ANZJA Volume 19 Issue 1 2019

Volume 19, Issue 1, 2019

Open Issue

Michaela Bear explores the complex production processes, historical precedents and cross-cultural perspectives informing Lisa Reihana’s moving image work in Pursuit of Venus [infected]; Stefan Popescu and Aleksandr Andrews Wansbrough analyse the various media and familial transgressions enacted in Huck Botko’s abject Dessertumentary series; Catherine De Lorenzo situates the art historical importance of Ar_atjara, an exhibition held in Düsseldorf in 1993 of traditional and contemporary Aboriginal and Torre Strait Islander art, predominantly initiated and directed by Aboriginal people; Tara McDowell undertakes a spatial and temporal leap, formally analysing and providing art historical context for John Baldessari’s Punishment Pieces enacted by surrogates in university contexts in 1971 and 2017; Margot Osbourne addresses the financial and social conditions that informed the collection of mid-century British art by Sir Kenneth Clark for the Art Gallery of South Australia; Klem James asserts a paradox at play in the later work of Salvador Dali between sublimation, spirituality and the erotic; Raymond Spiteri employs dissensus as a framework to further elucidate the relationship between surrealism and modernism; Plus reviews.

Salvador Dali, Leda Atomica, preparatory drawing from 50 Secrets of Magic Craftsmanship. New York: Dial Press, 1948. © Salvador Dali, Fundació Gala-Salvador Dali/VEGAP. Copyright Agency, 2019

The Australian and New Zealand Journal of Art is published by the Art Association of Australia and New Zealand and is editorially hosted by the Centre of Visual Art (CoVA) at the University of Melbourne. It is published in hard copy and online by Taylor and Francis. AAANZ is Australia’s professional body for art and design historians, arts writers, artists, students of art history and theory, and museum professionals. The Journal is Australasia’s principal refereed art history journal and is dedicated to the study of art history and its various emanations including art practice, theory and exhibition.

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