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1
Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Full textAbstract:
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)
2
Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Full textAbstract:
Master of PhilosophyGrace 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)
3
Gerard-Austin, Anne. "The greatest voyage: Australian painters in the Paris salons, 1885-1939." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10462.
Full textAbstract:
From the 1880s, the first generation of Australian artists began to travel abroad and many chose Paris, the undisputed capital of the arts in the nineteenth century, as their final destination. With them began a long tradition to go to the French capital to complete one’s artistic training and obtain acceptance in official artistic circles there. This thesis attempts to reveal the extent of Australian artists’ engagement with Parisian artistic practices from 1885 to 1939. The argument is divided into two main sections: the first section investigates the notions of expatriatism, migration and sense of belonging among the Australian community in the French capital, while the second section explores the responses Australian artists brought to Parisian artistic institutions. The research pays particular attention to their participation in the major Paris Salons and the rare Australian solo exhibitions organised in Paris in the early twentieth century. The result underlines the predominant position of Rupert Bunny, the most successful and best-integrated into Parisian art circles during the five decades he spent in France. A crucial component of this research is a dictionary of artists active in Paris and an illustrated catalogue of their works in colour. If the predominance of the Salon system slowly attenuated during the twentieth century, the tradition prospered until the Second World War among foreign artists. The thesis is not an exhaustive account of the Australian presence in Paris and does not take in account some Australian artists such as John Power and Anne Dangar who took alternative paths in the early 1920s, the focus here is rather on the painters who exhibited at least once in the official Paris Salons.
4
Huston, Matthew. "The kinematic evolution of the northern Mt. Painter Inlier, South Australia /." Title page, contents and abstract only, 1995. http://web4.library.adelaide.edu.au/theses/09SB/09sbh971.pdf.
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5
Slade, John V. "Metamorphism of a northern segment of the Mount Painter Inlier, South Australia /." Adelaide, 1995. http://web4.library.adelaide.edu.au/theses/09SB/09sbs631.pdf.
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6
Sherwin, Fiona Gill Harry P. "Harry Pelling Gill, a practising artist /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahms5541.pdf.
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7
Godsmark, Bruce Nye. "Metamorphism and hydrothermal history of the Yudnamutana Copper Field, Mount Painter province, South Australia /." Title page, table of contents and abstract only, 1993. http://web4.library.adelaide.edu.au/theses/09SB/09sbg589.pdf.
Full textAbstract:
Thesis (B. Sc.(Hons.))--University of Adelaide, Dept. of Geology and Geophysics, 1994.National grid reference: Yudnamutana sheet (SH-54) 6737 I. Includes bibliographical references (leaves 22-24).
8
Ellsmore, Donald. "Nineteenth-century painted decorations in Britain and Australia : an approach to conservation." Thesis, University of York, 1993. http://etheses.whiterose.ac.uk/2525/.
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9
Weisheit, Anett [Verfasser], and Paul [Akademischer Betreuer] Bons. "Structural and hydrothermal evolution of the Mount Painter Inlier, South Australia / Anett Weisheit ; Betreuer: Paul D. Bons." Tübingen : Universitätsbibliothek Tübingen, 2013. http://d-nb.info/1162844736/34.
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10
Weisheit, Anett Verfasser], and Paul [Akademischer Betreuer] [Bons. "Structural and hydrothermal evolution of the Mount Painter Inlier, South Australia / Anett Weisheit ; Betreuer: Paul D. Bons." Tübingen : Universitätsbibliothek Tübingen, 2013. http://d-nb.info/1162844736/34.
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11
Gatenby, Susannah Lija, and n/a. "The identification of traditional binders used on Australian Aboriginal painted objects prior to 1970." University of Canberra. Applied Science, 1996. http://erl.canberra.edu.au./public/adt-AUC20060711.130218.
Full textAbstract:
Many painted objects within ethnographic collections suffer
from paint loss. In the past, assumptions have been made that
this phenomenon was caused by a low binder concentration,
although binder presence had not been investigated, confirmed
or it's type identified.
