Notes
- Visual Arts, Preliminary and HSC Courses, Stage 6 Syllabus, Sydney: Board of Studies, New South Wales, 1999.
- Bernard Smith, The Boy Adeodatus. Portrait of a Lucky Young Bastard, Ringwood, Victoria: Penguin/Allen Lane, 1984, p.252.
Notes
- Angel DeCora, ‘Native Indian art’, Report of the Executive on the Proceedings of the First Annual Conference of the Society of American Indians Held at the University of Ohio, Columbus, Ohio—October 12–17,1911, vol.1, Washington, D.C.: Society of American Indians, 1912, p.87.
- Nicholas Thomas, Colonialism's Culture: Anthropology, Travel and Government, Princeton, N.J.: Princeton University Press, 1994, p.ix.
- Rasheed Araeen, ‘A new beginning: beyond postcolonial culture theory and identity polities’, Third Text, no.50, Spring 2000, pp.3–20.
- Elizabeth Johns, Andrews Sayers et al, New Worlds from Old: 19th Century Australian and American Landscapes, Hartford, Connecticut: Wadsworth Atheneum and Canberra: National Gallery of Australia, 1998.
- Gerald McMaster (ed.), Reservation X: The Power of Place in Aboriginal Contemporary Art, Seattle: University of Washington Press and the Canadian Museum of Civilization, 1998.
Notes
- The other books are The Western Scientific Gaze and Popular Imagery in Late Edo Japan: The Lens within the Heart, Cambridge: Cambridge University Press, 1996 (reviewed by John Clark, Australian Journal of Art, vol.14, no.1, 1998, pp.151–55) and Sex and the Floating World: Erotic Images in Japan 1700–1820, London: Reaktion Books, 1999.
- To give an indication of the complexity which may lie behind what to a non-reader of Japanese is a simple translation, the word daigo is defined by the dictionary Kôfien, Tokyo Iwanami Shoten, 1972 [second edition], p.1333, as ‘One of the five flavours. A thick, sweet-tasting fluid refined from so (a drink extracted from cow or sheep milk)’. The dictionary Nihon kokugo daijiten, Tokyo, Shogakkan 1976, vol.12, p.539, defines it as ‘a buddhist word, something pure, of the highest flavour, made from refining milk’ and as ‘an extremely thick sweetener used as a medicine et cetera’.
Notes
- Anne Dangar, Lettres à la Pierre-qui-Vire, Saint-Léger-Vauban: Zodiaque, 1972.
- Brenda Niall, ‘Elemental letters’, Australian Book Review, no.266, November 2000, p.21.
- During the twenty years following the two mid-1970s exhibitions that belatedly recognised Grace Crowley (Daniel Thomas, Project 4: Grace Crowley, Sydney: Art Gallery of New South Wales, 1975 and Janine Burke, Australian Women Artists: One Hundred Years: 1840–1940, Melbourne: Ewing and George Paton Galleries, 1975), increasing attention was given to the role of Crowley's friend, Anne Dangar, as an intermediary between French and Australian modernism. In that period the publications that made reference to Dangar included, in chronological order: Humphrey McQueen, The Black Swan of Trespass, Sydney: Alternative Publishing Cooperative Ltd, 1979; Ian North, The Art of Dorrit Black, Melbourne: Macmillan, 1979; Janine Burke, Australian Women Artists 1840–1940, Melbourne: Greenhouse, 1980; Bruce Adams, ‘Metaphors of scientific idealism: the theoretical background to the paintings of Ralph Balson’ in Anthony Bradley and Terry Smith (eds), Australian Art and Architecture: Essays presented to Bernard Smith, Melbourne: Oxford University Press, 1980, pp. 183–91 (later revised for the introductory essay in Ralph Balson: A Retrospective, Melbourne: Heide Park and Art Gallery, 1989); Peter Timms, Australian Studio Pottery and China Painting, Melbourne: Oxford University Press, 1986; Helen Maxwell, ‘A profile of Anne Dangar’, Art and Australia, Sydney, vol.26, no.3, Autumn 1989, pp.419–23; Helen Maxwell, ‘Dangar, Anne Garvin’, Australian Dictionary of Biography, Melbourne: Melbourne University Press, 1993, p.570; Mary Eagle, Australian Modern Painting between the Wars 1914–1939, Sydney: Bay Books, 1990; Grace Cochrane, The Crafts Movement in Australia: A History, Kensington: New South Wales University Press, 1992; Helen Topliss, Modernism and Feminism: Australian Women Artists 1900–1940, Sydney: Craftsman House, 1996. This list is by no means exhaustive and does not include more recent citations or unpublished research.
