Ian McLean – författare

This book investigates how identities have been constructed in Australian art from 1788 onwards. Ian McLean shows that Australian art, and the writing of its history, has, since settlement, been in a dialogue (although often submerged) with Aboriginal art and culture; and that this dialogue is inextricably interwoven with the struggle to find an identity in the antipodes. Beginning with a discussion of how Australia was imagined by Europeans before colonisation, McLean traces the representation of indigeneity through the history of Australian art, and the concomitant invention of an Australian subjectivity. He argues that the colonising culture invested far more in indigenous aspects of the country and its inhabitants than it has been willing to admit. McLean considers artists and their work within a cultural context, and also provides a contemporary theoretical and critical context for his claims.

This book investigates how identities have been constructed in Australian art from 1788 onwards. Ian McLean shows that Australian art, and the writing of its history, has, since settlement, been in a dialogue (although often submerged) with Aboriginal art and culture; and that this dialogue is inextricably interwoven with the struggle to find an identity in the antipodes. Beginning with a discussion of how Australia was imagined by Europeans before colonisation, McLean traces the representation of indigeneity through the history of Australian art, and the concomitant invention of an Australian subjectivity. He argues that the colonising culture invested far more in indigenous aspects of the country and its inhabitants than it has been willing to admit. McLean considers artists and their work within a cultural context, and also provides a contemporary theoretical and critical context for his claims.

William Ohly’s Abbey Art Centre has long been sidelined in Australian art history and all but invisible in British accounts due to the dominance of national art histories. Yet over twenty Australian artists lived and worked there during the centre’s first decade of operations, including Robert Klippel, James Gleeson and the art historian Bernard Smith, alongside such avant-garde British figures as Alan Davie and Peter King and Europeans such as filmmakers Lotte Reiniger and Carl Koch, painter-soon-to-turn-animator Peter Foldes and sculptor Inge King.A hotbed of experimental painting, sculpture, filmmaking, ceramics and jewellery-making, the Abbey offered artists a utopian blend of affordable accommodation, collegial exchange, and inspiration in the form of Ohly’s collection of non-western art from Africa, Asia, the Pacific and meso-America, which he also dealt in at the Berkeley Galleries. Attentive to the circumstances in which art is made, this book frames the Abbey through lenses that reconceive both Australian and British postwar art history.Extensive new archival material enables this microhistory that comes with big ideas: unsettling the prevailing story of Australian and British postwar art and radically revising art historiography to account for the role of migrant diasporas from former British colonies, displaced peoples and other marginalised groups. With the decline of those powerful narratives of modernism and nationalism, this book will interest art historians, curators and students interested in transnational sites that invest in the new art histories. The book accompanies an online database that expands on the biographic and archival documentation: The Abbey Art Centre Digital Repository, https://omeka.cloud.unimelb.edu.au/abbey-art-centre/

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