Simple laboratory methods which can detect the presence of
binders on a painted object are outlined. They are based on
tests developed for the medical industry and modified by the
author for routine use in conservation. Methods presented
outline procedures to identify three broad chemical groups of
binders used in the manufacture of traditional Australian
Aboriginal painted objects :
1. lipids (fats and/or oils) using Sudan Black B
Bromination test and the Sigma GCI Triglyceride test;
2. proteins (egg and blood) using Sulphosalicylic Acid
test, Sigma GCI Protein test and the GCI Heme test;
3. carbohydrates (honey and orchid juice) using the Sigma GCI
Glucose test.
Close comparison was found between the reported binders used on
certain object types and those identified.
Literature findings based on anthropological information on
binders and pigments are summarised. They indicated that fat or
oil binders have higher binder concentrations than originally
expected. Rapid lipid binder deterioration has lead to their
present matte appearance. Compared to protein and carbohydrate
binders, used as a paint vehicle or facilitator and/or for
symbolic representation (blood), where used on a range of
ceremonial objects with no long term expectancy and therefore
no requirement to adhere or bind the pigment. The concept of
"effective" binder concentration as opposed to low binder
concentration is discussed.
Implications of these findings of binder presence are discussed
and considerations for preservation and conservation
treatments, which involve consolidation are outlined.
12
Brooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.
Full textAbstract:
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
13
Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." Thesis, University of Ballarat, 2005. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38083.
Full textAbstract:
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
14
Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.
Full textAbstract:
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
15
Smith, Andrea B. "Geology of the Yudnamutana Gorge, Paralana Hot Springs area and genesis of mineralization at the Hodgkinson prospect, Mount Painter Province, South Australia /." Adelaide, 1992. http://web4.library.adelaide.edu.au/theses/09SB/09sbs642.pdf.
Full textAbstract:
Thesis (B. Sc.(Hons.))--University of Adelaide, Dept. of Geology and Geophysics, 1992.Two coloured folded maps in pocket inside back cover. "National grid reference (S1-54) 6737-1." Includes bibliographical references (leaves [8-10]).
16
Neumann, Narelle L. "Isotopic and geochemical characteristics of the British Empire granite as indicators of magma provenance and processes of melt generation in the Mount Painter Inlier, South Australia /." Title page, contents and abstract only, 1996. http://web4.library.adelaide.edu.au/theses/09S.B/09s.bn492.pdf.
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17
Eastburn, Melanie. "The living specimen : Guan Wei : a Chinese-Australian artist." Thesis, 1997. http://hdl.handle.net/1885/258500.
Full textAbstract:
This thesis focuses on the work and experience of Guan Wei. Guan Wei is a Chinese born artist now living and working in Australia. He is one of a number of mainland Chinese who came to live in Australia in the late 1989s and early 1990s. While there are certain commonalities between the experiences of these artists, I have concentrated on Guan Wei not merely as a case study for recent emigre Chinese artists in Australia, but because of his prominent place in Australian contemporary art.
18
Lahy, Waratah. "Painted objects : investigating the imagery of Australian iconic culture." Phd thesis, 2007. http://hdl.handle.net/1885/149626.
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19
Wulser, Pierre-Alain. "Uranium metallogeny in the North Flinders Ranges region of South Australia." 2009. http://hdl.handle.net/2440/57970.
