NOTES
- R. Butler (ed.), What is Appropriation? An Anthology of Critical Writings on Australian Art in the ‘80s and ‘90s, IMA/Power Publications, Brisbane and Sydney, 1996, p.14.
- ibid., p.15.
- J. Kosuth, ‘Art after philosophy’, in G. Battcock (ed.), Idea Art: A Critical Anthology, Dutton, New York, 1973, p.84.
- See the chapter, ‘Postmodern plurality: 1980–90’, in B. Smith with T. Smith, Australian Painting 1788–1990, Oxford University Press, 3rd edn, 1991.
- Kosuth, ‘Art after philosophy’, p.79.
- Plato, The Republic, trans. B. Jowett, Modern Library, New York, 1982, Book X.
- See Brack's Self Portrait 1955, and the photograph of Burn using one of the mirrors in his work, 1–6 Glass/Mirror Piece, for shaving. The photograph of Burn is reproduced in A. Stephen (ed.), Artists Think: The Late Works of Ian Burn, Power Publications, Sydney, 1996, p.72.
- Art & Language (text by M. Ramsden, annotated by M. Baldwin), ‘Making art from a different place’, in Ian Burn: Minimal-Conceptual Work 1965–1970, Art Gallery of Western Australia catalogue, Perth, p.15.
- ibid., p.15.
- G. Batchen & H. Grace, ‘Situation-identities: An interview with Ian Burn’, West, vol.3, no.2, 1991, p.32.
- I. Burn, ‘Glimpses: On peripheral vision’, in Dialogue: Writings in Art History, Allen & Unwin, Sydney, 1991, p.193.
- As quoted in Ann Stephen, ‘Making origins work’, Agenda, no.38, 1994, p.14.
- Ramsden, ‘Making Art from a different place’, p.15.
- I. Tillers, ‘The fear of texture’, Art & Text, no.10, 1983.
- P. Taylor, ‘Popism—The art of white Aborigines’, On the Beach, no.l, 1982. The Popism exhibition, curated by Paul Taylor, was held at the National Gallery of Victoria in 1982.
- M. Fried, ‘Art and Objecthood’, Artforum, summer 1967; reprinted in G. Battock (ed.), Minimal Art: A Critical Anthology, University of California Press, Berkeley/Los Angeles, 1968, p.140.
- ibid., p.140.
- ibid., p.126.
- ibid., p.119.
- I. Burn & N. Lendon, ‘Purity, style, amnesia’, in The Field Now, Heide Park Gallery catalogue, Melbourne, 1984; reprinted in I. Burn, Dialogue, p.100.
- P. McCaughey, ‘The significance of The Field’, Art and Australia, December 1968, p.235.
- T. Smith, ‘Generation X: The impact of the 1980s’, in Butler, What is Appropriation?, p.252.
- T. de Duve, ‘The monochrome and the blank canvas’, in S. Guilbaut (ed.), Reconstructing Modernism: Art in New York, Paris, and Montreal 1945–1964, MIT Press, Cambridge (Mass.), 1990, pp.244–310.
- C. Greenberg, ‘After Abstract Expressionism’, Art International, October 1962, as quoted in de Duve, ‘The monochrome and the blank canvas’, p.260.
- C. Greenberg, ‘How art writing earns its bad name’, Encounter, December 1962, as quoted in de Duve, ‘The monochrome and the blank canvas’, p.260.
- de Duve, ‘The monochrome and the blank canvas’, p.261.
- ibid., p.283.
- ibid., p.284.
- This could be explained another way by understanding the text to be the ‘figure’ which is placed upon the ‘ground’ of the monochrome. In this case as well, though, the text plays havoc with figure-ground relationships. What does ‘this painting’ refer to? The figure and the ground? But if this painting was painted ‘on’ a different ground—blue instead of yellow—would it not be a completely different painting, not the one to which ‘this painting’ is referring? As my additional remarks here suggest, I cannot pretend to have totally exhausted the logical conundrums.
- de Duve, ‘The monochrome and the blank canvas’, p.278.
- ibid., p.278.
- ibid., p.279.
- ibid., p.278.
- For a discussion of this and other related aspects of Hickey's work, see the interview with him in G. Catalano, Building a Picture: Interviews with Australian Artists, McGraw- Hill Australia, Sydney, 1997.
- In an interview with Robert Lindsay, Williams, in discussing his work in the late sixties, comments: I couldn't ignore the colourfield movement and continue to paint, I had to make a response to the most significant art movement of that time in Australia, and that was the New York Colourfield Movement’; quoted in R. Lindsay & I. Zdanowicz, Fred Williams: Works in the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 1980, p.15.
- P. McCaughey, ‘Ten Australians’, in P. Taylor (ed.), Anything Goes: Art in Australia 1970–1980, Art & Text, Melbourne, 1984, p.34.
- As quoted in J. Mollison, A Singular Vision: The Art of Fred Williams, Australian National Gallery, Melbourne, 1980, p.15.
- As quoted in C. McGregor, In the Making, Thomas Nelson, Melbourne, 1969, p. 103.
- de Duve, ‘The monochrome and the blank canvas’, p.261.
- Butler, ‘Introduction’, What is Appropriation?, pp.15–16.
- ibid., pp.38–39.
- For more on the place of generic abstraction in Australian art see West, vol.3, no.2, 1991, a special issue on abstraction guest edited by Rex Butler.
- Butler, ‘Introduction’, What is Appropriation?, p.22.
- T. Maloon, ‘Imants Tillers and the museum without walls’, Studio International, December 1986, p.35.
- R. Krauss, Passages in Modern Sculpture, MIT Press, Cambridge (Mass.), 1981, p.253.
- ibid., p.272.
- ibid., p.298.
- Maloon, ‘Imants Tillers and the museum without walls’, p.34.
- As quoted in S. Melville & J. Rollinson, Australian Art and Artists, Science Press, Marrickville (NSW), 1996, p.386.
- ibid., pp.385–86.
- ibid., p.386.
- In addition to Arkawa, on other occasions Tillers has also suggested a relation between his Untitled and Mel Ramsden's Secret Painting. Following through the significance of this association in relation to the blank canvas and the ‘Aboriginal’ version of Secret Painting that Tillers subsequently completes, would also provide an answer to the question that is being asked here.
- ibid., p.386.
- A. Stephen, ‘Seeing between the lines’, in Artists Think: The Late Works of Ian Burn, p.13.
- ibid., p.15.
- I. Burn, ‘Notes on “value added” landscapes’, originally written to accompany Burn's exhibition, Collaborations, Sutton Gallery, Melbourne, July 1993; reprinted in Artists Think: The Late Works of Ian Burn, p.8.