HSC VISUAL ARTSPage 26 of 26ARTISTS + ARTWORKS covered:

Rover ThomasAll that Big Rain coming from Top Sides (1991)Nilah Marudiji; Rovers Country (1996)

2. Emily KngwarreyeBig Yam (1996)Earths Creation (1994)

3. Lin OnusMichael and I are just slipping down to the pub for a minute (1993)Fruit Bats (1991)

4. Trevor NickollsFrom Dreamtime to Machinetime (1979)Deaths in Custody (1990)

5. John GloverThe River Nile, Van Diemens Land from Mr Glovers Farm (1837)

6. Frederick McCubbinLost (1886)Down on his Luck (1889)

7. Anne ZalhakaThe Bathers + The Icebergs + The Surfers (1989)

8. Charles MeereAustralian Beach Pattern (1940)

9. Doris SalcedoAtrabillarios (1992-1997)Shibboleth (2007)

10. Ben Quilty Cullen Before and After (2006) Lance Corporal M (2012)Cook Rorsarch (2009)

11. Pablo PicassoMa Jolie (1912)Guernica (1937)

12. Bauhaus; Ludwig Mies Van der RoheBarcelona Chair (1929)International Style: Barcelona Pavillion (1929)15. Anthony Lister Mural for Art Basel, Miami Florida (2012) Fat Batman (2007)

13. Frank Lloyd WrightJapanese Exhibition Hall (1893)Falling Water (1935-1939)

14. Ai Wei WeiSunflower Seeds (2010)

Case Study One: Aboriginal ArtRover ThomasWorld Europeans colonised large regions of Australia in the nineteenth century to mine gold, dive for pearls and raise cattleConflicts occurred over livestock which polluted freshwater sources which Aboriginal people relied onMost local Aboriginal people took to working for the settler ranch ownersPeople could maintain connections with ancestral landsAble to conduct ceremonies, continue traditional practicesRetain language1975- he had a dream visitation by the spirit of an auntChristmas Eve 1974- Cyclone Tracy destroyed DarwinCity was regarded as the centre of European culture, associated with ancestral rainbow serpents, elders interpreted event as the ancestors warning Aboriginal people to reinvigorate their cultural practices1970s- pioneered the East Kimberley School of Ochre- painting on canvasPublic support for the Gurindji culminates in the first return of land to Aboriginal people signed by Gough Whitlam- pouring red sand into the hand of one of the original strikersAcclaimed as a cultural leader- 1970s

ArtistBorn 1926, Died April 11 1998Grew up in the Great Sandy Desert in Western Australia- Kimberley- Turkey CreekHe established the Est Kimberly School of Ochre Painting in 1970Didn't begin painting until in his late fiftiesSpent 40 years as a stockman1966- Gurindiji stockmen went on strike against vests stations to fight for equal wages and the return of traditional homelands1965- Attempt to introduce equal wages for Aboriginal workers failed because pastoralists argued that equal wages would ruin the industryMany pastoralists refused to employ Aboriginals under the changed conditionsAudienceStyle has changed dramatically since early days at Papaya, works have progressively become more abstractIn Rover Thomas bold minimalistic works, many historians and critics have seen Mark RothkoWe gotta do painting and tell our stories through there. Might as well do it through arts so the whole world can hear us- Clifford Brooks

ArtworkExplore the history of the Aboriginal people, contextualises the history of European settlement, portrays depictions of the cultural and social upheavals caused by colonisationThemes of displacement and subjugation of the land can also be seen in his worksUse of an aerial perspective and map like layouts of the countryBold and minimalistic works show a lack of symbolic imagesAll that Big rain coming from Top Sides (1991); Natural Earth Pigments and gum on canvas; 180.0x120cmBroke the record price for an individual Indigenous artwork sold at an auction for $780,000Depicts his fond nostalgia for a cattle station (Texas Downs)Thomas use of natural earth pigments portrays the tones of the secluded and cherished environment of the waterfall helping the audience to gain an insight into the sacredness of the rural landscape to the Aboriginal peopleTwo halves portray the different stages of the waterfallTop half= water streams travelling towards the clips edge> thick and large spaced linesBottom half= falling of the water off the cliff> numerous thin linesConstruction of lines made out of dots- draws the eye along pathways of time and movement, following the forms of the land in which important events are encoded

Nilah Marudiji (Rovers country)[1996]; Natural earth pigments on canvas; 120 x 120cmDepicts his relationship with his ancestral land and features the aerial perspectiveUse of black conveys a sense of emotional intensity and connectionWarm earthy tones invites the audience to witness and experience the struggles of the Aboriginal people through an Indigenous representation

