NOTES
- Yve-Alain Bois and Rosalind Krauss, Formless: A User's Guide. (Cambridge, MA.: Zone Books, 1997).
- In the late 1980s Martin Bernal's publication of Black Athena caused a scandal amongst professional classicists when it made a case for the Semitic and African origins of Greek classicism. Bernal argued at some length that an autonomous European classicism was the product of nineteenth-century fabulators under the thrall of racist assumptions of cultural superiority. Sadly, this phenomenon, still so dear to many contemporary classical scholars, and which he provocatively christens “Aryan Classicism”, has its counterpart in the presentation of modernism offered in Art Since 1900. Given the seminal role of Jewish artists in the history of Euro-American modernism, it would be unfair to the authors to speak of “Aryan Modernism”, so instead perhaps we can settle for “Doric Modernism.” Let us be quite unambiguous about this: it is no longer possible to write a coherent history of twentieth century modern art that overlooks its sources, avatars, effects and variations in Asia, Africa, Latin America and Oceania. Indeed it is somewhat puzzling that anyone would still wish to do so. See: Martin Bernal, Black Athena: The Afroasiatic Roots of Classical Civilization (The Fabrication of Ancient Greece 1785–1985, Vol 1) (NJ: Rutgers UP, 1987).
- Edward Said, Culture and Imperialism. (NY: Knopf/Random House, 1993).
NOTES
- The exhibition, Twined Together: Kunmadj Njalehnjaleken, was on display in Bunjilaka, Melbourne Museum, 12 May-4 Dec. 2005. It is currently touring nationally: Gippsland Art Gallery, Sale, Vic. 3 Mar.-23 Apr. 2006; Shepparton Art Gallery, Vic. (3 June-15 Jul. 2006; National Wool Museum, Geelong, Vic. 3 Aug.-17 Sept. 17, 2006; Museum and Art Gallery of the Northern Territory, Darwin, NT 9 Nov. 2006–21 Jan. 2007; Cairns Regional Gallery, Cairns, Qld 23 Feb.-22 Apr. 2007); Dell Gallery, Queensland College of the Arts, Brisb. 5 May-5 Aug. 2007; Bathurst Regional Gallery, NSW 17 Aug.-30 Sept. 2007; Tamworth Regional Gallery, NSW 12 Oct. 2007–10 Feb. 2008; Warrnambool Art Gallery, Vic. 23 Feb.-4 May 2008.
- See also Diana Wood Conroy with Ellen and Tom Trevorrow, “Both Ways: Yolngu and Ngarrindjeri Weaving in Australian Arts Practice” in Craft and Contemporary Theory, ed. Sue Rowley (Sydney: Allen and Unwin, 1997) 155–71.
- An example of this can be seen in Yorta Yorta artist Treahna Hamm's work in Land Marks, a major survey of Indigenous art at the National Gallery of Victoria 10 Feb.-ll June 2006.
- Compare The Photographs of Baldwin Spencer eds. Philip Batty, Lindy Allen and John Morton (Melbourne: Museum Victoria and The Miegunyah Press, 2005) with The Aboriginal Photographs of Baldwin Spencer ed. Ron Vanderwal (Melbourne: Currey O'Neil on behalf of the National Museum of Victoria Council, 1982).
- Jill Nganjmirra, quoted in Twined Together. Kunmadj Njalehnjaleken ed. Louise Hamby (Gunbalanya (Oenpelli): Injalak Arts and Crafts) 36.
- ibid. 21.
- Louise Hamby and Diana Young, Art on a String: Aboriginal Threaded Objects from the Central Desert and Arnhem Land (Perth: Object-Australian Centre for Craft and Design and the Centre for Cross Cultural Research, 2001).
- My sincere thanks go to Anthony Murphy at Injalak for organising this opportunity for me, as well as Kakadu National Park Rangers, and Clara's family, for their patience.
NOTES
- See Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley, U of California P, 1994) 21. See also Modernity and the Hegemony of Vision, David Levin, ed. (LA, University of California P, 1993) 274; Scott McQuire, Visions of Modernity: Representation, Memory, Time and Space in the Age of the Camera (London, Sage, 1997); Liz Conor, The Spectacular Modern Woman: Feminine Visibility in the 1920s (Bloomington, Indiana UP, 2004).
- McQuire, Visions of Modernity, 22.
- Crombie, Body Culture, 9.
- ibid. 31.
- ibid. 30.
- ibid.
- ibid. 32.
- ibid. 61.
NOTES
- Bernard Smith et al., Australian Painting (Melbourne: Oxford UP, 2001) 165.
- Robert Hughes, The Art of Australia (Harmondsworth: Penguin, 1970) 24.
- Andrew Sayers, Australian Art (Oxford: Oxford UP, 2001) 5–6.
- This correspondence is reproduced in part in Ann Galbally, The Art of John Peter Russell (Melbourne: Sun Books, 1977) 88–95.
NOTES
- Kenneth Clark, Landscape into Art (Harmondsworth: Penguin, 1956), first published 1949: 106.
- Maillet, Claude Glass. 67–9
- Richter: “It's about glass again. This time glass that doesn't show the picture behind it but repeats—mirrors—what is in front of it. And in the case of the colored mirrors, the result was a kind of cross between a monochrome painting and a mirror, a ‘Neither/Nor'—which is what I like about it.” Maillet, Claude Glass: 188.
- Roger de Piles, The Principles of Painting (London: J. Osborn, 1743).
- Roger de Piles, “Observations”, in The Art of Painting by C.A. Du Fresnoy, with Remarks: Translated in English with an Original Preface, Containing a Parallel Between Painting and Poetry: by Mr. Dryden (London: Bernard Lintott, 1716).
- Mary Philadelphia Merrifield, Original Treatises, Dating from the XIIth to the XVIIIth Centuries on the Arts of Painting, in Oil, Miniature, Mosaic, and Glass; of Gilding, Dyeing, and Preparation of Colours and Artificial Gems (London: John Murray, 1849) cxxv, cited in Maillet, Claude Glass: 111–12, 253.
- From William Gilpin, Three Essays: On Picturesque Beauty; On Picturesque Travel; and On Sketching Landscapes, 3rd. ed. (London: T. Cadell and W. Davies, 1808) 61, 63.
- Maillet, Claude Glass: 113.
- François-Xavier de Burtin, Traité théorique et pratique des conaissances qui sont nécessaires à tout amateur de tableaux…, 2 vols (Brussels: Weissenbruch, 1808) vol. 1, 80–81, cited in Maillet, Claude Glass. 117.
- Maillet, Claude Glass. 187.