Australian group of artists formed in Melbourne in February 1959 and active until January 1960. The founder-members were the art historian Bernard Smith (b 1916), who was elected chairman, and the painters Charles Blackman, Arthur Boyd, David Boyd (b 1924), John Brack, John Perceval and Clifton Pugh. They were joined subsequently by the Sydney-based painter Bob Dickerson (b 1924). Smith chose the name of the group and compiled the Antipodean Manifesto, the appearance of which coincided with the inaugural exhibition, The Antipodeans, held in the Victorian Artists’ Society rooms in Melbourne in August 1959. The group’s main concern was to promote figurative painting at a time when non-figurative painting and sculpture were becoming established as the predominant trend in Australia, as in the USA and Europe. To gain a more prestigious venue to show their work, the group asked Smith to enlist the support of Kenneth Clark, who responded by suggesting the Whitechapel Gallery in London. The Gallery’s director, ...
Within a half-century of the signing of the Treaty of Waitangi between the British Crown and Maori chiefs in 1840—the event from which the beginning of New Zealand (Aotearoa) is generally dated (and leaving aside from the present discussion the tribal art of the indigenous Maori and the early art created by European navigators, explorers, surveyors, itinerant artists, soldiers, and the like)—a rudimentary infrastructure of public art galleries, art societies, and some art schools had arisen in the main cities—Auckland, Wellington, Christchurch, and Dunedin—and the beginnings of a discourse concerning the character and purpose of the visual arts in the new nation emerged. The central question was whether or not such a phenomenon as ‘New Zealand art’ existed or should exist and what characteristics it should aspire to. These matters were vigorously debated for a decade or so either side of 1890 when the infant nation marked its 50th anniversary with a jubilee. The discourse about national identity then largely disappeared for a generation only to emerge again a decade or so either side of ...
(b Sydney, Nov 21, 1915).
Australian painter, writer, critic and administrator. He studied at the East Sydney Technical College from 1934 to 1936 and was represented in the first Contemporary Art Society exhibition in 1938. Gleeson is widely regarded as Australia’s leading Surrealist, often compared in style to Dalí. His work is frequently described as macabre, threatening and erotic, and his forms range from the recognizable to indeterminate imagery from the darker depths of the mind, as in the ...
Jean Robertson and Craig McDaniel
The final decades of the 20th century and the beginning of the 21st century witnessed an increasing propensity for artists to incorporate aspects of science in their own art. In many fields of scientific research—including the cloning of mammals, the genetic modification of crops, the creation of bioengineered organs and tissues, advances in nanotechnology and robotics, experimental research in how the human mind works and the study of artificial intelligence—the frontiers of knowledge pushed outward at an accelerated pace. In the spirit of creative inquiry, or in order to critique the goals and outcomes of scientific experimentation and application, artists regularly borrowed subjects, tools and approaches from science as a means to the production of art ( see fig. ).
In documenting and assessing the achievements of visual artists engaged with science, there was no broad consensus on the categorisation of artists’ work across the full range of activities, methods, motivations and use of materials. Assessments of artistic practice focused on artists’ work categorised by the traditional fields of science (e.g. artists who explore biology, artists who explore physical sciences). Other analyses of artistic practice focused on categories of art media (e.g. artists who use traditional means such as carving and casting to represent scientific discoveries, artists who explore and employ biological materials and scientific instruments)....
The aesthetic concept of Sublime, the had been extensively discussed and developed in Europe throughout the 18th century, in particular by Edmund Burke in his work A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful (1756). Burke identified both the Sublime and the Beautiful as emotional responses to the landscape, but whereas the Beautiful was smooth, even, small and regular, the Sublime was vast, awe-inspiring and created a sense of ‘delightful horror’ in the viewer (Burke, Book I, §III; Book II, §VIII), that is a delight in horror that does not threaten the viewer. Obscurity, terror, eternity and infinity are also themes in Burke’s work, all of which can be read as substitutes for the fear of God. The Sublime in Nature is the first essay in The Australian Sketchbook (1838) by James Martin (1820–86) is one of the earliest references to the Sublime in Australia. Although Martin does not seem to have read Burke’s work, he too describes the notion of the ‘sublimity and power of the Creator’ seen everywhere in His works....