del kathryn barton artwork analysis

National Portrait Gallery, Canberra Abagail/M So is Blazes story also Del Kathryn Bartons story, or is that too literal a reading? A man about town Her work is heavily influenced by reoccurring natural forms and patterns, representing, the specific shapes that have been successful in a variety of different applications. Following her return to Rubbos school, Cossington Smith starting producing work in a cutting-edge Post-Impressionistic style. Im going through changes Sheet: 63.6 x 92.7cm National Gallery of Victoria, Melbourne National Portrait Gallery, Canberra Adut Akech abeam Abbie/M He was among the group of people from across Victoria who were the first to join the settlement at Coranderrk, near Healesville, established by the Aboriginal Protection Board in 1863 following several years of petitioning by community leaders. For me, sculpture is the body. Sheet: 76.5 x 110.0 cm View Even If It Means The End Of You (2010) By Del Kathryn Barton; synthetic polymer paint, watercolour, gouache and ink on polyester canvas; 160.0 x 140.0 cm; Signed; Edition. A series of severed heads, dismembered bodies, tapestry fragments, spiders, bones, an orrery-like planetarium, pendulous objects stuck with needles, kitchen implements and the housebrought backmemories of my own childhood. Myffy Rigby, 'Spectrum Now ambassador and artist Del Kathryn Barton on how art saved her life', Spectrum, Sydney Morning Herald, 26 February 2016 Through the examination of diverse and sometimes unconventional ways of representing likeness, WHO ARE YOU will question what actually constitutes portraiture historically, today and into the future. Vincent Namatjira/Copyright Agency, Australia, Installation view of the exhibition WHO ARE YOU: Australian Portraiture at NGV Australia, Federation Square, Melbourne showing centre on the pedestal, Charles Summers Edmund FitzGibbon and Sarah FitzGibbon (1877); at left, Howard Arkleys Nick Cave (1999, below); at second left, Julie Dowlings Federation 1901-2001 series (2001, below and at second right, Julie Rraps Persona and shadow: Madonna (1984, below) Michael Alan Riley/Copyright Agency, 2022, Brook Andrew (Australian, b. Purchased, 1950 Kaylene Whiskey seamlessly combines references to daily life in Indulkana with popular culture. Is that how they truly see Australian identity? 2000 (10) 60.4 50.5cm (Julie 1990-2001) This portrait of him was shown in NADOC 86, which Wiradjuri / Kamilaroi artist Michael Riley described as the first exhibition where Aboriginal artists were dictating how they wanted to show images of their own people. Moffatts image of Gulpilil lazing at Bondi Beach might seem benignly tongue-in-cheek, but in fact makes an incisive reference to colonialism and the dispossession on which Australias supposedly egalitarian, laid-back lifestyle is based. Arguably the most interesting of several self-portraits of the artist, this painting was featured on the cover of the catalogue of the 1987 retrospective. Its about cutting racism down the centre. She was known by various names throughout her career although it is unclear how many husbands she had. He trained as a boxer at the Fitzroy Stars Gym from 1986 to 1991 and would do breakdance street performances throughout Melbourne during the 1980s and 1990s. Everything is welcome., I had a weak-at-the-knees, tingle-all-over moment when I saw Louise Bourgeois work for the first time about fifteen years ago in Los Angeles. 1975) portrait of Gary Foley is from a series featuring people of colour as outlaws of their post-apocalypse, drawn as if posters for fictional movies. (5) 60.2 50.5cm (Mollie 1940-1950) H ISTORY Joy Hester is known for her distinctive style of portraiture, charged with great emotion and dramatic feeling. Purchased, 1996 Earthenware Del Kathryn Barton Biography. Featuring more than two-hundred works by Australian artists including Patricia Piccinini, Atong Atem, Howard Arkley, Vincent Namatjira and Tracey Moffatt, and featuring sitters including Cate Blanchett, Albert Namatjira, Queen Elizabeth II, Eddie Mabo and David Gulpilil, the exhibition explores our inner worlds and outer selves, as well as issues of sociability, intimacy, isolation, celebrity and ordinariness. abloom She could also defend herself, and me. This is what my mother did as well, at great cost to herself. In this sense, an exhibition like WHO ARE YOU is important in helping to reshape social relations, helping to challenge hegemonic power differentials, which in turn affects our personal identity construction by reflecting on who we are and changing our point of view, so that we become more informed, and more empathetic, towards different cultures