the story of Juliet Darling's year of devastating grief after her partner was murdered by his schizophrenic son, as well as a story of the power of love Nick died in the southern hemisphere in spring. Now I am in Paris in spring. We were to have been here together. I am experiencing a double spring. Double the bitterness, double the beauty. Juliet Darling's account of the daily events surrounding the murder of her late partner, art curator Nick Waterlow, by his son Anthony is a moving story of a deeply personal formative experience. It is a passionate and urgent look at the ordinariness of evil, the intractability of fate, and the interconnectedness of art a...
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.
Biennials, Triennials, and Documenta
This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or 'biennials', has influenced global contemporary art since the 1950s. Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990s Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York’s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014 Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art scene Uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art
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.
Research Anthology on Mental Health Stigma, Education, and Treatment
In times of uncertainty and crisis, the mental health of individuals become a concern as added stressors and pressures can cause depression, anxiety, and stress. Today, especially with more people than ever experiencing these effects due to the Covid-19 epidemic and all that comes along with it, discourse around mental health has gained heightened urgency. While there have always been stigmas surrounding mental health, the continued display of these biases can add to an already distressing situation for struggling individuals. Despite the experience of mental health issues becoming normalized, it remains important for these issues to be addressed along with adequate education about mental he...
Mental Health Policy, Practice, and Service Accessibility in Contemporary Society
Mental health and wellbeing has become an increasingly important issue that impacts communities in multiple ways. A critical discussion on the understanding and access of mental health services by people from diverse backgrounds is important to improving global healthcare practices in modern society. Mental Health Policy, Practice, and Service Accessibility in Contemporary Society provides innovative insights into contemporary and future issues within the field of mental healthcare. The content within this publication represents the work of medical funding, social inclusion, and social work education. It is a vital reference source for post-graduate students, medical researchers, psychology professionals, sociologists, and academicians seeking coverage on topics centered on improving future practices in mental health and wellbeing.
Art Practice as Research
Art Practice as Research, Second Edition continues to present a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practices, and contexts of artistic inquiry and positions them within the discourse of research. Sullivan argues that legitimate research goals can be achieved by choosing different methods than those offered by the social sciences. The common denominator in both approaches is the attention given to rigor and systematic inquiry. Artists emphasize the role of the imaginative intellect in creating, criticizing, and constructing knowledge that is not only new but also has the capacity to transform human understanding.
Sharpest
Lowell Tarling recorded Martin Sharp's life, and his effect on his friends, over twenty years. Now two volumes in one, in advance of the film of these books - GHOST TRAIN... Sharp: The Road to Abraxas - Part One, 1942-1979 Sharper: Bringing It All Back Home - Part Two, 1980-2013 'Like the Ancient Mariner, it's also a ghastly tale. I could understand the events at Luna Park a bit. I was trying to understand them and then suddenly there was this poetic language working to say: this is a crucifixion, Golgotha, death by fire. And then it starts to fit into Apocalyptic vision. It was Abraxas if you like - the dark face and the light face. To look upon Abraxas is blindness. To know it is sickness. To worship it is death. To fear it is wisdom. To assist it not is redemption. I don't know what it means. I've never been able to work it out. You get a Pop Art Parallel. It was the Year of the Child, the place of Golgotha, the Place of the Skull, and the Ghost Train. You then get these events that are caused by plotting, not caring for kids, carelessness, living a human life - the way of the world.' - Martin Sharp, 4 March 1984
Aboriginal Art and Australian Society
This book is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society’s negotiation of Indigenous people’s status within the nation. Through critical reflection on Aboriginal art’s idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art’s meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art’s vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition.