Emily KngwarreyeWorld1788- English colonised AustraliaWhite Australia Policy- cultural and social dispassion of Aboriginal people from their landShe experienced segregation, assimilation, self determination and reconciliation1967- referendum- granted Aboriginal people full citizenship rights, allowing them more freedom, land rights and educational programsCentral Western Desert Art Movement- developed in Papaya region in 1970 based on traditions of sand and body painting for ceremoniesPaintings carried messages of Aboriginal ancestors, belief systems and their interrelationship to the land1978- Utopia, batik was introduced to women1988- Central Australia Aboriginal Media Associations introduced western mediums (acrylic, canvas)Sorry Day was during her exhibition and this impacted on how her work was viewed by the audience

ArtistAustralias leading painters of modern timesBorn in 1910 in Utopia, didn't start painting until 1988Over 80 years old when she began to paint with acrylicsBelieved that her paintings and traditions that were practiced saved her land from miningArt practices evolved around dreaming and Aboriginal spiritualityPainted what was important to herInitial artist training was for preparation and design for womens ceremoniesUse of batik formed the strong strokes to the canvas and the sunrise of her handsStyle changed from lines and lots to the colourist styleOrientation matters not

AudienceOsaka Japan 2008- Japanese audiences said the work was too hard to understand and that only artists can know what the meaning isYayoi Kusama and Paul Klee described her work as taking the line for a walk- where her firm and fluent brush strokes are strongly seenOrganic strokes resembles Japanese calligraphic charactersCurator of the National Museum of Osaka sees aspects of impressionism and modernism in there workJapanese and Western audiences comment that it has similarities to MonetShe was profoundly influenced by the colour in the landscape and worked the lushness of the land into many of her paintings- Christopher HodgesArtworkBackground painted with patterns and dots, camouflaged with ritual items and mythological content of Aboriginal beliefBold and simple- aerial view of landscape- graphic systems of Aboriginal symbols- icon of spiritualityDidn't employ western traditions in their workUsually large scale, almost abstractLines used are linked to traditional body art, plant and animal formsShe would spread her canvases on the ground and paint wile sitting on or next to themOver the years she began to use larger brushes and eventually began trimming down the hairs around the edge of the brush, leaving the middle hairs longerThis styling of her brushes produced unique effects in her paintings, like dots with strong centre and softer edgesBig Yam (1996)Large scaled 2D painting on synthetic polymer paint on black canvasPersonal expression of her land and represents the physical worldOrganic and fluent lines- reminiscent of impressionist and abstract paintingsRepresentation of yam roots and mirror image of cracked earthSpiritual meaning of land and icons of dreaming hidden under the organic linesLife- linked network of rootsInterconnecting lines- ancestral connectionDark colours- old roots, light colours- young rootsYam is also part of her name- Kame means yam seeds- shows her relationship to the land

Earths Creation (1994); Synthetic polymer on paint on canvas; 4 panels, each 275.0 x 160cmUse of dots shows climaxDots fusing together to form lines suggest dance movementsHer colour palette determined by seasonsDusty browns during dry season, greens during rain seasonVisual intensity of these paintings recalls the work of French colourists Sonia and Robert Delaunay or even Claude MonetIt embraces the full width of Emilys country, her life, her Dreaming and her art Whole lot, whole lot everythingDots- swirling formation, dynamic sense of movement

Lin onus ArtistBorn 4 December 1948, Died 23 October 1996Scottish Aboriginal artist of Wiradjuri decent His father was a political activist and businessman, leader in the community and begun many initiatives for Aboriginal peopleFather became the president of the Aboriginal Advancement League, died in 1968, a year after the referendum giving Aborigines to voteSelf taught urban artistSurrounded by classical art and music- absorbed influences from both cultural traditionsBegan painting in 1974, his visits to Arnhem Land in 1986, deeply influenced his life and art and enabled him to forge a unique friendship with Jack Wunuwun (his mentor)This strengthened his links with his aboriginal heritage but also allowed him to incorporate rrark a traditional cross hatching design into his workDiscovered his own identity by mixing the indigenous and western styles in his own unique wayOnus became fascinated with spray painting and fibreglass mouldingBecame a successful painter, sculptor and maker of prints

AudienceOnus was acutely aware of the preoccupation of so called experts with legitimacy and played an important role in the unfolding public debate over authenticity in Aboriginal artCriticised for mixing traditional and urban iconography inappropriatelyIt appears that those least concerned about Onuss appropriation were the Aboriginal community into which he was introduced who were anxious to help me find my way. In time this led to my adoption within the Wunuwun familyDistinguished academic and writer Christine Nicholls once described Onuss humor as a postmodernism without tears- refers to his unapologetic appropriation of both Western and Aboriginal iconographyHe put urban Aboriginal art, as it is popularly known, onto the cultural map in AustraliaArtworkCreated paintings that weren't only Australian but also what it is like to be an Aboriginal Australian living in a cityUsed a range of mediums, methods and styles in his workHe used painting, printmaking, linocuts, comic illustration, murals, poster design and political sculpturesOften involve symbolism from Aboriginal styles of paintingOnuss adoption of new materials and technology [e.g. fibreglass, plastic, silicon and time saving devices(rarrk making stamps and dotting machines)]His work made no distinction between the political and the beautifulMichael and I are just slipping down to the pub for a minute (1993)Has been featured on postcardsDingo- Onuss symbol rides the back of a stingray, the symbol of fellow artist and collaborator Michael EatherAlso symbolises his mother and fathers cultures combining in reconciliationIt also makes reference to the popular Australian sport- surfingThe wave is borrowed from The Great Wave of Kanagawa(1832)by Katsushika Hokusai

