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Jarrod Hore

‘Country’ – the land of Indigenous peoples (minus their Dreamings) – is the great subject of settler-colonial art, an act of appropriation in which the dispossession of its original custodians is rendered invisible. As Jarrod Hore establishes beyond doubt in Visions of Nature, it was landscape photographers who proved to be one of the more significant cultural agents of settler colonialism across the Pacific Rim in the second half of the nineteenth century. What his important study reveals even more clearly is just how much they and their images were shaped by the times and societies in which they worked.

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Early on in Kindred: A Cradle Mountain love story, the journalist and walker Kate Legge dwells on an ‘extraordinary coincidence’ that took place over Christmas in 1903. While the Field Naturalists Club of Victoria were on excursion to Mount Buffalo, the itinerant prophet of the National Park movement ...

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