The Development Of New Zealand Art From The 20th Century

Artists interact with the events and issues of their time and place and this is shown with Australian artist Brett Whiteley’s artwork series called “the Christie series”. Some of Whiteley’s artworks include “Head of Christie”, “Christie and Hectoria McLennan”, “10 Rillington Place” and “Christie and Kathleen Maloney”.

Though the start of the modernisation may trace back to the beginning of Industrial Revolution. “Modernism in the design world did not exist in a fully developed form, until well after First World War.” (Wilk, 2006) Causing the great loss of lives and other countless damage to the world, it reshaped many people’s way of thinking the world. With the inspiration of early avant-garde movement, the modernism began to emerge advocating an utopian future and shared certain core principles by various styles of modernists: rejecting the past and applied ornament; forms follow function, a preference for

Despite a brief lifespan between 1885-1903, the Heidelberg School or, more formally, the Australian impressionism movement (Splatt and McLellan 1986, 1), significantly aided in defining the role of landscape in Australian art (McCaughey 1979, 7). The Heidelberg School’s establishment of a unique national identity, use of techniques such as plein-airism and Impressionism, accurate portrayal of the Australian Landscape, and incorporation of the rural mythology, “…shaped the Australian vision…” and tied landscape to the white Australian identity (McCaughey 1979, 6-9 : Astbury 1985, 1). Arthur Streeton's Golden Summer, Eaglemont (1889) and Blossoms, Box Hill (1890) as well as Frederick McCubbin’s On the wallaby track (1896) and Bush Study (1902)

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

Apparent in his works are themes such as racism, identity and culture that references the artist’s own backgrounds and experiences. Ah Kee draws on his own experiences of being and aboriginal Australian in the contemporary life in Australia.

All Artist are influenced by their experience of the world, their personal and cultural beginings and stories. The history and life experience of an artist flows though their work influencing their symbols, style and meaning. Frida Khalo and Gordon Bennett are rich of example this, their art is filled with strong connection to their cultural and personal backgrounds. Khalo had a troubled life of pain and loss; the story is woven through her paintings, where Bennett art is a comment on Australian cultura and the story of his people, not just himself. The art working Diego and I (1946) and Self portrait -But I always wanted to be one of the good guys (1990) are great examples of these artist drawing on their pass.

2. He does the painting and printmaking art. And hid style is urban indigenous art.

In Namatjira by Scott Rankin, with Trevor Jamieson and Derik Lynch Published with Ngapartji Ngapartji Namatjira was Australia’s most famous Indigenous, watercolour artist and the first to achieve commercial success, but his story is hardly known.

Aboriginal art in Australia is both beautiful and meaningful. According to Perkins, Hetti and West (2007) Aboriginal art allows for reconciliation of the events of the past two centuries’ that is used as inspiration for their work. Whilst researching the Indigenous cultural heritage of Mount Barker, Western Australia I came across a well know Noongar artist from the region, Charlie Colbung. Colbung was born in Mount Barker in 1970 and still resides in the South West region where he is an Indigenous health worker as well as an Indigenous programs officer for the Great Southern TAFE (Design and Art Australia, n.d.). There are two prominent themes in Aboriginal art consisting of both country such as the land and kinship, the people (Perkins, Hetti

Sonny Assu was raised by his grandparents in North Delta, British Columbia. He is an interdisciplinary artist known for painting, printmaking, installation art, and sculpture. It was not until he was eight years old that he found out about his Kwakawaka’waka heritage. Sonny Assustarted his education at Kwantlen College for

The artist John Lythe Wilson I was suggested to look at and also an artist I believe can help me elevate my artwork and bring it to a level of appreciation throughout many perspectives. Wilson is an artist from Rock Hill, SC and did the bulk of his schooling in

"Reid, then, had struggled to be modern. In this he was not alone. Across North America, Native Artists-Alex Javier, Allen Houser and Norval Morrisseau amongst them-were working towards a modern lingua franca while remaining loyal to their cultures (Townsend-Gault, 229)". Currently I include, as a way of reclamation, learning traditional Mi'kmaw art and sacred teachings, but have never actually appeared in my art practice, in relation to these artists, it's a different narrative. Since the time of the contact and throughout the modern era, aboriginal art was considered primitive to the eyes of those ignorant to indigenous

Brown, Deidre. 2009. Maori architecture : from fale to wharenui and beyond. Rosedale, N.Z: Penguin.

The Maori, “Children of Heaven”, are the indigenous people of New Zealand. It has been thought that Polynesian navigator Kupe, discovered New Zealand in 950 AD, and named the island Aotearoa, “Land of the long white cloud”.1 The Maori migrated to New Zealand from the tropical islands of

Wall speaks about four main Maori stereotypes within the Media; The Comic Other, The Primitive Natural Athlete, The Radical Political Activist, and The Quintessential Maori. These are shown in fairly modern contexts as well as earlier contexts.