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Aboriginal Art - Resistance and Dialogue
University of New South Wales College of Fine Arts School of Art Theory ABORIGINAL ART - RESISTANCE AND DIALOGUE The Political Nature and Agency of Aboriginal Art A thesis submitted by Lee-Anne Hall in fulfilment of the requirements for the degree of Master of Art Theory CFATH709.94/HAL/l Ill' THE lJNIVERSllY OF NEW SOUTH WALES COLLEGE OF FINE ARTS Thesis/Project Report Sheet Surnune or Funily .nune· .. HALL .......................................................................................................................................................-....... -............ · · .... U · · MA (TH' rn ....................................... AbbFinlname: . ·......... ' ....d ........... LEE:::ANNE ......................lend.............. ................. Oher name/1: ..... .DEBaaAH. ....................................- ........................ -....................... .. ,CVlalJOn, or C<ltal &1YCOIn '"" NVCfllt)'ca It:.... ..................... ( ............................................ School:. .. ART-����I��· ...THEORY ....... ...............................··N:t�;;�?A�c·���JlacjTn·ar··................................... Faculty: ... COLLEGE ... OF. ...·Xr"t F.J:blll:...................... .AR'J: ..................... .........................-........................ n,1e:........ .................... •••••••••••••••••••••••••••••••••• .. •••••• .. •••••••••••••••••••••••••• .. •• • .. ••••• .. ••••••••••• ..••••••• .................... H ................................................................ -000000000000••o00000000 -
Topographic Representations in Classical Aboriginal Traditions
9 • Icons of Country: Topographic Representations in Classical Aboriginal Traditions PETER SUTTON INTRODUCTION tent of their classical tradition, however, even where little of it may be known to them through firsthand experi After more than two hundred years of colonial and post ence. 1 Indigenous Australian traditions are no more fixed colonial influence from a predominantly Anglo-Celtic or static than others, but they have been subject to greatly culture, Australian Aboriginal people have retained their accelerated changes in the colonial and postcolonial pe cultural identity as a group, comprising a large set of sub riod of the past two centuries. For this reason it is useful groups, across the Australian continent (fig. 9.1). At this to distinguish classical traditions from postclassical tradi time they are a small minority of between 2 and 3 percent tions within contemporary Aboriginal culture. in a nation of eighteen million people. In most regions Classical traditions are those that were practiced at the their ancient cultural traditions have been partly or heav time the first permanently dwelling non-Aborigines ar ily modified by a combination of forces, including an rived in Australia,2 and many of them have persisted early phase of scattered violent conflicts with colonizers, among certain groups. Postclassical traditions depart sig depopulation owing mainly to disease, compulsory nificantly from those of the ancient past. The most widely school education and institutionalization, and alcohol known and internationally acclaimed of the classical tra abuse. ditions is usually subsumed, in English, under the phrase In the more fertile areas of eastern and southwestern "Aboriginal art." For this category of representations Australia, many aspects of these classical cultural tradi tions have been seriously expunged. -
BULA'bula ARTS Goyurr. the Journey
BULA’BULA ARTS Goyurr. The Journey. 3 – 28 SEPTEMBER 2013 Goyurr is a word that brings a smile to people’s faces in Ramingining. Bobby Bununggurr described it to Ben Wallace, Bula’bula’s curator, as "I am ready to go", or "I am willing to go", or "where they are going". It is the ideal word, then, to convey the spirit of these amazing artists which has sustained them and their art practice over the past forty years. During the time Bula’bula Arts has been operating in Ramingining, central Arnhem Land, it has gathered a substantial history and international recognition. It also lays claim to some of the most significant artists Australia has produced, such as Philip Gudthaykudthay and Dr David Malangi. Bula’bula’s artists have become highly regarded for their superb art across various media including fibre, painting, barks, works on paper, and Dupun (hollow log coffins or poles). This exhibition of carefully selected works from the late 1990s to present draws from each of the Bula’bula’s artforms. While not exhaustive in its scope, the exhibition aims to give the viewer an impression of the diverse talent across time that inhabits Ramingining. Two of the works are from the Estates of Dr David Malangi and Judy Baypungala, both masters in their main fields of painting/printmaking and weaving, respectively. It is indicative of Bula’bula’s achievements that its artists have regularly been included in significant exhibitions, such as the ground-breaking exhibitions Aratjara and The Native Born, both of which toured internationally in the late 1990s and early 2000s. -
Nigel Lendon Relational Agency: Rethinking the Aboriginal Memorial
