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Journal articles on the topic 'Painters, australia'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 February 2023

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1

Matthews, David. "Peter Sculthorpe at 60." Tempo, no. 170 (September 1989): 12–17. http://dx.doi.org/10.1017/s004029820001799x.

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Peter Sculthorpe's career has been one of remarkable unity of vision and consistency of purpose. From the start, he set out to create a music which, while universal in content, would be specifically Australian in its idiom. At the time he was growing up, this was not an over-simplistic aim, especially when Sculthorpe looked at the music then being written in Australia and saw that, by and large, it was hopelessly dependent on European manners and cultural traditions that could only be acquired at second-hand. Australians were then, and still are, in the process of self-discovery; the best Australian artists have learned that their own country can provide them with richer material for their work than can distant Europe. Painters, especially, have found the extraordinary Australian landscape, where trees shed their bark instead of their leaves, and prehistoric animals roam in a red desert, a potent source of inspiration. Even in the 19th century the painters of the Heidelberg school, in responding to the glaring Australian light, produced work quite different in feeling from the French Impressionists who were their models. In the 20th century a true national school has come into being, whose major figures have all helped to define the Australian landscape's peculiar strangeness – Lloyd Rees, Russell Drysdale, Fred Williams, Arthur Boyd, Sidney Nolan.

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2

Watchman, Alan, and Noelene Cole. "Accelerator radiocarbon dating of plant-fibre binders in rock paintings from northeastern Australia." Antiquity 67, no. 255 (June 1993): 355–58. http://dx.doi.org/10.1017/s0003598x00045415.

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During the late Holocene, Aboriginal rock painters in north Queensland selected and combined various natural inorganic and organic materials in paint recipes – possibly to increase the longevity of their paintings. The organic materials make direct radiocarbon dating possible.

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3

Brady, Veronica. "Towards an Ecology of Australia: Land of the Spirit." Worldviews: Global Religions, Culture, and Ecology 3, no. 2 (1999): 139–55. http://dx.doi.org/10.1163/156853599x00117.

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AbstractEcology has to do with the realisation of the relationships between human beings and the larger fabric of life. But the strangeness of the Australian environment as seen by the first European settlers, together with the exploitative ideology of colonisation, have posed particular problems for the development of ecological awareness. This paper argues, however, that writers, painters and musicians have kept the possibility of developing ecological awareness open from the beginnings of settlement. It also maintains that increasing sensitivity to the significance of Aboriginal culture, the oldest living culture on earth, will be perhaps the most crucial factor in this transformation.

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4

Hunt, Jane E. "The ‘intrusion of women painters’: Ethel Anderson, modern art and gendered modernities in interwar Sydney, Australia." Women's History Review 21, no. 2 (April 2012): 171–88. http://dx.doi.org/10.1080/09612025.2012.657885.

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5

Baxter, Paula A. "ARTISTS IN EARLY AUSTRALIA AND THEIR PORTRAITS: A GUIDE TO THE PORTRAIT PAINTERS OF EARLY AUSTRALIA WITH SPECIAL REFERENCE TO COLONIAL NEW SOUTH WALES AND VAN DIEMEN'S LAND TO 1850. Eve Buscombe." Art Documentation: Journal of the Art Libraries Society of North America 10, no. 3 (October 1991): 167. http://dx.doi.org/10.1086/adx.10.3.27948379.

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6

Mudd, Gavin M. "The Legacy of Early Uranium Efforts in Australia, 1906 - 1945: From Radium Hill to the Atomic Bomb and Today." Historical Records of Australian Science 16, no. 2 (2005): 169. http://dx.doi.org/10.1071/hr05013.

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The existence of uranium minerals has been documented in Australia since the late nineteenth century, and uranium-bearing ores were discovered near Olary ('Radium Hill') and in the Gammon Ranges (Mount Painter) in north-eastern South Australia early in the twentieth century. This occurred shortly after the discovery of radioactivity and the isolation of radium, and a mining rush for radium quickly began. At Radium Hill, ore was mined and concentrated on site before being transported to Woolwich in Sydney, where the radium and uranium were extracted and refined. At Mount Painter, the richness of the ore allowed direct export overseas. The fledgling Australian radium industry encountered many difficulties, with the scale of operations generally much smaller than at overseas counterparts. Remoteness, difficulties in treating the ore, lack of reliable water supplies and labour shortages all characterized the various attempts at exploitation over a period of about 25 years to the early 1930s. Hope in the potential of the industry, however, was eternal. When the British were working with the Americans during the Second World War to develop the atomic bomb, they secretly requested Australia to undertake urgent and extensive studies into the potential supply of uranium. This led to no exports but it did lay the groundwork for Australia's post-war uranium industry that has dominated the nation's nuclear diplomacy ever since. Some three decades later, the modest quantity of radioactive waste remaining at Woolwich was rediscovered, creating a difficult urban radioactive waste dilemma. The history of both the pre-war radium–uranium industry and Australia's involvement in the war-time exploration work is reviewed, as well as the radioactive waste problems resulting from these efforts, which, despite their relatively small scale, persist and present challenges in more modern times.

