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Journal articles on the topic 'Indigenous art'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Caton, Steven C. "Possessions: Indigenous Art/Colonial Culture:Possessions: Indigenous Art/Colonial Culture." American Anthropologist 103, no. 4 (December 2001): 1211–13. http://dx.doi.org/10.1525/aa.2001.103.4.1211.

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2

Baudemann, Kristina. "Indigenous Futurisms in North American Indigenous Art." Extrapolation 57, no. 1-2 (January 2016): 117–50. http://dx.doi.org/10.3828/extr.2016.8.

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3

Cameron, Liz. "Celebrating Australian Indigenous Art." International Journal of the Arts in Society: Annual Review 6, no. 1 (2011): 185–92. http://dx.doi.org/10.18848/1833-1866/cgp/v06i01/35968.

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4

Smith, Sarah E. K. "Sakahàn: International Indigenous Art." Journal of Modern Craft 7, no. 2 (July 2014): 219–22. http://dx.doi.org/10.2752/174967814x13990281228567.

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5

Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (December 6, 2019): 161. http://dx.doi.org/10.3390/arts8040161.

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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.

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6

Grishin, Alexander. "A New History of Australian Art: Dialectic between Indigenous and Non-Indigenous Art." International Journal of the Humanities: Annual Review 6, no. 7 (2008): 97–104. http://dx.doi.org/10.18848/1447-9508/cgp/v06i07/42490.

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7

Bähr, Elisabeth. "Political Iconography in Indigenous Art." Zeitschrift für Australienstudien / Australian Studies Journal 27 (2013): 49–66. http://dx.doi.org/10.35515/zfa/asj.27/2013.05.

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8

Hewitt, Pat. "Viewpoint: resources for indigenous art." Art Libraries Journal 33, no. 2 (2008): 3–4. http://dx.doi.org/10.1017/s0307472200015261.

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9

Best, Susan. "Repair in Australian Indigenous art." Journal of Visual Culture 21, no. 1 (April 2022): 190–205. http://dx.doi.org/10.1177/14704129221088289.

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This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robert Andrew. McGregor’s work draws on possum skin cloak making, Harding has incorporated the stencil technique of rock art into his practice and Andrew uses a traditional pigment ochre and Yawuru language.

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10

Badoni, Georgina. "Indigenous Motherhood Art as Ceremony." Visual Arts Research 48, no. 2 (December 1, 2022): 37–41. http://dx.doi.org/10.5406/21518009.48.2.05.

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11

Child, Brenda J. "Contemporary Indigenous Art and History." American Historical Review 129, no. 1 (March 1, 2024): 93–96. http://dx.doi.org/10.1093/ahr/rhae011.

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12

Uzel, Jean-Philippe. "Déni et ignorance de l’historicité autochtone dans l’histoire de l’art occidentale." RACAR : Revue d'art canadienne 42, no. 2 (January 25, 2018): 30–41. http://dx.doi.org/10.7202/1042944ar.

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Western art history long refused to recognize the historicity of Indigenous art, seeing it instead as a “primitive” mode of human expression. While the dynamism of Indigenous creation since the 1960s has made such an assertion impossible, the institutional recognition given contemporary Indigenous art in the art world is paradoxically accompanied by a lack of critical and theoretical analysis. Today, there is a genuine ignorance concerning Indigenous conceptions of history — their “regime of historicity”— on the part of Western art historians. This is all the more surprising given the recent “temporal turn” taken by the discipline, which emphasizes the question of mixed temporalities without acknowledging it as an essential dimension of Indigenous art. This paper revisits Western art history’s long-standing denial of the historicity of Indigenous art, and then considers its current disregard for the ways Indigenous art allows different forms of temporality to coexist. The underlying thesis of the essay is that today’s disinterest is, in fact, a prolongation of yesterday’s denial.

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13

Horneman-Wren, Brigid. "Prison art programs: Art, culture and human rights for Indigenous prisoners." Alternative Law Journal 46, no. 3 (April 21, 2021): 219–24. http://dx.doi.org/10.1177/1037969x211008977.