Fruit Bats (1991)Shows a combination of two culturesShows two societies slowly combining, the main aspect shows the western cultures (hills hoist clothesline)The traditional techniques used for the fruit bat droppings and patterns on each bat contrast the current materials of todays modern materialsFruit bats can be seen to symbolise the will to repossess the land that rightfully belongs to the Aboriginal people

trevor nickollsConceptual PracticeBorn in 1949, Died 2012Aboriginal mother, father of Anglo-Celtic descentHis drawings and paintings reflect his personal experience as a Nunga man and his relationship to the land, place and historyPictorial motifs he employs such as the dreamtime/machine time combines the sheer natural wonder of the Aboriginal land and Dreamtime storiesIdeas about effects of nature and nurture, rich and poor, good and evilFirst contact with traditional Aboriginal artists in late 1970s where he met Dinny Nolan- turning point of his career- allowed him to learn about the approach and techniques of the desert artistsLate 70s- influenced by postmodernism He used art as a medium to reconcile his black and white heritage as well as to voice a far-reaching struggle for Indigenous societyAims to represent the anguish of being caught between two cultures: the Aboriginal Dreamtime and the white mans Machinetime>brought alienation, violence, aggression, greedDreamtime is my Aboriginal roots and philosophy, and the Machinetime is the present age we live inI use my art to work out the balance between the twoGave voice to the confusion and complexity around the identity politics of the times. As a visual artist, he gave voice to the frustration and anger at Indigenous powerlessness and their invisibility like no artist before hand- Vernon Ah Kee

Material PracticePaintings reflect his personal experience as a Nunga man and his relationship to the lands place and history His paintings show many of the influences that have shaped his life and workDeveloped his own style of painting, drawing inspiration from a range of Aboriginal forms and expressionEarlier works were influenced from his fascination for comic books and the surrealist techniques evident in the works of Pablo PicassoHe painted detail to a minimumColourful and busy textures minimised, leaving basic elements These quieter, meditative works with warm earth tones and traditional patterns often holds solitary motifsSymbols in his paintings such as birds (dove- universal symbol of peace)His paintings are spontaneous, dense and complex with many symbols from everyday life- dollar signs, mining picks, mandalas, antennas, boomerangs, guns etcTraditional dot motif- flexible, used to depict various ideas e.g. can represent the skin of the Earth, molecules exploding or a computer print outHe adopted many traditional customs such as the use of traditional ochre colours, dot paintings, cross hatching (rrark), symbolism and iconographyFrom Dreamtime to Machinetime (1979); Oil on Canvas; 161.3 x 117.6Depicts urban themes The Dreamtime emerges as the dominant inspirational forceClear horizontal division which divides the work into two different perspectivesTop half of the work is representational of the Dreamtime- use of ochre colours, x-ray formsHigh horizon in background suggests a feeling of space and freedomLower half of the work depicts the negative impact go Western culture and the MachinetimeWork alludes to the overcrowded living conditions experienced by many Indigenous citizensUniformity of the three figures indicates a loss of independence and individualityDeaths in Custody (1990); Synthetic Polymer paint on canvas; 150.3 x 150.4Used a range of western materialsConfronting composition of the work- mans grasping hands provokes the audienceBack wall of the cell- Aboriginal flag with a silhouette of a hanged person- the result of western interference, the aboriginal culture is suffering and facing extinction

Case Study Two: Australian Identityjohn glover (1767-1849)Precursors of Australian style of paintingArrived in Van Diemens land in 1831He was never seen as an artist who pushed the boundariesHome at Patterdale Farm- subject of many of his landscapesHe noticed the differences in the Australian landscape compared with England and attempted to capture the differencesThe River Nile, Van Diemens Land from Mr Glovers Farm(1837); Oil on Canvas; 76.2 x 114.3cmProportion of figures is small compared to trees in the landscapeAn idyllic landscape is shown, Aboriginal people shown as noble savagesGlovers work is shown:the way the trees frame the workDistant landscape can be seenLandscape doesn't have an Australian character, pictured in a more visually pleasing and idealistic European wayDepiction of the Tasmanian light as bright and clearAborigines- often shown in peaceful everyday activities, appeared to complement the idealised Australian landscape

