Archive

What is a monster? Why are we so recurringly fascinated by graphic representations of the monstrous? And, in particular, what do cinematic images of male monstrosity tell us about the ways in which Western culture produces and views the categories of masculine and feminine?  Barbara Creed’s new book is a direct extension of much of the lively work she did in The Monstrous-Feminine: Film, Feminism, Psychoanalysis (1993). In Phallic Panic, she moves from her earlier consideration of how we might interpret visions of female monstrosity as evidence of profound anxiety about the role of the woman in phallocentric society, particularly in her vagina dentata manifestations, to an examination of the cultural and psychological implications of male monsters.

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This timely monograph presents the life and work of an artist whose paintings have altered the way we see the modern world, particularly the industrial landscapes fringing our cities. Jeffrey Smart’s intensely realised paintings have the effect of making the ‘familiar strange’. They force us to reconsider both our relation to and perception of man-made environments, dominated as they are by factories, apartment blocks, freeways and street signs. Smart’s paintings display a mastery of classical composition, light and perspective as well as revealing the artist’s ongoing concern with the interplay between realism and abstraction. The 252 plates included in this volume allow the reader to appreciate the development of Smart’s unique oeuvre over a period spanning more than sixty years. Accompanying these illustrations is a text by Australian modernist scholar and curator Barry Pearce. This provides a valuable addition to the existing literature on the artist.

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The mortality rate for individuals is always one, but for populations it varies from time to time and place to place. London is one of those cities where the mortality rate is high, though not because it has ever been, like the Gold Coast, a city to retire to. For centuries, young people have gone to London seeking riches, celebrity and opportunity. Some, like Dick Whittington, found the streets proverbially paved with gold, but others made their way promptly to the gutter. From the gutter to the grave is but a short step, but not the last one in London during the early days of modern anatomical science, as James Bradley’s new novel illustrates.

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Copiously illustrated, though in black and white, multivocal yet with an emphatic philosophical tone, this MIT publication distinguishes itself as being at odds with much current Australian art publishing. Although visual arts audiences and readers in Australia constantly bemoan the lack of publishing in this field, Craftsman House and Thames & Hudson have actively taken up the mantle over the last two years, generating monographs on emerging and established artists (see Anthony Gardner’s review of the New Art Series on page 16). Certain state arts agencies have also channelled significant resources into commissioning substantial documents on local practitioners. Generally contextualised by one writer and lavishly illustrated in colour, such monographs are in contrast to this compilation of multiple voices and surprisingly monochrome record of the work of one of Australia’s best-known artists. ... (read more)

Annual anthologies of Australian poetry are, or should be, a good way to get an overview of the local poetry scene, as well as an opportunity to greet new poets and to keep in touch with established ones. This selection from more than a hundred poets fulfils that function pretty well, having a range of old and new names, styles and themes, even if the sourcing of the poems does seem weighted in favour of Quadrant, of which Les Murray is poetry editor. It’s the hubris in the title – Best Poems – that makes one cantankerously inclined to point to incomprehensible omissions. Readers with a mind to play that game can scrutinise some of the contenders that Murray passed over by reading Peter Porter’s rival anthology (David McCooey reviewed UQP’s Best Australian Poetry 2005 in the October 2005 issue of ABR). We have to accept, I think, that any anthology cannot help but bear signs of its editor’s preferences and prejudices, and no anthologist can hope to read every poem of the year. What matters, bearing in mind the need to be reasonably representative, is whether the chosen poems are good ones (although Some Good Australian Poems of 2005 might not be a highly marketable title).

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To commemorate the centenary of Alfred Felton’s death in 1904, the National Gallery of Victoria and Macmillan Art Publishing have published the five illuminated medieval manuscripts and the single leaf ac-quired for the Gallery through the Felton Bequest. This stunning volume is profusely illustrated with colour plates taken by the photographic team of the NGV of all the decorative features in the manuscripts; in addition, there are numerous coloured figures of comparative works in other collections. Decorative elements from each Felton manuscript ornament the opening pages of each section, and embellish the title and end pages of the book. In design and illustration, this volume is itself a work of art, with hundreds of coloured images to delight the eye.

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For 175 years the Sydney Morning Herald has recorded the annals of colony, state and nation, never missing an issue. When the paper was established in 1831, the colony of New South Wales was still being opened up by exploration and settlement. Sydney’s population was little more than 15,000, while the colony itself numbered around 50,000 Europeans, including 20,000 convicts. Less certain was the extent of the indigenous population. To the first Australians, the Herald was initially unsympathetic. It called them savages and in 1838 campaigned against the trial and subsequent hanging of the men involved in the massacre at Myall Creek; to its credit, that view was soon recanted. In 2006 the Herald reflects the aspirations of the majority of Australians for a decent and just reconciliation with the Aboriginal people.

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