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This article argues that prison art programs are central to the human rights of Indigenous detainees. It examines how these programs are most commonly understood in terms of their rehabilitative value, an approach which fails to fully capture the right of Indigenous detainees to participation in them. It argues that a human rights framework should be applied to prison art programs. This recognises the pivotal role art programs play in realising a multitude of interconnected rights, upholds the voices of Indigenous prisoners and emphasises the crucial place of self-determination in the design, delivery and ultimate success of programs.

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14

Bolt, Barbara. "Rhythm and the Performative Power of the Index: Lessons from Kathleen Petyarre's Paintings." Cultural Studies Review 12, no. 1 (August 5, 2013): 57–64. http://dx.doi.org/10.5130/csr.v12i1.3413.

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Is it possible to find an ethical and generative way to speak about the ‘work’ of Indigenous art? Regardless of what prohibitions exist to protect sacred knowledge from the gaze of Western eyes, Indigenous work is circulating; it is being read, misread, interpreted, misinterpreted and otherwise known. How can a non-Indigenous person ‘speak’ about Indigenous art without reducing it to the diagram, collapsing it into Western modes of knowing, or intruding into the domain of restricted cultural information? Given the lessons of the Indigenous cultural practices, I propose that the work of art is performative and not merely representational. Through attention to the operation of rhythm in Kathleen Petyarre’s paintings, I propose to reconfigure contemporary understandings of performativity. In this formulation I will argue that in the dynamic productivity of the performative act, the world intrudes into practice, and in a double movement, practice casts its effects back towards the world. In this way I suggest that just as life gets into images, so imaging also produces reality. This mutual reflection is the work of art.

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15

Portes, Edileila Maria Leite. "Art, Indigenous art, Borum / Krenak art: the intertwined paths to understanding the art." ARS (São Paulo) 13, no. 25 (June 14, 2015): 89. http://dx.doi.org/10.11606/issn.2178-0447.ars.2015.105525.

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Objetivando compreender e interpretar os desenhos da etnia Borum Krenak2,<br />o presente artigo propõe uma discussão acerca dos conceitos dados à arte<br />orientados pela hegemonia dos códigos culturais europeus e norte-americanos brancos e das próprias mutações pelos quais estes conceitos têm passado desde a Idade Moderna. Para tanto, trago para análise, os desenhos borum colhidos por meio de uma caminhada etnográfica pelo território3 Krenak, no Vale do Rio Doce, Minas Gerais, aliado a uma reflexão teórica calcada na linha epistemológica baseada na teoria compreensiva de Weber (1864–1920) e na antropologia interpretativa de Geertz4.

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16

Butler, Sally. "‘Art for a New Understanding’: An Interview with Valerie Keenan, Manager of Girringun Aboriginal Art Centre." Arts 8, no. 3 (July 15, 2019): 91. http://dx.doi.org/10.3390/arts8030091.

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A network of Indigenous art and culture centres across Australia play a significant role in promoting cross-cultural understanding. These centres represent specific Indigenous cultures of the local country, and help sustain local Indigenous languages, traditional knowledge, storytelling and other customs, as well as visual arts. They are the principle point of contact for information about the art, and broker the need to sustain cultural heritage at the same time as supporting new generations of cultural expression. This interview with Dr Valerie Keenan, Manager of Girringun Aboriginal Art Centre in northern Australia, provides rare insight into the strategies, challenges, and aspirations of Indigenous art centres and how the reception of the art impacts on artists themselves. It provides a first-hand account of how Indigenous artists strive to generate a new understanding of their culture and how they participate in a global world.

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17

Loaney, Denis. "Australian Indigenous Art Innovation and Culturepreneurship in Practice: Insights for Cultural Tourism." Arts 8, no. 2 (April 9, 2019): 50. http://dx.doi.org/10.3390/arts8020050.

