Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1792043
J. Hoorn, R. Mackay, C. Dyson, Dinah Dysart, David Mackay, H. Tanner, Kylie Winkworth
Mary Helena Mackay (n ee Short) was an Australian art historian, researcher, teacher, printmaker, collector and feminist. She was an original and innovative thinker whose pioneering research in Australian art greatly enriched the field. She defended women’s rights and called out injustices when she saw them. Her legacy will live on through her publications, her many contributions to the world of art and in the memories of her students, colleagues, family and friends who benefitted from her intellect, generosity and passion. Mary gained First Class Honours in Art History at the Power Institute, University of Sydney in 1979. Her Doctorate, The Geological Sublime: A New Paradigm, in which she studied the impact of new geological research promoted by scientists on theorists of the sublime in art, presented an original reading of the representation of the landscape by artists working in colonial Australia in the nineteenth century. She showed how the writings of Edmund Burke and Immanuel Kant influenced interpreters of Australian nature while bringing into focus Darwin’s theory of evolution, which had stemmed in part from emerging knowledge concerning geological formations and fossil remains. She analysed the ways in which the reactions of settlers to the Australian bush, coast and desert were interpreted through a sublime reading of the landscape that was highlighted by reference to the emotions of awe, horror and disbelief. She studied the illustrations and writing of British printmakers who journeyed to the Australian interior such as Samuel Calvert and John Skinner Prout and George French Angus. Before completing her doctorate in 1991, Mary worked as a research assistant and tutor while completing her graduate studies before her appointment at the Power Institute. She was promoted to Senior Lecturer before retiring in 2005. Mary was born in North Sydney and educated at the Dominican convent school at Moss Vale. A thoughtful, well-read student, Mary briefly considered entering holy orders, before enrolling at secretarial college. Following the completion of her training she secured a position as a legal stenographer with Sly and Russell Solicitors, where she met, Donald Gordon Mackay, whom she married in 1955. She combined motherhood with work and study following the birth of her four sons, Richard, Anthony, Lawrence (deceased) and David. Applying skills as a
玛丽·海伦娜·麦凯是一位澳大利亚艺术史学家、研究员、教师、版画家、收藏家和女权主义者。她是一位富有独创性和创新性的思想家，对澳大利亚艺术的开拓性研究极大地丰富了这一领域。她捍卫妇女的权利，并在看到这些权利时大声疾呼不公正。她的遗产将通过她的出版物、她对艺术世界的许多贡献以及她的学生、同事、家人和朋友的记忆而永存，他们从她的智慧、慷慨和热情中受益。1979年，玛丽在悉尼大学权力学院获得艺术史一等荣誉。在她的博士学位《地质崇高：新范式》中，她研究了科学家推动的新地质研究对艺术崇高理论家的影响，并对19世纪在殖民地澳大利亚工作的艺术家对景观的表现进行了原创解读。她展示了埃德蒙·伯克（Edmund Burke）和伊曼纽尔·康德（Immanuel Kant）的著作是如何影响澳大利亚自然的诠释者的，同时也使人们关注达尔文的进化论，这在一定程度上源于有关地质构造和化石遗迹的新兴知识。她分析了定居者对澳大利亚丛林、海岸和沙漠的反应是如何通过对景观的崇高解读来解读的，其中提到了敬畏、恐怖和难以置信的情绪。她研究了前往澳大利亚内陆的英国版画家的插图和写作，如塞缪尔·卡尔弗特、约翰·斯金纳·普劳特和乔治·弗伦奇·安古斯。在1991年完成博士学位之前，玛丽在电力研究所完成研究生学习期间担任研究助理和导师。2005年退休前，她被提升为高级讲师。玛丽出生于北悉尼，在莫斯谷的多明尼加修道院学校接受教育。玛丽是一个思想缜密、博览群书的学生，在进入秘书学院之前，她曾短暂考虑过进入圣职。培训结束后，她在Sly and Russell律师事务所获得了一个法律速记员的职位，在那里她遇到了唐纳德·戈登·麦凯，并于1955年结婚。在她的四个儿子Richard、Anthony、Lawrence（已故）和David出生后，她将母亲身份与工作和学习结合在一起。将技能作为
{"title":"Dr Mary Mackay (1931–2017)","authors":"J. Hoorn, R. Mackay, C. Dyson, Dinah Dysart, David Mackay, H. Tanner, Kylie Winkworth","doi":"10.1080/14434318.2020.1792043","DOIUrl":"https://doi.org/10.1080/14434318.2020.1792043","url":null,"abstract":"Mary Helena Mackay (n ee Short) was an Australian art historian, researcher, teacher, printmaker, collector and feminist. She was an original and innovative thinker whose pioneering research in Australian art greatly enriched the field. She defended women’s rights and called out injustices when she saw them. Her legacy will live on through her publications, her many contributions to the world of art and in the memories of her students, colleagues, family and friends who benefitted from her intellect, generosity and passion. Mary gained First Class Honours in Art History at the Power Institute, University of Sydney in 1979. Her Doctorate, The Geological Sublime: A New Paradigm, in which she studied the impact of new geological research promoted by scientists on theorists of the sublime in art, presented an original reading of the representation of the landscape by artists working in colonial Australia in the nineteenth