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Autore: Grafiati

Pubblicato: 26 luglio 2024

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1

Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization". ARTMargins 11, n. 3 (1 ottobre 2022): 67–88. http://dx.doi.org/10.1162/artm_a_00326.

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Abstract In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores the origins and use of the ‘dotting’ typical of much Australian Aboriginal art of the Western and Central Deserts of Australia, as well as Aboriginal dot painting's circulation internationally, to consider how Aboriginal art's entry into the global art world might also represent an act of Indigenous self-determination. By leveraging the Western fascination with the ‘secret/sacred’ content often assumed to be hidden by these dots, Aboriginal artists have been able to generate an international market for their works. While Aboriginal communities remain among the most economically disadvantaged in Australia, Aboriginal art nevertheless provides a critical means by which Indigenous communities can support themselves, and, more importantly, operates as a form of cultural preservation and a tool by which Aboriginal peoples can assert their sovereignty.

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2

Rowe, Astarte. "Deserting Aboriginal Art Discourse". Australian and New Zealand Journal of Art 17, n. 1 (2 gennaio 2017): 68–83. http://dx.doi.org/10.1080/14434318.2017.1333485.

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3

Johnson, Vivian. "Especially good aboriginal art". Third Text 15, n. 56 (settembre 2001): 33–50. http://dx.doi.org/10.1080/09528820108576927.

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4

Jorgensen, Darren. "Rethinking Australia’s Art History: The Challenge of Aboriginal Art". Australian and New Zealand Journal of Art 21, n. 1 (2 gennaio 2021): 162–64. http://dx.doi.org/10.1080/14434318.2021.1934785.

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5

Berlo, Janet Catherine. "Australian Art Exhibition Catalog:Dreamings; The Art of Aboriginal Australia." Museum Anthropology 14, n. 2 (maggio 1990): 31. http://dx.doi.org/10.1525/mua.1990.14.2.31.

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6

James, Mark A. "Fish imagery in art 75: aboriginal rock art —Barramundi". Environmental Biology of Fishes 42, n. 2 (febbraio 1995): 200. http://dx.doi.org/10.1007/bf00001997.

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7

Klein, Alice. "Ancient Aboriginal art could reveal". New Scientist 255, n. 3397 (luglio 2022): 14–15. http://dx.doi.org/10.1016/s0262-4079(22)01334-3.

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8

CUTHBERT, D. "Aboriginal Identity, Culture and Art". Year's Work in Critical and Cultural Theory 4, n. 1 (1 gennaio 1994): 281–316. http://dx.doi.org/10.1093/ywcct/4.1.281.

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9

GROSSMAN, M. "Aboriginal Identity, Art and Culture". Year's Work in Critical and Cultural Theory 5, n. 1 (1 gennaio 1995): 304–68. http://dx.doi.org/10.1093/ywcct/5.1.304.

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10

CUTHBERT, D. "Aboriginal Identity, Art and Culture". Year's Work in Critical and Cultural Theory 6, n. 1 (1 gennaio 1996): 251–314. http://dx.doi.org/10.1093/ywcct/6.1.251.

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11

CUTHBERT, D. "Aboriginal Identity, Culture and Art". Year's Work in Critical and Cultural Theory 7, n. 1 (1 gennaio 1997): 265–343. http://dx.doi.org/10.1093/ywcct/7.1.265.

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12

CREGAN, K. "Aboriginal Identity, Art and Culture". Year's Work in Critical and Cultural Theory 8, n. 1 (1 gennaio 2001): 172–226. http://dx.doi.org/10.1093/ywcct/8.1.172.

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13

White, Anthony, e Susan McCulloch. "Aboriginal Art: Sacred and Profane". Art Journal 59, n. 4 (2000): 105. http://dx.doi.org/10.2307/778126.

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14

Gale, Fay, e Jane Jacobs. "Aboriginal art — Australia's neglected inheritance". World Archaeology 19, n. 2 (ottobre 1987): 226–35. http://dx.doi.org/10.1080/00438243.1987.9980036.