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Indigenous cultural tourism offers significant future opportunities for countries, cities and Indigenous communities, but the development of new offerings can be problematic. Addressing this challenge, this article examines contemporary Australian Indigenous art innovation and cultural entrepreneurship or culturepreneurship emanating from Australia’s remote Arnhem Land art and culture centres and provides insight into the future development of Indigenous cultural tourism. Using art- and culture-focused field studies and recent literature from the diverse disciplines of art history, tourism, sociology and economics, this article investigates examples of successful Indigenous artistic innovation and culturepreneurship that operate within the context of cultural tourism events. From this investigation, this article introduces and defines the original concept of Indigenous culturepreneurship and provides six practical criteria for those interested in developing future Indigenous cultural tourism ventures. These findings not only challenge existing western definitions of both culture and culturepreneurship but also affirm the vital role of innovation in both contemporary Indigenous art and culturepreneurial practice. Equally importantly, this investigation illuminates Indigenous culturepreneurship as an important future-making socio-political and economic practice for the potential benefit of Indigenous communities concerned with maintaining and promoting their cultures as living, growing and relevant in the contemporary world.

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18

Hill Sr., Richard W. "The Fine Art of Being Indigenous." Art Bulletin 97, no. 1 (January 2, 2015): 7–9. http://dx.doi.org/10.1080/00043079.2015.981474.

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19

McMaster, Gerald. "Contemporary Art Practice and Indigenous Knowledge." Zeitschrift für Anglistik und Amerikanistik 68, no. 2 (June 25, 2020): 111–28. http://dx.doi.org/10.1515/zaa-2020-0014.

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AbstractIndigenous artists are introducing traditional knowledge practices to the contemporary art world. This article discusses the work of selected Indigenous artists and relays their contribution towards changing art discourses and understandings of Indigenous knowledge. Anishinaabe artist Norval Morrisseau led the way by introducing ancient mythos; the gifted Carl Beam enlarged his oeuvre with ancient building practices; Peter Clair connected traditional Mi'kmaq craft and colonial influence in contemporary basketry; and Edward Poitras brought to life the cultural hero Coyote. More recently, Beau Dick has surprised international art audiences with his masks; Christi Belcourt’s studies of medicinal plants take on new meaning in paintings; Bonnie Devine creates stories around canoes and baskets; Adrian Stimson performs the trickster/ruse myth in the guise of a two-spirited character; and Lisa Myers’s work with the communal sharing of food typifies a younger generation of artists re-engaging with traditional knowledge.

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20

Leuthold, Steven. "Is There Art in Indigenous Aesthetics?" Journal of Arts Management, Law, and Society 25, no. 4 (January 1996): 320–38. http://dx.doi.org/10.1080/10632921.1996.9941808.

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21

Congreve, Susan, and John Burgess. "Remote art centres and Indigenous development." Journal of Management & Organization 23, no. 6 (November 2017): 803–20. http://dx.doi.org/10.1017/jmo.2017.66.

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AbstractArt centres fulfil many functions in remote regions as a source of Indigenous identity and creativity; as a link to the global art market; as centres for community engagement and participation; and as a source of social capital providing a range of services for local communities. They are dependent on funding from State and Federal authorities and they are identified as one of the success stories in remote community development. However, they face an uncertain future in the light of their multiple functions and their position as both a source of traditional identity and a link to an external art market. The article highlights the challenges faced by government in the evaluation of their effectiveness and contribution; and in particular discusses the suitability of the hybrid economy model as a representation of their functions.

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22

Webb, Jen. "Negotiating Alterity: Indigenous and 'Outsider' art." Third Text 16, no. 2 (June 2002): 137–52. http://dx.doi.org/10.1080/09528820210138281.

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23

Olatunji, Nneka Zelda, and Bolajoko Esther Adiji. "The Evolution of Contemporary Indigenous Textile Practice in South West Nigeria." East African Journal of Interdisciplinary Studies 5, no. 1 (October 25, 2022): 205–11. http://dx.doi.org/10.37284/eajis.5.1.906.

