DOCSLIB.ORG

Investigating the Aesthetic Character of Australian Urban Indigenous Art: a Socio-Political Fusion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Investigating the Aesthetic Character of Australian Urban Indigenous Art: a Socio-Political Fusion Investigating the Aesthetic Character of Australian Urban Indigenous Art: A Socio-Political Fusion Nerina Dunt MA (Studies in Art History), BVA (Hons) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy, Discipline of Art History, Faculty of Arts, University of Adelaide. November 2018 ii Table of Contents Abstract v Statement of Originality and Consent vii Acknowledgments viii Note xiv List of Abbreviations xv List of Figures xvi Introduction 1 Structure of the Thesis 9 Chapter 1 – Surveying the Field of Literature 14 Introduction 14 Terminology 15 Modes of Reference 21 Transcending Absence 21 Chronology, Anthology and Sporadically Located 24 Historiography 32 From Anthropology and Ethnography to Art History 32 Cross Cultural Exchange 37 Politics and Decolonisation 39 Summary 52 Chapter 2 – Breakthrough, a New Aesthetic and Collectivity 53 Introduction 53 The Breakthrough Exhibition: Koori Art ’84 55 Politics 57 Place 59 Self and Identity 61 Review 65 Toward a New Aesthetic 69 Boomalli Aboriginal Artists Co-operative 82 Workshops and Collectives 85 Summary 94 iii Chapter 3 – Early Characteristics: Eliciting Empowerment through the Socio-Political Climate 96 Introduction 96 Toward Empowerment – The Socio-political Climate and National Awareness 97 The Visit of Pope John Paul II, Alice Springs, 1986 101 Aboriginal Deaths in Custody 109 Australia’s Bicentenary 129 Summary 143 Chapter 4 – Defying Colonial Representation: Authentic and Diverse Experience 146 Introduction 146 Resisting Colonial Representation 148 Contemporary Indigenous Experience as Authentic and Diverse 170 Summary 185 Chapter 5 – Recovering the Indigenous Subject: Exposing Colonial Narratives and Practices 187 Introduction 187 Narratives and Practices of Colonialism: Forgetting the Indigenous Subject 189 Recovering the Indigenous Narrative 196 Stolen Generations 196 Sovereignty 210 Summary 227 Chapter 6 – Control: Indigenising the Curated Space, Critique and Self-Determination 229 Introduction 229 Indigenising the Curated Space 230 Beyond the Pale: 2000 Adelaide Biennial of Australian Art 249 A Socio-Political Platform: Critique and Criticality 258 Self-Determination: proppaNOW 268 Summary 281 Conclusion 283 Appendix 290 Bibliography of Cited Material 300 iv Abstract Two distinct geographies inform the practice and production of contemporary Australian Indigenous art: one is desert-based and remote; the other is urban-based (including regional centres). Art historically, urban Indigenous art has been overshadowed by the attention given to desert and remote Indigenous art. From the mid to late 1980s, however, urban Indigenous art built in momentum and proliferated, as its artists channelled in their work, to varying degrees, a connection with matters concerning Indigenous and non-Indigenous relations that were socio- political in nature. Artists interrogated Australia’s colonial paradigm. This thesis investigates the development of the urban Indigenous art movement, for a duration of more than thirty years, establishing how the socio-political connection has significantly motivated its aesthetic character. The research questions bring focus to the definition of a socio-political aesthetic, how artists portray it, and why it is central to the movement of urban Indigenous art. Decolonial theory provides a useful methodological framework for understanding Indigenous perspectives and Indigenous voices that are shown to ideologically underpin this socio-political aesthetic in urban Indigenous art. In employing this theory for analysis, four key objectives guiding artists are evident within the period surveyed: empowerment; defying colonial representation; recovering the Indigenous subject through the analysis of colonialism; and self- determination. Expressions of the socio-political aesthetic within urban Indigenous art are found to be numerous. For some artists, expression is equivalent to participation within the socio-political field. For others, expression operates on sensate and affective levels. Subversion and resistance v to previous colonial modes of representing Indigeneity feature highly, as do the processes of destabilisation and undermining of colonial knowledge and power systems. Some artists harness key socio-political events and respond to these using autobiography or collective and cultural memory; others recover Indigenous perspectives in order to achieve historical transparency. Critique, criticality and collectivity are also strategies used to execute a socio-political aesthetic, with Indigenisation of the curated space occupying a key role in dissemination. The thesis contends that not only is a socio-political aesthetic intrinsic to urban Indigenous art, but that such an aesthetic manifests as socio-political agency. Urban Indigenous artists present contemporary art that is authoritative, delivering the message that contemporary Australian Indigenous culture, identity and representation should be managed from a self-determined position that is distinctly Indigenous. vi Statement of Originality and Consent I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used in a submission in