Nigel Lendon Relational Agency: Rethinking The Aboriginal Memorial NIGEL LENDON Relational Agency: Rethinking The Aboriginal Memorial ABSTRACT Twenty-two years after its first exhibition at the 1988 Biennale of Sydney, and following numerous subsequent iterations, in 2010 The Aboriginal Memorial was re-designed and installed in the foyer of the National Gallery of Australia. This essay seeks to reinterpret the circumstances of both its origins and its historical trajectory in the Biennale, in the National Gallery of Australia, in its subsequent international contexts, and in its current situation. Its original context and conventional recognition as a masterpiece of contemporary Australian art (Waterlow, Mollison) plus the processes of its redefinition as “installation art” (Davidson, Desmond) and later its presentation as a form of international cultural exchange, all suggest a process of reinterpretation and realignment as a manifestation of a late modernist sensibility, which was validated by its ultimate institutional recognition. In this essay I argue that despite the distance from its original political origins and motivation, revisiting The Aboriginal Memorial and what I call its “constitutive literature” invites new modes of interpretation that allow The Memorial to regain its original sociopolitical power. By investigating the social relations of its production and reception, the nature of the creative motivation of its forty-three Yolngu artists plus its “conceptual producer” Djon Mundine, I seek to apply a concept of collective agency informed by models of relational art first introduced by Bourriaud, Kester, Bishop et al. in order to amplify the social relations of its reception as a paradigm of intercultural artistic production. Key words: The Aboriginal Memorial, National Gallery of Australia, Installation art, collective agency, relational art, co-authorship, collaborative art, Djon Mundine. -
The Country Web No.51 December09 Parta
MY HEART, MY COUNTRY NUMBER 51 SUMMER 2009 FREE NEWSLETTER MY HEART, MY COUNTRY Where ever I may go, I always come back Where my heart belongs. As I sit and look at the hills they bring back lots of memories My heart, my country. We respect and share our land, The quiet and peaceful times With memories of joy and sadness, Of walks by the river Remember to tell the children that This is our heart, our country. Family and friends gather around, Hearing the dreaming stories All about the mother earth, The grandfather moon And stars. This is where we keep The culture alive. My heart, my country WIRADJURI COUNTRY. PHYLLIS, SONY, BARBARA, CORAL & REBEccA. BRUNGLE WIRADJURI WOMEN' GROUP Aunty Phyllis Freeman and Aunty Sony Piper, Brungle LIVING IN HARMONY ■ 2010 RURAL WOMEN'S AWARD ■ ANIMALS ON BIKES PUBLisHED BY INDUSTRY & INVESTMENT NSW ISSN 1039–5202 THE COUNTRY WEB contents The Country Web is produced by the Rural Women’s Network (RWN, part of Industry FEATURES & Investment NSW) and is distributed free, 6 My heart, my country three times a year. For more about the RWN 'You may be born in another place see page 5. and have ties to it but it is the land, EDITING/DESKTOP PUBLISHING family and community that you Allison Priest belong to that is the most important CONTRIBUTIONS thing.' Wiradjuri Elders, Aunty Phyllis & Aunty Sony share their story. Letters, stories, poems and photographs from rural women and their families are welcome. 10 A sense of belonging FREE MAILING LIST Cooma is often called the most multi-cultural town in Australia. -
A Literary & Artistic Journey Through New England and the Hunter Valley
‘My Country’: A Literary & Artistic Journey through New England and the Hunter Valley – March 2022 9 MAR – 20 MAR 2022 Code: 22256AU Tour Leaders Susannah Fullerton, OAM, FRSN, David Henderson Physical Ratings Explore how the Australian landscape has exerted a powerful influence on Australian literature and painting with literary expert Susannah Fullerton and award-winning artist David Henderson. Overview …I love a sunburnt country, A land of sweeping plains, Of ragged mountain ranges, Of droughts and flooding rains. I love her far horizons, I love her jewel-sea, Her beauty and her terror- The wide brown land for me!... Dorothea Mackellar, My Country Join literary expert Susannah Fullerton, President of the Jane Austen Society of Australia, and award- winning artist David Henderson on a journey through New England and the Hunter Valley, to explore how the Australian landscape has exerted a powerful influence on Australian literature and painting. At the Art Gallery of New South Wales view the Matisse Exhibition which 'offers an extraordinary immersion in the range and depth of the art of Henri Matisse, one of the world’s most beloved, innovative and influential artists.' Explore the development of Australian landscape painting with a visit to the Hinton Collection, New England Regional Art Museum; the Tamworth Regional Gallery; and the vibrant Maitland Regional Art Gallery. In Inverell a local historian will guide us to locations of Tom Roberts’ famous works: ‘Bailed up’ and ‘A Corner of the MacIntyre’; we also visit the private home 'Lilburn' where we meet with Tim Hughes whose great-grandparents knew Tom Roberts well. -
Transforming My Country Publishing Information Support Australian