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This paper examines changes that has occurred in the Nigerian textile from its cradle and the influence it had on both contemporary and Indigenous textile practice. Indigenous textile practice in South West of Nigeria has evolved over the past years. This study is an attempt to evaluate contemporary indigenous textile in Nigeria, to understand the difference between the two terms contemporary and indigenous. There is the need to exploit the potential of indigenous textile practice. Therefore, to understand the contemporary evolution that has affected it is important. The aim of this paper therefore, is to investigate contemporary indigenous textile practice evolution in South West of the county. The research used historical method in analysing the evolution of contemporary indigenous textile practice in south west Nigeria. Findings and conclusions were made that the South West has a very rich heritage of contemporary indigenous textile practice which is culturally unique, and this study will act as a stimulus to textile designers, textile cottage industry, students, art historian, and art scholar

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24

Olatunji, Nneka Zelda, and Bolajoko Esther Adiji. "The Evolution of Contemporary Indigenous Textile Practice in South West Nigeria." East African Journal of Interdisciplinary Studies 6, no. 1 (March 17, 2023): 100–106. http://dx.doi.org/10.37284/eajis.6.1.1145.

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This paper examines changes that has occurred in the Nigerian textile from its cradle and the influence it had on both contemporary and Indigenous textile practice. Indigenous textile practice in South West of Nigeria has evolved over the past years. This study is an attempt to evaluate contemporary indigenous textile in Nigeria, to understand the difference between the two terms contemporary and indigenous. There is the need to exploit the potential of indigenous textile practice. Therefore, to understand the contemporary evolution that has affected it is important. The aim of this paper therefore, is to investigate contemporary indigenous textile practice evolution in South West of the county. The research used historical method in analysing the evolution of contemporary indigenous textile practice in south west Nigeria. Findings and conclusions were made that the South West has a very rich heritage of contemporary indigenous textile practice which is culturally unique, and this study will act as a stimulus to textile designers, textile cottage industry, students, art historian, and art scholar

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25

Robertson, Carmen. "Utilising PEARL to Teach Indigenous Art History: A Canadian Example." Australian Journal of Indigenous Education 41, no. 1 (August 2012): 60–66. http://dx.doi.org/10.1017/jie.2012.9.

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This article explores the concepts advanced from the Australian Learning and Teaching Council (ALTC)-funded project, ‘Exploring Problem-Based Learning pedagogy as transformative education in Indigenous Australian Studies’. As an Indigenous art historian teaching at a mainstream university in Canada, I am constantly reflecting on how to better engage students in transformative learning. PEARL offers significant interdisciplinary theory and methodology for implementing content related to both Canadian colonial history and Indigenous cultural knowledge implicit in teaching contemporary Aboriginal art histories. This case study, based on a third-year Indigenous art history course taught at University of Regina, Saskatchewan in Canada will articulate applications for PEARL in an Aboriginal art history classroom. This content-based course lends itself to an interdisciplinary pedagogical approach because it remains outside the traditional disciplinary boundaries accepted in most Eurocentric-based histories of art. Implementing PEARL both theoretically and methodologically in tandem with examples of contemporary Indigenous art allows for innovative ways to balance course content with the sensitive material required for students to better understand and read art created by Indigenous artists in Canada in the past 40 years.

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26

Graham, Karen, Rhonda Camille, and Tracey Kim Bonneau. "En’owkin Centre Breastfeeding Art Expo." Canadian Food Studies / La Revue canadienne des études sur l'alimentation 5, no. 2 (May 23, 2018): 196–203. http://dx.doi.org/10.15353/cfs-rcea.v5i2.289.

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A unique Indigenous-focused Art Expo on the topic of breastfeeding was held at En’owkin Centre at Penticton Indian Band in October and November 2017. The En’owkin Centre is a nationally recognized Indigenous arts and training centre. This review highlights some of the art from the En’owkin Indigenous Expo including six of the Community Art Projects and three Independent Art pieces. The En’owkin Breastfeeding Art Expo was part of a larger Expo (2017-2018) that is a joint partnership with Interior Health and the non-profit social service organization KCR-Community Resources; it was funded by five organizations. With 35 community partners, the project was led by a ten-member steering committee that including two Indigenous members. The Expo offered a full-colour Art Catalogue and a Teacher’s Guide. The larger Expo travelled to six locations in the Interior of British Columbia, and included 15 large community art projects and 65 independent artworks by citizens of central British Columbia, as well as 20 short videos that tell the significant art and health stories. Art is recognized as an important tool for Indigenous people for health and healing. This Expo was an opportunity to celebrate community, art, and breastfeeding. The goals of the Expo were multi-faceted, namely, to increase awareness of the benefits of breastfeeding, to encourage new ways of thinking about health through art, and to support work towards establishing better care for women to breastfeed in the hospital and community.