Full textAbstract:
The geological province of the Mount Painter in the North Flinders Ranges (South Australia) is well-known for its uranium mineralisation, and uraniferous granites. The presence in the nearby Cenozoic sediments of the Lake Frome basin of uranium mineralisations (Beverley deposit) and the recent discovery of the Four Mile deposit has triggered the interest of explorers. Based on extensive laser-ablation inductively-coupled-plasma-mass-spectrometry (LA-ICPMS) U-Pb geochronological data and mineralogy of U-Th-bearing minerals, rock geochemistry and petrography, we present a global study on the mobility of U, Th and REE in the Mount Painter Domain, including a detailed reconstitution of the Beverley deposit genesis. Seven significant stages of U-Th-REE mobility are recognised: 1. The possible presence U-enriched ~1600 Ma lower crust under the MPD 2. Intrusion of two A-type Mesoproterozoic granites suites (~1575, and ~1560 Ma respectively) with high HFSE contents and crustal origin; the porphyritic biotite K-rich highly-enriched Yerila granite belongs to the youngest suite and hosts magmatic allanite-(Ce), potassic-hastingsite, ilmenite, fergusonite-(Y), chevkinite, molybdenite, zircon, uranothorite, uraninite and titanite and fluorite 3. Late-magmatic or post-magmatic metasomatism in the same granites; evidenced by F-rich annite, zircon, Y-bearing Al-F-titanite (< 6 kbar, >400°C), Y-rich fluorapatite, synchysite-(Ce) and fluorite. Early ilmenite, molybdenite, allanite-(Ce) and oligoclase reacted with an alkaline oxidising F-rich melt or fluid. The latemagmatic to post-magmatic metasomatism is also recorded at the intrusion contact in regional rocks, forming allanite-, magnetite-, uranothorite-, zircon- (1501 ± 6 Ma), and uraninite-bearing calcsilicate skarns. The spreading of zircon ages in the Yerila granite (~1565 to ~1521) relates to the mixing of magmatic and metasomatic crystals. 4. the MPD was subject to the Delamerian orogeny and related metamorphism (amphibolite facies); most Mesoproterozoic granitic assemblages present signs of recrystallisation or stress; recrystallisation of monazite-(Ce) and xenotime-(Y) during Paleozoic (Cambrian) (490-495 Ma). U-Th-rich minerals also bear Delamerian ages (polycrase-(Y), euxenite-(Y), davidite-(La) and uraninite). 5. Anatexis of local basement during Ordovician and generation of peraluminous granite (British Empire granite) with low Th/U. The granite is enriched in U and Y. We provide the first robust ages on it: 456 ± 9 and 459 ± 9 Ma on zircon, 453.3 ± 4.6 on xenotime-(Y). 6. Very active hydrothermal/pegmatitic uranium remobilisation along active faults; brannerite-quartz veins formation (367 ± 13 Ma), further signs of remobilisation or hydrothermal event during Permian (284 ± 25 Ma in thorite) and around the Mt Gee (~290 Ma radiogenic gain in davidite) which agrees with the previous data (paleomagnetic ages of 250-300 Ma). 7. Cenozoic supergene uranium remobilisation in MPD and migration of U-rich oxidised groundwaters into the Lake Frome. The uranium is precipitated in the sandy formation of the lake and in the top layer of the underlying organic-matter-rich clays and silts. The micro-environment of reduction efficiently trap U but also REE, fingerprinting the REE-rich MPD granite source. Coffinite and carnotite give concordant Pliocene ages (6.7 to 3.4 Ma). Provenance studies on the sands hosting the Beverley mineralisations suggest a reworking of Early Cretaceous glacial or glacio-lacustrine sediments originally sourced in Eastern Australia (Lachlan Fold Belt). The youngest recorded zircon (130 Ma) doesn’t constrain the sediment age but refines the provenance region (New England Orogen).http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1370301
Thesis (Ph.D.) -- University of Adelaide, School of Earth and Environmental Sciences, 2009
20
Neumann, N. L. "Isotopic and geochemical characteristics of the British Empire Granite as indicators of magma provenance and processes of melt generation in the Mount Painter Inlier, South Australia." Thesis, 1996. http://hdl.handle.net/2440/114328.