century. She showed how the writings of Edmund Burke and Immanuel Kant influenced interpreters of Australian nature while bringing into focus Darwin’s theory of evolution, which had stemmed in part from emerging knowledge concerning geological formations and fossil remains. She analysed the ways in which the reactions of settlers to the Australian bush, coast and desert were interpreted through a sublime reading of the landscape that was highlighted by reference to the emotions of awe, horror and disbelief. She studied the illustrations and writing of British printmakers who journeyed to the Australian interior such as Samuel Calvert and John Skinner Prout and George French Angus. Before completing her doctorate in 1991, Mary worked as a research assistant and tutor while completing her graduate studies before her appointment at the Power Institute. She was promoted to Senior Lecturer before retiring in 2005. Mary was born in North Sydney and educated at the Dominican convent school at Moss Vale. A thoughtful, well-read student, Mary briefly considered entering holy orders, before enrolling at secretarial college. Following the completion of her training she secured a position as a legal stenographer with Sly and Russell Solicitors, where she met, Donald Gordon Mackay, whom she married in 1955. She combined motherhood with work and study following the birth of her four sons, Richard, Anthony, Lawrence (deceased) and David. Applying skills as a","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14434318.2020.1792043","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49098589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1764228
Andrew Yip
Immersive environments—broadly defined as multisensory installations designed to elicit embodied and sensory responses from their inhabitants—are commonly employed in the industries of war. Their taxonomy covers a diverse range of physical and digital spatialities, from the construction of 1:1 scale ‘Potemkin villages’ on the home front for urban combat training, to the design of elaborate schemas of camouflage and deception in conflict zones, to systemic mixed reality simulators that blend vehicular hardware, tactical scenarios modelled in digital engines, and real-time, command-level data. Since the advent in the 1990s of supercomputers, bodily control interfaces and graphics processing units (GPUs) capable of a threshold level of representational reality, Western militaries in particular have made extensive use of immersive, full-body simulators and head-mounted displays in both the training of military personnel and the development of human – machine interfaces. These have traditionally been seen as low-risk and inexpensive supplements to field exercises, with which learnt knowledge can be applied to real-world scenarios in controlled environments designed to mimic operational conditions. These immersive training programs result in the development of habituated and embodied memory in participants—forms of memory that are not only encoded through physical engagement but can be replicated in subsequent behaviour. As Seimeng Lai and Scott Sharpe argue in their study of tank combat simulators, ‘the military is not only able to bring about bodily or perceptual habits, but to produce the very disposition and tendencies of the soldier. Soldiers not only change what they do but change what they become’. In this example, the transformational ‘becoming’ experienced by the soldiers is contingent on their sense-making within an alternate reality. It showcases precisely the form in which immersive aesthetics were originally conceived through the paradigm of computer science engineering, which defined their mechanics through two co-dependent parameters: immersion and presence. Immersion can be gauged by the technological capability of hardware and software platforms to produce compelling visual, aural and biomechanical stimuli that mimic human
