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In this highly original study, Vanessa Russ examines the gradual invention of Aboriginal art within the Art Gallery of New South Wales. This process occurred as the social histories of Australia expanded and recognised Aboriginal people, through wars and political shifts, and as international organisations began placing pressure on nation states to expand, diversify, and respect multicultural perspectives. This book explores a state art institution as a case study to consider these complex narratives through a single history of Aboriginal art from early colonisation until today. The book will be of interest to scholars working in art history, museum studies, and Indigenous studies.
The art of Aboriginal Australia gives tangible expression to a particular way of being in the land. The Kluge-Ruhe Collection, now held by the University of Virginia in Charlottesville, is one of the largest and best-documented collections of Australian Aboriginal art outside Australia. Art from the Land focuses on the desert region and Arnhem Land, drawing on the many fine works in the collection and on the authors' detailed knowledge of the artists and their communities to illustrate the unique and complex nature of Australian Aboriginal artistic expression.
“The patterns and designs were laid down on the country and in the minds of Yolŋu by the ancestral beings at the time of creation. They have been passed on through the generations from our great grandparents, to our grandparents, to our parents, to us. They are the reality of this country. They tell us all who we are.” — Djambawa Marawili AM Djalkiri are “footprints" – ancestral imprints on the landscape that provide the Yolŋu people of eastern Arnhem Land with their philosophical foundations. This book describes how Yolŋu artists and communities keep these foundations strong, and how they have worked with museums to develop a collaborative, community-led approach to the collection and display of their artwork. It includes contributions from Yolŋu elders and artists as well as Indigenous and non-Indigenous historians and curators. Together they explore how the relationship between communities and museums has changed over time. From the early 20th century, anthropologists and other collectors acquired artworks and objects and took photographs in Arnhem Land that became part of collections at the University of Sydney. Later generations of Yolŋu have sought out these materials and, with museum curators, proposed a new type of relationship, based on a deeper respect for Yolŋu intellectual frameworks and a commitment to their central role in curation. This book tells some of their stories. Featuring over 300 colour images, Djalkiri is published in conjunction with a largescale exhibition of Yolŋu art and culture at the University of Sydney’s new Chau Chak Wing Museum, opening in November 2020. Spanning almost 100 years of our shared history, these collections can expand our understanding of the past and help us to shape the future.
This publication showcases Milingimbi Art and Culture Centre's artists, their work and the ancient Yolngu culture and traditions that infuse everyday life in a remote island Community in NE Arnhem Land, Australia.
For nearly four decades, Ian Keen has been an important, challenging, and engaging presence in Australian anthropology. Beginning with his PhD research in the mid-1970s and through to the present, he has been a leading scholar of Yolngu society and culture, and has made lasting contributions to a range of debates. His scholarly productivity, however, has never been limited to the Yolngu, and he has conducted research and published widely on many other facets of Australian Aboriginal society: on Aboriginal culture in ‘settled’ Australia; comparative historical work on Aboriginal societies at the threshold of colonisation; a continuing interest in kinship; ongoing writing on language and society; and a set of significant land claims across the continent. In this volume of essays in his honour, a group of Keen’s former students and current colleagues celebrate the diversity of his scholarly interests and his inspiring influence as a mentor and a friend, with contributions ranging across language structure, meaning, and use; the post-colonial engagement of Aboriginal Australians with the ideas and structures of ‘mainstream’ society; ambiguity and indeterminacy in Aboriginal symbolic systems and ritual practices; and many other interconnected themes, each of which represents a string that he has woven into the rich tapestry of his scholarly work.
"The work features over 280 works by more than 170 Australian artists drawn from a period of acquisitions which began with the consitution of the MCA in May 1989."--p. 17.
This book focusses on the role of craft as a continuing cultural practice and the revival of disappearing skills in contemporary society. It includes twenty-five essays by highly regarded artisans, academics, technologists, entrepreneurs, businesspeople, curators, and researchers from many countries representing a wide range of global craft traditions and innovations. The authors explain their professional practices and creative pathways with knowledge, experience, and passion. They offer insightful analyses of their traditions within their culture and in the marketplace, alongside the evolution of technology as it adapts to support experimentation and business strategies. They write about teaching and research informing their practice; and they explain the importance of their tools and materials in function and form of the objects they make. The essays reveal a poignant expression of their successes, disappointments, and opportunities. This book offers case studies of how artisans have harnessed the traditions of the past alongside the latest design technologies. The authors reveal how global craft is not only a vehicle for self-expression and creativity, but also for being deeply relevant to the world of work, community and environmental sustainability. The book makes the vital link between skills, knowledge, education, and employment, and fills a much-needed niche in Technical, Vocational Education and Training TVET.
The author explores the differing art styles of about twenty land-based Australian communities in Arnhem Land, the Central Desert, and the Kimberley, as well as developments among urban-based artists.
This volume of original essays brings together, for the first time, histories of the making and of the makers of most of the major Indigenous Australian museum collections. These collections are a principal source of information on how Aboriginal people lived in the past. Knowing the context in which any collection was created; the intellectual frameworks within which the collectors were working, their collecting practices, what they failed to collect, and what Aboriginal people withheld; is vital to understanding how any collection relates to the Aboriginal society from which it was derived. Once made, collections have had mixed fates: some have become the jewel of a museum's holdings, while others have been divided and dispersed across the world, or retained but neglected. The essays in this volume raise issues about representation, institutional policies, the periodisation of collecting, intellectual history, material culture studies, Aboriginal culture and the idea of a 'collection'.
Catalogue of twenty years of the Yirrkala Print Space, Buku-Larrnggay Mulka Centre