Tesi sul tema "Aboriginal art Art"
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1
Mengler, Sarah Elizabeth. "Collecting indigenous Australian art, 1863-1922 : rethinking art historical approaches". Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709014.
Testo completo
2
Gattermann, Diane. "Using art therapy with aboriginal offenders". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0007/MQ43687.pdf.
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Cirino, Gina. "American Misconceptions about Australian Aboriginal Art". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
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4
Adsit, Melanie Hope. "Caught between worlds: urban aboriginal artists". Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.
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Walsh, Andrea Naomi. "Contemporary aboriginal art texts, intersections of visual culture". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0012/NQ59158.pdf.
Testo completo
6
Lysyk, Linda Marie. "Native art and school curriculum : Saskatchewan Aboriginal artists' perspectives". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30166.
Testo completoAbstract (sommario):
This study presents Aboriginal artists' perspectives on the study of Native art in the school curriculum. The case study is a naturalistic inquiry that employs ethnographic techniques to interview nine Saskatchewan artists, five females and four males.
Overall, the artists agree on having Native art content in school programs, especially for Native students. All the artists believe that Aboriginal peoples should be involved in the definition and presentation of their art in the school curriculum. The artists show that content, and materials, may or may not be traditional.
The artists prefer an observing and modelling approach to teaching bead and leather work, and to teaching drawing and painting. The male artists, primarily, support a research approach for studying the vast, diverse, and complex art of indigenous peoples. As well as learning about the art, the artists stress learning from the art including history, ecology, and about art from a non-Western perspective.
The words, stories, and views of all the artists emphasize that art is a dynamic part of Aboriginal peoples' lives and cultures; one which they are willing to explain and share. Native art is a rich resource for school curriculum. It is a resource that must be and can be shaped by Aboriginal peoples.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Morphy, Howard. "Ancestral connections : art and an aboriginal system of knowledge /". Chicago : University of Chicago press, 1991. http://catalogue.bnf.fr/ark:/12148/cb356879823.
Testo completo
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Brooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia". University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.
Testo completoAbstract (sommario):
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
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Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia". Thesis, University of Ballarat, 2005. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38083.
Testo completoAbstract (sommario):
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
10
Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia". University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.
Testo completoAbstract (sommario):
"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
11
Dreise, Mayrah Yarraga. "Constructing Place: Australian Aboriginal Art Practice at the Cultural Aesthetic Interface". Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366227.
Testo completoAbstract (sommario):
This exegesis frames my creative research. It details the cultural theories, histories, artists, arts practices and creative processes that have influenced the project. The exegesis provides an insight into the creative journey, conceptual thinking and arts products that have assisted me in answering the research question - Can artworks become a form of cultural agency whereby Aboriginal Place is realised not reconceptualised? Drawing from place-based methodologies, post-colonial theories, subaltern studies and Aboriginal ways of working, this research aspired to engage the viewer within a dialectic that realised the tensions and challenges Aboriginal artists have in presenting a sense of Place within artworks. It considered how Aboriginal art can both educe and challenge viewers’ cultural constructions of Aboriginal peoples, which impact on the reception, promotion and categorisation of Aboriginal art. The project asked, if whiteness is the imposed spatial aesthetic, how can Aboriginal Place, a culturally and communally held understanding of the world ever be realised? The creative research considered to what extent an Aboriginal artwork is both ‘a white thing’ and ‘a black thing’. The research interrogated knowledge intersections, Western and Indigenous, located within the cultural aesthetic interface. Through creative praxis artificial binaries existing within the Australian arts industry - traditional and contemporary, remote and urban, authentic and inauthentic, individual and collective - were challenged.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
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Petersen, Kim Jorja. "Sustainability of Remote Aboriginal Art Centres in Australian Desert Communities". Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/1170.
Testo completoAbstract (sommario):
This PhD thesis investigates and analyses the functions and business practices that underpin the sustainability and performance of remote Aboriginal Art Centre Cooperatives. The thesis draws extensively on the work of Mazzarol et al (2011a; 2011b; 2012a; 2012b; 2012c) and develops a new culturally appropriate Combined Framework for use as a research tool that enables a systematic analysis of the sustainability of remote Aboriginal Art Centres.
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King, Victoria School of Art History & Theory UNSW. "Art of place and displacement: embodied perception and the haptic ground". Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/22495.
Testo completoAbstract (sommario):
This thesis examines the relationship between art and place, and challenges conventional readings of the paintings of the late Aboriginal Anmatyerr elder Emily Kame Kngwarray of Australia and Canadian/American modernist artist Agnes Martin. In the case of Kngwarray, connections between body, ground and canvas are extensively explored through stories told to the author by Emily???s countrywomen at Utopia in the Northern Territory. In the case of Agnes Martin, these relationships are explored through personal interview with the artist in Taos, New Mexico, and by phenomenological readings of her paintings. The methodology is based on analysis of narrative, interview material, existing critical literature and the artists??? paintings. The haptic and embodiment emerge as strong themes, but the artists??? use of repetition provides fertile ground to question wholly aesthetic or cultural readings of their paintings. The thesis demonstrates the significance of historical and psychological denial and erasure, as well as transgenerational legacies in the artists??? work. A close examination is made of the artists??? use of surface shimmer in their paintings and the effects of it on the beholder. The implications of being mesmerized by shimmer, especially in the case of Aboriginal paintings, bring up ethical questions about cultural difference and the shadow side of art in its capacity for complicity, denial, appropriation and commodification. This thesis challenges the ocularcentric tradition of seeing the land and art, and examines what occurs when a painting is viewed on the walls of a gallery. It addresses Eurocentric readings of Aboriginal art and looks at the power of the aesthetic gaze that eliminates cultural difference. Differences between space and place are explored through an investigation of the phenomenology of perception, the haptic, embodiment and ???presentness???. Place affiliation and the effects of displacement are examined to discover what is often taken for granted: the ground beneath our feet. Art can express belonging and relationship with far-reaching cultural, political, psychological and environmental implications, but only if denial and loss of place are acknowledged.
