Miriam Stannage (b. 1939) is a relentless innovator. Her practice is founded upon a deep intellectual engagement with, and curiosity about, the challenges and nature of contemporary life. For the last fifty years, she has produced a dazzling range of works that resist easy categorization. Stannage has developed an aesthetic that celebrates the strange and beautiful that can be found in the everyday: from industrial building sites to suburban street verges laden with abandoned goods, and crumbling ghost towns as they disappear into the soil of the vast Australian continent. Miriam Stannage: Time Framed provides an analysis on this important contemporary artist's work, exploring her use of words and symbols, and the concept of vision in all of its senses. This survey presents Stannage's works, many of which have not been seen publicly, and documents the media she has worked in, specifically installation, photography, painting, video, prints and drawings, and artist's books. (Book accompanies exhibition of Stannage's work at the Lawrence Wilson Art Gallery, U. of Western Australia 7/30/16-9/24/16.) [Subject: Art, Biography]Ã?Â?Ã?Â?Ã?Â?Ã?Â?

Muse offers an inside view of the development of a contemporary Australia art collection. Janet Holmes a Court, in conversation about art and the intense interest she shared with her late husband Robert from the 1960s, offers a rationale-along with an emotional soundtrack-for the 146 works she singles out from a collection of more than 5000 artworks. Janet discusses these selections with Terri-ann White in the racks where they are stored and in domestic spaces where they hang. This is an illuminating book about a passion for art and expression, a deep affinity and curiosity about artists and how they make things.

Guy Grey-Smith (1916-1981) remains one of the most important Australian artists of his generation. His artwork has been collected by every major public gallery in the country. Based in Western Australia, Grey-Smith exhibited nationally, participated in key international exhibitions, received Queens Honors Awards, and was a spirited contributor and active participant in the national arts scene. Granted access for the first time to Guy Grey-Smith's notebooks, war-time sketches, correspondence, and estate, author Andrew Gaynor draws a fascinating portrait of a country boy whose life was first liberated, then stalled, by the brutality of war. Teaching himself to draw while interned in prisoner of war camps, Grey-Smith went on to create some of the most enduring and powerful images of the Australian landscape, redolent with color, texture, and an unmistakable life force. He studied under the modernist sculptor Henry Moore at the Chelsea School of Art, London. Although primarily a painter, Grey-Smith also produced sculptures, pen and ink drawings, etchings, and wood blocks. This is the first book about this outstanding Australian artist and his remarkable 35-year career.

James Devlin is a celebrated artist whose past is as blank as an empty canvas. When Jan Bilowski brings a painting, which was a gift to her dead sister, into Mark Lewis's gallery, she tells him it was created by a seventeen-year-old boy called Charlie. Why then does the work look exactly like a James Devlin—painted a whole decade before the artist's career began on the other side of the country?

These volumes present John Kinsella’s uncollected critical writings and personal reflections from the early 1990s to the present. Included are extended pieces of memoir written in the Western Australian wheatbelt and the Cambridge fens, as well as acute essays and commentaries on the nature and genesis of personal and public poetics. Pivotal are a sense of place and how we write out of it; pastoral’s relevance to contemporary poetry; how we evaluate and critique (post)colonial creativity and intrusion into Indigenous spaces; and engaged analysis of activism and responsibility in poetry and literary discourse. The author is well-known for saying he is preeminently an “anarchist, vegan, pacifist” – not stock epithets, but the raison d’être behind his work. The collection moves from overviews of contemporary Australian poetry to studies of such writers as Randolph Stow, Ouyang Yu, Charmaine Papertalk–Green, Lionel Fogarty, Les Murray, Peter Porter, Dorothy Hewett, Judith Wright, Alamgir Hashmi, Patrick Lane, Robert Sullivan, C.K. Stead, and J.H. Prynne, and on to numerous book reviews of poetry, fiction, and non-fiction, originally published in newspapers and journals from around the world. There are also searching reflections on visual artists (Sidney Nolan, Karl Wiebke, Shaun Atkinson) and wide-ranging opinion pieces and editorials. In counterpoint are conversations with other writers (Rosanna Warren, Rod Mengham, Alvin Pang, and Tracy Ryan) and explorations of schooling, being struck by lightning, ‘international regionalism’, hybridity, and experimental poetry. This two-volume argosy has been brought together by scholar and editor Gordon Collier, who has allowed the original versions to speak with their unique informal–formal ductus. Kinsella’s interest is in the ethics of space and how we use it. His considerations of the wheatbelt through Wagner and Dante (and rewritings of these), and, in Thoreauvian vein, his ‘place’ at Jam Tree Gully on the edge of Western Australia’s Avon Valley form a web of affirmation and anxiety: it is space he feels both part of and outside, em¬braced in its every magnitude but felt to be stolen land, whose restitution needs articulating in literature and in real time. Beneath it all is a celebration of the natural world – every plant, animal, rock, sentinel peak, and grain of sand – and a commitment to an ecological poetics.

Text for senior secondary and/or tertiary students of WA art. A historical survey of visual art in the west that includes source material drawn from journals, magazines, newspapers and unpublished material. Divided into four sections: TThe artists', TThe critics', TThe institutions' and TThe scandals'.

Its thematic focus is on the varied ways artists in Australia today, convey social and political ideas through their work. This catalogue is an important component of the project, contextualising the exhibition with a range of commissioned writing that includes thematic essays on each participating artist.

Catalogue of the 4th Biennale of Sydney: Vision in Disbelief. 7 April - 23 May 1982 at the Art Gallery of New South Wales; Power Gallery of Contemporary Art, University of Sydney; Ivan Dougherty Gallery, City Art Institute; Australian Centre for Photography and Gallery A Courtyard space; Roslyn Oxley Gallery; New South Wales Institute of Technology; Cellblock Theatre, East Sydney Technical College; New South Wales Conservatorium of Music. Artistic Director: William Wright