Full textAbstract:
This item is only available electronically.The production of granitic magmas at shallow to midcrustal depths by anatexis of crustal material requires a significant thermal perturbation of the normal crustal geothermal regime. Thermal perturbations leading to anatexis may be initiated by crustal thickening associated with deformation, intrusion and/or upwelling of heat sources from lower crust or mantle regions or by anomalous concentrations of heat-producing elements, U, Th and K. This thesis explores the origin of shallow to mid-crustal peraluminous granites within the Mount Painter Inlier, together with their relationship to older granite suites, as indicators of magmatic processes during crustal deformation of the Delamerian Orogeny. The geochemical and isotopic characteristics of granites and gneisses of the Mount Painter Inlier indicate two distinct periods of granitic evolution involving different source regions and magmatic processes. Proterozoic granites and gneisses reflect magmatic sources and processes similar to those involved in the evolution of other Australian anorogenic Proterozoic terrains, although extreme concentrations of U, Th and K suggest an important role for element concentration within accessory minerals during granite genesis. Field relationships, together with geochemical and isotopic characteristics of the Palaeozoic(?) British Empire Granite indicate evolution from a complex mixture of surrounding metasediments and granites in a number of possible scenarios. The additional thermal energy required to produce the British Empire Granite from partial melting of this package at depths of approximately 12 to 15 km is consistent with perturbed thermal regimes resulting from anomalous internal heat production due to the extreme concentration of U, Th and K within the Proterozoic units.
Thesis (B.Sc.(Hons)) -- University of Adelaide, School of Physical Sciences, 1996
21
McLaren, Sandra N. (Sandra Noeline). "Long-term consequences of the redistribution of heat producing elements within the continental crust: Australian examples / Sandra N. McLaren." 2001. http://hdl.handle.net/2440/19839.
Full textAbstract:
Includes copies of articles co-authored by author during the preparation of this thesis in back pocket.Includes bibliographical references (leaves 113-124).
viii, 172 leaves : ill. (some col.), maps ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Focuses on the impact of change in the distribution of heat producing elements on lithospheric thermal regimes and on temperature dependent processes such as metamorphism, magmatism and deformation, with application to Proteozoic Australia (Mount Isa and Mount Painter inliers).
Thesis (Ph.D.)--Adelaide University, Dept. of Geology and Geophysics, 2001
22
McLaren, Sandra N. (Sandra Noeline). "Long-term consequences of the redistribution of heat producing elements within the continental crust: Australian examples / Sandra N. McLaren." Thesis, 2001. http://hdl.handle.net/2440/19839.
Full textAbstract:
Includes copies of articles co-authored by author during the preparation of this thesis in back pocket.Includes bibliographical references (leaves 113-124).
viii, 172 leaves : ill. (some col.), maps ; 30 cm.
Focuses on the impact of change in the distribution of heat producing elements on lithospheric thermal regimes and on temperature dependent processes such as metamorphism, magmatism and deformation, with application to Proteozoic Australia (Mount Isa and Mount Painter inliers).
Thesis (Ph.D.)--Adelaide University, Dept. of Geology and Geophysics, 2001
23
Johnson, A. K. "Biogeochemical expression of uranium mineralisation and geology, by Eucalyptus camaldulensis in the Paralana Creek drainage system, South Australia." Thesis, 2009. http://hdl.handle.net/2440/128961.
Full textAbstract:
This item is only available electronically.Mineral exploration in Australia today faces a great challenge: to efficiently detect mineralisation buried beneath extensive regolith cover. Because their roots penetrate the regolith cover, establishing the elemental signatures of certain plants (biogeochemical exploration) can aid in the detection of buried ore deposits. At the highly prospective Mount Painter Inlier, Eucalyptus camaldulensis (river red gum) was sampled in the ranges and extending out onto the plains bordering Lake Frome. Here it is shown that the leaves from Eucalyptus trees can detect a range of elements including important pathfinder elements related to U mineralisation. A significant finding of this study is that the sediments thought to be associated with the geochemical transport and host of U mineralisation, like those that host the Four Mile U deposit, have relatively elevated U2/Th values. The geological setting of these locally elevated U results also appears to be equivalent to the Four Mile mineralisation, based on available field exposures. Therefore, this area could well represent a biogeochemical expression of mineralisation equivalent to the soon to be mined Four Mile U deposit. This study demonstrated that Eucalyptus biogeochemistry has significant advantages over other approaches in that it is cost and time efficient, culturally unobtrusive, and can identify relationships between plant biogeochemistry and the underlying geological substrate, in particular, U-mineralisation. The examination of more Eucalyptus camaldulensis (and more widespread species in the area) from surrounding areas therefore also warrants further investigation.