my name for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide. I acknowledge that copyright of artworks reproduced within this thesis resides with the copyright holder(s) of those artworks. Every effort has been made to trace and acknowledge copyright holders. I apologise should there be any omissions that have occurred. I give permission for the digital version of my thesis to be made available on the web, via the University’s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. I acknowledge the support I have received for my research through the provision of an Australian Government Research Training Program Scholarship. Signed Nerina Dunt Date 22 November 2018 vii Acknowledgments First and foremost, I wish to pay respect to the Kaurna people, past, present and future, who are the traditional custodians of the Adelaide Plains region. I respect their beliefs, customs and their enduring connection with Country. I sincerely thank Professor Catherine Speck, my principal supervisor, and my co-supervisors Susan Jenkins and Professor Ian North, for their input, direction, commitment, time and constructive suggestions, which have been vital to the production of this thesis. Their academic support has been invaluable. This thesis refers to many artworks, which in most cases, have been viewed in person, as their inclusion within state and national collections has allowed relatively straightforward access. In some instances, however, works have moved overseas, entered private collections or limited access archives, and sadly, in a few cases, some have been lost altogether. In tracking down works, I thank Access and Client Services Officers Kylie Simpson, Kate Goologong, Ash Pollock- Harris and Nathan Dukes at the Australian Institute of Aboriginal and Torres Strait Islander Studies; Aboriginal Emerging Curator and Artist Liaison at the Biennale of Sydney, Chantelle Woods; at the Eora College TAFE, teacher and artist Chico Monks and Lee-Anne Bethel in Collection and Records; Professor Peter Sutton at the School of Earth & Environmental Sciences, University of Adelaide & Division of Humanities at the South Australian Museum and Alice Beale, Senior Collection Manager of Anthropology also at the South Australian Museum; Elle Freak, Associate Curator of Australian Paintings, Sculpture and Aboriginal and Torres Strait Islander Art at the Art Gallery of South Australia; Professor Vivien Johnson, University of New South Wales; Librarian Claire Eggleston at the Edmund and Joanna Capon Research Library, viii Art Gallery of New South Wales; Collection Manager Glenda Beck at the Museum of Brisbane; Curatorial and Collections Officer Lisa Bryan-Brown at Griffiths Artworks, and Michael Barnett, Art Collection Manager, at Griffith University Art Collections and Griffith University Art Gallery; Registrar Kate Hamersley at the University of Western Australia Museums; and Associate Registrar Julie-Anne Carbon in Collection Systems and Documentation, National Gallery of Victoria. There are several people whom have been instrumental with regard to facilitating my research. Records Manager, Rory McQuinn in the Information Unit, and Bibliographic Services Librarian, Helen Hyland of the National Gallery of Australia, have provided critical support in allowing my access of curatorial, registration, and artists’ files. Shari Lett, Archivist, Aboriginal and Torres Strait Islander Collection, and Claire Eggleston, Librarian, both at the Edmund and Joanna Capon Research Library, Art Gallery of New South Wales assisted with access to artist files; staff at Boomalli Aboriginal Artists Cooperative, enabled my viewing of Board minutes and ephemera items from Boomalli’s early years; Information Manager, Jin Whittington at the Art Gallery of South Australia also provided assistance with access to ephemera items
Load more

Recommended publications
  • Australian Aboriginal Art
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Australian Aboriginal Art Patrick Hutchings To attack one’s neighbours, to pass or to crush and subdue more remote peoples without provocation and solely for the thirst for dominion—what is one to call it but brigandage on a grand scale?1 The City of God, St Augustine of Hippo, IV Ch 6 ‘The natives are extremely fond of painting and often sit hours by me when at work’ 2 Thomas Watling The Australians and the British began their relationship by ‘dancing together’, so writes Inge Clendinnen in her multi-voiced Dancing With Strangers 3 which weaves contemporary narratives of Sydney Cove in 1788. The event of dancing is witnessed to by a watercolour by Lieutenant William Bradley, ‘View in Broken Bay New South Wales March 1788’, which is reproduced by Clendinnen as both a plate and a dustcover.4 By ‘The Australians’ Clendinnen means the Aboriginal pop- ulation. But, of course, Aboriginality is not an Aboriginal concept but an Imperial one. As Sonja Kurtzer writes: ‘The concept of Aboriginality did not even exist before the coming of the European’.5 And as for the terra nullius to which the British came, it was always a legal fiction. All this taken in, one sees why Clendinnen calls the First People ‘The Australians’, leaving most of those with the current passport very much Second People. But: winner has taken, almost, all. The Eddie Mabo case6 exploded terra nullius, but most of the ‘nobody’s land’ now still belongs to the Second People.
