Primitivism

1. What are some of the formal characteristics of Primitivist art?
- Deliberately simple or "childlike"
- abstraction of figures/distortion of bodies
- often rough application of medium (paint)
- often sexual, due to accessibility
- flattening of backgrounds/physical planes

2. What is the difference between "primitive" and "primitivism"?
The term "primitive" is used to describe something "basic, crude" (Collins English Dictionary, 1999. In art terms this was applied to art groups which were focused on non-western cultures, regardless of how sophisticated the artists or subject where themselves. The term "primitive" also used to be used quite derogatorily. This has more recently changed into a more acceptable term and meaning.
"Primitivism" is more of a view taken by artists who were fed up with modern popular culture, and viewed other 'exotic' cultures as much more interesting, and closer to the spirit. the idea behind it was to go back to a childlike state of viewing the world, getting in closer contact with our subconscience and leave behind the complicated technologies of their current lives.

3. Discuss how contemporary "primitivism" might manifest itself.
hmm, tough one. ok here's one: nudists! talk about going back to basics, they're giving up so much technology they're not even wearing clothes! thats gotta be considered a modern form of primitivism. Also like Silvia was saying, Primitivist were sort of like hippies, so i guess that means modern day primitivists are just called hippies by us now!

4. Find an example of a work at the NGA that you think might be primitivist and discuss what might make it so.


Paul CÉZANNE L'Après-midi à Naples [Afternoon in Naples]
[Afternoon in Naples (L'Apres-midi a Naples)]
(http://nga.gov.au/International/Catalogue/Detail.cfm?IRN=98698&ViewID=2&GalID=ALL)

This painting displays many of the characteristics of primitivism; flattening of the physical plane, distortion or abstraction of the bodies, quite sexual (nudity) etc.

National Archives of Australia

Corner of London circuit and Northbourne Ave, Canberra 1946
Max Dupain
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I like this photo HEAPS and i think that for us looking at it, it represents something special about Australia, that we are very much a growing nation. It's especially relevant for us here in Canberra, as most of us drive past this spot quite often. Looking at this photo it shows us just how much our own city has grown, and continues to grow. It's amazing how big the changes are, and even more amazing how much has stayed the same :)

Money Box of Cardboard
(NAA: 1337, 5487)

I couldn't find a picture or much information on this but it really stood out to me. The display was of a little tin money box, white with a picture of a building on it. I'm pretty sure they were made to commemorate the royal family's visit to Australia. None of this i really paid much attention to, the money box just struck me because i remember every primary school kid got given a template made out of cardboard, and when you put it together, they looked just like these money boxes! as a little kid i paid no attention to what i had to make this cool money box for, but now i know ha ha!

National Portrait Gallery

Portrait One:
Deborah Mailman 1999
by Evert Ploeg (born 1963)
oil on jute
(see NPG website: http://www.portrait.gov.au/site/collection_info.php?searchtype=basic&searchstring=mailman&irn=123)

This portrait really stood out to me at the gallery because of it's simplicity. Most portraits are designed to be pleasing to both the viewer and especially the subject, they want to be flattered. However this picture shows the subject in the most basic way, in a plain white dress that looks simply made, barefoot, looking relaxed and comfortable while looking at the viewer, and against a simple background constructed of hessian sacks. I think this was done purposely to reflect aspects of the subjects character. Deborah Mailman came from humble origins but has made a name for herself as an award winning actress, starring in productions from Play School to Rabbit Proof Fence. Her simple surroundings in the image and her laid back, relaxed posture show she's comfortable with herself, and she's made no effort at posing or dressing up to look her best. The portrait carries a real feeling of honesty and a sense that what is portrayed is absolutely realistic.

Portrait Two:
Michael Klim 1999
by Jonathan Anderson & Edwin Low
(Born 1961 & 1957 respectively)
gelatin silver photograph

(see NPG website: http://www.portrait.gov.au/site/collection_info.php?searchtype=basic&searchstring=Michael%20Klim&irn=128)

This is one of my favourite portraits from the gallery, because it is so surreal. I had to look twice to see that, yes, he really is underwater. It also goes against a few of the "rules" of portraiture, such as the lane divider disappearing into his head. however, this picture is a great representation of the subject. Even though he is underwater, he looks perfectly comfortable and not like he's having trouble breathing etc. This shows a little about him, being a world famous swimmer, he is more than likely more comfortable in a pool than out. He also has a very strong and domineering posture, a stance that is the very image of the medal-winning athlete who has represented their country. The whole portrait conveys a strong sense of who he is, and it's a very appealing image.

Australian War Memorial

I really enjoyed our visit to the AWM, not only is there so much to see and learn from but there's also some great photographic opportunities! The photographs displayed were awesome to look at, but i didn't really think much about the difficulties of war photography until Sylvia pointed them out. I never really thought much about how limited photographers would have been, for example only being able to shoot before and after any battles, there's no way they could have taken photos during. This is just one of the ways technological advances have changed all photography, but specifically war photography.
DISTANCE:
One major difference in war photography, due to advances in technology is the subject distance. in previous war times, photographer's would not have been able to carry all the equipment necessary, or to get close enough to shoot any action. In modern times however, we have equipment which enables photographer's to take photos from anywhere, even a reasonable (and safe) distance away from the action. This allows us to now get photos of what war is actually like, not simply before and after shots
EQUIPMENT:
As mentioned, equipment is also significantly advanced today. Old school wartime photographers would have had to rely on black and white film. We all know what extreme temperatures can do to our films and other equipment, so it's safe to say these photographers would have had a hard time protecting their films etc. to be able to produce anything at all! In contrast, nowadays we have digital cameras, laptops, wireless Internet etc. etc. etc. and thus are able to shoot copious amounts of photos without worry about losing or damaging them.
MEDIUM:
On that note, Old wartime photographer's would have relied solely on black and white film, whereas today we are able to shoot in colour. This doesn't really sound like a huge advance in technology but let's stop and think. One of the aspects many photographers play on with black and white is that it's slightly abstract. We don't see the world in black and white so it's slightly surreal when it's in shades of grey. In war photography, this would have come in handy, back when they were trying to glorify war. However, now that we have not only digital, but colour digital, we see everything as it really as, as you'd see it if you where there. This means bloody battles and dead bodies look a hell of a lot more shocking.

for examples see:
http://cas.awm.gov.au/PROD/cst.acct_master?surl=1597872302ZZDMLFGBXWLT72972&stype=6&simplesearch=&v_umo=&v_product_id=&screen_name=&screen_parms=&screen_type=RIGHT&bvers=5&bplatform=Netscape&bos=Win32

http://cas.awm.gov.au/PROD/cst.acct_master?surl=1597872302ZZDMLFGBXWLT72972&stype=6&simplesearch=&v_umo=&v_product_id=&screen_name=&screen_parms=&screen_type=RIGHT&bvers=5&bplatform=Netscape&bos=Win32

National Gallery of Australia

VON GUERARD, Eugene
From the verandah of Purrumbete
oil on canvas

This painting was one of my favourites from our visit to the NGA, although i liked all of Eugene Von Guerard's paintings there. I think the thing i like most about his work is that they are all so realistic. It amazes me how some artists can capture these incredibly detailed landscapes so accurately and produce a beautiful image. A lot of his work is also relevant to me as they are of Australia and in particular Australian landscapes so it's incredible to see how perfectly represented they can be through his art.