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A major, fully illustrated publication featuring more than 50 essays on the work of contemporary Australian artists has been produced in conjunction with 'Contemporary Australia: Optimism'. The publication includes engaging essays by authors John Birmingham and Melissa Lucashenko, filmmaker Elissa Down and Queensland Art Gallery staff. It is available in hard and soft cover from the Gallery Store and online at www.australianartbooksonline.com.au
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.
This text presents Simeon Nelson's artworks and allows the reader to interpret them through an accompanying analysis by art critic, Benjamin Genocchio. The text examines the inspiration for Nelson's art, clearly describing its meanings while responding to its immense beauty and wonder.
In the early 1970s at Papunya, a remote settlement in the Central Australian desert, a group of Indigenous artists decided to communicate the sacred power of their traditional knowledge to the wider worlds beyond their own. Their exceptional, innovative efforts led to an outburst of creative energy across the continent that gave rise to the contemporary Aboriginal art movement that continues to this day. In their new book, anthropologist Fred Myers and art critic Terry Smith discuss six Papunya paintings featured in a 2022 exhibition in New York. They draw on several discourses that have developed around First Nations art—notably anthropology, art history, and curating as practiced by Indigenous and non-Indigenous interpreters. Their focus on six key paintings enables unusually close and intense insight into the works’ content and extraordinary innovation. Six Paintings from Papunya also includes a reflection by Indigenous curator and scholar Stephen Gilchrist, who reflects on the nature and significance of this rare transcultural conversation.