Reform of the Federation White Paper, Federation, Australian Leaders’ Retreat, viewed 31 August 2015, This paper studies the aspect how Australian constitution established Australia’s system of government as Federalism has changed over century. It emphasizes the main factors of the transformation; along with the suggestions on how to bring back on track. Australian federal system were the fruit of discussion and peaceful evolution because of which we tend to take our federal system for granted and ignores periodic re-assessment which is affecting our economic and social wellbeing. Author also provides survey factors, examples and statistic value to strengthen his arguments on why reform of Federalism is mandatory. This article provides
His works range from small, vibrant watercolours to life-size sculptures in monochrome; however it is the latter which has won him fame, accolades, and the opportunity to represent Australia at the Venice Biennale – and as such it seems only logical to examine one of the works from his series of Jelutong wood sculptures – the most famous of which being Killing Time (2003-04, laminated Jelutong, Maple, 108 x 184 x 118 cm irreg.). The piece is effectively a still life in the style of Dutch masters such as Jan Treck, and early Australian marine paintings. Killing Time appropriates the traditional art form of still life by transferring the image from canvas to wood, and using personally resonating symbols instead of simply carefully placed, aesthetically pleasing objects. Swallow’s version of the still life is a table laden with strategically-placed drapery, fish, shells and fruit skins; and though these objects might seem typical of any sort of still life study, they bear significance for Swallow. He grew up in a small town by the sea in Victoria’s south, and often accompanied his father on fishing voyages.
Some of the artists using these techniques to create a new way of visualizing the world, were Edgar Degas, Claude Monet, and Pierre-Auguste Renoir. Each artist portrayed the modernization of the world around them, creating a record from their point of view. (Samu, 2004) Post Impressionism was established towards the end of the nineteenth century when a small group of independent artists rebelled against the limitations of Impressionism. This eclectic assembly of individuals had no unifying characteristics, except that each took an aspect of Impressionism and exaggerated it. The distinctive brush strokes and vivid colors found in Impressionism continued in Post Impressionisms art, but geometric forms, unnatural color, and a distorted form of expressive effect were emphasized.
Artists can be influenced by their experiences of the world and make artworks as a result. This is shown through Rauschenberg’s retroactive, and Monet’s Water-Lily pond. Both works reflect the work their artists live and breathe, along with the stylistic art movements, in addition the subject matter relates exceedingly to the artists environment. Monet practiced impressionism whilst Rauschenberg adopted Pop art and other developing art styles. Robert Rauschenberg was born in Port Arthur, Texas in 1925.
In addition, under Camille Pissarro's influence, Cézanne embarked on abandoning dark colors and the colors in his canvases grew much brighter. Impressionism is in use during this time, not only did his palette colors lighten but also so did the pressure he put on his paintings with his brush. During the Mature period (1878-1890) A run of Cézanne’s paintings of focused on mountains and gardens, a time period also sometimes known as the Constructive Period. Cézanne’s final period (1890-1905) included the work where he expressed the use of cubism. In cubist artwork, objects tend to be broken up, analyzed, and re-assembled
The Bulletin Debate was a nationwide debate between iconic bush poets Banjo Paterson and Henry Lawson depicting their views of the Australian outback. Lawson who became very popular with the Australian public during the time period had what was described as a more realistic and blunt view of the bush. Paterson on the other hand who has shaped Australia’s outlook on bush life had a more optimistic and heartfelt view of the nation’s countryside which has now become a major part of Australia’s identity. In the opening poem ‘Borderland’ by Lawson Paul Keating’s Eulogy entitled ‘Funeral Service of the Unknown Soldier’ that was delivered on Rememberance Day 1993 honours the memory of the Unknown Australian Soldier that was killed in World War One. Keating effectively
Australia, it is time for a new flag. We, as the people of Australia, need to change the flag of this beautiful nation, as it only represents the doctrines and aspects set by the British. Not only does the flag show that we are still apart of the British, but marginalises the many people of this land. Australia now being a fully self-governed country is blooming with multiculturalism and individualism, which is not shown on the flag. Why do we need a new flag?
Most art and sculpture took cues from nature, using forms that had been previously overlooked like insects and weeds. Even fae creatures of myth were included in the stylish curving lines of Art Nouveau. In contrast to this, Art Deco, represented by the statue to the right, came into vogue after world war one. The poverty and deprivation of the years of war gave way to the new wave of extravagance and opulence that simply defined the post war era. The movement swung from the 1920s until the start of world war two, and stands out with its streamlined and strong lines coupled with geomentric shapes.
Being influenced by the scientific findings about clouds of the nineteenth century, he did several experiments of various looking sky in his oil paintings (Fiero, 12). He was obsessed by the sky as well as the nature. His sketches express the tone, color, movement and atmosphere of the scenes represented with unrivalled force and truthfulness. The ideology of romantic era was to emphasize on personal view and emotion by taking inspiration from nature. They used to relate the human nature with the outside nature (Fiero, 9).
Storrier speaks about this theory: “My paintings don’t start with visual stimulation, it’s usually an intellectual idea with a poetic edge, then the idea goes searching for different totems to portray itself upon.” Storrier elaborates further that “The bottom line of my paintings is that they are trying to come up with totemic images about Australia. We don’t have many, for me the true totemic image of Australia is the horizon.” A totem is a natural object that is usually the emblem of a clan in a tribal group. Storrier’s totems are a natural object that he can apply his poetic idea to. We see from these quotes that the theory of Tim Storrier’s art is concerned with the idea of painting “totemic images” and that the paintings are trying to come up with totemic images about Australia. Storrier believes that the totemic image of Australia is the horizon.