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This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.
Describes the art of the Australian Aborigines including rock painting and engraving as well as sand and bark painting; also discusses the symbolism found in these works.
DIVThe history of the Australian Aboriginal painting movement from its local origins to its career in the international art market./div
This book is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society’s negotiation of Indigenous people’s status within the nation. Through critical reflection on Aboriginal art’s idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art’s meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art’s vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition.
This book explores the complexities of Indigenous and non-Indigenous relations in contemporary Australia. It unpacks the continuation of a pervasive colonial consciousness within settler-colonial settings, but also provokes readers to confront their own habits of thought and action. Through presenting a reflexive narrative that draws on the author’s encounters with Indigenous artists and their artwork, knowledge, stories, and lived experiences, this provocative and insightful work encourages readers to consider what decolonising means to them. It presents a compelling and relevant argument that calls for a reorientation of dominant discourses fixed within Eurocentric frameworks, whilst also addressing the deep complexities and challenges of living within intercultural settler-colonial settings where different views and perspectives clash and complement one another.
This catalogue accompanies an exhibition organized by the Herbert F. Johnson Museum of Art at Cornell University, curated by Roger Benjamin and coordinated by Andrew C. Weislogel, associate curator and master teacher at the Johnson Museum.
"This publication accompanies the exhibition Everywhen: The Eternal Present in Indigenous Art from Australia, Harvard Art Museums, Cambridge, Massachusetts, February 5 through September 18, 2016."
This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.
A Companion to Australian Art is a thorough introduction to the art produced in Australia from the arrival of the First Fleet in 1788 to the early 21st century. Beginning with the colonial art made by Australia’s first European settlers, this volume presents a collection of clear and accessible essays by established art historians and emerging scholars alike. Engaging, clearly-written chapters provide fresh insights into the principal Australian art movements, considered from a variety of chronological, regional and thematic perspectives. The text seeks to provide a balanced account of historical events to help readers discover the art of Australia on their own terms and draw their own conclusions. The book begins by surveying the historiography of Australian art and exploring the history of art museums in Australia. The following chapters discuss art forms such as photography, sculpture, portraiture and landscape painting, examining the practice of art in the separate colonies before Federation, and in the Commonwealth from the early 20th century to the present day. This authoritative volume covers the last 250 years of art in Australia, including the Early Colonial, High Colonial and Federation periods as well as the successive Modernist styles of the 20th century, and considers how traditional Aboriginal art has adapted and changed over the last fifty years. The Companion to Australian Art is a valuable resource for both undergraduate and graduate students of the history of Australian artforms from colonization to postmodernism, and for general readers with an interest in the nation’s colonial art history.
Desert River Sea: Portraits of the Kimberley is the highly anticipated culmination of the Art Gallery of WA's six-year Kimberley visual arts project, Desert River Sea: Kimberley Art Then and Now. This landmark exhibition showcasing the vibrant and contemporary creative talent of Kimberley artists opens with a cultural celebration on 9 February 2019. New works from six Kimberley art centres and three independent artists will be presented alongside a selection of legacy works from art centre collections. Together with works from AGWA's collection, the exhibition offers a rare experience of the land, artists and art of the Kimberley. To accompany the exhibition, UWA Publishing has produced a breathtaking book outlining and tracking the development of the project and using extraordinary artworks to close the circle of the six years of Kimberley work.