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15

Mundine, John. "Aboriginal art in Australia today". Third Text 3, n. 6 (marzo 1989): 33–42. http://dx.doi.org/10.1080/09528828908576212.

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16

Wilczyńska, Elżbieta. "The Return of the Silenced: Aboriginal Art as a Flagship of New Australian Identity". Australia, n. 28/3 (15 gennaio 2019): 71–84. http://dx.doi.org/10.7311/0860-5734.28.3.07.

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Abstract (sommario):

The paper examines the presence of Aboriginal art, its contact with colonial and federation Australian art to prove that silencing of this art from the official identity narrative and art histories also served elimination of Aboriginal people from national and identity discourse. It posits then that the recently observed acceptance and popularity as well as incorporation of Aboriginal art into the national Australian art and art histories of Australian art may be interpreted as a sign of indigenizing state nationalism and multicultural national identity of Australia in compliance with the definition of identity according to Anthony B. Smith.

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17

Zawadski. "Qaujimanira: Inuit Art as Autoethnography". ab-Original 2, n. 2 (2018): 151. http://dx.doi.org/10.5325/aboriginal.2.2.0151.

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18

Tran, Ngoc Cao Boi. "RESEARCH ON THE ORIGINAL IDENTITIES OF SOME TRADITIONAL PAINTINGS AND ROCK ENGRAVINGS OF AUSTRALIAN ABORIGINAL COMMUNITIES". Science and Technology Development Journal 13, n. 3 (30 settembre 2010): 43–57. http://dx.doi.org/10.32508/stdj.v13i3.2160.

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Different from many other communities, Australian aboriginal communities had lived separately from the rest of the world without any contact with great civilizations for tens of thousands of years before English men’s invasion of Australian continent. Hence, their socio-economic development standards was backward, which can be clearly seen in their economic activities, material culture, mental culture, social institutions, mode of life, etc. However, in the course of history, Australian aborigines created a grandiose cultural heritage of originality with unique identities of their own in particular, of Australia in general. Despite the then wild life, Aboriginal Art covers a wide medium including painting on leaves, wood carving, rock carving, sculpture, sandpainting and ceremonial clothing, as well as artistic decorations found on weaponry and also tools. They created an enormous variety of art styles, original and deeply rich in a common viewpoint towards their background – Dreamtime and Dreaming. This philosophy of arts is reflected in each of rock engravings and rock paintings, bark paintings, cave paintings, etc. with the help of natural materials. Although it can be said that most Aboriginal communities’ way of life, belief system are somewhat similar, each Australian aboriginal community has its own language, territory, legend, customs and practices, and unique ceremonies. Due to the limit of a paper, the author focuses only on some traditional art forms typical of Australian aboriginal communities. These works were simply created but distinctively original, of earthly world but associated with sacred and spiritual life deeply flavored by a mysterious touch. Reflected by legendary stories and art works, the history of Australian Aboriginal people leaves to the next generations a marvelous heritage of mental culture.

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19

CREGAN, K. A., D. CUTHBERT, S. LOWISH, P. MULDOON e C. SPARK. "15 Aboriginal Identity, Culture and Art". Year's Work in Critical and Cultural Theory 9, n. 1 (1 gennaio 2002): 239–302. http://dx.doi.org/10.1093/ywcct/mbe015.

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20

CUTHBERT, D., C. SPARK, S. PRITCHARD e S. LOWISH. "15 Aboriginal Identity, Culture and Art". Year's Work in Critical and Cultural Theory 10, n. 1 (1 gennaio 2002): 259–332. http://dx.doi.org/10.1093/ywcct/mbf015.

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21

CUTHBERT, D., C. EARNSHAW, S. LOWISH, S. PRITCHARD e C. SPARK. "15 Aboriginal Identity, Culture and Art". Year's Work in Critical and Cultural Theory 11, n. 1 (1 gennaio 2003): 227–66. http://dx.doi.org/10.1093/ywcct/mbg015.

