Relevant bibliographies by topics / Art, Aboriginal Australian 21st century

Academic literature on the topic 'Art, Aboriginal Australian 21st century'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Art, Aboriginal Australian 21st century"

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Thorner, Sabra G. "The photograph as archive: Crafting contemporary Koorie culture." Journal of Material Culture 24, no. 1 (July 9, 2018): 22–47. http://dx.doi.org/10.1177/1359183518782716.

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In 2008, an Aboriginal Australian artist based in Melbourne, Australia, created a kangaroo-teeth necklace, revivifying an art/cultural practice for the first time in over a century. She was inspired to do so after viewing an 1880 photograph of an ancestor wearing such adornment. In this article, I bring the necklace and the photograph into the same analytical frame, arguing for the photograph as an archive itself. I consider the trajectories through which the 19th-century image has been replicated and circulated in various productions of knowledge about Aboriginal people, and how a 21st-century artist is mobilizing it not just as a repository of visual information, but also as an impetus to creative production. She produces objects of value and is making culture anew, in a context in which Aboriginality has long/often been presumed absent, extinct or elsewhere.
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Bahfen, Nasya. "1950s vibe, 21st century audience: Australia’s dearth of on-screen diversity." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 29–38. http://dx.doi.org/10.24135/pjr.v25i1and2.479.

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The difference between how multicultural Australia is ‘in real life’ and ‘in broadcasting’ can be seen through data from the Census, and from Screen Australia’s most recent research into on screen diversity. In 2016, these sources of data coincided with the Census, which takes place every five years. Conducted by the Australian Bureau of Statistics, this presents a ‘snapshot’ of Australian life. From the newest Census figures in 2016, it appears that nearly half of the population in Australia (49 percent) had either been born overseas (identifying as first generation Australian) or had one or both parents born overseas (identifying as second generation Australian). Nearly a third, or 32 percent, of Australians identified as having come from non-Anglo Celtic backgrounds, and 2.8 percent of Australians identify as Indigenous (Aboriginal or Torres Strait Islander). Nearly a fifth, or 18 percent, of Australians identify as having a disability. Screen Australia is the government agency that oversees film and TV funding and research. Conducted in 2016, Screen Australia’s study looked at 199 television dramas (fiction, excluding animation) that aired between 2011 and 2015. The comparison between these two sources of data reveals that with one exception, there is a marked disparity between diversity as depicted in the lived experiences of Australians and recorded by the Census, and diversity as depicted on screen and recorded by the Screen Australia survey.
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van Damme, Wilfried. "Not What You Expect: The Nineteenth-Century European Reception of Australian Aboriginal Art." Konsthistorisk Tidskrift/Journal of Art History 81, no. 3 (September 2012): 133–49. http://dx.doi.org/10.1080/00233609.2012.702682.

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Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 469–93. http://dx.doi.org/10.1590/s1809-43412013000100019.

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The creative power and the economic valorization of Indigenous Australian arts tend to surprise outsiders who come into contact with it. Since the 1970s Australia has seen the development of a system connecting artist cooperatives, support policies and commercial galleries. This article focuses on one particular aspect of this system: the gradual incorporation of Aboriginal objects and knowledge by the country's museums. Based on the available bibliography and my own fieldwork in 2010, I present some concrete examples and discuss the paradox of the omnipresence of Aboriginal art in Australian public space. After all this is a country that as late as the nineteenth century allowed any Aborigine close to a white residence to be shot, and which until the 1970s removed Indigenous children from their families for them to be raised by nuns or adopted by white people. Even today the same public enchanted by the indigenous paintings held in the art galleries of Sydney or Melbourne has little actual contact with people of Indigenous descent.
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Wardell-Johnson, Grant, Angela Wardell-Johnson, Beth Schultz, Joe Dortch, Todd Robinson, Len Collard, and Michael Calver. "The contest for the tall forests of south-western Australia and the discourses of advocates." Pacific Conservation Biology 25, no. 1 (2019): 50. http://dx.doi.org/10.1071/pc18058.

