A Companion to Australian Art. Группа авторов
of Aboriginal craft as an exotic decoration in her home and still life paintings as a project of decolonization, while Deborah Edwards, in the Margaret Preston retrospective held at AGNSW in 2005, argues that the incorporation of Aboriginal decoration into her design-based modernism embodied Preston’s “own aims for a handcrafted composite expressing the simplified forms of modernity in a synthetic Aboriginal-Western form” (Edwards et al. 2005, 106; Moore 2005, 205).
In addition to a renewed interest in the contributions of women artists to Australian modernism, other marginalized figures and currents were reevaluated through a number of exhibitions, including expatriates George Lambert and Bertram Mackennal. The George W. Lambert Retrospective: Heroes and Icons (National Gallery of Australia [NGA], 2007), curated by Ann Gray, focused on Lambert’s cosmopolitan career from his work as a war artist in the Middle East to his high society Edwardian group portraits influenced by his extended stay in England, while the 2007 Bertram Mackennal retrospective at the Art Gallery of New South Wales, organized by Deborah Edwards, showcased the oeuvre of this internationally renowned sculptor whose dramatic figurative style was considered conservative and theatrical after his death.
Similarly glossed over in modernist narratives, the interest in tonalism that flourished in Melbourne in the interwar years pioneered by Max Meldrum was re-examined in the exhibition Misty Moderns: Australian Tonalists 1915–1950 (Art Gallery of South Australia [AGSA], 2008), curated by Tracey Lock-Weir, which positioned Meldrum’s perceptual landscapes as the first important advance in Australian landscape painting since the Heidelberg School and a precursor to the Minimalist interpretations of the landscape in the 1960s. In addition, the exhibition included the recovered oeuvre of Meldrum’s follower, Clarice Beckett, whose ethereal suburban, coastal and city views of the 1920s and early 1930s transcend Meldrum’s painting system. Sydney modernism of the interwar period was also comprehensively reviewed in Sydney Moderns: Art for a New World exhibition (AGNSW, 2013), curated by Deborah Edwards and Denise Mimmocchi, which traced the development of formalist experimentation in the work of Grace Cossington Smith, Roland Wakelin, and Roy de Maistre and its intersections with design and the decorative arts, most notably in Sydney Ure Smith’s The Home magazine, which often served as an alternative or parallel aesthetic forum to the same publisher’s Art in Australia.
References
1 Adam, Leonhard. 2006. “Has Australian Aboriginal Art a Future?” In Modernism and Australia: Documents on Art, Design, and Architecture 1917–1967, edited by Stephen, Ann, Andrew McNamara, and Philip Goad, 2008. 448–458. Melbourne: Miegunyah Press. Originally published in Angry Penguins (Autumn 1944): 42–50.
2 Allen, Christopher. 1997. Art in Australia: From Colonization to Postmodernism. London: Thames and Hudson.
3 Anderson, Jaynie. 2011. “Art Historiography in Australia and New Zealand.” Journal of Art Historiography 4: 1–6. Accessed January 29, 2015. https://arthistoriography.wordpress.com/number-4-june-2011.
4 Anderson, Patricia. 2009. “A Marathon for Australian Art.” Quadrant. Accessed February 3, 2016. https://quadrant.org.au/magazine/2009/03/a-marathon-for-australian-art
5 Astbury, Leigh. 1985. City Bushmen: The Heidelberg School and the Rural Mythology. Melbourne: Oxford University Press.
6 Barker, Heather and Charles Green. 2011. “No Place like Home: Australian Art History and Contemporary Art at the Start of the 1970s.” Journal of Art Historiography 4: 1–17. Accessed February 3, 2016. https://arthistoriography.files.wordpress.com/2011/05/barker-green-no-place.pdf.
7 Batchen, Geoffrey. 1991. “Introduction-Pictography: The Art History of Ian Burn.” In Dialogue: Writings in Art History, edited by Ian Burn, ix-xix. Sydney: Allen & Unwin.
8 Batchen, Geoffrey. 2015. “Postscript.” In The Photograph and Australia, edited by Judy Annear, 260-265. Sydney: Art Gallery of New South Wales.