    [Show full text]
  • STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
    A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UM l films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UME a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy, ffigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UM l directly to order. UMl A Bell & Howell Infoimation Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Velar-Initial Etyma and Issues in Comparative Pama-Nyungan by Susan Ann Fitzgerald B.A.. University of V ictoria. 1989 VI.A.
    [Show full text]
  • MCA, Qantas and Tate Announce First Series of Australian Artwork Acquisitions
    MCA, Qantas and Tate announce first series of Australian artwork acquisitions [Sydney, 13 May 2016] The Museum of Contemporary Art Australia (MCA), Qantas and Left: Vernon Ah Kee, Tate have today revealed the first five artworks in their International Joint Acquisition tall man 2010 four-channel video Program for contemporary Australian art. The Program promotes Australian art globally, installation, sound, Tate helping Australian artists reach new audiences. and the Museum of Contemporary Art Australia, purchased jointly These joint acquisitions by MCA and Tate include two large video installations, one by with funds provided by the Susan Norrie (Transit 2011) and another by Vernon Ah Kee (tall man 2010), two paintings Qantas Foundation, 2016, image courtesy Museum of by Gordon Bennett (Possession Island (Abstraction)) 1991 and Number Nine 2008) and an Contemporary Art Australia artist book by Judy Watson consisting of sixteen etchings with chine collé (a and Milani Gallery, Brisbane © the artist, photograph: preponderance of aboriginal blood 2005). Carl Warner Right: Gordon Bennett Three of these artworks will be on display in the MCA Collection Galleries starting this Gordon Bennett, Possession month, and two more will be included in the new MCA Collection exhibition opening in Island (Abstraction), 1991, oil and acrylic on canvas, September. The artworks will then head to Tate to be displayed in the UK in the near Tate and the Museum of future. Contemporary Art Australia, purchased jointly with funds provided by the Made possible through a $2.75 million corporate gift from the Qantas Foundation, this Qantas Foundation, 2016, ground-breaking collaboration is enabling an ambitious five-year joint program through image courtesy Museum of Contemporary Art Australia which a range of major artworks by contemporary Australian artists will be acquired for and Milani Gallery, Brisbane the collections of MCA and Tate, owned and displayed by both institutions.
    [Show full text]
  • Becoming Art: Some Relationships Between Pacific Art and Western Culture Susan Cochrane University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 Becoming art: some relationships between Pacific art and Western culture Susan Cochrane University of Wollongong Recommended Citation Cochrane, Susan, Becoming art: some relationships between Pacific ra t and Western culture, Doctor of Philosophy thesis, , University of Wollongong, 1995. http://ro.uow.edu.au/theses/2088 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. BECOMING ART: SOME RELATIONSHIPS BETWEEN PACIFIC ART AND WESTERN CULTURE by Susan Cochrane, B.A. [Macquarie], M.A.(Hons.) [Wollongong] 203 CHAPTER 4: 'REGIMES OF VALUE'1 Bokken ngarribimbun dorlobbo: ngarrikarrme gunwok kunmurrngrayek ngadberre ngarribimbun dja mak kunwarrde kne ngarribimbun. (There are two reasons why we do our art: the first is to maintain our culture, the second is to earn money). Injalak Arts and Crafts Corporate Plan INTRODUCTION In the last chapter, the example of bark paintings was used to test Western categories for indigenous art. Reference was also made to Aboriginal systems of classification, in particular the ways Yolngu people classify painting, including bark painting. Morphy's concept, that Aboriginal art exists in two 'frames', was briefly introduced, and his view was cited that Yolngu artists increasingly operate within both 'frames', the Aboriginal frame and the European frame (Morphy 1991:26). This chapter develops the theme of how indigenous art objects are valued, both within the creator society and when they enter the Western art-culture system. When aesthetic objects move between cultures the values attached to them may change.