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After over 50000 years of interaction between Aboriginal people and changing climates, south-western Australia’s tall forests were first logged less than 200 years ago, initiating persistent conflict. Recent conservation advocacy has resulted in the protection of 49% of these tall forests in statutory reserves, providing an opportunity to implement and benefit from a growing moral consensus on the valuing of these globally significant, tall forest ecosystems. We analysed a cross-section of literature (63 papers, 118 statements) published on these forests over 187 years to identify values framing advocacy. We differentiated four resource-oriented discourses and three discourses giving primacy to social and environmental values over seven eras. Invasion sparked initial uncontrolled exploitation, with the Forests Act 1918 managing competing agricultural and timber advocacy. Following the Colonial and Country Life eras, industrial-scale exploitation of the karri forest region resulted in reaction by increasingly broad sectors of society. Warming and drying in the 21st Century emphasises the importance of intact tall forest and the Indigenous Renaissance discourse. Vesting for a more comprehensive set of values would acknowledge a new moral consensus.
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Ginsburg, Faye. "INDIGENOUS MEDIA FROM U-MATIC TO YOUTUBE: MEDIA SOVEREIGNTY IN THE DIGITAL AGE." Sociologia & Antropologia 6, no. 3 (December 2016): 581–99. http://dx.doi.org/10.1590/2238-38752016v632.

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Abstract This article covers a wide range of projects from the earliest epistemological challenges posed by video experiments in remote Central Australia in the 1980s to the emergence of indigenous filmmaking as an intervention into both the Australian national imaginary and the idea of world cinema. It also addresses the political activism that led to the creation of four national indigenous television stations in the early 21st century: Aboriginal People's Television Network in Canada; National Indigenous Television in Australia; Maori TV in New Zealand; and Taiwan Indigenous Television in Taiwan); and considers what the digital age might mean for indigenous people worldwide employing great technological as well as political creativity.
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Nugent, Maria. "Sites of segregation/sites of memory: Remembrance and ‘race’ in Australia." Memory Studies 6, no. 3 (June 28, 2013): 299–309. http://dx.doi.org/10.1177/1750698013482863.

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This article considers the interplay between Aboriginal people’s remembrances about race relations in rural mid-twentieth-century Australia and the frames of remembrance provided by the American Civil rights movement. It takes as its focus two key Australian sites of racial segregation – country town cinemas and public swimming pools – to explore the ways in which since, and in no small part due to, the desegregationist politics of the 1960s they have become prominent sites of public memory. Drawing on three examples from a range of media – art, film and published memoirs – the article traces the ways in which different ways of narrating and remembering these ‘twisted spaces’ contributes to and makes possible alternative and at times unsettling interpretations of experiences and histories of relations between Aboriginal and non-Aboriginal people during what is commonly referred to as the ‘assimilation era’.
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Wilczyńska, Elżbieta. "Transculturation and counter-narratives: The life and art of the Wurundjeri artist William Barak." Journal of New Zealand & Pacific Studies 10, no. 1 (June 1, 2022): 51–67. http://dx.doi.org/10.1386/nzps_00092_1.

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A few decades ago the culture of Aboriginal Australians was believed to have been removed or assigned to the margins. It was considered static and primitive, produced by uncivilized and barbaric peoples. Since the 1980s the view has been successfully challenged and recent art histories produced in settler colonial countries emphasize that Indigenous cultures were neither stuck in the past nor resistant to change. Its development was due to contact between the Indigenous and settler societies and the cross-cultural interactions the contact engendered in political, social and artistic life. This was often against the backdrop of conquest and displacement, which was the result of colonization. Adopting as the main frame of the discussion the theory of transculturation and the concept of counter-narrative from cultural studies, this article will show these different types of encounters and their influence on the life and art of William Barak, a nineteenth-century Aboriginal Australian statesman, leader of a Woi Wurrung nation and an artist. It will also show ‐ again through transculturation ‐ what trajectory the Australian mainstream society followed from initial separation and exclusion, through assimilation to an integration of Indigenous Australians in the artistic and social life. The counter-narrative concocted on the basis of those encounters produces a nuanced picture of loss, survival and strength as experienced by William Barak and his peoples.
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González Zarandona, José Antonio. "Between destruction and protection: the case of the Australian rock art sites." ZARCH, no. 16 (September 13, 2021): 148–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2021165087.

