The intrusion of women painters: Ethel Anderson, modern art and gendered modernities in interwar Sydney, Australia

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1 Citation (Scopus)

Abstract

In the interwar period in Sydney, Australia, male art gallery trustees, directors, and art schoolteachers objected to female advocacy and practice of artistic responsiveness to the modern. The dialogue between these two parties has often been interpreted in terms of a margin/centre dichotomy. Closer examination of the case of Ethel Anderson suggests that this model is inadequate. She demonstrated the transnationally apparent predilection of women to infusing civic cultures with the fleeting and everyday, thus inverting the spatial cues to cultural authority and presenting a gendered challenge to institutionalised, masculine notions of cultural authority.

Original languageEnglish
Pages (from-to)171-188
Number of pages18
JournalWomen's History Review
Volume21
Issue number2
DOIs
Publication statusPublished - 1 Apr 2012

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painter
modernity
art
director
dialogue
examination
Intrusion
Art
Modernity
Authority
Painters
Interwar Period
Responsiveness
Advocacy
Dichotomy
Civic Culture
Trustees
Masculine

Cite this

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The intrusion of women painters: Ethel Anderson, modern art and gendered modernities in interwar Sydney, Australia. / Hunt, Jane E.

In: Women's History Review, Vol. 21, No. 2, 01.04.2012, p. 171-188.

Research output: Contribution to journalArticleResearchpeer-review

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