Dorothea Foster Black (18911951), Dorrit as she was known, was born and tragically died in Adelaide and is one of the women artists who introduced and promoted Modern Art in Australia. She is the first woman artist to start, own and run Modern Art Gallery in Australia. This small book is a glimpse of her extensive work and contribution to Australian art.

Dorrit Black is the last major Australian modernist to be the subject of a monograph. Her importance to Australian art has not been revised for thirty-five years, and the book aims to reposition her as a figure of great significance in the development of Australian modernism. The book places Dorrit Black at the forefront of bringing to Australia the revolutionary movement of cubism upon her return to Sydney from Europe in late 1929. Black significantly contributed to the acceptance of modernism in Australia through both her teaching and art practice in Sydney and Adelaide. Although best-known as a print-maker the book highlights her talent as a painter. The power and luminosity of her later Adelaide south coast and Adelaide Hills landscapes are unsurpassed and demonstrate a major shift in modern Australian landscape painting. The book illustrates in colour a selection of her paintings, linocut prints, drawings, watercolours and textiles and the subjects range from portraiture, still life to landscape. The essays are broadly chronological and cover several major themes: Black's formative European period (1927-29), her second Sydney period (1930-33) and her Adelaide period (1935-51).

Australia's first female prime minister. The country's first female judge. The first woman to win the Archibald Prize for portraiture. Australia's first female chief diplomat. The nation's first female winemaker. These women were all trailblazers, but they have something else in common - every one of them was South Australian. And they are just a handful of the 100 remarkable women whose stories are told in this beautiful book, illustrated with hundreds of photographs. Written by historian Carolyn Collins and journalist Roy Eccleston, Trailblazers shines a light on the lives of these extraordinary women whose feats inspired their state, nation and, often enough, the world. Now they can inspire a whole new generation.

This social and cultural history concentrates on not only the food and drink of this part of Australia, but also its natural beauty, architecture, traditions and community. Local wines and a mixture of contemporary and historical recipes are included.

This book shows how creative writing gives voice to the drama and nuance of religious experience in a way that is rarely captured by sermons, reports, and the minutes of church meetings. The author explores the history of religious Dissent and Evangelicalism in Australia through a variety of literary responses to landscape, from both men and women, lay and ordained. The book explores transnational themes, along with themes of migration and travel across the Australian continent. The author gives insight into the literature of Protestant Dissent, concerned as it is with travel, belonging, and the intersection of national and religious identity. Much of the writing is situated on the road: a soldier returning from the Great War, a child on a lone adventure, a night-time journey through urban slums; all of these are in some way dependent on the theme of “walking with Jesus” as the Holy Land travelogues make explicit. God in the Landscape draws the links between landscape, literature, and spirituality with imagination and insight and is an important contribution to the historical study of religion and the environment.

The history of modernist painting in Australia is a masculine narrative, one in which the projects of male artists have been privileged. This is in spite of the fact that the most interesting and innovative early modernist painting was produced by women. In an account of the painting of artists such as Grace Cossington-Smith, Margaret Preston, Grace Crowley and Ann Dangar, Jeanette Hoorn argues that it was in their painting, rather than the work of such artists as Roy de Maistre, Roland Wakelin and Frank Hinder, that the groundwork for much of early modernist practice was laid out. Hoorn argues that the work of the early women artists has been surrounded by perjorative criticism of a type which male critics reserved for the art of women.

Australia is a land full of opportunities, but where can you go to find the things that matter to women? This book is a guide to the land as well as the diverse culture of women. Women's culture in Australia goes back more than 40,000 years and is a rich mosaic of story, art and music. On the top of this has come the culture of the past 200 years: from the British convicts, from China, from the Pacific, from the newer waves of migration and from the women's movement. This is reflected in literature, theatre, the visual arts, music, circuses and dance. Rural and urban women describe the places they know and love, they also describe their histories and show something of what lies behind a first impression. Contributors featured include: Oodgeroo Noonuccal, Faith Bandler, Portia Robinson, Elizabeth Jolley, Sara Dowse, Janine Haines, Dale Spender, Ruby Langford Ginibi, Kate Llewellyn, and Finola Moorhead.

Australians have been transported to an imaginary Spain from at least the 1830s, when cachuchas were first danced on the Sydney stage. In Take Me to Spain John Whiteoak explores the rich tapestry of Australians’ fascination with all thing Spanish, from the voluptuous sensuality of Lola Montez to operas featuring señoritas, toreadors and Gypsies, and from evocative silent and later Spain-themed Hollywood movies to the dazzlingly creative artistry of the flamenco dancers and guitarists who toured Australia in the 1960s and ’70s. Examining the diverse ways that Spanish music and dance have been mediated or hybridised to cater for Australian popular taste, this landmark study reveals how Hispanic traditions have become integral to the cultural history of the nation.