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Fesq, Harriet. "Wupun/Warrgadi: Ngan’gi fibre and the art of Peppimenarti". Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/15611.
Testo completoAbstract (sommario):
This dissertation examines the history and contemporary artistic practice of the Ngan’gi language groups of the Peppimenarti community (NT), within the greater context of Indigenous Top-End fibre art and acrylic painting. The dissertation endeavours to answer the question: “How does Ngan’gi fibre design and pattern construction reconceptualise cultural significance?” The research traces a ‘traffic’ of historical and contemporary Ngan’gi objects, and the succession of significances they have held for colonial and/or Indigenous makers, collectors and audiences. The dissertation also investigates cognate practices within Indigenous Australian textile and fibre art, illuminating the processes behind the construction of designs and the cultural, social and historical meanings they communicate. Finally, this study acts as a repositioning of the prevailing theories of significance within contemporary Indigenous art, arguing for a re-evaluation of pattern design within the woven and painted forms of the Ngan’gi.
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Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.
Testo completoAbstract (sommario):
This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference.
16
Hergass, Shiri. "A model of art therapy for Aboriginal children within the preschool". Thesis, Australian Catholic University, 2019. https://acuresearchbank.acu.edu.au/download/e7e602dc73627159d94640dfc79b893cebdc6db80fc5ea5f19c5c1e876c9324e/3574627/Hergass_2019_A_model_of_art_therapy_for.pdf.
Testo completoAbstract (sommario):
This research sets out to formally develop the Seasonal Model of Art Therapy, to observe and test it in action, and to address the research question, which examines ways to support educators working with children who have experienced trauma, using art therapy groups in preschools. Case study methodology was utilised, to systematise the approach and to assist in fully articulating its aims, purposes and procedure, ultimately for dissemination to art therapy teams and educators. In addition, the thesis provides a systematic and somewhat exhaustive survey of contributory theories and related research in the literature, which serves towards providing a rationale for the work. The Seasonal Model, devised and developed over some twenty years by the author, an experienced art therapist and clinical social worker, and in the last ten in collaboration with art therapist Andrea Bloom in Australia, is an articulated art therapy process designed to work with people affected by trauma. For the purposes of this research it was conducted in a preschool with a significant number of children, and educators also, affected by trauma or vicarious trauma. This preschool was affected by so-called “big behaviours” such as swearing, kicking, biting, or breaking furniture; ways of communicating experiences and distress. The research has developed my original conception of the Seasonal Model in two key innovations. Firstly, it applied decolonising theory in order to adapt the model to the unique challenges that many Australian Aboriginal children who have experienced trauma, can face. Secondly, it repositioned the models focus from the affected children, to a focus on their relationship with their educators, as the most important protective resource for childhood development is a strong relationship with an engaged, empathic adult. However, past research suggests that educators themselves are prone to vicarious traumatisation in being exposed to trauma-derived behaviours in the children and are often unable to fulfil this role for children, as they impact on their feelings, behaviour and relationships with the children in attempts to control or avoid engagement with the children. The research was designed to have educators present during the art therapy sessions, and to incorporate collaborative and consultative practice with the educators throughout the four “seasons” of the Seasonal Model, which extends from planning through implementation to evaluation and reflection phases. Educators also were actively engaged in the process of designing, participating, reflecting, and evaluating. When the Seasonal Model was implemented, it was found that children used the art space to express themselves and create more meaningful relationships with their educators. They used their art, and often the space, to share their stories, and this had positive effects on their behaviours and general resilience. Educators reported increased empathy with the children, being better able to contextualise children’s behaviours and therefore to have more tolerance of them and having more resources to respond to such behaviours. The educators reported a positive shift in being able to better understand and contextualise their own vicarious traumatisation.
17
McDonald, Michelle. "Selling Utopia marketing the art of the women of Utopia /". Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.
Testo completoAbstract (sommario):
Thesis (MA)--Macquarie University, Institute of Early Childhood.Includes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
265, [48] p
18
Smith, Lesley A. "Aboriginal textile art : Ernabella batiks and the screen printed fabrics of Tiwi design /". Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.ms6421.pdf.
Testo completo
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Susino, George J. "Microdebitage and the archaeology of rock art an experimental approach /". Connect to full text, 1999. http://hdl.handle.net/2123/606.
Testo completoAbstract (sommario):
Thesis (M. Sc.)--University of Sydney, 2000.Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.
20
Lowish, Susan Kathleen 1969. "Writing on "Aboriginal art" 1802-1929 : a critical and cultural analysis of the construction of a category". Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5493.
Testo completo
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Blake, Kate M. "Drawing All the Way: The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
Testo completo
22
Winn, Nicola Bliss. "Boundaries, Connections and Cultural Heritage Management Challenges: The Rock Art of the Chillagoe – Mungana Limestone Belt, Queensland, Australia". Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366036.
