345
11
Not just a pretty picture: art as ecological communication Catriona Moore
Abstract Indigenous art and the western landscape tradition form ongoing influences on Australian eco-art. A majority of Australians now acknowledge that reconciliation and environmental sustainability are related issues. At the same time, western conventions of the sublime and the picturesque landscape have remained effective campaign materials. While historical tensions between Indigenous stewardship and a culturally abject, sublime ‘wildness’ still sporadically reappear in the economic and political arenas, on the whole, these two powerful visions of the landscape have jogged along together for thirty or so years of environmental struggle. This paper traces a brief history of how the western landscape tradition has been modified by Indigenous concepts of country. It then opens the discussion to current projects that combine traditional and inter-disciplinary knowledge within a speculative framework of ecological aesthetics.
Introduction In 1963, Yolngu elders petitioned the Menzies government against the alienation of traditional lands for bauxite mining at Yirrkala in the Northern Territory. The bi-lingual petition was bordered by a painted summation of Indigenous law: landscape features and clan designs specifying ownership and responsibilities for country, one Yirritja and
346
the other Dhuwa, on two pieces of stretched stringy-bark.1 This now famous ‘bark petition’ offered non-Indigenous people a rare opportunity to understand the creation and maintenance of the region, with its complex relations of Indigenous ownership, custodianship and obligation. Tragically, we ignored this opportunity to understand a comprehensive, deep knowledge of the environment that had kept it in a productive balance for millennia. A decade later, equally traditional, picturesque views of Lake Pedder in Tasmania’s south west were reproduced as campaign materials to save the lake from being flooded for hydro-electricity. They illustrated a pristine wilderness, by definition a veritable ‘terra nullius’ in danger of being irretrievably lost through unwanted state development. These visual ‘petitions’ were politically unsuccessful in the short term, and differed on questions of ownership, habitation and wilderness. Nonetheless, Indigenous art and the western landscape tradition form ongoing influences on Australian eco-art. Indigenous art has helped to win hearts, minds and a fair share of battles for Native Title and environmental justice. A majority of Australians now acknowledge that reconciliation and environmental sustainability are related issues. At the same time, western conventions of the sublime and the picturesque landscape have remained effective campaign materials. Hardly an election goes by without sighting comparisons made between lush, dripping rainforest and blackened clear-fell.2 Moreover, the historical tensions between Indigenous stewardship and western ideas of a culturally abject, sublime ‘wildness’ still sporadically reappear in economic and political arenas, as in the 2007 tussle between Cape York greenies, traditional owners and the local Indigenous cattle industry.3 On the whole, however, these two powerful visions of the landscape have jogged along together for around thirty years of environmental struggle. 1 See Attwood B, Rights for Aborigines, Allen & Unwin, 2003, pp. 215–236; and Mundine D, ‘Saltwater’, Saltwater: Yirrkala bark paintings of sea country, exhibition catalogue, Buku-Larrngay Mulka Centre & Jennifer Isaacs Publishing, 1999, pp. 20–27. 2 As commented by Felicity Wade, ‘Who’s going to save me?’, Photofile no. 76, Summer 2006, p. 62. 3 ‘Australian Story’, Australian Broadcasting Corporation, 28 May 2007. See also Pearson N, ‘The Ideal Equilibrium’, The Weekend Australian 9–10th June, 2007, p. 21.
34
7
As
a cr
itica
l te
rm,
‘eco-
art’
only
gain
ed c
urre
ncy
from
the
199
0s t
o hi
ghlig
ht th
e en
viro
nmen
tal a
war
enes
s or a
ctiv
ist b
ase
of d
iver
se p
rojec
ts
that
pr
iorit
ised
proc
ess
and
conc
ept
and
com
bine
d so
cial
and
envi
ronm
enta
l en
gage
men
t. Cr
itica
l ca
tego
ries,
like
cere
mon
ial
art,
envi
ronm
enta
l art,
con
cept
ual a
rt, f
emin
ist a
rt, s
ite-s
peci
fic in
stall
atio
n,
perf
orm
ance
an
d co
mm
unity
ar
ts
have
de
signa
ted
art
wor
king
in
co
njun
ctio
n w
ith p
ostm
oder
n cu
ltura
l th
eorie
s, In
dige
nous
law
, ou
r co
loni
al hi
stor
y, en
viro
nmen
tal
scien
ce a
nd g
rass
-root
s po
litics
. Th
is in
terd
iscip
linar
y ap
proa
ch
has
brou
ght
abou
t a
mov
e to
lo
oser
, as
socia
tioni
st m
odes
of
wor
king
in
galle
ries,
publ
ic ar
t pr
ojec
ts a
nd
polit
ical a
ctio
ns to
mak
e ar
t ‘m
ake
a di
ffere
nce’.
The
wes
tern
land
scap
e tra
ditio
n
From
the
lat
e 19
60s,
fem
inist
and
con
cept
ual
artis
ts e
mbr
aced
the
na
tura
l env
ironm
ent
thro
ugh
hum
blin
g ge
stur
es o
f re
conc
iliat
ion
with
th
e pl
anet
. The
y ch
allen
ged
the
mod
erni
st b
elief
in t
he d
omin
ance
of
hum
ans
as r
atio
nal b
eings
, alo
ng w
ith it
s co
rrela
te, t
he e
nviro
nmen
tal
and
socia
l deg
rada
tion
of in
dust
rial c
apita
l. A
s th
ey w
atch
ed c
apita
lism
lu
rch
tow
ards
an
unsu
stain
able
Firs
t W
orld
pos
t-ind
ustri
alism
, Sec
ond
Wor
ld im
plos
ion,
Thi
rd W
orld
dec
olon
isatio
n an
d in
dust
rialis
atio
n, a
nd
cont
inue
d Fo
urth
Wor
ld p
rote
st, t
he a
vant
-gar
de o
nce
again
sou
ght
to
reco
ncile
radi
cal a
esth
etics
and
radi
cal p
oliti
cs.
It is
not
surp
risin
g th
at t
he l
and
loom
s lar
ger
whe
n th
e or
der
of t
he
wor
ld
chan
ges.
Writ
ers
obse
rve
how
th
e re
cent
ca
ll of
th
e w
ild
para
doxi
cally
ech
oed
the
late-
18th
cen
tury
inve
stm
ent
in t
he la
ndsc
ape
as a
priv
ilege
d lo
cus
for t
hink
ing
abou
t uni
vers
al hu
man
valu
es, s
uch
as
indi
vidu
al fr
eedo
m, e
quali
ty, f
rate
rnity
– t
he m
oral
bedr
ock
of m
oder
n su
bjec
tivity
.4 Th
e Ro
man
tic
reac
tion
again
st
corr
upt
abso
lutis
t or
th
eocr
atic
regi
mes
sou
ght
an E
deni
c, pr
imor
dial
spac
e in
whi
ch t
o re
inve
nt h
uman
ity. T
heirs
was
an
imag
e of
nat
ure
as a
n ac
tive,
divi
ne
forc
e. Th
e id
ea o
f nat
ura
natu
rans
, nat
ure
as w
ild a
nd m
ajest
ic, w
as fu
elled
by
the
rem
ote,
New
Wor
ld l
ands
cape
s of
the
im
peria
l ad
vent
ure.
4 S
ee fo
r ins
tanc
e Ia
n M
cLea
n’s
quot
e fr
om S
lavoj
Ziz
ek in
‘Sub
lime
futu
res:
eco-
art
and
the
retu
rn o
f th
e re
al in
Pet
er D
ombr
ovsk
is, J
ohn
Wol
sele
y an
d A
ndy
Gol
dsw
orth
y’, T
rans
forma
tions
, No
5, D
ecem
ber 2
002,
p. 6
.
34
8
Aus
tralia
n co
loni
al lan
dsca
pes
follo
wed
thos
e of
the
outly
ing
regi
ons
of
the
Briti
sh I
sles,
the
Am
eric
as,
Afr
ica
and
othe
r Pa
cific
reg
ions
in
host
ing
aest
hetic
an
d sp
iritu
al re
new
al,
the
reco
ncili
atio
n be
twee
n hu
man
kind
and
nat
ure,
subj
ect a
nd o
bjec
t.5
By th
e en
d of
the
19th
cen
tury
, Aus
tralia
n lan
dsca
pes
had
also
take
n on
bo
ard
the
Briti
sh r
oman
ticism
of
John
Rus
kin
and
his
fello
w a
rtist
-ar
tisan
. The
y ar
gued
that
the
dest
ruct
ion
of th
e na
tura
l env
ironm
ent a
nd
the
socia
l pr
oblem
s of
urb
anism
wer
e to
o hi
gh a
pric
e to
pay
for
in
dust
rial
deve
lopm
ent.6
A
lread
y a
high
ly ur
bani
sed
popu
latio
n,
Aus
tralia
n co
loni
als s
ough
t th
eir d
efin
ing
mor
al qu
alitie
s in
a m
ythi
c bu
sh s
ettin
g. A
ustra
lian
lands
cape
s an
swer
ed R
uski
n’s
call
for
scien
tific
ac
cura
cy a
nd a
pro
foun
d re
vere
nce
for
natu
re. T
he i
nten
se, e
mpi
rical
scru
tiny
of t
he la
ndsc
ape
coul
d re
veal
high
er m
oral
truth
s, if
the
artis
t co
uld
link
the
unde
rsta
ndin
g of
nat
ural
phen
omen
a w
ith a
n im
agin
ativ
e re
spon
se,
akin
to
love
.7 Fr
om c
olon
ial p
hoto
grap
her
Nic
holas
Cair
e’s
alpin
e pe
aks
to J
essie
Tra
ill’s
intim
ate,
inte
r-war
etc
hing
s of
moo
nlit
gulli
es a
nd D
orot
hy W
all's
ecol
ogica
lly-m
inde
d Bl
inky
Bill
, w
este
rn
pict
orial
bus
h-lo
re h
as b
een
both
em
piric
al an
d ex
pres
sive,
feed
ing
imag
es o
f pa
stor
alism
, m
inin
g, t
ouris
m a
nd c
onse
rvat
ion
in v
aried
m
easu
re.
Far h
oriz
ons
Arti
st a
nd a
rt hi
stor
ian I
an B
urn
obse
rved
tha
t th
e lo
ngst
andi
ng
popu
larity
of
‘Gum
Tre
e Sc
hool
’ lan
dsca
pe p
aintin
g w
as p
artly
due
to
the
conf
iden
ce i
n w
hich
pain
ters
atta
cked
the
ir su
bjec
t, a
conf
iden
ce
5 S
ee B
erna
rd S
mith
’s se
min
al st
udy
Eur
opea
n vis
ion in
the S
outh
Pac
ific,
Yale
Uni
vers
ity
Pres
s, N
ew H
aven
and
Lon
don,
198
5 (s
econ
d ed
ition
), Be
rnar
d Sm
ith, I
magin
ing t
he
Pacif
ic: I
n th
e wa
ke o
f the
Coo
k vo
yages
, Melb
ourn
e U
nive
rsity
Pre
ss a
t th
e M
iegun
yah
Pres
s, 19
92; B
onyh
ardy
T, I
mages
in o
pposi
tion:
Aus
tralia
n pa
intin
g 18
01–1
890,
Oxf
ord
Uni
vers
ity P
ress
, M
elbou
rne,
1985
, an
d Th
e col
onial
ear
th,
The
Mieg
unya
h Pr
ess,
Uni
vers
ity o
f Mel
bour
ne, 2
000;
New
wor
lds fr
om ol
d: 19
th ce
ntur
y Aus
tralia
n &
Ame
rican
lan
dsca
pes,
exhi
bitio
n ca
talo
gue,
Nat
iona
l G
aller
y of
A
ustra
lia,
Canb
erra
an
d W
adsw
orth
Ath
eneu
m, H
artfo
rd, C
onne
ctic
ut, 1
998.
6 S
ee B
arrin
ger T
, The
Pre-
Raph
aelit
es, E
very
man
Lib
rary
, 198
8, p
p. 5
7–83
. 7 R
uski
n J,
‘Tha
t the
trut
h of
nat
ure
is no
t to
be d
iscer
ned
by th
e un
educ
ated
sens
es’,
Mod
ern P
ainter
s, V
ol 1
, And
re D
euts
ch, 1
987
(1st p
ub 1
843)
, p.
29.
34
9
grou
nded
on
clos
e, em
piric
al st
udy
of r
egio
nal l
ands
cape
s.8 R
uski
n ha
d en
cour
aged
you
ng a
rtist
s to
deve
lop
this
heig
hten
ed v
isual
perc
eptio
n of
na
ture
, but
rem
inde
d th
em t
hat
the
expr
essiv
e tru
ths
of t
he la
ndsc
ape
coul
d on
ly be
reve
aled
thro
ugh
a un
ion
of th
e se
nses
and
the
spiri
t. Bu
rn
argu
ed t
hat
pain
tings
, suc
h as
Arth
ur S
treet
on's
Land
of t
he g
olden
fleec
e (1
926)
ove
rlaid
sen
se a
nd s
ensib
ility
in
this
man
ner,
com
bini
ng t
he
spat
ial d
istan
ce o
f the
pan
oram
ic vi
ew w
ith th
e id
ea o
f a n
atio
nal s
pace
(F
igur
e 11
.1).
A h
oriz
onta
l co
mpo
sitio
n an
d a
balan
ced,
blu
e-go
ld
palet
te in
vite
d th
e vi
ewer
to ta
ke in
for
egro
und,
mid
dle
grou
nd a
nd f
ar
horiz
on w
ith a
con
tem
plat
ive,
prop
rieta
l ga
ze s
ugge
stin
g a
seem
ingl
y na
tura
l an
d ob
jectiv
e op
tical
orde
r.9 W
e m
etap
horic
ally
asso
ciate
the
pa
nora
mic
lands
cape
w
ith
free
dom
, po
ssib
ility
an
d fu
ture
, A
vene
l M
itche
ll ob
serv
es, f
or it
pre
sent
s an
inco
ngru
ous
"syn
thes
is of
nea
rnes
s an
d re
mot
enes
s”.10
Th
e vi
sitor
’s va
ntag
e-po
int
is qu
asi-o
bjec
tive,
disin
tere
sted
an
d au
tono
mou
s.11
This
com
bina
tion
of
emot
iona
l at
tach
men
t an
d de
tach
ed m
oral
view
poin
t co
nvin
cing
ly c
onve
yed
a na
tiona
l sto
ry o
f whi
te p
rogr
ess,
later
ani
mat
ed in
the
eleva
ted,
cin
emat
ic pa
nnin
g sh
ots
of c
ount
less
bush
melo
dram
as, f
rom
Fra
nklin
Bar
rett’
s Th
e brea
king
of th
e dro
ught
(192
0) to
Baz
Luh
rman
n’s A
ustra
lia (2
007)
.
8 Bu
rn I
, ‘Po
pular
Melb
ourn
e lan
dsca
pe p
aintin
g be
twee
n th
e w
ars’,
Ben
digo
Art
Gall
ery,
1982
, re
prin
ted
in B
urn
I, D
ialog
ue:
writi
ngs
in a
rt his
tory,
Alle
n &
Unw
in,
Sydn
ey, 1
991;
and
Bur
n I,
Nati
onal
life a
nd la
ndsca
pes,
Bay
Book
s, Sy
dney
199
2.
9 Bu
rn’s
criti
cal
revi
ew o
f th
e bu
sh p
anor
ama
para
llele
d th
e an
alyse
s w
ithin
film
th
eory
of a
sim
ilarly
priv
ilege
d, "
3-di
men
siona
l, ra
tiona
lised
spa
ce”
with
in c
inem
atic
reali
sm, w
ith it
s fix
ed v
iewpo
int d
eriv
ed fr
om R
enais
sanc
e pr
incip
les o
f per
spec
tive
and
Carte
sian
idea
s of
sub
jectiv
e ra
tiona
lity.
See
for
inst
ance
The
Brit
ish F
ilm
Inst
itute
’s Sc
reen
proj
ect o
f th
e lat
er 1
970s
and
ear
ly 19
80s;
also
Mar
tin J
ay, '
Scop
ic re
gim
es o
f m
oder
nity
', M
odern
ity a
nd id
entit
y, ed
Sco
tt La
sh a
nd J
onat
hon
Frie
dman
, O
xfor
d, 1
992,
p.1
84; B
ryso
n N
, 'Th
e ga
ze a
nd th
e gl
ance
', V
ision
and
pain
ting.
the l
ogic
of th
e gaz
e, Lo
ndon
, 198
3, p
p. 8
9–94
. 10
In
her
disc
ussio
n of
the
Aus
tralia
n in
ter-
war
pan
oram
a an
d in
timat
e lan
dsca
pe,
Ave
nel M
itche
ll cit
es Y
i-Fu
Tuan
’s su
gges
tion
that
“sp
ace
lies
open
; it s
ugge
sts
the
futu
re a
nd in
vite
s ac
tion”
. Tua
n Y
, Spa
ce an
d pla
ce: th
e pers
pecti
ve of
expe
rienc
e, L
ondo
n,
1977
, p.5
4, c
ited
Mitc
hell
A, ‘
The
harv
est o
f a q
uiet
eye
: th
e in
timat
e ex
pres
sion
of
natu
re in
Aus
tralia
n lan
dsca
pe p
aintin
g fr
om th
e lat
e ni
nete
enth
cen
tury
to c
.194
0’,
MPh
il th
esis,
Dep
artm
ent
of A
rt H
istor
y an
d Fi
lm S
tudi
es, U
nive
rsity
of
Sydn
ey,
1997
, p. 1
01.
11 Ib
id, p
. 103
. See
also
Bau
man
Z, '
Stra
nger
s: Th
e so
cial c
onst
ruct
ion
of u
nive
rsali
ty
and
parti
cular
ity',
Telos
, 78.
Win
ter 1
988–
89, p
p. 1
7–18
.
35
0
F
igu
re 1
1.1 A
rthur
Stre
eton
, Lan
d of
the G
olden
Flee
ce (1
926)
O
il on
can
vas
mou
nted
on
com
posit
ion
boar
d 50
.7 x
75.
5, 6
9.0
x 96
.0 f
ram
e. Be
ques
t of
H
enrie
tte v
on D
allw
itz a
nd o
f Ri
char
d Pa
ul i
n ho
nour
of
his
fath
er D
r O
scar
Pau
l 19
65.
Nat
iona
l Gall
ery
of A
ustra
lia, C
anbe
rra
The
intim
ate
lands
cape
E
co-a
rtist
s ha
ve a
lso b
een
draw
n to
the
fam
iliar
‘co
rner
of
natu
re.’
Mitc
hell
argu
es t
hat
tradi
tiona
l im
ages
of
the
coun
try g
arde
n, o
rcha
rd
and
bush
clea
ring
offe
red
the
sens
ual e
xper
ience
of
belo
ngin
g w
ithin
a
know
n pl
ace,
a co
mfo
rting
im
age
of
hum
anise
d na
ture
as
th
e m
echa
nisa
tion
of a
gricu
lture
acc
elera
ted
thro
ugh
inte
nsiv
e cle
arin
g of
lan
d fo
r cr
oppi
ng a
nd w
ool p
rodu
ctio
n fr
om F
eder
atio
n to
the
193
0s.
She
also
note
s th
at th
e po
pular
ity o
f th
is su
b-ge
nre
dove
taile
d w
ith th
e pr
omot
ion
of n
ativ
e flo
ra i
n su
burb
an g
arde
ns,
the
emer
genc
e of
bu
shw
alkin
g an
d co
nser
vatio
n m
ovem
ents
and
the
prof
essio
nalis
atio
n of
bo
tany
and
eco
logy
.12
12
Mitc
hell,
op.
cit.
199
7.
35
1
Clar
a So
uthe
rn’s
An
old b
ee far
m (c
1900
) pr
esen
ts t
he b
ush
beyo
nd t
he
fenc
ed
padd
ock
(Fig
ure
11.2
). A
co
nstri
cted
, H
eidelb
erg-
style
co
mpo
sitio
n an
d in
form
al vi
ewpo
int
hold
s th
e vi
ewer
's ey
e w
ithin
a
shall
ow v
isual
field
and
em
phas
ises
a ta
cit k
now
ledge
of
fam
ily f
arm
ing
and
loca
l en
viro
ns
thro
ugh
the
sens
ory
expe
rienc
e of
‘b
ush
ench
antm
ent’.