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27

Jurosz, Gabriela. "Anthropology of Art. Indigenous Concepts in Contemporary Art in Guatemala." Anthropos 109, no. 1 (2014): 206–17. http://dx.doi.org/10.5771/0257-9774-2014-1-206.

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28

McMaster, Gerald, Michael Frederick Rattray, Natalja Chestopalova, Brittany Pitseolak Bergin, Mariah Meawasige, Maya Filipp, Yiyi Shao, and Brendan Griebel. "The Virtual Platform for Indigenous Art: An Indigenous-led Digital Strategy." Collections: A Journal for Museum and Archives Professionals 18, no. 1 (March 2022): 84–95. http://dx.doi.org/10.1177/15501906211072908.

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Over the past decade, a multitude of digital platforms engaging with Indigenous collections of ancestral belongings have been developed for the public in an effort to reconsider and reconceptualize notions of access and Indigenous ownership in virtual space. An initiative in partnership with the Onsite Gallery, the Virtual Platform for Indigenous Art (VPIA) is a newly developed resource that originates from Dr. Gerald McMaster’s Entangled Gaze Project at the Wapatah Centre for Indigenous Visual Knowledge, OCAD University in Toronto, Canada. VPIA is a strategic digital platform that brings together a specific dataset of Indigenous artworks and cultural belongings that portray European and Asian newcomers to Turtle Island, drawn from global museum collections. The platform’s innovative approach to collections is grounded in a dual record format, where visitors are invited to create a Community-Member profile and contribute knowledge and information to artwork pages that consist of a permanent institutional record and an evolving community-generated VPIA record. The VPIA is intended to bridge communities and institutions to facilitate digital contributions of novel ideas about the Turtle Island contact zone and the implications of the colonial period, from early contact through to the twentieth century.

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29

Garneau, David. "Arte Indígena: de la apreciación a la crítica de arte." Revista Sarance, no. 49 (December 12, 2022): 69–85. http://dx.doi.org/10.51306/ioasarance.049.04.

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El artículo comienza con el reclamo del artista Aborigen australiano Vernon Ah Kee alrededor de la ausencia de crítica a su arte. Su demanda parte del reconocimiento de que el arte contemporáneo, es decir, arte que participa en los discursos y las instituciones artísticas internacionales, solo es considerado como tal cuando es objeto de crítica. Al no atraer a la crítica, el arte Aborigen queda fuera de las altas esferas del mundo artístico. Esta resistencia puede explicarse por un racismo institucional: la cultura dominante se niega a reconocer al arte Aborigen como arte contemporáneo. O, quizás, tiene que ver con que el arte Aborigen es tan avanzado y diferente del arte dominante que, para los críticos y sus puntos de vista, es difícilmente aprehensible. Hasta recientemente, el arte Aborigen era apreciado, por los coleccionistas, como hermoso e interesante. No así por las instituciones, que lo consideraban en términos de producciones culturales. Las obras de arte Aborigen eran entonces relegadas a los museos, como piezas antropológicas, y no como objetos artísticos a ser expuestos en galerías. Para evitar malinterpretaciones y usos incorrectos, es importante distinguir el arte Aborigen del arte Indígena. El arte Aborigen es arte tradicional o arte pensado para la contemplación no-Aborigen pero que no participa de los discursos y las instituciones del mundo internacional del arte. El arte Indígena, una nueva clase de arte, en cambio, sí lo hace. Para ello, es indispensable la crítica que reflexiona sobre cómo lo hace. La emergencia de artistas Indígenas que trabajan con contenidos y estilos no tradicionales y el surgimiento de la curaduría Indígena, pone en evidencia que parte de este arte es arte contemporáneo por lo cual, debe ser abordado desde la crítica de arte. Si los críticos no-Indígenas no quieren o no se sienten capaces de escribir sobre el arte Indígena, es imprescindible una nueva generación de críticos Indígenas de arte Indígena. Sin embargo, también podría ser útil contar con críticos que puedan actuar de una forma no colonial habiendo aprendido a “leer” y escribir sobre el arte Indígena.

