- Lyn Williams in Patterns of Landscape: Through the Eyes of Fred Williams (1927–1980), film, 1989). Ian Burn noted that Williams painted ‘the cleared landscape’. Ian Burn, Dialogue: Writings in Art History (Sydney: Allen and Unwin, 1991), 88. Thanks to John Wolseley for his insights about the cleared landscape in Williams's paintings of southeastern Australia.
- Fred Williams in Patrick McCaughey, Fred Williams (Sydney, London: Bay Books, 1980), 21.
- Lyn Williams interview with the author, August 2010). In the 1970s, the Williamses had a small collection of Indigenous art.
- Deborah Hart, Fred Williams: Infinite Horizons (Canberra: National Gallery of Australia, 2011), 15. The exhibition Fred Williams: Infinite Horizons was at the National Gallery of Australia (12 August-6 November 2011), the National Gallery of Victoria
- (7 April-5 August 2012), and the Art Gallery of South Australia (31 August-6 November 2012).
- Irena Zdanowicz and Stephen Coppel, Fred Williams: An Australian Vision (London: British Museum Press, 2003), 36. Other books on Williams include James Mollison, Fred Williams Etchings (Woollahra, NSW: Rudy Komon Gallery, 1968); and James Mollison, A Singular Vision: The Art of Fred Williams (Canberra: Australian National Gallery, 1989); and Kirsty Grant and Jennifer Phipps, Fred Williams: The Pilbara Series (Melbourne: National Gallery of Victoria, 2002).
- Patrick McCaughey, Fred Williams, 22–3.
- Ibid., 21.
- Fred Williams in Ten Australians: Fred Williams, film (Sydney: Australian Broadcasting Commission/ Visual Arts Board of the Australia Council co-production, 1975).
- Fred Williams interviewed by James Gleeson (for Australian National Gallery Interview Series), Melbourne, 3 October 1978 (transcript).
- James Mollison, A Singular Vision, 35.
- Patrick McCaughey, Fred Williams, 104.
- In the English-speaking world, Heimkehr is best known as the title of a 1941 German, anti-Polish propaganda film.
- Fred Williams interviewed in Ten Australians.
- Ibid.
- Lyn Williams, interview with the author, August 2010).
- Bernard Smith, The Antipodean Manifesto: Essays in Art and History (Melbourne: Oxford University Press, 1975).
- Patrick McCaughey, Fred Williams, 121.
- Ibid., 15.
- Ibid., 19.
- Patrick McCaughey, Fred Williams, 11.
- Ibid., 19.
- Ibid., 11.
- Ibid., 104. Richard Schiff, ‘Lucky Cézanne (Cézanne Tychique)’, Cézanne and the End of Impressionism: A Study of the Theory, Technique and Critical Evaluation of Modern Art (Chicago: University of Chicago Press, 1984), 57.
- Ibid., 57, fn. 13.
- Patrick McCaughey, Fred Williams, 11.
- Fred Williams in Ten Australians: Fred Williams 1975.
- Ibid.
- See Barbara Rose, Autocritique (New York: Weidenfeld and Nicolson, 1988), 215–9.
- Patrick McCaughey, Fred Williams, 23
- James Mollison, A Singular Vision, 12.
- Fred Williams in Ten Australians.
- Ibid.
- Richard Schiff, ‘Lucky Cézanne’, 59.
- Gilles Deleuze, Francis Bacon: The Logic of Sensation, trans. Daniel W. Smith (Minneapolis: University of Minnesota Press, 2004), 31.
- James Mollison, A Singular Vision, 8.
- Edward S. Casey, The Fate of Place: A Philosophical History (Berkeley and Los Angeles: University of California Press, 1997).
- Ian Burn, Dialogue, 89.
- Edward S. Casey, Representing Place: Landscape Painting and Maps (Minneapolis: University of Minnesota Press, 2002), xvi–xvii.
- Ian D. Clark and Toby Heydon, Dictionary of Aboriginal Placenames of Victoria (Melbourne: Victorian Aboriginal Corporation for Languages, 2002), map 10, and passim. I am grateful for the assistance of Robyn Taylor, Information and Research Officer, Alick Jackomos Library, Aboriginal Affairs Victoria, Department of Planning and Community Development.