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KERR, JOAN. "THE DICTIONARY OF AUSTRALIAN ARTISTS Painters." Art Book 1, no. 2 (March 1994): 28. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00034.x.

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8

Wolff, Leon. "Litigiousness in Australia: Lessons from Comparative Law." Deakin Law Review 18, no. 2 (December 1, 2014): 271. http://dx.doi.org/10.21153/dlr2013vol18no2art39.

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How litigious are Australians? Although quantitative studies have comprehensively debunked the fear of an Australian civil justice system in crisis, the literature has yet to address the qualitative public policy question of whether Australians are under- or over-using the legal system to resolve their disputes. On one view, expressed by the insurance industry, the mass media and prominent members of the judiciary, Australia is moving towards an American-style hyper-litigiousness. By contrast, Australian popular culture paints the typical Australian as culturally averse to formal rights assertion. This article explores the comparative law literature on litigiousness in two jurisdictions that have attracted significant scholarly attention — the United States and Japan. More specifically, it seeks to draw lessons from this literature for both understanding litigiousness in modern Australia and framing future research projects on the issue.

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9

Quijano Martínez, Jenny Beatriz. "Hugh Ramsay’s Self-Portrait: Re ections on a Spanish Master Painter." Boletín de Arte, no. 36 (October 30, 2017): 155–63. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3328.

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The interest in European masters from the past was a phenomenon related to the development of the artistic careers of many artists in Australia at the end of the nineteenth and beginning of the twentieth century. More than that, the copying or emulation of great works of art was seen to be a necessary part of an artist’s training1. This paper looks at Hugh Ramsay and his fascination with the painting Las Meninas (1656) by Velázquez as part of a larger study into understanding how the Spanish in uence was re ected in Australian art. Ramsay introduced elements from Las Meninas into his Portrait of the artist standing before easel, which took him to personify the role of the painter as Velázquez.

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10

Kallioinen, RUO, JM Hughes, and PB Mather. "Significance of Back Colour in Territorial Interactions in the Australian Magpie." Australian Journal of Zoology 43, no. 6 (1995): 665. http://dx.doi.org/10.1071/zo9950665.

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In eastern Australia, two forms of the Australian magpie occur: a white-backed form and a black-backed form. These two forms hybridise across northern Victoria and into South Australia. In this study the response of territorial magpies to caged intruders was examined. Pairs of adult male magpies were introduced into territories. Both were adult black-backed birds, but in each case one of them had its back painted white. The pair was introduced to each territory twice, with the bird that was painted white differing between times. The experiment was run in a population of black-backed birds and a population in the hybrid zone containing white-backed, black-backed and hybrid birds. In both cases, the residents were more aggressive towards the intruder with the white-back than they were to the black-backed intruder. We suggest that this may be because a white-backed bird posed more of a threat to residents than a black-backed bird.

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11

Hobbs, Mitchell. "`More paper than physical'." Journal of Sociology 43, no. 3 (September 2007): 263–81. http://dx.doi.org/10.1177/1440783307080106.

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When Rupert Murdoch announced in April 2004 that he intended to see his company, News Corporation, reincorporated in the United States, two competing representations of the `media mogul' came to dominate the press's interpretation of this event. The first of these `Murdoch representations' was the most common, and painted an image of a successful entrepreneur, a `celebrity CEO'. Yet, the second `Murdoch representation' painted a different image, a more detailed portrait, with critical attention paid to the modus operandi of the world's most notorious media proprietor. This article deconstructs these representations of Murdoch, a mythic fracturing of image resulting from the political economy of the Australian press. In essence, the article explores issues of media diversity, myth and ideology, and the propensity of the press for critical, impartial, journalism. The empirical data are drawn from an analysis of two of Australia's pre-eminent newspapers: The Australian and the Sydney Morning Herald.

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12

McAuliffe, Chris. "Trying to Live Now: Chronotopic Figures in Jenny Watson’s A Painted Page Series." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 1–20. http://dx.doi.org/10.5195/contemp.2014.98.

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Between late 1979 and early 1980, Australian artist Jenny Watson painted a sequence of six works, each with the title A Painted Page. Combining gridded, painted reproductions of photographs, newspapers and department store catalogues with roughly painted fields of color, the series brought together a range of recent styles and painterly idioms: pop, photorealism, and non-objective abstraction. Watson’s evocation of styles considered dated, corrupted or redundant by contemporary critics was read as a sign of the decline of modernism and the emergence of a postmodernism inflected with irony and a cool, “new wave” sensibility. An examination of the Painted Pages in the context of Watson’s interest in autobiography and her association with the women’s art movement, however, reveals the works to be subjective, highly personal reflections on memory, self and artistic aspiration. Drawing on Bahktin’s model of the chronotope, this paper argues for a spatio-temporal reading of Watson’s Painted Pages rather than the crude model of stylistic redundancy and succession. Watson’s source images register temporal orders ranging across the daily, the seasonal and the epochal. Her paintings transpose Bahktin’s typology of quotidian, provincial and “adventuristic” time into autobiographical paintings of teenage memories, the vicissitudes of the art world and punk subcultures. Collectively, the Painted Pages established a chronotopic field; neither an aggregation of moments nor a collaged evocation of a period but a point at which Watson closed off one kind of time (an art critical time of currency and succession) and opened up another (of subjectivity and affective experience).

