ABSTRACT

Perspective dominates the writing on colonial art. Conceptualized as a way of seeing that inherently supports the processes of colonial conquest and control, its use in colonial art is routinely linked to an overseeing and all-powerful ‘colonial gaze’. It is surprising, then, that upon return to the supposed source of this idea, the work of French psychoanalyst Jacques Lacan, you will find that he continually associates the ‘gaze’ not with perspective but anamorphosis. Undertaking a close study of several inter-related Australian works by the British travel artist, Augustus Earle, in this article I seek to look again at colonial art by placing perspective to one side. In shifting the focus from perspective to anamorphosis, I will be arguing for the need to consider another, often neglected and overlooked aspect to the ideology of the colonial encounter, one based on what Slavoj Žižek paradoxically refers to as a ‘pre-ideological enjoyment structured in fantasy’.

摘要

透视在殖民艺术的写作中占主导地位。被概念化为一种内在支持殖民征服和控制过程的观看方式，它在殖民艺术中的使用通常与监督和全能的“殖民凝视”联系在一起。令人惊讶的是，当回到这个想法的假定来源——法国精神分析学家雅克·拉康的作品时，你会发现他不断地将“凝视”与透视而非变形联系起来。通过仔细研究英国旅行艺术家奥古斯都厄尔的几件相互关联的澳大利亚作品，在这篇文章中，我试图通过将视角放在一边来重新审视殖民艺术。在将焦点从透视转移到变形时，我将争论是否需要考虑另一个，