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Can heritage be practiced and thought outside the binary of exaltation vs. denigration? To answer this question posed by the editors, this paper will analyse the destruction and protection of Indigenous heritage sites in Australia, where the destruction of significant cultural heritage sites, mainly Indigenous heritage sites, is the result of biased and outdated practice of cultural heritage that divides Indigenous heritage (prior 1788) from Australian heritage (after 1788). This rift has caused an immense damage to Indigenous heritage around the country as it shows how in Australia heritage is practiced and thought outside the dualism of celebration versus destruction. In this paper, I will show how the destruction of Indigenous rock art sites has been a constant in the 20th and 21st century and how this destruction has been framed in media as a result of vandalism. By arguing that this framing is perpetuating the dualism of celebration versus destruction, I suggest that we can move out of this binary by considering the concept of iconoclasm to go beyond this dualism.
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Coleman, Ellie, Rebecca Scollen, Beata Batorowicz, and David Akenson. "Artistic Freedom or Animal Cruelty? Contemporary Visual Art Practice That Involves Live and Deceased Animals." Animals 11, no. 3 (March 14, 2021): 812. http://dx.doi.org/10.3390/ani11030812.

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This paper examines a selection of 21st-century international examples of exhibited visual artworks involving live or deceased animals. It seeks to reveal the risks and benefits of unique encounters with animals through art and to consider the ethical implications of artwork deploying animals. Australian and international animal protection laws are not explicit when it comes to the sourcing of animals for art nor for the direct inclusion of animals in artworks. This lack leads to a variety of artistic practices, some considered ethical while others are viewed as controversial, bordering on animal cruelty. Artwork selection is determined by a focus on high-profile artists who intentionally use animals in their practice and whose reputation has been fostered by this intention. The study provides insight into how the intentional use of ethically sourced animals within art practice can be a method of addressing hierarchal human–animal imbalances. Further, this study identifies unethical practices that may be best avoided regardless of the pro-animal political statements the artists put forward. Recommendations of how to better determine what is an acceptable use of animals in art with a view to informing legal guidelines and artistic best practice are presented.
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Dissertations / Theses on the topic "Art, Aboriginal Australian 21st century"

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Collins, Julie. "Ship of Fools." University of Ballarat, 2008. http://innopac.ballarat.edu.au/record=b1508425.

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The Ship of Fools is an ancient allegory that has long been a part of Western culture in literature, art and song... It has been chosen by many to comment on contemporary issues throughout history, highlighting the foibles of that society. The ship of fools however is also about our world, as a vessel, full of passengers of humanity, full of those who have no care what they do or where they are going... It is the 21st Century and we are all sailing on a Ship of Fools. We consume beyond reason, we want, and get the latest, newest, biggest things. We complain about interest rates and petrol prices, but consume beyond reason often with purchases on credit we don't really need.
Master of Arts (Visual Arts)
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Cheney, Jacqueline Patricia. "The mythology of the uncanny : as theory and practice in Australian contemporary art." Phd thesis, 2012. http://hdl.handle.net/1885/150841.