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Baker, Allan J., S. L. Pereira, Danny I. Rogers, Rebecca Elbourne, and Chris J. Hassell. "Mitochondrial-DNA evidence shows the Australian Painted Snipe is a full species, Rostratula australis." Emu - Austral Ornithology 107, no. 3 (September 2007): 185–89. http://dx.doi.org/10.1071/mu07024.

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Bojić, Zoja. "SLAV CULTURAL MEMORY, NOSTALGIA AND HUMOURIN THE OEUVRE OF DANILA VASSILIEFF (1897-1958), RUSSIAN ÉMIGRÉ ARTIST IN AUSTRALIA." PHILOLOGICAL STUDIES 18, no. 1 (2020): 18–44. http://dx.doi.org/10.17072/1857-6060-2020-18-1-18-44.

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Danila Vassilieff(1897–1958) was a Russian émigré artist who lived and worked in Australia. By far the largest and most significant part of his painterly and sculptural oeuvre Vassilieff executed on Australian soil, in the states of New South Wales and Victoria.This article explores Vassilieff’s visual arts ideas and idiom created within the parameters of his Russian and Slav cultural memory and characterised by his émigré experience. It argues that Vassilieff’s art was fully formed only after the artist’s experiencing anexistence of a permanentémigré in Australia and that both his ideas andhis idiom flourished in opposition to the cultural traditions of his new environment.Vassilieff’s relationship with his Russian and Slav cultural heritage was traced in the monograph Imaginary homelands, the art of Danila Vassilieff(Bojic2007). This essaycomplements the extant research by examiningVassilieff’s relationship with his Australian environment as reflected in his work. Vassilieff’s experience of a permanent émigré formed his visual arts idiom and provided for the large pool of themes and topics in his work. Much of his oeuvrebridgedthe varied cultural traditions of his Russian homeland and the hardshiphe experienced living in a barren Australian land. There weretwo reasonsfor this. One was the artist’s positionof being an émigré; the other was that of being an artist. His initial alone-ness in a new Australian environment allowed for his one-ness and thus contributed to the uniqueness of his expression and his oeuvre, recognised as such later on by his Australian peers. Thechronic trauma of being a permanentémigré was a continualfeature of Vassilieff’slife and of his work. Hisdeep feelings ofnostalgiawerean essential quality of his existence in exile.The artist himself would attempt to counterbalance 19this with his all-pervasive energetic good will and his refined sense of humour and sweet ironyon occasions leading into a sarcasm, evident in many of his works.

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15

Fensham, Rod. "Conrad Martens and the Bush of South-East Queensland." Queensland Review 9, no. 1 (May 2002): 49–58. http://dx.doi.org/10.1017/s1321816600002737.

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The work of colonial artists has provided precious insights into the nature of the Australian landscape as it was at the time immediately following white settlement. The works of Glover, Lewin and von Guérard, for example, have been employed by historical geographers and have fuelled some fascinating debates about the nature of the landscape as it was under Aboriginal management. Of course, the work of some of these artists forms more faithful historical documentation than that of others. The stylised works of J.S. Lycett, the emancipated convict turned painter, are almost certainly unreliable as accurate landscape documentation, as his criminal conviction for forgery may suggest (Plate 1). It is likely that Lycett never visited some of the locations he painted and much of his work was probably commissioned as immigration propaganda, intended to placate the fears of the Britons equivocating about a move to the awesome and intimidating southern land.

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16

Krikowa, Natalie. "Where is Australia’s GLAAD? A case for establishing an Australian LGBTIQA+ Media Institute to improve diversity in screen media representation." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 49–63. http://dx.doi.org/10.33178/alpha.24.03.

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As screen studies scholars have noted over the past two decades, media representation is critical in being able to see oneself as important to society. In 2016, Screen Australia released the “Seeing Ourselves: Reflections on Diversity in TV Drama” report on the diversity in Australian TV drama. “Seeing Ourselves” paints a critical picture of the lack of inclusive storytelling on Australian scripted TV, suggesting that lesbian, gay, bisexual, transgender, intersex, queer, asexual and other sexuality- and gender-diverse (LGBTIQA+) people were in fact not seeing themselves—that the representation was lacking diversity, inclusivity, authenticity and complexity. This article presents a case study of the GLAAD Media Institute and similar international organisations and imagines how a similar advisory and advocacy organisation could be established to support Australian screen practitioners and students in being more inclusive of LGBTIQA+ people in their screen stories. It highlights the necessity for, and benefit of, creating an independent organisation that could replicate GLAAD’s three pillars of training, consultation and research to improve the current lack of diversity—the ultimate goal of this organisation being to advocate for real and sustained impact, not just in Australian screen media, but in our local communities and society at large.

