This book brings together leading scholars and practitioners to take stock of the frictions generated by a tumultuous time in the Australian art field and to probe what the crises might mean for the future of the arts in Australia. Specific topics include national and international art markets; art practices in their broader social and political contexts; social relations and institutions and their role in contemporary Australian art; the policy regimes and funding programmes of Australian governments; and national and international art markets. In addition, the collection will pay detailed attention to the field of indigenous art and the work of Indigenous artists. This book will be of interest to scholars in contemporary art, art history, cultural studies, and Indigenous peoples.

A history of Australian art explores how artists inhabiting a new continent reflected their experiences in their work.

Current: Contemporary Art From Australia and New Zealand is the first comprehensive survey of all that is cutting edge in Australian and New Zealand contemporary practice. In a landmark publication, the book features eighty artists, carefully chosen to best reflect the vibrancy of art of the moment. While Current could be seen as a hot list of contemporary taste in the tradition of Taschen's Art Now, inclusivity is the book's abiding theme. Current is also underpinned by scholarship with commissioned essays by the region's leading writers and curators. Current's beautifully designed pages are filled with many names familiar to followers of contemporary art - including Paddy Bedford, Simryn Gill, Ah Xian, Tracey Moffatt, Shaun Gladwell and Del Kathryn Barton - along with some of the region's freshest new talents, such as Benjamin Armstrong, Monica Tichacek, Rohan Wealleans, Francis Upritchard and Sean Cordeiro & Claire Healy, whose photograph of the contents of a German apartment wrapped in orange twine graces the book's front cover. Current captures the unique essence of contemporary practice in Australia and New Zealand, charged with the dynamic between Indigenous, western and Asian cultures. The eighty selected artists encompass a diversity of culture and subject and employ every available medium, from painting, photography and performance to installation and video art. Current's contextual essays are written by leading authorities in their fields, including Robert Leonard, Victoria Lynn, Justin Paton, Rachel Kent, Nick Waterlow and Brenda L. Croft, who has convened an important roundtable of Indigenous curators to explore the question of the contemporary within Aboriginal art.

Traditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural history, and museology are addressed by analysing how Australians used British art to carve a distinct identity, which artworks were desirable, economically attainable, and why, and how the acquisition of British art fits into a broader cultural context of the British world. It considers the often competing roles of the British Old Masters (e.g. Romney and Constable), Victorian (e.g. Madox Brown and Millais), and modern artists (e.g. Nash and Spencer) alongside political and economic factors, including the developing global art market, imperial commerce, Australian Federation, the First World War, and the coming of age of the Commonwealth.

Describes the art of the Australian Aborigines including rock painting and engraving as well as sand and bark painting; also discusses the symbolism found in these works.

This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.

"This publication accompanies the exhibition Everywhen: The Eternal Present in Indigenous Art from Australia, Harvard Art Museums, Cambridge, Massachusetts, February 5 through September 18, 2016."