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Twenty
TWENTY was launched on 26 April 2006 at the opening of an exhibition of Hari Ho's portrait photographs of Sherman Galleries' artists. These photographs are reproduced in the book, together with images of the artists' works and essays by Dr Gene Sherman, 'Australia in Asia: Cultural mediation'; Simeon Kronenberg, 'Sherman Galleries: Into the future' and 'Artists-in-residence programmes'; Leon Paroissien, 'Australian art and biennial and triennial exhibitions'; Michael Desmond, 'Snapshot: Artistic practices, tendencies and exhibitions in the Australian region from 1990s to the present'; and William Wright AM in conversation with Tony Bond. TWENTY includes full-page colour plates of the selected artists' works, with black-and-white archival photographs illustrating the essays, and two portrait photographs of each artist (colour and monochrome).
Simeon Nelson
This text presents Simeon Nelson's artworks and allows the reader to interpret them through an accompanying analysis by art critic, Benjamin Genocchio. The text examines the inspiration for Nelson's art, clearly describing its meanings while responding to its immense beauty and wonder.
Studio
'Studio' presents an extraordinary anthology of visual and verbal insights into the way paintings are made, and the complex blend of motivation and inspiration that sustains the painter in his or her solitary search for meaning.
Paddington
This first major history of Paddington in forty years provides a fresh and revealing perspective on this celebrated heritage suburb in Sydney--one of the largest and most intact Victorian enclaves in the world. Leading historians and specialists explore the makeup of Paddington's diverse community--including its Indigenous, colonial, post-war migrant, bohemian and LGBTQ residents, and a succession of gentrifiers--and discuss the evolution of the suburb's unique architecture and landscape.
Spoken Object
- This biographical account of Gene Sherman's life and work reveals many intimate stories and conversations with this leading Australian cultural figure and philanthropist. Included are personal essays by many internationally renowned and influential art world commentators, curators, fashion designers, and educators - This monograph portrays Gene Sherman's life in depth, from her early beginnings to today, through the multi-decade cultural trajectory that has shaped and influenced artists and designers and the contemporary art world across many nations, including Australia, Europe, the Asia Pacific region and the Middle East. It covers her work as director of the world-renowned Sherman Galle...
Hossein Valamanesh
Deceptively simple, Valamanesh's work is often made with elemental substances, natural materials found objects - for example Persian Carpets, an old photo of his grandmother or a pair of worn shoes resonating with cultural and personal associations.
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.
The Formalesque
In this well-illustrated book Professor Bernard Smith, who is often referred to as the father of art history in Australia, condenses the arguments presented in an earlier publication Modernisms History, 1998) into a very accessible and helpful text will prove useful for students and arts-interested readers. He begins by listing and carefully explaining those terms which frequently occur in arts literature dealing with the modern period and then goes on to show that modernism has become an historical period with its art forms both 'institutionalised' and 'globalised'. Now an historical entity, art historys basic tools can be employed to explain and describe it. They include an investigation of the periods 'style', use of 'form' and attitudes to meaning. In his defence of art historys traditions and methodologies he argues that the period that encompasses modernism in the arts might now be known as The Formalesque .