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17

Mitchell, M. M., B. P. Kohn, P. B. O'Sullivan, M. J. Hartley, and D. A. Foster. "Low‐temperature thermochronology of the Mt Painter Province, South Australia." Australian Journal of Earth Sciences 49, no. 3 (June 2002): 551–63. http://dx.doi.org/10.1046/j.1440-0952.2002.00937.x.

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18

Gillam, Barbara J. "Figure-Ground and Occlusion Depiction in Early Australian Aboriginal Bark Paintings." Leonardo 50, no. 3 (June 2017): 255–67. http://dx.doi.org/10.1162/leon_a_01423.

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Aboriginal painting has been largely treated as conceptual rather than perceptual and its visual impact little examined. In this article the author shows the perceptual skill and innovation demonstrated by Aboriginal bark painters in depicting figure-ground and occlusion. This has heuristic value for studying occlusion perception and adds visual meaning to the conceptual meaning of the paintings.

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White, Jessica. "‘So many sparks of fire’: Dorothy Cottrell, modernism and mobility." Queensland Review 23, no. 2 (December 2016): 164–77. http://dx.doi.org/10.1017/qre.2016.27.

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AbstractThe broad brush strokes of Dorothy Cottrell's paintings in the National Library of Australia mark her as a modernist artist, although not one who painted the burgeoning Sydney Harbour Bridge or bright still-life paintings of Australian flora. Rather, she captured the dun surrounds of Ularunda Station, the remote Queensland property to which she moved in 1920 after attending art school in Sydney. At Ularunda, Cottrell eloped with the bookkeeper to Dunk Island, where they stayed with nature writer E.J. Banfield, then relocated to Sydney. In 1924 they returned to Ularunda and Cottrell swapped her paintbrush for a pen, writing The Singing Gold. After advice from Mary Gilmore, whom her mother accosted in a pub, Cottrell send it to the Ladies Home Journal in America. It was snapped up immediately, optioned for a film and found a publisher in England, who described it as ‘a great Australian book, and a world book’. Gilmore added, ‘As an advertisement for Australia, it will go far — the Ladies Home Journal is read all over the world’. Cottrell herself also went far, emigrating to America, where she wrote The Silent Reefs, set in the Caribbean. Cottrell's creative, intellectual and physical peregrinations — all undertaken in a wheelchair after she contracted polio at age five — show how the local references the international, and vice versa. Through an analysis of the life and writing of this now little-known Queensland author, this essay reflects the regional and transnational elements of modernism as outlined in Neal Alexander and James Moran's Regional Modernisms, illuminating how a crack-shot with a rifle once took Queensland to the world.

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Trinh, Huong Thu. "Ned Kelly’s legend through the series of paintings of Sidney Nolan." Science & Technology Development Journal - Social Sciences & Humanities 1, no. X1 (June 30, 2017): 29–42. http://dx.doi.org/10.32508/stdjssh.v1ix1.429.

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The paper approaches cultural studies in a way which tells us about a life-time story of Ned Kelly, who is a legend, an Australian hero and beloved by many Australians, through the series of 27 paintings of Sidney Nolan. Ned Kelly is an Australian icon man. Both the painter and the main character of the novel are famous and express Australianness well. In this paper, the writer bases on figurative language, the colour of paintings and the life story of the main character to show the Australian nationalism, national myth and Australianness.

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MacLean, Sarah. "“It Might Be a Scummy-Arsed Drug but it's a Sick Buzz”: Chroming and Pleasure." Contemporary Drug Problems 32, no. 2 (June 2005): 295–318. http://dx.doi.org/10.1177/009145090503200206.

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Arguing that the role of pleasure in young people's decisions to use inhalants has been underexplored, this paper provides a typology for the kinds of pleasurable experience young people report from chroming (an Australian term for inhalant use involving aerosol paints). The paper draws on in-depth interviews with young people with experience of chroming and with expert workers in Melbourne, Australia. Seven categories of pleasurable experience related to chroming are identified through thematic analysis of these interviews: feeling, escaping and relocating, imagining, doing, socializing, communicating, and consuming. In the context of use by marginalized young people, chroming has powerful and often deeply pleasurable effects. Understanding more about the kinds of enjoyment that young people seek and experience through chroming—and by implication what workers are asking them to give up when they try to make them stop using these drugs—is important in designing policy interventions.

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22

Weisheit, A., P. D. Bons, M. Danišík, and M. A. Elburg. "Crustal-scale folding: Palaeozoic deformation of the Mt Painter Inlier, South Australia." Geological Society, London, Special Publications 394, no. 1 (November 22, 2013): 53–77. http://dx.doi.org/10.1144/sp394.9.

