Letter from James Otis, Jr. to James Otis, Sr., and portrait print of James Otis Jr., 1743 June 17

Letter from Otis in Boston to his father, James Otis Sr. on June 17, 1743. In the short, half-page letter, Otis asks his father for money to pay for expenses relating to Commencement including the printing of theses, shoes, buckles, and any entertainment. He mentions that he will share entertainment expenses with his classmate Lothrop Russell.

British mezzotinto portraits : being a descriptive catalogue of these engravings from the introduction of the art to the early part of the present century : arranged according to the engravers, the inscriptions given at full length, and the variations of state precisely set forth : accompanied by biographical notes, and appendix of a selection of the prices produced at public sales by some of the specimens, down to the present time /

Includes indexes.

Materīaly dli︠a︡ russkoĭ ikonografīi /

Mode of access: Internet.

Catalogue of engraved portraits of noted personages, principally connected with the history, literature, arts and genealogy of Great Britain. With brief biographical notes, and a topographical index ...

Mode of access: Internet.

Schmidt's Werke, oder, Beschreibendes Verzeichniss sämtlicher Kupferstiche und Radirungen welche der berühmte Künstler George Friedrich Schmidt, Königl Preuss. Hofkupferstecher, Mitglied der Königl. Academien zu Berlin, Paris, und der Kaiserlichen zu St. Petersburg von anno 1729 bis zu seinem Tode 1775 verfertigt hat /

Frontispiece portrait of Georg Friedrich Schmidt engraved by D. Berger after a design by Schmidt himself.

The unequalled collection of engraved portraits of Napoleon Bonaparte and his family and marshals, belonging to Hon. James T. Mitchell ... embracing the most important collection of portraits in mezzotinto, aquatint, line, and stipple; including many printed in colors, as well as choice proofs, also the extraordinary collection of caricatures on Napoleon by Cruikshank, Gillray, Rowlandson, and others. To be sold ... December 18 ... and ... December 19, 1908 ... Catalogue compiled and sale conducted by Stan V. Henkels. At the book auction rooms of Samuel T. Freeman & co. ...

Red cancel drawn through the portraits.

Wrapped fragments : Drapery, the eighteenth century portrait bust and the male subject

The depiction of drapery (generalised cloth as opposed to clothing) is a well-established convention of Neo-Classical sculpture and is often downplayed by art historians as of purely rhetorical value. It can be argued however that sculpted drapery has served a spectrum of expressive ends, the variety and complexity of which are well illustrated by a study of its use in portrait sculpture. For the Neo-Classical portrait bust, drapery had substantial iconographic and political meaning, signifying the new Enlightenment notions of masculine authority. Within the portrait bust, drapery also served highly strategic aesthetic purposes, alleviating the abruptness of the truncated format and the compromising visual consequences of the “cropped” body. With reference to Joseph Nollekens’ portraits of English statesman Charles James Fox and the author’s own sculptural practice, this paper analyses the Neo-Classical use of drapery to propose that rendered fabric, far from mere stylistic flourish, is a highly charged visual signifier with much scope for exploration in contemporary sculptural practice.

Unsettling portrait of family strife

Review of 'The Wishing Well', Queensland Theatre Company, published in The Australian, 30 March 2009.

Athletes series

The researcher was invited to photograph athletes in the lead-up to the 2006 Commonwealth Games held in Melbourne. She photographed four indigenous athletes, to produce a series of four large-scale cotton rag prints, 1 meter x 1 meter, printed onto photorag paper from digital files. “My photographic practice can be described as both political and spiritual, in the sense that as an Aboriginal Indigenous artist I take stock of the rationalising effect of the technologies I use, and create work that evokes nature and spirit. My methods often involve re-photographing or digitally re-working landscape photographs and adding historical or cultural icons of significance. Working with Indigenous athletes has been an honour and a pleasure. I admire the athletes’ passion and dedication to their chosen sport, and above all their humility, which seems a trait somewhat in contrast to what it takes to attain the highest levels of achievement. Indigenous athletes are wonderful role models for all Australians, and in making creative work that places their luminary presence with the land, I am aligning sportspeople with a deep sense of nature and spirit.” – Leah King-Smith. These works were commissioned by the National Portrait Gallery for the exhibition FLASH: Australian Athletes in Focus. The exhibition was a significant element in Melbourne2006 Festival, the cultural festival of the Commonwealth Games. The exhibition was prominently reviewed in Portrait: Magazine of Australian and International Portraiture and was subsequently remounted at Old Parliament House, Canberra (15 July to 12 November, 2006). One image was used for the front cover of Art Monthly, (March 2006).

Revolutionary self portrait

'Revolutionary Self Portrait' (2009) is a sculptural self-portrait. The work comprises a bust engulfed in hair and a scalloped pedestal stand. Historically, divine energy has frequently been depicted using fluid forms - drapery, clouds and occasionally hair. These forms and associations act as a departure point for this sculpture in which the figure is depicted in a state of inundation by billowing tufts hair. The work was also inspired by the tendency of great 19th century utopian thinkers - for example Marx, Bakunin and Kropotkin - to wear large beards. Within both traditions, the language of heroic subjectivity is amplified by a sculptural extension of the body. In 'Revolutionary Self Portrait' however, this extension threatens to suffocate the subject - a gesture made all the more ironic due to the fact that the artist himself is incapable of growing a beard. The work was selected for the National Artists' Self Portrait Prize, University of Queensland Art Museum, 2009.

Portrait of the artist as a feminist, practice-led researcher

Becoming a researcher, like any process of cultural initiation, is a complicated negotiation of processes and identity. While it is tempting to imagine that a researcher is just 'one who researches', the reality is far more complex and can be thought of as a journey rather than a sudden change of role. In practice-led research there is often a final and difficult assessment that needs to be made of that journey, and this requires the collation and integration of seemingly schizophrenic elements into one coherent body of findings. This paper attempts to outline the underlying “system of methods used in a particular area of study or activity” that have defined my research journey. It discusses the various elements that have informed and directed this enquiry, which include, but are not limited to: practice-led research, reflexivity, and post/academic writing, all underpinned by a feminist approach.