Thi
s is
also
the
spac
e of
the
gar
dene
r, fie
ld
natu
ralis
t, G
ould
Lea
gue
mem
ber
and
hum
anist
geo
grap
her,
who
se
valu
ed e
mpi
rical
know
ledge
is g
roun
ded
in th
e liv
ed-w
orld
of i
mm
ediat
e ex
perie
nce.
The
sens
ory
attri
bute
s of
the
bus
h w
ere
valu
ed,
Mitc
hell
atte
sts,
beca
use
they
w
ere
dist
inct
ively
, pr
ivat
ely,
almos
t se
cret
ly kn
own.
13
F
igu
re 1
1.2
Clar
a So
uthe
rn, A
n O
ld Be
e Far
m (c
1900
) O
il on
can
vas 6
6.0
x 11
1.7c
m, F
elto
n Be
ques
t, 19
42 N
atio
nal G
aller
y of
Vict
oria
The
intim
ate
lands
cape
also
con
nect
ed w
ith th
e na
tiona
l sto
ry, t
hrou
gh
close
, em
piric
al (in
cludi
ng s
cient
ific)
stu
dy,
bush
fan
tasy
and
hum
an
anec
dote
. Th
e po
pular
im
age
of r
ural
life
and
harm
onio
us h
uman
se
ttlem
ent
was
hon
ed t
o co
zy p
erfe
ctio
n th
roug
h pa
intin
gs li
ke E
lioth
G
rune
r’s
Sprin
g fro
st,
Emu
Pl
ains
(191
9)
and
Hild
a Ri
x N
ichol
as’
Knock
along
gard
en (1
941)
, and
con
tinue
in th
e w
eekl
y te
levi
sed
dram
as o
f
13
ibid
., pp
. 44–
45.
35
2
McL
eod’s
Dau
ghter
s. Its
myt
hic
base
in
peas
ant
cultu
re p
rom
otes
a
cont
inuu
m b
etw
een
past
and
pre
sent
. The
imag
e of
the
hom
este
ad a
t ea
se in
the
lands
cape
is b
roug
ht to
life
thr
ough
lovi
ng a
ttent
ion
to th
e in
timat
e ro
utin
es o
f ev
eryd
ay li
fe, r
oman
tic in
tere
st o
n th
e ve
rand
ah o
r at
the
hom
e pa
ddoc
k ga
te a
nd f
amily
mem
bers
eng
aged
in
fam
iliar
ch
ores
, all
wel
com
ing
scen
es t
o th
e vi
sitor
. The
se e
ndur
ing
imag
es o
f pr
oduc
tive
stew
ards
hip
trans
form
ed e
arlie
r fig
ures
of t
he e
xplo
rer,
bush
lar
rikin
and
pio
neer
into
a m
ore
mod
ern
imag
e of
the
prim
ary
prod
ucer
.
The
mod
erni
st d
eser
t Th
e em
otio
nal
ties
bind
ing
city-
dwell
ers
to
the
past
orali
st
lands
cape
w
ere
loos
ened
in
th
e 19
40s
dryla
nd
imag
es
of
Russ
ell
Dry
sdale
, A
lber
t Tu
cker
and
Sid
ney
Nol
an.
This
gene
ratio
n of
arti
sts
reco
nceiv
ed
‘our
co
loni
al pa
stor
al m
yths
’ in
th
e ex
isten
tial
term
s of
m
oder
nist
ali
enat
ion
of
natu
re
and
cultu
re,
subj
ect
and
ob
ject,
indi
vidu
al an
d so
ciety
. M
ore
gene
rally
, m
oder
nism
’s fo
rmal
preo
ccup
atio
ns
plac
ed
the
wor
k of
ar
t ce
ntre
-sta
ge,
sideli
ning
or
ex
cludi
ng
natu
re
and
natu
ral
beau
ty.
Art
hist
orica
lly,
the
do
min
ant
driv
e of
mod
erni
sm w
as d
riven
by
a “t
urni
ng a
way
fro
m,
rejec
tion
or r
epre
ssio
n of
nat
ure”
, in
tan
dem
with
the
pat
h ta
ken
by
mod
ern
scien
ce. 1
4 Th
e ali
enat
ed A
ustra
lian
bush
bec
ame
witn
ess
to h
istor
ies
of o
utca
sts,
colo
nial
viol
ence
and
env
ironm
enta
l mism
anag
emen
t. It
was
peo
pled
by
mar
gina
lised
fol
k w
ho a
ppea
red
to b
e of
the
ear
th i
tsel
f, dw
arfe
d by
tre
es a
nd r
ock
form
atio
ns t
hat
seem
ed a
ll to
o hu
man
. D
rysd
ale’s
The
rabb
iters
(194
7) g
ives
the
bus
h a
will
of
its o
wn.
Tre
e st
umps
and
ga
lvan
ized
iron
twist
and
turn
in a
gro
tesq
ue e
cho
of A
ntip
odea
n sp
ace,
host
to
a pr
esum
ed t
imele
ss (
Abo
rigin
al, u
nkno
wab
le)
esse
nce
or
univ
ersa
l (E
urop
ean)
exi
sten
tial t
ruth
s.15
14
Ro
berts
D
, ‘A
ura
and
aest
hetic
s of
na
ture
’, Th
esis
Elev
en,
no.
36,
1993
, M
assa
chus
etts
Inst
itute
of T
echn
olog
y, pp
. 127
–137
. 15
See
Cat
alano
G, A
n in
timat
e Aus
tralia
: The
land
scape
& re
cent A
ustra
lian
art,
Hale
&
Iron
mon
ger,
Sydn
ey, 1
985;
Dre
w P
, ‘Th
ings
Bec
omin
g’, V
erand
ah: E
mbra
cing
Spac
e, A
ngus
and
Rob
erts
on, S
ydne
y, 19
92, p
p. 1
80–1
98.
35
3
Behi
nd th
is re
curr
ent i
mag
e of
nat
ure
as m
ute
witn
ess
lurk
ed le
ft-lib
eral
guilt
and
ang
er fo
r a d
isplac
ed A
borig
inal
pres
ence
. Arti
sts
wer
e st
artin
g to
use
land
scap
e pa
intin
g to
exp
ress
the
viol
ence
of
colo
nial
settl
emen
t m
ore
dire
ctly
(Dry
sdale
’s St
ation
blac
ks, C
ape Y
ork,
195
3; A
rthur
Boy
d’s
Half
-caste
serie
s of 1
959)
. At t
he sa
me
time,
the
wes
tern
des
ert l
ands
cape
s of
Alb
ert
Nam
atjir
a w
ere
beco
min
g in
crea
singl
y po
pular
, an
d fo
r th
e fir
st ti
me,
bark
pain
tings
from
the
Top
End
wer
e fin
ding
their
way
from
th
e na
tura
l hist
ory
mus
eum
s to
the
aest
hetic
realm
of t
he a
rt ga
llery
.
The
post
mod
ern
bush
Fr
om th
e ea
rly 1
970s
, the
mod
erni
st r
educ
tion
of a
esth
etics
to a
theo
ry
of a
rt w
as r
ever
sed.
Con
cept
ual
art
and
fem
inist
aes
thet
ics s
ough
t to
un
ders
tand
th
e re
latio
nshi
p be
twee
n co
gniti
on
and
se
nsat
e pe
rcep
tion.
A
rtist
s re
turn
ed
the
body
to
th
e bu
sh,
and
ph
ysica
l im
mer
sion
in
natu
re
was
ag
ain
valu
ed
as
a ba
sis
for
self-
cons
cious
ness
. M
any
open
-form
sc
ulpt
ures
fr
om
this
perio
d re
sem
bled
sm
all-s
caled
, ec
olog
ical
syst
ems,
or
enac
ted
som
e
chan
ge
(inst
allat
ion,
ex
cava
tion,
m
ark-
mak
ing)
in
th
e im
med
iate
envi
ronm
ent,
as a
mea
ns h
eight
enin
g ou
r pe
rcep
tion
of p
lace.
The
hum
an b
ody
perf
orm
ed in
the
bus
h en
viro
nmen
t as
just
one
elem
ent
amon
g ot
hers
. A
ustra
lian
envi
ronm
enta
l art
was
mor
e m
odes
t tha
n its
US
coun
terp
arts
, w
ith t
he e
xcep
tion
of C
hrist
o an
d Je
anne
-Clau
de’s
influ
entia
l Wra
pped
coa
st, L
ittle
Bay,
one m
illion
squa
re fee
t, Sy
dney,
Aus
tralia
(196
9) (F
igur
e 11
.3).
A v
olun
teer
arm
y of
you
ng a
rtist
s an
d in
tere
sted
loc
als w
rapp
ed t
he
rock
y sh
oreli
ne in
she
ets
of e
rosio
n co
ntro
l mes
h (a
syn
thet
ic w
oven
fib
re
usua
lly
man
ufac
ture
d fo
r ag
ricul
tura
l pu
rpos
es).
The
proj
ect
rece
ived
bro
ad p
ublic
int
eres
t, an
d in
fluen
ced
man
y yo
unge
r ar
tists
de
velo
ping
env
ironm
enta
lly s
ensit
ive,
site-
spec
ific
wor
k at
the
Mild
ura
Scul
ptur
e Tr
ienni
als fr
om th
e ea
rly 1
970s
. M
ore
radi
cal
proj
ects
em
brac
ed
the
loca
l en
viro
nmen
t as
ac
tive,
scul
ptur
al m
ater
ial th
roug
h sit
e-sp
ecifi
c w
ork
influ
ence
d by
min
imali
sm,
post
-obj
ect
art
and
arte
pov
era.
In 1
973
the
Trien
nial
exte
nded
to
inco
rpor
ate
dry
scru
blan
d alo
ng th
e M
urra
y Ri
ver,
and
the
even
t bec
ame
know
n as
M
ildur
a Sc
ulpt
ures
cape
, un
der
the
dire
ctio
n of
To
m
35
4
McC
ullo
ugh.
Joh
n D
avis
wra
pped
tree
s w
ith v
ario
us m
ater
ials
along
an
info
rmal
path
way
thro
ugh
the
scru
b (T
ree P
iece).
Kev
in M
orte
nsen
dre
w
upon
mem
orie
s of
dum
ped
min
ing
was
te a
roun
d Bl
inm
an i
n So
uth
Aus
tralia
in f
ashi
onin
g fo
ur O
bjects
in a
land
scape
fro
m c
oiled
rop
e an
d bi
tum
en,
whi
ch a
lso r
esem
bled
gig
antic
hiv
es,
term
ite m
ound
s or
w
omba
t sca
ts se
t am
ong
the
saltb
ush.
F
igu
re 1
1.3
Chris
to a
nd J
eann
e Cl
aude
, Wra
pped
Coa
st, L
ittle
Bay,
One
M
illion
Squ
are F
eet, S
ydne
y, A
ustra
lia,1
968–
69
Gela
tin s
ilver
pho
togr
aph
101.
5 h
x 12
7.0
w G
ift o
f Jo
hn K
aldor
, 198
2. P
hoto
: Har
ry S
hunk
Co
llect
ion:
Nat
iona
l Gall
ery
of A
ustra
lia, C
anbe
rra
Ross
Gro
unds
’ Ecol
ogica
l well
cre
ated
a sp
ace
for r
eorie
ntin
g on
eself
qui
te
liter
ally
with
in n
atur
e. Th
e W
ell w
as a
sim
ple,
exca
vate
d bu
nker
, whi
ch
also
rese
mbl
ed a
nes
t, ca
ve, m
ine-
shaf
t, or
a w
omb.
Thi
s ha
bita
t hos
ted
a va
riety
of
inha
bita
nts,
mat
ter
and
mea
ning
s. Fr
ogs,
mos
quito
larv
ae,
fish,
liz
ards
and
pig
eons
all
mov
ed i
n at
var
ious
lev
els,
taki
ng t
he
Em
erso
nian
idea
l of a
‘hom
e in
the
wild
erne
ss’ a
step
furth
er. L
ike
othe
r sc
ulpt
ural
proj
ects
at M
ildur
a, E
colog
ical w
ell e
mbe
dded
hum
an v
isito
rs a
s ju
st a
noth
er li
fe-fo
rm a
mon
gst o
ther
, equ
ally
oppo
rtuni
stic
visi
tors
. For
th
e 19
75 S
culp
ture
scap
e, A
lecs
Dan
ko s
catte
red
scra
ps o
f dr
awin
gs,
35
5
lette
rs a
nd o
ther
deb
ris i
n a
four
squ
are
met
re s
pace
dem
arca
ted
by
strin
g, i
n pa
rtial
refe
renc
e to
the
scu
lptu
re p
ark’
s pr
evio
us l
ife a
s th
e lo
cal
tow
n tip
, w
hile
Alis
on C
ousla
nd a
nd M
arga
ret
Bell
used
the
ir sc
ulpt
ural
allot
men
t to
plan
t a g
arde
n.
The
idea
of
plan
ting
or m
arki
ng o
bjec
ts i
n th
e lan
dsca
pe,
or s
ubtly
m
odify
ing
natu
ral f
eatu
res
was
a g
entle
mea
ns o
f re
orien
ting
ones
elf in
sp
ace
and
time,
inst
allin
g ep
hem
eral
syst
ems o
f ord
er u
pon
the
appa
rent
in
diffe
renc
e of
the
bus
h. T
hese
pro
jects
par
allele
d th
e co
ncep
tual
art
'ram
bles
' of
Brit
ish a
rtist
s Ri
char
d Lo
ng,
Ham
ish F
ulto
n an
d A
ndy
Gol
dsw
orth
y, tre
adin
g as
lig
htly
on t
he e
arth
as
their
19t
h ce
ntur
y Ro
man
tic fo
rebe
ars.1
6 Th
e na
tura
l m
ater
ials
used
in
thes
e pr
ojec
ts r
efer
red
obdu
rate
ly to
th
emse
lves
. The
ear
th c
ease
d be
ing
an in
ert m
ater
ial a
wait
ing
the
artis
t's
trans
form
atio
n, a
nd in
stea
d be
cam
e –
at le
ast
parti
ally
– bo
th s
ubjec
t an
d ob
ject
of t
he c
reat
ive
proc
ess.
Rock
s, tre
es, s
oil,
win
d, w
ater
, fire
an
d ot
her
envi
ronm
enta
l fo
rces
too
k cr
eativ
e ce
ntre
-sta
ge t
o ill
ustra
te
the
ratio
nalit
y of
nat
ural
syst
ems.
This
reco
gniti
on b
roug
ht h
uman
s do
wn
to sc
ale a
s one
of m
any
gene
rativ
e ele
men
ts in
a d
ynam
ic ec
olog
y.
The
urge
to b
unke
r dow
n w
ith th
e liz
ards
ext
ende
d th
e po
tent
ial o
f the
m
imet
ic tra
ditio
n th
roug
h a
sym
path
etic
open
ness
to
na
ture
, “e
xper
ience
d as
som
ethi
ng w
hich
spea
ks to
us,
affe
cts a
nd e
ngag
es u
s”.17
Th
e ar
tist
join
s th
e co
nver
satio
n th
roug
h rit
ual
gest
ures
tha
t m
ime
natu
ral f
orce
s. Jo
hn W
olse
ley’s
late
r dr
awin
gs e
xten
ded
this
early
des
ire
“to
copy
, im
itate
, m
ake
mod
els,
expl
ore
diffe
renc
e, yi
eld i
nto
and
beco
me
othe
r”.18
Wol
seley
lays
dow
n hi
s pa
per
and
canv
as to
allo
w th
e lan
dsca
pe to
itse
lf lea
ve tr
aces
of
scra
tchi
ng, r
ubbi
ngs
and
the
brus
hing
of
bur
nt f
oliag
e ac
ross
the
pag
e, re
cord
ing
the
pass
age
of t
he a
rtist
th
roug
h th
e bu
sh. H
e se
es h
imse
lf as
a “
facil
itato
r fo
r th
e lan
dsca
pe to
16
Cul
min
atin
g in
Ham
ish F
ulto
n’s
1979
Bien
nale
of S
ydne
y vi
sit a
nd a
ccom
pany
ing
proj
ect T
asma
nia:
A S
low Jo
urne
y. 17
Boe
me
G, i
n Ro
berts
D, o
p. c
it., 1
993,
p. 1
29.
18 T
auss
ig M
, Mim
esis a
nd a
lterit
y: a
parti
cular
hist
ory o
f the
sens
es, R
outle
dge:
New
Yor
k
1993
, p. x
iii.
35
6
depi
ct it
self”
, as
Sash
a G
rishi
n ob
serv
es, r
athe
r th
an a
s so
meo
ne w
ho
depi
cts t
he la
ndsc
ape.
19
Gai
a Th
ese
early
per
form
ance
s an
d co
ncep
tual
art
proj
ects
ofte
n ge
nder
ed
natu
re a
s fe
min
ine.
Perf
orm
ance
arti
st J
ill O
rr d
escr
ibed
her
198
1 ex
hibi
tion,
Reli
cs an
d rit
uals
in th
ese
term
s:
I a
m a
lway
s aw
are
of a
con
nect
ion
with
the
earth
; thi
ngs b
orn
of t
he e
arth
, ret
urn
to t
he e
arth
, life
nee
ding
the
ear
th, b
ut
also
its f
emale
ness
, m
othe
r-ear
th,
upon
whi
ch w
e es
tabl
ish
ritua
ls of
livi
ng a
nd c
opin
g: su
rviv
ing.
20
Nat
ure
as M
othe
r E
arth
or
Gaia
is
a co
nnec
tion
shar
ed b
y m
any
cultu
res.
Cera
mici
st
and
teac
her
Than
coup
ie (T
hain
akui
th)
has
deve
lope
d a
fem
inin
e im
ager
y fo
r he
r po
ts, t
iles
and
tile-
base
d m
urals
fr
om 1
971.
The
se a
re d
eriv
ed f
rom
the
san
d st
ories
and
san
d pi
ctur
es
the
wom
en d
raw
for
chi
ldre
n on
the
bea
ch a
t N
apra
num
, a
small
co
mm
unity
nea
r W
eipa
in w
est C
ape
Yor
k Pe
nins
ula.
The
mot
if of
the
circle
was
par
ticul
arly
impo
rtant
, as s
he n
oted
in 2
003:
The
circle
sym
bolic
ally
(in) t
radi
tiona
l trib
al pa
intin
g, th
at w
as
on g
roun
d in
are
as h
ere
arou
nd W
eipa,
whe
n on
san
d, t
he
circle
was
a s
trong
sym
bol
and…
the
sym
bol
of f
ire,
the
sym
bol o
f the
wor
ld, t
he sy
mbo
l of u
nity
, the
sym
bol o
f lov
e, th
e sy
mbo
l of m
othe
r. Th
e cir
cle is
a v
ery
signi
fican
t sym
bol
in A
borig
inal
draw
ing,
pain
ting.
21
Non
-Ind
igen
ous
artis
ts h
ave
also
conf
lated
nat
ure
and
the
fem
inin
e. D
awne
Dou
glas
and
Mich
ael L
iddl
e us
ed L
ovelo
ck’s
Gaia
theo
ry o
f the
ea
rth a
s a
supe
r-org
anism
, alo
ng w
ith L
oren
z’s c
haos
theo
ry o
f an
inte
r-
19
Gris
hin
S. ‘
Sacr
ed e
colo
gy’,
Aus
tralia
n A
rt Re
view,
Nov
embe
r 20
05–F
eb 2
006,
p.
55.
20
Orr
J,
artis
t’s s
tate
men
t, qu
oted
Ann
e M
arsh
, Bo
dy a
nd s
elf:
perfo
rman
ce ar
t in
A
ustra
lia, O
xfor
d U
nive
rsity
Pre
ss, S
ydne
y, 19
93 p
. 143
. 21
Tha
ncou
pie,
‘Sto
ries
and
tradi
tion
in c
lay’,
Stor
y Pl
ace,
Que
ensla
nd A
rt G
aller
y, Br
isban
e, 20
03, p
. 73.