    [Show full text]
  • Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA
    arts Article Cultural Tourism: Imagery of Arnhem Land Bark Paintings Informs Australian Messaging to the Post-War USA Marie Geissler Faculty of Law Humanities and the Arts, University of Wollongong, Wollongong, NSW 2522, Australia; [email protected] Received: 19 February 2019; Accepted: 28 April 2019; Published: 20 May 2019 Abstract: This paper explores how the appeal of the imagery of the Arnhem Land bark painting and its powerful connection to land provided critical, though subtle messaging, during the post-war Australian government’s tourism promotions in the USA. Keywords: Aboriginal art; bark painting; Smithsonian; Baldwin Spencer; Tony Tuckson; Charles Mountford; ANTA To post-war tourist audiences in the USA, the imagery of Australian Aboriginal culture and, within this, the Arnhem Land bark painting was a subtle but persistent current in tourism promotions, which established the identity and destination appeal of Australia. This paper investigates how the Australian Government attempted to increase American tourism in Australia during the post-war period, until the early 1970s, by drawing on the appeal of the Aboriginal art imagery. This is set against a background that explores the political agendas "of the nation, with regards to developing tourism policies and its geopolitical interests with regards to the region, and its alliance with the US. One thread of this paper will review how Aboriginal art was used in Australian tourist designs, which were applied to the items used to market Australia in the US. Another will explore the early history of developing an Aboriginal art industry, which was based on the Arnhem Land bark painting, and this will set a context for understanding the medium and its deep interconnectedness to the land.
    [Show full text]
  • “An Audience with the Queen”: Indigenous Australians and the Crown, 1854-2017
    2018 V “An audience with the Queen”: Indigenous Australians and the Crown, 1854-2017 Mark McKenna Article: “An audience with the Queen”: Indigenous Australians and the Crown, 1954-2017 “An audience with the Queen”: Indigenous Australians and the Crown, 1954- 2017 Mark McKenna Abstract: This article is the first substantial examination of the more recent historical relationship between Indigenous Australians and the Crown. While the earlier tradition of perceiving the Queen as benefactress has survived in Indigenous communities, it now co- exists with more critical and antagonistic views. After the High Court’s Mabo decision (1992), the passage of the Native Title Act (1993), and the federal government’s Apology to the Stolen Generations (2008), it is clear that the only avenues for seriously redressing Indigenous grievances lie within the courts and parliaments of Australia. The Australian monarch—either as a supportive voice, or as a vehicle for highlighting the failure of Australian governments— no longer holds any substantial political utility for Indigenous Australians. Monarchy has become largely irrelevant to the fate of future Indigenous claims for political and social justice. Keywords: monarchy, republic, Indigenous Australia n October 1999, a delegation of Indigenous leaders from Australia visited Queen Elizabeth II at Buckingham Palace. The ‘audience,’ which lasted for little more than an hour and was widely reported in the British and Australian press, was claimed to Ibe the first granted to Indigenous Australians by a reigning British monarch since 24 May 1793, when Bennelong, who had been captured by Governor Arthur Phillip in Sydney and later sailed with him to England, was presented to King George III.1 The 206-year hiatus was telling for more than one reason.
    [Show full text]
  • Art Gallery of South Australia Major Achievements 2003
    ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance.
    [Show full text]
  • The Making of Indigenous Australian Contemporary Art
    The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................