Heidelberg schoolMost important and influential Australian art movementsDescribes the style of painting in the Melbourne area by several Australian artistsSuch artists include: Tom Roberts, Arthur Streeton, Charles Condor, Frederick McCubbin, Jane Sutherland and Clara SouthernLed from the desire to have a unique Australian style of paintingMid nineteenth century- Australian landscape was idealisedEncouraged Australian artists to develop their own styles independently from overseas artVariety of subject matter- rural work, frontier life, Australian landscape, modern scenes of Melbourne Australian and French ImpressionismFrench impressionism- concerned with the physical nature and how the light alters colours throughout the dayAustralian impressionism- concerned with the way light could evoke a particular emotion or mood Both used plein air painting techniques (painting outside)

Frederick McCubbin Conceptual PracticeMost concerned with depicting realistically the inner beauties of the bushHis realistic approach to nature as he sees it, rather than the academic ideal and the sincerity of his rural domestic scenesHe was introduced to plein air paintings by Louis BuvelotHe is known for his monumental canvases depicting episodes from Australias pioneering history- paintings were consciously and proudly nationalisticThemes- economic depression and unemployment1901- McCubbin and his family moved to Mount Macedon. The surrounding bush provided inspiration for his experimentation in depicting light and its effects on colour in natureLater works of experimental thick oil have been termed his most brilliant in their sensitivity to colour, handling of paint and surface textureLost (1886); Oil on Canvas; 115.8 x 73.7cmCombines the theme of anxiety and sadness with an interest in plein air landscapeInfluence of impressionismThe fate of the girl is ambiguousInstead of the panoramic majestic landscape, McCubbin has concentrated on a small segment of the bush

Down on his luck (1889); Oil on Canvas; 114.5 x 152.8cm- Shows a man in a sombre mood- hand positions, melachonic expressionThe figure gives a strong powerful feeling of sadnessSadness of the man contrasts with the bright Australian bushlandShows hardship, worry, lonelinessThe colour and texture of his clothes blend him into the landscapeIsolated and sitting on a log giving him a sense of dignityTwigs and foliage acts as a frame and contrast to the misty glade

Anne Zalhaka (1957)ArtistAreas of practice: printmaking and photography challenges some of the dominant representations of the beach, taken against a backdrop of Bondiexamine the cultural stereotypes that show the visual history of Bondi in an ironic and critical mannerWorks with familiar images of Australia and uses them in a humorous and critical voiceWork has been collected by many museums in Australiaworks comment on contemporary culture using irony and visual traditions of communicationUses photography with deliberate props, backdrops and settings to break the traditions of truthArtworkThe Bathers (1989)Was part of a greater series of works that explore the representation of Australian beach culture at Bondiunlike Charles Meeres idealised painting of the beach, where no one is smiling, my multicultural group, appear happily content to be sharing on of our most national sites- the beach- Anne ZalhakaRejects the idealistic visions of Australia Visually references Charles Meeres Australian Beach PatternNot in a natural location, but in a studio with an obvious backdropsubjects are diverse, individuality does not seem importantfemale has become the focus

The icebergsAustralian ideals of tanned males are represented in the way where the old men proudly display their tan physiquesThe way they are seated reminds the audience of their ageThe Surfers3 Asian teenagers in wetsuits with boards posing with serious expressionsthey challenge the Australian surfer stereotype and highlight our changing culture

World1930sWW1 brought Australian together1929- US stock market crashed1932- 29% people were unemployedDon Brandman Cricket recordPhar Lap Race Horse International SuccessLate 1930s- WWII1890s-1950s- White Australian policy (only europeans allowed into the country)Shift from British influence to global influence (esp. America- fashion, tv, music, lifestyle choices)Rampant consumerism (ads, buying, selling)Fitness craze, punk rebellion, videos, cassettesQuestioning of whether Australia has lost its sense of identity1890s-1980s- 120,000 southern asian refugees came- Multiculturalism was born- changed national image1972- abolition of white Australia policyinfluence of feminism, women painters, Indigenous artists, rich multicultural legacy, rich cultural clothconfronting subject matter, conceptual questionsrange of mediums explored