9 Berndt, Ronald, ed. 1964. Australian Aboriginal Art. Sydney: Ure Smith.
10 Bonyhady, Tim. 1985. Images in Opposition: Australian Landscape Painting, 1801–1890. Melbourne: Oxford University Press.
11 Bonyhady, Tim. 2000. The Colonial Earth. Melbourne: Melbourne University Press.
12 Boyd, Robin. 2006. “The Descent into Chaos.” In Modernism and Australia: Documents on Art, Design, and Architecture 1917–1967, edited by Ann Stephen, Andrew McNamara, and Philip Goad, 922–926. Melbourne: Miegunyah Press. Originally published in The Australian Ugliness (Melbourne: Chesire, 1960).
13 Burke, Janine. 1980. Australian Women Artists: 1840–1940. Melbourne: Greenhouse.
14 Burn, Ian. 1980. “Beating about the Bush: The Landscapes of the Heidelberg School.” In Australian Art and Architecture: Essays Presented to Bernard Smith, edited by Anthony Bradley and Terry Smith, 83–98. Melbourne: Oxford University Press.
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16 Burn, Ian. 1990. National Life and Landscapes: Australian Painting, 1900–1940. Sydney: Bay Books.
17 Burn, Ian, Nigel Lendon, Charles Merewether, and Ann Stephen. 1988. The Necessity of Australian Art: An Essay about Interpretation. Sydney: Power Publications, Power Institute of Fine Arts, University of Sydney.
18 Burn, Ian and Ann Stephen. 2005. “Albert Namatjira: The White Mask.” In Radical Revisionism: An Anthology of Writings on Australian Art, edited by Rex Butler, 225–232. Brisbane: Institute of Modern Art. Originally published in Ruth Megaw, ed. The Heritage of Namatjira (Melbourne: Heinemann, 1992).
19 Butler, Rex, ed. 2005a. Radical Revisionism: An Anthology of Writings on Australian Art. Brisbane: Institute of Modern Art.
20 Butler, Rex. 2005b. “Introduction.” In Radical Revisionism: An Anthology of Writings on Australian Art, edited by Rex Butler, 7–36. Brisbane: Institute of Modern Art.
21 Callaway, Anita. 2000. Visual Ephemera: Theatrical Art in Nineteenth-Century Australia. Sydney: University of New South Wales Press.
22 Callaway, Anita and Candace Bruce. 1991. “Dancing in the Dark: Black Corroboree or White Spectacle?” Australian Journal of Art 9: 79–104.
23 Carter, Paul. 1987. The Road to Botany Bay: An Essay in Spatial History. London: Faber and Faber .
24 Carter, Paul. 1992. Living in a New Country: History, Travelling, Language. London: Faber and Faber.
25 Chanin, Eileen and Steven Miller. 2005. Degenerates and Perverts: The 1939 Herald Exhibition of French and British Contemporary Art. Carlton, Vic: Miegunyah Press.
26 Clark, Jane and Bridget Whitelaw. 1985. Golden Summers: Heidelberg and Beyond. Melbourne: National Gallery of Victoria.
27 Clarke, Marcus. 1975. “The Weird Melancholy of the Australian Bush.” In Documents on Art and Taste in Australia: The Colonial Period, 1770–1914, edited by Bernard Smith, 132-136. Melbourne: Oxford University Press. Originally published in Pictures in the National Gallery (Melbourne: Public Library, 1874).
28 Counihan, Noel. 2006. “How Albert Tucker Misrepresents Marxism.” In Modernism and Australia: Documents on Art, Design, and Architecture 1917–1967, edited by Ann Stephen, Andrew McNamara, and Philip Goad, 435–443. Melbourne: Miegunyah Press. Originally published in Angry Penguins 5 (1943): n.p.
29 Dickinson, Sidney. 1975. “What Should Australian Artists Paint?” In Documents on Art and Taste in Australia: The Colonial Period, 1770–1914, edited by Bernard Smith, 247–250. Melbourne: Oxford University Press. Originally published in The Australasian Critic 1, 1 (October 1890): 21–22.
30 Dixon, Robert. 1985.