Master of Philosophy / Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

Master of Philosophy / Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

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Orientador: Vanessa Rosemary Lea / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T04:26:37Z (GMT). No. of bitstreams: 1 Goldstein_IlanaSeltzer_D.pdf: 33822936 bytes, checksum: 8ff07c0a6f6fc4a1b56064333a42db97 (MD5) Previous issue date: 2012 / Resumo: A arte contemporânea dos povos indígenas da Austrália é um fenômeno sui generis e ainda pouco conhecido no Brasil. Ancora-se em práticas e valores tradicionais, e, ao mesmo tempo, está inserida nas instituições museológicas e no mercado de arte. Na Austrália, sua valorização e institucionalização vêm ocorrendo, gradualmente, desde os anos 1970, graças a uma rede de apoio intersetorial e interétnica, abrangendo de órgãos públicos a cooperativas de artistas, de prêmios a leilões. O reconhecimento internacional se faz igualmente notar em iniciativas como a encomenda feita a oito aborígines australianos, em 2006, para que realizassem intervenções permanentes no edifício do Musée du Quai Branly, em Paris. Do ponto de vista formal, trata-se de uma produção muito diversificada, que pode ser dividida em movimentos ou estilos regionais, como a pintura "abstrata" de tinta acrílica sobre tela do Deserto Central, a pintura figurativa de pigmentos naturais sobre entrecasca de árvore de Arnhem Land e as aquarelas de paisagem de Hermansburg. O conteúdo remete quase sempre a feitos dos ancestrais e a fragmentos do Dreaming - uma espécie de tempo mítico comum a todas as etnias -, apesar de alguns pintores optarem por retratar cenas históricas trágicas, relativas ao encontro com os brancos. Destinada prioritariamente ao público externo, a pintura aborígine australiana é distribuída por uma rede composta por dezenas de centros de artes comunitários, dirigidos pelos próprios artistas, com o auxílio de agentes mediadores. Assim, as principais questões que nortearam a pesquisa foram: Como ocorreu a transformação de práticas tradicionais indígenas em arte contemporânea, na Austrália? Quais os papéis e os interesses das organizações indígenas e do governo, respectivamente, na montagem da chamada Indigenous art industry? Como operam as noções de autoria, autenticidade e propriedade intelectual, nesse contexto? Por que o mesmo país que massacrou seus nativos, até tão pouco tempo atrás, agora fomenta a produção artística indígena e incorpora elementos aborígines na construção da identidade nacional? Para buscar responder a tais questões, inspirei-me - principal, mas não exclusivamente - em autores e debates da antropologia da arte: Howard Morphy e seu questionamento das definições eurocêntricas de arte e artista; Alfred Gell e sua abordagem das agências envolvidas no processo artístico; Sally Price e sua discussão da postura primitivista no circuito euroamericano de museus e galerias; Sherry Errington e sua problematização da ideia de autenticidade, entre outros. Baseei-me também em pesquisa de campo, realizada junto a cerca de 30 organizações australianas, entre galerias comerciais, museus públicos, cooperativas indígenas e agências estatais, e ainda em alguns museus e galerias europeus. O objetivo era investigar os mecanismos, as relações e tensões inerentes a um sistema que, se por um lado oferece uma rara oportunidade de geração de renda e visibilidade para as comunidades indígenas australianas, por outro lado suscita impasses éticos e jurídicos de difícil resolução. Ao cabo do percurso, fica claro que a arte indígena da Austrália serve, hoje, como um raro locus de comunicação entre os povos nativos e a sociedade envolvente, uma plataforma sobre a qual se constrói - nem sempre harmonicamente - um produto intercultural de grande apelo estético, cujas exposição e comercialização acarretam impactos simbólicos, econômicos e políticos / Abstract: Contemporary Australian Indigenous art is a complex and sui generis phenomenon, still scarcely known in Brazil. While rooted in traditional cosmologies and practices, it has also found its place in museological institutions and in the art market. Since the seventies, its recognition as well as an institutionalization process have been gradually taking place in Australia, due to an intersectoral and interethnic support network, comprising from government agencies to artist cooperatives, from art awards to auctions. International prominence has been achieved through initiatives such as the commission of eight Australian Aboriginal artists, in 2006, to conduct permanent interventions in the building of the Musée du Quai Branly, in Paris. From the formal point of view, the works are much diversified. They can be classified according to artistic movements or regional styles, such as the "dot paintings" made with acrylic paint on canvas from the Central Desert, the figurative painting using natural ochres over the inner bark of trees from Arnhem Land; or the landscape watercolors from Hermansburg. Although some artists prefer to depict historical scenes from the tragic encounter with white people, the art motives are usually fragments of Dreaming - recounting the journey and actions of ancestral beings that created the natural world and the social rules. Intended mainly for an external public, Australian Aboriginal painting is distributed by a network composed of dozens of community art centers, managed by the artists themselves with the help of mediators. Thus, the main issues that guided this research were: How were traditional Indigenous practices transformed into contemporary art in Australia? Which were the interests and roles played by Indigenous organizations and the government, respectively, in the making of the so-called Indigenous art industry? How do the notions of authorship, authenticity and intellectual property operate in this context? Why does the same country that was responsible for the massacre of its natives, until recently, now foster Indigenous artistic work and incorporate Aboriginal cultural elements into the construction of its national identity? In order to answer these questions I sought inspiration - mainly but not exclusively - in authors and debates from the anthropology of art: Howard Morphy and his discussion on the Eurocentric definitions of art and artist; Alfred Gell and his form of addressing the various agencies involved in the artistic process; Sally Price and her debate of Western attitudes towards the "primitive" art in the Euro-American circuit of museums and galleries; Sherry Errington and her problematization of authenticity. I have also done fieldwork, conducted with approximately thirty Australian organizations, ranging from commercial galleries to public museums, Indigenous cooperatives and state agencies, as well as with certain European institutions. The purpose of this research was to investigate the mechanisms, relations and tensions inherent to a system that, on the one hand, offers a rare opportunity of income generation and visibility for Australian Indigenous communities, and, on the other hand, raises impasses of difficult resolution. In the end, it becomes clear that Indigenous art today stands as a privileged locus of communication between native people and the society at large, through which an intercultural product of great aesthetic appeal is construed (not necessarily in a harmonious manner), the exhibition and commercialization of which create symbolic, economic and political impact / Doutorado / Antropologia Social / Doutor em Antropologia Social

