The Conversation Rise of Indigenous Art Speaks Volumes About Class in Australia February 24, 2014
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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. -
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. -
Schools Reconciliation Challenge E
Introduction 2 How to Enter 2 About the NSW Reconciliation Council 3 Schools Reconciliation Challenge 4 Why Reconciliation? 5 Why Art? 5 2011 Artwork Gallery 6 Exploring the theme: Our Place 7 Sample Art Lessons 8 Culturally Appropriate Teaching 12 Strategies for teaching Aboriginal Students 13 Terminology 13 Lift Out Reconciliation Timeline 16 Fact Sheets 14 Reconciliation 14 Aboriginal NSW 21 Australian Aboriginal and Torres Strait Islander Peoples 25 2011 Schools Reconciliation Honour Roll 29 Entry Form 31 Terms and Conditions 32 "#$%&'&()*'+)&, The Schools Reconciliation Challenge is an art competition for young This kit has been people in NSW aged 10–16. This resource is a teaching kit which endorsed and is builds upon the objectives outlined in the NSW Creative Arts Syllabus supported by the K-6 and NSW Visual Arts Syllabus 7–10. Aboriginal Education Activities contained within help students to explore the relationship Consultative Group NSW between artist, artworks, the audience and the world, whilst developing (AECG NSW) their own artmaking practice by creating work to submit in the competition. Aboriginal and Torres Strait Islander readers are warned that this publication may contain references to deceased persons. Effort has been undertaken to ensure that the information contained in this book is correct, and the NSW Reconciliation Council regrets any offence that errors or omissions may cause. ! .(/'01($$2*'3/1$41)2)5&)$4'6(522/47/'8 ./9:'!;'-<!- .(/'59&'$='9/1$41)2)5&)$4'>'&(9$%7('&(/'/?/*'$='?$%47'@/$@2/ The Schools Reconciliation Challenge is an annual art competition for young people aged 10–16, running for the duration of Term 1 (closing on April 5 2012). -
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. -
Atomic Testing in Australian Art Jd Mittmann
ATO MIC TEST ING IN AUST RAL IAN ART JD MIT TMA NN Around the world artists have be en conce rned wit h Within a radius of 800m the dest ruction is co mplete . and Walle r. He docume nted the Austr alian New Gui nea nuclear iss ues, from the first application of atomic bomb s Over 70,000 die instantl y. campaign and its afte rmath . at Hi roshima and Nagasaki, to at omic testing, uraniu m A person stan ds lost amongst the ruins of a house . In 1946 he was se nt to Japan whe re he witnes sed mining, nuc lear waste tra nspo rt and storage, and We don’t see the chi ld’s exp ression, but it can only be the effects of the ato mic bomb. He doc umented the va st scenarios of nuclear Armageddon. The Australian artisti c one of shock and suffering. A charred tree towers ov er dest ruction from a distant vi ewpoint, spa ring the viewe r response to Bri tish atomic te sting in the 195 0s is les s the rubble. Natu re has withe red in the on slaught of hea t the ho rri fic deta ils. His sketch Rebuilding Hiroshim a well-know n, as is the sto ry of the tests . and shock waves. Simply titled Hi roshima , Albe rt Tucker’ s shows civil ians clearing away the rubble. Li fe ha s Cloaked in se crec y, the British atomic testing progra m small wate rcolour is quiet and conte mplative. -
Affirmations of Identity
Stage 4 Mandatory Course Units Unit of Work Aboriginal Artists Forms Frames Conceptual Framework 1 A Cultural Jimmy Pike 2D - printmaking Structural Artist, artwork, Journey Kevin Gilbert Cultural audience Dennis Nona Banduk Marika Ellen Jose Pooaraar 2 Ceramic Thancoupie 3D - ceramics Structural Artist, artwork, Creatures Female Indigenous world artists 3 Unforgettable Robert Campbell Jr 2D - painting Cultural Artist, artwork, Tucker Pantjiti Mary McLean world, audience Lawrence Leslie 4 Ancestors and Lena Yarinkura 3D - fibre, Cultural Artist, artwork, Family Members Jenny Watson sculpture world Stage 5 Elective Course Units Unit of Work Aboriginal Artists Forms Frames Conceptual Framework 5 Reconciliation Alice Hinton-Bateup 2D - printmaking, Cultural Artist, artwork, David Spearim digital media world, audience Robert Campbell Jnr 6 Objects in the Yvonne Koolmatrie 3D - sculpture, Structural Artist, artwork, Landscape Lorraine Connelly- fibre Cultural world Northey 7 Cultural Michael Riley 2D - photography, Structural Artist, artwork, Intersections Rea digital media, Cultural world, audience Darren Siwes computer Brenda L