Colin McCahon and Imants Tillers: The Care of Small Birds – An Ecological Perspective

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Notes

1. Colin McCahon, ‘Letter to John Caselberg’, Christchurch Star 11 (1962).

2. Wystan Curnow, ‘McCahon and Signs’, in Colin McCahon Gates and Journeys (Auckland: Auckland City Art Gallery, 1988), 50.

3. Wystan Curnow, Imants Tillers and the Book of Power (North Ryde: Craftsman House, 1998), 145.

4. Linda Williams, ‘Affective Poetics and Public Access: The Critical Challenges of Environmental Art’, Australasian Journal of Ecocriticism and Cultural Ecology 3 (2014): 18.

5. James Lovelock and Sidney Epton, ‘The Quest for Gaia’, New Scientist 65, no. 935 (1975): 304.

6. Curnow, Imants Tillers, 131.

7. Colin McCahon, Colin McCahon: A Survey Exhibition (Auckland: Auckland Art Gallery, 1972), 17.

8. Colin McCahon, ‘Nineteen Painters: Their Favourite Works. Colin McCahon, Gate 1961’, Islands 10, no. 4 (1974): 396–97.

9. Jack Kerouac, ‘Lamb, No Lion’, in The Portable Jack Kerouac, ed. Ann Charters (New York; Viking Penguin, 1995), 562.

10. Laurence Coupe, Beat Sound, Beat Vision: The Beat Spirit and Popular Song (Manchester: Manchester University Press, 2007), 56.

11. Lynn White, ‘The Historical Roots of our Ecological Crisis’, in The Ecocriticism Reader: Landmarks in Literary Ecology, ed. Cheryll Glotfelty and Harold Fromm (Athens and London: University of Georgia, 1996), 14.

12. Quoted in Curnow, ‘McCahon and Signs’, 54.

13. Gordon Brown, Colin McCahon: Artist (Wellington: A. H & A. W. Reed Ltd, 1984), 159.

14. Curnow, ‘McCahon and Signs’, 53.

15. Curnow, Imants Tillers, 124.

16. Imants Tillers, ‘Poem of Ecstasy’, Collective Identity. Statement by artist. http://www.collectiveidentities.com.au/mobile/imantstillers.html (accessed 7 February 2016).

17. Curnow, ‘McCahon and Signs’, 53.

18. Williams, ‘Affective Poetics and Public Access’, 16.

19. Peter Simpson, Answering Hark: McCahon/Caselberg/Painter/Poet (Nelson: Craig Potton Publishing, 2001), 98.

20. Peter Hooper, Journey Towards an Elegy and Other Poems (Christchurch: Nags Head Press, 1969).

21. Colin McCahon quoting Peter Hooper. Colin McCahon Online Catalogue, The Colin McCahon Research and Publication Trust. The reference is to Peter Hooper, ‘Burning Mine, Stockton’, in Journey Towards an Elegy and Other Poems (Christchurch: Nags Head Press, 1969). www.mccahon.co.nz/cm000065 (accessed 7 February 2016).

22. Colin McCahon, Earth/Earth (Auckland: Barry Lett Galleries, 1971).

23. Colin McCahon, quoted in Brown, Colin McCahon Artist, 164. A Statement by McCahon for the exhibition Earth/Earth, Barry Lett Galleries, 1971.

24. Tim Flannery, Here On Earth: An Argument for Hope (Melbourne: The Text Publishing Company, 2010).

25. Rachel Carson, Silent Spring (Boston: Houghton Mifflin Company, 2002).

26. Ele Carpenter, ‘The Nuclear Anthropocene’, (Fluid Encounters Between Art and Science Conference, Bildmuseet, Umea, Sweden, October 2–3, 2014), www.academia.edu/10113931/Ele_Carpenter_The_Nuclear_Anthropocene (accessed 11 February 2016).

27. Wystan Curnow, ‘McCahon and Signs’ in Colin McCahon Gates and Journeys (Auckland: Auckland City Art Gallery,1988), 49.

28. Iri and Toshi Maruki, The Hiroshima Panels (1950–1982). This text is by Toshi Maruki from Panel II, ‘Fire’, The Hiroshima Panels (1950). See Maruki Gallery for The Hiroshima Panels, www.aya.or.jp/∼marukimsn/english/indexE.htm (accessed 14 February 2016).

29. John Caselberg, The Sound of the Morning (Christchurch: Pegasus Press, 1954).

30. Jim Green, ‘Radioactive Waste and the Nuclear War on Australia's Aboriginal People’, The Ecologist, 1 July 2016. www.theecologist.org/News/news_analysis/2987853/radioactive_waste_and_the_nuclear_war_on_australias_aboriginal_people.html (accessed 14 November 2016).