Thesis (B.Sc.(Hons)) -- University of Adelaide, School of Physical Sciences, 2009
24
Nay, MW. "Re-envisioning the master narrative of Anzac : a painterly investigation of memory and memorialising of the Great War at the Australian War Memorial." Thesis, 2021. https://eprints.utas.edu.au/45551/1/Nay_whole_thesis.pdf.
Full textAbstract:
This project has used painting to respond to the representation of World War One (WW1) in the Centenary Exhibition of Anzac (CE of A) at the Australian War Memorial (AWM). Research has interrogated how painting can be utilised to augment and enrich understanding of the complex relationships between private and public memorialising beyond that already present in the AWM. Australian academic and military historian Gregory Pemberton argues that the celebration of war and military heroism lies at the core of the legitimising rituals of the modern nation-state. Conceived in battle, the so-called ‘Anzac myth’ is an enduring narrative promulgated by the AWM, often promoting national interest. This project, however, argues that ‘Anzac’ is indefinable, capricious, and in a constant state of change.
Driven by familial connections, this project has explored the concepts of intergenerational trauma and post-memory, resulting in a suite of works that demonstrate how painting can be used to create alternative narratives about the ‘Great War’ (GW). Key sources of imagery include objects and narrative themes used in the AWM, combined with family artefacts. The resulting paintings used collage, pastiche and allegory to evoke the complexities of private and personal understanding of the Great War. The imagery is fractured and overlapping, in contrast to the linear, chronological narrative of the CE of A, addressing the simultaneous continuance of competing interpretations of history that change as time progresses. This strategy—facilitated by identifying narrative voids and understatements in the curatorial styling of the CE of A—allowed for the inclusion of service narratives of soldiers like my grandfather, a casualty-survivor, and my great uncle, killed in action and having no known grave.
The project was informed by the writing of Lisa Saltzman, Marion Hirsch and Joan Gibbons, who provided insight into contemporary art practices that reference trauma, post-memory and the indexical. Throughout the project I have referred to contemporary Anzac historians Carolyn Holbrook and Marilyn Lake for their contesting of the Anzac legend. Frederic Jameson, Craig Owens and Roland Barthes were instrumental in informing the use of allegory and pastiche as key strategies for the paintings, while William Dunning’s historical overview of changes in pictorial space proved an important text for its discussion of painting’s transition from modernism to post-modernism.
The research draws from and contributes to the field of modernist and contemporary war art. It has examined the themes of violence against the mind and body, and its impact on the witness soldiers, and the generations affected by post-memory trauma as a result of the Great War, specifically as represented in the work of Otto Dix, George Lambert, and Stanley Spencer. It references artists whose work explores post-generational trauma in private and public memory and historiographic metafiction, with a specific focus on Paul Gross, Christian Boltanski, Kader Attia and Koken Ergun. Painters for whom collage is a key pictorial strategy, such as Ron Kitaj, Kai Althoff and Helen Johnson, are also discussed. The work of Australian contemporary painter Ben Quilty, witness to war through the AWM’s Official War Art Scheme, provided a diametric contemporary fillip for the research aims.
The outcome of the research is a series of paintings that utilise the unsettling familial witness stories of this war through collage, pastiche and allegory. The research employed specific picturing methodologies developed to address the impact of the GW on current generations. This contribution to the field of Australian war painting submits alternative narratives that restate the power of allegory in the production of painting, problematising the complex nature of intergenerational trauma. The subjective memory traces of the GW considered in this research do not deal with direct experience exclusively. By connecting alternative stories of Anzac to those promulgated by the master narrative (of Anzac), this investigation aimed to visualise narratives which capture the experience of the centenary moment. The final paintings entreat the regeneration of memory to remain relevant and to broaden the meaning of Anzac in Australia’s post-memory culture. As a consequence, the submitted works contrast with the fixed, immutable histories of Official War Art painting of the GW, and offer alternative representations about the GW to those depicted in current representations.