Croft generated and Brook Andrew enhanced graphics 8 Place, Possession Lin Onus 2D - digital Cultural Artist, artwork, and Dispossession Gordon Bennett imaging, collage, Postmodern world, audience photomontage 26 UNIT 1 – A Cultural Journey Overview Unit of A Cultural Journey work Duration One term Stage 4 Year 7 or 8 Unit In this unit of work students study Jimmy Pike’s Woman Carrying the Two description Boys. The artist’s historical and cultural links with the Great Sandy Desert in Western Australia are used to explain the ways in which an artwork can Practice, represent a culturally specific experience and understanding of the world. artmaking Students undertake a study of cultural and historical issues of other and critical Aboriginal and Torres Strait Islander printmakers. -
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. -
Printmaking As an Expanding Field in Contemporary Art Practice
Printmaking as an Expanding Field in Contemporary Art Practice: A Case Study of Japan, Australia and Thailand Marjorie Anne Kirker Dip.F.A. (Hons), University of Auckland; M.A. Art History, Courtauld Institute of Art, London Doctor of Philosophy Submission for Final Examination Creative Industries Faculty Department of Visual Arts Queensland University of Technology 2009 1 Statement of original authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except where due reference is made. Marjorie Anne Kirker Signature: Date: 2 TABLE OF CONTENTS Acknowledgments .......................................................................................................... 6 Abstract ........................................................................................................................... 7 Chapter 1 THE PROBLEM AND ITS CONTEXT .............................................................. 10 1.1 The Research Problem and Its Significance ............................................................. 10 1.2 Key Research Questions to Be Addressed ................................................................ 15 1.3 Objectives of the Research ...................................................................................... 16 Chapter 2 LITERATURE INFORMING RESEARCH PROBLEM .................................... -
My Horizon, Tracey Moffatt
TRACEY MOFFATT MY HORIZON My Horizon Tracey Moffatt Edited by Natalie King My people are buried here Beneath the cracked earth of the clay pan My people are buried here In accustomed and unrelated lands My people are buried here Within pounding ocean curls and distant shores My people are buried here Their breath tasting of blackened bloodied soil My people are buried here In this transocean funerary vault My people are buried here Their open mouths burping sea salt My people Home of the sacred Homo sacer Staring through the horizon Homo sacer As though a string Towards the North Pole, past Polaris Romaine Moreton And then south again Our bare skin This sun-kissed life Our bare skin Now bare life The dagay1 Ghosts from another land The dagay Gun in hand The dagay Shipwrecked upon our shore The dagay Wants to make us no more My people We are wagay2 Spirit of a living man Wagay Spirit of our living lands 1 dagay – Bundjalung word for ‘ghost’; also means ‘white man’. 2 wagay – Bundjalung word for ‘spirit of a living man’. Chairs’ welcome The Australia Council for the Arts is delighted to present The year 2017 is a significant one for Australian arts and Australia’s participation in Venice is made possible The Australia Council acknowledges the Commonwealth Tracey Moffatt: My Horizon at the 57th International Art culture for a number of reasons. Internationally acclaimed through the enthusiastic support of many individuals. This Government of Australia; the Minister for the Arts, Senator Exhibition, La Biennale di Venezia. -
Aboriginal Art and Healing
ABORIGINAL ART AND HEALING Donna Leslie 1st May, 2001 I should like to thank Dr Colette Rayment and the RLA committee for their invitation to give this lecture, concurrent with the Heritage Art Award, and I want to express my respect on being here, on the traditional lands of the Eora people. Introduction The effort by many Australians to heal deep wounds of our collective past has been evident in the healing journeys to\vards Reconciliation undertaken recently throughout this country. These journeys have required an empathic imagination, for in a sense they are an invitation to walk in the shoes of another and to understand more deeply our shared Australian heritage. My talk tonight is about