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Aboriginal Art in NSW Pay Attention: Aboriginal Art in NSW Priya Vaughan A thesis submitted for the degree of Doctor of Philosophy The Australian National University December 2017 This work is the result of original research carried out by the author except where otherwise indicated in the text. Priya Vaughan Research School of Humanities and the Arts The Australian National University Supervisory Panel: Professor Howard Morphy (Chair) Dr Maria Nugent Dr John Carty i Note to Readers Readers are advised that this text may contain names and images of deceased persons. Please note the spellings of Aboriginal language, cultural and nations names vary across this thesis. I have used the preferred spellings of participants when discussing their ideas, work and experiences. iii Thanks and Acknowledgements The road to PhD submission is long, and often laborious, however, in looking back on researching this work I feel a kind of disbelieving delight that so much of the process was fascinating, inspiring and fun. Much of this is due to the artists, curators, arts workers, and educators who participated in the creation of this work. Their kindness, interest and ideas, often embodied and represented in the art they made, told me everything I now know about Aboriginal art in NSW, and taught me a whole lot else besides. I would like to express my profound thanks to these participants. Simply put, without your generosity, there would be no thesis. Thank you for welcoming me to your Country; for having me in your homes and work places; sharing your ideas, feelings and experiences; reviewing transcripts and reading drafts; helping me when I got things wrong, and for your kind words when I got things right. My particular thanks to Bianca Acimovic, Tony Albert, Tess Allas, Jordan Ardler, Natalie Bateman, Mirree Bayliss, Darren Bell, Anthony ‘Ace’ Bourke, Cher Breeze, Sandra Brown, Kent Buchanan, Kevin Butler, Robyn Caughlan, John Cheeseman, David Collins, Lorraine Connelly-Northey, Maggih Coates, Mark Cora, Michael Dagostino, Blak Douglas, Caroline Edwards, Penny Evans, Catherine Farry, Dennis Golding, Kathy Graham, Andrew Gray, Amala Groom, Eddy Harris, Wadi Harris, Lisa Havilah, Peter Hewitt, Helen Johnson, Cassandra Jones, Sharni Jones, Warwick Keen, Jann Kesby, Carrie Kibbler, Alicia Leggett, Derrick Lindh, Aleshia Lonsdale, Emily McDaniel, Darren Moffitt, Kim Moffitt, Megan Monte, John Monteleone, Gail Naiden, Paris Norton, Caroline Oakley, Rilka Oakley, Frances Belle Parker, Stephen Payne, Nathan Peckham, Michael Philp, Cara Pinchbeck, Nyree Reynolds, Sabrina Roesner, Melissa Ryan, Julie Shaw, Bevan Skinner, Kim Spinks, Victoria Sutton, Lynne Thomas, Susan Thomas, Reginald Walker, Sam Juparulla Wickman, Alison Williams, Su Williams, Jason Wing, Becci Zillig, and a number of others who preferred to remain anonymous. Thanks must also go to my wonderful supervisory panel. Howard Morphy, your encyclopaedic knowledge of all (and I do mean all) things anthropological and art historical motivated me to acknowledge complexity, avoid dogmatic scholarly orthodoxy, and move past easy assumption. Maria Nugent, your thoughtful and insightful feedback, constructive criticism, and gentle but persistent urging not to forget the historical, helped to greatly enrich this work. John Carty, thank you for embracing and engaging with my ideas, suggesting avenues for research, and for your guidance when life got in the way of this thesis. In the course of this research I have been fortunate to get to know many scholars, staff and students – too numerous to name here – who call the Roland Wilson Building home. Over cups of coffee, in seminars and lectures, and on bike rides to and from campus, these people shared v ideas, laughter, feedback and encouragement, for which I’m very grateful. Special thanks must go to the kind and knowledgeable Lan Tran, whose help navigating ANU’s administrative waters, saved me more than once. I must also express my gratitude to my dear friends and family whose interest in, and enthusiasm for, this project sustained me. I owe a debt of special thanks to the following people in particular: Kebby, thank you for housing, feeding, watering, healing and supporting me (although I never did get my hands on that smoky chipotle sauce…). Thank you for letting me takeover your kitchen table while I wrote several of the chapters in this thesis. Danke schön Harry! Isa Menzies, thank you for feedback on several chapters, and for kindly offering the yurt, pats from Friday, and delicious food and wine whenever I was in town. The PhD solidarity, and friendship, you offered made the road less lonely and much more fun. Grace, thank you for lending me, by way of edits, your critical and creative thinking, your lexicographer’s brain, and your great eye