DOCSLIB.ORG

Aboriginal Art Since 1984

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aboriginal Art Since 1984 DART2310 Right Here Right Now: Aboriginal Art Since 1984 DART 2310 Right Here Right Now: Aboriginal Art Since 1984 Term T1, 2019 Course Information Units of Credit: 6 Course Overview Course Description This course aims to challenge the mainstream view that Aboriginal art exists only in the Desert or the Top End regions of Australia through a study of exhibitions, writings and films from 'Koori Art 84' through to the present day. Topics covered include photography, political art, established and emerging artists, the 'gentle arts', films, artists collectives, the role of media in the promotion (or demotion) of Aboriginal art, exhibitions, catalogues and art criticism. The course will include guest speakers who are at the forefront of their chosen area of practice or area of expertise. Course Learning Outcomes On completion of this course, the student should be able to: 1. Demonstrate an understanding of major themes in contemporary Aboriginal art practice through critical reading, engaged class discussion and online debates and conversations. 2. Select, explain and interpret examples of Indigenous cultural production in relation to course themes through class presentation of a chosen research topic and the facilitation of student discussions 3. Research and interpret art practices in the context of the social and political backdrop of Aboriginal art and Australian society demonstrated through independent investigation and essay writing. Teaching and Learning in this Course This courses uses a variety of teaching approaches: Blended/online Turnitin - originality checking Moodle - learning management system Lectures Lectures by convener and where available and appropriate, Guest Lectures by visiting national and international contemporary Indigenous artists will be offered each week. Students attend a three-hour weekly lecture that is divided into staff and guest lectures and student seminar presentations and complemented by at least one gallery visit to a major exhibition. Conveying a large amount of contextual and visual material, the lecture format allows students to trace the history of contemporary Aboriginal art through in depth discussions on relevant arts practitioners and historical movements. Assessment TITLE WEIGHTING ASSESSMENT TYPE Assessment Task 1 Moodle Participation and Discussion 40% Process Journal Assessment Task 2 Student seminar presentations and written component of 60% Formal Presentation and presentation Paper C re ate d : 19 N o ve mb e r 20 18 1 DART2310 Right Here Right Now: Aboriginal Art Since 1984 References for this Course STUDY KIT TO BE PURCHASED FROM THE UNIVERSITY BOOKSHOP ON MAIN CAMPUS AND WEEK 1 ESSAYS READ PRIOR TO COMMENCEMENT OF THE COURSE. Week 1: Required Chapter 1, "Urban" Indigenous Art: Debates, photography and empowerment. Paul Wighton, 2008, unpublished (Masters Thesis) pp 22-39 To be young (at heart), gifted and blak: the cultural and political renaissance in Indigenous art in Australia, Brenda L Croft, 2007, One Sun, One Moon, AGNSW Urban Renaissance, Ian McLean, 2011, (from Introduction chapter, Aboriginal Art and the artworld), How Aborigines invented the idea of contemporary art, IMA pp 56-58 Week 2: Required Being There, Then and Now: Aspects of South-East Aboriginal Art, Julie Gough, Landmarks, NGV, 2006, pp 125-131 United in the Struggle: Indigenous art from urban areas, Margo Neale, Oxford Companion to Aboriginal Art and Culture, OUP, 2000, pp 267-277 Boomalli: from little things big things grow, Brenda L Croft, Painting the Story Land, ed Luke Taylor, NMA, 1990 pp 97-118 One Mob, one voice, one land: Lin Onus and Indigenous postmodernism, Ian McLean, Urban Dingo: The art and life of Lin Onus 1948-1996, Craftsman House, 2000 The Other Side of Art: Trevor Nickolls, Ian McLean, Artlink, Vol 31, no 2, June 2011 Extra Introduction, Michael