Gotowe bibliografie tematyczne / Australian aboriginal artists

Gotowa bibliografia na temat „Australian aboriginal artists”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Australian aboriginal artists"

Franklin, Adrian. "Aboriginalia: Souvenir Wares and the ‘Aboriginalization’ of Australian Identity". Tourist Studies 10, nr 3 (grudzień 2010): 195–208. http://dx.doi.org/10.1177/1468797611407751.

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In recent years Aboriginalia, defined here as souvenir objects depicting Aboriginal peoples, symbolism and motifs from the 1940s—1970s and sold largely to tourists in the first instance, has become highly sought after by both Aboriginal and non-Aboriginal collectors and has captured the imagination of Aboriginal artists and cultural commentators. The paper seeks to understand how and why Aboriginality came to brand Australia and almost every tourist place and centre at a time when Aboriginal people and culture were subject to policies (particularly the White Australia Polic(ies)) that effectively removed them from their homelands and sought in various ways to assimilate them (physiologically and culturally) into mainstream white Australian culture. In addition the paper suggests that this Aboriginalia had an unintended social life as an object of tourism and nation. It is argued that the mass-produced presence of many reminders of Aboriginal culture came to be ‘repositories of recognition’ not only of the presence of Aborigines but also of their dispossession and repression. As such they emerge today recoded as politically and culturally charged objects with (potentially) an even more radical role to play in the unfolding of race relations in Australia.

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Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization". ARTMargins 11, nr 3 (1.10.2022): 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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Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums". Vibrant: Virtual Brazilian Anthropology 10, nr 1 (czerwiec 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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Bradford, Clare, Catherine Sly i Xu Daozhi. "Ubby’s Underdogs: A Transformative Vision of Australian Community". Papers: Explorations into Children's Literature 24, nr 1 (1.01.2016): 101–31. http://dx.doi.org/10.21153/pecl2016vol24no1art1112.

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In Black Words White Page (2004), his seminal study of Aboriginal cultural production in Australia, Adam Shoemaker notes that ‘when Oodgeroo Noonuccal’s first collection of poetry appeared in print in 1964, a new phase of cultural communication began in Australia’ (2004, p. 5). The ‘new phase’ to which Shoemaker refers pertains to the many plays, collections of poetry and novels by Aboriginal authors published between 1964 and 1988 and directed to Australian and international audiences. Flying under the radar of scholarly attention, Aboriginal authors and artists also produced significant numbers of children’s books during this time, including Wilf Reeves and Olga Miller’s The Legends of Moonie Jarl, published by Jacaranda Press in 1964 (see O’Conor 2007), Oodgeroo Noonuccal’s Stradbroke Dreamtime (1972), and the picture books of Dick Roughsey and many other Aboriginal authors and artists (see Bradford 2001, pp. 159-90).

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Allen, Louis A. "The Artists and Their Work". Aboriginal Child at School 14, nr 4 (wrzesień 1986): 54–59. http://dx.doi.org/10.1017/s0310582200014553.

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No one knows when or where Aboriginal painting began. There is some agreement that the Australian Aborigines came from a Veddoid ancestry originating in South India and Ceylon. Since the term Vedda is derived from the Sanskrit Vyadha, meaning a hunter or one who lives from the chase, we can assume that this also was originally a hunting culture. There is evidence that these hunters made paintings in caves, using ashes and turmeric mixed with spittle, possibly to bring success to their hunting. We can only conjecture, with no factual evidence, that the earliest migrants to Australia have brought this custom with them.The Arnhem Land bark paintings evolved from pictures of fish, animals and people which the first inhabitants appear to have made in caves and rock shelters. We can assume that these designs of kangaroos, fish, and thin, sticklike spirits called Mimi were drawn for the same purposes as today: to depict the totemic ancestors so their help and support could more readily be invoked, to encourage game to reproduce and increase, to make magic, and to depict the limits or characteristics of the ‘country’ owned by a clan.

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Maher, Katie. "Traveling with Trained Man". Transfers 10, nr 2-3 (1.12.2020): 83–102. http://dx.doi.org/10.3167/trans.2020.1002306.

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Abstract This article considers the railways as a decolonial option for moving toward mobility justice. It views the photographic artwork Trained Man by Ngalkban Australian artist Darren Siwes through a mobilities lens, considering how the artist plays with time and attends to space, making visible what colonial projects of protection and assimilation have attempted to erase. Attending to the truths and imaginaries that reside and move with Trained Man, it draws on the work of Aboriginal and Black artists, scholars, and activists to trace Australia's past and present colonial history of training Aboriginal people into whiteness. It considers the railways as carrying “two lines of destiny” with potential moving in both colonial and decolonial directions. The article concludes by suggesting that shared spaces such as the railways open possibilities for mobilizing the decolonial project.

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Price-Williams, Douglass, i Rosslyn Gaines. "The Dreamtime and Dreams of Northern Australian Aboriginal Artists". Ethos 22, nr 3 (wrzesień 1994): 373–88. http://dx.doi.org/10.1525/eth.1994.22.3.02a00050.

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Black, Jane. "Beautiful Botanicals: Art from the Australian National Botanic Gardens Library and Archives". Art Libraries Journal 44, nr 3 (12.06.2019): 124–31. http://dx.doi.org/10.1017/alj.2019.17.