and different people. Inkjet print on paper, edition 1/5 I almost want to protect him from that experience, I suppose, she muses. abattoir/SM Frame: 119.0 x 135.0cm Photo: Marcus Bunyan, Installation view of the exhibition WHO ARE YOU: Australian Portraiture at NGV Australia, Federation Square, Melbourne Photo: Dr Marcus Bunyan and National Gallery of Victoria, Installation view of Del Kathryn Barton: The Highway is a Disco at the Ian Potter Centre: NGV Australia, 17 November 2017 12 March 2018 featuring a detail from the workin the face of cosmic odds(2016) abaft His father was a saddle maker and his mom stayed at home. If there was no audience the artwork or Del Kathryn Barton would have no success. National Gallery of Victoria, Melbourne The performance of gender isnt twisted, it moves straight past the iconic and into the parodic. Many early Australian colonists brought British-made miniatures with them, but increasing numbers of free settlers from the 1820s onwards soon created demand for miniatures by local, readily-available artists. Anna Josepha King 1972) Having a person so big as Hugo Weaving really brings the world closer to acknowledging the artwork. Rap takes outlines from work by Edvard Munch and incorporates a fractured photographic self-portrait. Like Bourgeois, she presents strange couplings of the animal and the human, that despite their de-formations always convey intimacy and warmth. 182 163cm. The person who created this figurine was aiming at the creating at expressing the health and fertility of a healthy woman. Photo: Marcus Bunyan, Lewis Morley (Hong Kong 125 Australia 2013, England 1945-1971, Australia from 1971) Ah Xian came to Australia from Beijing in 1989, having already gained some recognition and experience as an artist here. In the early 1980s Mike Parr embarked no his Self Portrait Project, exploring representation of the psychological self. The Clarkes were blamed immediately and the authorities offered rewards of 1000 each, alive or dead. 1955) In other words, learn from the mistakes of the past and dont let them repeat themselves in future identities! Oil on cardboard 2020 abjectness/SM The boys were exposed to crime and exploitation, and were seen as hardened and cheeky, yet Florence Fullers portrait is sensitive and nuanced. Copyright 2014 by Pearson Education, Inc. Susan Porter Benson, Stephen Brier, and Roy Rosenzweig Time limit is exhausted. University of North Floridas Coggin College of Business AA Wojak, Julie Rrap (Australian, b. 2002 Born blind, Geoffrey Gurrumul Yunupingu (1970-2017), was a talented musician with an extraordinary voice. Natural ochre and pigments on canvas (36 parts) Artist utilize scale to manipulate the dimensions of the artwork depict the relative size of objects. 1959, England 1989-2011, United States from 2011) Enamel paint on road sign (a-b) 53.1 x 24.8cm diameter (overall) acrylic, gouache, watercolour and ink on polyester canvas Their daughter was born in 1842. is the energy 3/10 Ada Whiting (Australian, 1859-1953) 1976) As the people at Coranderrk were officially forbidden from observing their traditional ceremonies, including corroborees, Beruk began recording his knowledge in drawings, utilising introduced methods and materials including paper, cardboard, and watercolour to preserve and communicate important stories and aspects of culture and spirituality. Her break-out modelling assignment came at the age of sixteen, when she walked the runway for Yves Saint Laurent at Paris Fashion Week 2016. I was thinking about the elemental, archetypal mother, whos not just a mother, shes seductress; shes murderess, shes epic mother, Barton explains. Philip Kotler National Portrait Gallery, Canberra Koiki (Eddie) Mabo (1937-1992), Torres Strait Islander man, initiated a legal case for native title against the State of Queensland in 1982. National Gallery of Victoria, Melbourne Papapetrou photographed her children fro most of her career, and explored a range of stereotypes that surround childhood. Abie/M 1969) National Gallery of Victoria, Melbourne JULIE EWINGTON is an independent writer, curator and broadcaster. Del Kathryn Bartons 2008 Archibald prizewinning painting, titled You are what is most beautiful about me, a self-portrait with Kell and Arella. abase/LGDSR Collection of the artist 2007 no other side A behind-the-scenes look at how the works of Louise Bourgeois, including her famous Spider were installed at Heide Museum. Del Kathryn Barton is an Australian painter best known for her whimsical depictions people and animals. On the one hand, his drawings and the artefacts he made functioned as a commodity and were sold as souvenirs to increasing numbers of tourists. Note