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A sensation raw and primal, unwelcome yet not wholly alien but peculiarly familiar, neither a penetrating roar nor shriek from the depths but a more eerily pervasive murmuring, without being discredited as irrational but instead being elevated within academia - the mythology of the uncanny persists. This inquiry focusses on the phenomenon of the uncanny and its exemplification in the visual arts. Whilst extant literature relates uncanniness to the broader field of aesthetics, especially enlarged upon in literature, film-studies and architecture, it is a comparatively neglected topic in the context of visual arts. It is occasionally touched upon in texts concerning an artist's work, but usually very synoptically. Yet much art aligns to readings of uncanniness. For example, Sally Smart's evocatively uncanny work attracts descriptive smatterings about it without adequate enunciation against a critical theoretical framework. Such a framework, newly developed here, takes into account Sigmund Freud's pivotal essay of 1919 whilst providing new interpretations of it and its subsequent plethoric discourse. Furthermore, this framework incorporates entirely different viewpoints, including Existentialist versions of uncanniness centred upon Martin Heidegger's and Jean-Paul Sartre's theories. Whilst being an evolution of the extensive discourse, my framework assimilates otherwise disparate notions of the uncanny effect and its sensations, then applies it contemporaneously. In writing from the secularised worlds of Freudian psychoanalysis and Existentialism, religion, spirituality and mysticism are areas not intentionally ignored nor sidelined as unworthy of consideration. Nevertheless the scope of this dissertation required curtailing thereby making the exclusion of the non-secular a necessity. Psychophysical, neural and cognitive characteristics of viewers' sensory perception of artwork (in relation to evoking uncanniness) are other exclusions, and whilst I touch on various socio-political aspects of the uncanny, it likewise requires greater regard than what is allowed for herein. This is essentially an interpretative analysis which applies a more broadly developed framework to six Australian artists whose work is persuasively uncanny: Ron Mueck, Patricia Piccinini, Sally Smart, Lawrence Daws, Pat Brassington and Bill Henson. These case-studies are structured into three chapters: the first concentrates on three-dimensional, figurative sculpture (Mueck and Piccinini); the next section looks at siting the uncanny in two-dimensional landscapes, specifically the locale of Australia, a land where the uncanny is said to loom large (Smart and Daws); whilst the final section focuses on uncanny 'filmic' surfaces or photo-based media (Brassington and Henson}. This form of analysis is founded on either the artist's self-identification with the topic and/or is based on consistent commentary about their artwork eliciting uncanniness, except Henson, who receives little discussion in relation to uncanniness, but, as demonstrated, epitomises it nonetheless. Examining their art against a contemporary theoretical framework thus addresses a lacuna of critical, academic insight into the uncanniness of visual art, before drawing conclusions about some conceptual, technical and formal differences and similarities.
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Macneil, Roderick Peter. "Blackedout : the representation of Aboriginal people in Australian painting 1850-1900." 1999. http://repository.unimelb.edu.au/10187/1063.

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This thesis examines the representation of Aboriginal people in Australian painting between 1850 and 1900. In particular, the thesis discusses and seeks to account for the decline in the frequency with which Aboriginal people were represented in mainstream academic art in the decades preceding Australia’s Federation in 1901. In addition, this thesis investigates the ways in which a visual discourse of Aboriginality was realised in mid- and late nineteenth-century Australian painting.
The figures of Aboriginal people formed a significant presence in Australian painting from the moment of first contact in the late eighteenth century until well into the nineteenth century. I argue that in paintings of the Australian landscape, as well as in portraiture and figure studies produced in the second half of the nineteenth century, images of Aboriginal people were used to signify the primordial difference of the antipodean landscape. In these paintings, Aboriginality emerged as a motif of Australia’s precolonial past: a timeless, arcadian realm that preceded European colonisation, and in which Aboriginal people enjoyed uncontested possession of the Australian landscape. This uncolonised landscape represented the antithesis of colonial civilisation, both spatially and temporally distinct from the colonial nation.
I argue that prior to Federation in 1901, Australian national identity was dependent upon the recognition and construction of a ‘difference’ that was seen to be implicit within the Australian landscape itself. This sense of difference derived from the settlers’ perception of the Australian environment, and became embodied in those objects which appeared most ‘different’ from settlers’ notion of the familiar. Colonial artists drew upon an iconography based upon this recognition of difference to signify the geographical identity of the landscape which they painted. Aboriginal people were central to these icons of ‘Australian-ness’. Further, the association of Aboriginal people with a precolonial Australia served to rationalise acts of colonial dispossession.
Representations of Aboriginal people dressed in a traditional manner, as well as those in which they are portrayed in European costume as ‘white but not quite’, underwrote colonial assertions of Aboriginal ‘primitiveness’ and precluded Aboriginal participation in the foundation of the Australian nation. The strengthening nationalist movement of the 1880s and 1890s meant that a new iconography was needed, one in which the triumph of the white settler culture over indigenous cultures could be celebrated. As a result, Aboriginal people began to disappear from the canvases of Australian artists, replaced by ‘white Aborigines’, who symbolised a new depth in the relationship between setter-Australia and the landscape itself. As well and more broadly, they were replaced by the image of the white frontiersman, the leitmotif of settler culture. This exclusion of Aboriginal people from the conceptualisation of the Australian nation reflects not only their ‘disenfranchisement’ within Australian society, but more significantly reveals the effectiveness with which a visual discourse of ‘Australia’ painted Aboriginal people out of existence.
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Lahy, Waratah. "Painted objects : investigating the imagery of Australian iconic culture." Phd thesis, 2007. http://hdl.handle.net/1885/149626.