{"title":"Hypermapping Conflict: War, Art and Immersive Aesthetics","authors":"Andrew Yip","doi":"10.1080/14434318.2020.1764228","DOIUrl":"https://doi.org/10.1080/14434318.2020.1764228","url":null,"abstract":"Immersive environments—broadly defined as multisensory installations designed to elicit embodied and sensory responses from their inhabitants—are commonly employed in the industries of war. Their taxonomy covers a diverse range of physical and digital spatialities, from the construction of 1:1 scale ‘Potemkin villages’ on the home front for urban combat training, to the design of elaborate schemas of camouflage and deception in conflict zones, to systemic mixed reality simulators that blend vehicular hardware, tactical scenarios modelled in digital engines, and real-time, command-level data. Since the advent in the 1990s of supercomputers, bodily control interfaces and graphics processing units (GPUs) capable of a threshold level of representational reality, Western militaries in particular have made extensive use of immersive, full-body simulators and head-mounted displays in both the training of military personnel and the development of human – machine interfaces. These have traditionally been seen as low-risk and inexpensive supplements to field exercises, with which learnt knowledge can be applied to real-world scenarios in controlled environments designed to mimic operational conditions. These immersive training programs result in the development of habituated and embodied memory in participants—forms of memory that are not only encoded through physical engagement but can be replicated in subsequent behaviour. As Seimeng Lai and Scott Sharpe argue in their study of tank combat simulators, ‘the military is not only able to bring about bodily or perceptual habits, but to produce the very disposition and tendencies of the soldier. Soldiers not only change what they do but change what they become’. In this example, the transformational ‘becoming’ experienced by the soldiers is contingent on their sense-making within an alternate reality. It showcases precisely the form in which immersive aesthetics were originally conceived through the paradigm of computer science engineering, which defined their mechanics through two co-dependent parameters: immersion and presence. Immersion can be gauged by the technological capability of hardware and software platforms to produce compelling visual, aural and biomechanical stimuli that mimic human","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14434318.2020.1764228","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49138770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1764229
D. Jorgensen
The drawings, paintings and films of George Gittoes have been interpreted as humanistic works of art, as they emphasise the fate of those caught up in wars around the world. Philosopher Daniel Herwitz compares Gittoes to artists from India and South Africa to align him with a global campaign for human rights and humanitarian interventionism. Media theorist Nicholas Mirzoeff has criticised the way Gittoes paints suffering in poorer parts of the world, while activists have applauded this same feature of his work, awarding him the Sydney Peace Prize in 2015 alongside Naomi Klein and Nelson Mandela. The prize came after Gittoes’ turn to documentary filmmaking in the 21st century, and his films have themselves been awarded for their humanitarianism. These documentaries work to capture the complexity of life in low-intensity war zones in Afghanistan, Pakistan, Iraq, and the inner cities of the United States. An examination of key drawings and paintings from the 1980s and 1990s, however, troubles this humanistic interpretation of Gittoes’ films. In their representation of machinic soldiers and mutilated victims, Gittoes’ drawings, paintings and graphic works from conflicts in Australia, Nicaragua, Somalia, and Rwanda suggest that war is as much a posthumanist experience as one demanding a humanistic response. The concepts of post-heroic and hyper-real war help to sketch out the ways in which Gittoes’ works respond to the strange and disconcerting experience of contemporary conflict. This is not to say that Gittoes does not document suffering, but that his work is also engaged with the alienating experience of wars that are increasingly conducted with advanced visual technologies and over long, drawn-out periods of time. In 1995, two texts were published that attempted to capture something of this new era of warfare. In the journal Foreign Affairs, Edward N. Luttwak named a ‘post-heroic war’ that had come about because of the reluctance of advanced Western militaries to inflict casualties on either the enemy or their own troops. The term quickly became a catch-all to describe the shift away from the total wars of the nineteenth and early twentieth centuries to the low-intensity conflicts of the