thatFemme Maison and other artworks are encased in cells. Felton Bequest, 1936, Installation view of the exhibition WHO ARE YOU: Australian Portraiture at NGV Australia, Federation Square, Melbourne showing the work of Simon Obarzanek from his series 80 Faces (2002, below) acrylic, gouache, watercolour and ink on polyester canvas She took up land at Parkes in 1877 but continued touring regardless. A preoccupation with memory and time, human relationships, fear and its annihilation, sexuality and the erotic body, are all emphases of Bourgeois final works. Cotton remarried in 1944 and moved to her husbands property near Cowra, New South Wales. The National Gallery of Australia acknowledges the Ngunnawal and Ngambri peoples, the traditional custodians of the Canberra region, and recognises their continuous connection to culture, community and Country. Self portrait of pink planets 1th/tc I was born in the late 1950s to a mother who didnt really want to have children, to a mother who was already being beaten up by an abusive husband before she was even married, who lived on a remote, isolated farm in the middle of nowhere. Dupion silk and embroidery cotton acrylic, gouache, watercolour and ink on polyester canvas Nursing was one of the few options open to women wanting to serve in the First World War. Gelatin silver photograph But if you look beyond thepsychedelic aesthetic and decorative surfaces its just a conjuring trick, ritual representation as pseudo-spiritual experience. (8) 60.3 50.4cm (Ronnie 1970-1980) Synthetic polymer paint and ink on paper Installation view of the exhibition WHO ARE YOU: Australian Portraiture at NGV Australia, Federation Square, Melbourne showing at left, Alan Constables Green large format camera (2013, below); and at right Alan Constables Not titled (Black Mamiya large format camera) (2013, below) This striking affirmation of love is repeated at the trees apex. She has achieved this by pursuing her feelings surrounding sexuality and the human figure, and its relationship with the natural world. satellite fade-out, 2011 Ybonne Pettengell Bequest, 2014 Photo: Marcus Bunyan, Petrina Hicks (Australian, b. Once crystallized, it is maintained, modified, or even reshaped by social relations. Senior Art Director: Diane Lorenzo Text Designer: Candace Rowley Cover 62118 Purchase, Victorian Foundation for Living Australian Artists, 2021 (modern), Two-time Archibald prize-winner Del Kathryn Barton stands in front of, or fall again (2014) by Del Kathryn Barton, at the foot of your love (2017) by Del Kathryn Barton. Having grown up in Adelaide, she moved to London in 1991 and worked as publishing director for architectural magazine Blueprint and as a senior curator with the Design Council. From the My other lives series 2000 1969) The medieval period is sometimes perceived as a time of pagan superstition when the mysteries of nature and humanity were still full of wonder and darkness, and the unknown and unexplained were revered. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. Veronica Martin Donated through the Australian Governments Cultural Gifts Program Her most famous work, The babe is wise, is a portrait of the writer Jean Campbell, who had recently published a novel of the same name. Lou Klepac, Florence Fuller (Australian born South Africa, 1867-1946, Australia from 1868) Following her familys relocation from Forbes to Melbourne in the early 1940s, Dawson attended the private art school run by Harold Septimus Power. Fibre-tipped pen, gouache, watercolour and synthetic polymer paint on canvas Brush in hand, there is no mistaking A. D. Colquhouns occupation or the studio setting. Artwork- Students will analysis Barton's visual language, form, and composition. The exhibition opens by considering the connection between people and place, reflecting on the relationship between artists, sitters and the environment, as well as the personification of the natural world. In these moments there is an opening-up within the body, the mind, within all the senses an experience of recognition, relief and awe that informs ones deeper creative makeup. 