The
arti
st h
as d
escr
ibed
her
sym
bolis
m in
sim
ilar
term
s fo
r a
1986
exh
ibiti
on in
Hou
ston
, cite
d in
Gra
ce C
ochr
ane,
The c
rafts
mov
emen
t in
Aus
tralia
: a
histor
y. N
ew S
outh
Wale
s Uni
vers
ity P
ress
, Syd
ney,
1992
, p. 2
44.
35
7
conn
ecte
d w
orld
, as
a lit
eral
desig
n te
mpl
ate
for
a w
alk-th
roug
h pa
rk
scul
ptur
e (V
itae–
Mor
te, G
ladst
one,
1995
).22 A
mou
nded
spi
ral o
f st
ones
w
as p
unct
uate
d w
ith v
ertic
al tim
bers
of
vary
ing
heig
hts.
Thes
e w
ere
recy
cled
from
an
ol
d w
harf
th
at
once
se
rvice
d G
ladst
one’s
m
eat
pack
ing
indu
stry
, a
rem
inde
r of
pas
t in
dust
ry,
sust
ainab
ility
and
lo
st fo
rest
s. Fo
r man
y ar
tists
, how
ever
, the
gen
dere
d vi
ew o
f nat
ure
as fe
min
ine
pose
d ph
iloso
phica
l and
pol
itica
l pro
blem
s. H
eate
d de
bate
s th
roug
h th
e 19
80s
had
soug
ht t
o cla
rify
a les
s re
duct
ive
form
ulat
ion
of n
atur
e an
d fe
male
ag
ency
. In
wes
tern
Car
tesia
n th
ough
t, na
ture
has
bee
n to
cul
ture
wha
t bo
dy o
r mat
ter h
as b
een
to th
e m
ind,
the
fem
inin
e to
the
mas
culin
e. M
any
Nor
th A
mer
ican
fem
inist
s fo
und
this
gend
erin
g of
nat
ure
empo
wer
ing,
an
d us
ed it
to
artic
ulat
e th
e co
sts
of p
resu
mpt
uous
ly s
epar
atin
g hu
man
ac
tion
from
the
nat
ural
wor
ld. A
ustra
lians
wer
e les
s in
cline
d to
priv
ilege
w
omen
in a
n ec
o-aw
are
prac
tice.
Non
ethe
less,
as w
riter
and
cur
ator
Jul
ie
Ew
ingt
on n
oted
in 1
994,
a p
redo
min
ance
of
wom
en a
rtist
s us
ed n
atur
al m
ater
ials
and
forc
es. “
This
agen
cy is
impo
rtant
”, s
he a
rgue
d, f
or “
it is
in
dire
ct c
ontra
dict
ion
to th
e in
fluen
tial w
este
rn n
otio
n, a
t lea
st a
s ol
d as
the
philo
soph
y of
Aris
totle
, th
at w
omen
and
the
ear
th a
like
are
pass
ive,
rece
ptiv
e, nu
rturin
g ve
ssels
, pr
oper
ly do
min
ated
by
men
.”23
Yet
the
ar
twor
ks E
win
gton
cha
mpi
oned
– s
uch
as J
oan
Gro
unds
’ op
en-a
ir fir
e sc
ulpt
ures
, ins
talla
tions
and
exp
erim
enta
l film
We s
hould
call
this
a liv
ing r
oom
(197
2, w
ith A
lecs
Dan
ko),
Joan
Bra
ssil’
s in
vest
igat
ions
of
imm
ater
ial,
elect
ro-m
agne
tic f
ields
and
Bon
ita E
ly’s
long
stan
ding
res
earc
h on
the
M
urra
y Ri
ver
– sh
ied
away
fr
om
retro
gres
sive
assu
mpt
ions
ab
out
fem
inin
ity, m
ascu
linity
, nat
ure
and
crea
tivity
. Ely’
s 198
0 M
urra
y Rive
r pun
ch,
for
inst
ance
, pa
rodi
ed b
oth
natu
re a
nd k
itche
n go
ddes
ses
in a
coo
king
de
mon
stra
tion
in A
delai
de’s
Rund
le M
all, c
onco
ctin
g a
mix
ed d
rink
for
pass
ing
shop
pers
(Fi
gure
11.
4).
As
the
blen
ders
whi
zzed
, th
e ar
tist
chee
rful
ly ex
plain
ed th
e pu
nch’
s re
cipe
ingr
edien
ts: p
hosp
hate
com
poun
d
22
Thi
s ar
tist-s
cient
ist t
eam
fou
nded
The
ArtS
cienc
e In
terf
ace
(art
acce
lera
ting
cultu
ral
chan
ge
by
visu
alisin
g ph
iloso
phica
l co
ncep
ts/s
cient
ific
awar
enes
s of
en
viro
nmen
t). S
ee L
ucy
Gra
ce, ‘
Vita
e-m
orte
: env
ironm
enta
l art
in Q
ueen
sland
’, A
rt M
onth
ly A
ustra
lia, O
ctob
er 1
995,
pp.
15–
17.
23 E
win
gton
J,
‘In t
he w
ild:
natu
re,
cultu
re,
gend
er i
n in
stall
atio
n ar
t’, D
isson
ance:
fem
inism
and
the
arts
197
0–90
, (e
d. C
atrio
na M
oore
) A
llen
& U
nwin
, 19
94,
pp.
228–
9.
35
8
ferti
lizer
s, hu
man
faec
es a
nd a
gricu
ltura
l che
mica
ls w
ere
adde
d to
the
mix
, se
rved
up
with
a sp
rinkl
e of
rabb
it du
ng a
s gar
nish
.
F
igu
re 1
1.4
Boni
ta E
ly, M
urra
y Rive
r Pun
ch (1
981)
Pe
rfor
man
ce
at
Rund
le
Mall
, A
delai
de,
1980
. Ph
otog
raph
fr
om
the
artis
t’s
colle
ctio
n,
repr
oduc
ed fr
om A
nn M
arsh
, Bod
y and
Self
: perf
orma
nce a
rt in
Aus
tralia
, op.
cit..
Art
Act
ivis
m
In t
he 1
970s
and
ear
ly 19
80s,
eco-
art
was
com
mon
ly ali
gned
with
the
Tr
ades
Uni
on G
reen
Ban
s an
d ca
mpa
igns
for
land
and
sea
rig
hts,
anti-
nuke
and
ant
i-ura
nium
min
ing.
Eve
n th
e di
e-ha
rd ‘
twig
s an
d st
ring’
sc
ulpt
ure
hipp
ies a
t M
ildur
a fr
amed
the
ir w
ork
in p
oliti
cal
term
s w
hen
calli
ng f
or a
n ar
tists
’ boy
cott
of F
renc
h sp
onso
rshi
p an
d pa
rticip
atio
n in
th
e 19
73 M
ildur
a Sc
ulpt
ures
cape
, in
prot
est a
gain
st F
renc
h nu
clear
test
ing
in th
e Pa
cific.
24
24
Joh
n D
avis,
Cliv
e M
urra
y-W
hite
and
Ti P
arks
initi
ated
the
artis
ts’ p
rote
st, w
hich
pr
ompt
ed h
eate
d de
bate
am
ongs
t pa
rtici
patin
g A
ustra
lian
(and
Fre
nch)
arti
sts,
and
whi
ch p
ostp
oned
the
show
(but
not
the
nucle
ar te
stin
g). S
ee S
turg
eon
G, T
he S
tory o
f th
e Mild
ura
Sculp
ture
Trien
nial,
196
1–19
82, M
ildur
a Ci
ty C
ounc
il, M
ildur
a, 19
85.
35
9
Tasm
anian
writ
ers P
eter
Gra
nt a
nd Jo
nath
on H
olm
es re
call
how
rom
antic
lan
dsca
pe i
mag
ery
was
an
esse
ntial
com
pone
nt o
f ea
rly c
onse
rvat
ion
battl
es, w
hich
wer
e fo
ught
ove
r the
mea
ning
of w
ild p
laces
(Lak
e Pe
ddar
, 19
72; t
he F
rank
lin R
iver
, 198
3). O
lga
Truc
hera
s an
d Pe
ter
Dom
brov
skis’
ph
otog
raph
s, re
prod
uced
on
post
ers
and
calen
dars
, “sh
owed
sce
nes
mos
t ur
ban
dwell
ers
wou
ld n
ever
visi
t in
per
son,
[but
] the
y co
mm
unica
ted
an
idea
and
an
idea
l of
wild
erne
ss t
hat
wor
ked
mor
e po
wer
fully
on
the
imag
inat
ion
than
any
num
ber o
f arg
umen
ts c
ould
hav
e”.25
The
y w
ere
used
in
ful
l co
lour
new
spap
er a
dver
tisem
ents
in
the
lead-
up t
o th
e 19
83
elec
tion
(‘Wou
ld y
ou v
ote
for a
par
ty th
at w
ould
des
troy
this?
’). T
he ic
onic
po
wer
of
Dom
brov
kis’
Rock
Isla
nd b
end,
Ian
Mac
Lean
lat
er a
dded
, pa
rtly
rest
s on
the
fac
t th
at “
The
subl
ime
is an
aes
thet
ic of
bot
h ca
tast
roph
e an
d ho
pe”.
26
Des
pite
its
popu
larity
dur
ing
the
Fran
klin
cam
paig
n, D
ombr
ovsk
is’ s
tyle
of
‘fin
e pr
int
and
singu
lar i
mag
e’ lan
dsca
pe p
hoto
grap
hy s
oon
cam
e un
der
criti
cism
for
an
esse
ntial
ist r
endi
tion
of M
othe
r N
atur
e, th
e ev
asio
n of
ong
oing
Ind
igen
ous
habi
tatio
n an
d its
eas
y co
-opt
ion
by th
e ad
verti
sing
and
tour
ism in
dust
ries.
Scul
ptor
Julie
Gou
gh (T
raw
lwoo
lway
) lat
er r
emin
ded
audi
ence
s th
at th
e Ta
sman
ian w
ilder
ness
has
nev
er b
een
terr
a in
cogn
ita o
r te
rra
nulli
us. H
er in
stall
atio
ns s
ugge
st s
torie
s in
the
lan
dsca
pe w
hich
pre
-dat
e th
e ol
d-gr
owth
for
ests
.27 T
he w
hispe
ring
sand
s (eb
b tid
e) (1
998)
loc
ates
col
onial
con
flict
as
a pa
rt of
the
evo
lvin
g Ta
sman
ian la
ndsc
ape
(Fig
ure
11.5
). Cu
t-out
figu
res o
f nam
ed in
divi
duals
as
socia
ted
with
th
e sc
ientif
ic co
loni
al pr
ojec
t st
and
reve
aled
then
su
bmer
ged
by w
ater
as
the
tide
ebbs
and
flo
ws
along
the
sho
res
of
Eag
lehaw
k N
eck.
25 G
rant
P, ‘
Wild
art
at th
e w
orld
’s en
d’, A
rtlin
k, v
ol. 2
1, n
o. 1
, Mar
ch 2
001,
p. 1
4.
26
McL
ean
I, ‘S
ublim
e fu
ture
s: ec
o-ar
t an
d th
e re
turn
of
th
e re
al in
Pe
ter
Dom
brov
skis,
Jo
hn
Wol
seley
an
d A
ndy
Gol
dsw
orth
y’,
Tran
sform
ation
s, no
. 5,
D
ecem
ber 2
002,
p. 6
. 27
Gra
nt P
, ‘W
ild a
rt at
the
wor
ld’s
end’
, Artl
ink
21 n
o. 1
, 200
1, p
. 17.
See
also
La
ngto
n M
, ‘W
hat
do w
e m
ean
by w
ilder
ness
? W
ilder
ness
and
ter
ra n
ulliu
s in
A
ustra
lian
Art’
The
Syd
ney P
apers
. vol
. 8, n
o. 1
, 199
6, p
p. 1
1–31
.
36
0
F
igu
re 1
1. 5
Julie
Gou
gh, T
he w
hispe
ring s
ands
(ebb
tide
) (de
tail)
(199
8)
16 li
fe-s
ize
poke
r wor
ked
ply
figur
es in
stall
ed a
t Eag
lehaw
k N
eck
From
an
Indi
geno
us p
oint
of
view
, hum
ans
are
fully
imbr
icate
d in
the
na
tura
l w
orld
. Th
e id
ea o
f an
abj
ecte
d sp
ace
of u
tter
wild
ness
or
‘wild
erne
ss’ m
akes
no
sens
e he
re. T
he c
olon
ial c
once
ptio
n of
Tas
man
ia as
Ulti
ma
Thul
e w
as a
lso t
aken
up
in B
ea M
addo
ck’s
Terra
Spir
itus..
. wi
th a
dar
ker
shad
e of
pale
(199
3–98
), an
am
bitio
us,
delic
ately
tra
ced
36
1
circu
msc
riptio
n of
th
e isl
and.
Th
is 51
-she
et
uber
-pan
oram
a (“
A
circu
mlit
tora
l in
cised
dra
win
g of
the
ent
ire c
oast
line
of T
asm
ania”
) co
mbi
ned
and
cond
ense
d th
e to
pogr
aphi
cal f
eatu
res
of th
e co
ast d
raw
n fr
om o
rdin
ance
sur
vey
map
s (“
wor
ked
with
han
d-gr
ound
loc
al oc
hre
over
lette
rpre
ss a
nd f
inish
ed w
ith h
and-
draw
n sc
ript”
) an
d is
insc
ribed
by
Pala
wa
term
s for
cou
ntry
.28
The
lie o
f th
e lan
d29
‘New
Lef
t’ cu
ltura
l po
litics
fra
gmen
ted
from
the
mid
-198
0s a
s th
e ec
onom
ic,
trade
an
d in
dust
rial
refo
rms
of
the
Haw
ke–K
eatin
g go
vern
men
t dom
inat
ed m
ainst
ream
pol
itics
, whi
lst n
eo-li
bera
l eco
nom
ic
doct
rines
sw
ept
asid
e ol
der
tradi
tions
of
indu
stry
(an
d en
viro
nmen
tal)
regu
latio
n. E
nviro
nmen
tal c
once
rns
langu
ished
at
the
frin
ges
of s
ocial
at
tent
ion,
and
the
rad
ical
art
of t
he m
asse
s, th
e st
reet
, fo
rest
and
co
mm
unity
no
long
er se
emed
to b
e po
litica
lly e
ffect
ive.3
0 Man
y re
treat
ed
from
act
ivist
art
to u
nder
stan
d th
e th
eore
tical
shap
e of
cul
tura
l pol
itics
in
a p
ost-i
ndus
trial
wor
ld. T
he c
onto
urs
of 1
980s
cul
tura
l pol
itics
wer
e sk
etch
ed in
aca
dem
ic an
d ga
llery
con
text
s; ar
t and
wor
king
life
pro
jects
, po
ster
col
lect
ives
and
stre
et p
erfo
rman
ces
wer
e pe
rcei
ved
to b
e no
lo
nger
at t
he c
uttin
g ed
ge o
f art
prac
tice.
A
n in
crea
singl
y co
mpl
ex, p
ost-m
oder
n vi
sual
cultu
re w
as n
o pl
ace
for
‘lost
w
orld
’ no
stalg
ia,
‘one
w
orld
’ hu
man
ism
or
aest
hetic
na
ivet
y.
The
call
was
out
for a
mor
e cr
itica
l, po
st-m
oder
n lan
dsca
pe p
rojec
t tha
t w
ould
br
ing
“the
vi
sual
repr
esen
tatio
n of
th
e lan
dsca
pe
into
a
conf
ront
atio
n w
ith th
e sy
mbo
lic sy
stem
of l
angu
age.”
31
28
Titl
e pa
ge, M
addo
ck B
, Terr
a sp
iritu
s...w
ith a
dar
ker s
hade
of p
ale (1
993–
98) ,
Nat
iona
l G
aller
y of
Aus
tralia
Col
lectio
n.
29 T
his
sub-
title
is ta
ken
from
an
exhi
bitio
n cr
itica
lly d
econ
stru
ctin
g th
e co
loni
al id
eolo
gy o
f th
e A
ustra
lian
lands
cape
tra
ditio
n (P
ower
hous
e M
useu
m, c
urat
or A
nn
Step
hen,
199
2).
30 In
the
Nor
th A
mer
ican
con
text
, see
Sm
ith S
, ‘Be
yond
Gre
en’,
beyo
nd gr
een: t
owar
ds a
su
stain
able
art,
exhi
bitio
n ca
talo
gue,
Smar
t Mus
eum
of A
rt, C
hica
go a
nd In
depe
nden
t Cu
rato
rs In
tern
atio
nal,
New
Yor
k, 2
006,
p. 1
3.
31 H
olm
es J
, ‘Sh
e’s a
mov
ing
plac
e all
rig
ht: c
onte
mpo
rary
visu
al ar
ts in
Tas
man
ia”,
Stud
io In
terna
tiona
l, vo
l. 19
6, n
o. 1
002,
Oct
ober
198
3, p
. 45,
also
Ban
n S,
‘Art
into
lan
dsca
pe: t
he b
ackg
roun
d to
con
tem
pora
ry la
nd a
rt’, P
raxi
s M
, Spr
ing
1984
, cite
d
36
2
To m
ake
audi
ence
s thi
nk a
ctiv
ely a
bout
their
env
ironm
ent,
artis
ts so
ught
to
dist
ance
or
conf
ound
the
cod
es o
f ex
pres
sive
reali
sm a
nd t
he
pict
ures
que
lands
cape
. M
any
look
ed b
ack
to f
emin
ist,
conc
eptu
al an
d In
dige
nous
art
proj
ects
of
the
1970
s th
at h
ad c
ompl
icate
d sim
plist
ic na
ture
im
ager
y th
roug
h us
e of
co
mm
unity
re
sear
ch
and
oral
hi
stor
y, ph
otom
onta
ge,
colla
ge
and
inst
allat
ion.
In
th
e sp
here
of
do
cum
enta
ry
and
lands
cape
ph
otog
raph
y, fo
r in
stan
ce,
Virg
inia
Cove
ntry
’s 19
79
Bien
nale
of
Sy
dney
in
stall
atio
n ha
d as
sem
bled
ph
otog
raph
ic
docu
men
ts,
new
spap
er
clipp
ings
an
d ha
nd-w
ritte
n in
form
atio
n: W
hyha
lla:
not
a do
cume
nt a
nd H
ere a
nd t
here:
con
cerni
ng t
he
nucle
ar
powe
r in
dustr
y, (F
igur
e 11
.6).
Jon
Rhod
es’
phot
ogra
phic
se
ries
Just
anoth
er su
nrise
? (1
974–
6)
simila
rly
brou
ght
toge
ther
do
cum
enta
ry p
hoto
grap
hy a
nd t
extu
al in
form
atio
n to
chr
onicl
e th
e ba
ttle
over
Nab
alco’
s m
inin
g lea
se in
the
yea
rs im
med
iately
pre
cedi
ng
the
1976
N
orth
ern
Terr
itory
La
nd
Righ
ts
Act
. In
19
76
Mich
ael
Gall
aghe
r ha
d re
linqu
ished
the
edi
toria
l po
wer
of
the
docu
men
tary
ph
otog
raph
er
whe
n in
vite
d by
Y
ungn
gora
co
mm
unity
eld
ers
to
docu
men
t th
eir
stru
ggle
again
st
Am
ax’s
oil
drill
ing
prog
ram
on
tra
ditio
nal l
ands
at N
ooka
nbah
.32
Chip
s Mac
inol
ty, M
arie
McM
ahon
, Jan
Mac
kay,
Mich
ael C
allag
han,
Rut
h W
aller
an
d ot
hers
ex
tend
ed
their
19
70s
activ
ist
wor
k w
ith
the
Ear
thw
orks
and
lat
er R
edba
ck G
raph
ix p
oste
r w
orks
hops
in
simila
r co
mm
unity
-bas
ed p
rojec
ts in
regi
onal
and
rem
ote
Aus
tralia
. Pro
jects
like
th
ese
had
fram
ed
the
lands
cape
w
ithin
vi
sual,
hi
stor
ical,
polit
ical,
econ
omic
and
legal
conf
licts
of
inte
rest
. Th
ey d
eclar
ed i
nter
roga
tive
posit
ions
for
arti
st,
subj
ect
and
audi
ence
to
coun
ter
the
perc
eived
un
ivoc
al tra
nsm
issio
n of
doc
umen
tary
info
rmat
ion.