Audience she has quoted the Australian Beach Pattern in her photographapproximates the essential visual menureinforces the mythology of the idea of the beach rather than the beach itself- Julianna EngbergI seek to question (and understand) their influence, meaning and value- Anne Zalhaka

charles meereArtistBorn 6 December 1890- 17 October 1961 in LondonMigrated to Sydney in 1930sArt practice encompassed landscape, still life and portraiture, mural design and black and white illustrationArt Deco style works of 1930s and 1940sArt Deco is used to describe stylistic changes that occurred to visual mediums in the 30s-40s, characterised by clean, geometric and elegant lines, colours are flat and figures and stylisedAt the time of painting, he had been in Australia around five years- may not be familiar with Australian valuesHis assistant said he hasn't been to the beach ArtworkAustralian Beach Pattern 1940painted this from 1938-1940Other works has Greek and Roman myths and legends as subjectsinterested to illustrate national typesModernised classical artistic traditions as a means of imaging national life during war periodArtwork depicts a tableau of beach dwellersdepicted as athletic and poses are monumental suggesting heroic proportionscontributed to the mouth of the healthy young nationmale and female figures of physical perfection- bronze sun gods of the surfcelebrates the Australian national pastime of going to the beachsymbol of freedom and classless democracyportrays beach going as a fashionable event, showcases perfect Australian bodiesNature of each figure is isolated without interactions like eye contact or touching further- work is studiousCaptured the hopes of the Australian people at the time, the sense of pride and optimismWhite Australia Policy was in place, figures not merely generic caucasiansAudience"consciously sought to develop a new and distinct iconography for Australia.some essential quality has been missed and that quality is warmth. They are figid paintings created at an emotional temperature close to freezing point. Their reserve is icy, their logic is impeccable but inhuman James Gleesonwhile they are examples of physical perfection, there is no interaction between them, no eye contact. They typify the radical ideals if their time. They are bronzed sun gods of the surf Linda SlutzkinWorld same as ZalhakaCase Study Three: Art Of Wardoris salcedoArtistSculptorBorn in 1958 ColombiaArtworks concerned with tragedies that have occurred to both individuals and collectives or groups of peopleinterested in identities that are often invisible- victims of violence, refugees, immigrantsColumbia- highly segregated between rich Spanish families and the poor Columbian familiesArtworkAtrabillarios (1992-1997); Timber, Cow Bladder, Gyproc, Shoes, Surgical ThreadConceptual Practiceembody the silenced lives of the individual victims of violenceImplies violence and fragility through her use of materials rather than with overt or literal statementsthe shoes echoes the persistent memory for those whose whereabouts are unknownNot only a portrait of disappearance but a portrait of the survivors mental condition of longing and mourningShe travels extensively in the country side where the worst effects of political violence are experienced and most of them disappear without a traceThese disappearances are a deliberate strategy to demoralise and terrify the people in order to ensure their silenceShe collects the belongings of the disappeared with the support of their relativesThese are memorials to the lost but also gives us a horrifying reminder: the domestic is rendered monstrousEvokes absence and loss by using materials and processes that locate memory in the body

Material PracticeShe used cow bladder sewn on with surgical threadthen cut into the plaster wall containing shoes as relics or belongings of lost people- all donated by the families of those who disappearedShoes are particularly personal items as they carry the imprint of our body more than any other item of clothingHaunting evocation of their absent owners and recall the grizzly souvenirs of Nazi death campsThe holes in the wall are about eye levelThe cow bladder is translucent so the shoes have a slightly ghostly quality to themEmpty presence haunts the living with the uncertainty of deathShoes are like gravestones, each one marking a single persons life and deathThe absence is the absence of knowledge, the continually haunting that keeps grief open and unable to be packed awayShibboleth (2007Installation in Tate Modern in London167 meter long crack Shibboleth asks questions about the interaction of sculpture and space, about architecture and the values it holdsTate Director, Sir Nicholas Serota stated, "There is a crack, there is a line, and eventually there will be a scar. It will remain as a memory of the work and also as a memorial to the issues Doris touches on."We should all world from the perspective of the victim, like Jewish people that were killed with their head down in the Middle Ages. So he wonders, what is the perspective of a person that is agonising in this position?- She quotes Frankfort School theorist- Theodor AdornoThe history of racism, Salcedo writes, runs parallel to the history of modernity, and is its untold dark sideShibboleth takes its title from the Old Testament story where if you couldn't pronounce the shh were revealed as the enemy and were killed.The piece is a statement about racism, with the crack representing the gap between white Europeans and the rest of humanity.Also represents the boarder which immigrants had to cross, where the crack is a negative crack The crack reveals a colonial and imperial historydisregarded, marginalised or simply obliteratedthe history of racismevery work is political, breaking boundariesThe work is not an attack but a reminder for us to see the world from the perspective of the victimThe crack is then filled up leaving a scar which leaves a remaining memoryThe Jewish were killed with their heads down as an act of shame- suggests with Saucedos work where you have to look down into the crack- the other world underneath the surface (see the world upside down, from a different perspective)

ben quiltyMaterial PracticeGas masks, spray cans, crane lift, oil paints, calking gun, palette knifeColour- smashes it around the canvas, being fearless, not making a mistake, fast worker- sense of adrenaline14 paintings of his car- symbolic of manhood desirelaughing in the face of deathUnconventional- graffitiing the wall is part of his work, pushes the painting togetherhis work alludes to his own personal historywide range of genres- portraiture, still life and landscapeapplication is lush and colourful but his subject matter is dark and confrontingUsed a paintbrush and art book while in AfghanistanQuiltys work explores what it means to be a man in contemporary Australian culture cars, drugs, drunken holidays in Fiji. Some of his earliest paintings were of Holden Toranas, the classic Aussie muscle car, smashed-out on large canvases in bold, thick, rich strokes, applied with a cake-icing knife.Being smashed was a popular theme of Quiltys paintings in the mid-nineties,The artists Rorschach canvases that emerged in 2007 are also risk-taking.There is the chance that the blotting of the original image might destroy both it and its twin. Masses of oil paint are used in what QuiltyQuiltys canvases look like sculptural abstracts up close, only coming into focus when we step back.