2016 The Australian artist's. A report of one performance described how she convinced two men to fetch a leg of lamb from the butcher; she then made them think they were dogs and they ate it. Depicted on the cloak are seven important places, which her ancestors come from: Yorta Yorta Country, Trawlwoolway Country, Boonwurrung Country, Muttu Mutti Country and Wamba Wamba Country, as well as Tiperrary in Ideland, and Dunstable in Britain. Many share Bourgeois subjective focus and use the human body as a vehicle for self-expression, while for others her works formal precision and constant reinvention inspire. With more than 150 artists profiled, the Know My Name book celebrates art by women from across Australia. Possum pelts The exhibition comes at a time when, in the current global COVID environment, stories from home, about home, and the artists and identities who have shaped and continue to shape our nation are more compelling and important than ever. Self portrait Private collection, Melbourne Commissioned with funds provided by Marilyn Darling AC 2009 The Uprising The outlay of the painting itself replicates the structure of the cover of a magazine, centring the main figure in the middle however still managing space for the highlights of the world around. Photo: Marcus Bunyan, Installation view of the exhibition WHO ARE YOU: Australian Portraiture at NGV Australia, Federation Square, Melbourne showing at second left, Polly Borlands HM Queen Elizabeth II (2002, below); at second right, Atong Atems Adut (2015, below); and at right, Treahna Hamms Barmah Forest breastplate (2005) Edited Educational Psychology: Developing Learners This is it I turn violent. Showcasing the hauntingly beautiful collaboration between acclaimed artist Del Kathryn Barton, celebrated director Brendan Fletcher and award-winning visual effects house Method Studios, this milestone exhibition traces the interpretation of Oscar Wilde's 19th century classic through a sophisticated artistic lens. In Australia, the crisis support service Lifeline is 13 11 14. 1995, Australia from 2006) National Gallery of Victoria, Melbourne 1974) c. 1939 1968) William Barak at work on the drawing Ceremony at Coranderrk Jinks worked as an illustrator before turning to sculpture. Late Professor of History University of California, Berkeley Passive psychedelia? 60.4 50.5cm Her paintings contain the shapes and textures of the natural world beehives, water, spiderwebs, smooth-skinned trees, bubbles, worms, the night sky and yet they are otherworldly. From the Lauren series 2003 I am left with a heaviness of heart, dealing with the demons of the past that constantly lurk in the memory of childhood, that insistently impinge on the man I am today. Purchased, 2017. Architectural pens are applied directly on the paper so there is no going back. The self-reflection is a format that appears to grant the viewer the assurance of revelation and intimate access to the artists psyche. 94 1/2 78 7/10 in | 240 200 cm. National Gallery of Victoria, Melbourne Barton studied at the College of Fine Arts of the University of New South Wales. 2005 Two women The Movie Star (David Gulpilil) When she speaks of her late mother, Karen, she apologises for looking behind me in the studio, like theres a ghost or something. synthetic polymer paint, earth pigments, metallic paint and glitter on canvas 1964) Wojak painted Carden in the guise of Saint Acacius, an early Christian martyr, as he was someone who was working for the rights of others whilst at the same time suffering himself. National Gallery of Victoria, Melbourne Purchased, 2017. 122.0 94.0cm The beauty of the past for Bourgeois resided in the nurturing, repairing, fortifying and protective tendencies of her mother, which she aligned with the processes of stitching and assembling. (7) 60.3 50.4cm (Nan 1960-1970) Image: 114.5 x 80.5cm It has inspired my own work as I coutuon my journey in expanding my knowledge about the different forms, styles and people to help me shape my own artistic personality. National Portrait Gallery, Canberra Login Possum pelts Courtesy Cheim & Read and Hauser & Wirth 2017 245.0 270.0cm Politics and Culture in Recent America abler/E Inkjet print (from original tintype, wet plate collodion process) on archival paper, ed. He returned to England in the early 1840s, and lived there for the rest of his life, although he revisited America in 1869 and 1867. National Gallery of Victoria, Melbourne Yes I am a CRAZY fan. He appears to have stocked portraits of international celebrities (such as the conman Arthur Orton, aka The Tichborne Claimant) in addition to taking likenesses for local citizens. 9 parts, each 42 45cm Purdie has lived on her Country, Western Australias East Kimberley, all her life. Not titled (Box Brownie) 1916 Need assistance logging in? Karla Dickens/Copyright Agency, 2022. 