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Stuart-Fox, Devi M., and Gregory R. Johnston. "Experience overrides colour in lizard contests." Behaviour 142, no. 3 (2005): 329–50. http://dx.doi.org/10.1163/1568539053778265.

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We examined the role of conspicuous coloration in male-male contests for two species of Australian dragon lizards, Ctenophorus decresii and C. vadnappa, in which conspicuous coloration has a demonstrated predation cost. We conducted contests in which the overall conspicuousness of male coloration was manipulated using paints that matched the spectral reflectance of the lizards, as well as natural (control) contests. There was little evidence for an influence of colour on contest outcome or aggression levels for either species when all experiments were considered. However, we found a significant effect of trial order and experience on contest outcome and aggression levels (the same pair of males was used for both types of contest), despite a 2-3 week interval between contests. When we examined only the first trial between unfamiliar males, we found that male C. vadnappa that had been painted to appear more conspicuous consistently won. Comparison with the natural trials suggests that the aspect of colour manipulation that was responsible for this result was the 'hue' of the throat: males with yellower throats consistently beat males with bluer throats in both natural and painted trials. The difference in coloration of flank markings also predicted the difference in aggression scores between contestants in the natural trials. These results suggest that although colour is important in opponent assessment and in determining contest outcome in C. vadnappa, previous agonistic experience can override the effects of colour and have a long-lasting influence on aggressive behaviour.

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24

Esau, Erika. "THE DICTIONARY OF AUSTRALIAN ARTISTS: PAINTERS, SKETCHERS, PHOTOGRAPHERS AND ENGRAVERS TO 1870. Joan Kerr." Art Documentation: Journal of the Art Libraries Society of North America 12, no. 1 (April 1993): 27–28. http://dx.doi.org/10.1086/adx.12.1.27948514.

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25

Eagle, Mary. "The Mikado Syndrome: Was there an Orient in Asia for the Australian ‘Impressionist’ Painters?" Australian Journal of Art 6, no. 1 (January 1987): 45–63. http://dx.doi.org/10.1080/03146464.1987.11432889.

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26

McKay, Judith. "Ellis Rowan: Flower-hunting in the Tropics." Queensland Review 10, no. 2 (November 2003): 89–97. http://dx.doi.org/10.1017/s1321816600003354.

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Ellis Rowan was Australia's most celebrated flower painter of the late nineteenth and early twentieth centuries. An emancipated woman far ahead of her time, she turned what her fellow Australian artists deemed a ‘genteel’ female pastime of flower painting into an adventurous and profitable career which took her all over the world. In a career spanning fifty years and ending with her death in 1922, she produced the phenomenal number of more than 3000 paintings, and succeeded in placing many of these in public collections. Rowan exhibited her work as far afield as London and New York and achieved acclaim at intercolonial and international exhibitions of art and industry (with the award of ten gold, fifteen silver and four bronze medals). Also a skilled writer and publicist, she recounted her travels in the popular press and in a book entitled A Flower-Hunter in Queensland and New Zealand, published in 1898. This paper focuses on the artist's work in Queensland, a favourite hunting ground, and on her association with the tropics which was an essential part of her mystique.

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Steele, Dominic. "Fishing in Port Jackson, New South Wales–more than met the eye." Antiquity 69, no. 262 (March 1995): 47–60. http://dx.doi.org/10.1017/s0003598x00064292.

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Contemporary diaries and the water-colours of artists such as the Port Jackson Painter vividly tell of Aboriginal life when the First Fleet in 1788 settled its cargo of convicts in Australia. Fishing was important around the waters of Port Jackson, whose Aboriginal inhabitants are recorded to have used the techniques of spear-fishing and angling. Were other methods also used? Fish remains from a shell midden provide an opportunity to investigate.

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Lampert, R. J., and T. A. Konecny. "Aboriginal spears of Port Jackson type discovered—a bicentennial sequel." Antiquity 63, no. 238 (March 1989): 137–41. http://dx.doi.org/10.1017/s0003598x00075657.

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Notice was taken in ANTIQUITY last year of the Australian bicentennial, and in particular of the remarkable ‘art of the First Fleet’, the ethnographic record provided by the watercolour artists of the contact years around Botany Bay. This note, held over into the bicentennial-plus-one year, finds further insight by tying closer together the painter's record, the ethnographic collections, and the archaeological record.

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Ouzman, Sven, Paul S. C. Taçon, Ken Mulvaney, and Richard Fullager. "Extraordinary Engraved Bird Track from North Australia: Extinct Fauna, Dreaming Being and/or Aesthetic Masterpiece?" Cambridge Archaeological Journal 12, no. 1 (April 2002): 103–12. http://dx.doi.org/10.1017/s0959774302000057.

