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.
The Art of Tiki is a passionate study of the Tiki idol as an art form. For the first time, contemporary Tiki art is united and presented equally with what inspired it, original mid-century Polynesian pop. Author Sven Kirsten combines his first-hand experiences in exploring the birth of Tiki style with his intimate knowledge of the Tiki Revival, painting a vivid, visually arresting portrait of a unique, always new art genre. The Art of Tiki is published in conjunction with the 20th Anniversary Tiki Art Exhibition at La luz de Jesus Gallery in Los Angeles.
The Pacific artefacts and works of art collected during the three voyages of Captain James Cook are of foundational importance for the study of art and culture in Oceania. These collections are representative not only of technologies or belief systems but of indigenous cultures at the formative stages of their modern histories, and exemplify Islanders' institutions, cosmologies and social relationships.Recently, scholars from the Pacific and further afield, working with Pacific artefacts at the Museum of Archaeology and Anthropology (MAA) at University of Cambridge, set out to challenge and rethink some longstanding assumptions on their significance. The Cook voyage collection at the MAA is among the four or five most important in the world, containing over 200 of the 2,000-odd objects with Cook voyage provenance that are dispersed throughout the world. The collection includes some 100 artefacts dating from Cook's first voyage. This stunning book catalogues this collection, and its cutting-edge scholarship sheds new light on the significance of many artefacts of encounter.
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.
Recognized internationally as one of the twentieth century's great modernist innovators, New Zealand artist Len Lye is most famous for his avant-garde experimental films and for his astonishing and playful kinetic sculptures. Always fascinated by the interplay of movement and light, this extraordinary artist also expressed himself in photography, drawing, painting and poetry. And thanks to this collection of essays, we too can be drawn into his long dream and come to see his remarkable achievements through fresh eyes.
This authoritative book provides a critical survey of public sculpture installed in Australia since colonial times. Major sections include war memorials, ranging from Boer War and World War I memorials through to contemporary minimalism; commemorative sculpture, encompassing works relating to historical events, royalty, statesmen, explorers and prominent humanitarians; fountains and garden sculpture, ranging from 19th Century works through to sculptures in modern parks like those at Expo and Sydney's Darling Harbour; corporate sculpture, and works in public gallery collections.
The author examines trends in the commissioning and installation of sculptural works, the move away from publicly funded commemorative works to the embellishing of contemporary corporate buildings, the development of contemporary sculpture parks, and an analysis of changing tastes. This book will be indispensable to those interested in the history of public sculpture and its role in social history.