Testo completoAbstract (sommario):
This PhD thesis focuses on the rock art found along the Chillagoe-Mungana limestone belt, 170 kilometres west of Cairns, in the semi-arid interior of Queensland. The Chillagoe-Mungana limestone belt borders the traditional estates of three Aboriginal groups, the Wakaman, the Wakara, and the Kuku Djungan. This project investigates the rock art found along the common boundaries of these territories, specifically examining what social and economic information the rock art encodes about the Aboriginal groups of north Queensland prior to European contact. The Chillagoe-Mungana district is ideally placed for an investigation into junction zone rock art. Not only does the limestone belt intersect the territory of multiple local Aboriginal groups in the late Holocene, it also serves as the transitional boundary zone between two of the major rock art provinces in Queensland, the intersection between the North/Central Queensland Highlands region and Cape York Peninsula. Analysis of temporal and geographical changes in the distribution of the motifs of the Chillagoe rock art assemblage provide insight into the nature of rock art junctions, not only in Queensland, but also across Australia. This PhD project has two components: first, to record rock art sites in the Chillagoe-Mungana region in order to illuminate the socio-cultural context of north-eastern Australia; and second, to examine the cultural heritage management challenges faced by Aboriginal groups in the current Australian social, economic and legislative context.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social Science
Arts, Education and Law
Full Text
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Souliere, Rolande. "Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada". Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.
Testo completoAbstract (sommario):
The debate of Indigenous art as contemporary art in Western art discourse has been ongoing since the acceptance of Indigenous art as contemporary art in the early 1990s. This has resulted in a collision of four diverse fields; Western art history, Western art criticism, anthropology and Indigenous cultural material. The debate stems from the problematised way the term contemporary is defined by globalised Euro-Western art and its institutions. This thesis considers the value of applying the concept of the contemporary to Indigenous art practices and art, in particular as a mode for cultural self-determination in order to avoid the historical domination of Western art history, history and its discursive power arrangements. The term, concept or theory of the contemporary remains elusive, indefinable and widespread in Western art discourse. Various definitions exist and are based on notions of openness, newness or plurality. Criticism of the contemporary’s openness has led to speculation of the contemporary as a valid concept or theory and or as a field of art practice, particularly its claim to social or political engagement and its inability to historicise current art. This thesis contends that the openness of the contemporary concept provides a gateway in which to situate it in a much broader cultural analysis that embraces different historiographies and worldviews. Thereby directly contributing to the ongoing critical discourse of Indigenous art as contemporary art debate. This thesis contributes to addressing this debate by proposing a definition of the contemporary that bridges history, art history and contemporary art and explores the potential for administering a contemporary art practice within this view. It highlights the historical analysis of the journey of Indigenous art from the ethnographic to the contemporary art museum by examining Indigenous rupture and transformation through Western history and art history. The thesis examines Terry Smith’s recent contextualisation of contemporary theory, as Smith is the only art historian to include Indigenous art in the discussion on contemporary theory.[1] Richard Meyer’s theory on the contemporary is also examined as Meyer is unique in approaching contemporary theory from an artistic practice that embraces co-temporalities, art production and modes of trans-historicity. In ‘rendering the past as newly present’, this thesis proposes methods of contemporary art analysis in the examination of contemporary Indigenous artworks in the context that the socio-political and cultural use of contemporary art as a form of history production. Description of Creative Work An exhibition of one large installation took place at Sydney College of the Arts Galleries, Sydney in September 2016. Media included two- and three-dimensional artworks that were hung on the walls and placed on the floor. The installation used Indigenous forms, designs, processes and social, political, and cultural content as a result of the thesis research and demonstrated Indigenous artists are creating their Indigenous histories within the context of contemporary art. Photographic documentation is available in Appendix 3. [1] Terry Smith, What is Contemporary Art? (Chicago: University of Chicago Press, 2009), 133.
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Rivett, Mary I. "Yilpinji art 'love magic' : changes in representation of yilpinji 'love magic' objects in the visual arts at Yuendumu /". Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.mr624.pdf.
Testo completoAbstract (sommario):
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "January, 2005" Bibliography: leaves 108-112.
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Dunham, Amy. "Towards Collaboration: Partnership Between Indigenous and Non-Indigenous Australians in Art from 1970 to the Present". University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498911.
Testo completo
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Butler, Sally. "Emily Kngwarreye and the enigmatic object of discourse /". St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16427.pdf.
Testo completo
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Rossi, Alana. "An archaeological re-investigation of the Mulka's Cave Aboriginal rock art site, near Hyden, Southwestern Australia". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1884.
Testo completoAbstract (sommario):
Mulka's Cave is a profusely decorated hollow boulder at The Humps, a large granite dome near Hyden, a small town 350 km southeast of Perth. The importance of the artwork has been recognised for 50 years. Test excavations in the cave in 1988 yielded 210 mainly quartz artefacts assignable to the Australian Small Tool phase and a radiocarbon date of 420 ± 50 BP from just below the lowest artefact found. The artwork was recorded in detail in 2004. The recorder considered the radiocarbon date to be 'anomalously young' because most of the artwork is in poor condition, suggesting that it was made 3000-2000 years ago. Other dated rock art sites in Southwestern Australia came into use 4000-3000 BP. The excavators argued that the site was fairly insignificant, while the rock art researcher thought the profusion of motifs (452) made it a site of some significance, particularly in Southwestern Australia. The main aim of this study was to investigate these conflicting claims by re-investigating how Mulka's Cave had been used by Aboriginal people in the archaeological past.
