Please use this identifier to cite or link to this item: http://hdl.handle.net/2440/40781
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dc.contributor.authorSpeck, C.en
dc.date.issued2002en
dc.identifier.citationArt Association Conference, 2002, 6-7 December, Art Gallery of New South Wales, Sydney, Australia . Art Association of Australia and New Zealand Conference (2003 : Sydney, New South Wales)en
dc.identifier.urihttp://hdl.handle.net/2440/40781-
dc.description.abstractMargaret Preston has not fared well in writings on Australian art after the Aboriginal Art revolution. She is an easy focus for claims of appropriation, which in one sense are true, but in another sense are a ‘red herring’ for her art, which was attempting to bridge the Indigenous/non Indigenous gap. This paper will explore her landscape works of the 1940s, produced as monotypes, and the following will be explored: Are these works merely another example of the ‘unlearning’ that abstract expressionists, for instance, engaged in, or is it possible to read them through the linguistic lens of W.J.T. Mitchell as a template for seeing and a medium of cultural expression?en
dc.description.statementofresponsibilityCatherine Specken
dc.description.urihttp://www.artgallery.nsw.gov.au/aaanz_2002/abstracts_menu/aust_art_after_aborig_art_revolutionen
dc.language.isoenen
dc.titleMargaret Preston’s Monotypes: Looking Through The Landscapeen
dc.typeConference paperen
dc.identifier.rmid0020074833en
dc.contributor.conferenceArt Association of Australia and New Zealand Conference (2003 : Sydney, New South Wales)en
dc.identifier.pubid46103-
pubs.library.collectionHistory publicationsen
pubs.verification-statusVerifieden
pubs.publication-statusPublisheden
dc.identifier.orcidSpeck, C. [0000-0002-1920-2759]en
Appears in Collections:History publications

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