Eather, Marlene Hall, Balance 1990, QAG, 1990 pp 8-12 If My Ancestors Could See Me Now, Djon Mundine, Tyerabarrbowaryaou - I Shall Never Become a White Man, MCA, 1992 pp 4-11 Week 3: Required Self-Evident: Indigenous Artists and the Photographic Image, Hannah Fink, One Sun, One Moon, AGNSW, 2007 pp Presences in the Land: Nici Cumpston, Una Rey, Artlink: Indignation, Vol 32, No 2, June 2012, pp 100-103 A Little Less Conversation, Clotilde Bullen, Artlink: Blak on Blak, Vol 30, No 1, 2010, pp 67-68 Is there an Aboriginal photography?, Kelly Gellatly, Oxford Companion to Aborighinal Art and Culture, OUP, 2000 pp 284-292 C re ate d : 19 N o ve mb e r 20 18 2 DART2310 Right Here Right Now: Aboriginal Art Since 1984 The Valley of the Dolls: Black Humour in the Art of Destiny Deacon, Marcia Langton, Walk and Don't Look Blak, MCA, 2005, pp 70-74 The meek Michael Riley, Nickos Papastergiadis, Michael Riley: Sights Unseen, NGA, 2006, pp 67-73 Dianne Jones, in conversation with Hetti Perkins, Half Light: Portraits from Black Australia, AGNSW, 2008, pp 82-89 Genevieve Grieves, in conversation with Hetti Perkins, Half Light: Portraits from Black Australia, AGNSW, 2008, pp 76-81 Returning the gaze, Hayley Millar-Baker & James Tyler, Art Monthly Australia, Issue 311, 2018, pp 30-35 Extra Portraits of our Elders, Candice Bruce, Photophile forty, ACP, 1993 The Big Deal is Black, Lisa Bellear, Photophile, ACP, 1993 Looking at Them Looking at Us, Darlene McKenzie, Racism, Representation & Photogrpahy, Inner City Education Centre, 1994 The elders: Indigenous photography in Australia, Gael Newtown, Michael Riley: Sights Unseen, NGA, 2006 Week 4: Required Bells Theorem: Aboriginal Art - it's a white thing! Richard Bell, 2002, Telstra National Aboriginal & Torres Strait Islander Art Awqrd: Celebrating 20 Years, MAGNT, 2009. pp 20-29 Decolonising Now: The Activism of Richard Bell, Daniel Browning, Lessons in Etiquette and Manners, Monash University Museum of Art, 2013 pp 23-26 E is for Everything, Morgan Thomas, IMA, 2007. pp 9-14 Hanging on the Telephone, Rex Butler, Positivity, IMA, 2007. Your Call, Robert Leonard, Born In This Skin, IMA, 2009 pp 5-13 Vernon Ah Kee: Sovereign Warrior, Garry Jones, Artlink: Blak on Blak, Vol 30 No 1, 2010 pp 44-51 Cant Chant, Aileen Moreton-Robinson, Born In This Skin, IMA 2009 pp 66-67 without a pause, without a breath, Anthony Gardner, Born in This Skin, IMA 2009. pp 53-57 The Telling Moment Revisited, Tim Alves, Discipline, No 2 pp 141-145 Extra Richard Bell: Matter of Fact, Bruce Mclean, Artlink: Blak on Blak, Vol 30 No 1, 2010 pp 41-43 Nine rounds with bell's theorem: aboriginal art - it's a white thing! Ian McLean, CVA Broadsheet. pp 281-282 Untitled, Hetti Perkins, Culture Warriors, NGA, 2007. p64 Richard Bell - Artist, Kooriweb, various texts. Whitefella Normal, Glenn Barkley, Artist Profile, Summer 2007, pp 48-52 C re ate d : 19 N o ve mb e r 20 18 3 DART2310 Right Here Right Now: Aboriginal Art Since 1984 Vernon Ah Kee, (interview), Glenn Barkley, Born in this Skin, IMA, 2009 pp 48-52 All The News That's Fit To Sing, Sarinah Masukor, Discipline No 2 pp 146-149 Vernon Ah Kee (Untitled), Tess Allas, Undisclosed, NGA, 2012 p 22 Week 5: Required Being Collected and keeping it real, Julie Gough, Keeping Culture, NMA Press, 2006. pp 9-18 Visible Songs: Captured Flight, Diane Moon, Floating Life: Contemporary Aboriginal Fibre Art, QAG, 2009. pp 11-24 Esme Timbery, Tess Allas, Art Monthly, No 187, 2006 pp 24-26 The Luminous Line, Tess Allas, String Theory, MCA, 2013 pp 96-97 A Brief but True History of the Gerringong Gang, Tess Allas, String Theory, MCA, 2013 pp 36-39 Remembering the Future, Vanessa Russ, Artlink Indigenous, Vol 34 No 2 pp 102-103 Lustrous Past, Luminous Future, Priya Vaughan, Shimmer, Wollongong Art Gallery, 2015. pp 3-4 Honouring the Past/Making a Future, Julie Gough, Lola Greeno: Cultural Jewels, Australian Design Centre, 2014. pp 106-115 The Ghost Net Art Project, Sue Ryan, Artlink: Indigenous, Vol 32, No 2, 2012. pp 108-110 Ghost Nets of the Ocean, Ingrid Hoffman, Tarnanthi, AGSA, 2017. pp108-109 Extra Tayenebe/Exchange: Tasmanian Aboriginal Women and fibre work, Julie Gough, Artlink: Blak on Blak, Vol 30 No1, 2010 Botany Bay Souvenirs, Maria Nugent, Botany Bay: Where Histories Meet, A&U, 2000 Mugama Nganinya - Make My Way Shirley Macnamara, Tarnanthi, Diane Moon, 2017, p128 Determination and a Strong Will (a history of) the Euraba Paper Company, Tess Allas, Artlink: Indigenous, Vol 31 No 2, 2010, pp 132-164 Week 6 - Study Week. Week 7: Required Julie Gough, Emily McDaniel, The National, AGNSW, Carriageworks & MCA, 2017. pp 88-89 Julie Gough, Carly Lane, Undisclosed, NGA, 2012. pp 74-79 Unfinished Business of the Frontier Wars: Julie Gough's The Chase, Locus and The Gathering, Joseph Pugliese, NGV, 2018 pp 1-16 C re ate d : 19 N o ve mb e r 20 18 4 DART2310 Right Here Right Now: Aboriginal Art Since 1984 Julie Gough: Hunting Ground, Joseph Pugliese, Kluge-Ruhe Aboriginal Art Collection UoV, 2017 Disquiet and Resistance in the art of Julie Gough, Judith Ryan, Artlink Indigenous, Vol 33 No 2 2013, pp 70- 74 Gordon Hookey: Theatres of War, Joseph Pugliese, Reason & Emotion, Biennale of Sydney, 2004. pp 110- 112 Gordon Hookey (Interview), Tess Allas, Artist Profile, Issue 15, June 2011, pp 76-81 FLASH Gordon's message: LANGUAGE IS A VIRUS - the King's English (not), Brenda Croft, Artlink: Blak on Blak, Vol 30 No 1, 2010 Another History, Another Reality, Michael Aird, Summoning Time: Painting & Politikill Transition in MURRILAND!, Griffith University for Documenta 14, 2017 pp 9-15 The Guerilla Operative in Fiona Foley's Public Art, Louise Martin-Chew, Forbidden, MCA, 2009 pp 93-98 History is a Weapon: Fiona Foley History Teacher, Tess Allas, Artlink: Blak on Blak, Vol 30 No 1, 2010 pp56- 61 Looking at Me: Performance and Ethnography in Fiona Foley's Photographs, Michele Heimrich, Forbidden, MCA, 2009 pp 33-41 Extra Unsettledness: Julie Gough's Locus, Judith Ryan, Biennale of Sydney, 2006.
Load more

Recommended publications
  • Peta Clancy Christopher Day Destiny
    Peta Clancy Christopher Day Destiny Deacon Michaela Gleave Nasim Nasr Sara Oscar Julie Rrap Khaled Sabsabi Yhonnie Scarce Angela Tiatia Christian Thompson Kawita Vatanajyankur Daniel von Sturmer Justene Williams William Yang Under the sun: Reimagining Max Dupain’s Sunbaker Published to accompany the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker presented at The State Library of New South Wales 18 February – 17 April 2017 Monash Gallery of Art 6 May – 6 August 2017 Australian Centre for Photography Director Cherie McNair Curator Claire Monneraye Exhibition Partners Curatorial Assistant Casuarina Bird Education & Public Programs Manager Antoinette Clements ACP acknowledges the key contribution of Catherine Baldwin, Interim Director to the project development and completion. ACP thanks all the staff members from the State Library of New South Wales and Monash Gallery of Art that have contributed to the development of this project. Commissioning Partners Funding Partners John and Kate Armati Andrew and Kate Jerogin Lisa Paulsen Neill and Jane Whiston Medich Foundation This project has been assisted by the Australian government through the Department of Communication and the Arts’ Catalyst—Australian Arts and Culture Fund. Graphic Design Kirk Palmer Design Printer Shepson Printing ISBN 978-0-6480417-0-2 @ Australian Centre for Photography Message from the Minister What better way to celebrate Australian contemporary photography than to attend Under the sun: Reimagining Max Dupain’s Sunbaker, an innovative and thought-provoking exhibition in which 15 leading artists respond to Max Dupain’s iconic image, Sunbaker. In Under the sun, each newly-commissioned work represents a unique interpretation of the 1937 photograph and incorporates a wide range of techniques, showcasing the talent and diversity of the participating artists.
