Photographer John H. Jones created an extraordinary record of colonial Victoria. Jones's Photographs of Australian Sceneries reveal early images of the growing colony, from the ports and bridges of Melbourne, to the settlements and picturesque scenery further afield. When he advertised the set of 120 stereographs for sale in 1862, Jones recommended them as an ideal gift to send to family and friends overseas in order to illustrate 'one of the most important of Her Majesty's territories'. Stereographs were enormously popular from the mid-nineteenth century, and one of the earliest applications of 3D technology. Viewing the stereographs through a stereoscope creates the illusion of a single three-dimensional image. Indeed until the advent of moving images in the early twentieth century, stereographs remained one of the most common forms of visual entertainment, and millions of stereographs were produced. This exhibition displays a selection of Jones's stereographs, and features the route between Melbourne and Bendigo which had grown rapidly in the decade after the discovery of gold in 1851. Jones documented many of the impressive features of the newly constructed rail line, and captured views of the rapidly built towns along the route. He was equally interested in the natural geographical landscape of these areas, such as waterfalls, rivers, forests and rock formations. These rare stereographs were acquired by Bendigo Art Gallery in 2009, and many of the images have not been exhibited or published for 150 years.
A philosopher makes the case for thinking of works of art as tools for investigating ourselves In his new book, Strange Tools: Art and Human Nature, the philosopher and cognitive scientist Alva Noë raises a number of profound questions: What is art? Why do we value art as we do? What does art reveal about our nature? Drawing on philosophy, art history, and cognitive science, and making provocative use of examples from all three of these fields, Noë offers new answers to such questions. He also shows why recent efforts to frame questions about art in terms of neuroscience and evolutionary biology alone have been and will continue to be unsuccessful.
Symbols of the Christian Faith is an illustrated guide to the major visual symbols used by the Christian church throughout history. These stylized illustrations, designed by artist Alva William Steffler, are intended to provide usable, up-to-date resources for contemporary church worship and Christian education. Throughout church history symbols have been used to aid worship and to communicate difficult spiritual ideas. Steffler here collects these symbols, from early Christian catacomb art to the present, offering fresh graphic interpretations of old visual forms. The accompanying text notes the biblical sources for the various symbols and traces their use in church tradition and their links to Greco-Roman culture. Extensive glossaries and indexes round out the book. Broadly inclusive and sensitive to the perspectives of every church tradition, this volume will be an invaluable resource for churches using Christian art as well as for general readers curious about the meaning of common Christian symbols.
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