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30

Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017

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31

McIntyre, Sophie. "Questions of Identity and Origins in the Museological Representation of Contemporary Indigenous Art in Taiwan." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 110–29. http://dx.doi.org/10.1163/23523085-00302006.

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The significant ideological and cultural role of public museums in shaping national identity is widely acknowledged. This paper focuses on the roles of Taiwan’s public art museums in generating nationalist narratives that privilege notions of cultural distinctiveness and authenticity in the visual representation of art from Taiwan. Two exhibitions of contemporary Indigenous art provide a platform for critical analysis of the impact of identity politics on the selection, display, and promotion of Taiwanese Indigenous art. Questions of artistic agency are also explored in this paper, demonstrating how Indigenous artists in Taiwan are increasingly interrogating and contesting systems of museological representation which seek to locate or “frame” Indigenous art within an Austronesian nationalist identity narrative. These exhibitions and the artists’ works and observations offer an insight into the complex and shifting interrelationship between national identity politics and the museological representation of art in Taiwan.

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32

Sackler, EA. "The ethics of collecting." International Journal of Cultural Property 7, no. 1 (January 1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.

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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred objects from living Indigenous Peoples.

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Bae-Dimitriadis, Michelle. "Land-Based Art Criticism: (Un)learning Land Through Art." Visual Arts Research 47, no. 2 (December 1, 2021): 102–14. http://dx.doi.org/10.5406/visuartsrese.47.2.0102.

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Abstract This article provides an overview of how land-based settler colonial critique can reorient art criticism and art education to expand the scope of art and art practice to critical considerations of land politics and social justice, particularly in terms of the repatriation of Indigenous lands. In particular, land-based perspectives can help to rethink place/land by offering decolonizing methods for critiquing Western works of art that address place. Art educators’ ability to understand and critique settler colonialism in art has been hindered by Eurocentric art criticism. This article seeks to reveal settler colonial imperatives and ambitions regarding land through a critical analysis of American landscape paintings and land art. This piece further examines contemporary Indigenous artists’ site-specific works through adopting decolonial, land-based inquiry. Land-based art criticism interrupts the dominant mode of art inquiry to more comprehensively analyze art associated with place/land and expand the scope of social, cultural, and political understandings of social equity.

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34

Vett. "Australian Indigenous Art Centres Online: A Multi-Purpose Cultural Tourism Framework." Arts 8, no. 4 (October 26, 2019): 145. http://dx.doi.org/10.3390/arts8040145.

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In early 2019, Australia’s Northern Territory (NT) government announced the $106 million funding and promotion of a new state-wide Territory Arts Trail featuring Indigenous art and culture under the banner “The World’s biggest art gallery is the NT.” Some of the destinations on the Arts Trail are Indigenous art centres, each one a nexus of contemporary creativity and cultural revitalisation, community activity and economic endeavour. Many of these art centres are extremely remote and contend with resourcing difficulties and a lack of visitor awareness. Tourists, both independent and organised, make their travelling decisions based upon a range of factors and today, the availability of accessible and engaging online information is vital. This makes the quality of the digital presence of remote art centres, particularly their website content, a critical determinant in visitor itineraries. This digital content also has untapped potential to contribute significant localised depth and texture to broader Indigenous arts education and comprehension. This article examines the context-based website content which supports remote Indigenous art centre tourism and suggests a strategic framework to improve website potential in further advancing commercial activities and Indigenous arts education.

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35

Pageot, Edith-Anne. "L’art autochtone à l’aune du discours critique dans les revues spécialisées en arts visuels au Canada. Les cas de Sakahàn et de Beat Nation." Article quatre 9, no. 1 (October 17, 2018): 81–94. http://dx.doi.org/10.7202/1052629ar.