This research became possible because local tourist organisations obtained federal funding to install an elevated walkway outside the cave in 2006. Under Section 18 of the Aboriginal Heritage Act (1972) 12 of the 34 postholes required were excavated and artefacts were collected from all the ground surfaces to be impacted. Subsequently, under Section 16 of the AHA, four, small, 0.5 x 0.5 m, testpits were excavated around the site: outside the cave entrance, on The Humps and in the Camping Area; a sheltered spot where the Traditional Owners had camped as children, with their grandparents. Organic material was scarce, so analysis focused on the numbers and types of stone artefacts recovered. The artefacts excavated in 1988 were also re-analysed. Five radiocarbon dates were obtained, which suggested that people began visiting the Camping Area (and using ochre) about 6500 BP, making Mulka's Cave one of the oldest radiometrically dated rock art sites in southern Western Australia.
The artefact data from Mulka's Cave were compared to those from these sites. The low artefact discard rate and high proportion of retouched/formal tools found at Mulka's Cave may indicate that the site was used differently from the other sites, but the data are problematic. Most (70%) of the handstencils in Mulka's Cave can be attributed to adolescents, possibly boys, which may also suggest that the site had ceremonial significance; perhaps as a focus for male initiation rituals. The artefact data do not support this hypothesis, however. There is no evidence of spatial patterning in artefact type or frequency across the site, which would be expected if the cave had had a ritual function. Instead, the Camping Area, Walkway Area and Mulka's Cave itself seem to have been used similarly.
It was concluded that, given the scarcity of free-standing potable water in the surrounding region and the presence at The Humps of two capacious gnammas (rockholes), that people probably visited the site when the gnammas were full. A wide variety of plant and animal foods would also have been available before the country was cleared for agriculture. When at Mulka's Cave, they may well have added to the corpus of rock art and carried out other ceremonial business, but there is no archaeological evidence for the latter.
It was also concluded that much more research needs to be undertaken in this neglected part of the semi-arid zone before the significance of Mulka's Cave can be properly assessed and its place in the archaeological record of Southwestern Australia determined.
28
Brand, Sally. "To exceed the boundaries of language: text in the visual art practices of contemporary artists Gordon Bennett, Shane Cotton and Tony Albert". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20669.
Testo completoAbstract (sommario):
This thesis addresses the use of text and language in the visual practices of three contemporary artists: Gordon Bennett (Australian, 1955–2014), Shane Cotton (New Zealand, b. 1964), and Tony Albert (Australian, b. 1981). In recent decades, local art histories in Australia and New Zealand have expanded globally as well as shifted internally to recognise, support and celebrate the work of Indigenous artists. The visual art practices of Bennett, Cotton and Albert, all contemporary international artists and Indigenous people, offer particular insights into this changing landscape. Quotational strategies and the re-use of images, objects and texts from both local and far-reaching sources are analysed and compared.
29
Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
Testo completoAbstract (sommario):
This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
30
West, Sharon Ann, e sharon west@rmit edu au. "A pictorial historical narrative of colonial Australian society: examining settler and indigenous culture". RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.102857.
Testo completoAbstract (sommario):
This exegesis covers a period of research and art practice spanning from 2004 to 2007. I have combined visual arts with theoretical research practice that considers the notion of Australian colonialism via a post colonial construct. I have questioned how visual arts can convey various conditions relationships between settler and Indigenous cultures and in doing so have drawn on both personal art practice and the works of Australian artists of the 19th and 20th centuries. These references demonstrate an ongoing examination of black and white relations portrayed in art, ranging from the drawings of convict artist, Joseph Lycett, through to the post federation stance of Margaret Preston, whose works expressed a renewal of interest in Indigenous culture. In applying a research approach, I have utilised a Narrative Enquiry methodology with a comparative paradigm within a Creative Research framework, which allows for various interpretations of my themes through both text and visuals. These applications also express a personal view that has been formed from family and workplace experiences. These include cultural influences from my settler family history and settler historical events in general juxtaposed with an accumulated knowledge base that has evolved from my personal and professional experience within Indigenous arts and education. I have also cited examples from Australian colonial and postcolonial art and literature that have influenced the development of my visual language. These include applying stylistic approaches that incorporate various artistic aspects of figuration and the Picturesque and literal thematic mode based on satire and social commentary. Overall, my research work also expresses an ongoing and evolving process that has been guided and influenced by current Indigenous and non-Indigenous Australian postcolonial critical thinking and arts criticism, assisting within the development of my personal views and philosophies .This process has supported the formation of a belief system that I believe has matured throughout my research and art practices, providing a personal confidence to assert my own analytical stance on colonial history.
31
Smith, Claire E. "Situating style: an ethnoarchaeological study of social and material context in an Australian aboriginal artistic system". Phd thesis, University of New England, 1994. http://hdl.handle.net/1885/266544.
Testo completoAbstract (sommario):
This is an ethnoarchaeological study of style in the visual arts of Aboriginal people living in the Barunga region of the Northern Territory, Australia. My main concern is the development of a practical framework for the analysis of style in indigenous visual arts. This framework integrates the notions of style, semiotics and social strategy in an attempt to deal with the dynamics of image creation and perception. The principal result is that the morphological characteristics of style are influenced systematically by the historically situated positions of both producer and interpreter and by the differing strengths, possibilities and constraints of different raw materials. Moreover, each raw material has inherent qualities that make it particularly suitable for specific social uses. Since different media within an artistic system are likely to exhibit a unique combination of stylistic characteristics, including differing degrees of diversity, it is incorrect to assume that a single art form will be indicative of an artistic system as a whole. My conclusions are that research needs to be focused clearly on the contexts in which archaeological art occurs and comparative studies need to compare like with like. Single explanations are unlikely to be sufficient since it is most likely that they tell only part of the story. In addition, seemingly anomalous evidence should not be discounted, but should be used as a basis for inquiry into the likelihood of alternative scenarios that coexist with the main explanation.