- Fred Williams in Patterns of Landscape: Through the Eyes of Fred Williams (1927–1980), film, 1989.
- Fred Williams (voiceover), Patterns of Landscape.
- Richard Schiff, ‘Lucky Cézanne’, 59.
- Ian Burn, Dialogue, 90–2.
- Ibid.
- Patrick McCaughey, Fred Williams, 327, 335, 341.
- James Mollison, Fred Williams, 40.
- Ian Burn, Dialogue, 92.
- Lyn Williams, interview with the author, August 2010).
- Ibid.
- Thanks to Trish Sinclair-White, Assistant Manager of the Native Title Tribunal, WA, for confirmation of Wintawari Native Title and for referring me to a map of Kurijini National Park, where Jarndrunmunhna is named and marked.
- Fred Williams, Diary: Work Notes, 4 June 1979, quoted in Kirsty Grant and Jennifer Phipps, Fred Williams: The Pilbara Series, 13.
- John Wolseley, interview with the author, 25 June 2010).
- James Boyce, 1835: The Founding of Melbourne and the Conquest of Australia (Melbourne: Black Inc., 2011).
- Gary Presland, The Place for a Village: How Nature Shaped the City of Melbourne (Melbourne: Museum Victoria, 2008).
- McCaughey made this comment in his opening addresses for the Fred Williams: Infinite Horizons exhibition at both the National Gallery of Australia, Canberra, in 2011, and the Ian Potter Centre, National Gallery of Victoria, Melbourne, in 2012).
- For this information, I am grateful to Sean Fagan, Cultural Heritage Projects Officer/Traditional Owner, Wadawurrung (Wathaurung Aboriginal Corporation), Ballarat, Victoria. In an interview (31 October 2012), Fagan described the significance of the Wurdi Youang as a Wadawurrung vantage point, look-out, and location for intertribal meetings, marriages, and other ceremonies, and as a site for wood collecting, food gathering, and rock-well water storage. The Wadawurrung still care for this place and live by the credo, ‘Look after your country and it will look after you.’ Their attachment to the You Yangs offers a stark contrast to McCaughey's car-window view and assessment.
- Paul Brunton, ed., Matthew Flinders: Personal Letters from an Extraordinary Life (Sydney: State Library of New South Wales, 2002), 18.
- Interview with Sean Fagan, 31 October 2012).
- Edmund Casey, Earth-Mapping: Artists Reshaping Landscape (Minneapolis: Minnesota University Press, 2005), xvi. Casey described space in comparison with place as ‘a totality of extension, unending and limitless… an abstraction from place it is experienced in disembodied detachment; it is marked by cartographic rather than chorographic or topographic means’. Williams himself noted the affinity between painting and mapping.
- Edmund Casey, Earth-Mapping, xvi.
- Ibid.
- Deborah Hart, Fred Williams: Infinite Horizons, 95.
- Ibid.
- Leonard French in Ten Australians.
- James Mollison, A Singular Vision, 183.
- Williams's painted blobs and lines have been likened to music notation.
- Irena Zdanovicz, Fred Williams, 31.
- Patrick McCaughey, Fred Williams, 36.
- James Mollison, A Singular Vision, 183.
- Ibid., A Singular Vision, 126.
- Ian Burn, Dialogue, 91.
- Ibid., 92.
- Gilles Deleuze, Francis Bacon, 113.
- Edmund Casey, Earth-Mapping, 36, original emphasis.
- David Clarke, Water and Art: A Cross-Cultural Study of Water as Subject and Medium in Modern and Contemporary Artistic Practice (London: Reaktion, 2011), 105.
- Robert Lindsay, Fred Williams: Water (Melbourne: Robert Lindsay Gallery, 2005).
- See Dave Beech, Beauty: Documents in Contemporary Art (London: Whitechapel Gallery and Cambridge, MA: MIT Press, 2004), 16.
Australian and New Zealand Journal of Art
Volume 12, 2012 - Issue 1