School of Culture and Communication - Theses
Permanent URI for this collection
Search Results
1 - 3 of 3
-
ItemThe supremacy of decoration: the influence and legacy of the decorative practice of Frank Brangwyn in the Edwardian era( 2019)This study offers a new perspective on the practice of British artist Frank Brangwyn (1867-1956) by establishing the aesthetic and functional ‘supremacy of decoration’ across his work of the first decades of the twentieth century. The term decorative was widely used in contemporary art discourse throughout Great Britain and Europe; yet a definition is elusive and problematic. The label is not, and has never been static, indiscriminately applied to a range of media and across different time periods. Focusing upon Brangwyn’s practice during the Edwardian era and its legacy, this thesis considers this concept through the formal and theoretical tenets of the mural and decorative painting movements, establishing the existence of a decorative formalism in the artist’s work and linking this characteristic directly with his critical and popular appeal. Furthermore, it traces the manifestation of this aesthetic approach outside of site-specific and functional sites of decoration to more autonomous contexts through examination of the artist’s intaglio prints – so called ‘painters’ etchings’ that were widely produced in England and Europe by the late nineteenth century. Through analysing Brangwyn’s role as a teacher in London and the circulation and impact of his prints outside of Britain in Australia, this study also shows that his decorative formalism was observed, admired and to varying extents, adopted by his younger contemporaries seeking to reflect a more modern perspective. The threads of British art explored in this thesis have rarely been linked with subsequent developments made by modern artists. Indeed the appeal of the decorative as a progressive formal strategy was short-lived and soon surpassed by other activities of the avant-garde. As this study reveals however, while Brangwyn was not a driving force behind modernism, his ‘decorative’ work of the Edwardian era anticipated many of the aesthetic concerns of modernity and is representative of one of the many unacknowledged ways in which artists began to articulate formal approaches to the picture plane in the early twentieth century.
-
ItemPainting the banal: Dale Hickey and Robert Hunter, 1966-1973( 2019)A significant development within art of the 1960s and 1970s was the dispersal of the traditional artistic mediums, and their replacement by a disparate array of installation, performance, documentary and theoretical practices that have come to define the landscape of contemporary art. This thesis examines the historical emergence of this contemporary ‘post-medium condition’ through the work of two Melbourne-based artists, Dale Hickey (born 1937) and Robert Hunter (1947–2014), from their hard-edge modernist painting of the mid 1960s, to their engagement with minimalism, post-minimalism and conceptual art at the end of that decade and the beginning of the next. During this period, Hickey and Hunter became key figures within an avant-garde scene increasingly hostile to the traditional forms and institutions of art. Yet in their work, painting, the most traditional form of all, did not disappear under the pressure of its avant-garde critique. Rather, issues related to the medium—including its ongoing viability—remained central to their work. The persistence of painterly concerns was crucial for both artists’ work, as was a preoccupation with ‘the banal’—manifest in Hickey’s depictions of domestic and suburban objects and Hunter’s exploration of the bare materials of painting within a restricted formal vocabulary. A principal argument of this thesis is that the emphasis on the banal in both artists’ works, rather than blurring the distinction between aesthetic activity and ordinary life, was coupled with an ideal of art as a vehicle for contemplation that has its roots in painting. Both artists’ work is shown to align with the mystical conception of art promoted by Bruce Pollard, who founded and operated Pinacotheca, the gallery with which the pair became associated in 1968. Positioned in dialogue with their dealer’s quasi-religious attitude towards aesthetic experience, and amidst the druggy, bohemian ambiance of his gallery, Hickey’s and Hunter’s traffic with illusion, contemplation and aura is understood not as an anomaly within the prevailing materialist and rationalist narratives of the end of modernism, but rather as integral to the local artistic and cultural context in which they worked.
-
ItemCentre Five sculptors: the formation of an alternative professional avant-garde( 2016)This thesis examines the previously unknown origins of Centre Five, a group of mainly émigré sculptors influential in Melbourne in the 1950s and 1960s, who are widely regarded as having played a key role in the advancement of modernist sculpture in Australia. In part a group biography of the seven sculptors, the thesis examines their little-known backgrounds in order to establish the roots of the group’s collective philosophy, particularly with regards to the integration of sculpture and architecture. Five of the sculptors – Vincas Jomantas (1922-2001), Julius Kane (1921-62), Inge King (1915-2016), Clifford Last (1918-91) and Teisutis Zikaras (1922-91) – were European born, trained and nurtured amidst various cosmopolitan modernities that emerged in Britain, Germany, Hungary and Lithuania between and during the two world wars. The two Australian-born members – Lenton Parr (1924-2003) and Norma Redpath (1928-2013) – derived their outlook from European models and would later live and work in Britain and Italy respectively. As such, this thesis is less a study of Australian sculpture than it is a study of European sculpture directly before, during and after World War Two. In 1953 Kane, King, Last and Redpath began exhibiting together in Melbourne as the Group of Four; later, in 1961, they joined with the other three sculptors to form Centre Five. However, I focus on the years 1935 to 1952, ending just before the group began to coalesce – at which point they effectively enter Australian art history. The thesis departs from most other studies of wartime and post-war modernist art in placing less emphasis on traumatic rupture than on strategies of survival and the adaptation of earlier modernist agendas. Specifically I argue that the émigré sculptors practiced a form of ‘alternative professionalism’, meaning they deployed the strategies of professionalism for anti-academic and essentially avant-garde purposes. They had a concise program of goals, made concerted overtures to architects, and regularly proselytized to the public and the press on the subject of abstract modern sculpture – particularly as it related to the urban and built environment – and, as such, constituted an identifiably cohesive local avant-garde. Tracing inter-tangled transnational histories of exchange between diverse modernities – peripheral and central – the thesis complicates existing Australian, British, German and Lithuanian nationalist art histories and contributes to an ongoing alternative modernities project. It also demonstrates the inadequacies of the old model of Australian art lagging provincially behind that of Europe and North America. Influences do not simply diffuse radially from centre to periphery, but rather occur simultaneously in multiple locales, in different guises. Similarly, the so-called ‘call to order’ of the 1930s is shown to reoccur after WWII, particularly in French-occupied Germany, reflecting a recurrent cyclical pattern of modernist art – looking backwards and looking forwards – rather than the persistent teleological model of canon formation.