artistic work that also can be interpreted as a journey - a journey towards coming to terms with certain disturbing and regrettable aspects of our common heritage. I am not speaking about art as a psychotherapeutical tool, but rather as a practical medium for naturally and creatively expressing human experience. Aboriginal realities reflect complex cross-cultural histories, and these histories have long been the subject of a great deal of contemporary Aboriginal art. Tonight I \vish to present for your reflection three approaches by Aboriginal artists - or in one case by a cross-cultural team - that use art as a healing medium and are examples of creative journeying towards \vholeness. The first of these is Another Vielv ~Valking Trail in Melbourne, in \vhich a group of artists offers another perspective on l\ttelbourne's history. Another Vietv is a symbolic journey that some find confronting, but it is a journey intended positively to engage the vie\ver and to act as a medium of transformation. -
Jus' Drawn: the Proppanow Collective a Linden Centre for Contemporary Arts & Nets Victoria Touring Exhibition
Jus’ Drawn: The proppaNOW Collective A Linden Centre for ContemporAry Arts & nets ViCtoriA touring exhibition Jus’ Drawn: The proppaNOW Collective A Linden Centre for Contemporary Arts & nets Victoria touring exhibition Written and researched by shelley hinton 3 Planning your gallery visit 3 Curriculum links and themes 4 proppanoW 5 Introduction to the exhibition Jus’ Drawn 6 Artist profiles 32 Curriculum links & Questions • VeLs level 6 • years 11 & 12 41 References NB: the soundfiles and further research on the artists may include strong language 2 Planning your gallery visit Curriculum links and themes this education resource is designed for teachers and A broad range of themes and ideas which link to the students to provide background and context to the exhibition may be explored across the curriculum for exhibition Jus’ Drawn:The proppaNOW Collective. students students, levels 5-6 VeLs and VCe, years 11-12. these themes and teachers are advised to utilise this information parallel to may be utilised to assist students with contextualising a gallery visit to view the exhibition, enhanced by discussion information presented in the exhibition, to inspire discussion and research of a range of resources, including soundfile and to explore and link to a broad range of study areas across recordings by each of the proppanoW artists featuring the the Arts, the humanities and social sciences. artists via the nets Victoria website: http://www.netsvictoria.org.au. particular themes include: • Contemporary art prior to undertaking a gallery visit, it is suggested that • Aboriginal art students read the exhibition room brochure, listen to the • urban Aboriginal art recorded soundfiles by the artists and explore a range of • figuration and abstraction suggested resources and links which will provide context and • portraiture and identity background to the exhibition. -
Brenda L.Croft
Up in the sky, behind the clouds Brenda L. Croft I do what I do because I like doing it, I’m not chasing fame … Photography is just a medium for me, a way of putting across my views and images to the world. It’s no big deal.1 Big sky. Flat, open plains. Scudding clouds, as if swept across the canvas by a colossal invisible hand. The plane shudders as its landing gear drops – clunk – and, when its wing dips to the right, the black soil of Moree rises up in greeting. I was travelling there to meet with the family and friends of Michael Riley (1960– 2004), whose mother’s people were part of the Moree Kamilaroi community, and whose father’s people came from the red-soil western plains of Dubbo, Wiradjuri country, to the south, where I had travelled some weeks earlier. How do you measure a person’s life? Through their creative output? Their traces left behind, the memento mori? Through the reminiscences of others, in the spoken and written word? Through their family, their ancestors and descendants? Michael left us physically in August 2004, aged 44, suffering the after- effects of childhood poverty – the fate of too many Indigenous people in Australia, a First-World country, where the majority of the Indigenous people continue to live in Third-World conditions. By any standards Michael’s life was extraordinary and he has left behind a body of work that encompasses the complexity of contemporary Aboriginal life in myriad forms: portraiture, social-documentary and conceptual photography and film, and fine-art film.