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An extraordinary engraved bird track was located in the Weaber Range of the Keep River region of Northern Territory, Australia, in July 2000. This engraved track is dissimilar to most other examples in Australian rock-art, differing in shape, size and detail from the thousands of engraved, painted or beeswax depictions of bird tracks known from sites across the continent. Importantly, it also differs in technique from other engraved tracks in the Keep River region, having been rubbed and abraded to a smooth finish. We explore three approaches to the engraved track's significance, that it: a) depicts the track of an extinct bird species; b) relates to Aboriginal beliefs regarding Dreaming Beings; and c) is a powerful aesthetic achievement that reflects rare observation of emu tracks. We conclude that the Weaber bird track engraving most probably represents a relatively recent visual expression of ancient Aboriginal thoughts that have been transmitted through the centuries via story-telling and rock-art. This discussion highlights problems of assigning identification and meaning to ancient art but also suggests that aspects of history may be passed across generations for much longer than is commonly realized.

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30

Heinrich, Christoph A., and Mart Idnurm. "Uraniferous quartz — hematite breccias at Mt Painter (South Australia): Palaeomagnetic dating of hydrothermal activity." Exploration Geophysics 24, no. 2 (June 1993): 275–76. http://dx.doi.org/10.1071/eg993275.

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Idnurm, M., and C. A. Heinrich. "A palaeomagnetic study of hydrothermal activity and uranium mineralization at Mt Painter, South Australia." Australian Journal of Earth Sciences 40, no. 1 (February 1993): 87–101. http://dx.doi.org/10.1080/08120099308728065.

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32

Bolt, Barbara. "Shedding Light For The Matter." Hypatia 15, no. 2 (2000): 202–16. http://dx.doi.org/10.1111/j.1527-2001.2000.tb00323.x.

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This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the “glare” of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.

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Schaffer, Jason, Robert G. Doupé, and Ivan R. Lawler. "What for the future of the Jardine River Painted Turtle?" Pacific Conservation Biology 15, no. 2 (2009): 92. http://dx.doi.org/10.1071/pc090092.

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The Painted Turtle Emydura subglobosa is widely distributed in southern Papua New Guinea and Irian Jaya, where it inhabits the permanent freshwater swamps of adjacent coastal river systems (Lovich et al. 1983; Georges et al. 2006). Emydura subglobosa has also been recorded on mainland Australia, but only from the Jardine River in far northern Cape York Peninsula where it is colloquially named the Jardine River Painted Turtle (Cann 1998). The separation of these two disjunct populations is presumed to be due to Pleistocene sea level changes about 12,000?18,000 years BP (Georges and Thomson 2006). The taxonomic affinities of this species complex remain unresolved (Georges and Adams 1996).

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May, Sally K., Luke Taylor, Catherine Frieman, Paul S. C. Taçon, Daryl Wesley, Tristen Jones, Joakim Goldhahn, and Charlie Mungulda. "Survival, Social Cohesion and Rock Art: The Painted Hands of Western Arnhem Land, Australia." Cambridge Archaeological Journal 30, no. 3 (May 1, 2020): 491–510. http://dx.doi.org/10.1017/s0959774320000104.

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This paper explores the complex story of a particular style of rock art in western Arnhem Land known as ‘Painted Hands’. Using new evidence from recent fieldwork, we present a definition for their style, distribution and place in the stylistic chronologies of this region. We argue these motifs played an important cultural role in Aboriginal society during the period of European settlement in the region. We explore the complex messages embedded in the design features of the Painted Hands, arguing that they are more than simply hand stencils or markers of individuality. We suggest that these figures represent stylized and intensely encoded motifs with the power to communicate a high level of personal, clan and ceremonial identity at a time when all aspects of Aboriginal cultural identity were under threat.

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Cunningham, Christine, and Stewart Jackson. "Leadership and the Australian Greens." Leadership 10, no. 4 (March 13, 2014): 496–511. http://dx.doi.org/10.1177/1742715013498407.

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This paper examines the inherent tension between a Green political party’s genesis and official ideology and the conventional forms and practices of party leadership enacted in the vast bulk of other parties, regardless of their place on the ideological spectrum. A rich picture is painted of this ongoing struggle through a case study of the Australian Greens with vivid descriptions presented on organisational leadership issues by Australian state and federal Green members of parliaments. What emerges from the data is the Australian Green MPs’ conundrum in retaining an egalitarian and participatory democracy ethos while seeking to expand their existing frame of leadership to being both more pragmatic and oriented towards active involvement in government.

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Withers, Philip C., Christine E. Cooper, and Alexander N. Larcombe. "Relative Water Economy Is a Useful Index of Aridity Tolerance for Australian Poephiline Finches." Birds 3, no. 2 (March 31, 2022): 172–83. http://dx.doi.org/10.3390/birds3020012.

