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The National Gallery of Australia holds the largest collection of Australian Indigenous art in the world. Written by Indigenous authors and curators and other experts in the field, this new book features works of art which highlight the diversity, richness and excellence of the Gallery's collection. They range from rare 19th-century objects, historical and contemporary bark paintings, fabrics, dance masks, and headdresses to contemporary politically charged works by artist working in towns and cities in the 21st century. Frachesco Cubillo is a member of the Larrakia, Bardi, Wadaman, and Yanuwa Nations. She is senior curator Aboriginal and Torres Strait Islander art at the National Gallery of Australia. Wally Caruana is an independent curator, author, and consultant on Indigenous Australian art.
This is both a document on the development of photography and a record of the growth of a nation . It covers 150 yrs of Australia photography - 1847-2000 - from traditional to contemporary.
Bringing together works by 30 contemporary Aboriginal and Torres Strait Islander artists from across the country, Defying Empire commemorates the 50th anniversary of the 1967 Referendum that recognized Aboriginal people as Australians for the first time. It explores the strength and resilience of Australia's Indigenous people since first contact, through the historical fight for recognition and ongoing activism in the present day. This moving and powerful art touches on the issues of identity, racism, displacement, country, nuclear testing, sovereignty and the stolen generations through many media: painting on canvas and bark, weaving and sculpture, new media, prints, photography, metalwork and glasswork. 'We defy: By existing; By determining our identity; By asserting our histories; our culture; our language; By telling our stories, our way; By being one of the oldest continuous living cultures in the world.' - Tina Baum, NGA Curator of Aboriginal and Torres Strait Islander Art
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 publication accompanies the exhibition Everywhen: The Eternal Present in Indigenous Art from Australia, Harvard Art Museums, Cambridge, Massachusetts, February 5 through September 18, 2016."
Sasha Grishin is a leading Australian art historian, art critic and curator who has published some twenty books and over two thousand articles on various aspects of art. This book is his magnum opus, a comprehensive and definitive history of Australian art. Australian Art: A History provides an overview of the major developments in Australian art, from its origins to the present. The book commences with ancient Aboriginal rock art and early colonialists' interpretations of their surroundings, and moves on to discuss the formation of an Australian identity through art, the shock of early modernism and the notorious Heide circle. It finishes with the popular recognition of modern Indigenous art and contemporary Australian art and its place in the world.
Presenting the work of artists from every state and territory, the work in this catalogue demonstrates the extraordinary range of contemporary Indigenous art practice. The largest survey show of Indigenous art at the NGA in more than fifteen years, the Triennial featured up to four works by each artist created in a variety of media, including painting on bark and canvas, sculpture, textiles, weaving, new media, photomedia, printmaking and installation.
Emily loved using exuberantly rich and vibrant colours, and her compositions of expressive dots and animated lines were always energetic and exciting. She worked in many different styles but her spirited gestures always reflected some aspect of her Dreamings and Alhalkere country for which she was a custodian.
Now included in UQP's First Nations Classics series with an introduction from Kirli Saunders, Dreaming in the Urban Areas is an unforgettable work of Indigenous poetry. Lisa Bellear's poetry moves sharply between street-smart portrayals of poverty and dispossession, and the complexity of Black love, identity and experience. She reaches into the unspeakable parts of a colonial past in order to unpick the ongoing repercussions of Australia's invasion and history. Written with poetic prowess and political bite, Bellear's work is a reckoning force set against a backdrop of urban community and strength. Her boundless energy and activism shine throughout, ensuring that each poem has a striking clarity of vision. Dreaming in the Urban Areas is an incandescent work of integrity and truth that charts the enduring struggles for survival and recognition.
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.