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This article offers a qualitative and quantitive analysis of the critical reception of two exhibitions, Sakahàn:International Indigenous Art (National Gallery of Canada, Ottawa 2013) and Beat Nation: Art, Hip-Hop and Aboriginial Culture (organised and circulated by the Vancouver Art Gallery, 2013-2014). The study treats articles which appeared between 2012 and 2015 in English and French visual-arts publications. The comparative analysis intends to highlight general trends, in order to identify challenges that contemporary Indigenous arts pose for art criticism. A review of the texts shows that all commentators, whether francophone or anglophone, indigenous or non-Indigenous, have welcomed these two exhibitions warmly. The discrepancy between the number of essays in French and those in English reflects the demographic weight of these two linguistic communities and the geographic distribution of First Nations in Canada. This will qualify, without denying, the hypothesis of Quebec's tardiness on the indigenous question. The authors largely recognize the necessity of initiating indigenization of the museum and emphasize the movement to internationalize contemporary indigenous art. Yet many commentators, particulary Indigenous people, dispute the efficacity of the concept of "strategic essentialism" put forward by the commissioners of the Sakahàn catalog. Despite both a real interest in these two major exhibitions and the quality of the commentary, in the end, for events of such a scale few texts have been published on the subject. The criteria for appreciation rooted in the institutional sociology of art endeavour to fully take into account the challenges posed by certain central aspects of the approach of several Indigenous creators, such as the intangible dimensions of their civic engagement, the dissolution of particular outside venues and the sisterhood of certain projects.

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Goodfellow, Kirstie. "Reframing Timelines: Daniel David Moses and Indigenous Wonderworks in the 1980s." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (November 30, 2021): 163–73. http://dx.doi.org/10.5206/tba.v3i1.13943.

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Indigenous speculative fiction was conceptualized and produced in the late twentieth century, engaging with themes related to the modern Indigenous political movement that was occurring at the same time including decolonization, education, and resistance to settler-colonialism. In Canada, the late twentieth century experienced a cultural boom of Indigenous art in response to the pan-Indigenous political movement that enveloped the nation in the 1960s-1990s. Daniel David Moses's The Dreaming Beauty is an early example of Indigenous Wonderworks, situated within the broader framework of Indigenous Futurisms. The Dreaming Beauty reveals three things. The depth and complexity of Indigenous Futurist art; the presence of Wonderworks in the twentieth century; and the connections between Indigenous Wonderworks and the wider modern Indigenous political movement of the late twentieth century.

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Kraus, Brittany. "Art for Everyone?" Theatre Research in Canada 40, no. 1-2 (March 20, 2020): 42–63. http://dx.doi.org/10.7202/1068257ar.

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Founded in 2008 by Shahin Sayadi and Maggie Stewart, the Prismatic Arts Festival is a Halifax-based multidisciplinary arts festival that features the work of Indigenous and culturally diverse artists. This article examines the development of the Prismatic Arts Festival and the ways in which the festival has sought to negotiate, challenge, and transform Halifax’s artistic landscape by creating a model that is locally-grounded, nationally-networked, and fundamentally devoted to advancing the careers and profiles of Indigenous and culturally diverse artists in Nova Scotia and across Canada both within and outside of mainstream performance cultures. As the festival recently celebrated its tenth anniversary, this article traces the history of the Prismatic Arts Festival, its struggles and successes, and the complex negotiations the festival has made and continues to make in order to move toward a future of Canadian theatre in which cultural diversity and inclusivity are the norm, rather than the exception.

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Riphagen, Marianne, and Gretchen M. Stolte. "The Functioning of Indigenous Cultural Protocols in Australia’s Contemporary Art World." International Journal of Cultural Property 23, no. 3 (August 2016): 295–320. http://dx.doi.org/10.1017/s0940739116000163.

