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y separately published work icon The Spectre of Truganini single work   criticism  
Issue Details: First known date: 1980... 1980 The Spectre of Truganini
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Notes

  • Boyer Lectures 1980. The five lectures were: 'The Ethical Roots of Culture'; 'The Mechanism of Forgetfulness'; 'The Concerned Conscience'; 'Black Voices'; 'A Cultural Conveyence?'.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Other Formats

  • Also sound recording.

Works about this Work

No Country for Old Men : Australian Art History’s Difficulty with Aboriginal Art Charles Green , 2023 single work criticism
— Appears in: Australian Historical Studies , vol. 54 no. 4 2023; (p. 606-624)

'The subject of this article is the absence of Aboriginal art during the period that established the idea of a distinctively Australian modern art. It is intended as a contribution to the historiography of modern and contemporary Australian art history. The period discussed is the two decades between 1962, when Bernard Smith published Australian Painting, 1788–1960, and 1988, the year of the Australian Bicentenary. The article explores what changed in these years when art historians, critics, and curators, albeit belatedly and reluctantly, finally began to acknowledge the great contemporary Aboriginal painting that had long been in many artists’ sights as inspiration and model, and in plain view on display in the so-called primitive cultures’ sections of state museums. It argues that this was because it did not seem part of the national story of art.' (Publication abstract) 

Finding Fault : Aborigines, Anthropologists, Popular Writers and Walkabout. Mitchell Rolls , 2010 single work criticism
— Appears in: Australian Cultural History , vol. 28 no. 2/3 2010; (p. 179-200)
'The popular middlebrow magazine Walkabout was published between 1934 and 1974. Its principle aim was to promote travel to and within Australia and to educate Australians about their continent. It aspired to be an Australian geographic magazine, and to this end it focussed on inland and remote Australia, and natural history. For this reason, and because it was published throughout a period, particularly in the early decades, when only those Aborigines living afar from populated regions were recognised as Aborigines, many of Walkabout's articles were about Aborigines or, more commonly, made mention of them. There are very few critiques of Walkabout, but those that do exist are critical of its portrayal of Aborigines. Notwithstanding that there are many reasons to find fault, it is possible to read this material in a more salutary light, even against the apparent intention of at least one of the contributors, Ernestine Hill. This article considers the work of a number of popular writers and two of the anthropologists who contributed to Walkabout, and finds reason to be less critical and more cautious in our assessment of their narrative representation of Aborigines than is generally allowed. The period of analysis is from 1934 to 1950.' (Editor's abstract)
Untitled S. Ryan , 1981 single work review
— Appears in: The Sydney Morning Herald , 14 March 1981; (p. 49)

— Review of The Spectre of Truganini Bernard Smith , 1980 single work criticism
Untitled C. Perkins , 1981 single work review
— Appears in: 24 Hours , vol. 6 no. 3 1981; (p. 78-79)

— Review of The Spectre of Truganini Bernard Smith , 1980 single work criticism
Untitled C. Perkins , 1981 single work review
— Appears in: 24 Hours , vol. 6 no. 3 1981; (p. 78-79)

— Review of The Spectre of Truganini Bernard Smith , 1980 single work criticism
Untitled S. Ryan , 1981 single work review
— Appears in: The Sydney Morning Herald , 14 March 1981; (p. 49)

— Review of The Spectre of Truganini Bernard Smith , 1980 single work criticism
Finding Fault : Aborigines, Anthropologists, Popular Writers and Walkabout. Mitchell Rolls , 2010 single work criticism
— Appears in: Australian Cultural History , vol. 28 no. 2/3 2010; (p. 179-200)
'The popular middlebrow magazine Walkabout was published between 1934 and 1974. Its principle aim was to promote travel to and within Australia and to educate Australians about their continent. It aspired to be an Australian geographic magazine, and to this end it focussed on inland and remote Australia, and natural history. For this reason, and because it was published throughout a period, particularly in the early decades, when only those Aborigines living afar from populated regions were recognised as Aborigines, many of Walkabout's articles were about Aborigines or, more commonly, made mention of them. There are very few critiques of Walkabout, but those that do exist are critical of its portrayal of Aborigines. Notwithstanding that there are many reasons to find fault, it is possible to read this material in a more salutary light, even against the apparent intention of at least one of the contributors, Ernestine Hill. This article considers the work of a number of popular writers and two of the anthropologists who contributed to Walkabout, and finds reason to be less critical and more cautious in our assessment of their narrative representation of Aborigines than is generally allowed. The period of analysis is from 1934 to 1950.' (Editor's abstract)
No Country for Old Men : Australian Art History’s Difficulty with Aboriginal Art Charles Green , 2023 single work criticism
— Appears in: Australian Historical Studies , vol. 54 no. 4 2023; (p. 606-624)

'The subject of this article is the absence of Aboriginal art during the period that established the idea of a distinctively Australian modern art. It is intended as a contribution to the historiography of modern and contemporary Australian art history. The period discussed is the two decades between 1962, when Bernard Smith published Australian Painting, 1788–1960, and 1988, the year of the Australian Bicentenary. The article explores what changed in these years when art historians, critics, and curators, albeit belatedly and reluctantly, finally began to acknowledge the great contemporary Aboriginal painting that had long been in many artists’ sights as inspiration and model, and in plain view on display in the so-called primitive cultures’ sections of state museums. It argues that this was because it did not seem part of the national story of art.' (Publication abstract) 

Last amended 21 Jan 2008 18:02:11
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