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We evaluate if the iconic Australian Zebra Finch (Taeniopygia guttata) has a unique physiology or if its metabolic, thermal and hygric physiology are similar to other Australian poephiline finches, by comparing it with three other species, the arid-habitat Painted Finch (Emblema pictum) and the mesic-habitat Double-barred (Taeniopygia bichenovii) and Red-browed (Neochmia temporalis) Finches. All physiological variables responded to ambient temperature as expected. There were no species differences for any of the standard physiological variables, consistent with the hypotheses that birds are pre-adapted to arid habitats, the recent development of Australian deserts has limited opportunity for physiological adaptation, and all four species share similar behavioural and ecological traits. Nevertheless, the ambient temperature where metabolic water production equals evaporative water loss (point of relative water economy) was highest for the Zebra (19.1 °C), lower for Double-barred (16.4 °C) and Painted (15.2 °C) and lowest for Red-Browed (4.1 °C) Finches, corresponding with their general patterns of habitat aridity. The point of relative water economy may be a sensitive index for assessing a species’ tolerance of aridity because it integrates individual physiological variables. We conclude that the Zebra Finch is not a physiological outlier amongst Australian finches, but is at the end of a continuum of aridity tolerance for the four study species.

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Paull, David. "International student mobility from Latin America in Australia: What we already know and what we still need to find out." Transitions: Journal of Transient Migration 4, no. 1 (March 1, 2020): 47–68. http://dx.doi.org/10.1386/tjtm_00012_1.

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This article identifies five main mobility characteristics of international students from Latin America in Australia by comparative analysis of the overall student population. International student numbers from Latin America to Australia have reached unprecedented levels. A growing body of research exists on Latin American migrants in Australia and scholars such as Burges and Calderon have provided insightful analyses into educational trade relations between the two. Despite this, there still lacks a deeper understanding of the mobility characteristics of Latin American students, embedded within the scholarship of international migration broadly and international student mobility (ISM) specifically. In order to address this gap, the article interprets publicly available data in a growing segment of ISM research that understands mobility as an ongoing, processional and lifelong journey. This article therefore paints a picture of what we already know and what we still need to find out about Latin American students in Australia.

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Elburg, Marlina A., Tom Andersen, Paul D. Bons, Siri L. Simonsen, and Anett Weisheit. "New constraints on Phanerozoic magmatic and hydrothermal events in the Mt Painter Province, South Australia." Gondwana Research 24, no. 2 (September 2013): 700–712. http://dx.doi.org/10.1016/j.gr.2012.12.017.

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YOUNG, GRANT M., and VICTOR A. GOSTIN. "An exceptionally thick upper Proterozoic (Sturtian) glacial succession in the Mount Painter area, South Australia." Geological Society of America Bulletin 101, no. 6 (June 1989): 834–45. http://dx.doi.org/10.1130/0016-7606(1989)101<0834:aetups>2.3.co;2.

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David, Bruno, Bryce Barker, Fiona Petchey, Jean-Jacques Delannoy, Jean-Michel Geneste, Cassandra Rowe, Mark Eccleston, Lara Lamb, and Ray Whear. "A 28,000 year old excavated painted rock from Nawarla Gabarnmang, northern Australia." Journal of Archaeological Science 40, no. 5 (May 2013): 2493–501. http://dx.doi.org/10.1016/j.jas.2012.08.015.

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Jones, Lauren Joy, and Ashley Pearson. "The Use of Technology by Gold Coast Legal Practitioners." Law, Technology and Humans 2, no. 1 (January 31, 2020): 57–74. http://dx.doi.org/10.5204/lthj.v2i1.1304.

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Digital technology is inexorably changing the landscape of law. From the adoption of sustaining technologies, which enhance the productivity and efficiency of the traditional law firm, to the creation of disruptive technologies, which fundamentally challenge the established forms of the legal profession, the digitalisation of the legal sphere opens up new spaces and structures of legal practice that challenge the form of traditional law firms. Existing literature on the digitalisation of law paints a narrative of technological resistance by traditional law firms, suggesting that BigLaw firms are defensive of the power and status that the current model affords them. However, in reality, the wealth and expanse of BigLaw firms allow them to freely invest in and create new technological innovations. Recent Australian research places BigLaw firms at the forefront of adopting digital technologies into the legal market, leaving behind small and medium-sized legal firms as the victims of digital disruption rather than as technological adopters or beneficiaries. This article stands in contrast to the literature on traditional small and medium-sized firms, arguing that lawyers from such firms in Australia are not only embracing the use of technology but are also actively engaging in the digital transformation of legal practice. It presents qualitative findings from a 2018 study that involved open-ended interviews with nine lawyers from the Gold Coast, Australia on their use and adoption of digital technologies in their professional legal practice. Through unpacking these findings, this article demonstrates a new perspective of small and medium-sized traditional legal firms in which they do not resist law’s digital future but instead embrace it.

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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (January 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.

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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.

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David, Bruno, Ian McNiven, Val Attenbrow, Josephine Flood, and Jackie Collins. "Of Lightning Brothers and White Cockatoos: dating the antiquity of signifying systems in the Northern Territory, Australia." Antiquity 68, no. 259 (June 1994): 241–51. http://dx.doi.org/10.1017/s0003598x0004655x.