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22

Gallois, Mathieu. "The Aboriginal Flag as activist art". Australasian Journal of Popular Culture 5, n. 1 (1 marzo 2016): 19–32. http://dx.doi.org/10.1386/ajpc.5.1.19_1.

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23

Simons, Michael S. "Aboriginal heritage art and moral rights". Annals of Tourism Research 27, n. 2 (aprile 2000): 412–31. http://dx.doi.org/10.1016/s0160-7383(99)00070-5.

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24

Farr, Francine. "Dreamings: The Art of Aboriginal Australia". African Arts 22, n. 3 (maggio 1989): 84. http://dx.doi.org/10.2307/3336788.

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25

Fry, Tony, e Peter Sutton. "Dreamings: The Art of Aboriginal Australia". African Arts 23, n. 3 (luglio 1990): 91. http://dx.doi.org/10.2307/3336838.

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26

Jorgensen, Darren. "On the realism of Aboriginal art". Journal of Australian Studies 31, n. 90 (gennaio 2007): 99–106. http://dx.doi.org/10.1080/14443050709388113.

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27

Kleinert, S. "Passage Through Prison: Reframing Aboriginal Art:". Genre 35, n. 3-4 (1 gennaio 2002): 537–61. http://dx.doi.org/10.1215/00166928-35-3-4-537.

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28

Jordan, Caroline, Helen McDonald e Sarah Scott. "Australian Art and its Aboriginal Histories". Australian Historical Studies 54, n. 4 (2 ottobre 2023): 597–605. http://dx.doi.org/10.1080/1031461x.2023.2261166.

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29

Flamme, Michelle La. "The Traumatic Truth". Canadian Theatre Review 137 (gennaio 2009): 86–89. http://dx.doi.org/10.3138/ctr.137.016.

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Trauma in Aboriginal performance art practice implicitly reveals the precariousness of any established Aboriginal history. In the reenactment of trauma - individual pain confronting collective pain - performance art does not make meaning or create closure. Marcia Crosby

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30

Green, Charles. "No Country for Old Men: Australian Art History’s Difficulty with Aboriginal Art". Australian Historical Studies 54, n. 4 (2 ottobre 2023): 606–24. http://dx.doi.org/10.1080/1031461x.2023.2220712.

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31

Cataldi, Maddalena. "Les elevés des Wandjina de George Grey. De L’art Aborigène à L'art primitif (1838–1906)". ORGANON 55 (12 dicembre 2023): 105–30. http://dx.doi.org/10.4467/00786500.org.23.005.18782.

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George Grey’s Wandjina Copies. From Aboriginal Art to Primitive Art (1838–1906) The history of the recognition of Palaeolithic art has been written from the perspective of European discoveries in the last third of the 19th century. Through this case study of the publication of the Wandjina paintings (Australian Kimberley) by George Grey between 1838 and 1841 and through the contextualisation of the interpretations attributed to them the article investigates the intellectual and political space in which conceptions relating to the ability of Aborigines to produce this art emerged within the debates of contemporaries and, later, of English and French prehistorians. It also provides an insight into the different contexts that shaped the will to reconstruct the heritage of non–European cultures in a colonial context.

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32

Gregory, Jenny. "Stand Up for the Burrup: Saving the Largest Aboriginal Rock Art Precinct in Australia". Public History Review 16 (27 dicembre 2009): 92–116. http://dx.doi.org/10.5130/phrj.v16i0.1234.

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The Dampier Rock Art Precinct contains the largest and most ancient collection of Aboriginal rock art in Australia. The cultural landscape created by generations of Aboriginal people includes images of long-extinct fauna and demonstrates the response of peoples to a changing climate over thousands of years as well as the continuity of lived experience. Despite Australian national heritage listing in 2007, this cultural landscape continues to be threatened by industrial development. Rock art on the eastern side of the archipelago, on the Burrup Peninsula, was relocated following the discovery of adjacent off-shore gas reserves so that a major gas plant could be constructed. Work has now begun on the construction of a second major gas plant nearby. This article describes the rock art of the Dampier Archipelago and the troubled history of European-Aboriginal contact history, before examining the impact of industry on the region and its environment. The destruction of Aboriginal rock art to meet the needs of industry is an example of continuing indifference to Aboriginal culture. While the complex struggle to protect the cultural landscape of the Burrup, in particular, involving Indigenous people, archaeologists, historians, state and federal politicians, government bureaucrats and multi-national companies, eventually led to national heritage listing, it is not clear that the battle to save the Burrup has been won.

