#south australian artist

[magpiesprings]

(via "Sunrise on Bennys Hill by Adelaide artist Avril Thomas at Magpie Springs" Relaxed Fit T-Shirt for Sale by MagpieSprings)

[huariqueje]

Wylie's baths, New South Wales - Alasdair Lindsay 

British , b, 1975 -

Acrylic on canvas , 80 x 80 cm.

[speedilydeepruins]

Lake Bonney (the Riverland) SA, never disappoints

[sillystringsimpsons]

BLAHAJTRIP [2022]

1:1, phone camera, in order: Corrigin, Wave Rock, Border Village, Iron Knob, Great Australian Bight, Port Augusta, Streaky Bay, Adelaide

BLAHAJTRIP is an eight-photo set of images taken while travelling through Southwestern Australia for two weeks by car. The stuffed shark plays a symbolic role, representing the transitional nature of travel, as well as the liminal stage of the photographer's life, drawing parallels between the two. All images, except the last, anthropomorphise the shark by virtue of its isolation within the frame. All eight photos appear in chronological order of the timeline of travel, and showcase the journey away from the photographer's current place of residence to his second childhood home.

Interactions are extremely appreciated.

[majormisunderstanding]

Keswick Siding, 1945, by Jeffrey Smart. Oil on jute on canvas.

Art Gallery of New South Wales, Sydney.

[flipflopitstimetomakeart]

🦇⚙️👀

...

is this something people ship? idk,,, i just wanted to draw them LOL

(also this took me a really long time because i kept putting off rendering their clothes 😭)

[the-cricket-chirps]

N.S.W. orchid

circa 1935

Margaret Preston

[thewondermentofillustration]

Sir Arthur Ernest Streeton (1867–1943) - The Railway Station, Redfern, New South Wales, Australia, 1893, oil on canvas

[travelmanposts]

Northern Lights, Bonython Hall, Adelaide, Australia: Northern Lights, a public light installation created by internationally acclaimed artists The Electric Canvas.. Bonython Hall is the "great hall" of the University of Adelaide, located in the university grounds and facing North Terrace, Adelaide. The building is on the now-defunct Register of the National Estate and the South Australian Heritage Register. Wikipédia

[kittyit]

If you missed the Lesbian Heritages show, you can still see it stream on demand til April 15. Just register and Max Dashu will send you the link.

Regular $20: https://py.pl/1zNJJD

Supporter $25: https://py.pl/1H2wsh

Low-Income: $15: https://py.pl/wkOhd

Lesbian Heritages

International view of woman-loving women, from archaeological finds of paired and embracing women, up to recent history. Khotylevo, Çatal Hüyük, Mycenae, Nayarit, Etruria, Nok, and the Begram ivories. Lesbian love in Hellenistic art, Thai murals, Indian temple carvings, and Japanese erotic books. Some called us mati, zami, hwame, sakhiyani, bofe or sapatão. Lesbians as female rebels: the Amazons, Izumo no Okuni, Juana Asbaje, Louise Michel, Stormé DeLarverie. Women who passed as men in order to practice medicine and roam the world. Punishing the lesbian: in the Bible, Zend Avesta, Laws of Manu; and demonological fantasies. Lesbian musicians (Sotiria Bellou, Chavela Vargas, Ethyl Waters), artists (Edmonia Lewis, Romaine Brooks, Yan María Castro), writers (Emily Dickinson), and actors (Garbo!) Lesbian clubs and scenes in Paris, Berlin, and New York. Lesbian feminists, and Arab, South African, Australian lesbians. And more…

"I am a lesbian, I am reality; I insist on living in freedom: --Rebeldí­as Lesbicas, Peru

[hiddenlizard]

Original print of the Australian green tree frog, published in John White's Journal of a Voyage to New South Wales. Artist: S. Stone

https://en.wikipedia.org/wiki/Australian_green_tree_frog

[magpiesprings]

An interview by Art in Adelaide at Magpie Springs with Adelaide Artist Avril Thomas talking about the Art in Magpie Springs Art Gallery. Magpie Springs is a vineyard in South Australia with Boutique wine - Cellar Door. Original Art - Art Gallery. Exhibition:- Oil paintings:- Landscapes and portraiture. Prints discussed on Redbubble/MagpieSprings and AvrilThomasart

[huariqueje]

Lower Front Paddock in the Dry   -   Lucy Culliton , 2022.

Australian, b. 1966  -

Oil on canvas ,  137 x 137 cm.

[speedilydeepruins]

Gone but not forgotten, Garden Island Ship Graveyard, SA

The weather was calm and bright. Also was feeling a little bored. Thought that I would get out and try to get to know my little drone.

[witchwithmermaideyesblog]

Lucifer, Satan & other Devils: The Occult art of Rosaleen Norton, the Witch of Kings Cross

‘Lucifer and the Goat Mendes.’

The most notorious witch in Australian history was an artist named Rosaleen Norton (1917-79) who scandalized her ultra-conservative homeland with her outrageous bohemian lifestyle and strange occult beliefs during the 1950s.

The press dubbed Norton the “Witch of Kings Cross”—a low-rent artists’ quarter and red light district in Sydney, New South Wales. They claimed she was an evil Satanist who revelled in perverted Black Masses and unnatural orgies with her sex-mad coven. It was true Rosaleen (Roie to her friends) liked sex with both men and women. She enjoyed sex and saw no shame in admitting that she did. She also practised sex magick and made no secret of its powers. But Rosaleen was no Satanist. She was a pagan who followed her own particular belief in Pan.

