Contents:
The GoBetweens , captures a slumbering domesticity, and in turn proposes a connection between these two local 'identities' and ourselves.
Pictured is Grant McLennan reclining on a sofa with poetry book in hand. Robert Forster, who is sitting on the floor below, stares at the viewer, his sober expression doubled by a mirror.
"During my very first walk into the forest at Batchian, I had seen sitting on a leaf out of reach, an immense butterfly " - Alfred Russel Wallace. Our antecessowris that we suld of reide, / And hald in mynde thar nobille worthi deid, / We lat ourslide throu verray sleuthfulnes, / And castis us ever till uther.
During his lecture at the exhibition's opening, Chris McAuliffe suggested that in general, the encounter between artist and musician usually assists in 'eliminating prop and strut'; moreover, that it 'humanises and equalises' the sitter. Forster sits in Showpeople wearing a robe and gesturing in a flamboyant pose typical of his musical 'persona'. Flanked by small souvenir photographs of actress Lee Remick and poet Anne Sexton, he is perhaps mimicking their own poses—magnetised by the allure of these 'stars' as he airs his own taste.
Bringing the sitter closer to home, such images are signifiers that give perspective to our own fanatical appropriations. The pictorial symbols in 'The Go-Betweens paintings' seem to absorb some of the ambience generated by their domestic setting—the living room exhibition space at Pestorius Sweeney House. In a similar vein to 'Q Space Annex', a venue of the early s established by John Nixon and Robert MacPherson in Brisbane's Spring Hill, this architectural context resonates much of the 'do-it-yourself' aesthetic associated with experimental art in Australia since the late s.
Here Wallace presents The Fan , an image of the record collection belonging to the occupant of this house. Spread out on the living room floor as an open book of his favourites, we see Go-Betweens albums, in pristine condition, piled beside the record player. As a portrait of the individual dweller, the image offers an insight to his feelings of kinship with the musical identities, but more importantly with other devotees.
And although no figures are legible, it is also a portrait of the band members themselves, turning over their musical sanctuary to the private space of the listener.
Up close in This is how I think about you , McLennan's face dominates the canvas as if he has frozen while quickly turning to tell us something. A woman's figure leaving the scene, with suitcase in hand, urges us to consider her motive for doing so. This painting, like its title, is a lyric—a split-second that seems to linger, just as a portrait exists in a similar eternity.
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Samenvatting This is a cultural history of walking in nineteenth-century England, assessing its importance in literature and in culture. Re-reading Wordsworth in the context of contemporary changes in transportation, agriculture, and aesthetics, Anne Wallace articulates a previously unrecognized literary mode--peripatetic. Her discussions of eighteenth-century approaches to peripatetic and of John Clare's representations of walking as pastoral trace an itinerary through its varied uses in Victorian literature, notably in the work of Barrett Browning, Dickens, and Hardy.
Increasingly frequent disappointment of peripatetic expectations reflects growing doubt about the writer's and the reader's ability to counter the disconnective tendencies of technology. The book represents a major contribution to the ongoing debates regarding rural English literature in which the author demonstrates how a proper understanding of peripatetic significantly enriches our assessment of a text's standpoint on key issues, including industrialization, class, and mobility.
Toon meer Toon minder.
Recensie s unusual but interesting and useful book This is a lucid, substantial and enjoyable book, pioneering enough to provoke disagreement in many places Wallace's book helps us to see it as something more than locomotion and cautions us to read Amidst the babbling and squabbling that dominate our critical discourse, hers is an invigourating new voice. For allthis, we are indebted to Anne Wallace. Sticking to walking, Wallace begins by capturing our attention for this subject.
The book starts with a genuinely fascinating chapter on the history of travel in the seventeenth and eighteenth centuries.