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The Early Paintings from Papunya Fred Myers Document généré le 29 sept. 2021 01:54 Material Culture Review Paintings, Publics, and Protocols The Early Paintings from Papunya Fred Myers Volume 79, 2014 Résumé de l'article Les peintures acryliques d’Australie centrale sont connues pour leur capacité de URI : https://id.erudit.org/iderudit/mcr79art05 concrétiser non seulement la présence autochtone, mais aussi les compréhensions indigènes du monde dans la société environnante élargie. Aller au sommaire du numéro Cependant, cette concrétisation du savoir d’un régime de valeurs basées sur la révélation en un autre savoir, organisé d’une autre manière, est empreinte de difficultés. La présence de certaines de ces peintures, exécutées au début de ce Éditeur(s) mouvement artistique, est aujourd’hui jugée inappropriée dans les expositions grand public, parce que leurs significations ésotériques sont confidentielles. Cette Cape Breton University Press question a fait l’objet d’une grande controverse en Australie, et les musées et galeries doivent de plus en plus s’efforcer d’élaborer des protocoles pour ISSN satisfaire aux cadres épistémologiques autochtones. 1718-1259 (imprimé) 0000-0000 (numérique) Découvrir la revue Citer cet article Myers, F. (2014). Paintings, Publics, and Protocols: The Early Paintings from Papunya. Material Culture Review, 79, 78–91. All rights reserved © Cape Breton University Press, 2014 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ FRED MYERS Paintings, Publics, and Protocols: The Early Paintings from Papunya Résumé Abstract Les peintures acryliques d’Australie centrale sont The paintings in acrylic media in Central Australia connues pour leur capacité de concrétiser non are known for their capacity to objectify not seulement la présence autochtone, mais aussi les only indigenous presence but also indigenous compréhensions indigènes du monde dans la société understandings of the world in the broader, environnante élargie. Cependant, cette concrétisation surrounding society. However, this objectification of du savoir d’un régime de valeurs basées sur la knowledge from a revelatory regime of value into one révélation en un autre savoir, organisé d’une autre organized in other ways, is fraught with difficulty. manière, est empreinte de difficultés. La présence Some paintings executed in the early period of this de certaines de ces peintures, exécutées au début art movement are now considered inappropriate for de ce mouvement artistique, est aujourd’hui jugée general pubic exhibition because of their restricted inappropriée dans les expositions grand public, esoteric meanings. The issue has been a controversial parce que leurs significations ésotériques sont one in Australia, and museums and galleries must confidentielles. Cette question a fait l’objet d’une attend increasingly to developing protocols to satisfy grande controverse en Australie, et les musées et Indigenous epistemological frameworks. galeries doivent de plus en plus s’efforcer d’élaborer des protocoles pour satisfaire aux cadres épistémologiques autochtones. The history of the acrylic painting movement in of relationships that define the representation indigenous Australia has proved to be a telling and contemporary production of Aboriginal case of what can occur in the movement of objects culture. This does not diminish the power and between distinctive regimes of knowledge and presence of the objects, but it suggests the need value. While much of current material culture to theorize objects within fields of representation theory emphasizes the significance of “things and practice. themselves,” the movement of Aboriginal For the purposes of this essay, I want to paintings from one ontological order to another use the concept of “regimes of value,” a concept (Myers 2004) cannot be extricated from the web deployed first by Arjun Appadurai in the 78 Material Culture Review 79 (Spring 2014) groundbreaking collection The Social Life of gatherers. The older men of the community Things (1986). However, I believe that the concept responded with excitement and enthusiasm to is underdeveloped and in fleshing it out, I draw the unusual interest demonstrated by Bardon, on Louis Dumont’s understanding of value as an with the transposition of ceremonial practices organization of hierarchical form (1982: 204-41). and iconography (traditionally applied to the Dumont describes value in terms of structures body, the ground, or in the form of ritual objects) that can incorporate apparently contradictory but into the new medium of two-dimensional acrylic potentially coexisting values within a framework paintings. It is widely acknowledged that most of encompassment rather than one of simple Central and Western Desert painters represent logical resolution. Thus, a regime of value is an the events or “stories” of their “country” (ngurra) ordering of value, an ordering that may recognize that are understood to have occurred in the multiple forms of value but which organizes mythological period known as “The Dreaming” them in some sort of hierarchy. In delineating (Tjukurrpa), and that the form of the paintings a “regime” in this way, I am further influenced draws on a ceremonial tradition of image-making by a sense of the dynamics of value in social as well as on a culturally-postulated significant life articulated in Victor Turner’s accounts of landscape. The products of this art movement the processes through which conflicts in norms have achieved significant recognition in Australia and values are regularly addressed in different and abroad through exhibition and sales, and in arenas—a process in which particular values the process have helped to constitute a significant are temporarily adjudicated with respect to each field of “indigenous art.” other and the situation (1974). I find Turner’s The works of the early period of painting framework—distinguishing a field of cultural at Papunya, often known as “the early Papunya values from the concrete arenas in which they boards,” have achieved a special significance are adjudicated with respect to each other—to and value among collectors, curators, and art be useful because in much of contemporary life, historians, as part of the origins of this striking especially for indigenous people, the social world history, uninfluenced by a later market. Possibly is now a space of multiple, possibly competing, as representing a moment of extraordinary vital- ontological orders. ity, the painters explored the properties of a new medium and possibilities of expression for their rich ritual imaginations. Acrylic Painting The early paintings are regarded by many as First, I provide some historical background the “jewels” of the acrylic painting movement. on the objects that motivate my considera- This is an appropriate description since so much tion—Aboriginal acrylic paintings, and more of this work is small in scale, involving the fine specifically those objects produced in the first detail that is characteristic of the early Papunya year and a half of this practice which are known Tula style. The term “early board” refers at once as “early Papunya boards.”1 Acrylic painting to the fact that the paintings were often done in Central Australia is a contemporary social on masonite or composition board, rather than practice. While the transposition of indigenous canvas or cardboard-backed canvas, but the term ritual and communicative forms onto permanent also alludes to a similarity with traditional sacred two-dimensional surfaces has a longer history, objects—often referred to as churinga, from the in crayon drawings on paper for example, what Arrernte designation made famous in the ethno- one might call the “acrylic painting movement” logical work of Baldwin Spencer and F. J. Gillen began at the remote Aboriginal community of (1899)—carved in wood, the very sacred objects Papunya in 1971 under the guiding hand of the that are part of the ritual repertoire extended in Euro-Australian schoolteacher and artist Geoff paintings. As examples of what Roger Benjamin Bardon.2 Here, 160 miles (260 km) west of Alice called “the birth of a new form of beauty” (2009), Springs, a government policy aimed at their the early paintings—limited in number as they assimilation brought together a community of are (perhaps 1,000 of them)—have come to be recently settled, formerly semi-nomadic hunter- highly valued in the Western market and in Revue de la culture matérielle 79 (printemps 2014) 79 exhibiting the history of the art movement. There with persons and groups. Aboriginal men of is, awkwardly but in fact, a kind of commensura- the Central and Western Deserts acquired—and tion of values here. acquire—knowledge of and rights to express Western Desert acrylic paintings are objects these traditions through sequences of initiation made to move between cultures, created by and exchange. These rights were and still are part indigenous artists with introduced materials on of the significant identities that linked people permanent western surfaces to express themselves throughout the
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