Born in Sydney 1939, Whiteley was always artistic. The house within which he grew up overlooked the Sydney Harbour Bridge and the river, encouraging Whiteley to develop a love of the water and landscape. At the age of nine, Whiteley’s parents sent him to boarding school in Bathurst. It was then that a crucial moment occurred in Whiteley’s life. He read a book on van Gogh’s work and realised that he was a painter. ‘...about eleven I decided, and I quite deliberately decided that I would into an art’ (Brett Whiteley in Pearce 1995, pg 15). Whiteley’s time in Scots College helped him to come to love the countryside, and in his landscape works it became a prominent feature.
In his adolescence Whiteley attended drawing classes which allowed him
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The scholarship gave Whiteley the opportunity to immerse himself in European culture and experience art which he had only made copies of. It was in Europe when Whiteley produced a series of abstraction works that gained him recognition internationally. For example, ‘Untitled red painting’ made in 1961 was bought by the Tate Gallery. He was 22 years old when the piece was bought, making him the youngest artist ever to be involved in such a prestigious Gallery. Whiteley’s abstraction series were mainly inspired by churches and museums he visited in Europe, as well as British artist William Scott, who created semi abstractly composed still life’s. In 1962 Whiteley married Wendy Julius, the couple welcomed their daughter Arkie to the world in …show more content…
Some of the issues raised include; appreciation for the Australian landscape, and the female form, political power, changing social values, and drug addiction. His works are a poignant representation of the Australia and encapsulate the dominant attitudes of our society. Particularly the piece ‘The Arrival’ (1988) as it explores issues even now still current to Australia, such as white dominance over the Indigenous. Whiteley’s love for the landscape is repeatedly demonstrated in his works, encouraging an appreciation in audiences for the natural Australian setting. Whiteley remained completely loyal to the Australian scenery, from as early as ‘Sofala’ (1958) to ‘Far North Queensland - Port Douglas’ (1992), the latter providing a birds eye view of Queensland, creating an immersion of the audience into the piece. Whiteley has impacted on audience’s by pushing the boundaries of erotic art. His representation of his wife’s body as sensuous has allowed for erotic art to become more unrestrained. Drug addiction and feelings of disconnection are also motifs of Whiteley’s work. The piece, ‘Art, life and that other thing’, has especially generated great thought within audiences towards how drug addiction can destroy a person’s sense of self. The piece itself, explores Whiteley’s fragmented identity, his disconnection because of drug addiction. The screaming baboon, pierced by nails has
In her second year, Vera became one of Varley’s drawing students. The two became close over the years, but it wasn’t until her postgraduate years at VSDAA that their relationship flourished. As a “shy and beautiful” young woman who “moved with a grace” similar to that of a Japanese Tea party, Molly Bobak Lamb remarks that it was easy for men to become infatuated with Vera’s. Varley’s Vera paintings success as a Willingdon Prize winner, a collection piece at the National Gallery of Canada, and eventually praised with its creation into a postage stamp only confirms Molly’s suggestion of Vera’s enchanting capabilities.
The compassionate novel Deadly Unna?, written by Phillip Gwynne, creates vivid characters and depicts race discourses experienced by Gary Black (also known as Blacky) in a fictitious South Australian coastal community. The novel portrays a typical coastal town of the 1970s and is set mainly in the Port: the local Pub, the Black family home and the jetty, where the local children play. The story explores the racism between the Nungas (the indigenous population who live at the Point) and the Gooynas (the white population who live at the Port). As Blacky is from the Port, he only begins to develop awareness of the racism around him as a result of his friendship with Dumby Red, a Nunga football player, and consequently stops making racist jokes and comments. Analysis of racist ideas in the town, the marginalisation of the Nunga community, Blacky’s changing beliefs and how it influences and empowers him to respond to the death of Dumby Red, reveals that Gwynne encourages the reader to reject the racist values, attitudes and beliefs of Blacky’s community.
Brett Whiteley was born in Sydney on the 7th of April 1939 and died of a methadone overdose at age 53 in 1992. He is a well-known and celebrated artist both in Australia and internationally. Whiteley was awarded a range of prestigious art prizes including the Archibald, Wynne and Sulman several times. He is best known for his portraits, landscapes and sculptures. His unique perspective of the Australian landscape has endeared him to Australians (he was awarded the Order of Australia in 1991). Having grown up near the harbour in Sydney, (until he was sent to boarding school in Bathurst at age 8) the harbour features in many of his paintings. Brett Whiteley has explored emotions in his work through the subject of the art, colours and media used. He has brought many of his experiences and influences in life to his artwork. His response to alcohol and drugs as well as writers, musicians and other painters. Bob Dylan, Francis Bacon, Vincent Vah Gogh, Henri Matisse were paid tribute to by Whiteley as both inspiration and subject. Brett Whiteley uses the subjective frame as his work is
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
The distinctively visual provides a means of which a composer can connect with his or her audience in order to create a clear, distinct visual image of other people and their worlds - conveyed through the use of visual or literary techniques in their media. Composers such as Henry Lawson and Dorothea Mackellar are able to effectively depict an image through an exceptional use of language and techniques that help shape our understanding of the Australian people and their world. In particular, Henry Lawson’s short stories ‘The Drover’s Wife’ and ‘The Loaded Dog’ and the Dorothea Mackellar Poem ‘My Country’ are able to effectively depict the unique environment of the Australian bush landscape.
