A superlative introduction to the diversity of Aboriginal art, this concise survey introduces the work of Australia's indigenous artists from all parts of the continent. For some 50,000 years, Aboriginal artists have built on traditions and worked in a variety of contexts, from the sacred and secret realm of ceremony to more public spheres, and in media that include painting, sculpture, engraving, constructions, weaving, photography, printmaking, and textile design. For the revised edition, a new chapter maps the latest developments across each of Australia's geographical regions. Updated information and some twenty new illustrations highlight the impact of urban living, the growth of local art centers, and the rise of women artists--all testifying to Aboriginal art's continued dynamism and vitality. Wally Caruana was Senior Curator of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia, Canberra, from 1984 to 2001.
A highly sought-after collectible, Fairyland features the exquisite illustrations of Ida Rentoul Outhwaite, a noted artist of the early 20th century. Outhwaite excelled at the depiction of dainty sprites, and her whimsical visions are highlighted by images of kangaroos, koalas, kookaburras, and other creatures of her native Australia. Her art -- with accompanying verses by her sister, Annie R. Rentoul, and stories by her husband, Grenbry Outhwaite -- is populated by princesses, witches, pixies, and other folkloric creatures and abounds in timeless charm. This hardcover edition of Outhwaite's most lavish work features dozens of graceful and imaginative illustrations, including nineteen in full color.
Since the 1990s, artists and art writers around the world have increasingly undermined the essentialism associated with notions of "critical practice." We can see this manifesting in the renewed relevance of what were previously considered "outsider" art practices, the emphasis on first-person accounts of identity over critical theory, and the proliferation of exhibitions that refuse to distinguish between art and the productions of culture more generally. How Folklore Shaped Modern Art: A Post-Critical History of Aesthetics underscores how the cultural traditions, belief systems and performed exchanges that were once integral to the folklore discipline are now central to contemporary art's "post-critical turn." This shift is considered here as less a direct confrontation of critical procedures than a symptom of art's inclusive ideals, overturning the historical separation of fine art from those "uncritical" forms located in material and commercial culture. In a global context, aesthetics is now just one of numerous traditions informing our encounters with visual culture today, symptomatic of the pull towards an impossibly pluralistic image of art that reflects the irreducible conditions of identity.
This publication accompanies a major exhibition organized by the Wadsworth Atheneum in Hartford, Connecticut, and the National Gallery of Australia. It features some fifty American and fifty Australian landscape paintings produced during the period when landscape became the focus for artists in both countries.In both traditions landscapes trace the ever-changing complexities of bringing what is known to the experience of the unknown, exploring the profound relationship that we have with the land on which we live. Many of America's finest landscape painters are represented, including Frederic Church, Thomas Cole, Albert Bierstadt, Winslow Homer, and William Merritt Chase. Australian artists include Joseph Lyatt, Augustus Earle, John Glover, Eugene von Guerard, Louis Buvelot, and Arthur Streeton, among others.