for detail. Thanks for never despairing of me even though I never could get my thats and whichs sorted out! May you never be beleaguered by ‘utilise’ again. Bronwyn, this is just the latest in a long line of essays, presentations and theses that you’ve perused, proof-read and edited. Your passionate engagement and considered thinking regarding any subject I sought to tackle has been of more help than I can say. Chum, thank you for instilling in me a love of learning, for being an absolute legend (and entirely sensible) and, of course, for suffering all of those much-too-long-sentences (they would have made even Homi’s mum weep!). And finally, to the amazing, ever patient Mark (umbrella-coat extraordinaire!), without your thoughtfulness, support, excellent singing, eagle-eyed editing skills, great kindness, excel training, insistence on Sunday bushwalks and ferry-rides, backwards P’s (¶!!!), scholarly know-how, great silliness, endnote and word wrangling, hummus-procurement, and love, I’d never, ever have got here. I can’t thank you enough! All my love and gratitude, and it’s so time to crack that bottle of champagne. Acknowledgment of Funding This work was supported by an Australian Government Research Training Program Scholarship and by the 2014 Minoru Hokari Scholarship. vi Abstract Despite extensive academic focus on Indigenous Australian art, sustained engagement, particularly in the discipline of anthropology, has largely focused on artists and artworks from the central, northern and western regions of Australia. Academic works examining art-making in the south east of Australia, particularly New South Wales (NSW), are relatively few, despite news articles, exhibition catalogues and monographs penned by artists and curators providing evidence of vibrant communities of Aboriginal artists and solo practitioners working across NSW. In light of this, this thesis addresses the relative academic silence around Aboriginal art- making in NSW. It asks, broadly, what kind of art is being made in NSW and why? Drawing on fieldwork undertaken across NSW – including interviews with 65 artists, curators, arts workers and others – and on primary analysis of several data sets – including material from the Australian Art Sales Digest and Parliament of NSW Aboriginal Art Prize catalogues – this thesis seeks to pay attention to Aboriginal artists working across NSW in order to document the work they make, the technical, creative and social processes through which they create art, their experiences of the art-world, particularly the art market, and their motivations for making. As a result of this attention, this thesis focuses on various themes, issues and topics. The history of intellectual and commercial engagement with Aboriginal art produced in NSW since British colonisation is canvassed in order to contextualise and make sense of the concerns and creative interests of research participants. Participant use of art to represent, affirm and constitute diverse personal, cultural and professional identities is explored and it is demonstrated that identity-focused works reveal that Aboriginality is conceptualised, by artists, in overwhelmingly non-essentialist ways, although the nature of this non-essentialism is varied. Diverse art practices undertaken by Aboriginal artists in NSW are described, including detailed analysis of two visual forms (south eastern designs and dots) and two styles or genres (urban art and contemporary art) which are commonly created, or are felt to be significant, by participants. These forms/genres are positioned by artists and others as traditional and non- traditional to NSW, sometimes simultaneously. Analysis of engagement with these forms reveals the ways participants conceive of culture especially as it pertains to tradition, authenticity, change and continuity. Finally, consideration of the sale of art in various art market spheres illustrates that selling work is significant for artists, and confers meaning upon artworks offered for sale. vii Table of Contents Note to Readers ................................................................................................................. iii Thanks and Acknowledgements........................................................................................... v Acknowledgment of Funding .................................................................................................. vi Abstract ............................................................................................................................ vii Introduction: Aboriginal Art and New South Wales .............................................................. 1 Prologue: Pay Attention ..........................................................................................................
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