Jo
nath
on H
olm
es, ‘
Blin
dspo
t: re
gion
al hi
stor
ies in
Aus
tralia
’, A
rtlin
k, v
ol. 2
6, n
o. 1
, 20
06, p
. 68.
32
See
Haw
ke S
& G
allag
her
M, N
oonk
anba
h: wh
ose la
nd, w
hose
law, F
reem
antle
Arts
Ce
ntre
Pre
ss, P
erth
, 198
9.
36
3
F
igu
re 1
1.6
Virg
inia
Cove
ntry
, Here
and
there
: con
cerni
ng th
e nu
clear
pow
er in
dustr
y, (1
979)
A
rt G
aller
y of
New
Sou
th W
ales,
Visi
on a
nd d
isbel
ief:
Bien
nale
of
Sydn
ey (
cura
tor:
Bill
Wrig
ht).
Inst
allat
ion
of e
ight
col
lages
arr
ange
d in
tw
o ro
ws
of f
our,
each
with
gela
tin s
ilver
ph
otog
raph
s (s
ome
copy
pho
togr
aphs
) ca
ptio
ned
in d
ecal
lette
ring,
eac
h w
ith e
xten
sive
insc
riptio
ns, s
ome
with
col
laged
pho
toco
pied
new
sprin
t, w
ith lo
ose
phot
ocop
ies
of n
ewsp
aper
st
orie
s plac
ed o
n an
adj
acen
t tab
le. R
epro
duce
d by
per
miss
ion
of V
ISCO
PY L
td, S
ydne
y, 20
07
Colle
ctio
n: N
atio
nal G
aller
y of
Aus
tralia
, Can
berr
a
Long
stan
ding
fine
art
tradi
tions
also
cam
e un
der f
ire. F
rank
lin c
ampa
ign
vete
ran
Raym
ond
Arn
old
refle
cted
upo
n th
e ar
t hi
stor
ical
and
colo
nial
orig
ins
of h
is pa
nora
mic
lands
cape
s, w
hilst
rem
indi
ng c
onte
mpo
rary
au
dien
ces
of o
ther
enc
roac
hmen
ts th
at h
uman
bein
gs h
ave
mad
e on
the
lands
cape
eith
er t
hrou
gh m
inin
g, f
ores
try o
r hy
dro-
elect
ric s
chem
es
(Flor
entin
e Vall
ey, 1
983)
.33 D
avid
Ste
phen
son,
arr
ivin
g in
Tas
man
ia fr
om
33
Hol
mes
, op.
cit.
, 200
6, p
. 65.
36
4
the
Uni
ted
Stat
es in
198
2, a
lso e
xplo
ited
the
virtu
osity
of
19th
cen
tury
lan
dsca
pe p
hoto
grap
hy in
hau
ntin
g, a
rt-hi
stor
ical v
ision
s of
par
adise
lost
(F
igur
e 11
.7).
He
wor
ks
with
an
d ag
ainst
th
e br
avur
a of
th
e ph
otog
raph
ic lan
dsca
pe t
radi
tion
as a
visu
al m
atch
for
the
hub
ris o
f Ta
sman
ian h
ydro
-elec
tricit
y sc
hem
es.34
F
igu
re 1
1.7
Dav
id S
teph
enso
n, T
ravel
ler A
bove
Sea
and
City
(198
5)
Silv
er g
elat
in p
rint,
100
x 15
0cm
s
Cath
erin
e Ro
gers
’ ph
otog
raph
s sim
ilarly
pr
ompt
th
e ae
sthe
tic
cont
empl
atio
n of
scie
ntifi
c (e
colo
gica
l, ph
ysica
l, ch
emica
l) ph
enom
ena
relat
ed t
o flo
odin
g an
d cle
ar-fe
lling
, pa
ckag
ing
natu
re a
s an
obj
ect
of
langu
age
and
desir
e. Th
is po
st-c
olon
ial
stud
io-lo
re
was
fir
st
road
-test
ed i
n Ia
n Bu
rn's
sly,
pain
terly
pro
posit
ion:
"A
lan
dsca
pe i
s no
t som
ethi
ng y
ou lo
ok a
t but
som
ethi
ng y
ou lo
ok th
roug
h", e
tche
d on
34
ibid
, p. 4
5.
36
5
the
plex
iglas
s su
rfac
e of
Hom
age
to A
lbert
('sou
th t
hrou
gh H
eavy
tree
Gap
') (1
989)
and
ext
ende
d in
his
Valu
e add
ed la
ndsca
pes s
eries
of 1
995–
6.
From
the
early
198
0s, t
he la
ndsc
ape
has
been
con
sider
ed a
s a
site
whe
re
envi
ronm
enta
l phe
nom
ena
are
regi
ster
ed, r
athe
r th
an a
s a
win
dow
on
the
wor
ld.
Jane
t La
uren
ce’s
Veil
of
trees
(199
9 w
ith J
isuk
Han
) w
as a
sc
ulpt
ural,
valu
e-ad
ded
lands
cape
enc
apsu
latin
g m
any
of t
hese
ide
as.
Laur
ence
plan
ted
100
euca
lyptu
s tre
es a
long
the
spin
e of
the
Law
son
site
of S
ydne
y’s D
omain
. Re
d fo
rest
gum
s, or
igin
ally
on t
he s
ite,
wer
e in
ters
pers
ed w
ith la
rge
shee
ts o
f gl
ass
etch
ed w
ith f
ragm
ents
of
writ
ing
abou
t tre
es i
n A
ustra
lian
liter
atur
e, an
d fil
led w
ith n
ativ
e tre
e se
ed,
resin
s, ho
ney
and
ash.
Sue
Bes
t des
crib
es th
e w
ork’
s lin
earit
y as
aki
n to
a
path
way
or p
assa
ge, t
houg
h its
ope
n st
ruct
ure
(veil
s) se
rves
as:
at
onc
e a
scre
en o
r w
indo
w t
hrou
gh w
hich
the
lan
dsca
pe
pass
es, a
nd a
kin
d of
writ
ing
surf
ace,
both
for
the
vei
ls an
d tw
ists o
f sub
stan
ce, a
nd fo
r the
tree
poe
ms…
The
beh
olde
r is
mov
ed b
etw
een
the
pane
ls, a
nd b
etw
een
the
liter
al lan
dsca
pe
and
the
lands
cape
of
the
imag
inat
ion,
the
land
imbu
ed w
ith
cultu
ral m
eani
ng…
into
the
imag
inin
gs o
f lan
dsca
pe t
hat
is pa
rt of
plac
e fo
rmat
ion.
35
With
the
dem
ise o
f th
e op
en s
culp
ture
aes
thet
ic by
the
late
197
0s, t
he
influ
ence
of
anti-
hum
anist
and
pos
t-stru
ctur
alist
theo
ry a
nd th
e lu
re o
f ele
ctro
nic
tech
nolo
gies
, th
e do
or s
hut
on t
he o
ld a
esth
etic
fant
asy
of
‘nat
ura
natu
rans
’, w
ith it
s at
tend
ant r
edem
ptiv
e or
rec
oncil
iator
y ar
tistic
ge
stur
es a
nd ri
tuals
. Nat
ure
lurk
ed in
the
galle
ries t
hrou
gh th
e 19
80s a
nd
early
199
0s in
a r
epre
ssed
sta
te. S
pect
acul
ar a
nd h
ighl
y cr
afte
d in
door
sit
e-m
achi
nes
acce
nted
frag
ility
and
loss
. Rob
yn B
acke
n’s
Spru
ng (1
991)
, fo
r ins
tanc
e, tra
nsfo
rmed
the
prim
ordi
al, E
deni
c ga
rden
into
a fe
tishi
sed
souv
enir.
A s
ingl
e, ele
gant
Azo
lla fe
rn –
the
low
est o
rder
of p
lant –
was
‘g
row
n’ in
the
coils
of
a sp
are,
rust
y m
attre
ss-s
prin
g, b
arely
main
tain
ed
as a
livi
ng s
yste
m t
hrou
gh t
he m
inim
um r
equi
red
light
and
ago
nisin
gly
slow
dro
plet
s of
wat
er. O
ther
gall
ery-
base
d pr
ojec
ts b
y Ja
net L
aure
nce,
Joan
Bra
ssil,
Joan
Gro
unds
and
Joyc
e H
inte
rdin
g re
calle
d th
e w
onde
r of
the
scien
ce la
bora
tory
, spa
ce o
bser
vato
ry a
nd n
atur
al hi
stor
y m
useu
m.
35
Bes
t S, ‘
Imm
ersio
n an
d di
stra
ctio
n: th
e en
viro
nmen
tal w
orks
of
Jane
t Lau
renc
e’,
Art
and
Aus
tralia
, vol
. 38,
no.
1, 2
000,
p. 8
8.
36
6
Thes
e ar
tists
var
ious
ly re
sear
ched
a v
ariet
y of
cha
ngea
ble
and
unst
able,
no
n-pe
rman
ent
mat
erial
s (li
quid
s, ro
pe,
lead
, ch
emica
ls, e
lectri
city)
as
cata
lysts
for c
hanc
e, alc
hem
ical t
rans
form
atio
ns.
Late
r in
the
dec
ade,
a nu
mbe
r of
uns
usta
inab
le, g
aller
y-ba
sed
gard
en
inst
allat
ions
in th
e U
nite
d St
ates
pro
mpt
ed c
ritics
to lo
udly
ques
tion
the
valu
e of
brin
ging
nat
ure
into
the
gall
ery.
It w
as a
rgue
d th
at s
lick
pack
agin
g w
rapp
ed a
roun
d en
viro
nmen
tal
crise
s w
as n
ot n
eces
saril
y ed
ifyin
g.36
In A
ustra
lia, h
owev
er, t
his
has
not b
een
such
a b
ig is
sue.
The
galle
ry s
yste
m r
emain
s po
litica
lly r
eleva
nt t
oday
as
a pl
atfo
rm f
or
ecol
ogica
l com
mun
icatio
n lar
gely
due
to th
e fo
rce
of th
e A
borig
inal
art
revo
lutio
n. I
ndig
enou
s cu
rato
rs li
ke D
jon
Mun
dine
, Het
ti Pe
rkin
s an
d Br
enda
Cro
ft m
ainta
in a
n in
ter-c
onne
ctio
n be
twee
n ga
llery
art
and
the
polit
ical
realm
of
envi
ronm
enta
l de
cisio
n-m
akin
g. O
ver
the
past
tw
o de
cade
s, th
ey h
ave
expl
oite
d th
e ae
sthe
tic p
ower
of
form
al ga
llery
in
stall
atio
ns a
nd t
he c
ultu
ral p
ower
of
the
mus
eum
sec
tor
to p
ublic
ise,
educ
ate
and
auth
orise
con
nect
ions
bet
wee
n In
dige
nous
art,
land
and
sea
cla
ims a
nd c
usto
mar
y law
. To
emph
asise
their
poi
nt, Y
olgn
u se
nior
arti
st
Djam
baw
a M
araw
illi r
e-st
ated
the
claim
s mad
e by
his
peop
le’s 1
963
bark
pe
titio
n, w
arni
ng a
udien
ces a
t the
200
6 Bi
enna
le of
Syd
ney
to re
mem
ber
that
Yirr
kala
bark
pain
tings
hav
e a
broa
der
purp
ose
than
inte
rnat
iona
l ga
llery
arte
fact
s: th
eir s
tatu
s as
nat
ive
title
docu
men
ts in
a c
urre
nt b
attle
w
ith th
e N
orth
ern
Terr
itory
tour
ist a
nd fi
shin
g in
dust
ries.3
7
The
conc
ept o
f ‘co
untr
y’ In
dige
nous
artw
orks
bro
ught
pos
t-col
onial
fra
mew
orks
to
bear
on
galle
ry-b
ased
and
site
-spe
cific
eco-
art.
They
sho
wed
how
Eur
opea
n re
gion
al lan
dsca
pe t
radi
tions
hav
e be
en p
rem
ised
on t
he in
vasio
n an
d ru
inat
ion
of
othe
r pe
oples
’ co
untry
. Th
ese
tradi
tions
ha
d lo
cate
d A
borig
inali
ty in
the
rea
lm o
f th
e na
tura
l, as
the
ir m
ythi
c pr
econ
ditio
n.
The
Eur
opea
n un
ders
tand
ing
of
cultu
re
and
natu
re
as
mut
ually
ex
clusiv
e, ha
d pr
ompt
ed r
adic
al ar
tists
of
the
1950
s to
see
k at
onem
ent,
and
thos
e of
the
197
0s t
o try
to
reco
ver
a pr
esum
ed lo
st c
onne
ctio
n.
36
Avg
ikos
J, ‘G
reen
Pea
ce’,
Artf
orum
, Apr
il 19
91, p
p. 1
04–1
10.
37 M
araw
ili D
, arti
st’s
stat
emen
t, Bi
enna
le vis
itor’s
han
dboo
k, 2
006,
p. 2
1. S
ee r
elate
d st
atem
ents
in
Saltw
ater:
Yirrk
ala b
ark
pain
tings
of sea
cou
ntry,
Buk
u-La
rrng
ay M
ulka
Ce
ntre
and
Jenn
ifer I
saac
s Pub
lishi
ng, Y
irrka
la, 1
999.
36
7
Indi
geno
us a
rt an
d ph
iloso
phy
hast
ened
the
reje
ctio
n of
thi
s du
alism
, an
d th
e ro
man
tic s
earc
h fo
r ‘h
arm
ony
betw
een
peop
le an
d na
ture
’ was
re
-cas
t in
the
act
ivist
fra
mew
ork
of s
ocial
and
env
ironm
enta
l jus
tice.3
8 M
uch
of th
e ar
t fro
m In
dige
nous
com
mun
ities
of n
orth
ern
Aus
tralia
and
th
e Pa
cific
islan
ds e
mpl
oy lo
cal m
ater
ials,
are
com
mun
ity b
ased
, act
ivist
-or
ient
ed a
nd r
elat
e to
long
-hel
d be
liefs
that
eve
ryth
ing
is in
ter-
relat
ed.39
Th
is w
ork
has
help
ed l
ink
ecol
ogy
and
art
to i
dent
ity a
nd c
ultu
ral
surv
ival.
Con
vers
ely, l
oss
of id
entit
y is
seen
to
go h
and
in h
and
with
en
viro
nmen
tal d
egra
datio
n.40
Thi
s ide
ntity
rem
ains e
xtre
mel
y di
vers
e, fo
r In
dige
nous
artw
orks
exp
ress
the
view
poin
ts o
f six
hun
dred
or
so
langu
age
grou
ps i
n A
ustra
lia,
and
ther
efor
e ca
nnot
be
redu
ced
to a
n es
sent
ialist
art
hist
orica
l con
cept
. By
ac
know
ledgi
ng
thes
e co
unte
r-tra
ditio
ns,
the
Eur
opea
n id
ea
of
‘land
scap
e’ ha
s br
oade
ned
to t
he c
once
pt o
f ‘co
untry
’. ‘C
ount
ry’
is a
hand
y, E
urop
ean
term
res
pect
ful
of I
ndig
enou
s lan
d ow
ners
hip
and
cust
odian
ship
, w
hilst
re
cogn
ising
th
e po
tent
ial
of
non-
Indi
geno
us
stew
ards
hip.
It
signi
fies
post
-col
onial
re
latio
ns
with
th
e na
tura
l w
orld
whi
ch a
ckno
wled
ge I
ndig
enou
s, co
loni
al an
d an
ti-co
loni
al m
yths
an
d im
ages
, as S
outh
Aus
tralia
n ar
ts w
riter
and
nov
elist
Ste
phan
ie Ra
dok
mus
es, “
layer
ed o
n to
p of
eac
h ot
her
to m
ake
a ric
her,
deep
er p
lace”
.41
Canb
erra
-bas
ed a
rt hi
stor
ian,
Mar
y E
agle
has
also
obs
erve
d th
at i
n th
inki
ng o
f cou
ntry
:
38 A
s not
ed in
an
inte
rnat
iona
l con
text
by
US
writ
er V
ictor
Mar
golin
, ‘Re
flect
ions
on
art
& s
usta
inab
ility
’, Be
yond
gree
n: tow
ard
a su
stain
able
art,
Smar
t M
useu
m o
f A
rt,
Uni
vers
ity o
f Ch
icag
o an
d In
depe
nden
t Cu
rato
rs I
nter
natio
nal,
New
Yor
k, 2
006,
p.
21.
39
So
said
Jul
ie E
win
gton
, the
n ed
ucat
ion
offic
er a
t the
Que
ensla
nd A
rt G
aller
y, in
he
r pa
per
‘In
stall
atio
n an
d en
viro
nmen
t in
Sou
th E
ast
Asia
’, To
pogr
aphi
es
Conf
eren
ce, C
entre
for E
nviro
nmen
tal a
nd E
colo
gica
l Art,
Tow
nsvi
lle, 5
–7 A
ugus
t, 19
96,
as r
epor
ted
by C
hris
Dow
nie,
‘Top
ogra
phies
’, Pe
riphe
ry, n
o. 2
5, N
ovem
ber
1995
, p. 1
0.
40 T
his
poin
t w
as m
ade
by P
erc
Tuck
er G
aller
y D
irect
or R
oss
Sear
le in
his
pape
r ‘T
he A
rt of
Sur
viva
l’, a
t the
199
6 To
pogr
aphi
es C
onfe
renc
e. Ch
ris D
owni
e, op
. cit.
19
95, p
. 10
. 41
Rad
ok S
, ‘Pi
p St
okes
: Unf
oldi
ng th
e ni
ght’,
Art
and
Aus
tralia
, vol
. 39,
no.
4, (
June
-Ju
ly-A
ug 2
002)
p. 5
44.
36
8
[ther
e is]
no
divi
de b
etw
een
repr
esen
tatio
ns o
f lan
d an
d of
pe
ople,
hen
ce n
o ‘la
ndsc
ape’
in t
he w
este
rn s
ense
of
an
abst
ract
sc
ene
wait
ing
to
be
filled
…
Th
e A
borig
ines
en
visio
ned
jour
neys
and
rep
rese
nted
the
m i
n so
ngs
and
imag
es a
ccor
ding
to
the
wat
erho
les, f
ood
reso
urce
s, pe
ople,
lan
d rig
hts,
rites
and
per
miss
ions
invo
lved
.42
In m
ost A
borig
inal
com
mun
ities
, Ind
igen
ous
law m
ainta
ins
dist
inct
ions
be
twee
n vi
sual
repr
esen
tatio
ns,
danc
e, rit
ual,
poet
ry,
song
an
d a
ritua
lised
use
of
langu
age,
and
dict
ates
their
use
in d
eclar
ing
the
cent
ral
them
e of
pos
sess
ion,
ide
ntity
and
cus
todi
ansh
ip.
Indi
geno
us a
rt ha
s he
lped
oth
ers
unde
rsta
nd h
ow th
e law
cod
ifies
and
map
s ob
ligat
ions
to
the
land.
Th
is ha
s he
lped
rais
e th
e st
anda
rd o
f A
ustra
lian
‘land
liter
acy’,
as
Ray
Nor
man
term
s th
e ab
ility
to re
ad a
nd a
ppre
ciate
the
signs
of h
ealth
(and
ill
-hea
lth) i
n th
e lan
dsca
pe.43
A g
ood
exam
ple
is th
e w
ay L
ockh
art R
iver
pa
inte
r Sa
man
tha
Hob
son
read
s th
e lan
d in
env
ironm
enta
l, as
well
as
cultu
ral,
econ
omic
and
com
mun
ity t
erm
s (B
urn
grass
season
, 20
02).
Balk
anu’
s ‘C
arin
g fo
r Co
untry
’ m
anag
er
Barr
y H
unte
r ex
plain
s tra
ditio
nal
agric
ultu
ral
prac
tices
th
at
have
he
lped
th
e To
p E
nd’s
pote
ntial
car
bon
trade
eco
nom
y:
“F
irest
ick
farm
ing
(bur
ning
of
f),
is a
well
-doc
umen
ted
tech
niqu
e A
borig
inal
peop
le us
ed t
o re
new
and
man
age
the
land
… I
n th
e no
rth o
f A
ustra
lia i
t is
carr
ied o
ut a
t th
e be
ginn
ing
of t
he c
ool,
dry
seas
on.