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Pointon, V. J. "Structure and thermochronology of an E-W profile through the Mount Painter Province, Northern Flinders Ranges, South Australia: is this a southern example of deformation and exhumation driven by the Alice Springs Orogeny?" Thesis, 2010. http://hdl.handle.net/2440/88635.
Full textAbstract:
This item is only available electronically.The Mount Painter Province in the Northern Flinders Ranges, South Australia is composed of Palaeoproterozoic to Mesoproterozoic basement overlain by 7-12 kilometres of Neoproterozoic to Cambrian sedimentary rocks and is associated with high lateral geothermal gradients. During the Early Paleozoic, deformation and metamorphism reached greenschist to amphibolite facies during the ~500 Ma Delamerian Orogeny. This study focuses on the subsequent thermal history of the area by studying an E-W profile through the Mount Painter Province using the widely used techniques of structural mapping, micro-structural analysis and 40Ar/39Ar thermochronology to characterise and date deformation and cooling (as a proxy for exhumation). The E-W trending profile, known as the Hamilton Fault, is south dipping oblique slip with a normal and dextral component overprinted by younger brittle structures and brecciation which is seen in the structural and micro-structural analysis.. It is proposed to have a very active past and there is evidence of movement in the Adelaidean due to an apparent formation offset of ~600 m. The regional context of the Hamilton Fault having a dextral and normal component suggests an ε3 uplift, an ε2 extension SW to NE and ε1 NW-SE shortening. This is similar in character to the N-S shortening which is seen in the Alice Springs Orogeny (ASO). Results from the 40Ar/39Ar thermochronology show the basement metasedimentary rocks have cooling ages of around ~350 Ma between 300 to 400 °C and 312 Ma at 150 °C. Interestingly, the younger Adelaidean metasedimentary rocks have an older cooling age of 390 Ma between 300 to 400 °C. The thermochronology data suggests differential cooling has occurred. The observations suggest that exhumation is driven following the Delamerian folding event and forced the earlier cooling of shallower samples at a slower rate and later cooling of the deeper samples at a faster rate, a process caused by differential tilting. The cooling paths are well represented in this example as shown by converging cooling paths. Overall I attribute this subsequent thermal history and structural similarity to the ASO, a major widespread dramatic orogenic event which has not been widely recognized as a significant tectonic event in the Adelaide Fold Belt.
Thesis (B.Sc.(Hons)) -- University of Adelaide, School of Earth and Environmental Sciences, 2010
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Scott, Marcelle Marea. "The state of the art: issues concerning ownership, management and conservation of Australian Aboriginal rock images, with special reference to painted images in the Townsville region, North Queensland." Thesis, 1992. https://researchonline.jcu.edu.au/61395/1/61395_Scott_1992_thesis.pdf.
Full textAbstract:
Cultural, scientific and political issues associated with the conservation of Australian Aboriginal rock images are discussed. The process of significance assessment and its essential role in the development of a management plan is outlined.
Emphasis is placed on the need for full recognition of Aboriginal ownership of Aboriginal cultural property, and the right of Aboriginal people to decide management and preservation policies for rock images is stressed.
The major causes of deterioration of painted images are summarised and some recommended treatment methods are reviewed. A project involving the removal of graffiti from a Townsville site is described. Current methods for painted graffiti removal are assessed and recommendations made. A case study of the conservation requirements of Aboriginal painted images in the Townsville region is included.
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Cerne, Helen. "Circling Lina: alternative narratives exploring Lina Bryans, the Darebin artists and the self." Thesis, 2013. https://vuir.vu.edu.au/25414/.
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