Notes
- P. Bridges and D. McDonald, James Barnet Colonial Architect, Sydney: Hale and Ire-monger, 1988, pp.22, 24.
- R. Apperly, R. Irving and P. Reynolds, Identifying Australian Architecture, A Pictorial Guide to Styles and Terms from 1788 to the Present, Sydney: Angus and Roberstson, 1989, p.52.
- Bridges and McDonald, James Barnet…’, pp.21–24.
- ibid, pp.101–02.
- P.L. Reynolds, ‘The evolution of the Government Architect's branch of the NSW Department of Public Works 1788–1911’, PhD thesis, School of Architecture, University of New South Wales, 1972, vol.1, pp.282–85, 289–92.
- ibid, pp.270–72; Barnet's drawing illustrated between pp.270/71.
- P. Reynolds, Goulburn Court House, History and Architecture, A Report to the NSW Department of Public Works, Heritage Section, State Projects, November 1992, p.136.
- Reynolds, ‘The evolution…’, vol.1, pp.292–300.
- ibid, pp.305–06.
- idid, pp.305, 320–21.
- Bridges and McDonald, James Barnet…, p.126.
- Reynolds, ‘The evolution…’, vol.1, pp.326–27.
- ibid, chapter 14.
- The City's Centrepiece. The History of the Sydney GPO, Sydney: Hale and Iremonger, 1988, p.8, illustration.
- Reynolds, ‘The evolution…’, vol.1, pp.350–51.
- ibid, p.343; Apperly et al, Identifying Australian Architecture…, pp.136–39, Bourke Court House is illustrated, p.137.
- Reynolds, ‘The evolution…’, vol.1, pp.332–35.
Notes
- Publisher contact: Crawford House Publishing, Adelaide, phone–08 8340 1411.
- A.C. Haddon, Smoking and Tobacco Pipes in New Guinea, London: Royal Society, in series Philosophical Transactions of the Royal Society of London, Series B—Biological Sciences, vol.232, no.586, 1946, pp.1–278.
- A.C. Haddon and James Hornell, Canoes of Oceania, Honolulu, Hawaii: The Museum, 1936.
Notes
- George Nadel, Australia's Colonial Culture, Cambridge, Mass.: Harvard University Press, 1957.
- Robert C. Allen, Horrible Prettiness: Burlesque and American Culture, Chapel Hill: University of North Carolina Press, 1991.
- R. Pesman Cooper, ‘Garibaldi and Australia’, Teaching History, 16, 1982.
- Andrew Brown-May, Melbourne Street Life: The Itinerary of our Days, Melbourne: Australian Scholarly Publishing, 1998.
- Callaway is not alone in this: other recent (very different) examples of the use of ‘postmodernist’ discourses to reinvigorate national readings of culture are Philip Bell and Roger Bell (eds), Americanization and Australia, Sydney: UNSW Press, 1998; Klaus Neumann, Nicholas Thomas and Hilary Ericksen, Quicksands: Foundational Histories in Australia and Aotearoa New Zealand, Sydney: UNSW Press, 1999; Miriam Dixson, The Imaginary Australian: Anglo-Celts and Identity, 1788 to the Present, Sydney: UNSW Press, 1999.
- Richard Fotheringham, Sport in Australian Drama, Cambridge: Cambridge University Press, 1992; Richard Waterhouse, From Minstrel Show to Vaudeville: The Australian Popular Stage, 1788–1914, Sydney: UNSW Press, 1990.
- E.P. Thompson, The Making of the English Working Class, London: Gollancz, 1963.