Camouflage Cultures

Ann Elias is an associate professor of critical studies at Sydney College of the Arts, the University of Sydney.Ross Harley is a professor and Dean of the Faculty of Art and Design at the University of New South Wales.Nicholas Tsoutas is Zelda Stedman Lecturer in Visual Arts at Sydney College of the Arts. He was a director of four major art centres in Australia: Artspace, the Institute of Modern Art, the Performance Space and the Casula Powerhouse.

• AcknowledgementsIntroduction1. Khaki to khaki (dust to dust): the ubiquity of camouflage in human experience by Roy R. Behrens2. Camouflage and mimesis: deception, evolutionary biology and imitation by Bernd Hüppauf3. Zoos and camouflage by Ann Elias4. Australian stick and leaf insects (Insecta, Phasmida): camouflage and natural history by Paul D. Brock and Jack W. Hasenpusch5. Mimicking the masters: a new age for camouflage design by Jonnie Morris6. The origin of art: camouflage, anti-camouflage and de-camouflage in the appropriation art of Imants Tillers by Ian McLean7. The camouflage effect by Pamela Hansford8. Light leak by Tanya Peterson9. From Ghillie suit to glittering kowhaiwhai: contemporary New Zealand artists deploy the camouflage aesthetic by Linda Tyler10. Making visible, changing sides: the contradictory use of camouflage by artists Xing Junqin and Ian Howard by Ian Howard and Brigitta Olubas11. Interventions in seeing: surveillance, camouflage and the Cold War camera by Donna West Brett12. Unmasking militarism: hegemony, naturalisation, camouflage by Ben Wadham and Amy Hamilton13. Of mimicry and hipsters by Hsuan Hsu14. Camouflage/fashion/performance: a case study of Leigh Bowery by Jacqueline Millner15. Hiding in the cosmos by Nikos PapastergiadisAfterword: shifting groundRoss GibsonAbout the contributorsIndex

‘Camouflage Cultures is a variously stimulating collection, illustrating aspects of critical theory through the extension of camouflage as metaphor into cross- and interdisciplinary areas of historical and current practice and commentary in the arts and sciences.’