Marking Our Times is a visual feast of contemporary Aboriginal and Torres Strait Islander art. It highlights the artistic achievements of a selection of major artists, and features various stylistic influences operating within indigenous Australia, and new developments in media and artistic idioms. All works of art featured in this book are from the National Collection at the National Gallery of Australia.

Marking Our Times: Selected Works of Art from the Aboriginal and Torres Strait Islander Collection at the National Gallery of Australia

Arts & Photography

National Gallery of Australia

Quaill, Avril

History & Criticism

Thames&Hudson

A well-illustrated guide to the collection of Asian Art in the National Gallery of Australia, Canberra.

Traditions of Asian Art: Traced Through the Collection of the National Gallery of Australia (Studies in Asian Art, No 3)

As a blind person might see the world if the gift of sight were suddenly returnedâ€”this is how we might describe the effect of William Turner's paintings on the observer. John Ruskin, Turner's uncompromising 19th-century defender, alluded to this idea when he spoke of an "innocence of the eye" which perceived the world's colours and forms before it could recognize their significance.   But to develop such a style, William Turner (1775-1851) first had to overcome the legacy of late rococo academic teachings. He was simultaneously a romantic and a realistâ€”and yet he transcended both styles. His landscapes, far in advance of their time, have been called forerunners of Impressionism, yet they also possess traits that influenced Expressionism, and many of his late compositions are undeniably surrealistic.   Turner's art cannot be bound by such classifications, and remains an oddity to art history even today. His work arises from a unique relation to the nature that it depicts: through his brilliant sketches, he found a rigorously open kind of painting in which nature sets free the use of colour. And through the workings of the natural elementsâ€”especially atmospheric lightâ€”Turner confronted nature at the point where nature itself is an image. This book opens up Turner's paintings for the eye, demonstrating that he was not simply illustrating nature, but that his pictures speak directly to the eye as nature does itselfâ€”through a world of light and colour.

Turner

Lord, Michael

Turner, J.M.W.

Islands: Contemporary Installations from Australia, Asia, Europe and America

Desmond, Michael

Davidson, Kate

Individual Artists

This publication accompanies a major exhibition organized by the Wadsworth Atheneum in Hartford, Connecticut, and the National Gallery of Australia. It features some fifty American and fifty Australian landscape paintings produced during the period when landscape became the focus for artists in both countries. In both traditions landscapes trace the ever-changing complexities of bringing what is known to the experience of the unknown, exploring the profound relationship that we have with the land on which we live. Many of America's finest landscape painters are represented, including Frederic Church, Thomas Cole, Albert Bierstadt, Winslow Homer, and William Merritt Chase. Australian artists include Joseph Lyatt, Augustus Earle, John Glover, Eugene von Guerard, Louis Buvelot, and Arthur Streeton, among others.

New Worlds from Old: 19th Century Australian & American Landscapes

Sayers, Andrew

Kornhauser, Elizabeth Mankin

Ellis, Amy

Johns, Elizabeth

Wadsworth Atheneum

Introduction To The National Gallery Of Australia

Traditions of Asian Art

Brand, Michael

Islands Contemporary Installations from Australia, Asia, Europe and America

Australian Govt. Pub. Service

National Gallery of Australia: An Introduction to the Collection

Reference

Catalogs & Directories

Natl Gallery of Australia

To encounter a work by American artist James Turrell is to enter another world―a realm where eye and mind meet. The artist engages us, the viewers, in order to make us witnesses of his focus on nature through scientific means. By making us watch and contemplate for extended periods, Turrell also makes us part of his artistic practice. Turrell is unusual among contemporary artists in that his environments construct spaces, leaving their workings largely unseen. Skyspaces, outside or inside, veil their lighting so that only its effects, and not its cause, are visible. The areas that audiences enter, singly or in groups, are built so that viewers are liberated from normal perceptions. Perceptual cell, for instance, may remind us initially of medical imaging for diagnosis, but instead of closing down our senses, it opens them to new experiences.Turrell strives to go beyond the conventional by naturalizing technology for aesthetic purposes, allowing his grasp of science to suggest the ineffable. As well as showing the variety of his means, such as bright color and white light, neon, LED and other forms of light, and individual and communal encounters inside and out, the exhibition underlines the unique vision that has led him through the last decades in pursuit of light, space and time. This publication includes an interview with James Turrell by Michael Govan, director of the Los Angeles County Museum of Art, and an essay by EC Krupp, astronomer and Director of the Griffin Observatory, Los Angeles.

James Turrell: A Retrospective

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