The history of the representations of landscape in Australia was complex, if not contradictory. The y modernists held that landscape was an anachronistic genre, part of a old, privileged gum tree tradition ‘overthrown’ by Modernism. Landscape as a term should be abandoned it was held. Currently, landscape is often viewed in the art institution to be of little or no relevance in our overwhelmingly urban, more or less progressive, global culture.
On the other hand, the view that the visual representations of landscape (the bush) were deemed to be old fashioned and irrelevant only until various modernists — such as Nolan, Boyd, Williams — turned to representing the landscape after stepping outside the capital cities into what they called the Outback or the dead centre. Then the visual representations of landscape became okay.
This kind of contradictory history has dissolved in three ways. Firstly, is the idea of topographics as a ‘man-altered landscape’ that emerged after the influential New Topographics exhibition in 1975 at George Eastman House. Secondly, we can understand the representation of ‘landscape’ as the means by which artists engage with issues of place, with questions about our location in the world – a location which is always, as Merleau-Ponty made clear, originally grounded in our immediate bodily location – its contemporary relevance is at once considerably clearer.