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33

May, Sally K., Laura Rademaker, Joakim Goldhahn, Paul S. C. Taçon e Julie Narndal Gumurdul. "Narlim’s Fingerprints: Aboriginal Histories and Rock Art". Journal of Australian Studies 45, n. 3 (3 luglio 2021): 292–316. http://dx.doi.org/10.1080/14443058.2021.1946709.

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34

Jorgensen, Darren. "On Cross-Cultural Interpretations of Aboriginal Art". Journal of Intercultural Studies 29, n. 4 (novembre 2008): 413–26. http://dx.doi.org/10.1080/07256860802372352.

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35

Smylie, Janet. "Aboriginal Health and the Art of Medicine". Journal SOGC 22, n. 12 (dicembre 2000): 1023–24. http://dx.doi.org/10.1016/s0849-5831(16)31128-4.

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36

Sloggett, Robyn. "‘Has Aboriginal art a future?’ Leonhard Adam’s 1944 essay and the development of the Australian Aboriginal art market". International Journal of Cultural Studies 18, n. 2 (26 gennaio 2014): 167–83. http://dx.doi.org/10.1177/1367877913515871.

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37

Berk, Christopher D. "Remote Avant-Garde: Aboriginal Art under Occupation (Biddle)". Museum Anthropology Review 10, n. 2 (31 dicembre 2016): 125–27. http://dx.doi.org/10.14434/mar.v10i2.23044.

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38

Alexander, Isabella. "White Law, Black Art". International Journal of Cultural Property 10, n. 2 (gennaio 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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39

Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives". Genealogy 4, n. 3 (9 luglio 2020): 76. http://dx.doi.org/10.3390/genealogy4030076.

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Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated moments of encounter between Europeans and Aboriginal Australians and their afterimages.

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40

Riley, Lynette. "The use of Aboriginal cultural traditions in art". Curriculum Perspectives 41, n. 1 (aprile 2021): 85–92. http://dx.doi.org/10.1007/s41297-020-00124-2.

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41

Ravenscroft, Marion. "METHODS AND MATERIALS USED IN AUSTRALIAN ABORIGINAL ART". AICCM Bulletin 11, n. 3 (gennaio 1985): 93–109. http://dx.doi.org/10.1080/10344233.1985.11783621.

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42

Langton, Marcia. "Aboriginal art and film: the politics of representation". Race & Class 35, n. 4 (aprile 1994): 89–106. http://dx.doi.org/10.1177/030639689403500410.

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43

Shaw, Wendy S. "After Nulla: Through the Lens of Aboriginal Art". Journal of Intercultural Studies 38, n. 3 (4 maggio 2017): 301–14. http://dx.doi.org/10.1080/07256868.2017.1314253.

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44

Jorgensen, Darren. "Lucas Grogan and the Eroticism of Aboriginal Art". Australian and New Zealand Journal of Art 19, n. 2 (3 luglio 2019): 210–21. http://dx.doi.org/10.1080/14434318.2019.1681578.

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45

Amy Roberts, Marc Fairhead, Craig Westell, Ian Moffat e Jarrad Kowlessar. "WURRANDERRA’S SYMBOLS: AN EXPLORATION AND CONTEXTUALISATION OF THE THURK PETROGLYPH SITE (KINGSTON-ON-MURRAY) ON THE MURRAY RIVER, SOUTH AUSTRALIA". Rock Art Research 41, n. 1 (29 gennaio 2024): 41–57. http://dx.doi.org/10.56801/rar.v41i1.274.