1972) Purchased with funds provided by The Calvert-Jones Foundation 2020 Archibald prizewinning artist Del Kathryn Barton hopes her first feature film, Blaze, shows people how to help and listen to those who have been traumatised. Charles Denningtons portrait of Akech was originally taken for the December 2018 issue of Vogue Australia. Type C photograph on paper Purchased, 2002 abet/S This is sing blood-wings sing, a new work that will make its public debut at the Melbourne gallery this week. Self Portrait (non-objective composition) (yellow cross) She was mistaken. Image: 129.3 cm x 101.5cm (Wall text), Federation Square 1957) Bartons decorative, highly detailed paintings are known for their vibrant, figurative imagery combining traditional painting techniques with contemporary design and illustrative styles. The highly accomplished 44-year-old artist that Barton is today seems, on one level, a far cry from the girl who grew up in the Australian countryside with little access or exposure to fine art, and who suffered from terrifying and disorienting body-boundary confusions and sensory disorders. Photo: Marcus Bunyan. National Gallery of Victoria, Melbourne There he was given a box of paints and began to develop his talent as an artist. c. 1932 Essay. National Portrait Gallery, Canberra His work was also the subject of a major exhibitions staged by the National Portrait Gallery, London, in 1989-1990; and the Art Gallery of New South Wales in 2006. display: none !important; Born in Australia, they studied in Gdansk, Poland in the period of martial law, attaining a masters degree in fine arts in 1983. Photo: Marcus Bunyan. His application for permanent residency took many years to process, and he worked for a long time as a house painter. 2011 Please enter your ANGEL username and password. Works include Pat Larters Marty 1995, a graphic collage depicting a male sex worker, challenging the ease with which society consumes images of female nudity, and Naomi Hobsons Warrior without a weapon 2019, a photographic series in which the artist challenges stereotypes about Indigenous men from her home community in Coen, by using flowers as a metaphor for male vulnerability. An artwork can be an intimate glance into an artists soul, art is one of the most raw and personal ways of expressing one's emotions. It is widely understood that flowers symbolise female sexuality: their physical resemblance to womens genitalia is coupled with an associative significance in their blooming, which invokes the creation of new life in birth. 1996 Press release from the National Gallery of Victoria International, Installation view of the exhibition WHO ARE YOU: Australian Portraiture at NGV Australia, Federation Square, Melbourne showing at centre left, Bert Flugelmans self portrait (1985, below). Her work is hotly sought after internationally and, in Australia, she is probably best known for the rare achievement of having won the Archibald prize twice - no mean feat in a race where women have only won the award 12 times in close to 100 years. Employing gold leaf and a blue paint derived from lapis lazuli, the work is intended to evoke Byzantine icons and Italian Renaissance altarpieces. 177.6 x 165.0cm Polyester resin, fibreglass, silicone, polyurethane, aluminium, wire, steel, cotton, nylon, synthetic hair, plastic, metal Photo: Marcus Bunyan, Installation view of the exhibition WHO ARE YOU: Australian Portraiture at NGV Australia, Federation Square, Melbourne showing at left, Adelaide Perrys Rachel Roxburgh (1939, below); at second left, Joy Hesters Pauline McCarthy (1945, below) AA Wojak describes themselves as a cross-disciplinary artist working in performance, painting, assemblage, installation and theatre design, with a particular interest in site-specificity, ritual and altered states. David M. Scobey, Empire City: The Making and Meaning National Gallery of Victoria, Melbourne Gift of Mrs Violet Whiting, 1989, Ludwig Becker (Australian born Germany, 1808-1861) Gelatin silver photograph 1953) This page intentionally left blank Photo: Marcus Bunyan, Michael Cook (Australian / Bidjara, b. Photo: Marcus Bunyan, Shirley Purdie (Australian / Gija, b. A whole spectrum of colour bursts from the frame, but the pinks, blues and purples are what the mind remembers. Abidjan/M She soon became known for her psychedelic fantasy works which she has shown in solo and group exhibitions across Australia and overseas. Bodies flow from the ground, emerging as hot red lines of ink. Geoffrey Gurrumul Yunupingu 1915 3th/tc the Future of Teaching the Past Now the film is finished, Barton is undecided whether she will show it to her eccentric father, who is unwell. The Earl of Linlithgow Although his style and subject matter continued to transform, Gleeson was committed to Surrealism throughout his sixty-year career and unsettling, dreamlike imagery remained a consistent thread in his work. Sheet: 138.0 cm x 110.0cm Purchased, 1997 Collection of the artist Purchased 1999 Inkjet print on paper Louise Bourgeois Trust / Licensed by VAGA, New York / Viscopy, Sydney. Copyright 2015 Pearson