'Photography and Australia' focuses on those aspects of photographic practice that can be considered distinctively Australian. It argues that the colonial experience has been crucial in shaping photographers' concerns.
Although 150 years have passed since Princess Victoria became Queen, the first twelve months of her reign remain relatively unexplored. In the first literary history to focus specifically on the year 1837-1838, Richard L. Stein examines a wide variety of cultural products--in visual art and architecture, statistics and maps, scientific writing and popular journalism, and literature itself--to reconstruct the thought and experience of England in "Victoria's Year." Surveying such figures as Carlyle, Cruikshank, Darwin, Dickens, Martineau, Ruskin, Tennyson, and Turner, this wide-ranging volume examines the connections and discontinuities within the values, beliefs, and modes of representation of this brief cultural moment, describing how various arts struggled to produce new, legible, and stable signs to reflect unprecedented modes of experience in a rapidly changing culture. Stein shows how this quest for legibility and certainty was often undermined from inside and out, and the ways in which "the order of things," in Foucault's sense of the phrase, was constantly being reasserted or broken down. Revealing how this particular historical moment was understood by those who lived it, and how an array of cultural products served to mediate the most radically new and unfamiliar aspects of the age, Victoria's Year offers new insights into the process that created the myth of Victorianism.
Peripheries, No. 6, spans the senses with music, choreography, painting, sculpture, archival material, short stories, and poetry by Victoria Chang, Angie Estes, Aracelis Girmay, Joanna Klink, Alice Oswald, Rowan Ricardo Philips, Tracy K. Smith, and many more. The journal also includes a special folio, “Anti-Letters,” which comprises the “personal” writings—ephemera, letters, lists, notes, recordings, etc.—of poets such as Cody-Rose Clevidence, Jill Magi, and Jane Miller, among others. The issue also features a review by Tawanda Mulalu, creative nonfiction from Jackie Wang, a mixed media collaboration between Sharon Olds and Sam Messer, a David Grubbs composition with an accompaniment by Susan Howe, and an excerpt from a book-length poem by Geoffrey Nutter.
The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
SOUNDING 3 begins with Echo 34: DERRIMUTT THE GO-BETWEEN. This clan head of the Bunurong people was the traditional ‘owner’ of the town site that became Melbourne’s CBD on the western side of the river. Bible-bashing Protector Thomas’s journals of camping with the natives at what is now the Botanic Gardens is eye-opening and reveals mind-bending mysteries and misery with grog and gun-control issues that resonate on up to today. This Sounding personalises many local Kulin identities such as Polierong aka Billy Lonsdale and Yabbee aka Billy Hamilton who name-swapped with the early leading townsmen and squatters on their ‘country’. Next follow snippets from Mick Woiwod’s fictional but faithful novel The Last Cry, along with his Yarra Valley anthropology and reconciliatory vision. Surveying and selling off the Yarra and Diamond Valley ‘badlands’ stringybark forest leads into discussions on sorcery, smallpox and culture-collapse into fringe-dwelling. The frontier moves on north, west and east and the tone changes to academic, political and biographic studies of Aboriginal workers and surviving kooris including the life and times of Wurundjeri clan heads Billibellary, Simon Wonga and William Barak. In the decades after World War 2, academic historical analysis led to the politicized ‘history wars’ as reaction to the racist colonial ‘white Australia policy’ lies, fears and distortions cloaked by denial and patriotism. Echo 49: THE NATIVE POLICE – Turncoats or adaptation [?] is the largest echo in this Sounding and the question is posed in five parts, the last being Irish observer Claire Dunne on applying the bloody colonial lessons of Port Phillip to frontier Queensland and beyond to Central Australia’s mass-murderer Constable Willshire and the cultural logic of settler nationalism. Echoes follow on re-visioning Aboriginal / white history and historical geography research of ‘high country’ clans and language groups in my unsatisfied search of a supposed ‘superior tribe’ in the Alps who reportedly ‘dwelt in stone houses all year round’. Sounding 3 ends with echoes titled COLONIAL OBSERVATIONS OF HIGH SOCIETY EMIGRANTS containing Georgina and her son George McCrae’s journals of Yarra-side and pioneering the Mornington peninsula in the 1840s along with early 1860s photographs of native people collected by gentleman squatter John Hunter Kerr.
Historically, photographs of Indigenous Australians were produced in unequal and exploitative circumstances. Today, however, such images represent a rich cultural heritage for descendants, who see them in distinctive and positive ways. Calling the shots brings together researchers who are using this rich archive to explore Aboriginal history, to identify relatives, and to reclaim culture. It reverses the colonial gaze to focus on the interactions between photographer and Indigenous people — and the living meanings the photos have today. The result is a fresh perspective on Australia’s past, and on present-day Indigenous identities. Innovative in three ways, Calling the shots incorporates Indigenous perspectives on the photographic process and especially the meaning of the photographic archive. It also explores the history of photography in each colony, thus providing a rich and varied series of historical social landscapes. Lastly, it examines the active role played by Indigenous people in photography as a process of encounter and exchange. Contributors include Julie Gough, Jane Lydon, Sari Braithwaite, Shauna Bostock-Smith, Lawrence Bamblett, Michael Aird, Karen Hughes and Aunty Ellen Trevorrow, Donna Oxenham, Laurie Baymarrwangga and Bentley James.
In the mid-nineteenth century successive cultural Bohemias were proclaimed in Paris, London, New York, and Melbourne. Focusing on networks and borders as the central modes of analysis, this book charts for the first time Bohemia’s cross-Channel, transatlantic, and trans-Pacific migrations, locating its creative expressions and social practices within a global context of ideas and action. Though the story of Parisian Bohemia has been comprehensively told, much less is known of its Anglophone translations. The Bohemian Republic offers a radical reinterpretation of the phenomenon, as the neglected lives and works of British, Irish, American, and Australian Bohemians are reassessed, the transnational networks of Bohemia are rediscovered, the presence and influence of women in Bohemia is reclaimed, and Bohemia’s relationship with the marketplace is reconsidered. Bohemia emerges as a marginal network which exerted a paradoxically powerful influence on the development of popular culture, in the vanguard of material, social and aesthetic innovations in literature, art, journalism, and theatre. Underpinned by extensive and original archival research, the book repopulates the concept of Bohemianism with layers of the networked voices, expressions, ideas, people, places, and practices that made up its constituent social, imagined, and interpretive communities. The reader is brought closer than ever to the heart of Bohemia, a shadowy world inhabited by the rebels of the mid-nineteenth century.
The Pixels of Paul Cezanne is a collection of essays by Wim Wenders in which he presents his observations and reflections on the fellow artists who have influenced, shaped, and inspired him. "How are they doing it?" is the key question that Wenders asks as he looks at the dance work of Pina Bausch, the paintings of Cezanne, Edward Hopper, and Andrew Wyeth, as well as the films of Ingmar Bergman, Michelanelo Antonioni, Ozu, Anthony Mann, Douglas Sirk, and Sam Fuller. He finds the answer by trying to understand their individual perspectives, and, in the process revealing his own art of perception in texts of rare poignancy.
This is the first book to provide a full and coherent introduction to the photography of Victorian Scotland. The material has been structured and the topics organised, with appropriate illustrations, as both a readable narrative and a foundation text for