31. Henri Giroux, ‘The Responsibility of Intellectuals in the Shadow of the Atomic Plague’, Boundary 2 Online, 14 September 2014, para 2. www.boundary2.org/2014/09/the-responsibility-of-intellectuals-in-the-shadow-of-the-atomic-plague/ (accessed 16 February 2016).

32. Storm Warning. The text for this work is from the Second Letter of Paul to Timothy. Chapter 3. ‘The Character of Men in the Last Days’. Timothy 2. 3:1–2.

33. John Parham, ‘Green Man Hopkins: Gerard Manley Hopkins and Victorian Ecological Criticism’, Nineteenth-Century Contexts 25, no. 3 (2003): 261.

34. Gerard Manley Hopkins, ‘Wreck of the Deutschland’, Poets of the English Language (New York: Viking Press, 1950).

35. Gregory O'Brien, ‘Somebody Say Something’, Sport 23 (1999): 2.

36. Tony Green, ‘McCahon and the Modern’, in Colin McCahon Gates and Journeys (Auckland: Auckland City Art Gallery, 1998): 35.

37. Andrea Gaynor and Ian Mclean, ‘The Limits of Art History: Towards an Ecological History of Landscape Art’, Landscape Review 11, no. 1 (2005): 13.

38. Neil Evernden, ‘Beyond Ecology: Self Place and the Pathetic Fallacy’ in The Ecocriticism Reader, 92.

39. Alfred Russel Wallace, Man's Place in the Universe, 5th ed. (London & Bombay: George Bell & Sons, 1905).

40. Graham Coulter-Smith, ‘Imants Tillers: Inventing Postmodern Appropriation’. Nature Speaks (Sydney: Sherman Galleries, 1999) www.shermangalleries.com.au/artists_exhib/artists/tillers/nature.html (accessed 31 January 2016).

41. John Donne, ‘The Good-Morrow’, in Songs and Sonnets (1633), The Norton Anthology of Poetry, 3rd Ed. (New York: WW Norton & Co, 1983).

42. Imants Tillers, 1973. ‘The Beginner's Guide to Oil Painting’, Faculty of Architecture, University of Sydney, Sydney, 39. Quoted in Coulter-Smith, ‘Imants Tillers’, www.shermangalleries.com.au/artists_exhib/artists/tillers/nature.html (accessed 31 January 2016).

43. Ibid.

44. Ibid.

45. Imants Tillers, Nature Speaks. 25 April 2011, Cooma. Tillers is quoting Antonin Artaud, 50 Drawings to Murder Magic (Chicago: University of Chicago Press, 2008) www.greenaway.com.au/Artists/Imants-Tillers.html (accessed 31 January 2016).

46. John Sorenson, ‘Introduction: Thinking the Unthinkable’, in Critical Animal Studies, Thinking the Unthinkable, ed. John Sorenson (Toronto: Canadian Scholars’ Press Inc., 2014), 11.

47. Akira Mizuta Lippit, Electric Animal: Toward a Rhetoric of Wildlife (Minneapolis: University of Minnesota Press, 2000).

48. Deborah Hart, ‘Bringing the Periphery Centre Stage’, Imants Tillers: One World Many Visions (Canberra: National Gallery of Australia, 2006), http://nga.gov.au/exhibition/tillers/Default.cfm?MnuID=4&Essay=2 (accessed 7 January 2016).

49. Peter Simpson, Answering Hark: McCahon/Caselberg/Painter/Poet (Nelson: Craig Potton Publishing, 2001), 79.

50. Wystan Curnow, ‘I Will Need Words: Colin McCahon's Word and Number Paintings’, (Wellington: National Art Gallery, 1984), 1.

51. Gerard Manley Hopkins, The Journals and Papers of Gerard Manley Hopkins, ed. Humphry House and Graham Storey (Toronto: Oxford University Press, 1959), 230.

52. Laurence Coupe, Beat Sound, Beat Vision, 1–9.

53. Coulter-Smith, ‘Imants Tillers’.

54. Graham Coulter-Smith, ‘Art and Holism: Imants Tillers’ Conversations with the Bride’, Telepathic Music (Sydney: Milburn Gallery, 1994).

55. Ibid., 5.

56. Rex Butler and Laurence Simmons, ‘Practical Religion: On the After-life of Colin McCahon’, Landfall 215 (2008), 119–128.