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Abstract:In recent decades, cultural protocols have emerged as a non-judicial alternative to the inadequate legal protection of Indigenous cultural heritage. They are meant to protect Indigenous peoples from the misappropriation of their heritage by outsiders and enhance Indigenous peoples’ control over their own domain. This article examines the functioning of Indigenous cultural protocols within Australia’s contemporary art world. As we will demonstrate, cultural protocols have clear practical utility. They can raise awareness, instigate changes in behaviour, and operate as a conduit for correcting the unauthorized use of Indigenous cultural materials. Yet, a disjunction exists between codified ideals and a messy reality. Our analysis of two protocol transgressions shows that protocols do not automatically protect Indigenous individuals equally. Furthermore, although discussions about compliance are infused with rhetoric about the authority of “the Indigenous community,” Indigenous people with cultural connections to contested heritage objects do not always have a clear voice in decisions made about their use.

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Scudeler, June, and Patricia Marroquin Norby. "Art, Aesthetics, and Indigenous Ways of Knowing." American Indian Culture and Research Journal 39, no. 4 (December 1, 2015): ix—xi. http://dx.doi.org/10.17953/aicrj.39.4.scudeler.norby.

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Gigler, Elisabeth. "Indigenous Australian Art Photography: an Intercultural Approach." Zeitschrift für Australienstudien / Australian Studies Journal 2122 (2008): 57–64. http://dx.doi.org/10.35515/zfa/asj.2122/200708.07.

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Hall, Judith G., Maile M. Taualii, and Wedlidi Speck. "Northwest Indigenous Art and the Inspiring Spirits." American Journal of Medical Genetics Part C: Seminars in Medical Genetics 187, no. 2 (May 13, 2021): 254–60. http://dx.doi.org/10.1002/ajmg.c.31890.

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Prins, Harald E. L., and Bunny McBride. "Upside Down: Arctic Realities and Indigenous Art." American Anthropologist 114, no. 2 (June 2012): 359–64. http://dx.doi.org/10.1111/j.1548-1433.2012.01434.x.

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Peers, Laura. "Indigenous Artists in the European Art World." Art History 42, no. 3 (May 22, 2019): 617–18. http://dx.doi.org/10.1111/1467-8365.12448.

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Bleiker, Roland, and Sally Butler. "Radical Dreaming: Indigenous Art and Cultural Diplomacy." International Political Sociology 10, no. 1 (February 19, 2016): 56–74. http://dx.doi.org/10.1093/ips/olv004.

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Nixon, Lindsay. "Toward a Relational Historicization of Indigenous Art." Art Journal 77, no. 4 (October 2, 2018): 127–28. http://dx.doi.org/10.1080/00043249.2018.1549883.

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Lee, Molly. "Introduction: Divine Intervention: Missionaries and Indigenous Art." Museum Anthropology 24, no. 1 (March 2000): 3–4. http://dx.doi.org/10.1525/mua.2000.24.1.3.

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Rowe, Astarte. "Anamorphosis and seamlessness in contemporary Indigenous art." World Art 7, no. 1 (January 2, 2017): 123–55. http://dx.doi.org/10.1080/21500894.2016.1267039.

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Bessant, Judith, and Rob Watts. "Indigenous Digital Art as Politics in Australia." Culture, Theory and Critique 58, no. 3 (July 19, 2016): 306–19. http://dx.doi.org/10.1080/14735784.2016.1203810.

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Heath, Alexandra, Alexander Javois, and Franz Freudenthal. "Weaving Indigenous Textile Art Into Cardiac Devices." JAMA 319, no. 10 (March 13, 2018): 966. http://dx.doi.org/10.1001/jama.2018.0387.

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Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (January 2001): 185–216. http://dx.doi.org/10.1017/s0940739101771305.

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This article examines the issues surrounding the appropriation of indigenous culture, in particular art. It discusses the nature and context of Aboriginal and Torres Strait Islander art in Australia in order to establish why appropriation and reproduction are important issues. The article outlines some of the ways in which the Australian legal system has attempted to address the problem and looks at the recent introduction of the Label of Authenticity. At the same time, the article places these issues in the context of indigenous self-determination and examines the problematic use of such concepts as “authenticity.” Finally, the article looks beyond the Label of Authenticity and existing law of intellectual and cultural property, to sketch another possible solution to the problem.

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