Fire
stick
far
min
g se
rves
tw
o m
ain p
urpo
ses.
One
is
to d
ecre
ase
the
chan
ce o
f a
wild
fire
by r
educ
ing
the
vege
tatio
n; t
his
vege
tatio
n co
uld
be
fuel
for a
majo
r fire
. Sec
ondl
y, fir
e is
used
to c
lear
the
coun
try
and
enco
urag
e ne
w g
row
th. T
his n
ew g
row
th a
ttrac
ts w
ildlif
e, su
ch a
s ka
ngar
oos
and
othe
r sp
ecies
, w
hich
are
dra
wn
to
nibb
le on
the
soft
new
shoo
ts sp
rout
ing
afte
r the
fire
.”44
42
Eag
le M
, ‘Tr
aditi
ons
of r
epre
sent
ing
the
land
in A
borig
inal
art’,
Art
& A
ustra
lia,
vol.
37, n
o. 2
, (D
ec-Ja
n-Fe
b 19
99–2
000)
p. 2
36.
43 N
orm
an R
, ‘Re
adin
g th
e w
ater
s’, A
rtlin
k, v
ol. 2
1, n
o. 1
, 200
1, p
p. 1
0–13
. 44
Hun
ter
B, S
tory
place:
Ind
igeno
us a
rt of
Cape
York
and
the
rain
forest
, ex
hibi
tion
cata
logu
e, Ca
irns
Regi
onal
Gall
ery,
2003
p.2
8. S
ee a
lso F
rew
W, ‘
Use
Top
End
to
trade
in c
arbo
n, sa
y sc
ientis
ts’,
The S
ydne
y Mor
ning
Hera
ld, 2
3–24
June
, 200
7, p
. 6.
36
9
Pete
r D
ebna
m n
otes
tha
t H
obso
n’s
Burn
gra
ss sea
son,
along
with
her
St
ressed
(200
1) a
nd B
ust ‘
im u
p (2
000)
can
also
be
read
:
as a
met
apho
r fo
r th
e vo
latile
soc
ial c
ondi
tions
tha
t of
ten
unde
rmin
e th
e co
mm
unity
. The
re is
, how
ever
, an
unde
rlyin
g op
timism
th
at
‘bur
ning
of
f’ als
o in
volv
es
purg
ing
and
clea
nsin
g –
the
grow
th o
f fre
sh g
rass
and
new
hop
e.45
The
conc
ept o
f cou
ntry
also
allo
ws
artis
ts to
rein
terp
ret u
sefu
l elem
ents
fr
om t
he w
este
rn l
ands
cape
tra
ditio
n. F
or i
nsta
nce,
the
ambi
guou
s, m
oral
disc
ours
e of
uni
ty, p
rogr
ess a
nd n
atio
n af
ford
ed b
y th
e pa
nora
mic
vi
sta
rem
ains
a po
wer
ful v
isual
tool
. Tod
ay, t
he p
anor
ama
mig
ht s
till b
e pr
oprie
tal a
nd m
oral;
how
ever
it is
ofte
n m
etap
horic
ally
linke
d w
ith th
e vi
ewpo
int
of W
alter
Ben
jamin
’s ‘A
ngel
of H
istor
y’, p
rope
lled
forw
ard
into
the
fut
ure
whi
lst lo
okin
g ba
ck, a
ppall
ed a
t th
e en
viro
nmen
tal a
nd
hum
an w
reck
age
of t
he m
oder
n, i
ndus
trial
age.
Wes
tern
Aus
tralia
n ph
otog
raph
er
Rich
ard
Wol
dend
orp’
s st
unni
ng
aeria
l pa
nora
mas
oc
casio
nally
stop
us i
n th
e tra
cks o
f thi
s hist
orica
l view
poin
t. N
ewsp
aper
ph
oto-
jour
nalis
ts m
ore
regu
larly
retu
rn t
his
sorr
y ga
ze i
n pa
nora
mic
sh
ots
of t
he r
ural
wre
ckag
e lef
t by
agr
icul
tura
l in
dust
rialis
atio
n, t
he
corn
erst
one
of
Aus
tralia
n m
oder
nity
. W
e lo
ok
out
over
pa
rche
d ca
tchm
ent
area
s an
d de
grad
ed w
ater
cour
ses,
the
spoo
ky c
olou
r co
ding
of
blea
ched
cor
al or
salt
enc
rust
ed s
oil w
ith a
gui
lty s
ense
of ‘
prop
rieta
l’ re
spon
sibili
ty.
The
intim
ate
lands
cape
’s ex
pres
sion
of lo
cal a
ttach
men
t and
pro
duct
ive
stew
ards
hip
also
reso
nate
s in
cu
rren
t pr
ojec
ts
on
agric
ultu
ral
sust
ainab
ility
. Tod
ay’s
intim
ate
bush
clai
ms
ance
stry
in b
oth
Indi
geno
us
bush
tuc
ker
cere
mon
ies a
nd t
he E
nglis
h lan
dsca
pe g
arde
n tra
ditio
n. I
t ex
pres
ses
a dy
nam
ic an
d pr
oduc
tive
relat
ion
betw
een
art
and
natu
re,
whe
re n
atur
e aid
s ar
t, an
d th
e ar
tist/
gard
ener
aid
s th
e cr
eatio
n of
futu
re
natu
re.46
The
gen
re’s
emot
iona
l inv
estm
ent i
n a
corn
er o
f nat
ure
was
the
expe
rient
ial f
ocus
of
‘Kar
ra:
Kar
raw
irrap
arri
Red
Gum
For
est
Rive
r’ (2
000
Ade
laide
Fes
tival,
cur
ator
Viv
onne
Thw
aites
). A
rtist
s Ch
ris d
e
45 D
ebna
m P
, Stor
y plac
e, 20
03, p
. 101
. 46
Inst
ance
s of a
rt-na
ture
co-
prod
uctiv
ity ra
nge
wid
ely,
from
pro
ject
s ass
ociat
ed w
ith
Wat
erwor
ks,
SA C
ount
ry A
rts T
rust
, A
delai
de,
(cur
ator
Cat
herin
e M
urph
y) t
o th
e na
tive
gras
ses
gard
en p
lantin
g at
the
Cas
ula
Pow
erho
use
in L
iver
pool
, Sou
th-w
est
Sydn
ey, r
egul
arly
harv
este
d fo
r com
mun
ity g
rass
-wea
ving
wor
ksho
ps.
37
0
Rosa
, Agn
es L
ove
and
Jo C
raw
ford
pro
vide
d a
quiet
er s
pace
with
in th
e Fe
stiv
al, b
y in
stall
ing
a ba
rk-s
catte
red,
for
est b
ush
track
in th
e fe
stiv
al’s
arts
pace
. The
gall
ery
bush
walk
impl
icitly
lead
out
side
to th
e ol
d, g
narle
d tre
es a
long
the
near
by R
iver
Tor
rens
, som
e pr
e-da
ting
whi
te s
ettle
men
t, an
d be
arin
g sc
ars
of A
borig
inal
timbe
r-col
lect
ing
activ
ities
47. T
he s
ettle
r-lan
dsca
pe th
emes
of ‘
bush
enc
hant
men
t’ an
d th
e ar
tisan
al kn
owled
ge o
f th
e ar
tist
and
craf
ts w
orke
r all
res
onat
e w
ith t
he im
porta
nt I
ndig
enou
s les
son
that
eco
logi
cal c
omm
unica
tion
is bo
th c
ogna
te a
nd se
nsat
e.
Mar
y E
agle,
writ
ing
on E
mily
Kng
war
reye
’s Bi
g ya
m dr
eami
ng (
1995
) de
scrib
es h
ow th
e ca
nvas
is w
orke
d fr
om t
he o
utsid
e in
, ren
derin
g th
e ya
ms’
jour
ney
as t
hey
spre
ad u
nder
grou
nd (
Figu
re 1
1.8)
. K
ngw
arre
ye
pain
ted
at
arm
’s re
ach,
de
mon
stra
ting
her
know
ledge
, po
wer
an
d co
nnec
tions
with
the
yam
’s lif
e fo
rce:
“Unl
ike
her
wes
tern
cou
nter
parts
sh
e ne
ither
had
nor
req
uire
d an
enc
ompa
ssin
g vi
ew t
hrou
gh l
ooki
ng.
She
look
ed a
t her
wor
k fr
om th
e po
int o
f view
of a
wom
an d
iggi
ng fo
r ya
m t
uber
s.”48
Pain
ting
as t
racin
g w
ith f
inge
rs,
Eag
le co
ntin
ues,
“Her
ha
nds
unde
rsto
od
her
subj
ect
thro
ugh
a lif
etim
e.”
The
prac
tical
philo
soph
y em
bedd
ed in
thi
s ar
twor
k ed
ucat
es A
ustra
lians
abo
ut t
acit
know
ledge
, ow
ners
hip
and
resp
onsib
ility
for c
ount
ry.
F
igu
re 1
1.8
Em
ily K
ngw
arre
ye, B
ig ya
m dr
eami
ng (1
995)
47
Viv
onne
Thw
aites
, ‘K
arra
: Kar
raw
irrap
arri
red
gum
for
est r
iver
’, A
rtlin
k, v
ol. 3
1,
no. 1
, Mar
ch 2
001,
p. 3
6.
48 M
ary
Eag
le, o
p cit
. 199
9–20
00, p
. 236
37
1
Acr
ylic
on c
anva
s, 29
1.1
x 80
1.8
cm, p
rese
nted
thr
ough
the
Art
Foun
datio
n of
Vict
oria
by
Don
ald a
nd Ja
net H
olt a
nd fa
mily
, Gov
erno
rs, 1
995.
Nat
iona
l Gall
ery
of V
icto
ria, M
elbo
urne
. Co
pyrig
ht E
mily
Kng
war
reye
, 19
95.
Repr
oduc
ed b
y pe
rmiss
ion
of V
ISCO
PY L
td,
Sydn
ey,
2007
The
inlan
d ha
s co
me
into
its
own
as a
pos
itive
rat
her
than
a n
egat
ive
spac
e. A
s H
etti
Perk
ins
and
Han
nah
Fink
not
ed w
hen
intro
ducin
g th
e 20
00 e
xhib
ition
, Pa
puny
a: gen
ius
and
genesi
s, m
arki
ng t
he c
ente
nary
of
Fede
ratio
n, o
ne (p
asto
ral)
lands
cape
trad
ition
(Heid
elber
g) h
as g
iven
way
to
ano
ther
– “
an a
ppre
ciatio
n of
the
spiri
tual
reso
nanc
e of
the
dese
rt”.49
Th
e w
ell-e
stab
lishe
d ar
t cen
tres
of th
e W
este
rn D
eser
t hel
ped
audi
ence
s m
enta
lly re
popu
late
the
exist
entia
l voi
d of
the
mod
erni
st h
eartl
and.
Th
is op
ened
the
spac
e fo
r re
new
ed in
tere
st in
the
anti-
colo
nial,
dry
land
visio
ns o
f D
rysd
ale,
Boyd
, N
olan
and
Nam
atjir
a. Tr
acey
Mof
fatt’
s ph
otog
raph
ic se
ries
Up
in t
he s
ky (
1997
) re
visit
ed D
rysd
ale’s
cros
s-cu
ltura
l bad
lands
. Her
ass
ociat
ed 1
990
film
Nigh
t crie
s, w
hich
is in
par
t an
imag
inar
y se
quel
to C
harle
s Ch
auve
l’s 1
955
assim
ilatio
nist
epi
c Jed
da,
vivi
dly
evok
es h
ome
as h
eartb
eat a
nd p
rison
, mot
her–
daug
hter
relat
ions
an
d st
olen
gen
erat
ions
. It w
as fi
lmed
in a
stu
dio
set a
gain
st a
Nam
atjir
a-st
yle b
ackd
rop
(Jedd
a’s o
peni
ng c
redi
ts w
ere
them
selv
es p
roje
cted
aga
inst
a
gene
ric ‘N
amat
jira’
wat
erco
lour
).
Susa
n N
orrie
has
also
ofte
n ev
oked
a D
rysd
ale-e
sque
orc
hest
ratio
n of
na
tura
l di
sast
er a
nd h
uman
men
ace.
Her
200
6 vi
deo
Blac
k wi
nd i
s an
ele
giac
trib
ute
to t
he A
borig
inal
Tent
Em
bass
y ha
untin
g Ca
nber
ra’s
parli
amen
tary
tria
ngle,
and
also
to
mem
ories
of
nucle
ar t
estin
g at
M
arali
nga,
with
its
leg
acies
of
di
sper
sal,
blin
dnes
s an
d sic
knes
s (F
igur
e11.
9).
The
cam
era
slow
ly ro
lls o
ut a
n ex
tend
ed d
rive-
by d
olly-
shot
of t
he w
ind-
swep
t cam
psite
, sto
ppin
g, s
tarti
ng u
p ag
ain, m
ovin
g in
an
d ar
ound
tent
s and
was
hing
-line
s to
again
circ
le th
e be
ltway
in a
n ed
dy
of m
ovem
ent,
like
win
d m
ovin
g ac
ross
cou
ntry
. N
orrie
’s 20
03 v
ideo
in
stall
atio
n U
ND
ERT
OW
sim
ilarly
sur
roun
ds t
he s
pect
ator
with
slo
w-
mov
ing,
om
inou
s im
ager
y of
won
dero
us a
nd o
min
ous
envi
ronm
enta
l ph
enom
ena
(tem
pest
s, bu
bblin
g m
ud
pool
s, du
st
stor
ms,
cher
ry
49
Per
kins
H &
Fin
k H
, ‘Co
verin
g gr
ound
: the
cor
pore
ality
of
lands
cape
’, A
rt &
A
ustra
lia, v
ol. 3
8, n
o. 1
(Se
pt-O
ct-N
ov 2
000)
, p. 7
5. S
ee a
lso L
angt
on M
, ‘Sa
cred
ge
ogra
phy’,
in
Per
kins
H &
Fin
k H
, Pap
unya
Tula
: gen
esis a
nd g
eniu
s, A
rt G
aller
y of
N
ew S
outh
Wale
s, Sy
dney
, 200
0, p
p. 2
58–2
67.
37
2
blos
som
s, en
viro
nmen
tal
disa
ster
s) a
nd e
quall
y in
expl
icabl
e sc
ientif
ic
expe
rimen
ts.50
Neit
her
seem
to
hook
up
– a
them
e th
at N
orrie
has
de
velo
ped
over
a d
ecad
e of
inve
stig
atin
g en
viro
nmen
tal p
heno
men
a an
d hu
man
pre
dict
ion.
HA
VO
C, h
er v
ideo
ins
talla
tion
at t
he A
ustra
lian
Pavi
lion
for
the
2007
V
enice
Bi
enna
le,
cont
inue
s to
ex
plor
e ou
r dr
eadf
ully
dislo
cate
d en
viro
nmen
tal t
imes
. As
the
artis
t ex
plain
s of
the
V
enice
pro
ject,
“I c
ontin
ue t
o de
al w
ith m
y on
goin
g in
tere
st i
n th
erm
odyn
amic
s, w
hich
is a
n in
dica
tor o
f diso
rder
with
in o
ur ti
mes
. Thi
s pr
ojec
t is
loca
ted
in t
he r
egio
n of
the
‘rin
g of
fire
’ –
a gl
imps
e in
to
wor
lds
whi
ch a
re b
oth
geol
ogica
lly a
nd p
oliti
cally
vol
atile
… I
ndon
esia
acts
as a
micr
ocos
m fo
r the
bro
ader
con
ditio
n of
the
wor
ld.”
51
50 N
orrie
S,
UN
DE
RTO
W,
Art
Gall
ery
of N
ew S
outh
Wale
s Co
ntem
pora
ry A
rt Pr
ojec
ts, A
rt G
aller
y of
New
Sou
th W
ales,
Sydn
ey, 2
003.
51
Nor
rie S
, H
AV
OC,
Arti
st’s
Stat
emen
t, A
u3 V
enice
Bien
nale
2007
, A
ustra
lia
Coun
cil w
ww
.aust
ralia
veni
cebi
enna
le.co
m.au
/con
tent
/view
/68/
115/
, ac
cess
ed 1
3 Ju
ne 2
007.
37
3
Fig
ure
11.
9 Su
san
Nor
rie, B
lack
wind
(200
6)
DV
D in
stall
atio
n, M
ori G
aller
y, Sy
dney
An
aest
hetic
gre
en a
udit?
Co
ncer
n fo
r th
e en
viro
nmen
tal
impa
ct o
f ar
twor
ks,
proc
esse
s an
d ob
jects
has
pro
mpt
ed in
form
al gr
een
audi
ts, r
e-ig
nitin
g an
d ex
tend
ing
the
1980
s in
dust
rial
healt
h an
d sa
fety
cam
paig
ns o
f th
e st
ate-
base
d A
rtwor
kers
’ U
nion
s. St
udio
res
iden
cies
now
scr
een
pets
, th
e us
e an
d di
spos
al of
tox
ic m
ater
ials
and
the
rem
oval
or a
ltera
tion
of f
lora
. “W
hat’s
wro
ng w
ith t
ying
this
artw
ork
to t
his
tree?
” or
“W
hat
do y
ou
norm
ally
do w
ith th
e w
aste
toxi
c re
sins
you
use
in y
our w
ork?
” ar
e no
w
com
mon
que
stio
ns.52
Co
uld
we
also
mak
e a
met
apho
ric g
reen
aud
it of
art
writ
ing?
At t
he v
ery
least
, cr
itics
are
sta
rting
to
asce
rtain
whe
ther
an
artw
ork
is sim
ply
a pa
ssiv
e ob
ject o
r an
act
ive
forc
e. Is
it s
omet
hing
that
is s
impl
y cr
eate
d,
or is
it so
met
hing
that
cre
ates
? A re
new
ed e
mph
asis
on c
reat
ion
leads
to
view
ing
the
pano
ply
of e
co-a
rt pr
ojec
ts w
ith a
mor
e cr
eativ
e ae
sthe
tic
resp
onse
than
one
der
ived
sol
ely f
rom
trad
ition
al cu
rato
rial a
nd c
ritica
l fr
amew
orks
. In
the
field
of p
ublic
art,
for i
nsta
nce,
Dav
id C
rans
wick
obs
erve
s a
shift
fr
om ‘p
lonk
art’
(obj
ect-i
n-th
e-sp
ace)
to a
rt as
res
tora
tion
ecol
ogy.
This
shift
has
dov
etail
ed w
ith t
he e
mer
ging
eco
disc
iplin
es t
hat
are
also
conc
erne
d w
ith t
he s
tudy
of
relat
ions
hips
, sup
plan
ting
outm
oded
idea
s ab
out
hum
ans
bein
g do
min
ant
and
sepa
rate
fro
m t
he p
laces
in w
hich
th
ey
live.
Arti
sts
now
sh
are
know
ledge
w
ithin
co
llabo
rativ
e, in
terd
iscip
linar
y te
ams f
or e
colo
gica
l res
tora
tion.
53
For i
nsta
nce,
Jenn
ifer T
urpi
n an
d M
ichae
lie C
raw
ford
’s 19
96 T
he m
emor
y lin
e call
ed u
pon
loca
l res
iden
ts to
help
plan
t a 2
70-
by 4
-met
re e
xpan
se
of r
ye-c
orn
gras
s m
eand
erin
g alo
ng w
hat
was
the
orig
inal
cour
se o
f a
cree
k in
Fair
field
, a s
ubur
b of
sou
th w
est
Sydn
ey (
Figu
re 1
1.10
). Th
is ea
rly
stag
e of
Fa
irfiel
d Ci
ty
Coun
cil’s
‘Res
torin
g th
e W
ater
s’
52 G
rant
P, o
p cit
. 200
5, p
. 39.
53
Cra
nsw
ick D
, ‘Br
idgi
ng a
rt an
d ec
olog
y’, A
rtlin
k, v
ol. 2
1, n
o. 1
, Mar
ch 2
001.
