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Conder Educ kit - Beverly Hills Intensive English Centre

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Margaret Preston did produce a<br />

hybrid, a dynamic one to be sure,<br />

because modernism set the terms of<br />

internationalism as a kind of abstract<br />

universality in which the<br />

distinctiveness of national cultures<br />

only reappeared when they declared<br />

their differences through pre-modern,<br />

preferably ‘primitive’ forms … The<br />

artificial hybrid was a necessity of this<br />

process.<br />

Terry Smith 2002<br />

Margaret Preston with palette 1924<br />

Photograph by Harold Cazneaux Preston archive, Art Gallery of New South Wales<br />

Produced by the Public Programmes Department<br />

© Art Gallery of New South Wales 2005<br />

pp@ag.nsw.gov.au<br />

www.artgallery.nsw.gov.au/education<br />

I am interested in exploring the cross<br />

cultural issues … particularly the<br />

issues surrounding Preston’s<br />

advocacy of appropriating<br />

‘Aboriginal art’ as a means to develop<br />

an ‘indigenous’ style of Australian<br />

modern art while at the same time,<br />

being dismissive of aboriginal<br />

cultures and peoples. This is an<br />

obvious issue, which is extremely<br />

relevant to our times and our national<br />

identity.’<br />

Gordon Bennett 2000<br />

Margaret Preston: art & life <strong>Educ</strong>ation Kit Art Gallery of New South Wales SECTION 1 : 35

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