Australian Poetry Transforming Chapbook My Country Transforming My Country Publishing Information Support Australian Transforming My Country Poetry Transforming australianpoetry.org Chapbook A publication of Australian Poetry Ltd My Guest Editor: Toby Fitch Designer: Stuart Geddes Publisher: Australian Poetry AP Subscriptions & Communications: Emma Caskey Country Printed by Focus Print Group Australian Poetry (AP) is the sole national representative body for poetry in this country. It is an independent non-profit organisation, supported A selection of poems by federal, state and local government arts funding edited by programs, patrons and its subscription base. We Tob y Fi t c h responding to represent Australian poetry and its poets, nationally and internationally. Dorothea Mackellar’s Address editorial correspondence to ‘My Country’ Level 3 The Wheeler Centre, 176 Little Lonsdale Street, Melbourne, Victoria 3000 or by email to [email protected] Australian Poetry Ltd attains worldwide first publication rights in both printed and digital form for the distribution and promotion of the Australian Poetry Journal and organisation as a whole. Copyright 2021 by Australian Poetry Ltd. Subscription to the Australian Poetry Journal is available online: australianpoetry.org/support Individual copies of the journal (including back issues) can be purchased directly from Australian Poetry Ltd: [email protected] AP House Style is to follow a poet’s use of punctuation, italicisation and US/English spellings as they are in the original poem. Any use of another’s works is expected to be acknowledged in notes and the responsibility for this is with poets. Also, regarding poet biographies, we accept the details provided in good faith. -
Protecting the Spiritual Beliefs of Indigenous Peoples—Australian Case Studies
Washington International Law Journal Volume 22 Number 2 Special Issue: Indigenous Rights in the Pacific Rim 3-1-2013 Protecting the Spiritual Beliefs of Indigenous Peoples—Australian Case Studies Michael Blakeney Follow this and additional works at: https://digitalcommons.law.uw.edu/wilj Part of the Comparative and Foreign Law Commons, and the Indian and Aboriginal Law Commons Recommended Citation Michael Blakeney, Protecting the Spiritual Beliefs of Indigenous Peoples—Australian Case Studies, 22 Pac. Rim L & Pol'y J. 391 (2013). Available at: https://digitalcommons.law.uw.edu/wilj/vol22/iss2/7 This Article is brought to you for free and open access by the Law Reviews and Journals at UW Law Digital Commons. It has been accepted for inclusion in Washington International Law Journal by an authorized editor of UW Law Digital Commons. For more information, please contact [email protected]. 391 PROTECTING THE SPIRITUAL BELIEFS OF INDIGENOUS PEOPLES–AUSTRALIAN CASE STUDIES Michael Blakeney† Abstract: This article examines the extent to which the spiritual beliefs of Aboriginal and Torres Strait Islander Peoples are protected under current Australian law. The first significant recognition by the High Court of Australia of the legal rights of indigenous peoples was in relation to native title over real property. As those peoples define their status and society by reference to their relationship with the land, this article considers the ultimately unsuccessful attempt to protect their spiritual beliefs as an incident of native title law. It reviews a line of intellectual property cases which have been a more fruitful source of protection, as well as the possibilities of the protection of the spiritual beliefs of indigenous peoples under racial vilification laws. -
190212 Vickery Extension Project Expert Report Anderson Heritage
INDEPENDENT EXPERT REPORT VICKERY EXTENSION PROJECT Name: Sharyn Anderson Qualifications: B.A. (Hons. Aust. Lit.)/Dip.Ed., M.Ed. PhD confirmed Candidate – Charles Sturt University. Over 30 years’ experience teaching English Literature and Language at Primary, Secondary and Tertiary level. I have read Schedule 7 Expert Witness Code of Conduct and agree to be bound by it. ______________________________________________________________________ Contents Summary of Report…………………………………………………………………………………….2 Dorothea Mackellar’s Literary Legacy and importance……………………………… 4 A Brief Biography of Dorothea Mackellar and Literary History…………………… 5 Mackellar’s success……………………………………………………………………………… ….. 5 An important cultural feature of Mackellar’s poetry Influence on Australian vernacular …………………………………………………………… 7 Visitors and workers - ‘Snowy’ Baker’ and ‘Boy’ Charlton …………………… A new film industry ………………………………………………………………………… 9 Conclusion and Recommendations………………………………………………………………10 References ………………………………………………………………………………………………. 11 1 SUMMARY OF REPORT This Report will discuss the significance of the Australian poet, Dorothea Mackellar, to Australian literature and culture. As a consequence, it will also discuss the relationship of the writer and her poetry to the rural property formerly held by her family, called “Kurrumbede”, about 25 kilometres north of Gunnedah, N.S.W. This Report is not exhaustive: it is by necessity brief and contains limited information, due to the restraints of time and space. The Reference listing is incomplete for the same reason, but the author is happy to provide further referential evidence if required. Dorothea Mackellar wrote one of Australia’s best-known and loved Australian poems — “My Country”. First published in 1908, it has proven to be an integral part of Australian culture, being anthologised, recited and quoted widely to the present day (Moore in Jose). Kurrumbede was bought for the Mackellar family by Dr. -
