1-5 of 5 results  for:

  • Latin American/Caribbean Art x
  • Oceanic/Australian Art x
Clear all

Article

Jocelyn Fraillon Gray

(b Morges, Vaud, March 3, 1814; d Melbourne, Victoria, May 30, 1888).

Swiss painter, lithographer and photographer, active in Brazil and Australia. He attended a drawing school in Lausanne, where his teacher may have been Marc-Louis Arlaud (1772–1845), and is thought to have spent some time with the landscape painter Camille Flers in Paris c. 1836 en route to Bahia (Salvador), Brazil. In 1840 he moved to Rio de Janeiro, where he established himself as a painter of local views and exhibited with the Imperial Academy of Fine Arts, Rio. His Brazilian landscapes, of which the View of Gamboa (1852; Rio de Janeiro, Mus. N. B.A.) is an example, received critical acclaim for their vivacious lighting. As a photographer he fulfilled commissions in daguerreotype for Emperor Peter II, and with the figure painter Auguste Moreau he produced a set of 18 lithographs, Picturesque Rio de Janeiro, published in 1843–4. From 1852 to 1864 he worked as a portrait photographer in Switzerland and from ...

Article

Paul Foss

(b Santiago, Oct 6, 1946).

Australian painter and performance artist of Chilean birth. He studied law and fine arts at the University of Chile. Following the coup of 1973, he arrived in Melbourne as a tourist after meeting an Australian in Buenos Aires, and later took up residence. He exhibited widely in Australia, Europe, and South America, returning frequently to Chile, which, thematically and politically, remained a focus for his art. He worked primarily with the quotation of cultural ephemera (e.g. newspaper photographs, advertisements, etc.). Originally noted for his adaptations of Pop art in an effort to rewrite the international history of painting from a provincial or Third World perspective, he increasingly developed a hybrid pictorial language that refused the strict confines of Modernism or Postmodernism, seen, for example, in Fable of Australian Painting (1982–1983; U. Sydney, Power Gal. Contemp. A.). His art deals with fragments, attempting to present a utopia of narrative from another place and time. In canvases such as ...

Article

David Boxer

(b Sydney, 1935; d Ocho Rios, 2007).

Jamaican painter of Australian birth. He studied painting first at the National School of Art, Sydney (1953–1955), and later at the Central School of Art and Design, London (1959), before emigrating to Jamaica in 1962. He arrived in the island a very competent painter, with the rudiments of his style in place. Inspired essentially by Surrealism and Magic Realism, he also studied the work of various artists who have exhibited a taste for the fantastic, such as Botticelli, Bosch, Giuseppe Arcimboldo, and Richard Dadd. He also benefited from his knowledge of the art of John Dunkley and some of the Haitian primitives. Jamaica and Haiti were his principal sources of inspiration. The land and sea, the flora, the birds, fish, and the people of varied types and exotic costumes all feature in his surreal juxtapositions. The paintings are hard to decipher, and indeed, Garland claimed that they are not meant to be unraveled like puzzles but simply viewed as exotic fantasias. However, paintings such as ...

Article

Gensler  

Sara Stevens

American architectural firm started by Arthur Gensler Drue Gensler, and Jim Follett in 1965 in San Francisco, CA. M. Arthur Gensler jr (b Brooklyn, New York, 1935) attended Cornell University to study architecture (BArch, 1957). The firm began doing build-outs for retail stores and corporate offices, and initially established itself in the unglamorous area of interior architecture. Thirty years later and without mergers or acquisitions, it had grown to become one of the largest architecture firms in the world, having pioneered the global consultancy firm specializing in coordinated rollouts of multi-site building programmes. By 2012 the firm had over 3000 employees in over 40 offices. From the beginning, Art Gensler conceived of a global firm with multiple offices serving corporate clients whose businesses were becoming more international. Instead of the ‘starchitect’ model of his contemporaries such as I. M. Pei or Paul Rudolph, Gensler wanted an ego-free office that existed to serve client needs, not pursue a designer’s aesthetic agenda at the client’s expense. By adopting new web-based computing technologies and integrated design software in the early 1990s, the firm stayed well connected across their many offices and were more able than their competitors to manage large multi-site projects. Expanding from the services a traditional architecture firm offers, the company pushed into new areas well suited to their information technology and interiors expertise, such as organizational design, project management, and strategic facilities planning....

Article

Noémie Goldman and Kim Oosterlinck

Term for the return of lost or looted cultural objects to their country of origin, former owners, or their heirs. The loss of the object may happen in a variety of contexts (armed conflicts, war, colonialism, imperialism, or genocide), and the nature of the looted cultural objects may also vary, ranging from artworks, such as paintings and sculptures, to human remains, books, manuscripts, and religious artefacts. An essential part of the process of restitution is the seemingly unavoidable conflict around the transfer of the objects in question from the current to the former owners. Ownership disputes of this nature raise legal, ethical, and diplomatic issues. The heightened tensions in the process arise because the looting of cultural objects challenges, if not breaks down, relationships between peoples, territories, cultures, and heritages.

The history of plundering and art imperialism may be traced back to ancient times. Looting has been documented in many instances from the sack by the Romans of the Etruscan city of Veii in ...