In order to get more accurate results, our search has the following Google-Type search functionality:
If you use '+' in front of a word, then that word will be present in the search results.
ex: Harry +Potter will return results with the word 'Potter'.
If you use '-' in front of a word, then that word will be absent in the search results.
ex: Harry -Potter will return results without the word 'Potter'.
If you use 'AND' between two words, then both of those words will be present in the search results.
ex: Harry AND Potter will return results with both 'Harry' and 'Potter'.
If you use 'OR' between two words, then bth of those words may or may not be present in the search results.
ex: Harry OR Potter will return results with just 'Harry', results with just 'Potter' and results with both 'Harry' and 'Potter'.
If you use 'NOT' before a word, then that word will be absent in the search results.
ex: Harry NOT Potter will return results without the word 'Potter'.
Placing '""' around words will perform a phrase search. The search results will contain those words in that order.
ex: "Harry Potter" will return any results with 'Harry Potter' in them, but not 'Potter Harry'.
Using '*' in a word will perform a wildcard search. The '*' signifies any number of characters. Searches can not start with a wildcard.
ex: Pot*er will return results with words starting with 'Pot' and ending in 'er'. In this case, 'Potter' will be a match.
In this major new account Ian McLean traces the history of Australian art, from colonial art practice to the search for a national art in the twentieth century. Two key themes structure the narrative: the transformation of a British art practice into an Australian one; and the troubled pursuit for the aesthetic means to claim an Indigenous heritage. As well as introducing the canonical artists and artworks of the Australian tradition, McLean assesses why certain artists have come to prominence, and why others have been neglected. In the process, he links the changing fortunes of artists to social and political developments both at home and abroad. With 170 superb illustrations, many in colour, this is essential reading for all interested in the history of Australian art.
'Any history of Australian art must be, at minimum, a double history: of art made by Indigenous artists since the Dreaming, and, since the eighteenth century, of the art of the colonizers. Double Nation tells the second part of this story with vigor and critical irreverence, rehearsing but also challenging the conventional landmarks of Australian art history. A fresh narrative emerges: more complex, more reflective, doubled.' - Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh, and author of Art to Come: Histories of Contemporary Art (2019)
In this major new account Ian McLean traces the history of Australian art, from colonial art practice to the search for a national art in the twentieth century. Two key themes structure the narrative: the transformation of a British art practice into an Australian one; and the troubled pursuit for the aesthetic means to claim an Indigenous heritage. As well as introducing the canonical artists and artworks of the Australian tradition, McLean assesses why certain artists have come to prominence, and why others have been neglected. In the process, he links the changing fortunes of artists to social and political developments both at home and abroad. With 170 superb illustrations, many in colour, this is essential reading for all interested in the history of Australian art.
'Any history of Australian art must be, at minimum, a double history: of art made by Indigenous artists since the Dreaming, and, since the eighteenth century, of the art of the colonizers. Double Nation tells the second part of this story with vigor and critical irreverence, rehearsing but also challenging the conventional landmarks of Australian art history. A fresh narrative emerges: more complex, more reflective, doubled.' - Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh, and author of Art to Come: Histories of Contemporary Art (2019)