Dorothea Mackellar - Poems
Classic Poetry Series Dorothea Mackellar - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Dorothea Mackellar(1 July 1885 – 14 January 1968) Isobel Marion Dorothea Mackellar was an Australian poet and fiction writer. <b>Life and Works</b> The only daughter of noted physician and parliamentarian Sir Charles Mackellar, she was born in Sydney in 1885. Although raised in a professional urban family, Mackellar's poetry is usually regarded as quintessential bush poetry, inspired by her experience on her brothers' farms near Gunnedah, North-West New South Wales. Her best-known poem is My Country, written at age 19 while homesick in England, and first published in the London Spectator in 1908 under the title Core of My Heart. The second stanza of this poem is amongst the most well-known in Australia. Four volumes of her collected verse were published: The Closed Door (published in 1911, contained the first appearance of My Country under its present name); The Witch Maid, and Other Verses (1914); Dreamharbour (1923); and Fancy Dress (1926). In addition to writing poems, Mackellar also wrote novels, one by herself, Outlaw's Luck (1913), and at least two in collaboration with Ruth Bedford. These are The Little Blue Devil (1912) and Two's Company (1914). According to Dale Spender, little has been written or is yet known about the circumstances behind this collaboration. In the New Year's Day Honours of 1968, Dorothea Mackellar was made an Officer of the Order of the British Empire for her contribution to Australian died two weeks later. -
Valuing Art, Respecting Culture
VALUING ART, RESPECTING CULTURE PROTOCOLS FOR WORKING WITH THE AUSTRALIAN INDIGENOUS VISUAL ARTS AND CRAFT SECTOR You can show/hide bookmarks by clicking this icon in the tools palette above. Care has been taken in compiling this document, to obtain the appropriate permissions for reproduction of images, and to respect cultural and intellectual property rights. Readers are advised however, that unintentional offence or distress may be caused by the use of images, or names of persons who have passed away since printing and publication of the document. General Editor and Principal Consultant Doreen Mellor Web links to many Indigenous artists, support organisations and retail Authors Doreen Mellor and Terri Janke outlets can be accessed via the Visual Arts Net website. In addition, the Copy Editor Lorraine Rogge Executive Summaries of Valuing Art, Respecting Culture can be downloaded from the site. Site address www.visualarts.net.au Designer Creative consultancy provided by Jones Davis Creative Pty Ltd ©National Association for the Visual Arts Ltd Copyright in any ‘prior material’ used in this publication remains with the original author. Funded by the Aboriginal and Torres Strait Islander Commission ISBN 0 9585 474 0 8 (ATSIC); the Commonwealth Government through the Australia Council's Aboriginal and Torres Strait Islander Arts Board; and the Cover image ©Brian Nyinawanga “Visions of the City” 1994. Northern Territory Government's Department of Arts and Museums. Screenprint. Image courtesy of the Museum and Art Gallery of the Northern Territory. “When Brian Nyinawanga visited Sydney, it was the first major city he had seen apart from Darwin. It made a significant impression upon him, particularly the claustrophobic streets with their tall buildings, depicted here in classic plan perspective. -
An Introduction to the Expressive Arts of the First People of Australia
AN INTRODUCTION TO THE EXPRESSIVE ARTS OF THE FIRST PEOPLE OF AUSTRALIA Joseph Coniguliaro Anthropology Senior, Art Gallery Research Intern November, 2015 Edith Langley Barrett Art Gallery Utica College, New York This writing is based on research accumulated for the Utica College Art Collection. The research pertains to selections of Aborigine art as part of the greater collection. I have assembled this information as an overview of the art, history and culture of the First People of Australia as a resource for the gallery’s collection records and exhibition. It is also intended as a resource for educational and exhibit development opportunities with students. The Aborigine works belong within the Eleanor and Roger Baker Collection. They are authentic from mid-20th century and connect in tradition to the oldest of the art traditions for the Aborigine. The Hunter, David Malangi, 1964 ABOUT ABORIGINAL EXPRESSIVE ART Traditional Aborigine Art was born from the dreams of each artist, the intense colors found in the landscape, ancestral knowledge and the individual expressions of each artist. The tradition of making expressions of ancestral knowledge visible began over 50,000 years ago. Aborigine Art grew from it origins as stories to include visual art, music art and written forms. Each artist depicts their own dreams. If one artist wants to depict another’s dream, they must ask permission. Traditionally, the subject matter represents important points in history, totemic animals, moieties, ancient stories and stories of spiritual beings reaching back into Dreamtime. Contemporary aboriginal artists make use of both natural and commercial paints, adding to the continuity of local, natural mineral pigments.