Arthur Streeton Analysis

I chose the artwork “Kelly and the Red Horse” to represent the cultural frame. This detailed piece of Australian art shows the outback, mountains, skies and trees. It also falls under the cultural frame because of its mountainous, Australian scenery. The cultural qualities of this painting is what makes it fall under this category.

Lauren Berkowitz is a contemporary installation artist. Installation art can be described as a three-dimensional painting, sculpture, poem, and prose work, which is usually transient and site-specific. This very modern art practise makes Berkowitz’s expression of Australian landscape is completely different to the previous two artists, Glover and Drysdale. Her work is made with an almost obsessive attention to detail after painstaking research and, ultimately, total dedication to the moment of making.

Rosalie Gascoigne started working as an artist in Australian later in her life during the 1970’s to late 1990’s. Her focus was on the environment and sustainability as she often used discarded objects such as streets signs and drink crates and gave them purpose. Her line of work is closely associated with the postmodernism movement which challenged the notion of art existing to be representative and instead insisted there is no ‘real art’ meaning anything can be art.

‘Bush-fire II’ is one of Aboriginal artwork, which is come from Early Western Desert Paintings and made in 1972. During the period 1971-1974, a new, dynamic movement in painting palmer Pan Ya in indigenous communities in the centre of Australia. These Luritja Pintupi, collaborated with Anmatyerr man begin to create using the ship and canvas acrylic painting works of art from ancient story. These poignant representations of the Dreaming exploded onto the Australian art market. The painting is the strong statements on aboriginal culture. Every picture reference, this is the ancestor teach people a certain area of land and related laws. Artists use imagery of rituals, before in the holy sacrifice object, and the body design and protocol used in painting,

From Japanese pop art to the black shapes of toxic clouds, Brisbane’s Gallery of Modern Art and the Queensland Art Gallery situated in Southbank, have it all. Even though, perhaps, there are some distinctly interesting art pieces which are currently displayed in these two galleries. These galleries exhibit a wide display of different genre of art ranging from film to installations and back to sculptures which show the concept of Identity- the Human Condition, but none quite so than the Contemporary Asian Art Exhibition and the Creative Generation Exhibition.

Ranked amongst the great American artists of the 20th-century, Georgia O’Keeffe stands as one of the most talented and compelling. For upwards of seven decades, O’Keeffe’s representations of the allure of the American landscape were a brave counterpoint to the chaotic images embraced by the art world. Her cityscapes and still life paintings filled the canvas with a vibrant energy that gained her a following of the critics and the public. Though many have tried, no one has been able to imitate her intimacy and arrant accuracy.

Australians come from different backgrounds and cultures, differing in languages and even opinions. But art, is the one thing that can bring the nation together, allowing all to relate to something no matter their upbringing and differences.

Historians view Lycett’s artworks as “evidence against the legal doctrine of Terra Nullius – the idea of Australia as an ‘empty land’ that Europeans were entitled to claim as their own” (McDonald 2008, 75). Had the album been published in Lycett’s lifetime another perspective of Australia would have been presented to a broader audience. In A Distant View of Sydney and the Harbour, Captain Piper’s Navel Villa at Eliza Point on the Left, in the foreground a family of Aborigines, (see figure 4), Lycett has depicted an aboriginal family; a woman carrying an infant and a young boy behind, carrying weapons like the man who is leading them, they are walking through a raised area of the foreshore. The figures are dominating in the composition and are portrayed as “people in control of the land and ready to defend their use of it” (Pugh 1990, 7). In the background of the drawing, there is evidence of white settlement. The scene depicts Sydney Cove, Garden Island, and fort Denison. The Governor’s stables just discernible and to the left a windmill. In the far left of the image is the Navel Villa, a grand building with a large garden where Captain John Piper resided. Although the work conveys assertion of Aboriginal ownership it also communicates the impact of European

This picture Alvin Richard is a self- taugh classical-modern painter, with the hand & the eye of an old master. His exceptional “Realist” paintings are the product of natural artistic talent and heartfelt passio Livinlightg in New Brunwick, Canada,Richard is working full-time as a registered nurse and moonlighting as an artist. He has been painting with acrylics for more than 20 years. Richard’s work includes still life, street scenes and figure studies.

Back in 1971 a school teacher called Geoffrey Bardon, went out to a small community called Papunya situated, which is about 240km North West of Alice Springs, Australia to work. Geoffrey encouraged the aboriginals to paint about their history and life stories called the Dreamtime, in doing so he has bought to the world Aboriginal Art.

Born in Great Britain (1938), John Wolseley came to Australia in 1976 and has worked on recording the history of north Australia in large paintings. His new home provided him with a distinctive environment. Wolseley finds new ways to relate to the land, which turns into interesting artistic practices. In Wolseley’s artwork Murray-Sunset he put sheets of paper in burnt desert scrub for weeks and each sheet recorded carbon traces in the form of charcoal, stipple, and marks made by the burnt fingers of trees and shrubs. For this artwork, he used the Keeling Curve to represent CO2 in his sheets of paper and to show the earth's climate changing. Dystopia last wetland artwork. Watercolour, feathers, ink, charcoal and graphite on paper were all the

Australian Indigenous {art|artwork|fine art|skill|art work} is the oldest ongoing {tradition|custom|traditions} of art {in the world|on the planet|on earth|on the globe}. Initial {forms of|types of|kinds of|varieties of} artistic Aboriginal {expression|manifestation|appearance} were {rock|rock and roll} carvings, body painting and {ground|floor|surface|earth} designs, which {date|time|time frame} {back|back again|again} more than 30,000 years.

Between the great Wars, Australian art was under the strong impact of the European trends. The painters adopted the techniques of the leading European artists. The emergence appearance of the Modernism and Cubism was due to the hard work of Australian female artists such as Grace Cossington Smith and Grace Crowley. These women found an inspiration in different art streams but both could create a respective career. Their creations emphasized on structure, colour and design. At the beginning, the public did not perceive the new art directions as they were unfamiliar with them. The men’s art world strongly criticized the women’s attempts to bring the modern art movements in Australia. In spite of it, the contribution of Grace Crowley was one of

The first thing that stands out in this painting is the color scheme. From far away, the warm colors of orange, tan, and mahogany seem inviting. The home seems friendly under a slice of turquoise sky. Shadows heighten the look of the fading sunlight upon the

Memmot (2007) explains how Indigenous building methods, based on semi-permanent structures utilized original styles, local materials and, like their culture. They were poetically wedded to the distinct sense of place for which this isolated continent is renowned. Indigenous architecture is pure vernacular (Memmot 2007). While this is respectfully acknowledged, this essay will examine the period after European settlement, during which Australian architecture has sourced the bulk of materials and styles internationally and has never been purely vernacular (Drew 2006). For example, while corrugated iron is seen as Australian it was produced in the steel mills in England and heavily used throughout Britain and the British Empire. Drew (2006) discusses how it is accepted that since 1788, Australian vernacular buildings have always contained a plethora of international influences - both stylistic and material - and were never truly original or unique in the same manner of Indigenous vernacular shelters. Consequently, the aim is to find architecture which possesses vernacular elements that overshadow the universal, international elements. To substantiate the arguments and isolate a period in Australia’s history, two case studies from the Mid 20th century will be examined – The Rose Seidler House (figure 2), by Harry Seidler and the Curry House 2 (figure 3), by Bruce Rickard.