    [Show full text]
  • Koorie Heritage Trust Annual Report 2015 – 2016 Contents
    Koorie Heritage Trust Annual Report 2015 – 2016 Contents Page 2 Wominjeka/Welcome: Vision and Purpose Page 5 Chairperson’s Report Page 6 Chief Executive Officer’s Report Page 12 Our Programs Koorie Family History Service Cultural Education Retail and Venue Hire Collections, Exhibitions and Public Programs Page 42 Activities Page 43 Donors and Supporters Page46 Governance Page 48 Staff Page 50 Financial Report www.koorieheritagetrust.com ABN 72 534 020 156 The Koorie Heritage Trust acknowledges and pays respect to the Traditional Custodians of Melbourne, on whose lands we are located. Warning: Aboriginal and Torres Strait Islanders are advised that this document may contain the names and/or images of people who have passed away. Cover Image: Koorie Heritage Trust, view from level 2, Yarra Building. Photo James Murcia, 2015 Terminology Design: Darren Sylvester The term Koorie is commonly used to describe Aboriginal people of Southeast Australia; Editor: Virginia Fraser however, we recognise the diversity of Aboriginal people living throughout Victoria including Publication Co-ordinator: Giacomina Pradolin Koories and other Aboriginal and Torres Strait Islander (ATSI) people from around Australia. We Text: Koorie Heritage Trust staff have used the term Aboriginal in parts of the report to include all people of ATSI descent. Wominjeka/Welcome: Vision and Purpose Our Vision To live in a society where Aboriginal culture and history are a fundamental part of Victorian life. Our Purpose To promote, support and celebrate the continuing journey of the Aboriginal people of South Eastern Australia. Our Motto Gnokan Danna Murra Kor-ki/Give me your hand my friend. Our Values Respect, honesty, reciprocity, curiosity.
    [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]
  • Art of Engagement: Practice-Led Research Into Concepts of Urban Aboriginal Art and Heritage
    Art of Engagement: Practice-led research into concepts of urban Aboriginal art and heritage. Garry Charles Jones Submitted: July 2019 A thesis submitted for the degree of Doctor of Philosophy of the Australian National University Word Count: 39,600 © Copyright by Garry Charles Jones 2019 Statement of Originality To the best of my knowledge and belief, the exegesis contains no material previously published or written by another person except where due reference is made in the exegesis itself. 11 December 2019 _____________________________ Date: _________________________ Garry Charles Jones i Acknowledgements I would like to acknowledge the valuable support and assistance from my supervisors Alex Martinis Roe, Amanda Stuart, and Ian McLean, as well as previous supervisors Wendy Teakel, Paul Hay and Gordon Bull. More generally, I want to acknowledge the ANU School of Art and Design, and the many generous people I have encountered over the years. ii Abstract My practice-led research explores developments that have underpinned contemporary Aboriginal art within an urban Australian context, taking into consideration the social, cultural, and political influences from colonial times through to the present. This inquiry has three primary components: the emergence of an urban-based Aboriginal ontology, the colonial archive and its ambivalent role in Aboriginal cultural healing and contemporary cultural heritage, and an interrogation of the conceptual tension between ontological being and becoming in the context of Aboriginality today. I ask the question: What does it mean for me, disconnected from traditional material cultural practices, to “authenticate” my life and cultural identity, through reclaiming and replicating archival objects? These objects were created in the context of functional and/or ceremonial practice, under colonisation became objects of ethnographic curiosity and taxonomy, and are increasingly objects of contemporary art and contemporary cultural heritage.
