Book non-fictionA feminist critique of post-modernism to create a new discourse in feminist theory.structuralism, deconstructivism, theory, political art, modernism, feminism

non-fiction An illustrated exploration of what postmodernism has come to mean in the context of contemporary art movements in the late nineteenth and twentieth-century.neo-expressionism, postmodern feminism, postmodern multiculturalism, jenny holzer, sherrie levine, barbara kruger, sarah charlesworth, laurie simmons, cindy sherman, mary kelly, guerrilla girls, lorna simpson

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

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

" Designed by architect Norman Day, the school was built in an innovative postmodern style. Day’s vision was for the school’s students to feel as comfortable and familiar at school as in their own homes. He based the design on the local suburban typology. The buildings consisted of individual self-contained classrooms, each with a front door, back door and garden. Each class retained the same homeroom for the duration of their schooling. Norman Day won the inaugural Lustig & Moar Architectural Prize in 1988 for his Mowbray College design, and the Australian Library Promotion Council/RAIA Library Design Award for the school’s library building. The school officially opened on 7 February 1983 with an enrolment of 93 students from Prep to Year 7. Mark Fergus was a Prep student in the school’s inaugural year. He later remembered: It was good then because everyone knew each other. Our first few weeks at school we had classes in the Guide Hall because the Mill wasn’t finished. The rest of the school where the Labs and Coppin Court are now was only a big paddock. Another Prep student, Brooke Harrison, recalled: The only recreation we had was the rough playground which consisted of monkey bars, old tractor tyres and a sandpit and high bars. Accidents were a frequent occurrence in those days! It was a friendly atmosphere, you know everyone and their business ... During some classes we used to do horticultural work and planted trees out the front of the school. In 2003, Mowbray College celebrated two decades of educating students in Melton. By that stage, the school had expanded to two campuses with over 1,450 students and 120 staff. It was estimated that over the twenty years since its establishment, 13,000 students passed through the gates. By the mid-2000s, the school offered an International Baccalaureate program and operated across three campuses: the original campus, named Patterson after the first principal, and the Brookside and Town Centre campuses, both located in Caroline Springs. Unfortunately, in 2012 Mowbray College found itself in an unmanageable situation. The community had lost faith in the school’s financial security and as a result some parents withheld their school fees, fearing the school would collapse. It had been in financial difficulty since the mid-2000s and by 2012 was $28 million in debt. 84 In June 2012, all three campuses closed and within four months, each of the campuses of the former Mowbray College had been purchased by other education institutes. Heathdale Christian College bought the original Mowbray campus and established its own campus there and Grace Children’s Services bought the Brookside campus. The Town Centre campus was purchased by Intaj Khan from the Western Institute of Technology but remained vacant after some failed attempts at re-establishing a school. In 2017 the Australian International Academy established an Islamic school on the site".The Express article about a grant for Mowbray Collegeeducation

booknon-fictionA collection of essays by international academics and critics addressing the meaning, forms, effects and places of postmodernism.theory, modernity, feminism, avant-garde, cross-disciplinary art, museology

Booknon-fictionEssays addressing questions surrounding the effects of feminism on arts practice including responses to feminist exhibitions, the way arts degrees are taught d how feminism's engagment with psychoanalysis and postmodernism has deconstructed borders between the arts and crafts. theory, psychoanalytic theory, modernism, curatorship, museology, censorship, hierarchy of media, feminist pedagogy, education, performance art

a small book of 21.5 cm; 160pnon-fictionDrawing on a wide range of theoretical insights and primary sources, "The Unforgiving Minute" offers an original interpretation of Australian history. It examines time telling from the convict era to the 1990's. As the convict era drew to an end, the colonial governors looked to clocks as the mechanical policemen of an emerging free society. Fifty years later, as railways and telegraphs began to spread across the land, and pocket watches appeared on the waistcoats of working men, colonial society began to keep stricter hours of work and play, and to teach its children the virtue of punctuality. In the early 20th century, punch clocks and time-switches laid the basis for new patterns of work in the factory and the home. Now, in the 1990s, the "faceless clocks" in computers and automated control systems have created a "postmodern" time regime that is both more flexible, and more demanding, than its predecessors. time measurements -- social aspects -- australia -- history, clocks and watches -- social aspects -- australia -- history, australia -- social conditions, graeme davison

Index, ill, p.346.non-fictionn The Accidental Guerrilla, Kilcullen takes us on the ground to uncover the face of modern warfare, illuminating both the global challenge (the "War on Terrorism") and small wars across the world: Afghanistan, Iraq, Indonesia, Thailand, East Timor, and Pakistan. He explains that today's conflicts are a complex hybrid of contrasting trends: local social networks and worldwide movements; traditional and postmodern culture; local insurgencies seeking autonomy and a broader terrorist campaign. He warns that the United States has tended to conflate these trends, blurring the distinction between local and global struggles and thereby enormously complicating our challenges. The West has continually misidentified insurgents with limited aims and legitimate grievances - "accidental guerrillas" - as members of a unified worldwide terror network. We must learn how to disentangle these strands, develop strategies that deal with global threats, avoid local conflicts where possible, and win them where necessary.guerrilla warfare, insurgencies