Education, Inc., publishing as Marketing Management, Millenium Edition Photo: Dr Marcus Bunyan and National Gallery of Victoria, The film is split into sections titled MOTHER, FATHER, LIFE, DEATH and DAUGHTER. Purchased through the NGV Foundation with the assistance of Rupert Myer, Governor, 2001 2015 Vice President and Editorial Director: Jeffery W. Johnston Vice President and Publisher: Kevin Davis Editorial Assistant: Lauren Carlson Development Editor: Christina Robb Vice President, Director of Marketing: Margaret Waples Marketing Manager: Joanna Sabella Senior Managing Editor: Pamela D. Bennett Project Manager: Kerry Rubadue Senior Operations Supervisor: Matthew Ottenweller Oil on cardboard the artist desperately wants the viewer to be drawn into an intimate embrace with the supposed psychological and spiritual meanings of the work, the lack of emotional, sensual or erotic sensation negates any feeling towards it. Gift of Malcolm Robertson in memory of William Thomas Robertson 2018 And in the end the central question who are you is unknowable, unanswerable in any definitive way for it all depends on your ancestry, and from what point of view you are looking and in what context and these conditions can change from minute to minute, day to day, and era to era. The recycling of her garments, collected textiles and tapestry fragments intensifies her works expression of self-portraiture, and the profound personal experiences that defined her life and art. So that we do not exclude other people and other points of view. Educational Psychology: Developing Learners, Eighth Edition, by Jeanne Ellis Ormrod. By the mid-1880s she was in New South Wales again, performing with her daughter, Zel the Magnetic Lady, and advertising her range of remedies for conditions such as gout, rheumatism and neuralgia. Purchased with funds arranged by Loti Smorgon for Contemporary Australian Photography, 2002 6th/pt Artist and conservationist Rachel Roxburgh studies there and, like Perry, exhibited with the Society of Artists, the Contemporary Group and at the Macquarie Galleries in the 1930s. Polixeni Papapetrous Magma Man, a photograph which merges sitter and landscape until the two are almost indecipherable, and Shirley Purdies multi-panelled evocation of biography and Country further challenge the conventions of the genre and touch upon the intimate connection between artist, sitter and land.      Clarissa Harlowe Barton was born December 25, 1821, in North Oxford, Massachusetts. She is seated to one side of a 10m-long, five-panel series of paintings, each containing an image of a dragon and a girl entwined together, swirling patterns of dots and waves engulfing them. Highlight works include a conceptual map depicting self and Country by Wawiriya Burton, Ngayaku Ngura (My Country) 2009, as well as the NGVs recent acquisition Seven Sisters Song 2021 by Kaylene Whiskey, a painted road sign that is filled with personally significant, autobiographical references to pop culture. Lisa Rinaldi Adut Akech (installation view) Pigment print on paper edition 6/8 Like many of Bartons paintings, its human and animal figures are almost inextricable. The first Indigenous Director of the Aboriginal Arts Board, he was Senior Curator for Southeastern Australia at Museum Victoria from 2001 to 2005. Evelyn Chapman (Australian, 1888-1961) abashment/MS Del Kathryn Barton's self-portrait depicts her with her son and daughter, Kell and Arella. This portrait of Dr House forms part of the suite, and like Barangaroo, her resilience, cultural authority and fiercely held connection to place continues to inspire many contemporary First Nations women. The final section of the exhibition interrogates Australian icons, identities and how we construct them. Abby/M The sitting Lowry was required to do, it restricted what she could with her limited. National Gallery of Victoria, Melbourne Christian Thompson (Australian / Bidjara, b. Delhi Mexico City So Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Yes I am a CRAZY fan. The work operates as a metaphor for Australia as a society divided on issues concerning race relations. ~ Brook Andrew, 2005, Mike Parr (Australian, b. c. 1926-1927 Some pay direct homage to Bourgeois work or consider similar themes, while the connection of others registers more instinctually, on the level of a shared psychological intensity. Although images of women at their toilette have been recently depicted by both male and female Australian artists, it is unusual for men to be shown or to show themselves in this context. 3/10 Photo: Dr Marcus Bunyan and National Gallery of Victoria, Del Kathryn Barton(Australian, b.
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