32
Bonney, Geoffrey, e Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.
Testo completoAbstract (sommario):
Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making.
Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups.
Artists skilled in community collaboration are able to produce art of value that transcends the usual judgements of worth. It gives people a licence to unfetter their imagination and then cooperatively be drawn back to a reachable visual solution.
If you engage with children in a community, you engage the extended family at some point.
The primary methodology was to produce a series of educationally valid projects at the Cherbourg State School that had a resonance into that community, then revisit and refine them where necessary and develop a new series that extended all of the positive aspects of them. This was done over a period of five years.
The art made during this time is excellent. The children know it, as do their families, staff at the school, members of the local community and the others who have viewed it in exhibitions in far places like Brisbane and Melbourne. This art and the way it has been made has been acknowledged as useful by the children, teachers and the community, in educational and social terms.
The school is a better place to be. This has been acknowledged by the children, teachers and the community
The art making of the last five years has become an integral part of the way the school now operates and the influence of that has begun to seep into other parts of the community.
Art needs to be taken from the margins and put to work at the centre.
33
Bernard, Mary Grace Cathryn. "Non-Western Art and the Musée du Quai Branly: The Challenge of Authenticity". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/honors_theses/53.
Testo completoAbstract (sommario):
This thesis discusses the recent construction and anthropological collaboration of the Paris museum: Musée du quai Branly (MQB), an art museum dedicated to showcasing art collections specific to aboriginal and indigenous cultures in the Americas, Africa, Asia and Oceania. The opening of MQB in June 2006 raised a plethora of controversial questions concerning the museum’s methods of curatorial display of the art it has made its primary focus. One of the major issues discussed examines the Quai Branly’s authentic, or inauthentic, representation of certain artworks displayed throughout the museum. Thus, the essay raises the questions: does a non-Western object remain authentic once it is exhibited in a Western society’s art museum? To answer this question, the essay explores the various explanations of art and authenticity in order to reach an understandable conclusion of what constitutes an authentic display of non-Western objects in a Western art museum.
34
Parkin, Stephanie. "The theft of culture and inauthentic art and craft: Australian consumer law and Indigenous intellectual property". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205870/2/Stephanie_Parkin_Thesis.pdf.
Testo completoAbstract (sommario):
This thesis addresses the 2017 Parliamentary Inquiry into the ‘growing presence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise for sale across Australia’. Inauthentic art and craft is Aboriginal ‘style’ souvenir products that are created without the involvement of an Aboriginal person. This thesis prioritises the evidence of Aboriginal and Torres Strait Islander people to the 2017 Inquiry, investigates intellectual property and consumer law and explores colonial influences and power dynamics that allow inauthentic art and craft to exist. This thesis answers the question: ‘How can the law protect Aboriginal cultural expression from exploitation?’
35
Croft, Pamela Joy, e n/a. "ARTSongs: The Soul Beneath My Skin". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
Testo completoAbstract (sommario):
This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
36
Croft, Pamela Joy. "ARTSongs: The Soul Beneath My Skin". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367423.
Testo completoAbstract (sommario):
This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
Full Text
37
Carmichael, Elisa J. "How is weaving past, present, futures?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108051/1/Elisa_Carmichael_Thesis.pdf.
Testo completoAbstract (sommario):
This researcher is a descendant of the Quandamooka people from Minjerribah and Moorgumpin, North Stradbroke and Moreton Island. This practice-led research project explores the application of traditional weaving techniques in creating contemporary forms of fashion acknowledging the strength and structure of weaving practices across Australia. The resulting collection of the researchers woven garments is thus both a cultural expression and political statement. As a practicing Indigenous visual artist, this paper is a brief introduction to the researchers contribution to Indigenous Australian Fashion.
38
Lin, Yu-Ta. "Représentations des aborigènes de Taïwan au musée : entre art et ethnographie dans un contexte post-colonial". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA164/document.