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Perrin, Steve, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The plughole of time." 2003. http://handle.uws.edu.au:8081/1959.7/30107.

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This thesis is comprised of a survey of all the varying influences behind the author's art making. All pre-occupations are included, the concepts of childhood memory; the use of imagination; the ability to comprehend and put together an old fashioned story in varying forms; as well as considering the notion of blurring historical and actual fact with personal elements of fantastical fiction. These themes have all been threaded delicately through the motif of time-travel, the author's personal favourite of literary genres. The main aim has been to make an attempt to re-create the feelings of childhood.Whilst embracing whimsy, the absurd and the time travel genre, this project hopefully shows a struggle and is an allegorical comment on the author as an artist, who having lost a little of his faith in the world and his abilities, becomes seduced by a new focus.
Master of Arts (Hons) (Creative Arts)
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Lawrenson, Anna Louise. "Flesh + blood : appropriation and the critique of Australian colonial history in recent art practice." Phd thesis, 2007. http://hdl.handle.net/1885/110373.

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In the final two decades of the twentieth century Australian society was preoccupied with its own history. So ubiquitous was this interest, that bookshops were crammed with popular histories and historical fictions, TV networks aired historical re-enactments and devoted whole series to its exploration and re-creation. In part, this increased awareness of history was stimulated by the 200-year anniversary of white settlement simultaneously celebrated by many non-Indigenous Australians and condemned by Indigenous protestors. Throughout the 1990s the debate over historical fact and its place within society- or the 'history wars' - took centre stage moving beyond academic circles and into political and public discourse. At the heart of this debate was what Bain Attwood called the 'new history', which incorporated the hitherto absent perspectives of Indigenous Australians. This new version of history examined discrepancies between dominant settler accounts of historical events and those provided by Indigenous people, often in the form of oral testimony. A more vocal Indigenous population also forced these new perspectives on Australian history into being, as increased calls for land rights recognition and social justice became prominent. The debate was so prominent that it permeated many areas of Australian society, the visual arts provides one such example. This thesis is concerned with how the popularisation of history was contended in the visual arts. I argue that Australian artists have used appropriation as an effective means of engaging in a discourse on colonialism; of communicating with the past, and of ensuring that that past remained a highly visible concern of the present Through its reliance on existing images, appropriation enables artists to condense the space between the quoted image and their new work. It therefore demands that the quoted image be seen as a concern of the present. This strategy was implemented by a significant number of Indigenous and non-Indigenous Australian practitioners during the last two decades of the twentieth century. Moreover, it provides an important point of intersection between the artistic practice of Indigenous and non-Indigenous artists. Rather than seeking to document the history of appropriation in Australia, this thesis is concerned with highlighting how appropriation has become the basis of a critical commentary on historical narratives of colonialism.
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Mellor, Danie. "Forming identities." Phd thesis, 2004. http://hdl.handle.net/1885/151477.

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Lofts, Pamela. "A necessary nomadism : rethinking a place in the sun." Master's thesis, 2007. http://hdl.handle.net/1885/147113.

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Books on the topic "Art, Aboriginal Australian 21st century"

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Power + colour: New painting from the Corrigan collection of 21st century Aboriginal art. Melbourne, Australia: Macmillan, 2012.

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Ken, Watson, Jones Jonathan, and Perkins Hetti 1965-, eds. Tradition today: Indigenous art in Australia. Sydney: Art Gallery of New South Wales, 2004.