Conceptual PracticeBen Quilty puts his own life experience into his artTakes photos of his friends at their worst and paints themone foot in, one foot outmaking us look in many other wayssubdues us with his workused risk taking behaviour in young men in the men at war- riding a passagenever objectified womeninterested in weakness:art is a reflection of his life- Jimmy Barnesthe place where boys confront death- Jermaine Greerstopped looking at other people but focused on his carInspired by Arthur StreetonPreoccupation with mortality and death, celebrate or despairexperiences through the soldiers eyeshis paintings show the embarrassment, that Australians didn't want the world to seeWent to Paris on a scholarship to galleries and museums to soak it all inOffered position of war artist in Afghanistan for 1 monthreflecting on their experiencesrepresenting them- giving them a voiceHis exhibition- publicise them as soldiers cannot speak for themselves- he is the voicepolitical and social issueExplorations of masculinityThe invincibility of male youth, passion for mates, alcohol, drugs, muscle cars, heavy music and risk-taking behaviour. He absorbed it, observed it and used his art to probe its logic.It stimulated a life-long fascination with masculinity what it takes to be a man, how to define it and how boys become men.Wild times with a group of friends, nicknamed the Maggots, from the same area of Sydney inspired much of Quiltys early work. Photographs of late night drinking sessions and celebrations prompted large scale portraits of these mates in various stages of getting maggot.2007 with Self-Portrait Dead (Over the Hills and Far Away), a portrait of himself dead-drunk in the early hours after a night of drinking. It is a comment, he says, about reckless masculinity rather than a celebration of drunkenness. Concerns with masculinity, mortality, creativity, history and identity are filtered through his immediate and past experiences of friends, family, objects and places as a young Australian male.

ArtworksCullen Before and After (2006)choice of colourenvironment backgroundfacial expressionleft painting is closerapplication of paint, one is rough, one is clean/calmsymbolic remembrance of life transiencepithy remainders of our mortalityTwo-panelled pictures often seem stagey or laboured, but this one has a Jekyll and Hyde aspect - the dark, leering Adam Cullen in the left-hand panel, and the sober, demure model on the right. Lance Corporal M (2012)helpless, unsettlingnudity- frailty, weaknessshame, embarrassment vs masculinity coming towards viewerIt was not Afghanistan that left an impression, but the experience of working with the soldiers who sat for him after returning from Afghanistan, trying to live normal lives at home to then watch them try to struggle to come back and fit in, and drop, fall, crashing down to the earth with Post Traumatic Stress Disorder is very crushing and confronting.

Cook Rorschach 2009features two large heads organised around a central axis of symmetry. Initially the image was created on unstretched linen, which was stretched after the painting process finished.Quilty has chosen to base his work on an important eighteenth century portrait of explorer Captain James CookCooks image is bodiless, the facial expression taking on a sinister grimness.created the original part of the image in thick swipes of paint onto the right hand side of unstretched linenleft has been made by folding the linen on the left over the painted image on the right in the manner of a monotype or butterfly paintingCook is an iconic figure, a hero to many, who is also partly responsible for the colonisation of Australia by the British.The image conveys a sense of power and authority: a sense that Cook, by his dress and manner, is a member of the ruling class. Captain Cook symbolised the end of their community ... their Dreamtime ... their culture, and quite often a very destructive and violent death.history can distort, blur or even obliterate whole aspects of people and events.two versions of Cook a clear but brooding version, and a smeared, corrupted version both mutated His violent application of paint and palette of reds suggest a sense of brutality.the large twinned heads disrupt our ideas about the explorer, forcing us to question this remaking of a familiar historical figure into someone bigger, rawer and more threatening.The artist takes Dances Cook, removes the body, enlarges the head, and creates a smeared Rorschach twin. By subverting the original image, the artist queries the authority of history and the way we view our past.AudienceI love my life, my family, friends and work, and Im a very lucky person, he says. But there are some really bad things happening. It seems to me that in Australia no one talks about them, and if you do youre branded as a pessimist. Its just ridiculous.And people buy it. People buy these really ugly heads of me. Seriously, I make myself look as drunk and off my face as I can and its collectable.Quiltys early commercial success and public recognition revolved around subjects taken from his adolescent/early adult world. Holden Toranas, the muscle car of 1970s Australia, crashed cars, drunk mates. The art market, primed by 1960s Pop Art, lapped up his lavish use of oil paint and linen on such low art subjects. In Ben Quilty, the search for an Australian vernacular had found a new hero.He has received critical acclaim here and overseas, and is regarded as one of Australias most prominent artists.Quilty likes to confront his audience, and is aware of the theatricality of the audiences experience when viewing his work. He works subjectively, and draws an emotional response from his audience.

