The 1939 Herald Exhibition, which brought the Australian public face-to-face for the first time with the experimental art that had been developing in Europe during the early the 20th century, is described in this fascinating history. This account examines the astonishing collection of paintings, including nine Picassos and eight Van Goghs, that generated much controversy upon its opening and was described by the director of the National Gallery of Victoria as "the work of degenerates and perverts."

Degenerates and Perverts: The 1939 Herald Exhibition of Modern Art

Arts & Photography

Chanin, Eileen

History & Criticism

Melbourne University Publishing

Between 8 and 12 December of 1962, world attention focused on a surprise rebel uprising that sprang up in northern Borneo, where hostages were taken and threatened with execution. The small river town of Limbang, administrative center of the Fifth Division of the British Crown colony of Sarawak, was the pivot of the confrontation that Harold Macmillan told John F. Kennedy was as dangerous a situation in South East Asia as the Western Allies had seen since the Second World War. The Brunei revolt turned out to be the opening act of the diplomatic and military conflict between Indonesia and Malaysia known as Confrontation ('Konfrontasi').Britain and the Malayan Prime Minister aimed to create a federation of Malaysia by combining the two British colonies in Borneo and the island colony of Singapore with already independent Malaya. Opposition to this came from Brunei Malay politician Sheikh A. M. Azahari. The self-styled Prime Minister of a 'united' northern Borneo mounted an anti-Malaysia insurrection. This uprising became known as the Brunei revolt. An amphibious dawn assault at Limbang on 12 December by L Company of 42 Commando British Royal Marines liberated the hostages whom Azahari's rebel forces were preparing to hang.The story of Limbang and what it represents has not been fully told until now. While terrifying, Limbang was also a life-affirming experience for those involved and forged lifelong bonds. It ends not with the heroic release of the hostages in a commando raid, where British forces faced heavy resistance, but with the impact these events had on the lives of all concerned.

Limbang Rebellion: Seven Days in December, 1962

History

Asia

Pen and Sword Military

Limbang Rebellion: 7 Days in December 1962

NewSouth Publishing

When Ibsen's controversial play A Doll's House opened to packed audiences at Melbourne's Princes Theatre, the slam of the door as Nora left her husband in the final act echoed in the minds of thousands of young Australian women. This book is about four of these women, born in Victoria between 1867 and 1893, who lived through the changes which swept across life, culture and art during the early twentieth century. Four short biographies trace their parallel lives. From Rome, Dora Ohlfsen established a career as a celebrated sculptor. With Mussolini's support, she became the only expatriate sculptor in Italy commissioned with a national war memorial. Significantly, her Anzac medal was the first commemorative work of art memorialising the Anzacs. From Paris, Louise Dyer invigorated music publishing and recording, helping to transform musical culture world-wide. Her label Les Éditions de L'Oiseau-Lyre laid the foundations of the modern early music revival and helped shape the notion of 'authenticity' in musical performance. From London, Clarice Zander promoted cultural understanding as a curator and as the publicist for the Royal Academy. She pioneered the modern marketing of art and curated Australia's first important exhibition of contemporary British art. From New York, Mary Cecil Allen, painter, critic, and educator, working at the centre of modern art, inspired many. She ran the first touring exhibition of contemporary Australian art in the United States. Modern women of the arts, they awoke to their full potential and created opportunities for others to do likewise.

Awakening: Four lives in art

Miller, Steven

Wakefield Press

Between 8 and 12 December of 1962, world attention focused on a surprise rebel uprising that sprang up in northern Borneo, where hostages were taken and threatened with execution. The small river town of Limbang, administrative center of the Fifth Division of the British Crown colony of Sarawak, was the pivot of the confrontation that Harold Macmillan told John F. Kennedy was as dangerous a situation in South East Asia as the Western Allies had seen since the Second World War. The Brunei revolt turned out to be the opening act of the diplomatic and military conflict between Indonesia and Malaysia known as Confrontation ('Konfrontasi').Britain and the Malayan Prime Minister aimed to create a federation of Malaysia by combining the two British colonies in Borneo and the island colony of Singapore with already independent Malaya. Opposition to this came from Brunei Malay politician Sheikh A. M. Azahari. The self-styled Prime Minister of a 'united' northern Borneo mounted an anti-Malaysia insurrection. This uprising became known as the Brunei revolt. An amphibious dawn assault at Limbang on 12 December by L Company of 42 Commando British Royal Marines liberated the hostages whom Azahari's rebel forces were preparing to hang.The story of Limbang and what it represents has not been fully told until now. While terrifying, Limbang was also a life-affirming experience for those involved and forged lifelong bonds. It ends not with the heroic release of the hostages in a commando raid, where British forces faced heavy resistance, but with the impact these events had on the lives of all concerned.

Limbang Rebellion: Seven Days in December 1962

Founded as a sovereign Commonwealth in 1901, a dominion in the British Empire, Australia set out immediately to present itself to the world as a nation with a great future. This book relates the untold story of how Australia's first diplomatic mission was conceived, designed and built. Its international showcase was to be Australia House, a splendid purpose-built building at the Aldwych in the very heart of London, the Imperial capital, and of world trade and prosperity. Commenced in 1913, Australia House was opened in 1918 while the Great War still raged. It is a story of ambitions and achievements - global, imperial, local and personal.'This meticulous and engaging study, remarkable for the depth and breadth of its scholarship, shows that the new Federation's projection of its growing national pride and self-assurance via an imposing stone building was also part of the quest to make of London a city that fully expressed the ambition, achievement and grandeur of empire.' Frank Bongiorno FRHistS FASSA, Professor of History, Australian National University'The story of the building [of Australia House] and the wider context of the Holburn to Strand improvements at Aldwych of which it formed part is here brilliantly told.' David M. Walker, Dictionary of Scottish Architects

Capital Designs: Australia House and Visions of an Imperial London

Arden

Collecting Art: Masterpieces, Markets and Money

Business & Money

Craftsman House

Some of the most individual and symbolic paintings ever produced in Australia were those of Harold Frederick Weaver Hawkins (1893-1977). English-born, Hawkins arrived in Australia in 1935 knowing no-one, and with a background very different to that of his contemporaries. And yet until his death in 1977 he remained a unique and stimulating artistic influence on Australian art, a fact which has been increasingly recognised. Disabled by war injuries but persistent in pursuit of his creativity, Hawkins studied at the Westminster School of Art and was a close friend of the English painters David Jones and Frank Medworth. Hawkins exhibited etchings and watercolours in London prior to living in both France and Malta and then emigrating to Australia. With its stylised abstractions, hard and stirring colours and dramatic accents of light and movement, Hawkins' work was initially misunderstood in Australia although he gained unstinting acclaim for his lectures on art. Stylistically, Hawkins was out of step with the Sydney 'Charm School' and far removed from the abstract expressionists but his work clearly had its own voice. Strong, vigorous and disciplined, Hawkins' paintings were very much concerned with what the artist considered to be a generalised 'religion of mankind', and his work focused on 'fighting for the humanising values of society'. This authoritative book is a tribute to his art and vision.

The Art and Life of Weaver Hawkins

Individual Artists

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