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Sayers, Andrew. Aboriginal artists of the nineteenth century. Melbourne: Oxford University Press in association with National Gallery of Australia, 1996.

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Carol, Cooper, ed. Aboriginal artists of the nineteenth century. Melbourne: Oxford University Press in association with National Gallery of Australia, 1994.

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Linda, Michael, and Art Gallery of South Australia., eds. 21st century modern: 2006 Adelaide Biennial of Australian art. Adelaide, S. Aust: Art Gallery of South Australia, 2006.

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Adelaide Biennial of Australian Art (6th 2000). Beyond the pale: Contemporary indigenous art : 2000 Adelaide Biennial of Australian Art, Art Gallery of South Australia. Adelaide, S. Aust: The Art Gallery, 2000.

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Victoria, National Gallery of, ed. Gordon Bennett. Melbourne: National Gallery of Victoria, 2007.

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Nicholls, Christine. Kathleen Petyarre: Genius of place. Kent Town, S. Aust: Wakefield Press, 2001.

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Reason, Robert. Bravura: 21st century Australian craft : incorporating the Maude-Vizard Wholohan Art Prize Purchase Awards. Adelaide: Art Gallery of South Australia, 2009.

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Fox, Stephen. Ian W. Abdulla: Elvis has entered the building. Kent Town, S. Aust: Wakefield Press, 2003.

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Book chapters on the topic "Art, Aboriginal Australian 21st century"

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Barry, Kristin M. "Reclaiming Rock Art: Descendant Community Investment in Australian and New Zealand Patrimony." In Transforming Heritage Practice in the 21st Century, 265–81. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14327-5_19.

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Lenz, Katja. "4 Indigenous Australia in the 21st Century." In Lexical Appropriation in Australian Aboriginal Literature, 39–60. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2017. http://dx.doi.org/10.5771/9783828867437-39.

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Walter, Maggie. "Keeping Our Distance: Non-Indigenous/Aboriginal relations in Australian society." In Australia: Identity, Fear and Governance in the 21st Century. ANU Press, 2012. http://dx.doi.org/10.22459/aifg.11.2012.02.

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Harman, Kristyn. "‘The Art of Cutting Stone’: Aboriginal convict labour in nineteenth-century New South Wales and Van Diemen’s Land." In Indigenous Participation in Australian Economies II: Historical engagements and current enterprises. ANU Press, 2012. http://dx.doi.org/10.22459/ipae.07.2012.06.

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Urwin, Chris, Lynette Russell, and Lily Yulianti Farid. "Cross-Cultural Interaction across the Arafura and Timor Seas." In The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea, C51.S1—C51.N8. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190095611.013.51.

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Abstract Prior to sustained contact with Europeans, Aboriginal people in parts of northern Australia—coastal regions of the Kimberley, Arnhem Land, and the Gulf of Carpentaria—interacted with people from South Sulawesi and other parts of eastern Indonesia, especially Makassar. The visitors (often called ‘Macassans’) arrived on Australian shores annually in sailing ships (praus) to harvest trepang (also called sea cucumber, bêche-de-mer) and to exchange things and ideas with Aboriginal people. Within Australia, evidence for these interactions can be seen in Macassan trepang processing sites (often associated with introduced tamarind trees); the inclusion of Indonesian borrow words in local Aboriginal languages; paintings of praus in Aboriginal rock art sites; and Aboriginal archaeological deposits containing Asian pottery, metal, and glass. More broadly, the histories of these interactions are found within oral traditions from either side of the Arafura and Timor Seas. Archaeology has begun to show that Aboriginal people selectively engaged in exchange with Indonesian people, using traded items to sustain customary exchange and new maritime technology to transform how they engaged with coast and sea. Macassan trepanging visits to northern Australia date from the eighteenth century to c. CE 1907, though some archaeological and oral historical evidence suggests that initial encounters occurred before CE 1664. Yet key questions remain regarding the nature of Macassan-Aboriginal interactions, and, fundamentally, the chronology of cross-cultural contact in northern Australia.
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