pablo picassoCubism was considered a fundamental principle on which Modern art was establishedGave artists the freedom to explore a range of materialsTraditional materials (painting) replaced by cut paper designs glued onto a canvas (collage)They rejected traditional form and shapeBroke subject matter into geometric designs and shapesHuman body was painted from different points of viewSome integrated numbers and words into their artwork; borrowing things from everyday life (e.g. newspapers, oil cloths) Ma Jolie (1912); Oil on Canvas; 100 x 64.5cmInspired by the vibrant cafes of early 20th century in ParisBottom of the canvas he inscribed a treble clef and the words Ma Jolie (my pretty one)- a line from a popular song and to his lover Marcelle HumbertShows a traditional theme- a woman holding a musical instrument reminiscent of the work of RembrandtHe also emphasises the handmade nature of the brushstrokesGuernica (1937); Oil on Canvas; 3.49 x 7.76mBombing on Guernica- April 26 1937, bombed by German and Italian warplanes during the Spanish civil warInfluenced by the bombing and his relationship with Dora Maar (communist) he created a series of 14 etchings: The Dream and Lie of FrancoIn 1937 for the World Fair he painted Guernica as a rage against the warWoman with dead child> suggest the mass killing of women and childrenWoman with the lamp> Suggest she could be searching for a light of hopeThe bull> suggests brutality or represents the Spanish peoplePatterning in centre of painting> Questions the power of the media vs the power of artSimplified images, strong use of symbolismLimited colour palette> sets a sombre moodTriangular composition and very flatMutilated bodies, gaping moths of the hysterical with pain, fear and sorrowChaos and despair are shown by sharp, angular shapesShows the tragedy of war and the suffering it inflicts upon individuals- especially innocent civiliansBecame a perpetual reminder of the tragedies of war, an anti-war symbol, embodiment of peace

Case Study Four: Modernismmodernism (1860-1970)Encompassed modern thought, practices and styleIndustrial Revolution (1700s-1800s)Manual labour>animal> machineUsed coal and steam powerIncrease in productionExpansion of tradeAllowed modernists to build faster, higher and cheaperFocused on art, design, architecture, social and political order, industry and manufacturingHonest use of materials e.g. Kandinsky- Composition VIII (1923)Traditional ornamentation and decorations were over the topModernist design- simplicity, geometry, open plan interiors, absence of clutterSuggested that Edouard Manet was the first modernist painter

bauhaus; (1919-1933); GermanyFounder- Walter GroupiusUnified graphic and object design, architecture, art and craftEarly 20th century:Fall of Germany in WWIMass production became possibleDesigners and theorists became the centre of everythingResponded to the modern industrialised world, created designs that combined function and aestheticsLet us desire, conceive, and create the new building of the future- together. It will combine architecture, sculpture, and painting in a single form. (Walter Gropius)Bauhaus School building had simple forms reflecting the modern era of mechanisation, no detailed decorationLudwig Mies van der RoheLess is more philosophyContributed to the refinement of the International styleInternational Style; Barcelona Pavillion (1929)

German exhibit for the 1929 International ExpositionOpen and simple spaceMaterials: onyx, marble, glassReflecting pool- sense of peacefulnessShows refinement, simplicity, elegance

Barcelona Chair (1929); Stainless steel bars and leather upholsterySerenity of line and refinement of proportionsSimple shape derives from the ancient Egyptian stoolsThe government was to receive the Spanish kingThe chair had to bemonumental. In those circumstances, you just couldn't use a kitchen chairBeen manufactured since 1929

frank lloyd wright(1868-1959)Considered the Father of Modernism or the Father of the SkyscraperHeavily influenced by Louis SullivanBased in ChicagoTime of Industrialisation- Concrete was invented- easier to build withChicago- birth place of many new philosophies and construction methodsLouis Sullivan> form follows function> if the ornament on a building is considered as a form of identification then it would become functionalHolistic design>Believes all individual parts are critical and interconnected factors should be consideredOrganic architecture> Promotes harmony between human habitation and the natural world-> designs well integrated into the surroundings Japanese Exhibition Hall (1893)Deep overhanging roofs, protection from light and water damageDark framework, deep stained wood and panelsBuilding and natural environment in harmonyFlexibility of Japanese paper screensFalling Water (1935-1939)

