RGB Wattle Park chalet

New technologies have arguably displaced the hegemony of painting within the hierarchies of contemporary art. Projectors and other digital imaging technologies in particular continue to expand the contemporary artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting - the practice of smearing coloured mud about - far from being superseded, simply continues to cannibalise these powerful technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting tends to create a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course 'easel' painting practices persist not only to critique new technologies. Rather new technologies inevitably fold back into the now souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display.

Painting equality : female artists as cultural entrepreneurial marketers

Purpose – There is growing interest by marketers in historical accounts that paint early female artists as entrepreneurial marketers. The purpose of this paper is to challenge the traditional view of entrepreneurship to incorporate a feminist theory of cultural entrepreneurship by considering the role of two female artists.
Design/methodology/approach – Using calls for historical research and new methods of enquiry in marketing, this paper traces early female artists and applies modern entrepreneurial theory to their marketing methods to identify their innovation, adaptability to change and planned marketing approach.
Findings – The paper suggests that entrepreneurial marketing is fused with the artists’ persona resulting in their celebrated status being widely recognised. It contributes an important fresh body of knowledge to the wider entrepreneurship debate by offering a new model of cultural entrepreneurial marketing. The three concepts of innovation, adaptability and marketing approach have not previously been applied to link women artists as entrepreneurs, however, this article argues that there is plenty of evidence to do so.
Research limitations/implications – While these artists are Australian (which could be seen to be a limitation), the art market is indeed international. In this respect, these artists join a longer international history as producers and consumers involved in entrepreneurial organisations from early days.
Originality/value – The artists’ significance falls within the context of emerging modernism, feminism and cultural identity during the 1920s and 1930s in Sydney, Australia. It is combined with and explains the actions and the success of two female artists’ unusual marketing approach. It is of value to readers interested in historical context regarding equality in the visual arts.

Deborah Walker : recent painting

Artworks exhibited : Life 2008 - BKK 2008 - The Oracle 2008 - The Revolution 2008 - The Little Dog 2008 - Modern 2008 - The Unifier 2008 - Love 2008 - Mother 2008 - Shiva 2008 - Homage 2008 - The Beauty 2008 - Apollo 2008 - Troy 2008 - Suvarnabhumi (the plane) 2008 - Uncle Basil 2008 - The Daughter 2008 - Gods of War 2008 - The Trojans 2008 - Le Grand pere 2008 - Albert -  I Remember The Beach 2007 - I Remember The Beach II - My Cosmic Lady 2008 - On The Avenue - Space Pervades a Jar Drawings : Cyberman - Minatour - Fishlady - Italy - Kaspar - Madonna - Red Vessel - Ganesa - Cowboys - Sun - Fire Engine - Kneeling Woman - Blowing Bubbles - Bridge and Horse and Cloud - Kasper Hauser - Eyeball and Watering Can - Red Head - Bombay - Blue Eyes and monkey God - Blue Girl With Buddha

Nanostructure and hydrogen bonding in interpolyelectrolyte complexes of poly(ε-caprolactone)-block-poly(2-vinyl pyridine) and poly(acrylic acid)

Nanostructured poly(ε-caprolactone)-block-poly(2-vinyl pyridine) (PCL-b-P2VP)/poly(acrylic acid) (PAA) interpolyelectrolyte complexes (IPECs) were prepared by casting from THF/ethanol solution. The morphological behaviour of this amphiphilic block copolymer/polyelectrolyte complexes with respect to the composition was investigated in a solvent mixture. The phase behaviour, specific interactions and morphology were investigated using differential scanning calorimetry (DSC), Fourier transform infrared (FTIR) spectroscopy, optical microscopy (OM), dynamic light scattering (DLS) and atomic force microscopy (AFM). Micelle formation occurred due to the aggregation of hydrogen bonded P2VP block and polyelectrolyte (PAA) from non-interacted PCL blocks. It was observed that the hydrodynamic diameter (D_h) of the micelles in solution decreased with increasing PAA content up to 40 wt%. After 50 wt% PAA content, D_h again increased. The micelle formation in PCL-b-P2VP/PAA IPECs was due to the strong intermolecular hydrogen bonding between PAA homopolymer units and P2VP blocks of the block copolymer. The penetration of PAA homopolymers into the shell of the PCL-b-P2VP block copolymer micelles resulted in the folding of the P2VP chains, which in turn reduced the hydrodynamic size of the micelles. After the saturation of the shell with PAA homopolymers, the size of the micelles increased due to the absorption of added PAA onto the surface of the micelles.

Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.

Painting that moves : digital realism and the single moving image

Explores space and object relations in a digital 3-D animation production, "Moving-Image". The exegesis examines these relations through an analysis of pictorial realism in painting. The illusion of three dimensional forms in the space of the computer screen is contextualised by investigation of the work's underlying digital conditions.

Photography towards painting : the techniques of large contact negatives

Investigates the relationship between painting and photography, with a special focus on techniques using large contact negatives and digital applications. The thesis is comprised of a written exegesis that contextualises and informs upon an exhibition of photographic and digital inkjet montages. It discusses the theoretical and structural issues underpinning the conceptual basis of the research and elaborates upon the applications and processes involved in producing each exhibited image.

L. Bernard Hall and the feminine in Australian painting 1885-1935

This thesis draws on images to explore the processes by which an individual - Lindsay Bernard Hall - and a categorical concept - the feminine - became devalued in Australia's national tradition. It celebrates Hall's contribution to Australia's cultural heritage and the significance of his art in the visual record of modernising womanhood.

The interpretation of nature as spiritual content in painting

Investigates the interpretation of spiritual content in painting. Pt. 1 defines aspects of spirituality and explores the authors concerns of despiritualization. Pt. 2 parallels concerns with the Romantic movement & explores the notion of the sublime in relation to spiritual interpretation. Pt. 3 links the documented research to the body of studio work. The printings and drawings explore the authors concerns through the visual expression of concepts which suggest nature as a spiritual source.

The place

The place is a solo exhibition of acrylic paitings by painter John Forrest, which  represents a story of the place of his childhood in Werribee South in the 1950s. The exhibition featured approximately 80 paintings, including Darker than water, Prayer bridge, Campbells Cove, Good trick Caesar, Goodbye Pete, and Dog days.

Boron nitride nanotube films grown from boron ink painting

The growth of nanotube films can have important applications in building nanoscale functional devices or solving interfacial and heat problems. We report that high-density boron nitride nanotube (BNNT) films with any desired pattern can be grown on complicated surfaces using a boron (B) ink process. The special B ink, a mixture of nanosized B particles, metal nitrate and ethanol, is first painted, sprayed or inkjet printed at the desired location with required pattern, and then the ink layer is annealed in a nitrogen-containing atmosphere to form BNNT film. This is the first method capable of growing BNNTs on complex non-flat surfaces, which greatly broadens the potential application of BNNTs. For example, it is demonstrated here that a BNNT coated steel mesh can separate water and oil on a microlitre scale; a needle given an internal BNNT coating could greatly enhance microfluidic transport; and a coated screw could be used to minimize wear at the interface.