Testo completoAbstract (sommario):
La représentation des aborigènes qu’elle soit due à des artistes aborigènes ou à un regard extérieur fait partie de la construction d’une identité, notamment lorsque l’acte de création est pensé comme un mode de transmission culturelle (afin de retrouver leurs esprits ancestraux), la première étape pour aborder les œuvres des artistes aborigènes consiste à multiplier les points de vue sur la question de l’identité culturelle (la dimension politique d’affirmation de soi) et à remettre en question leur intention d’être artiste. Le fait que l'artiste aborigène se pense comme artiste dénote déjà une tentative d’inscription dans un monde social non aborigène. Cette posture ne va cependant pas sans tensions. Après le tournant ethnographique (tournant contextuel et identitaire), l’artiste aborigène s’est obligé à réfléchir à son statut, à sa manière de créer et au pourquoi de ce choix de devenir un artiste. La voie choisie par les quatre artistes étudiés ici ne les a pas conduits à apprendre des choses (acte de construire ou se construire). Il s’agit plutôt d’un effort de désapprendre, afin d’exprimer la juxtaposition culturelle et la simultanéité de l’Autre dans un monde global et mobile. En conséquence, l’artiste en tant qu’aborigène-voyageur provoque un court-circuit des interprétations. Dans cette perspective, chaque présentation au musée noue une relation avec le visiteur ou le spectateur dans un espace temporaire ou parallèle à l’espace réel.Cette recherche s’appuie à la fois sur l’analyse de la situation socio-culturelle de quatre artistes aborigènes ( Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man ), l’analyse esthétique de leurs oeuvres et l’analyse historique du contexte de production, de diffusion et d’exposition des œuvres aborigène en général entre 1895 et 2017. Elle tente de cerner une vision post-coloniale entre l’art et l’ethnographie et de développer une pratique de l’analyse qualitative bâtie sur trois questions fondamentales : comment les oeuvres des artistes aborigènes ont-elles été représentées et « encadrées » dans un discours identitaire ? Comment l’artiste aborigène met-il en lumière la traçabilité de son appartenance (comme identité traçable) à travers sa représentation ? Comment cette représentation introduit-elle un court-circuit des interprétations culturelles dans les modes de réception ?The representation of the aborigines, whether due to aboriginal artists or based on an outside perspective, is an integral part of the construction of an identity, in particular when the act of creation is conceived as a mode of cultural transmission (in order to find their ancestral spirits). The first step to approaching the works of the aboriginal artists consists of multiplying points of view on the question of the cultural identity (the political dimension of self-affirmation) and the questioning of their intent to be considered an artist. The fact that the aboriginal artist regards himself as an artist, had already been attempted in the non-aboriginal community. However, this position has not been without controversy. After the ethnographical turn (contextual turn into specific identity), the aboriginal artist is obliged to think about his/her status, the way to create and the reason why (s)he would become an artist. The approach chosen by the four artists studied here has not led them to learn anything (act of construction or building of themselves) ; it is rather a question of unlearning, in order to associate with the cultural juxtaposition and the simultaneity of the others in the global and mobile world. Therefore, the artist as an aborigine-traveler causes a short-circuit in the interpretations. In this perspective, each presentation at the museum builds a relationship with the ‘visitor-viewer’ in a temporary or parallel space as it relates to the real space.This research is based at the same time on the analysis of the socio-cultural situation of the four artists (Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man), the aesthetic analysis of their works and the historical analysis of the context of production, diffusion and exhibition of the aboriginal works in general between 1895 and 2017. By relying on a sociocultural and artistic representation, our research is designed to build a strategic vision for the post-colonial studies between art and ethnography. Developing a practice of the qualitative analysis, we wish to focus on three fundamental questions : How were the works of the aboriginal artists represented and « framed » in a control of identity discourse? How does the aboriginal artist consider the traceability of his/her feeling of belonging (like a trackable identity) through his/her representation? How does this representation introduce a short circuit of the cultural interpretations in the different modes of expression, perception, evolution and reception?
39
HUNTER, Andrew, e a. hunter@ecu edu au. "Philosophical Justification and the Legal Accommodation of Indigenous Ritual Objects; an Australian Study". Edith Cowan University. Community Services, Education And Social Sciences: School Of International, Cultural And Community Studies, 2006. http://adt.ecu.edu.au/adt-public/adt-ECU2006.0029.html.
Testo completoAbstract (sommario):
Indigenous cultural possessions constitute a diverse global issue. This issue includes some culturally important, intangible tribal objects. This is evident in the Australian copyright cases viewed in this study, which provide examples of disputes over traditional Indigenous visual art. A proposal for the legal recognition of Indigenous cultural possessions in Australia is also reviewed, in terms of a new category of law. When such cultural objects are in an artistic form they constitute the tribe's self-presentation and its mechanism of cultural continuity. Philosophical arguments for the legal recognition of Indigenous intellectual `property' tend to assume that the value of Indigenous intellectual property is determinable on external criteria.
40
Gibson, Lorraine Douglas. "Articulating culture(s) being black in Wilcannia /". Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/70724.
Testo completoAbstract (sommario):
Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Anthropology, 2006.Bibliography: p. 257-276.
Introduction: coming to Wilcannia -- Wilcannia: plenty of Aborigines, but no culture -- Who you is? -- Cultural values: ambivalences and ambiguities -- Praise, success and opportunity -- "Art an' culture: the two main things, right?" -- Big Murray Butcher: "We still doin' it" -- Granny Moisey's baby: the art of Badger Bates -- Epilogue.
Dominant society discourses and images have long depicted the Aboriginal people of the town of Wilcannia in far Western New South Wales as having no 'culture'. In asking what this means and how this situation might have come about, the thesis seeks to respond through an ethnographic exploration of these discourses and images. The work explores problematic and polemic dominant society assumptions regarding 'culture' and 'Aboriginal culture', their synonyms and their effects. The work offers Aboriginal counter-discourses to the claim of most white locals and dominant culture that the Aboriginal people of Wilcannia have no culture. In so doing the work presents reflexive notions about 'culture' as verbalised and practiced, as well as providing an ethnography of how culture is more tacitly lived. -- Broadly, the thesis looks at what it is to be Aboriginal in Wilcannia from both white and black perspectives. The overarching concern of this thesis is a desire to unpack what it means to be black in Wilcannia. The thesis is primarily about the competing values and points of view within and between cultures, the ways in which Aboriginal and non-Aboriginal people tacitly and reflexively express and interpret difference, and the ambivalence and ambiguity that come to bear in these interactions and experiences. This thesis demonstrates how ideas and actions pertaining to 'race' and 'culture' operate in tandem through an exploration of values and practices relating to 'work', 'productivity', 'success', 'opportunity' and the domain of 'art'. These themes are used as vehicles to understanding the 'on the ground' effects and affects of cultural perceptions and difference. They serve also to demonstrate the ambiguity and ambivalence that is experienced as well as being brought to bear upon relationships which implicitly and explicitly are concerned with, and concern themselves with difference.