乔治·吉托斯的素描、油画和电影被解读为人文主义艺术作品，因为它们强调了世界各地陷入战争的人们的命运。哲学家丹尼尔·赫维茨(Daniel Herwitz)将吉托斯与来自印度和南非的艺术家相提并论，以使他与全球人权和人道主义干预运动保持一致。媒体理论家尼古拉斯·米尔佐夫(Nicholas Mirzoeff)批评了吉托斯描绘世界上较贫穷地区苦难的方式，而活动人士则对他作品的这一特点表示赞赏，并在2015年将他与内奥米·克莱因(Naomi Klein)和纳尔逊·曼德拉(Nelson Mandela)一起授予悉尼和平奖。该奖项是在吉托斯在21世纪转向纪录片制作之后颁发的，他的电影本身也因其人道主义而获奖。这些纪录片捕捉了阿富汗、巴基斯坦、伊拉克和美国内陆城市低强度战区生活的复杂性。然而，对20世纪80年代和90年代的关键素描和绘画的考察，却给对吉托斯电影的人文主义解读带来了麻烦。吉托斯在澳大利亚、尼加拉瓜、索马里和卢旺达的冲突中绘制的素描、油画和平面作品，以机械士兵和残缺的受害者为代表，表明战争既是一种后人道主义的经历，也是一种需要人道主义回应的经历。后英雄主义和超真实战争的概念有助于勾勒出吉托斯的作品对当代冲突中奇怪而令人不安的经历的回应方式。这并不是说吉托斯没有记录苦难，而是说他的作品也涉及战争的疏远体验，这些战争越来越多地使用先进的视觉技术进行，并且持续了很长时间。1995年，出版了两篇文章，试图捕捉这个新战争时代的一些东西。在《外交事务》(Foreign Affairs)杂志上，爱德华·n·卢特瓦克(Edward N. Luttwak)提出了一场“后英雄战争”，这场战争之所以发生，是因为先进的西方军队不愿给敌人或自己的军队造成伤亡。这个词很快成为一个包罗万象的词，用来描述从19世纪和20世纪初的全面战争到20世纪初的低强度冲突的转变
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Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1792041
T. Gregory
{"title":"Shaun Gladwell: Pacific Undertow","authors":"T. Gregory","doi":"10.1080/14434318.2020.1792041","DOIUrl":"https://doi.org/10.1080/14434318.2020.1792041","url":null,"abstract":"","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14434318.2020.1792041","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46314259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1764227
Kate Warren, Anthea Gunn, Mikala Tai
When contemporary artists respond to situations of war and conflict, the processes of creation and reception can be highly complex, charged, and unpredictable. Cultural institutions play an essential role in facilitating such projects, supporting artists and presenting the final outcomes. Artistic responses to conflict may stretch and challenge established institutional boundaries and conventions, yet in doing so they very often generate some of the most potent considerations of contested histories. As former head of art at the Australian War Memorial (AWM) Ryan Johnston writes, ‘our historians might learn something from our artists when it comes to the practice of public memory’. Too often, art historical discussions around the relationship between individual artists and cultural institutions are positioned within frameworks of ‘institutional critique’, often in an antagonistic or oppositional mode. Johnston highlights the potential for reciprocal learning and sharing between artists and institutions, particularly in contexts where the artistic products are innately connected to wider politics and social histories. The opportunities and challenges afforded to contemporary artists by these different types of institutions also affect the broader reception and interpretation of the artworks produced. This article explores and analyses how different types of institutions can work with contemporary artists in these contexts. As practising arts professionals working in different organisations—a large commemorative museum, a small contemporary art gallery, and a research-intensive university—we reflect on our own institutional settings to consider how different institutional contexts affect the creation and exhibition of contemporary art that approaches topics of war, conflict, and political violence. We offer three key case studies to inform this article. Firstly, we consider how contemporary art at the AWM has expanded the institution’s traditions of presenting the art of conflict, artefacts, and archives alongside a national memorial to those killed in military service. Secondly, we explore how Sydney’s small independent gallery 4A Centre for Contemporary Asian Art has been redefining ways to support contemporary artists engaging with contested
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Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1764230
C. Speck
In 2017, at the Tarnanthi Festival of Contemporary Aboriginal and Torres Strait Islander Art at the Art Gallery of South Australia, the most extraordinary artwork was shown. Simply titled Kulata Tjuta (fig. 1) it consisted of traditional spears, kulata, assembled to form the spherical shape of a mushroom cloud emanating from an atomic bomb test. A bright light was at its centre, and beneath were empty piti (food-gathering bowls), empty because the land as a source of food had been contaminated. This was a joint exhibit of sixty men and women, many senior Anangu artists from the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia. In an adjoining gallery space a video installation of nine screens showed archival footage of country, while the artists spoke, many for the first time publicly, about their memories and experiences of being close by when a series of atomic bomb tests were carried out by Britain in remote locations in Australia. One elder and prominent artist, Ilawanti Ken, said of this exhibit:
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Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1792045
G. Batchen
‘Do we choose our fields of research or do they choose us?’ The question is the first sentence in the Preface to Roger Blackley’s most important book, 2018’s Galleries of Maoriland. He follows it with a memory of being taken to the Dominion Museum as a schoolboy and marvelling at the artefacts in the Maori Hall. He would spend his career as a curator and art historian forging an historical conversation between this world and his own, in the process transforming the shape of New Zealand’s art history. Born and raised in small towns in New Zealand, Blackley was introduced to art by an inspiring teacher at Tararua College in Pahiatua. Attracted to a life of the mind, he eventually found himself studying towards an Arts degree at the University of Auckland. However, as he ruefully later remembered, when he was a student in the Art History department, no classes were offered about the art of his own country. But, in 1973, Blackley saw an exhibition of the watercolours of nineteenth-century artist Alfred Sharpe at the Auckland Art Gallery. Struck by both the paintings and the artist’s unusual biography (Sharpe was deaf and mute), Blackley searched the newspapers of Sharpe’s time to find out more about him. This kind of deep primary research, using newspapers to capture both a social context and the character of the times (‘anecdotage’ was the joke he made at his own expense), became characteristic of all his work. By 1978 he had written a Masters thesis about Sharpe. After he had been appointed the curator of historical New Zealand art at Auckland City Art Gallery, this thesis became the basis for a catalogue and exhibition on Sharpe he curated in 1992. The choice was a telling one. Throughout his working life, Blackley gravitated to the margins, to those media or figures that were forgotten or considered not quite respectable by other art historians. As Christina Barton put it in 2008, ‘a distinctive quality of Blackley’s scholarly work is to examine those areas that seem beyond the pale, either because they address genres that do not conform to the conventions of high art, or because their reception took place in non-art contexts’. Blackley’s writing broke with other kinds of conventions too. In 1995, for example, he wrote an essay for Art New Zealand that questioned the ‘slim basis’ on which a
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Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1764232
R. Bullen, Tets Kimura
Nowhere other than in war are people’s social lives more insistently determined by their relationship to the objects which represent them, and through which they come to know and define themselves....
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Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1764225
Kit Messham-Muir, Uroš Čvoro
I want to assure the American people that we’re doing everything we can each day to confront and ultimately defeat this horrible invisible enemy. We’re at war, in a true sense, we’re at war, and we’re fighting an invisible enemy... A number of people have said it, but, and I feel it actually, I’m a wartime president, there’s a war, there’s a war, different kind of a war that we’ve ever had. Donald J. Trump, 45 President of the United States, 23 March 2020.
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Pub Date : 2020-01-02DOI: 10.1080/14434318.2020.1764233
Kit Messham-Muir, Uroš Čvoro
As we write this sentence, the United States is commemorating the eighteenth anniversary of the 9/11 attacks. A generation, some of whom are now adults, has been born since that event and has never...
{"title":"After Aftershock: The Affect–Trauma Paradigm One Generation After 9/11","authors":"Kit Messham-Muir, Uroš Čvoro","doi":"10.1080/14434318.2020.1764233","DOIUrl":"https://doi.org/10.1080/14434318.2020.1764233","url":null,"abstract":"As we write this sentence, the United States is commemorating the eighteenth anniversary of the 9/11 attacks. A generation, some of whom are now adults, has been born since that event and has never...","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14434318.2020.1764233","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44082975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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