37
4
envi
ronm
enta
l re
habi
litat
ion
proj
ect
aimed
to
get
the
loca
ls in
volv
ed,
and
the
gras
s lin
e w
as th
e fir
st s
tage
in th
e re
mov
al of
a c
oncr
ete
stor
m
wat
er d
rain
and
rest
orat
ion
of a
sus
tain
able
cree
k lin
e.54 T
he c
omm
unity
pl
antin
g su
cces
sful
ly re
vers
ed lo
cal c
ultu
ral a
nd e
nviro
nmen
tal a
mne
sia,
and
high
light
ed t
he v
ulne
rabi
lity
of t
he u
rban
land
scap
e. Su
ch p
rojec
ts
are
evalu
ated
for
the
stre
ngth
of
their
inte
r-rela
ted
envi
ronm
enta
l and
ae
sthe
tic d
imen
sions
. It
is di
fficu
lt, h
owev
er,
to f
orm
alise
im
agin
ativ
e re
sour
ces
for
evalu
atin
g ar
t as
eco
logi
cal
com
mun
icatio
n. A
s U
nite
d St
ates
art
hist
orian
Vict
or M
argo
lin a
rgue
s: W
e w
ill n
eed
a ne
w a
esth
etic
to e
mbr
ace
the
thre
e ca
tego
ries
of o
bjec
t, pa
rticip
atio
n, a
nd a
ctio
n w
ithou
t pr
ivile
ging
the
co
nven
tiona
l fo
rmal
char
acte
ristic
s of
ob
jects
. In
th
is ae
sthe
tic,
the
dist
inct
ions
be
twee
n ar
t, de
sign,
an
d ar
chite
ctur
e w
ill b
lur a
s crit
ics d
iscov
er n
ew re
latio
ns b
etw
een
the
valu
e of
form
and
the
valu
e of
use
.55
This
aest
hetic
is n
eces
saril
y co
ntin
gent
, and
cou
ld n
ever
be
a sin
gular
ca
tego
ry e
mbr
acin
g all
obj
ects
or p
artic
ipat
ory
actio
ns. N
or c
an it
be
set
dow
n in
ad
vanc
e; ra
ther
, lik
e fe
min
ist
aest
hetic
s, it
deve
lops
a
desc
riptiv
e, ev
aluat
ive
and
analy
tic p
urch
ase
in ta
ndem
with
spe
cific
art
proj
ects
, aud
ience
s an
d co
ntex
ts. I
t w
ould
be
silly,
for
inst
ance
, to
set
out a
prio
ri ae
sthe
tic fr
amew
orks
for p
roje
cts
that
welc
ome
the
pote
ntial
lo
ss o
f co
ntro
l ove
r m
ediu
m a
nd m
essa
ge t
hat
com
es w
ith w
orki
ng in
pu
blic,
as
in
th
e un
scrip
ted,
in
tera
ctiv
e pr
oces
ses
of
Squa
tspa
ce’s
popu
lar
anti-
deve
lopm
ent
Tour
s of
beau
ty (2
004–
6)
thro
ugh
the
back
stre
ets,
com
mun
ity c
entre
s an
d ho
usin
g co
mm
issio
n ap
artm
ents
of
inne
r-Syd
ney
Redf
ern
and
Wat
erlo
o.56
54 L
ynn
V, ‘
Jenn
ifer T
urpi
n an
d M
ichae
lie C
raw
ford
: The
cho
reog
raph
y of
tim
e, lig
ht
and
wat
er’,
Art
& A
ustra
lia, v
ol. 3
9, n
o. 2
, Dec
200
1-Ja
n/Fe
b 20
02, p
p. 2
38–2
47.
55 M
argo
lin V
, ‘R
efle
ctio
ns o
n ar
t an
d su
stain
abili
ty’,
in B
eyond
gree
n: tow
ard
a su
stain
able
art,
Smar
t M
useu
m o
f A
rt, U
nive
rsity
of
Chic
ago
and
Inde
pend
ent
Cura
tors
Inte
rnat
iona
l, N
ew Y
ork,
200
6, p
. 29.
56
Ihl
ein L
, ‘A
rt as
situ
ated
exp
erien
ce’,
If yo
u see
some
thin
g, sa
y som
ethin
g, (e
d. d
e So
uza
K &
Beg
g Z
), ex
hibi
tion
proj
ect d
ocum
enta
tion
and
cata
logu
e, Sy
dney
/Melb
ourn
e,
Janu
ary-
Febr
uary
200
7, p
. 9. F
or a
bro
ader
app
raisa
l of
relat
ed a
ctiv
ist p
rojec
ts s
ee
Dea
n B,
‘See
ing
wha
t we
need
to se
e’, re
altim
e, no
. 78,
Apr
il-M
ay 2
007,
p. 4
6.
37
5
F
igu
re 1
1.10
Jen
nife
r Tu
rpin
and
Mich
aelie
Cra
wfo
rd, T
he m
emor
y lin
e (1
996)
Co
rn g
rass
, 27
0 x
4 x
1 m
. Cl
ear
Padd
ock
Cree
k, F
airfie
ld,
Sydn
ey.
For
the
Aus
tralia
n co
nser
vatio
n an
d ‘R
esto
ring
the
Wat
ers’
Proj
ect’
with
Sch
affe
r Ba
rnsle
y La
ndsc
ape
Arc
hite
cts.
Phot
o: Ia
n H
obbs
.
Com
posit
iona
l un
ity,
dyna
mic
sym
met
ry,
aest
hetic
em
otio
n, t
ruth
to
mat
erial
s, sc
ulpt
ural
pres
ence
and
the
tona
l nua
nces
of t
he z
one
syst
em
are
amon
g th
e m
any
crite
ria u
sed
to d
iscus
s m
oder
n ar
t. E
co-a
esth
etic
s in
trodu
ces
valu
es li
ke s
usta
inab
ility
, bio
dive
rsity
, env
ironm
enta
l act
ivism
an
d In
dige
nous
com
mun
ity p
roto
cols,
alth
ough
the
crit
ical
and
art
hist
orica
l lan
guag
e fo
r th
ese
seem
ingl
y in
stru
men
tal o
utco
mes
hav
e ye
t
37
6
to b
e de
velo
ped
beyo
nd th
eir u
se a
s sim
ple
desc
ripto
rs.57
Und
oubt
edly,
ou
r cr
itica
l lan
guag
e w
ill b
road
en a
s au
thor
s, su
bjec
ts,
objec
ts a
nd
proc
esse
s ch
ange
. Bu
sh t
ucke
r, sa
linity
, tid
al pa
ttern
s an
d ra
infa
ll ar
e no
w c
omm
on a
rtist
ic m
otifs
. A
rtist
ic pr
oces
ses
have
exp
ande
d to
in
clude
dire
ct s
eedi
ng,
hand
-plan
ting,
fer
al pe
st c
ontro
l an
d w
ater
sa
mpl
ing.
58 A
delai
de a
rtist
Gav
in M
alone
pro
pose
s a c
omm
on v
iew:
It
is e
asy
to c
onsid
er a
scu
lptu
ral f
orm
to
be a
riv
er v
alley
, pa
int s
troke
s to
be
the
plan
ting
of tr
ees,
shru
bs a
nd g
rass
es,
the
grub
bing
of f
enne
l and
poi
soni
ng o
f blac
kber
ry to
be
the
editi
ng
of
supe
rflu
ous
cont
ent.
But
brin
g in
ot
hers
–
colla
bora
tion
with
en
gine
ers,
arch
itect
s, ur
ban
plan
ners
, lan
dsca
pe p
lanne
rs –
tho
se w
ho i
nflu
ence
the
for
m o
f ou
r pu
blic
spac
e an
d in
fras
truct
ure.
Then
an
othe
r lay
er
– ec
olog
ists,
bota
nist
s, cu
ltura
l pl
anne
rs,
and
impo
rtant
ly,
artis
ts …
To
man
ipul
ate
an u
rban
, rur
al, o
r rem
ote
lands
cape
, to
cha
nge
its a
esth
etic
from
deg
rade
d to
sus
tain
able,
to
med
iate
and
act o
n th
e w
ay p
eopl
e un
ders
tand
and
live
in th
e bi
o-ph
ysica
l wor
ld, c
an b
e an
d is
art.
59
Man
y of
the
pro
jects
disc
usse
d he
re s
hare
a s
pecu
lativ
e, w
orki
ng
fram
ewor
k of
env
ironm
enta
l fo
rces
or
elem
ents
. G
iven
the
spa
ce
avail
able,
let u
s ela
bora
te h
ow ju
st o
ne o
f the
se e
lemen
ts c
ould
be
used
to
help
fram
e a
‘gre
en a
esth
etics
’. N
o do
ubt t
he m
ost i
mpo
rtant
elem
ent
in A
ustra
lia a
t pr
esen
t is
wat
er. S
teph
anie
Rad
ok h
as a
lread
y co
nvey
ed
the
poet
ic fo
rce
of w
ater
as a
n im
porta
nt m
otif
in c
onte
mpo
rary
art:
Art
that
con
cern
s its
elf w
ith s
ome
man
ifest
atio
n of
wat
er
dem
onst
rate
s w
hat
can
be
cons
ider
ed
a ne
w
phas
e in
A
ustra
lian
art
abou
t th
e lan
d. A
fter
Mab
o, …
afte
r th
e A
borig
inal
art t
hat m
akes
kno
wn
the
daily
pat
tern
s of
alm
ost
ever
y re
gion
of
Aus
tralia
, thi
s lan
d ca
n ne
ver
be s
een
in th
e sa
me
way
aga
in. A
borig
inal
land,
occ
upied
land
, lan
d co
vere
d w
ith s
torie
s, bi
rths
and
deat
hs, i
t is
yet r
eady
to re
ceiv
e m
ore
57
The
pos
itive
valu
e of
crit
ical
desc
riptio
n ha
s, ho
wev
er, b
een
ably
arg
ued
by N
ew
Zea
land
art c
ritic
Jus
tin P
aton
in ‘T
he s
hado
w e
cono
my’,
Art
Mon
thly
Aus
tralia
, no.
20
0, Ju
ne 2
007,
pp.
9–1
1.
58 R
adok
S &
Malo
ne G
, ‘R
emed
iatio
n as
art’
, Artl
ink,
vol
. 25,
no.
4, 2
005,
p. 4
7.
59 M
alone
G,
‘The
Eco
logy
of
Art
or A
rt as
Eco
logy
’, Br
oads
heet,
vol
. 27
, no
. 7,
Su
mm
er 1
998,
p. 5
.
37
7
livin
g an
d to
dee
pen
our u
nder
stan
ding
of w
hat w
as a
nd m
ay
still
be.
Our
und
erst
andi
ng o
f th
is hi
stor
y m
akes
bot
h bi
tter
and
swee
t our
cur
rent
occ
upat
ion.
Eac
h of
us a
rgua
bly
com
es
from
riv
er p
eopl
e, or
plai
ns p
eopl
e, bo
ok p
eopl
e or
boa
t pe
ople,
peo
ple
of th
e ni
ght,
of th
e fis
h, o
f th
e m
ount
ains
or
of th
e se
a. M
any
of u
s do
not
kno
w w
hat k
ind
of p
eopl
e ar
e ou
rs o
r whe
re w
e be
long
but
per
haps
we
can,
by
liste
ning
to
our
intu
ition
s an
d fe
eling
s, un
ders
tand
whe
re w
e fit
in a
nd
take
res
pons
ibili
ty f
or th
e ef
fect
s on
the
wor
ld p
rodu
ced
by
our a
ctio
ns a
nd w
ays o
f thi
nkin
g.60
Saltw
ater
Ra
dok
impl
ies t
hat
wat
er is
a p
rodu
ctiv
e, sc
arce
, sac
red
and
cont
este
d ele
men
t.61 B
eyon
d th
at, w
e ca
n m
ake
no e
asy
gene
ralit
ies. Y
olgn
u ar
tists
, fo
r in
stan
ce, r
elate
the
poet
ics o
f w
ater
to s
pecif
ic ac
tions
on
land
and
sea
right
s in
the
ir re
gion
. A
cas
e in
poi
nt i
s th
e 19
99-2
001
trave
lling
ex
hibi
tion
Saltw
ater:
Yirr
kala
bark
pain
tings
of sea
and
cou
ntry,
whi
ch w
as
prom
pted
by
Gar
rana
li cu
stod
ian W
äka
Mun
ungu
rr’s
disc
over
y of
an
illeg
al ba
rram
undi
fish
ing
cam
p hi
dden
am
ongs
t the
man
grov
es n
ear t
he
hom
eland
com
mun
ity o
f Bä
niya
la (F
igur
e 11
.11)
. As
And
rew
Blak
e, ar
t co
ordi
nato
r at Y
irrka
la’s B
uku-
Larr
ngay
Mul
ka C
entre
exp
lains
:
This
appa
rent
ly sm
all in
ciden
t be
gan
the
mon
umen
tal s
tory
of
the
pro
duct
ion
of 8
0 ba
rk p
aintin
gs –
set
aga
inst
the
ba
ckdr
op o
f a
natio
nal l
egal
and
polit
ical m
aelst
rom
. Whi
le th
ese
bark
s w
ere
bein
g pa
inte
d,
we
saw
th
e hi
stor
ic re
cogn
ition
of
Nat
ive
Title
in t
he s
ea b
y th
e Fe
dera
l Cou
rt on
e da
y …
and
its
extin
guish
men
t by
the
Parli
amen
t lite
rally
tw
o da
ys l
ater
. Th
roug
h all
thi
s, th
e ev
ents
set
in
train
by
Wäk
a’s d
iscov
ery
cont
inue
d as
ine
xora
bly
as a
n in
com
ing
tide.
Thes
e w
orks
and
this
cata
logu
e ha
ve b
een
brou
ght i
n by
th
at ti
de.62
60
Rad
ok S
, ‘A
wat
er o
r a li
ght’,
Artl
ink, v
ol. 2
1, n
o. 1
, Mar
ch 2
001,
p. 4
7.
61 S
ee a
lso L
angt
on M
, ‘W
ater
scap
es: t
he so
cial
and
spiri
tual
cons
truct
ion
of w
ater
in
Abo
rigin
al so
cietie
s’ In
Dav
id B
, Bar
ker B
and
McN
iven
I J (
eds.)
The
socia
l arch
aeolo
gy
of in
digen
ous s
ocieti
es, A
borig
inal
Stud
ies P
ress
, Can
berr
a, 20
06.
62 B
lake
A,
‘Pre
face
’, Sa
ltwat
er: Y
irrka
la ba
rk p
aintin
gs of
sea c
ount
ry, B
uku-
Larr
ngay
M
ulka
Cen
tre a
nd Je
nnife
r Isa
acs P
ublis
hing
, Yirr
kala,
199
9, p
. 6.
37
8
F
igu
re 1
1.11
Min
iyaw
any
Yun
upin
u, F
rom
Bira
nybi
rany
(c. 1
996–
1997
) Pa
inte
d st
ringy
bark
, 178
x 1
07cm
s, re
prod
uced
in t
he e
xhib
ition
cat
alogu
e Sa
ltwat
er: Y
irrka
la Ba
rk P
aintin
gs of
Sea
Coun
try,
Buku
-Lar
rnga
y M
ulka
Cen
tre a
nd J
enni
fer
Isaa
cs P
ublis
hing
, Y
irrka
la, 1
999
Floa
ting
an e
xhib
ition
of
bark
pain
tings
abo
ut S
ea R
ight
s on
an
inco
min
g po
litica
l tid
e is
a po
wer
ful
ecol
ogica
l ae
sthe
tic p
latfo
rm.
The
imag
e of
est
uarin
e eb
b an
d flo
w p
rovi
des a
poe
tic, c
ross
-cul
tura
l m
etap
hor
for
reco
ncili
atio
n an
d ex
tend
s th
e co
ncep
t of
Nat
ive
Title
to
the
sea.
Cura
tor D
jon
Mun
dine
exp
lains
how
Th
e Y
olgn
u us
e w
ater
as
a to
ol, a
mod
el fo
r ph
iloso
phisi
ng.
The
estu
arin
e ar
ea o
f a ri
ver h
as d
iffer
ent p
lant s
peci
es a
long
its
ban
k. T
he c
onst
ant r
enew
al w
here
fre
sh a
nd s
alt m
ix a
nd
37
9
retu
rn i
s kn
own
as g
anm
a. Th
is is
used
as
a m
etap
hor
to
desc
ribe
a di
ffere
nt k
ind
of m
ixin
g: m
ixin
g Ba
landa
thou
ght
from
ove
rsea
s (s
altw
ater
) an
d in
dige
nous
wisd
om f
rom
the
lan
d (fr
esh
wat
er) t
o cr
eate
new
life
and
way
s of t
hink
ing.6
3
The
imag
e of
edd
ying,
con
verg
ing
or b
lend
ing
philo
soph
ical
curr
ents
ca
rries
pol
itica
l im
plica
tions
in o
ther
coa
stal
wat
ers.
In th
e m
etro
polit
an
cont
ext o
f sup
er-m
arin
a re
al es
tate
, Syd
ney
artis
t Nico
le E
llis
imag
es th
e oc
ean
as a
con
duit
“for
idea
s an
d bo
dies
, hist
ory
& k
now
ledge
… H
ow
does
wat
er c
arry
the
mem
ories
of t
hose
who
live
d on
its s
hore
s and
eve
n on
the
wat
er a
nd b
elow
the
wat
erlin
e …
?”6
4 E
llis
wor
ked
with
Jam
es
McG
rath
to
digi
tally
tab
ulat
e th
e co
nten
tious
sub
mar
ine
spac
es o
f Sy
dney
Har
bour
for
the
‘G
reen
Olym
pics
’ A
rts F
estiv
al. T
idal
vector
s: 20
00 m
appe
d th
e co
nges
ted
patte
rns
of b
oat
hulls
, bor
dere
d by
mor
e st
ream
lined
und
erw
ater
cur
rent
s m
ovin
g ar
ound
lan
dfor
ms
and
the
cont
ours
of h
arbo
ur in
lets a
nd c
hann
els (F
igur
es 1
1.12
a &
11.
12b)
. O
n th
e Ta
sman
ian c
oast
, th
e lai
ssez
-faire
mix
ing
of s
eaw
ater
and
in
trodu
ced
mat
erial
ang
ers
artis
t Ja
ne Q
uon,
a s
elf-p
rocla
imed
‘bo
at
pers
on’.
Quo
n pr
ojec
ts d
igita
lised
pho
togr
aphi
c im
ages
on
indu
stria
l st
ruct
ures
to c
omm
unica
te th
e th
reat
to T
asm
ania’
s mar
ine
envi
ronm
ent
from
dum
ped
ship
ball
ast.
Her
200
0 in
stall
atio
n Ba
llast
exch
ange
was
de
velo
ped
from
a c
ombi
natio
n of
phe
nom
enol
ogica
l an
d sc
ientif
ic
rese
arch
on
coas
tal e
colo
gy g
ained
thro
ugh
her
wor
k as
a d
iver
(Fig
ure
11.1
3). G
eogr
aphe
r Pet
e H
ay w
rites
:
… s
he h
as s
een
the
insh
ore
rava
ged
by p
rolif
erat
ing
Pacif
ic st
arfis
h (A
ster
ias
amur
ensis
), th
e E
urop
ean
gree
n cr
ab
(Car
cinu
s m
aena
s), a
Jap
anes
e se
awee
d (U
nder
ia pi
nnat
ifida
), an
d to
xic
dino
flage
llate
s, all
int
rodu
ced
per
the
agen
cy o
f du
mpe
d ba
llast
wat
er. I
sland
s ar
e es
pecia
lly v
ulne
rabl
e to
the
pertu
rbat
ion
wro
ught
by
inva
sive
spec
ies,
dive
rsity
bein
g ty
pica
lly lo
wer
and
eco
logi
cal r
elatio
nshi
ps le
ss r
esili
ent t
han
on c
ontin
enta
l lan
dmas
ses.”
65
63
Mun
dine
D, ‘
Saltw
ater
’, Sa
ltwat
er: Y
irrka
la Ba
rk P
aintin
gs of
Sea
Coun
try, 1
999,
p. 2
0.
64 R
adok
S, o
p. c
it., 2
001,
p. 4
9.
