Visual Arts Q&A by dot point

Albert Namatjira (1902-1959): a case study of an Arrernte watercolourist whose practice combined European landscape conventions with Arrernte knowledge of country, supported by frame readings and the long history of reception

Andy Warhol (1928-1987): a case study of an American Pop artist whose practice in silkscreen prints, film, and Factory-based production exemplifies postmodern strategies, supported by frame readings and audience reception

Banksy (active from c.1990): a case study of an anonymous British street artist whose stencil practice critiques surveillance, war, and the institution of art, supported by frame readings and the contradictions of his market reception

Brett Whiteley (1939-1992): a case study of an Australian painter and draughtsman whose work spans landscape (Lavender Bay), portraiture (three Archibalds), and intimate interior work, supported by frame readings and audience reception

Cubism (1907-1914): a case study of the early-twentieth-century European art movement led by Pablo Picasso and Georges Braque, including Analytic and Synthetic Cubism, key artworks, and reception

Emily Kame Kngwarreye (c.1910-1996): a case study of an Anmatyerre senior woman whose late-career painting practice produced some of the most internationally significant Indigenous Australian artworks, supported by frame readings and reception

Frida Kahlo (1907-1954): a case study of a Mexican painter whose intensely autobiographical self-portrait practice combines subjective and cultural frames, supported by frame readings and a posthumous audience that has made her a global icon

John Olsen (1928-2023): a case study of an Australian painter whose lyrical-abstract response to the Australian landscape spans seven decades, supported by frame readings and audience reception

Margaret Olley (1923-2011): a case study of an Australian painter's sustained still-life and interior practice across six decades, including artist intentions, materials, the Paddington studio, and reception

Pablo Picasso (1881-1973): a case study of a Spanish-French painter, sculptor, ceramicist, and printmaker whose practice spans seven decades and multiple distinct phases, supported by frame readings and audience reception

Patricia Piccinini (born 1965): a case study of an Australian contemporary sculptor whose hyperreal hybrid-creature practice raises questions about genetic technology and care, supported by frame readings and audience reception

Pop Art (mid-1950s to 1970s): a case study of the British and American art movement that embraced commercial culture, including Hamilton, Lichtenstein, Warhol, Hockney, and Oldenburg, supported by frame readings and audience reception

Surrealism (1924 to c.1945): a case study of the European art and literary movement led by Andre Breton, including Dali, Magritte, Ernst, and Kahlo, supported by frame readings and audience reception

Tracey Moffatt (born 1960): a case study of an Indigenous Australian photographer and filmmaker whose practice spans staged photographic series, films, and digital work, supported by frame readings and audience reception

The artist as an agency in the conceptual framework: intentions, training, biography, conceptual interests, and the artist's relationship to other agencies (artwork, world, audience)

The artwork as an agency in the conceptual framework: its materials, form, content, scale, and conceptual meaning, and its relationships to the artist, world, and audience

The audience as an agency in the conceptual framework: viewers, critics, curators, gallery and museum audiences, collectors, and the market, and their interpretive and circulating role

The world as an agency in the conceptual framework: the social, political, cultural, religious, and historical context in which the artist works and the artwork is encountered

The cultural frame: the interpretation of artworks through the social, political, religious, gender, racial, and class contexts in which they are produced and received

The postmodern frame: the interpretation of artworks through irony, appropriation, parody, pastiche, the blurring of high and low culture, and the questioning of originality, authorship, and the institution of art

The structural frame: the interpretation of artworks through formal language, including composition, colour, line, form, texture, materials, signs, symbols, and visual codes

The subjective frame: the interpretation of artworks through personal, emotional, psychological, and biographical experience, including the artist's interior life, dreams, the unconscious, and the audience's affective response

Art criticism practice: the practice of critics, curators, and writers, including interpretation, judgement, the use of the frames, and the production of critical writing

Art history practice: the practice of historians, including the writing of art history, the construction of canons, the use of archives, and the situating of artworks within periods, movements, and cultures

Artmaking practice: the practice of artists, including intentions, materials, processes, conceptual interests, and how practice develops across a career