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Steven Miller

The Western, colonial, patriarchal hegemony having eroded somewhat in recent years, the purposes and methods of art and of museum management and curatorship are undergoing fundamental change. Formerly unchallenged Anglophone-transatlantic canons and practices have been undermined by broader international perspectives, by the impact of digital technologies, and by the politics of identity – in ethnicity and nation, gender and sexuality.

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Symbolist art has received an unusual amount of attention recently. First there was Denise Mimmocchi’s Australian Symbolism: The Art of Dreams at the Art Gallery of New South Wales (which Jane Clark reviewed in the September 2012 issue of ABR). Now Sydney Long: The Spirit of the Land celebrates Australia’s foremost exponent of the movement. Sydney Long (1871–1955) was born in Goulburn, so the National Gallery in Canberra can claim him as a local talent. More importantly, they have staff with relevant expertise to mount this major retrospective. Anne Gray, the exhibition’s curator, is an authority on Edwardian Australian art. Ron Radford, the NGA director, was one of the first to look seriously at Art Nouveau in Australia; he curated a landmark exhibition on the subject as far back as 1981.

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‘As cats are often associated with bookshops, dogs are similarly attracted to art galleries’, according to Steven Miller, head of the research library and archive of the Art Gallery of New South Wales, and author of Dogs in Australian Art: A New History in Antipodean Creativity. The beagle on the cover sits attentively, head slightly cocked, as if contemplating art. It is not until you turn the book over that you see what the dog is really looking at. David Welch’s wry painting sets the tone for this quirky and intriguing book.

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Jenny McFarlane, in this fascinating study of Theosophical influences upon Australian artists, attempts a ‘cross-cultural and interdisciplinary interrogation of modernity’. Rather than viewing modernism in the arts as the progression of a series of ‘isms’, leading by a linear narrative to abstraction, she presents a picture of multiple, interweaving modernisms. Her period of interest extends from the 1890s, when prominent Australians such as Alfred Deakin and Henry Parkes were enthralled by Annie Besant’s Australian lectures, through the early twentieth century, when many artists officially joined the Theosophical Society, to the Society’s decline after the death of C.W. Leadbeater in 1934. By focusing on the way Theosophy encouraged artists to probe the nature of the visible and invisible, McFarlane gives an account of Australian modernism that is ‘gendered, decentralised and alternative’.

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At the dinner to celebrate the fiftieth anniversary of Quadrant magazine in October 2006, John Howard gave one of the most revealing speeches of his prime ministership. Celebrating with the magazine the victory of democracy over communism, he went on to denounce a whole range of left-wing sins. He attacked the New Left counterculture, where it had become the ‘height of intellectual sophistication to believe that people in the West were no less oppressed than people under the yoke of communist dictatorship’. Moreover, ‘it had become de rigueur in intellectual circles to regard Australian history as little more than a litany of sexism, racism and class warfare’. Fortunately, a ‘few brave individuals’ took a ‘stand against the orthodoxies of the day’; Howard congratulated Quadrant for defending both Geoffrey Blainey and Keith Windschuttle ‘against the posses of political correctness’. Nowhere were ‘the fangs of the left’ so visible as in the character assassination of Geoffrey Blainey. Despite some progress, the ‘soft left’ still ‘holds sway, even dominance, especially in Australia’s universities by virtue of its long march through the institutions’. Howard then likened the current struggle against Islamic terrorism to the Cold War, and criticised opponents of the war in Iraq ‘who now talk as if Iraq was some island of Islamic tranquillity before 2003’. Although there was some criticism of the speech in the media, the most notable aspect was the chorus of compliments that amplified its main themes. Greg Sheridan applauded the way the prime minister had ‘rightly bemoaned the continuing dominance of the soft Left’ (Australian, 7 October 2006). Michael Duffy thought it was ‘probably the most ideologically impressive [speech] ever made by the Prime Minister’ (Sydney Morning Herald, 7 October 2006). Piers Akerman approved the way ‘Howard is not going to let those who lacked his and Quadrant’s commitments to those ideals [i.e. intellectual freedom and liberal democracy] forget where they stood … To peals of laughter, he quoted George Orwell: “One has to belong to the intelligentsia to believe things like that: no ordinary man could be such a fool”’ (Daily Telegraph, 5 October 2006). Miranda Devine thought this address, recalling ‘50 years of the left’s worst excesses’, ‘was a speech to cement the “real” John Howard’s place in history and his role in the culture wars, through which he has steered Australia resolutely and irrevocably in his ten years in office, much to the chagrin of his detractors’ (Sydney Morning Herald, 5 October 2006). Janet Albrechtsen rejoiced that, ‘[o]nce again, Howard seems to be embracing an electorate willing to confront old orthodoxies. And the remarkable thing is that after 10 long years in power, Howard the conservative is still a front-foot reformer, challenging the status quo. As with his previous battles in the culture wars, education reform will demand a marked shift in the way Howard is ultimately judged by history: not as merely an economic steward but as a crusader in the ideas war’ (Australian, 25 October 2006).

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