Booknon-fictionCollection of essays written by feminist theorists from several disciplines in Australia, New Zealand, Canada and the US, challenging 'western ' feminism, examining identity politics and intersectionality.post-colonialism, body, postmodernism, poststructuralism, theory, racism, globalization

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, james tylor, mixed media, photography

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories. Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, james tylor, mixed media, photography

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories. Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, post colonialism, first peoples, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

Michael Cook's Fake series is a visual essay in speculative history. Cook flips the conventional colonial narratives in his images that are tremendously playful at first glance but, on reflection, are deep interrogations of Australia's colonial history and its ongoing impacts on its First Peoples. Michael Cook is a Brisbane-based photomedia artist of Bidjara heritage. Cook’s photographs re-stage colonial-focused histories and re-imagine the contemporary reality of indigenous populations. Touching on the discriminatory nature of society, his images muddle racial and social roles, painting a picture of a societal structure reversed. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, photography, cultural identity, michael cook, post colonialism

Nusra Latif Qureshi studied and later lectured in, the discipline of miniature painting in Lahore. This provided her with exercises in training the eye to see infinitesimal delineation and the hand to control the finest of brushes to paint extraordinary detail. Qureshi has developed a style of painting that explores the broad and rich visual histories of her homeland. Fragments from iconic miniature paintings are referenced such as the figure of a Mughal emperor – which is juxtaposed with a range of other imagery from varied places and times. She has been living and working in Melbourne since 2001. The outlines of objects and figures are regularly employed in her work – often these are outlines of flora and fauna from albums commissioned by British officials in the 1780s. In the British colony, local artists were hired to paint these specimens, and interestingly, these albums were filled with superb paintings of flora and fauna floating on each page – absent of context. Qureshi's paintings depict varied images layered on top of each other to construct pictures that refer to this complex history. Further, by featuring purely the outline of these specimens, Qureshi addresses what is erased, or obscured in histories, and also what is lost from memory. stonnington contemporary art collection, painting, post colonialism, erased, history, nusra latif qureshi

Nusra Latif Qureshi studied and later lectured in, the discipline of miniature painting in Lahore. This provided her with exercises in training the eye to see infinitesimal delineation and the hand to control the finest of brushes to paint extraordinary detail. Qureshi has developed a style of painting that explores the broad and rich visual histories of her homeland. Fragments from iconic miniature paintings are referenced such as the figure of a Mughal emperor – which is juxtaposed with a range of other imagery from varied places and times. She has been living and working in Melbourne since 2001. The outlines of objects and figures are regularly employed in her work – often these are outlines of flora and fauna from albums commissioned by British officials in the 1780s. In the British colony, local artists were hired to paint these specimens, and interestingly, these albums were filled with superb paintings of flora and fauna floating on each page – absent of context. Qureshi's paintings depict varied images layered on top of each other to construct pictures that refer to this complex history. Further, by featuring purely the outline of these specimens, Qureshi addresses what is erased, or obscured in histories, and also what is lost from memory.stonnington contemporary art collection, painting, post colonialism, erased, history, nusra latif qureshi

Maree Clarke is a multi-disciplinary artist from Mildura in northwest Victoria, living and working in Melbourne. Her continuing desire to affirm and reconnect with her cultural heritage makes her a pivotal figure in the reclamation of southeast Australian Aboriginal art practices, reviving elements of Aboriginal culture that were lost over the period of colonisation. In addition to modern genres including sculpture, multimedia and photography, Clarke’s expansive practice also encompasses contemporary forms of traditional practices such as possum skin cloaks, kangaroo teeth necklaces, and string headbands adorned with kangaroo teeth and echidna quills.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, cultural identity, cultural heritage, post colonialism, maree clarke, mixed media

Renee So was born in Hong Kong and raised in Australia; she studied at RMIT. Her experience of the two cultures and their postcolonial legacy is central to her artistic explorations. Since moving to London in 2005, So has examined the history of European sculpture, both grand and humble. So’s small-scale ceramic busts draw from antiquity, such as military and aristocratic portraiture, while her processes are entirely modern and the glazed surface lustrous and sleek. Her characters seem from an unknowable place or time; their references to classical portraiture busts lend a proud and dignified air. Yet So gently mocks her historical subjects, creating stylised facial features and crowning them with anachronistic wigs that speak of a multiplicity of cultural and historical lineages and styles.Glazed ceramicsculpture, stonnington contemporary art collection, ceramic, post colonialism, renee so

Index, p.396.eading international experts offer an up-to-date, comprehensive history and analyses of multiple cases of genocide and genocidal acts, with a focus on the twentieth century and extensive coverage of the post-1945 period - including the atrocities in the former Yugoslavia, Bali, Cambodia, Ethiopia, Rwanda, East Timor, and Guatemala. "This collection of essays by leading international experts offers an up-to-date, comprehensive history and analysis of multiple cases of genocide and genocidal acts, with a focus on the twentieth century. The book contains studies of the Armenian genocide, the victims of Stalinist terror, the Holocaust, and imperial Japan. Several authors explore colonialism and address the fate of the indigenous peoples in Africa, North America, and Australia. As well, there is extensive coverage of the post-1945 period, including the atrocities in the former Yugoslavia, Bali, Cambodia, Ethiopia, Rwanda, East Timor, and Guatemala. The book emphasizes the importance of comparative analysis and theoretical discussion, and it raises new questions about the difficult challenges for modernity constituted by genocide and other mass crimes.crimes against humanity, genocide - history