From earliest childhood Rosaleen felt she was different—and felt compelled to prove this indeed was the case. As her friend and biographer Nevill Drury later recalled:

[Rosaleen] revelled in being the odd one out, purporting to despise her schoolmates. She argued continuously with her mother. She ‘hated’ authority figures like headmistresses, policemen, politicians and priests. She had no time at all for organised religion, and the gods she embraced - a cluster of ancient gods centred around Pan - were, of course, pagan to the hilt. She regarded Pan as the God of Infinite Being.

Pan was undoubtedly a rather unusual god for a young woman to be worshipping in Australia. But then Roie was different. And she was different in an age when it was quite a lot harder to be different than it is now. She was bohemian, bisexual, outspoken, rebellious and thoroughly independent in an era when most young ladies growing up on Sydney’s North Shore would be thinking simply of staying home, happily married with a husband and children. Roie was not afraid to say what she thought, draw her pagan images on city pavements, or flaunt her occult beliefs in the pages of the tabloids. To most people who read about her in newspapers and magazines she was simply outrageous.

Rosaleen was certainly outrageous. She was expelled from school for drawing pictures of vampires, pentagrams and demons during art class, which were claimed to have terrified her fellow classmates. In 1952, when a collection of her work was first published in book form as The Art of Rosaleen Norton three of the images contained therein—“Black Magic” (which depicted Rosaleen herself having sex with a panther), “Rites of Baron Samedi” and “Fohat” (which depicted a demon with a large muscled snake for a penis)—caused such offence that the publisher was prosecuted for obscenity and the pictures removed from all future printings. In America the book was deemed so pornographic that all imported copies were destroyed by custom officials.

Worse was to follow in 1955 when a woman named Anna Karina Hoffman was arrested for vagrancy. When questioned by police, Hoffman claimed she had participated in horrific Satanic black masses organized by Rosaleen. It was this accusation that led the tabloid press to dub Rosaleen the “Witch of Kings Cross” and promulgate the series of trumped-up news stories about her lurid (s)excesses.

However, the following year, one of her lovers, the highly respected composer Sir Eugene Goossens was arrested by Australian customs for attempting to bring some 800 pornographic images into the country—many of them marked “SM” for “sex magick.” The ensuing investigation by officials was heavily detailed by the press. It destroyed Goossens’ career and further denigrated Rosaleen’s character.

Still Rosaleen continued on her own way—painting pictures, following her own religious beliefs, enjoying a varied and active sex life and even dropping LSD to “induce visionary states” to enhance her awareness as an artist.

It was this visionary aspect which was at the heart of Rosaleen’s art:

From an early age she had a remarkable capacity to explore the visionary depths of her subconscious mind, and the archetypal beings she encountered on those occasions became the focus of her art. It was only later that Roie was labelled a witch, was described as such in the popular press, and began to develop the persona which accompanied that description. As this process gathered momentum, Roie in turn became intent on trying to demonstrate that she had been born a witch. After all, she had somewhat pointed ears, small blue markings on her left knee, and also a long strand of flesh which hung from underneath her armpit to her waist - a variant on the extra nipple sometimes ascribed to witches in the Middle Ages.

Roie’s personal beliefs were a strange mix of magic, mythology and fantasy, but derived substantially from mystical experiences which, for her, were completely real. She was no theoretician. Part of her disdain for the public at large, I believe, derived from the fact that she felt she had access to a wondrous visionary universe - while most people lived lives that were narrow, bigoted, and based on fear. Roie was very much an adventurer - a free spirit - and she liked to fly through the worlds opened to her by her imagination.

Roie’s art reflected this. It was her main passion, her main reason for living. She had no career ambitions other than to reflect on the forces within her essential being, and to manifest these psychic and magical energies in the only way she knew how. As Roie’s older sister Cecily later told me, art was the very centre of her life, and Roie took great pride in the brief recognition she received when the English critic and landscape artist John Sackville-West described her in 1970 as one of Australia’s finest artists, alongside Norman Lindsay. It was praise from an unexpected quarter, and it heartened Roie considerably because she felt that at last someone had understood her art and had responded to it positively. All too often her critics had responded only to her outer veneer - the bizarre and often distorted persona created by the media - and this was not the ‘real’ Roie at all.

Today no one would I doubt if anyone would bat an eyelid at Rosaleen’s lifestyle or beliefs—which shows how much our world has evolved. This year marks the centenary of her birth which should bring a new assessment of her life and work and introduce a new generation to the artist behind Australia’s most notorious witch.

‘Black Magic.’

‘Self Portrait with Occult Animals and Symbols.’

‘Fohat’—a demon with a snake dick or as Rosaleen described it: ‘The goat is the symbol of energy and creativity: the serpent of elemental force and eternity.’

‘Untitled.’

‘Bacchanal.’

‘Jester.’

Black Magick.’

‘Wer-Plon.’

‘Geburah.’

‘Belpiglet.’

‘The Blueprint.’

‘Triumph.’

Rosaleen Norton, January 1950.

|

[majormisunderstanding]

The Olive Plantation, 1946 Oil on Canvas, by Dorrit Black.

Art Gallery of South Australia.