Catalogue of a collection of oil paintings and water-color drawings by American and European artists, and of Oriental art objects, belonging to T. E. Waggaman.

Mode of access: Internet.

Through the American landscape,

Map on lining-papers.

The Old masters : one hundred examples of their work chosen from European galleries and reproduced in colour, with notes on the pictures.

Titles in red and black.

View of Geelong: ruin and viewin', transpanorama

Eugene von Guerard’s View of Geelong is iconic for a number of reasons, including its detailed interpretation of the landscape and its special place in the imagining of the region. Bishop and Reis seek to honour this by manipulating the science behind the view and at the same time question the viewer’s relationship to the scene and the work. We use the husk of a ruined fireplace to house a camera obscura and stereoscope – pressed concaved metal into which the viewer puts their head and looks through a divided hole into the unit. The camera obscura mimics the mechanics of the eye, and is able to capture the scene perfectly while the stereoscope splits the scene, makes it partial, layered and temporal. In doing this we layer von Guerard’s view with change, acknowledging the effects of European civilization and, peculiar to this historical panorama, suburbanization of the landscape. The creeping suburbs will be seen on the left side of the stereoscope through a camera obscura, which presents a real-time view of the scene from the point at which von Guerard allegedly painted it. On the right side, we again catch the light, but only to light a transparency of von Guerard’s original work. The technologies we draw upon – the camera obscura, stereoscope and landscape painting – create a confluence of images, both real and imagined.

View of Geelong: ruin and viewin', transpanorama

Public Art installation by Cam Bishop and Simon Reis. Eugene von Guerard’s View of Geelong is iconic for a number of reasons, including its detailed interpretation of the landscape and its special place in the imagining of the region. Bishop and Reis seek to honour this by manipulating the science behind the view and at the same time question the viewer’s relationship to the scene and the work. We use the husk of a ruined fireplace to house a camera obscura and stereoscope – pressed concaved metal into which the viewer puts their head and looks through a divided hole into the unit. The camera obscura mimics the mechanics of the eye, and is able to capture the scene perfectly while the stereoscope splits the scene, makes it partial, layered and temporal. In doing this we layer von Guerard’s view with change, acknowledging the effects of European civilization and, peculiar to this historical panorama, suburbanization of the landscape. The creeping suburbs will be seen on the left side of the stereoscope through a camera obscura, which presents a real-time view of the scene from the point at which von Guerard allegedly painted it. On the right side, we again catch the light, but only to light a transparency of von Guerard’s original work. The technologies we draw upon – the camera obscura, stereoscope and landscape painting – create a confluence of images, both real and imagined. The iconic View of Geelong Painting can be seen at the Geelong Gallery.

ME and Julie:a study in narrative of illness experience and therapy in a Myalgic Encephalomyelitis sufferer

This article uses what Atkinson and Walmsley (1997) refer to as an ‘autobiographical account’ to explore the themes and relationships between narrative, illness experience and therapy in a Myalgic Encephalomyelitis (ME) sufferer. Julie is a chronic ME sufferer, having lived with ME for the past 12 years. Her life-story over those years, as she presents it, casts our attention to the intrinsically personal nature of her ‘illness experience’ and to her distinctively artistic therapeutic responses to her condition. Julie’s autobiographical narrative reveals how ME has penetrated both her body and her sense of self, her limbs as well as her dreams; as though it were a parasite feeding off her fight to regain health. In terms of narrative, Julie’s ME illness progresses from past to present, but never to the future which lies beyond contemplation. Despite this denial of the future, Julie does think of ME as a liminal phase which is to be coped through. As both spatial object and temporal event, Julie conceptualises her ME variously, dealing with it on a day-to-day basis, increasingly turning to landscape painting as a form of escapism which parallels her former physical outward bound activities. This personal therapy, so this article concludes, constitutes both narrative performance and narrative text (as canvas), both of which can only cautiously be independently interpreted by the (inter)viewer.

Nature et paysage dans la littérature artistique et dévotionnelle à l'époque de la Contre-Réforme

À l’aide des écrits d’humanistes chrétiens, ayant exercé un contrôle sur la pratique des arts après le Concile de Trente, nous tenterons d’expliquer le développement du genre paysager en peinture. Le cardinal Federico Borromeo, Louis Richeôme ainsi que Jean Calvin figurent parmi les théologiens qui ont contribué à cette littérature chrétienne influente. Nous nous servirons surtout de l’historiographie récente afin de prouver le rôle essentiel joué par la pensée chrétienne dans le développement de la représentation de la nature en art. Prenant appui sur certaines études importantes, nous analyserons des exemples tant picturaux qu’architecturaux qui reflètent cette influence chrétienne sur la perception de la nature. Au préalable, nous tenterons de dresser un portrait de l’environnement culturel et religieux dans lequel ces humanistes chrétiens ont vécu et développé leur pensée. Notre objectif sera de prouver que l’humanisme chrétien a joué un rôle important pour l’essor du paysage à l’époque de la Contre-Réforme. Les sources contemporaines ainsi que leur interprétation par les historiens et les historiens d’art modernes permettront de mieux comprendre le rôle joué par la pensée chrétienne au sein de ce développement artistique.

Girona, capital europea del paisatge

Resum de la V Trobada dels tallers per a l’aplicació del Conveni europeu del paisatge, què va tenir lloc a Girona al setembre de 2006

Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.

House for Heraclitus

Notions of Australian identity are still being constructed. In landscape painting, problematic differences of possession, ownership, spirituality and ethnicity are frequently highlighted against perceptions of what landscape looks like and how we might begin to imagine our relationships to where we live. This thesis has explored strategies employed in landscape construction. It has involved establishing connections between landscape painting and alternate disciplines that investigate landscape values, many of which aspire to the successful habitation of our environments into the future.

YGR Fontainebleau

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as a by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.