    [Show full text]
  • The Boomalli Ten Presented by Boomalli Aboriginal Artists Co-Operative Curated by Djon Mundine OAM
    The Boomalli Ten Presented by Boomalli Aboriginal Artists Co-operative Curated by Djon Mundine OAM. Supported by the Boomalli Board, curatorial and administration team. Friday 3rd November 2017 - Sunday 28th January 2018 Michael Riley Bronwyn Bancroft Euphemia Bostock Arone Meeks Fiona Foley The The Boomalli Ten Brenda L. Croft 1 Jeffrey Samuels Tracey Moffatt Avril Quaill Fern Martins • Reproduced courtesy of the photographer, Margaret Olah Boomalli Foreword Thanks On behalf of the current Board of Boomalli Aboriginal Artists Co-operative I write this It’s been three decades since 1987, and Boomalli Aboriginal Artists Co-operative is small note of reflection. celebrating its 30th year Anniversary in 2017 at the Flood Street premises, curated by Djon Mundine and supported by our skilled administration and curatorial team, including I was 50 when we founded this Co-operative. 30 years later, I am pleased to see this Kyra Kum-Sing, Kathryn Miller, Laura Jones and Bronwyn Bancroft. tribute exhibition being held at the Co-operative. I wish everyone the very best not only for this Anniversary Exhibition but also I know that more people will become aware of the As with any journey in the arts, there have been incredible highs and lows. We have contribution that we have all made. persisted at every turn to stay open for our Artists and the wider community. I am thrilled to see this event happen. I also want to acknowledge Michael Riley as he was We are euphoric that this exhibition of the Founding Members can be held. integral to the setting up of Boomalli.
    [Show full text]
  • Tracey Moffatt Exhibitions
    TRACEY MOFFATT Born 1960, Australia Lives New York and Sydney SOLO EXHIBITIONS 2018 The Travellers, Tyler Rollins Fine Art, New York 2017 My Horizon, Australian Pavilion, 57th Venice Biennale, Venice, Italy. Tracey Moffatt Montages, MASP, Sao Paulo, Brazil. Tracey Moffatt, Bega Valley Regional Gallery, Bega, Australia. Montages: The Full Cut, 1999-2015, touring through regional galleries Australia in 2017-2018. 2016 Laudanum and other works, Art Gallery of New South Wales, Sydney, Australia. Tracey Moffatt Other 2009, Len Lye Centre Cinema, Govett-Brewster Art Gallery, New Plymouth, New Zealand. Montages: The Full Cut, 1999-2015, Artspace, Sydney, Australia. 2015 Kaleidoscope, Perth Institute of Contemporary Art, Perth, Australia. Art Calls, Centre For Contemporary Photography, Melbourne, Australia. THE ART, Night Cap QT Hotel, Sydney Contemporary, Sydney, Australia. 2014 Tracey Moffatt: In the Gallery and on TV, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia 2013 Spirit Landscapes, Roslyn Oxley9 Gallery, Sydney Spirit Landscapes, Tyler Rollins Fine Art, New York, USA 2012 Tracey Moffatt, Museum of Modern Art, New York, USA Tracey Moffatt and Gary Hillberg, Vox Populi Gallery, Philiadelphia, USA Tracey Moffatt: Other, Art Gallery of Ballarat, Australia Tracey Moffatt, Glasshouse Gallery, Port Macquarie, Australia Tracey Moffatt: Narratives, Gosford Regional Gallery, Australia 2011 Tracey Moffatt: Still and Moving, Tyler Rollins Fine Art, New York, USA Handmade, Artpace San Antonio, San Antonio, Texas, USA Tracey Moffat:
    [Show full text]
  • 26 March 2017 EXHIBITION WALL LABELS Drafted by Max Dela
    SOVEREIGNTY Australian Centre for Contemporary Art 17 December 2016 – 26 March 2017 EXHIBITION WALL LABELS Drafted by Max Delany, Paola Balla and Stephanie Berlangieri BROOK ANDREW Born 1970, Sydney Wiradjuri Lives and works in Melbourne Against all odds 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Black and White: Special Cut 2005 Hope and Peace series screenprint 100.0 x 98.0 cm Private Collection, Melbourne Maralinga clock 2015 inkjet and metallic foil on linen 280.0 x 160.0 x 120.0 cm Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels The weight of history, the mark of time (sphere) 2015 coated nylon, fan, LED 500.0 cm (diameter) Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley 9, Sydney; and Galerie Nathalie Obadia, Paris and Brussels Brook Andrew’s practice encompasses bold inter-disciplinary projects that explore the ongoing histories, image cultures and effects of colonialism and modernity. Presented in Sovereignty is a selection of works from over the past decade. Andrew’s silkscreen prints, from the Hope and Peace series of 2005, deftly connect the traditions of pop art and political posters in a form of agit-pop. Alongside these are presented two sculptural works: a large, soft sculpture Maralinga clock 2015, based on a souvenir clock in the collection of Sydney’s Powerhouse Museum which commemorates the British nuclear test explosions on the desert homelands of the Tjarutja people; and The weight of history, the mark of time (sphere) 2015, a living, breathing balloon form adorned with a distinctive design inspired by the artist’s Wiradjuri heritage.
