200 Years of Australian Landscapes at the Royal Academy in London

This exhibition promises to chart the evolution of a nation through its art, but not everyone agrees with the reasons behind the choice of artwork.

For the casual viewer, the exhibition of landscapes, Australia, selected by the Royal Academy of Art, will be a spectacular guide through Australian art history. Included in the exhibition are a range of artists and styles, dating from the earliest days of colonial art and progressing through expressionism and modernism to the greats of the 20th century, culminating with the current generation of Australian artists. It is hardly surprising, then, that this results in a flexible, wide-ranging notion of landscape.

But this landmark exhibition gives rise to some questions, and perhaps problems, regarding Britain’s relationship with its former colony. By choosing a style of painting at which British artists excel, the Academy could be seen as inviting criticism that hints at a telling attitude towards Australian art by comparison. But it is the very theme of landscape that provides the strongest connection to Australian art from Britain. To consider it condescending is perhaps too strong, but for Joanna Mendelssohn, an Australian critic and Associate Professor at the University of NSW’s College of Fine Arts (COFA), there is a suggestion that British artistic values have directed this exhibition, rather than allowing Australia the freedom to demonstrate its maturity.

What Mendelssohn found surprising about this exhibition was that the underlying rules for the selection of works seemed to have been so conservative. Since the landscape is a very strong British artistic theme, it appeared to her that when the British looked to the art of a former colony, there was a tendency for them to think that those colonies would continue to be like the British themselves. In reviewing Australia, the British insisted on looking at the genre of landscape painting.

Because of colonial ties, it was inevitable during Australian art’s formative years that it would reflect Britain’s devotion to the beloved landscape before its own character and idiosyncrasies took shape. And while Mendelssohn’s concern over the exhibition’s conventional selection is valid, the Academy is nevertheless embracing the peculiarities of Australian art from the mid-19th century onward, albeit within the boundaries of landscape.

Australia is curated by Kathleen Soriano, director of exhibitions at the Royal Academy. "Certainly the influence of English, French, or German art is much more evident in the early periods, in the early 1800s to mid-1800s," she says. "What I wanted to show was how Australian art develops a real distinctiveness, associated with the landscape and the light."

The fusion of tradition of the European kind with something more specifically Australian, and often personal, is crucial to the exhibition, and extends particularly to some of the more contemporary artists involved. Sydney-born video artist Shaun Gladwell is a good example of this. Gladwell’s most famous piece, which is featured in the exhibition, is Storm Sequence (2000), a video of Gladwell skateboarding on the Bondi seafront as one of Sydney’s signature brutal storms lingers offshore. It is his acknowledgment of landscape (or seascape) tradition, colored by Gladwell’s own individualism. ‘To exhibit my work in this show might make some sense because I was interested in Turner and the idea of atmosphere affecting vision, something I was really interested in around the time of Storm Sequence. I was thinking about this tradition of Romantic landscape, but I wanted to make it personal,’ says Gladwell. But he didn’t want to just embark on borrowing imagery from elsewhere. He wanted to bring it to his experience and his world through skateboarding and beach culture.

So while it may seem narrow for Britain to reduce Australian art to the genre of landscape, there can be little denying that British landscape painting is still relevant to a current generation of Australian practitioners, however indirectly.

Visitors to the exhibition encounter Australian Aboriginal art first, the idea being that these works warrant a prominent position because they were ‘first’. Over the last couple of decades, London has hosted many successful exhibitions of Aboriginal art in smaller spaces, but for Soriano, Australia represents an opportunity to place such art in a broader context, with new relationships to the art of the settlers and white Australia. ‘One of the reasons landscape makes sense as being the right theme was because Aboriginal art started in and on the landscape,’ she says. ‘[The exhibition] is a beautiful meshing of the two different kinds of art, that allowed me to bring them together comfortably and honestly within this theme. It was important for me to present Indigenous art to audiences, and I felt it was most authentic that it was seen as part of Australian art history, rather than a separate area with a world of its own.'