Used a lot of clear glass to allow the outside environment to flow freely inside Falling Waters became the epitome of his ideologySeries of horizontal terraces cantilever over the fallsMountain stream inspired the houses designSound of the falling water is embedded in the houses character- aesthetic function for the houseUnconventional materials- concrete, steel, stone, glassPottsville sandstone, quarried on the site- to imitate the natural stone layering, merges the house with the site, makes it appear as it is growing from the waterfallJohnson Wax BuildingAttained an uplifting, spiritual feelingImagination, innovative technology and client confidence recreated nature within a forestHe pushed clients to the edge, with the costs, their patience but also their accessions of architectural limits and rulesAvant Garde architects soon abandoned the traditional ornamental style to this new functional styleCase Study Five: Protest Artprotest artProtest art- artworks that concern or are produced by activists and social movementsContemporary and historical works also includedE.g. Francisco de Goya (1746-1828)The Third of May (1814); Oil on Canvas; 2.7 x 3.5m1808 Spanish invasion lasted until 1814 had a massive impact on Francisco GoyaRepresents a bloody encounter between the French army and the people of MadridMain figure in white-glowing, hands in a crucified Christ pose

ai wei weiBorn Beijing, 1957Works in a variety of fields- fine arts, curating, architecture, social criticismCombines life and art into a politically charged performanceHe spent time in jail and wasn't allowed to leave Beijing for a year and wasn't allowed to travel without permissionBecame a symbol of the struggle for human rights in ChinaExhibiting art in museums isn't very interesting and Art is connected to our lives. Our lives are political, so it becomes political- Ai Wei WeiThemes: questions authenticity, value and their construction and destruction1995- he smashed porcelain vases to draw attention to the vandalism of the Cultural revolution, painted commercial logos on ancient potsHis work is a reflection of his deep political interest:Chinas status as a platform for cheap labourCensorship lawsPolitical regimeRepresentation of Modern ChinaResistance of controlHe encourages social transformation via his workProvokes the audience to consider the possibility of action against social conditionsI always seek to protect freedom of expression- Ai Wei WeiI believe art is for people who have sensitivity and imagination, not just for museum professionals, dealers and critics. Art history has to be rewritten by people who can give it new definitions- Ai Wei WeiSunflower Seeds (2010); Installation at the Tate Modern Museum; Porcelain

Made up of millions of small, individually sculptured and painted seedsThey are the effort of hundreds of skilled handsThe 100 million seeds form a seemingly infinite landscapeAi Wei Wei has manipulated traditional methods of craftingAllows the audience to look more closely at the Made in China phenomenon Chinese people(the sunflowers) were urged to turn their faces to the sun (Chairman Mao) Sunflower seeds is a beautiful poignant sculpturethe precious nature of the materialeach piece is a part of the whole, a commentary on the relationship between the individual and the masses- Juliet Bingham, Curator, Tate Modern

Anthony listerBorn in Brisbane 1979Street artist, installation artist, painterName Lister for street art, Anthony Lister for fine artDescribed as Australias best contemporary artistHe employs a fine art painterly style in his work as well as street artHigh and low culture clash in his paintings, drawings and installationsIs often commissioned to paint murals around the worldInfluenced by time spend with his grandmother who encouraged Lister to drawIn his street art:Works are on public displayReacts to the urban landscape Makes work that is temporaryIn his gallery work:Utilises visual language from pop culture e.g. superheroes, villains, TV characters, ballerinasMakes the work beforehandUses low art language in a high art gallery contextI am not trying to change the worldI am just reacting to a world that is trying to change me.- ListerHis street art often feature huge faces, A face on the street represents freedomI do faces because emotion is interesting to meMural for Art Basel, Miami Florida (2012); Spray Paint

He sees ballerinas as a metaphor for art and a representation of culture and history of fine artThey move across the war in different posesCombined line work in the ballerinas tutusExpressive lines= movement

Edgar Degas; Dancers in Pink (1885); Oil on CanvasIn contrast to Degas, he presents a much more grimy yet delicate representation of the bodyI am interested in culture, and societys judgement systems on cultureBallerinas are kind of like strippers, only they don't take their clothes off. Im interested in breaking art.- Lister

Listers work in Melbourne has been valued at $20,000His work has been seen as an illegal actVisibility and location are important> high notorietyHis work is considered postmodern as he blurs the boundary between fine art and street artHe began appropriating comic muses that act as classical mythologys pop equivalentsThey became proxies allowing him to react to the world

Fat Batman (2007); mixed media on canvasExperimented with techniques and idealsHis paintings satirise our culture and expose the fakeness of modern living Interested in misguided role models e.g. Ned Kelly where the boundary between hero and villain is blurred The artist has managed to emasculate one of the greatest pop icons of the 20th century within the economic and social context of the Great Financial Crisis and the institutionalisation of white collar corruption