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Northern Australia is one of the very few regions of the world where an established tradition of rock-art has continued and extends into present-day knowledge. Excavation of deposits under the painted surfaces allows the age of the paintings to be estimated, by linking across to these deposits and their dateable contexts. One can begin to assess the antiquity of those systems of knowledge and of ‘signifying’.

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Poulton, J., V. K. Ward, T. R. Glare, and N. E. Markwick. "An imported Australian virus for the control of painted apple moth." New Zealand Plant Protection 58 (August 1, 2005): 325. http://dx.doi.org/10.30843/nzpp.2005.58.4315.

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Elburg, Marlina A., Tom Andersen, Paul D. Bons, Anett Weisheit, Siri L. Simonsen, and Ingrid Smet. "Metasomatism and metallogeny of A-type granites of the Mt Painter–Mt Babbage Inliers, South Australia." Lithos 151 (October 2012): 83–104. http://dx.doi.org/10.1016/j.lithos.2011.09.009.

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Cahill, Susan. "The Art of War: Painted Photographs and Australia’s “War on Terror”." RACAR : Revue d'art canadienne 39, no. 2 (December 9, 2014): 71–87. http://dx.doi.org/10.7202/1027750ar.

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De novembre 2008 à décembre 2010, l’exposition Framing Conflict : Iraq and Afghanistan est présentée dans un grand nombre d’institutions culturelles et militaires à travers l’Australie. Organisée par le Australian War Memorial et sous l’égide du commissaire Warwick Heywood, elle est principalement composée d’huiles sur toile de lin réalisées par le duo d’artistes australiens Lyndell Brown et Charles Green. Leurs oeuvres s’appuient sur une série de photographies prises en 2007 pendant leur « embarquement » (« embed ») en tant qu’artistes officiels du War Art Scheme, au sein de la Australian Defense Force basée en Afghanistan et au Moyen-Orient. J’examine ces peintures réalisées sur commande par Brown et Green dans le but d’explorer la façon dont ces artistes complexifient les attentes par rapport à l’art commandité par l’État et les récits officiels de l’histoire militaire australienne. Pour ce faire, j’effectue un rapprochement entre une analyse de ce que les tableaux dépeignent et la manière dont les artistes ont négocié leur rôle en tant qu’héritiers d’une mémoire de l’art militaire, et ce, en lien avec leur propre pratique esthétique, leurs croyances politiques, et le contexte plus large du rôle de l’Australie dans « la guerre au terrorisme » internationale.

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Macleod, Ian D., and Sue Bassett. "Light Fading of the Painted Deck of Australia II in a Museum Environment." AICCM Bulletin 26, no. 1 (December 2001): 1–9. http://dx.doi.org/10.1179/bac.2001.26.1.002.

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Carter, Anne, Gillian Osmond, and Bronwyn Ormsby. "Ian Fairweather and water-based emulsion house paints in Australia 1950–64." AICCM Bulletin 34, no. 1 (December 2013): 34–43. http://dx.doi.org/10.1179/bac.2013.34.1.005.

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Carter, Anne, Gillian Osmond, and Bronwyn Ormsby. "Ian Fairweather and water-based emulsion house paints in Australia 1950–64." AICCM Bulletin 34, no. 1 (December 2014): 34–43. http://dx.doi.org/10.1179/bac.2014.34.1.005.

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Huxedurp, Leonie M., Guðný Þ. Pálsdóttir, and Nanda Altavilla. "Risk-based planning for water recycling in an Australian context." Water Supply 14, no. 6 (June 3, 2014): 971–83. http://dx.doi.org/10.2166/ws.2014.058.

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Australia has seen an unprecedented proliferation in large scale water recycling schemes since the late 1990s. This has been driven by a recent decade of drought, policies to encourage water efficiency in new homes and buildings in urban areas, and to reduce pressure on rain-fed water supplies by replacement with alternate water sources in rural areas. Underpinning these drivers are principles of economic and environmental sustainability and protection of public health. National guidelines for recycling of treated sewage, released in 2006, replaced an approach using prescriptive end point water quality targets, with a 12-step risk-based framework for the planning and operation of Australian water recycling schemes. Essential to this risk-based approach is an understanding of the sewage treatment system and assessing the risks in the catchment, the treatment process, distribution system and end use environment. Inherent also in this process is the identification of critical control points with tangible operational targets for pre-empting, preventing and correcting off-spec conditions before they derail a scheme. Validation of systems through microbial log reduction targets for indicator viruses, bacteria, protozoa and helminths, differentiated according to end use and expected exposures, may be obtained through treatment, site controls or a combination of both. Drawing on case studies from the Australian states of New South Wales (NSW) and Queensland (Qld), this paper gives insight to preventative risk management of water recycling schemes with typical risk profiles. Some advantages and disadvantages of the guideline approach are considered. The information paints a picture of the industry's risk management obligations in the planning phase and may be of use to practitioners in other regions where planning for safe and sustainable water recycling is developing.

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