    [Show full text]
  • AR Radcliffe-Brown]
    P129: The Personal Archives of Alfred Reginald RADCLIFFE-BROWN (1881- 1955), Professor of Anthropology 1926 – 1931 Contents Date Range: 1915-1951 Shelf Metre: 0.16 Accession: Series 2: Gift and deposit register p162 Alfred Reginald Radcliffe-Brown was born on 17 January 1881 at Aston, Warwickshire, England, second son of Alfred Brown, manufacturer's clerk and his wife Hannah, nee Radcliffe. He was educated at King Edward's School, Birmingham, and Trinity College, Cambridge (B.A. 1905, M. A. 1909), graduating with first class honours in the moral sciences tripos. He studied psychology under W. H. R. Rivers, who, with A. C. Haddon, led him towards social anthropology. Elected Anthony Wilkin student in ethnology in 1906 (and 1909), he spent two years in the field in the Andaman Islands. A fellow of Trinity (1908 - 1914), he lectured twice a week on ethnology at the London School of Economics and visited Paris where he met Emily Durkheim. At Cambridge on 19 April 1910 he married Winifred Marie Lyon; they were divorced in 1938. Radcliffe-Brown (then known as AR Brown) joined E. L. Grant Watson and Daisy Bates in an expedition to the North-West of Western Australia studying the remnants of Aboriginal tribes for some two years from 1910, but friction developed between Brown and Mrs. Bates. Brown published his research from that time in an article titled “Three Tribes of Western Australia”, The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 43, (Jan. - Jun., 1913), pp. 143-194. At the 1914 meeting of the British Association for the Advancement of Science in Melbourne, Daisy Bates accused Brown of gross plagiarism.
    [Show full text]
  • Golden Yearbook
    Golden Yearbook Golden Yearbook Stories from graduates of the 1930s to the 1960s Foreword from the Vice-Chancellor and Principal ���������������������������������������������������������5 Message from the Chancellor ��������������������������������7 — Timeline of significant events at the University of Sydney �������������������������������������8 — The 1930s The Great Depression ������������������������������������������ 13 Graduates of the 1930s ���������������������������������������� 14 — The 1940s Australia at war ��������������������������������������������������� 21 Graduates of the 1940s ����������������������������������������22 — The 1950s Populate or perish ���������������������������������������������� 47 Graduates of the 1950s ����������������������������������������48 — The 1960s Activism and protest ������������������������������������������155 Graduates of the 1960s ���������������������������������������156 — What will tomorrow bring? ��������������������������������� 247 The University of Sydney today ���������������������������248 — Index ����������������������������������������������������������������250 Glossary ����������������������������������������������������������� 252 Produced by Marketing and Communications, the University of Sydney, December 2016. Disclaimer: The content of this publication includes edited versions of original contributions by University of Sydney alumni and relevant associated content produced by the University. The views and opinions expressed are those of the alumni contributors and do
    [Show full text]
  • The Conversation Rise of Indigenous Art Speaks Volumes About Class in Australia February 24, 2014
    FORT GANSEVOORT Rise of Indigenous art speaks volumes about class in Australia February 24, 2014 The children of the wealthy know that mainstream culture belongs to them. urbanartcore.eu The Conversation is running a series, Class in Australia, to identify, illuminate and debate its many manifestations. Here, Joanna Mendelssohn examines the links between Indigenous art and class. The great story of recent Australian art has been the resurgence of Indigenous culture and its recognition as a major art form. But in a country increasingly divided by class and wealth, the rise of Indigenous art has had consequences undreamed of by those who first projected it onto the international exhibiting stage. 5 NINTH AVENUE, NEW YORK, 10014 | [email protected] | (917) 639-3113 FORT GANSEVOORT The 1970s export exhibitions of Arnhem Land bark paintings and reconceptualisations of Western Desert ceremonial paintings had their origins in different regions of the oldest culture. In the following decade, urban Indigenous artists began to make their presence felt. Trevor Nickolls, Lin Onus, Gordon Bennett, Fiona Foley, Bronwyn Bancroft, Tracey Moffatt – all used the visual tools of contemporary western art to make work that was intelligent, confronting, and exhibited around the world. The continuing success of both traditional and western influenced art forms has led to one of the great paradoxes in Australian culture. At a time when art schools have subjugated themselves to the metrics-driven culture of the modern university system, when creative courses are more and more dominated by the children of privilege, some of the most interesting students and graduates are Indigenous.
    [Show full text]