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This article describes and contextualises the rock art at the Thurk Petroglyph Site on the Murray River in South Australia using multiple methods. The Thurk Aboriginal engravings comprise at least 524 motifs made up predominantly of geometric line elements as well as a small number of other ‘simple’ geometric motifs, two ‘bird tracks’, one figurative design (a ‘fish’) and a possible anthropomorphous figure. This paper provides the first synthesis of rock art sites/complexes and motifs from other sites on the Murray River as well as visual symbols recorded from senior Aboriginal ‘knowledge carriers’. These syntheses allow us to consider the relationship of Thurk to other cultural places and to highlight and honour the traditional knowledges and beliefs which underpin the rock art. Thurk’s placement within the riverscape, its unique geological canvas, lack of observable ‘domestic’ archaeological evidence combined with it being the likely upstream extent of Murray River rock art in South Australia contribute additional dimensions to its cultural significance. That Thurk’s rock art, and the broader site, have been desecrated by gratuitous graffiti, vandalism and infrastructure brings into sharp focus Australia’s poor record of heritage protection and provides a challenge to current and future generations of non-Aboriginal people to remedy this past.

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46

Dragovich, Deirdre, e Farshad Amiraslani. "Conservation and Co-Management of Rock Art in National Parks: An Australian Case Study". Heritage 6, n. 10 (23 ottobre 2023): 6901–16. http://dx.doi.org/10.3390/heritage6100360.

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Using rock art conservation as a focus, this paper outlines the levels of legislated protection afforded to designated natural and cultural areas/sites in Australia and describes the co-management approach adopted in 1998 in relation to Mutawintji National Park in western New South Wales. The park encompasses four different protection categories: a Historic Site, a Nature Reserve, a National Park, and a State Conservation Area. Known for more than a century, the Historic Site is a major area of rock art containing Aboriginal engravings, paintings and stencils. Management of the Historic Site is a key concern, given the tourist interest and associated potential for accelerated deterioration of cultural heritage. The Mutawintji Plan of Management pointed to the importance of Mutawintji for Aboriginal people to connect with the country, and the co-management model encouraged tourism development as a means of providing employment opportunities as Aboriginal guides. No special legislative requirements in relation to rock art conservation, beyond those already in existence, were applied to the co-management system. Using field knowledge involving rock art research and early guide training programs at Mutawintji and literature sources, this paper suggests possible future approaches to rock art conservation in the Mutawintji Lands.

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47

HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance". Twentieth-Century Music 17, n. 1 (24 ottobre 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.

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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.

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48

Fisher, Laura. "The Art/Ethnography Binary: Post-Colonial Tensions within the Field of Australian Aboriginal Art". Cultural Sociology 6, n. 2 (9 maggio 2012): 251–70. http://dx.doi.org/10.1177/1749975512440224.

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49

Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums". Vibrant: Virtual Brazilian Anthropology 10, n. 1 (giugno 2013): 469–93. http://dx.doi.org/10.1590/s1809-43412013000100019.

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The creative power and the economic valorization of Indigenous Australian arts tend to surprise outsiders who come into contact with it. Since the 1970s Australia has seen the development of a system connecting artist cooperatives, support policies and commercial galleries. This article focuses on one particular aspect of this system: the gradual incorporation of Aboriginal objects and knowledge by the country's museums. Based on the available bibliography and my own fieldwork in 2010, I present some concrete examples and discuss the paradox of the omnipresence of Aboriginal art in Australian public space. After all this is a country that as late as the nineteenth century allowed any Aborigine close to a white residence to be shot, and which until the 1970s removed Indigenous children from their families for them to be raised by nuns or adopted by white people. Even today the same public enchanted by the indigenous paintings held in the art galleries of Sydney or Melbourne has little actual contact with people of Indigenous descent.

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50

Robertson, Carmen. "Utilising PEARL to Teach Indigenous Art History: A Canadian Example". Australian Journal of Indigenous Education 41, n. 1 (agosto 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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