    [Show full text]
  • 1 Rewriting Ethnographic Photography Reuse Of
    REWRITING ETHNOGRAPHIC PHOTOGRAPHY REUSE OF ETHNOGRAPHIC PHOTOGRAPHY BY CONTEMPORARY INDIGENOUS ARTISTS by Marina Amber Eldh Tyquiengco Bachelor of Arts, University of Virginia, 2011 Master of Arts, University of Pittsburgh, 2016 Submitted to the Graduate Faculty of History of Art and Architecture Department in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2016 1 UNIVERSITY OF PITTSBURGH The Dietrich School of Arts and Sciences This thesis was presented by Marina Tyquiengco It was defended on January 2015 and approved by Dr. Joshua Ellenbogen, Director of Graduate Studies, History of Art and Architecture Thesis Director: Dr. Terence Smith, Andrew W. Mellon Professr of Contemporary Art History and Theory, History of Art and Architecture 2 Copyright © by Marina Tyquiengco 2016 3 REWRITING ETHNOGRAPHIC PHOTOGRAPHY Marina Tyquiengco, M.A. University of Pittsburgh, 2016 For over thirty years, artists from all over the world have recycled, reworked and repurposed visual imagery from popular and commercial cultures, both those contemporary with them, and those from past periods. The postmodern practice was known as “appropriation,” and attracted controversy from those who expected art to be original, and those who valued the temporal authenticity of imagery. Within this context, particular Indigenous artists have used this approach as a means to articulate the complexities of Indigenous identity-formation. They deliberately reuse images of their people, or of their direct ancestors, that were taken by non- Indigenous anthropologists, official recorders, or commercial photographers. Through these processes of artistic transformation, they inflect them with new connotations, above all those that attribute agency to the person or people depicted, or those that manifest the contemporary artist’s own agency.
    [Show full text]
  • Your Place Or Mine?
    Your Place or Mine? Curatorial approaches to place through the prism of home Felicity Fenner A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy August 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: FENNER First name: FELICITY Other namels: MITCHELL Abbreviation for degree as given in the University calendar: PhD School: ART & DESIGN Faculty: ART & DESIGN Title: Your Place or M1ne? Curatonal approaches to place through the prism of home. A bstract 350 w ords maximum: (PLEASE TYPE) The outward image of the place we ca ll home- Australia - histori ca lly dominates and subsumes personal experiences of home in exhibitions of Australian art. The thesis argues, and demonstrates through a series of curatorial projects, that exhibiti ons can, alternatively, embody inti mate experiences of place that more accurately describe the experience of 2 'I " century Austral ia. Citing recent Austral ian socio-political and literary cu lture as a backdrop, it is shown that the prism of home is an effective curatorial device through which to transmit and receive new insights into aspects of this place we call horne, Australia. The conceit of 'home' is adopted in the thesis both as a curatorial theme and as a framework for engagement. The research reveals how reference to home can guide viewers from simply ' understanding' meaning to 'inhabiting' (being at home within) the intellectua l and sensory space of artworks and exhibitions. When the idea of home is embedded in the cura torial approach, artists' knowledge and experience - particu larly those at odds with mainstrea m perceptions of Austra lian cu lture - can be articu lated.
