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.