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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For most British natural historians, there is one vertebrate order that could well be said to be "e;out of sight, out of mind."e; This is our freshwater fishes, familiar principally only to anglers, those concerned with managing rivers and other waterbodies, and a few research scientists. The results of this project, which ran from 1998-2002, are published here in the form of comprehensive 10km square dot-distribution maps for the 54 species inhabiting England, Scotland, Wales, the Channel Islands and the Isle of Man. These indicate the vulnerability of several of our native British species. Following a wide-ranging introductory chapter, and further chapters on distribution and the history of the project, Chapter 4 comprises the individual species accounts under the headings: Description; Biology and behaviour; Habitat; Distribution in Britain; World distribution; Status; Hybrids and related species; and a final section of the relationship of each species with Man. In addition to a map, each species is illustrated by fine lithographs taken from Francis Day's famous 19th century work, skilfully supplemented by Michael J. Roberts for those species unknown to Day. Chapter 5 covers conservation and management of freshwater fishes and is followed by four Appendices relating to (1) Publications; (2 & 3) Legislation; and (4) Selected websites relating to environmental protection, biodiversity information and fish conservation. The book concludes with a Glossary; a comprehensive Bibliography; and an Index. In his Foreword, Sir John Burnett, Chairman of the National Biodiversity Network Trust, commends this books as "e;a unique reliable source of clear and comprehensive information that is pleasing both to the mind and to the eyes"e; and expresses the hope that "e;it will lead to ... the more effective conservation of this 'alien race' in our midst."e; A joint project of the Environment Agency, the Centre for Ecology and Hydrology and the Joint Nature Conservation Committee; written by a team of 38 authors and compiled and edited by Cynthia Davies (CEH), Jonathan Shelley (EA), Paul Harding (Biological Records Centre, CEH), Ian McLean (JNCC), Ross Gardiner (Fisheries Research Services) and Graeme Peirson (EA).