Mode of access: World Wide Web.
xii, 276 p. ill
41
Chu, Szu-Yu. "A Study Guide of the Taiwanese Composer, Nan-Chang Chien, and his Four Aboriginal Lieder for Soprano and Orchestra". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408536260.
Testo completo
42
Clarke, Maree, e mareec@koorieheritagetrust com. "Maree Clarke: reflections on creative practice, place and identity". RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091118.114516.
Testo completoAbstract (sommario):
I am connected to the Yorta Yorta, Wamba Wamba, Mutti Mutti and Boonurong people through my heritage. My connection to these four language groups provides the framework for my arts practice research project. Totems are an important component of my work. Totems govern life in Koori tribal language groups. For example, they dictate who you can talk to and marry, and govern rights for making art, including men's business and women's business. This translates as 'Lore' in Koori culture. Lore is a Koori term meaning a way of being that encompasses kinship systems, responsibilities, and beliefs, as they interconnect with a particular area of country. In the past, when the Museum acquired Aboriginal artefacts, they sometimes did not record all the details. This meant there was then a break in the knowledge. Aboriginal people have our own collection of artefacts in various cultural institutions, but we do not have that layer of information about what the designs were about. The totems are not necessarily in the designs on the shields and artefacts. They are generally designs relating to those different areas. Gunnai/Kurnai can be quite different to Latje Latje, for example. Some of the designs on the banners may represent the totems. This can reflect an artist's interpretation of the meanings within such designs. My work incorporates a re-interpretation of a range of different totems connected to the language groups I have a blood connection to.
43
Jolly, Martyn. "Fake photographs making truths in photography /". Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
Testo completo
44
Peacock, Janice, e n/a. "Inner Weavings: Cultural Appropriateness for a Torres Strait Island Woman Artist of Today". Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.140720.
Testo completoAbstract (sommario):
This exegesis examines the context of my studio work submitted for the degree of Doctor of Visual Art at Griffith University in 2004. My art practice reflects my identity, which is complex and many-stranded, but at its core is my identity as a 21st century woman of Torres Strait Islander descent. I also acknowledge multiple heritages and, like many of my contemporaries, I am a descendant of those two thirds of the Torres Strait population who now live on the Australian mainland. Having been born and brought up on the mainland also means that I am connected to, and have been affected by, wider Australian Indigenous issues, particularly those resulting from the alienation and dislocation which stem from colonialism. Therefore, as I draw from both traditional and contemporary modes and theory to explore the appropriateness of my art practice, this exegesis centres on the question: What constitutes culturally appropriate practice for me as a contemporary Torres Strait Island woman?
45
Peacock, Janice. "Inner Weavings: Cultural Appropriateness for a Torres Strait Island Woman Artist of Today". Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365502.
Testo completoAbstract (sommario):
This exegesis examines the context of my studio work submitted for the degree of Doctor of Visual Art at Griffith University in 2004. My art practice reflects my identity, which is complex and many-stranded, but at its core is my identity as a 21st century woman of Torres Strait Islander descent. I also acknowledge multiple heritages and, like many of my contemporaries, I am a descendant of those two thirds of the Torres Strait population who now live on the Australian mainland. Having been born and brought up on the mainland also means that I am connected to, and have been affected by, wider Australian Indigenous issues, particularly those resulting from the alienation and dislocation which stem from colonialism. Therefore, as I draw from both traditional and contemporary modes and theory to explore the appropriateness of my art practice, this exegesis centres on the question: What constitutes culturally appropriate practice for me as a contemporary Torres Strait Island woman?Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
46
Jones, David John. "The Australian ‘Settler’ Colonial-Collective Problem". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/365954.
Testo completoAbstract (sommario):
This studio-based project identifies and interrogates the Australian denial of violent national foundation as a ‘settler’ problem, which is framed by the contemporary clinical and social concept of a ‘vicious cycle of anxiety’. The body of work I have produced aims to disrupt the denial of invasion and the erasure of Aboriginal culture through accepted narratives of European settlement of Australia. By aligning collective denial with anxiety, it presents a pathway for remediation through situational exposure; in this case, through works of art. The critical perspective on the invasion and colonisation of Australia is presented in the discursive and nondiscursive modes of communication of the coloniser not to arbitrate or appease but to amplify the content. The structure of the exegesis also draws from Aboriginal narrative methodology and integrates with, and is informed by, the studio production in printmaking using demanding traditional European graphic techniques such as etching and aquatint.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
47
Crosby, Marcia Violet. "Indian art/Aboriginal title". Thesis, 1994. http://hdl.handle.net/2429/5212.
Testo completoAbstract (sommario):
In 1967, the Vancouver Art Gallery held an exhibition entitled Arts of the Raven:
Masterworks by the Northwest Coast Indian in celebration of Canada’s centennial. The
following thesis discusses the way in which the curators of the Arts of the Raven
exhibit constructed the Northwest Coast “Indian-Master” artist as a strategy that
figured into a larger, shifting cultural field. The intention of the exhibit organizers
was to contribute to the shift from ethnology to art. While this shift can be dated to
the turn of the century, this thesis deals primarily with the period from 1958-1967, a
decade described by the preeminent First Nations’ political leader, George Manuel,
as the time of “the rediscovery of the Indian”.