Meanwhile, Australian critic Mendelssohn also points out that London is increasingly less important to today’s generation of artists, and this somewhat weakens the ceremony surrounding the exhibition in London. ‘China is the most important art market in the world,’ she says. ‘If you’ve made it in Shanghai, you’ve made it. The world has changed. My students in Australia, who come from all over the world, really want to see Venice Biennale and Art Basel, but they’re less interested in going to London. When I was growing up, London was the destination, and then when I was at university all the smart young things wanted to go to New York,’ she added. ‘Now they want to go everywhere. There’s no such thing as the centre and the periphery like there used to be. It’s much more complicated.'

Facial Expression

A A facial expression is one or more motions or positions of the muscles in the skin. These movements convey the emotional state of the individual to observers. Facial expressions are a form of nonverbal communication. They are a primary means of conveying social information among humans, but also occur in most other mammals and some other animal species. Facial expressions and their significance in the perceiver can, to some extent, vary between cultures with evidence from descriptions in the works of Charles Darwin.

B Humans can adopt a facial expression to read as a voluntary action. However, because expressions are closely tied to emotion, they are more often involuntary. It can be nearly impossible to avoid expressions for certain emotions, even when it would be strongly desirable to do so; a person who is trying to avoid insulting an individual he or she finds highly unattractive might, nevertheless, show a brief expression of disgust before being able to reassume a neutral expression. Microexpressions are one example of this phenomenon. The close link between emotion and expression can also work in the other direction; it has been observed that voluntarily assuming an expression can actually cause the associated emotion.

C Some expressions can be accurately interpreted even between members of different species -- anger and extreme contentment being the primary examples. Others, however, are difficult to interpret even in familiar individuals. For instance, disgust and fear can be tough to tell apart. Because faces have only a limited range of movement, expressions rely upon fairly minuscule differences in the proportion and relative position of facial features, and reading them requires considerable sensitivity to the same. Some faces are often falsely read as expressing some emotion, even when they are neutral because their proportions naturally resemble those another face would temporarily assume when emoting.

D Also, a person’s eyes reveal much about how they are feeling, or what they are thinking. Blink rate can reveal how nervous or at ease a person may be. Research by Boston College professor Joe Tecce suggests that stress levels are revealed by blink rates. He supports his data with statistics on the relation between the blink rates of presidential candidates and their success in their races. Tecce claims that the faster blinker in the presidential debates has lost every election since 1980. Though Tecce’s data is interesting, it is important to recognize that non-verbal communication is multi-channelled, and focusing on only one aspect is reckless. Nervousness can also be measured by examining each candidates’ perspiration, eye contact and stiffness.

E As Charles Darwin noted in his book The Expression of the Emotions in Man and Animals: the young and the old of widely different races, both with man and animals, express the same state of mind by the same movements. Still, up to the mid-20th century, most anthropologists believed that facial expressions were entirely learned and could, therefore, differ among cultures. Studies conducted in the 1960s by Paul Ekman eventually supported Darwin’s belief to a large degree.

F Ekman’s work on facial expressions had its starting point in the work of psychologist Silvan Tomkins. Ekman showed that contrary to the belief of some anthropologists including Margaret Mead, facial expressions of emotion are not culturally determined, but universal across human cultures. The South Fore people of New Guinea were chosen as subjects for one such survey. The study consisted of 189 adults and 130 children from among a very isolated population, as well as twenty-three members of the culture who lived a less isolated lifestyle as a control group. Participants were told a story that described one particular emotion; they were then shown three pictures (two for children) of facial expressions and asked to match the picture which expressed the story’s emotion.

G While the isolated South Fore people could identify emotions with the same accuracy as the non-isolated control group, problems associated with the study include the fact that both fear and surprise were constantly misidentified. The study concluded that certain facial expressions correspond to particular emotions and can not be covered, regardless of cultural background, and regardless of whether or not the culture has been isolated or exposed to the mainstream.

H Expressions Ekman found to be universally included those indicating anger, disgust, fear, joy, sadness, and surprise (note that none of these emotions has a definitive social component, such as shame, pride, or schadenfreude). Findings on contempt (which is social) are less clear, though there is at least some preliminary evidence that this emotion and its expression are universally recognized. This may suggest that the facial expressions are largely related to the mind and each part on the face can express specific emotion.