- Jeanette Hoorn, Australian Pastoral, 9.
- Ibid., 40–41.
- John Oxley, Journals of Two Expeditions into the Interior of Eastern Australia, undertaken by order of the British Government in the years 1817–1818 (London: John Murray, 1820), 20–21.
- Ibid., 22.
- Ibid., 27.
- Hoorn, 41.
- Ibid.
- See Elizabeth Imashev, ‘“Thou Spirit of Australia”: John Lewin, Kangaroos, 1819’, in Creating Australia: 200 Years of Art 1788–1988, ed. Daniel Thomas (Adelaide: Art Gallery of South Australia in association with the International Cultural Corporation of Australia, 1988), 42–43.
- Oxley, 258.
- Hoorn, 43.
- Oxley, 300. Frank Campbell points to other factual errors in his review ‘The Myth Makers’, The Australian, 28 July 2007.
- Hoorn, 29.
- Rex and Thea Rienits, Early Artists of Australia (Sydney: Angus & Robertson, 1963), 38.
- See Bernard Smith and Alwyne Wheeler, The Art of the First Fleet & Other Early Australian Drawings (New Haven and London: Yale University Press, 1988), 66–67 (see discussion 63–68); Bernard Smith, ‘“Port Jackson Painter,”’ in The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, ed. Joan Kerr (Melbourne: Oxford University Press, 1992), 637–38; Peter Emmett, ed., Fleeting Encounters: Pictures & Chronicles of the First Fleet (Sydney: Historic Houses Trust of NSW, 1995), 66–71.
- Hoorn, 148.
- Tim Bonyhady, Images in Opposition: Australian Landscape Painting 1801–1890 (Melbourne: Oxford University Press, 1985), 23.
- Ibid., 24.
- Hoorn, 176.
- Ibid., 237.
- Ibid., 237–38.
- Ibid., 238.
- See the following biographical accounts by Colin Thiele: Heysen of Hahndorf, revised edition (Adelaide: Rigby, 1974); ‘Heysen, Sir Wilhelm Ernst Franz (1877–1968)’, in Australian Dictionary of Biography, online ed., www.adb.online.anu.edu.au/biogs/A090289b.htm
- See Lou Klepac, Nora Heysen (Sydney: Beagle Press, 1989), 10–11.
- Hoorn, 254.
- Lucy Lippard, From the Center: Feminist Essays on Women's Art (New York: Dutton, 1976).
- Judy Chicago, Through the Flower: My Struggle as a Woman Artist (New York: Anchor, 1975).
- Maura Reilly, ‘Introduction: Towards Transnational Feminism’, in Global Feminisms, 38.
- Nelly Richard, ‘Fugitive Identities and Dissenting Code-systems: Women Artists during the Military Dictatorship in Chile’, in WACK!, 415.
- Charlotta Kotík, ‘Post-Totalitarian Art: Eastern and Central Europe’ in Global Feminisms, 153–65.
- N'Gone Fall, ‘Providing a Space of Freedom: Women Artists from Africa’, in Global Feminisms, 76.
- Maura Reilly and Linda Nochlin, ‘Curators’ Preface’, in Global Feminisms, 12.
- Ibid., 11–12.
- Reilly, 19–21.
- Marcia E. Vetrocq cited in Maura Reilly, 19.
- Virginia Pérez-Ratton, ‘Central American Women Artists in a Global Age’ in Global Feminisms, 123.
- Pound's critique was effectively a mainstream one. He was concerned to elevate internationalisms within New Zealand painting. He had little care for the ‘domains’.
- ‘“Intolerably True to Turner!”’ Art New Zealand 28 (Spring 1983), 59. That year Keith published his own book on the topic, Images of Early New Zealand (Auckland: David Bateman).
- In her profile on Keith in New Zealand Listener, ‘I'm Sorry, You're Wrong’ (10–16 November 2007), Diana Wichtel called him a ‘proud curmudgeon’. Soon after, Keith began contributing a regular ‘Cultural Curmudgeon’ column to the Listener.
- (Auckland: Random House, 2008). Keith conducted the interviews for the Webster and Millar documentaries. Described as part of the ‘Profiles’ series, they add to the series of six half-hour TV ‘Profiles’ documentaries on prominent New Zealand artists Keith made with director Bruce Morison in 1982.
- Keith lingers on early paintings that depict bicultural meetings—Issac Gilsemans's A View of the Murderers’ Bay, as you are at Anchor Here in 15 Fathiom, James Barry's The Reverend Thomas Kendall and the Maori Chiefs Hongi Hika and Waikato, and Augustus Earle's Meeting of the Artist and Hongi at the Bay of Islands, November 1827—to set up this idea.
- For clarity I have used the book's chapter titles. The TV episodes are not individually titled.
- Here, however, he also hedges his bets, pointing to a self portrait Barrie Bates—soon to become Billy Apple—made in London, where he sports a moko.
- Email to the author, 5 January 2009.
- While he champions the ‘ferals'—Tony Fomison, Philip Clairmont, and Allen Maddox—for operating outside fashionable theories, Keith neglects to mention how hugely fashionable they were in their day.
- Blair French, Out of Time, 8.
- Ibid.
- Ibid., 9.
- Ibid., 22.
- Ibid., 48.
- Ibid.
- Ibid., 18.
- Ibid., 24.
- Robert Nelson, The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values, 1.1. In keeping with the book's pagination, the first part of the reference refers to the chapter number, while the second part refers to the page number of the chapter.
- Ibid., 1.12.
- Both quotes, ibid., 1.13.
- Ibid., 1.4.
- Ibid., 1.6.
- Ibid., 5.16.
- Ibid., 6.10.
- Ibid., 6.16.
- Ibid., 8.14.
- Ibid., 8.16.
- Ibid., 9.11.
- Ibid., 1.14.
- James Elkins, Art History Versus Aesthetics (New York: Routledge, 2006).
- Visual Animals, 24.
- Ibid., 60.
- Ibid., 53.
- Available at www.diacenter.org/km/
- Visual Animals, 37.
- Ibid., 179.