The study is an historical investigation exploring the impact of the Carnegie Corporation's philanthropic cultural and educational activities in North America and Australia during the 1940s. The author examines the Carnegie's formation of public values and perceptions using cultural and aesthetic material in order to transmit American ideological ideals with the goal of influencing Australian, Canadian and USA cultural norms. The principal case examined in the paper is the "Art of Australia 1788-1941" exhibition, which toured the USA and Canada during 1941-42. Scrutiny of the exhibition uncovers the role it played in alliance building and the promotion of a range of cultural and political agendas. The investigation deploys a theoretical framework derived from the writings of Tony Bennett. The framework takes the form of a matrix that uses concepts of institutionalized agencies/power and individual agencies/knowledge detailed in a nine-cell matrix composed of propositional statements under the intersecting categories of culture, technologies, ethics, zones, objects, and visualization. The "Art of Australia" Exhibition is a paradigmatic case of the instrumental, cultural application of exhibitions in the interest of the state, using government and non-government, public and private organizations as intermediaries. The analysis reveals the existence of diverse agendas and power/knowledge relationships between governments, corporations and the exhibition. This account highlights the museum as a significant arena for establishing and legitimating social norms and practices whilst steering cultural values. Such actions sponsored by government and entrepreneurial philanthropy are analyzed and interpreted as an early instance of building civic values and promoting the public belief in shared national identity. In this sense the investigation explores the educational mission of the museum and it's supporting agencies in the broadest public context.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

The study is an historical investigation exploring the impact of the Carnegie Corporation's philanthropic cultural and educational activities in North America and Australia during the 1940s. The author examines the Carnegie's formation of public values and perceptions using cultural and aesthetic material in order to transmit American ideological ideals with the goal of influencing Australian, Canadian and USA cultural norms. The principal case examined in the paper is the "Art of Australia 1788-1941" exhibition, which toured the USA and Canada during 1941-42. Scrutiny of the exhibition uncovers the role it played in alliance building and the promotion of a range of cultural and political agendas. The investigation deploys a theoretical framework derived from the writings of Tony Bennett. The framework takes the form of a matrix that uses concepts of institutionalized agencies/power and individual agencies/knowledge detailed in a nine-cell matrix composed of propositional statements under the intersecting categories of culture, technologies, ethics, zones, objects, and visualization. The "Art of Australia" Exhibition is a paradigmatic case of the instrumental, cultural application of exhibitions in the interest of the state, using government and non-government, public and private organizations as intermediaries. The analysis reveals the existence of diverse agendas and power/knowledge relationships between governments, corporations and the exhibition. This account highlights the museum as a significant arena for establishing and legitimating social norms and practices whilst steering cultural values. Such actions sponsored by government and entrepreneurial philanthropy are analyzed and interpreted as an early instance of building civic values and promoting the public belief in shared national identity. In this sense the investigation explores the educational mission of the museum and it's supporting agencies in the broadest public context.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.