65 B
allas
t Exc
hang
e was
dev
ised
for
the
Bass
Stra
it Fo
rum
in L
aunc
esto
n, D
ecem
ber
2000
. See
Pet
er H
ay, ‘
Din
oflag
ellat
es, a
nd A
rt: J
ane
Quo
n’s
Mar
ine
Inst
allat
ions
’, A
rtlin
k, v
ol. 2
1, n
o. 1
, Mar
ch 2
001,
p. 1
9 Ja
ne Q
uon,
‘Phe
nom
enol
ogy
and
artis
tic
38
0
(a
)
(b
) F
igu
re 1
1.12
a an
d 1
1.12
b N
icole
Elli
s (w
ith J
ames
McG
rath
), Ti
dal
vector
s: 20
00
Dig
ital i
nsta
llatio
n, M
useu
m o
f Syd
ney,
Olym
pic
Arts
Fes
tival,
imag
e co
urte
sy o
f the
arti
sts a
nd
dLux
med
ia/ar
ts 2
000.
Per
miss
ion
by V
iscop
y Lt
d, S
ydne
y, 20
07
prax
is: a
n ap
plic
atio
n to
mar
ine
ecol
ogica
l com
mun
icatio
n’, L
eonar
do, v
ol. 3
8, n
o. 3
, 20
05, p
p. 1
85–1
91.
38
1 F
igu
re 1
1.13
Jane
Quo
n, B
allas
t exc
hang
e (de
tail)
, 200
0 M
ixed
med
ia in
stall
atio
n of
pol
ysty
rene
, alu
min
ium
, ste
el c
able
and
fitt
ings
, glas
s, vi
deo,
slid
e pr
ojec
tion,
soun
d, 2
40 x
240
x 4
20 c
m
From
the
Top
End
to
the
Sout
hern
Oce
an, f
luid
met
apho
rs d
escr
ibe
proc
esse
s of
mar
ine
pollu
tion,
hist
orica
l flo
tsam
and
mor
e pr
oduc
tive
mix
ing
of th
ough
t, in
form
atio
n an
d ac
tion.
Salt
wat
er m
ight
also
be
used
to
evo
ke t
he g
ener
ativ
e m
ix o
f in
terd
iscip
linar
y an
d cr
oss-
cultu
ral
know
ledge
em
bodi
ed in
the
pro
duct
ion
and
rece
ptio
n of
the
se w
orks
. In
com
ing
polit
ical a
nd c
ultu
ral t
ides
bea
r th
ese
proj
ects
thro
ugh
galle
ry
spac
es a
nd a
rts f
estiv
als t
o bo
b up
aga
inst
our
scie
ntifi
c an
d po
litica
l in
stitu
tions
. A
s th
e Y
irrka
la ar
tists
sug
gest
, po
litici
ans
are
star
ting
to
ackn
owled
ge t
he c
ultu
ral
auth
ority
of
thei
r in
tern
atio
nally
-reco
gnise
d ar
twor
ks. T
asm
anian
arts
writ
er D
avid
Cra
nsw
ick a
dmits
, how
ever
, tha
t th
e sc
ientif
ic co
mm
unity
is s
till b
ackw
ard
in a
ccor
ding
due
aut
horit
y to
ar
t an
d to
in
dige
nous
kn
owle
dge
whe
n it
com
es
to
ecol
ogic
al su
stain
abili
ty –
a r
esid
ue o
f sc
ientif
ic do
min
ance
in
the
hist
ory
of
38
2
mod
erni
sm.66
The
re r
emain
s a
min
ority
scie
ntist
or
wild
life
rang
er
perc
eptio
n of
‘sur
ely
the
natu
ral w
orld
can
spe
ak f
or it
self’
, a le
gacy
of
the
old
natu
re/c
ultu
re o
ppos
ition
, and
a r
eluct
ance
to
unde
rsta
nd h
ow
art a
dds a
noth
er si
de to
the
cons
erva
tion
stor
y.
Fres
hwat
er
Our
riv
er s
yste
ms,
the
prov
erbi
al lif
eblo
od o
f A
ustra
lian
econ
omic
hi
stor
y, ha
ve b
ecom
e as
stre
ssed
and
dep
leted
as
the
agric
ultu
ral
clich
é its
elf.
Art
proj
ects
fe
ed
the
syst
em
as
back
wat
ers,
cree
ks,
wat
erho
les a
nd t
ribut
aries
, ca
rryin
g pr
ovisi
onal
imag
es o
f su
bjec
tivity
, cu
stom
ary
and
tacit
env
ironm
enta
l kn
owled
ge t
o co
me
up a
gain
st
the
main
stre
am c
urre
nt o
f A
ustra
lian
hist
ory.
Ther
e is
no e
asy
or
abun
dant
flo
w
in
a ba
dly
regu
lated
an
d ov
erdr
awn
syst
em.
Art
proj
ects
can
rem
ind
us o
f hi
stor
ical
mom
ents
whe
n it
coul
d
have
bee
n ot
herw
ise,
and
cham
pion
ove
rlook
ed l
ocal
know
ledge
of
wat
er m
anag
emen
t.
For
her
ten-
year
pro
ject T
he D
arlin
g (2
000)
, Rub
y D
avie
s de
cora
ted
the
wall
s of
the
gall
ery
with
pho
togr
aphi
c pr
ints
, ex
plor
ers’
obse
rvat
ions
w
ritte
n in
riv
er m
ud, a
nd in
clude
d st
ories
and
son
gs o
n co
mpa
ct d
isc
(Fig
ure
11.1
4).
Trac
ing
the
pass
age
of C
harle
s St
urt
and
Thom
as
Mitc
hell
over
the
Dar
ling
Rive
r in
the
183
0s,
Dav
ies r
etur
ned
to h
er
child
hood
hom
e at
Wilc
anni
a in
far
wes
tern
New
Sou
th W
ales
to
expl
ore
diffe
rent
view
poin
ts –
col
onial
, pa
stor
al, I
ndig
enou
s –
of t
he
lands
cape
. Th
ese
imag
es a
re s
oake
d in
the
pho
togr
aphi
c hi
stor
y of
Ch
arles
Bay
liss’s
188
6 ph
otog
raph
ic dr
ift d
own
the
flood
ed D
arlin
g Ri
ver.
Dav
ies u
ses a
pin
hole
cam
era,
whi
ch re
quire
s ext
ende
d ex
posu
res,
givi
ng h
er ti
me
to lo
ok a
roun
d fo
r the
“sh
ell m
idde
ns, c
ampf
ires,
cano
e tre
es a
nd fl
ints
” of
the
Baka
ndji
peop
le alo
ng th
e riv
er b
anks
and
allu
vial
flood
plai
n. T
he p
inho
le ca
mer
a gi
ves
a vi
gnet
te-li
ke b
lur
arou
nd t
he
perip
hery
and
a c
entra
l foc
al po
int f
or e
ach
imag
e, of
ferin
g a
clarit
y of
vi
sion
whi
ch st
retc
hes t
o in
finity
.
66
Cra
nsw
ick D
, op
cit. 2
001,
p. 4
7. C
rans
wick
cite
s an
impo
rtant
exc
eptio
n in
the
empl
oym
ent o
f ind
igen
ous a
rtist
Tex
Sku
lthor
pe a
s a se
nior
con
sulta
nt to
the
Mur
ray
Dar
ling
Basin
Com
miss
ion
in th
e lat
e 19
90s.
Skul
thor
pe w
as g
iven
sign
ifica
nt re
spec
t an
d au
thor
ity a
t sen
ior l
evel
s of i
nteg
rate
d pl
anni
ng, a
nd h
is pa
intin
gs a
bout
the
land
“wer
e ac
cept
ed a
s a c
ompl
ete
stat
e of
the
envi
ronm
ent r
epor
t for
the
Mur
ray
Rive
r.”
38
3
F
igu
re 1
1.14
Rub
y D
avies
‘…st
ories
(det
ail)’,
from
The
Dar
ling (
2000
) Si
lver
gela
tin p
inho
le ph
otog
raph
, 63.
5 x
80cm
Hist
orica
l an
d po
litica
l cla
rity
is gr
ante
d th
roug
h re
cogn
ition
of
the
intim
ate
lands
cape
pho
togr
aphy
that
has
fram
ed th
e riv
er fr
om th
e ea
rly
trade
in v
iews t
o th
e 20
th c
entu
ry p
hoto
geni
c st
ockm
en w
ho d
rove
thei
r ca
ttle
acro
ss t
he p
ages
of
popu
lar il
lust
rate
d m
agaz
ines
like
Walk
abou
t. W
alkab
out’s
reg
ular
fea
ture
, ‘O
ur c
amer
aman
’s w
alkab
out’
tailo
red
the
pict
ures
que,
the
curio
us a
nd t
he c
onve
rsat
iona
l for
arm
chair
tra
velle
rs.
Dav
ies’
swee
ping
riv
er g
ums
reca
ll th
e ea
rlier
nar
rativ
e st
yle a
nd p
ay
tribu
te to
thes
e ph
otog
raph
ic b
ackb
lock
s. Th
e lat
er w
ork
rew
rites
ear
lier
trave
logu
es. D
avies
aler
ts u
s to
the
chan
ges
that
hav
e ta
ken
plac
e to
the
river
, an
d in
clude
s re
cord
ed l
ocal
narr
ativ
es a
bout
irr
igat
ion,
dro
ught
an
d di
spos
sess
ion.
Rad
ok d
iscus
ses D
avis’
wor
k in
relat
ion
to th
e co
tton
indu
stry
, with
its
impa
ct o
n th
e riv
er, “
… b
reat
hing
life
into
the
hum
an
popu
latio
ns o
f pl
aces
suc
h as
Bou
rke
whi
le tra
gica
lly s
ettin
g ba
ck t
he
38
4
healt
h of
the
riv
er a
nd i
ts f
lora
and
fau
na”.
67 D
avis
look
s ov
er t
he
shou
lder
s of
the
Walk
abou
t ca
ttlem
en a
nd b
eyon
d he
r ow
n, b
rief
child
hood
mem
ories
, to
disc
over
the
endu
ring
conn
ectio
n th
e Ba
kand
ji fe
el w
ith th
e riv
er, a
s th
ey h
ave
celeb
rate
d in
imag
e an
d so
ng: “
We
are
the
peop
le of
the
river
”; “
My
peop
le ar
e Ba
kand
ji, th
e riv
er k
now
s w
ho
we
are”
.68
F
igu
re 1
1.15
Mich
ael
Riley
, U
ntitl
ed (
Locu
st) (
2000
), fr
om t
he C
loud
se
ries
Inkj
et p
rint o
n ba
nner
pap
er, r
epro
duce
d by
per
miss
ion
of V
ISCO
PY L
td, S
ydne
y, 20
07
Wira
djur
i/K
amila
roi a
rtist
Mich
ael R
iley’s
Clou
d se
ries
(200
0) is
also
a
poet
ic ca
talo
gue
of ic
onic
objec
ts re
calle
d fr
om th
e ar
tist’s
chi
ldho
od o
n th
e M
acqu
arie
Rive
r at D
ubbo
, nor
th w
este
rn N
ew S
outh
Wale
s (F
igur
e 11
.15)
. Cu
rato
r D
jon
Mun
dine
lis
ts
them
: “A
flo
atin
g fe
athe
r, a
67
Ste
phan
ie Ra
dok,
op
cit 2
001,
pp.
47–
48.
68 A
s su
ng b
y Ba
kand
ji Ch
ildre
n’s
Choi
r, St
The
rese
Com
mun
ity S
choo
l, W
ilcan
nia.
Co
mpa
ct d
isc a
ccom
pany
ing
Dav
ies’ s
eries
‘The
Dar
ling’
.
38
5
swee
ping
win
g, a
vig
ilant
ang
el an
d th
e co
ws
from
the
miss
ion
farm
. A
singl
e A
ustra
lian
plag
ue lo
cust
in f
light
, ref
errin
g to
the
cycli
cal s
war
ms
of l
ocus
ts,
a co
mfo
rting
bib
le an
d a
grac
eful
em
blem
atic
retu
rnin
g bo
omer
ang”
.69 E
ach
isolat
ed o
bjec
t is
float
ed a
gain
st a
n ex
pans
e of
blu
e sk
y an
d cir
rus
cloud
, re
dolen
t w
ith c
onfli
ctin
g m
emor
ies o
f hu
man
oc
cupa
tion
and
disp
osse
ssio
n, s
wee
t pain
, pro
duct
ivity
and
deg
rada
tion.
Ri
ley’s
imag
es p
robe
the
sig
hts
glos
sed
or o
verlo
oked
on
whi
tefe
lla
walk
abou
ts, a
nd M
undi
ne’s
acco
mpa
nyin
g co
mm
enta
ry r
ecou
nts
stor
ies
left o
ut o
f pas
tora
list a
nd tr
avell
ers’
tales
: the
Bre
elong
Mas
sacr
e in
190
0;
John
Oxl
ey’s
surv
eyin
g of
the
are
a; th
e se
tting
up
of t
he T
albra
gar
Miss
ion
unde
r th
e A
borig
inal
Prot
ectio
n Bo
ard
arou
nd 1
900;
and
the
im
porta
nt fi
rst m
eetin
gs o
f the
Abo
rigin
al Pr
ogre
ssiv
e A
ssoc
iatio
n in
the
1930
s. M
urra
y-D
arlin
g ph
otog
raph
ers
like
Riley
and
Dav
ies o
ffer
the
post
colo
nial
flips
ide
of a
gric
ultu
ral l
ands
cape
pho
togr
aphy
and
mod
ern
trave
l writ
ing.
The
well
-kno
wn
pain
ter
Mar
gare
t Pr
esto
n w
as o
ne s
uch
artis
t–tra
velle
r. Sh
e jo
urne
yed
up th
e D
arlin
g Ri
ver
in 1
942
to p
aint i
ts
tribu
tary
, th
e W
arre
go R
iver
, at
Cun
nam
ulla
and
Char
levill
e.70
The
resu
lting
pain
tings
hau
nt D
avies
’ ca
refu
lly c
ompo
sed
phot
ogra
phs
of
river
ban
ks a
nd o
ver-a
rchi
ng, e
legan
t gum
s (b
arna
ra o
r, as
the
Baka
ndji
call
it, t
he ‘
main
tre
e on
the
riv
er’).
71 D
avies
lin
gers
to
rem
embe
r, w
here
as P
rest
on t
rave
lled
smar
tly, i
n a
hurr
y to
spo
t an
d de
scrib
e th
e ne
xt p
ictur
esqu
e w
ater
ing-
hole,
whi
ch w
as a
lway
s:
A s
hort
mot
or d
rive
away
. Bre
war
rina,
one
of th
ese,
look
s a
thrif
ty,
up-to
-dat
e pl
ace
on t
he B
arw
on,
nee
Dar
ling.
Thi
s riv
er h
as a
borig
inal
fishe
ries
clos
e to
the
tow
n. T
hey
cons
ist
of s
tone
s, bi
g an
d lit
tle, p
laced
abo
ut t
he r
iver
to
catc
h th
e fis
h as
they
com
e do
wn.
Bre
war
rina
has h
ad m
any
abor
igin
es,
but
they
are
now
drif
ting
to B
ourk
e, m
uch
to t
he l
atte
r’s
anno
yanc
e.72
Brew
arrin
a ph
otog
raph
er M
ervy
n Bi
shop
also
set
Pre
ston
’s un
witt
ing
racis
m t
o rig
hts
in h
is re
turn
trip
up
the
Dar
ling
Rive
r. H
is 20
04 s
lide
69
Mun
dine
D, ‘
On
a w
ing
and
a pr
ayer
’ in
Mich
ael R
iley:
Clou
d, ex
hibi
tion
cata
logu
e, A
ustra
lian
Cent
re fo
r Pho
togr
aphy
, Syd
ney,
2000
, p. 3
. 70
Pre
ston
M,
‘Hun
ting
the
War
reng
o’,
Aus
tralia
Week
end
Book
, no
. 2,
194
2, U
re
Smith
, Syd
ney,
pp. 1
70–7
4.
71 B
utch
er M
, Bak
andj
i edu
cato
r, cit
ed T
he D
arlin
g, 20
00.
72 P
rest
on, o
p. c
it, 1
942,
pp.
171
–72.
38
6
and
vide
o m
onol
ogue
, Fl
ash
blak,
de
scrib
es
how
fa
r-flu
ng
river
co
mm
uniti
es f
rom
all
over
wer
e un
will
ingl
y br
ough
t fro
m th
eir c
ount
ry
to B
rew
arrin
a. W
ith f
ellow
pho
togr
aphe
r W
illiam
Yan
g, B
ishop
dro
ve
back
hom
e to
see
the
ruin
s of
the
old
miss
ion,
now
redu
ced
to a
pile
of
build
ing
rubb
le a
nd a
sol
itary
roa
d-sig
n. H
e m
ade
a w
ide-
angl
ed,
phot
ogra
phic
mon
umen
t of
the
brid
ge o
ver
Hos
pita
l Cr
eek,
a l
ocal
mas
sacr
e sit
e. Bi
shop
is
no s
lick
pres
ente
r, ho
wev
er; t
hese
bea
utifu
lly
fram
ed im
ages
are
sin
gular
ly re
ticen
t. Th
e m
emor
ies a
re to
o pa
infu
l for
ea
sy w
ords
and
im
ages
, an
d th
e of
ten
diffi
cult
lives
of
Brew
arrin
a’s
pres
ent I
ndig
enou
s com
mun
ities
are
brie
fly n
oted
with
‘blak
’ hum
our o
r ve
iled
sadn
ess.
Bish
op is
far
mor
e fu
lsom
e in
nam
ing
ever
y ni
ece
and
neph
ew,
aunt
and
unc
le, g
rand
mot
her,
fath
er a
nd n
eigh
bour
ing
child
fe
atur
ed i
n ea
ch p
ictur
e. Br
ewar
rina
seem
s fil
led w
ith I
ndig
enou
s fa
mili
es a
nd c
omm
unity
hist
ories
, if
only
Mar
gare
t Pr
esto
n kn
ew.
Thes
e ph
otog
raph
s ad
d pe
rson
al,
aest
hetic
, po
litica
l an
d hi
stor
ical
argu
men
ts t
o ou
r en
viro
nmen
tal
cons
ider
atio
n of
the
Mur
ray-
Dar
ling
basin
. Th
e w
ork
of t
hese
pho
togr
aphe
rs r
e-im
agin
es t
he h
istor
y of
oc
cupa
tion,
exp
lora
tion
and
depi
ctio
n alo
ng th
e D
arlin
g Ri
ver t
o he
lp u
s th
ink
thro
ugh
issue
s of
ow
ners
hip,
dev
elopm
ent
and
regu
latio
n of
the
riv
er sy
stem
.
Wat
er T
able
D
owns
tream
in
Sunr
aysia
, w
ater
is
ever
ythi
ng.
It is
now
com
mon
kn
owled
ge t
hat
the
Mur
ray-
Dar
ling
Rive
r is
on t
he ‘
top
ten’
list
of
enda
nger
ed ri
vers
of t
he w
orld
, alo
ng w
ith th
e N
ile, t
he Y
angt
ze, t
he R
io
Gra
nde
and
Dan
ube.
The
raisi
ng o
f th
e w
ater
tab
le an
d in
crea
sing
salin
ity in
soi
l is
caus
e fo
r co
mm
on a
larm
, as
salin
ity a
udits
pre
dict
ten
mill
ion
tons
per
yea
r m
ovin
g th
roug
h th
e lan
dsca
pe b
y 21
00.
The
Sunr
aysia
Irrig
atio
n Sc
hem
e w
as A
ustra
lia’s
earli
est l
arge
-sca
le re
gulat
ion
of th
e M
urra
y Ri
ver.
Dea
kin
visit
ed C
alifo
rnia
in 1
885,
and
subs
eque
ntly
push
ed
irrig
atio
n leg
islat
ion
thro
ugh
the
Vict
orian
pa
rliam
ent.
Sunr
aysia
’s pu
mpi
ng st
atio
ns a
nd ir
rigat
ion
chan
nels
wer
e in
plac
e by
the
turn
of
cent
ury,
form
ing
the
back
bone
of
Sout
h-E
aste
rn A
ustra
lia’s
agric
ultu
re. A
rtist
Meg
an J
ones
cre
ated
a s
eries
of
digi
tally
-man
ipul
ated
ph
otog
raph
s of
the
sch
eme’s
hist
ory
for
the
Mild
ura
Alfr
ed D
eaki
n Ce
ntre
in
2000
–01.