    [Show full text]
  • Destiny Deacon
    DESTINY DEACON Not Just Fun and Games 30 AUGUST - 30 SEPTEMBER 2017 ROSLYN OXLEY9 GALLERY PTY LIMITED ACN 087 467 543 ABN 62 087 467 543 ROSLYN OXLEY9 GALLERY 8 SOUDAN LANE (OFF HAMPDEN ST) PADDINGTON NSW 2021 SYDNEY AUSTRALIA PHONE: +61 2 9331 1919 FAX: +61 2 9331 5609 EMAIL: [email protected] WWW. ROSLYNOXLEY9.COM.AU DESTINY DEACON 1. Escape, 2017 lightjet print 127 x 102 cm (framed) Edition of 5 + AP 2 2. Grandstanding, 2017 lightjet print 102 x 127 cm (framed) Edition of 5 + AP 2 3. Smile, 2017 lightjet print 102 x 127 cm (framed) Edition of 5 + AP 2 4. Two fishes out of water, 2017 lightjet print 127 x 102 cm (framed) Edition of 5 + AP 2 5. Fish out of water (A), 2017 lightjet print 98 x 79.5 cm (framed) Edition of 5 + AP 2 6. Fish out of water (B), 2017 lightjet print 98 x 79.5 cm (framed) Edition of 5 + AP 2 DESTINY DEACON 7. Fish out of water (C), 2017 lightjet print 98 x 79.5 cm (framed) Edition of 5 + AP 2 8. Dolly Lips (A), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 9. Dolly Lips (C), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 10. Dolly Lips (D), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 11. Dolly Lips (E), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 12. Dolly Lips (B), 2017 lightjet print 23.5 x 39 cm Edition of 5 + AP 2 DESTINY DEACON Not Just Fun and Games, 2017 Fishes, fins, lips and loose heads in two bodies of work – one of them also a work of body parts.
    [Show full text]
  • UNSETTLING WHITENESS: Hulme, Ondaatje, Malouf and Carey. By
    UNSETTLING WHITENESS: Hulme, Ondaatje, Malouf and Carey. bY Anrje M. Rauwerda A thesis submitted to the Departmenî of English in conformity with the requirements for the degree of Doctor of Philosophy Queen's University Kingston, Ontario, Canada June, 2001 copyright O Antje M, Rauwerda, 2001 National Libraty Bibliothéque nationale IM .,na& du Canada Acquisitions and Acquisitions et Bibliographie Services setvices bibliographiques 395 Wellington Street 395. nie Wellington Onawa ON K1A ON4 ûtîawa ûN K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aîlowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichelfilm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d' auteur qui protege cette thèse. thesis nor substantial extracts from it Ni Ia thèse ni des extraits substantiels may be printed or othenivise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Recent representations make whiteness liminal. White male characters in fiction from former settler colonies like Australia, Canada and New Zealand ernbody the legacy of colonialism as well as the class and cultural privileges associated with whiteness. Injurêd whiteness implies a critique of outrnoded stereotypes and suggests how contemporary whiteness can rupture the boundaries of its own privilege.
    [Show full text]
  • Boonatung Ngargee Yulenj
    City of Port Phillip Boonatung Ngargee Yulenj: Place Action Knowledge – Aboriginal and Torres Strait Islander Arts Strategy 2014/2017 Yalukit Wilum Country Acknowledgments The City of Port Phillip would like to acknowledge the support and input given during the development of its Aboriginal and Torres Strait Islander Arts Strategy to the following community members and organisations. Aunty Carolyn Briggs, Sarah Bond, Marree Clarke, Rondon D’Antoine, Karen Derschow, Judy Hanley, Aunty Judith ‘Jacko’ Jackson, Tom Mosby, Naomi Prior, Bo Svoronos, and Christine Ward. The Boon Wurrung Foundation, Inner South Urban Local Indigenous Network, Koorie Heritage Trust, Inner South Community Health Service, Port Phillip Citizens for Reconciliation, The Wilin Centre for Indigenous Arts and Cultural Development, City of Melbourne, Moreland City Council, Bayside City Council, and The Salvation Army Crisis Service, Access Health and Linden Centre for Contemporary Art. City of Port Phillip officers who gave input and support to the development of this strategy include Todd Condie Indigenous Policy Officer, Sharyn Dawson Art Development Officer, Adele Denison Producer, St Kilda Festival, St Kilda Film Festival, Sophie Fernandes Team Leader Festivals Program Development, Dorela Gerardi Collections Registrar, Sandra Khazam Art & Heritage Team Leader, Louisa Scott Curator, and Simone Ubaldi Festivals Marketing Manager. 1 Local governments that value and embrace the contribution of Indigenous people and culture, both within their organisation and the wider community, will be more likely to be considered an ‘employer of choice’ and a welcoming environment for Indigenous participation. Reconciliation in Local Government Project Action Research Report (p. 56, 2011) Strong cultural identity is fundamental to Indigenous health, social and wellbeing and to building healthy, safe and supportive communities.
    [Show full text]