How the formation of an Indian-master artist (and his masterworks) intervened
in art historical practice, and dovetailed with the meaning that the affix “Indian”
carried in the public sphere, is considered. In the 1960s, this meaning was fostered,
in part, through a reassessment of Canada’s history in preparation for the centennial.
This event drew attention to the historical relationship between Canada and
aboriginal peoples through public criticism of the government by public interest
groups, Indian organizations, and civil rights and anti-poverty movements.
The category of mastery, which functions as a sign of class, taste and prestige in
European art canons, “included” the Indian under the rubric of white male genius.
Yet the Indian as a sign of upward mobility was incommensurable with the Native
reality in Canada at the time. In other words, the exhibit produced an abstract
equality that eclipsed the concrete inequality most First Nations peoples were
actually experiencing. This thesis concludes by arguing that the Arts of the Raven
exhibit came to serve the important purpose of creating a space for the “unique
individual-Indian” from which collective political First Nations voices would speak.
48
Coleman, Elizabeth Burns. "Aboriginal art, identity and appropriation". Phd thesis, 2001. http://hdl.handle.net/1885/149791.
Testo completo
49
Edmonds, Frances. "‘Art is us’: Aboriginal art, identity and wellbeing in Southeast Australia". 2007. http://repository.unimelb.edu.au/10187/7112.
Testo completoAbstract (sommario):
Aboriginal arts practices in the southeast of Australia have, since the early years of colonisation, been rarely considered within the realm of authentic Aboriginal arts practices. Such attitudes were a reflection of the colonial encounter and associated attempts to assimilate the Aboriginal population with the White. This thesis explores Aboriginal arts practices and asserts that there has always been Aboriginal art in the southeast and that, despite the overwhelming effects of colonisation, the work of Aboriginal artists provides a distinct and definite counter-history to that endorsed by the dominant culture. Using published historical and contemporary accounts and recent interviews from Aboriginal artists and arts workers, this thesis investigates the continuation of the knowledge and practice of southeast Australian Aboriginal art and its connection to culture, identity and wellbeing. It explores the corresponding adaptations and changes to these practices as Aboriginal people contended with the ever-expanding European occupation of the region from 1834 onwards.This project adopted a collaborative research methodology, where members of the Aboriginal arts community were consulted throughout the project in order to develop a study which had meaning and value for them. The collaborative approach combined an analysis of historical data along with the stories collected from participants. By privileging the Aboriginal voice as legitimate primary source material, alternative ways of exploring the history of Aboriginal art were possible. Although the story of Aboriginal art in the southeast is also one of tensions and paradoxes, where changes in arts practices frequently positioned art, like the people themselves, outside the domain of the ‘real’, the findings of this project emphasise that arts practices assist people with connecting and in some cases reconnecting with their communities. Aboriginal art in the southeast is an assertion of identity and wellbeing and reflects the dynamic nature of Aboriginal culture in southeast Australia.
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Vaughan, Priya. "Pay Attention: Aboriginal Art in NSW". Phd thesis, 2017. http://hdl.handle.net/1885/148402.
Testo completoAbstract (sommario):
Despite extensive academic focus on Indigenous Australian art,
sustained engagement, particularly in the discipline of
anthropology, has largely focused on artists and artworks from
the central, northern and western regions of Australia. Academic
works examining art-making in the south east of Australia,
particularly New South Wales (NSW), are relatively few, despite
news articles, exhibition catalogues and monographs penned by
artists and curators providing evidence of vibrant communities of
Aboriginal artists and solo practitioners working across NSW. In
light of this, this thesis addresses the relative academic
silence around Aboriginal art-making in NSW. It asks, broadly,
what kind of art is being made in NSW and why?
Drawing on fieldwork undertaken across NSW – including
interviews with 65 artists, curators, arts workers and others –
and on primary analysis of several data sets – including
material from the Australian Art Sales Digest and Parliament of
NSW Aboriginal Art Prize catalogues – this thesis seeks to pay
attention to Aboriginal artists working across NSW in order to
document the work they make, the technical, creative and social
processes through which they create art, their experiences of the
art-world, particularly the art market, and their motivations for
making.
As a result of this attention, this thesis focuses on various
themes, issues and topics. The history of intellectual and
commercial engagement with Aboriginal art produced in NSW since
British colonisation is canvassed in order to contextualise and
make sense of the concerns and creative interests of research
participants. Participant use of art to represent, affirm and
constitute diverse personal, cultural and professional identities
is explored and it is demonstrated that identity-focused works
reveal that Aboriginality is conceptualised, by artists, in
overwhelmingly non-essentialist ways, although the nature of this
non-essentialism is varied. Diverse art practices undertaken by
Aboriginal artists in NSW are described, including detailed
analysis of two visual forms (south eastern designs and dots) and
two styles or genres (urban art and contemporary art) which are
commonly created, or are felt to be significant, by participants.
These forms/genres are positioned by artists and others as
traditional and non-traditional to NSW, sometimes simultaneously.
Analysis of engagement with these forms reveals the ways
participants conceive of culture especially as it pertains to
tradition, authenticity, change and continuity. Finally,
consideration of the sale of art in various art market spheres
illustrates that selling work is significant for artists, and
confers meaning upon artworks offered for sale.