She
res
earc
hed
and
man
ipul
ated
loc
al, h
istor
ical
phot
ogra
phs
to g
ive
a hi
stor
ical
snap
shot
of
this
artif
icial
lan
dsca
pe,
along
with
sat
ellite
im
ages
and
pan
oram
ic p
hoto
grap
hs.
We
note
the
38
7
prog
ress
ive
degr
adat
ion
of t
he r
iver
sys
tem
and
ack
now
ledge
spo
radi
c, re
cent
effo
rts f
or m
ore
effic
ient
and
less
was
tefu
l w
ater
use
, m
ore
exte
nsiv
e so
il su
rvey
s, in
crea
sed
drain
age
and
mon
itorin
g of
gr
ound
wat
er –
all
part
of t
he r
egio
nal
Salin
ity M
anag
emen
t Pl
an.
Malc
olm
Mac
Kin
non
note
s tha
t:
Dw
ell lo
ng e
noug
h w
ithin
it, a
nd it
’s po
ssib
le to
lose
sig
ht o
f th
e m
ultip
le lay
ers
of i
nter
vent
ion
whi
ch h
ave
crea
ted
the
plac
e. It’
s th
e sa
me
illus
ion
as t
hat
prac
tised
in
the
neo-
Arc
adian
pa
rks
and
gard
ens
of
Palla
dian
E
nglan
d,
or
rom
antic
lan
dsca
pe
pain
tings
fr
om
the
18th
an
d 19
th
cent
uries
.73
Meg
an
Jone
s m
akes
th
is lay
erin
g of
in
terv
entio
n vi
sible,
th
roug
h ph
otog
raph
ing
dere
lict o
r ou
tdat
ed p
umpi
ng s
tatio
n eq
uipm
ent,
and
by
digi
tally
piec
ing
toge
ther
360
-deg
ree
pano
ram
as t
o gu
ide
the
view
er
thro
ugh
inte
rcon
nect
ed
sites
. H
er
inte
ract
ive
win
dow
di
splay
or
ches
trate
s im
ages
and
sou
nds
to s
imul
ate
the
cont
rolle
d flo
w o
f wat
er
and
salt
thro
ugh
a co
nstru
cted
env
ironm
ent.
F
igu
re 1
1.16
Alex
Ker
shaw
, A la
ke w
ithou
t wat
er (2
006)
(det
ail)
Mix
ed m
edia
inst
allat
ion,
Arts
pace
, Syd
ney
2006
73 M
cKin
non
M, ‘
Sim
ulat
ing
the
flow
’, A
rtlin
k, v
ol. 2
1, n
o. 1
, Mar
ch 2
001,
p. 5
7.
38
8
A la
ke w
ithou
t wat
er w
as a
com
mun
ity-b
ased
pro
ject t
hat a
lso c
once
rned
its
elf w
ith re
lated
env
ironm
enta
l, ae
sthe
tic, s
ocial
and
eco
nom
ic leg
acies
of
poo
r lan
d m
anag
emen
t (I
llust
ratio
n 16
). Co
ordi
nate
d by
arti
st A
lex
Ker
shaw
(with
sou
nd a
rtist
Gail
Prie
st),
this
elega
nt m
ulti-
scre
en v
ideo
in
stall
atio
n (A
rtspa
ce,
Sydn
ey
2006
) in
volv
ed
loca
l re
siden
ts
from
W
eere
ewa,
a dr
y lak
e in
the
Sout
hern
Tab
lelan
ds o
f N
ew S
outh
Wale
s. A
n au
ctio
neer
call
s an
im
agin
ary
land
auct
ion
for
wha
t is
beco
min
g Sy
dney
sea
-cha
nger
rea
l-est
ate.
A r
ace-
calle
r sc
ans
the
deso
late
lake
bed
and
calls
an
imag
inar
y ra
ce.
Two
surv
eyor
s in
Aku
bras
run
dow
n a
mos
sy h
ill,
scat
terin
g ‘p
lanni
ng’
pape
r at
the
ir fe
et.
They
the
n slo
wly
tru
dge
back
up
the
hill,
clea
ning
up
the
mes
s, to
the
surp
risin
gly
viol
ent,
ampl
ified
sou
nd o
f sc
runc
hing
pap
er. A
n ad
jacen
t sc
reen
sho
ws
a dr
y, sa
ndy
river
bed
bein
g re
-plan
ted
by
Land
care
lab
our.
“Lik
e an
ov
erze
alous
ges
ture
tow
ards
ref
ores
tatio
n, t
he t
rees
are
plac
ed w
here
ev
en w
eeds
cou
ldn’
t gr
ow”,
tho
ught
rev
iew
er B
ec D
ean.
74 I
n th
e di
stan
ce, a
you
ng m
usici
an fr
om th
e lo
cal b
rass
ban
d pl
ays a
trum
pet i
n a
large
, em
pty
conc
rete
wat
er-ta
nk. H
er m
elan
chol
y tu
ne u
nder
scor
es th
e ra
ce-c
all a
nd a
uctio
neer
’s ch
ant,
boun
cing
arou
nd th
e ga
llery
wall
s is i
f it
wer
e als
o an
em
pty
tank
. G
oogl
e E
arth
aer
ial s
hots
of
the
area
are
pr
ojec
ted
on ta
bles
in th
e ce
ntre
of t
he ro
om: “
From
the
air, f
arm
s lo
ok
like
geom
etric
abs
tract
ions
, pun
ctua
ted
here
and
ther
e by
the
appe
aran
ce
of w
hite
-rim
med
, blac
k w
elts o
f salt
that
hav
e ris
en to
the
surf
ace
of th
e ea
rth.”
Nea
rby
Gou
lbur
n re
siden
ts w
ere
the
first
to
vote
for
rec
yclin
g th
eir d
rinki
ng w
ater
and
Can
berr
a’s C
otte
r Dam
was
at a
hist
oric
low
as
the
com
mun
ity a
rt pr
ojec
t to
ok f
orm
. Dea
n’s
revi
ew a
ccur
ately
not
ed
how
thi
s pr
ojec
t of
fere
d re
gion
al an
d m
etro
polit
an S
ydne
y au
dien
ces
a “t
imely
m
edita
tion
on
prop
riety
, pl
anni
ng,
spec
ulat
ion
and
the
myt
hopo
eia o
f stru
ggle
in th
e A
ustra
lian
lands
cape
”.75
Cat
chm
ent
Rive
r sy
stem
s clo
ser
to r
egio
nal
and
met
ropo
litan
cen
tres
are
mor
e co
mm
only
cons
ider
ed a
s w
ater
cat
chm
ent
area
s, an
d ar
e su
bseq
uent
ly hi
ghly
regu
lated
thr
ough
scie
ntifi
c, to
wn
plan
ning
, en
gine
erin
g an
d ec
onom
ic ov
ervi
ew.
This
level
of i
nter
est
and
cont
rol
prov
ides
a
sugg
estiv
e, in
terd
iscip
linar
y m
etap
hor
for
envi
ronm
enta
lly-b
ased
74
Dea
n B,
“A
des
olat
ion
too
real’
, Rea
ltime
, onl
ine,
Apr
il 20
07.
75 ib
id
38
9
cura
toria
l st
rate
gies
, pa
rticu
larly
in
rega
rd
to
publ
ic ar
t pr
ojec
ts.
Incr
ease
d lo
cal g
over
nmen
t sp
onso
rshi
p of
res
tora
tive
proj
ects
req
uire
ar
tists
to
fram
e re
crea
tiona
l sit
es,
prov
ide
imag
inat
ive
and
prot
ectiv
e po
ints
of a
cces
s to
wet
lands
or s
ites
of h
istor
ical,
cul
tura
l and
eco
logi
cal
signi
fican
ce.
Thes
e co
mm
unity
-bas
ed,
loca
l go
vern
men
t pr
ojec
ts c
an
som
etim
es p
rove
to b
e lo
cally
pop
ular
, but
illu
stra
tive,
tend
entio
us a
nd
visu
ally
unex
citin
g. M
ore
ofte
n th
an n
ot, t
hese
pro
blem
s re
sult
from
a
wea
k cu
rato
rial s
elect
ion
fram
ewor
k or
a fl
awed
com
miss
ioni
ng p
roce
ss,
and
an u
nim
agin
ativ
e ae
sthe
tic r
espo
nse
to a
rt an
d en
viro
nmen
t. A
s a
basic
mea
sure
, Alan
Cru
icksh
ank
argu
es, p
oint
ing
to A
delai
de’s
woe
ful
envi
ronm
enta
lly-b
ased
pub
lic a
rt, t
he s
o-ca
lled
publ
ic –
tow
n pl
anne
rs,
coun
cillo
rs,
may
ors,
coun
cil a
rchi
tect
s an
d ge
nera
l ‘p
ublic
opi
nion
’ (“
mor
e of
ten
than
not
, priv
ate-
opin
ion-
as-p
ublic
-inte
rest
”) –
sho
uld
be
kept
out
of t
he c
omm
issio
ning
and
impl
emen
tatio
n lo
op.76
M
ore
succ
essf
ul re
stor
atio
n co
mm
issio
ns h
ave
give
n cu
rato
rs a
nd a
rtist
s cr
eativ
e co
ntro
l. St
rong
cur
ator
ial s
trate
gies
are
par
ticul
arly
impo
rtant
w
hen
blur
ring
the
tradi
tiona
l dist
inct
ion
betw
een
prac
tical
and
disc
ursiv
e ar
ts, a
s w
hen
art,
com
mun
ity a
nd e
cono
mic
dev
elopm
ent c
ombi
ne w
ith
landc
are
and
empl
oym
ent
prog
ram
s, as
in
‘bes
t pr
actic
e’ co
mm
unity
-ba
sed
arts
ce
ntre
s lik
e Y
irrka
la,
Ern
abel
la an
d H
erm
anns
berg
. In
re
gion
al an
d m
etro
polit
an a
reas
, th
e pr
imac
y of
disc
ours
e in
arti
stic
prac
tice,
and
the
fact
that
arti
sts
need
not
be
acco
unta
ble,
as d
esig
ners
ar
e, to
pro
duce
som
ethi
ng u
sefu
l, ha
s gi
ven
artw
orks
spe
cial s
tatu
s in
a
mus
eum
or g
aller
y.77 T
his o
pens
the
poss
ibili
ty fo
r gall
ery-
base
d ar
t to
be
a pl
atfo
rm f
or e
colo
gica
l ac
tivism
, an
d fo
r co
mm
unity
and
cam
paig
n m
ater
ials
to c
laim
a d
iscur
sive
pow
er u
suall
y gr
ante
d to
‘disi
nter
este
d’
imag
es a
nd o
bjec
ts. G
roun
ded:
art,
activ
ism, e
nviro
nmen
t (Ca
mpb
ellto
wn
Art
Gall
ery,
2007
, cur
ator
s Li
sa H
avila
h an
d Jo
Hol
der)
brou
ght
toge
ther
ar
tists
and
com
mun
ity a
ctiv
ists f
rom
sout
h-w
est S
ydne
y to
refle
ct o
n th
e co
mpr
omise
d st
ate
and
reck
less d
evelo
pmen
t of t
heir
loca
l env
ironm
ent.
An
eclec
tic i
nsta
llatio
n w
ove
hist
orica
l co
nnec
tions
bet
wee
n fin
e ar
ts,
craf
ts a
nd r
esid
ent
actio
ns t
o hi
ghlig
ht t
he I
emm
a go
vern
men
t’s p
oor
76
Cru
icksh
ank
A, ‘
Tyra
nny
of c
onse
nsus
: who
put
‘pub
lic’ i
n pu
blic
art’,
and
why
do
“the
y” th
ink
they
ow
n it?
’, Br
oads
heet,
vol
. 32,
no.
2, (
June
, Jul
y &
Aug
ust 2
003)
, pp.
12
–15.
77
Mar
golin
, op
cit, 2
006,
pp.
24–
25.
39
0
perf
orm
ance
on
ov
er-d
evelo
pmen
t, w
ater
an
d en
ergy
re
sour
ces
man
agem
ent i
n th
e lea
d-up
to th
e 20
07 st
ate
elect
ion.
A
Goo
gle
Ear
th m
ap h
elpfu
lly p
in-p
oint
ed a
reas
of
inte
rest
fro
m t
he
ocea
n (d
isput
ed lu
xury
dev
elopm
ents
at
Sand
on P
oint
on
the
Illaw
arra
co
ast)
whe
re lo
cal p
ainte
rs re
prise
trad
ition
al pi
ctor
ial c
onve
ntio
ns o
f the
in
timat
e lan
dsca
pe to
con
vey
loca
l atta
chm
ent.
Alo
ngsid
e, a
fray
ed a
nd
burn
t Abo
rigin
al fla
g w
as d
rape
d alo
ngsid
e ph
otog
raph
s of
the
Sand
on
Poin
t A
borig
inal
Tent
. Th
e es
carp
men
t m
eets
the
sea
at
the
near
by
hist
oric
Bulli
coa
l se
am,
ackn
owled
ged
with
min
ers’
unio
n re
liqua
ry
objec
ts a
nd S
ydne
y ar
tist D
ebor
ah V
augh
an’s
vide
o lo
op o
f co
al tra
ins
wea
ving
thr
ough
the
esc
arpm
ent
tunn
els t
o th
e K
embl
a G
rang
e BH
P st
eelw
orks
. U
p th
e Bu
lli P
ass,
the
App
in l
ong-
wall
col
liery
has
a l
ess
illus
triou
s hi
stor
y of
uns
uita
ble
tech
nolo
gy,
inad
equa
te r
egul
atio
n an
d re
sulta
nt d
evas
tatio
n of
the
Avo
n an
d N
epea
n Ri
ver
syst
ems.
A v
ideo
do
cum
enta
ry b
y th
e Sa
ve O
ur R
iver
s gr
oup
links
the
sout
hern
coa
lfield
s w
ith si
mila
r riv
erbe
d co
llaps
es in
the
Upp
er H
unte
r.
On
the
Cum
berla
nd P
lains
, loc
al bo
tani
cal d
raw
ings
by
Soni
a Be
nnet
t an
d Jo
hn R
iley
are
sold
to h
elp f
und
the
prot
est a
gain
st th
e A
ustra
lian
Def
ence
site
sell
-off,
a s
igni
fican
t re
mna
nt o
f ur
ban
bush
with
hig
h lev
els o
f bi
odiv
ersit
y, in
cludi
ng r
oam
ing
mob
s of
em
u. T
he e
xhib
ition
th
en t
race
s Sy
dney
’s fa
st-s
praw
ling
grow
th c
orrid
or u
pstre
am t
o th
e N
epea
n Ri
ver h
eadw
ater
s, th
e W
inge
carr
ibee
wet
lands
and
War
raga
mba
D
am. T
hese
are
med
iated
by
Alis
on C
lous
ton
play
ing
Huc
kleb
erry
Fin
n in
a s
culp
tura
l boa
t-rid
e do
wn
the
Nep
ean
Rive
r, ac
com
pani
ed b
y ae
rial
map
s, a
taxo
nom
y of
end
ange
red
loca
l bi
rds
and
the
soun
d of
an
incr
easin
g vo
lum
e of
wat
er tr
ickl
ing,
bur
blin
g th
en ru
nnin
g an
d cr
ashi
ng
out
to s
ea.
Nea
rby
Toni
War
burto
n’s
Wall
chr
onolo
gy:
trans
actio
ns t
o ca
tchme
nt (
1990
–200
7) p
oses
a la
rge,
scul
ptur
al fig
ure
of a
boy
fac
ing
a w
all, a
rms u
prais
ed in
the
act o
f drin
king
a b
eake
r of w
ater
. He
seem
s to
look
thro
ugh
the
botto
m o
f his
uptu
rned
glas
s lik
e bi
nocu
lars t
o re
ad th
e po
etic
wall
-text
des
crib
ing
the
shee
r, se
nsua
l pl
easu
re o
f hi
s dr
ink.
A
long
side,
an e
legan
t wall
inst
allat
ion
of c
eram
ic, g
lass
and
hand
-mad
e ar
tist’s
boo
ks r
elate
the
beak
er f
orm
to s
edge
, wet
lands
and
the
natu
ral
scien
ce o
f wat
er fi
ltrat
ion
(Fig
ure
11.1
7)
39
1
Fig
ure
11
.17
Toni
War
burto
n W
all c
hron
ology
: tra
nsac
tions
to
catch
ment
(1
990–
2007
). Ph
oto:
Jo H
olde
r Co
urte
sy th
e ar
tist a
nd M
ori G
aller
y
Eleg
ant
bann
er
sloga
ns
by
Sydn
ey
conc
eptu
al ar
tist
Ruar
k Le
wis
punc
tuat
ed t
he s
how
with
poe
tic r
emin
ders
of
the
pote
ntial
for
gra
ss-
root
s act
ion.
The
exh
ibiti
on o
f hist
orica
l cam
paig
n m
ater
ials p
rovi
ded
an
activ
ist c
onte
xt fo
r stu
dio-
base
d ar
twor
ks, w
hich
in tu
rn in
vite
aud
ience
s to
app
recia
te i
nven
tive
grap
hics
and
com
plex
hist
orica
l, ae
sthe
tic a
nd
emot
iona
l co
nnec
tions
on
di
splay
. Th
e ae
sthe
tic
form
ality
of
th
e in
stall
atio
n an
d ar
twor
ks,
along
side
the
docu
men
tatio
n of
loc
al to
wn
plan
ning
and
con
serv
atio
n ba
ttles
, mov
es b
etw
een
disc
ours
e an
d ac
tion.
Th
e or
ches
tratio
n of
art,
eco
logy
and
act
ion
resp
onds
to
the
aest
hetic
ac
tivism
of
man
y w
orks
disc
usse
d in
thi
s ch
apte
r. It
is a
crea
tive
inst
itutio
nal r
espo
nse
to lo
cal e
nviro
nmen
tal i
ssue
s th
at is
sha
red
by a
fe
w in
depe
nden
t co
mm
ercia
l gall
eries
, arti
st-ru
n in
itiat
ives
and
reg
iona
l ar
t cen
tres.
Well
-cur
ated
pub
lic a
nd g
aller
y-ba
sed
proj
ects
mak
e fr
uitfu
l lin
ks b
etw
een
the
art
indu
stry
and
oth
er a
genc
ies,
and
supp
ort
a pl
urali
stic
appr
oach
to
prod
ucin
g, v
iewin
g an
d pa
rticip
atin
g ar
t as
a
plat
form
for e
colo
gica
l com
mun
icatio
n.
This
chap
ter
has
char
ted
som
e of
the
way
s th
at A
ustra
lian
artis
ts,
cura
tors
and
art
inst
itutio
ns h
ave
shift
ed t
heir
aest
hetic
foc
us f
rom
39
2
topo
grap
hica
l view
s of
the
land
scap
e to
phe
nom
enol
ogic
al pe
rcep
tions
of
the
cou
ntry
’s en
viro
nmen
tal
forc
es.
Both
the
wes
tern
lan
dsca
pe
tradi
tion
and
Indi
geno
us a
rt ha
ve h
elped
us
deve
lop
all o
ur s
ense
s, ov
ertu
rnin
g th
e ol
d di
visio
ns b
etw
een
min
d an
d bo
dy,
subj
ect
and
objec
t, se
lf an
d na
ture
. ‘P
erce
ptio
n th
roug
h th
e se
nses
’, th
e or
igin
al m
eani
ng o
f the
term
aes
thet
ics, c
an b
e un
ders
tood
as a
pre
cond
ition
and
co
rrela
te o
f eco
logi
cal a
ctiv
ism. I
n A
ustra
lia, t
he la
ndsc
ape
tradi
tion
has
been
tho
roug
hly
mod
ified
by
the
forc
es o
f In
dige
nous
kno
wled
ge,
scien
tific
rese
arch
and
env
ironm
enta
l act
ivism
. In
turn
, art
cont
inue
s to
m
ake
us g
rasp
the
fac
t th
at w
e ar
e ou
rselv
es p
art
of a
thr
eate
ned
natu
re.78
78 R
ober
ts D
, ‘A
ura
and
aest
hetic
s of
nat
ure’,
The
sis E
leven
, no
. 3
6, 1
993,
M
assa
chus
etts
Inst
itute
of T
echn
olog
y, p.
128
.
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