One of the many factors that have contributed to the success of Australian poetry both locally and internationally is the insightful commentary or depiction of issues uniquely Australian or strongly applicable to Australia. Many Australian poets have been and are fascinated by the issues relevant to Australia. Many in fact nearly all of these poets have been influenced or have experienced the subject matter they are discussing. These poets range from Oodgeroo Noonuccal Aboriginal and women’s rights activist to Banjo Patterson describing life in the bush. Bruce Dawe is also one of these poets. His insightful representation of the dreary, depressing life of many stay at home mothers in “Up the Wall” is a brilliant example of a poem strongly relevant to Australia.
Reynolds, H. (1990). With The White People: The crucial role of Aborigines in the exploration and development of Australia. Australia: Penguin Books
The suburban house, as the film’s setting and sphere of action, is extraordinary partly because it is ‘next-door’ to an airport. The odd layout of this backyard is underlined because their suburb meets the kind of architectural cast-offs often found at the margins of big cities. This mix of the humble backyard with the international vectors of travel, tourism and international trade plays out in the film’s narrative which connects the domestic and the distant. The Castle displays many locations and landscapes easily identified as being unique of Australia- The ‘Aussy’ barbeque and patio setup, greyhound racetrack and poolroom, just to name a few. The neighbours of the Kerrigan’s are a symbol representing the multicultural diversi...
In order to better understand the works of any kind of artist, one can usually look to that artist’s past and discover inspirations or influences that may play a role in the shaping of their later work. The famous author and poet Rudyard Kipling had a rather tumultuous past, so it is only natural that one seek clarification of his works in it. Upon some inspection, one may find that in his earlier years, Kipling was influenced by a group known as the Pre-Raphaelites, not only because they were a notorious organization at the time, but also because two of his mother’s sisters were married into the community. The Pre-Raphaelites embraced realism as the sole true form of painted art, and fiercely denounced the stylized method advocated by the Royal Academy. It seems that the seed of realism was only planted in Kipling’s mind as a child, but did not sprout until he had reached adulthood, perhaps provoked by the death of his son in World War I, for Kipling began his career with a particularly simple and somewhat aesthetic style, but eventually matured into the rigid realism he is prominently known for.
Composers show how confronting and meaningful discoveries can be through how their characters and settings of their works are depicted. I agree with this statement, because the discoveries made within a text by the audience are there to piece together the picture of which is the texts underlying motive. Examples of this can be seen in the texts ‘Rainbow’s End’ a play by Jane Harrison and the children’s book ‘The Rabbits’ by John Marsden and Shaun Tan. ‘Rainbow’s End’ follows a family of three Aboriginal Australian females; Gladys - single mother trying to support her daughter and help her succeed in life, Nan Dear – Gladys’s mother and Dolly – Gladys’s teenage daughter, showing the struggles that they as an Aboriginal family face in a Anglo-dominant, 1950’s Australian society. ‘The Rabbits’ is an allegory, or retelling, of the British colonisation of Australia, with the British being represented by rabbits and the Indigenous Australians being represented by numbats, an endangered Australian native animal. Both of these texts display themes of discrimination and assimilation towards aboriginals, giving us the chance to discover and understand their struggles.
Eric Whitacre was born in 1970 in Reno Nevada (Citation). As a child, Eric Whitacre was included in marching band and he also performed in a techno group and he had dreams of becoming a famous musician. Eric Whitacre did not actually start getting musically trained until he was eighteen. He was musically trained at the University of Nevada and at that school he realized his love for music especially after performing in college choir. In college, he also wrote his first choral song called “Go lovely Rose” which will be analyzed in this paper. After he went to the University of Nevada he then attended Julliard and graduated with a Masters in music. He then went on to make many choral and instrumental compositions that was well received. The music
The Thirty Two paintings that make up the James Oddie gallery share many similar characteristics. A considerable amount of the paintings are quite monumental in size, this coupled with the narrative and landscape style each one possesses, to create an almost complete immersive experience. As a viewer observing the paintings throughout the room you can almost feel what it would have been like to
Peter Weir’s film is full of mysterious and expressionistic sounds and images that draw on Joan Lindsay’s book to create tension between the apparent refined college and the various forces in the Australian landscape. This tension is not exemplified through the attempt to combine the college and the Australian landscape but rather the difficulty of a traditional European college set up in the Australian bush, completely juxtaposed to the values of the country life. This is presented in both the novel and film with the clashing of the use of time between cultures, and the difficulty for Appleyard College to accept the barren Australian land as well the presentation of the European culture and appearances. Picnic at Hanging Rock tests the apparent timelessness of Australia against the accepted concepts of European time, and the durability of the colony objected to natural and historical time.
He grew up in a family of painters on a farm and moved to New York in 1976. Nickson studied at Camberwell School of Art and Royal College of Art and received a fellowship at Yale. Graham Nickson is now the Dean at New York Studio School. Graham Nickson’s work has been shown in many famous Museums and is part of some permanent collections. “What in someone else’s hands would be sensual or quotidian subject matter—beach bathers, sunrises and sunsets—becomes extreme, impenetrable, and haunting in his paintings. Although he often paints figure groups, it is the spaces between and the insistent geometry of their positions that suggests both interaction and distance, self-sufficiency and internalized focus.” (Jennifer Samet "Beer with a Painter: Graham
Like Aubrey Beardsley, Cassandre is making a social statement on the morals and culture of his time period. “Dubo Dubon Dubonnet,” is a prim example of similar to Beardsley’s work. This illustration depicts the prohibition period of alcohol between 1920’ and 30,’ the intention of the prohibition was to stop consumption, distribution, and purchase of alcohol. This experiment was a drastic failure of the government and society trying to take control of personal responsibility of the people. Immoral activities of this time period offered the patrons of the saloons incentives to patronize their saloons, such as gambling, prostitution and free food. The poster “Etoile du Nord,” is another statement that Cassandre uses to symbolize his messages concerning society. Society changes from generation to generation but the core morality, wants and needs stay the same. This