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The Australian National Botanic Gardens plays an important role in the study and promotion of Australia's diverse range of unique plants through its living collection, scientific research activities and also through the art collection held in the institution's Library and Archives. Australia's history of formal botanical illustration began with the early voyages of discovery with its popularity then declining until the modern day revival in botanical art. The Australian National Botanic Gardens Library and Archives art collection holds works from the Endeavour voyage through to the more contemporary artists of Celia Rosser, Collin Woolcock, Gillian Scott and Aboriginal artists including Teresa Purla McKeeman as well as photographs and outdoor installations.

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Gibson, Chris. "“We Sing Our Home, We Dance Our Land”: Indigenous Self-Determination and Contemporary Geopolitics in Australian Popular Music". Environment and Planning D: Society and Space 16, nr 2 (kwiecień 1998): 163–84. http://dx.doi.org/10.1068/d160163.

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Strategies for indigenous self-determination have emerged at unique junctures in national and global geopolitical arenas, challenging the formal hegemony of the nation-state with claims to land rights, sovereignty and self-governance. These movements are reflected qualitatively, in a variety of social, political, and cultural forms, including popular music in Australia. An analysis of the ‘cultural apparatus’, recordings, and popular performance events of indigenous musicians reveals the construction of ‘arenas of empowerment’ at a variety of geographical scales, within which genuine spaces of Aboriginal self-determination and self-expression can exist. Although these spaces often remain contested, new indigenous musical networks continue to emerge, simultaneously inscribing Aboriginal music into the Australian soundscape, and beginning to challenge normative geopolitical doctrines. The emergence of a vibrant Aboriginal popular music scene therefore requires a rethinking of Australian music, and appeals for greater recognition of Aboriginal artists' sophisticated geopolitical strategies.

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Cameron, Liz. "Australian Indigenous sensory knowledge systems in creative practices". Creative Arts in Education and Therapy 7, nr 2 (28.01.2022): 114–27. http://dx.doi.org/10.15212/caet/2021/7/4.

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The process of making is transmitting knowledge through an act of doing. Perceiving the body as a multisensory being pushes Australian Aboriginal artistic encounters that challenge other ways of thinking and doing. This article explores the nexus between Indigenous knowledge and creative practice as an embodied theoretical framework based on the human senses that may assist artists in deconstructing their current conventical thinking and broaden their interaction by deeply connecting with self and the environment. This article aims to highlight Indigenous practice-based methodologies that can inform the artist to practice research and teaching resources. Examining Indigenous creative knowledge systems can enable artists to experience not only an acquisition of content of Indigenous practices but develop a unique methodological Indigenous approach to how our senses offer a valuable contribution to the making experience.

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Rozprawy doktorskie na temat "Australian aboriginal artists"

Adsit, Melanie Hope. "Caught between worlds: urban aboriginal artists". Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.

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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.

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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

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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.

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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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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.

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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.

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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

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Peacock, Janice, i 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.

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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?

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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.

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Croft, Pamela Joy, i 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.

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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.

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Croft, Pamela Joy. "ARTSongs: The Soul Beneath My Skin". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367423.

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Syron, Liza-Mare. "Ephemera Aboriginality, reconciliation, urban perspectives ; Artistic practice in contemporary Aboriginal theatre /". Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.155544/index.html.

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Książki na temat "Australian aboriginal artists"

Untitled: Portraits of Australian artists. South Yarra, Vic: Macmillan Art Pub., 2007.

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

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

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Pring, Adele. Aboriginal artists in South Australia. [Adelaide]: Dept. of Employment, Education, Training, and Youth Affairs, 1998.

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Ryan, Judith. Colour power: Aboriginal art post 1984 : in the collection of the National Gallery of Victoria. Melbourne: National Gallery of Victoria, 2004.

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Old masters: Australia's great bark artists. Canberra, ACT, Australia: National Museum of Australia Press, 2013.

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Timothy Cook, dancing with the moon. Crawley, Western Australia: UWA Publishing, 2015.

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Nicholas, Evans. The heart of everything: The art and artists of Mornington & Bentinck Islands. Fitzroy, Vic: McCulloch & McCulloch Australian Art Books, 2008.

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Isaacs, Jennifer. Australian aboriginal paintings. Sydney: Weldon, 1989.

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Isaacs, Jennifer. Australian aboriginal paintings. The Rocks, NSW, Australia: Lansdowne, 1999.

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Części książek na temat "Australian aboriginal artists"

Boyd, Candice P. "Creating the ‘Finding Home’ Exhibition". W Exhibiting Creative Geographies, 31–64. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6752-8_3.

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AbstractAfter considering the nature and role of creative co-production in research contexts, Boyd describes the processes involved in producing artworks for the ‘Finding Home’ exhibition based on research findings from the Engaging Youth in Regional Australia (EYRA) Study. Commencing with work produced by some of the study’s participants, Boyd moves on to discuss the commissioning of a set of textile works and a contemporary Aboriginal artwork for the exhibition. The chapter is interwoven with a description of Boyd’s own artworks as an artist-geographer, produced in response but also in sympathy with the rest of the exhibition as it emerged. The chapter concludes with some first-hand reflections on curating a research exhibition.

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Althans, Katrin. "Aboriginal Gothic". W Twenty-First-Century Gothic, 276–88. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440929.003.0020.

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This chapter shows how, by combining European Gothic traditions and elements of Indigenous belief systems, Australian Aboriginal artists reclaim their own cultural heritage and reject the coloniser’s construction of Aboriginal people as the demonised Other. Aboriginal Gothic texts such as Her Sister’s Eye (2002) and ‘The Little Red Man’ (2011) defy their European predecessors’ traditional and stereotypical cast as well as their commodification of Indigenous culture, thus creating a counter-discourse to the master-discourse of European Gothic. This challenge, however, takes place within the plots and in the mode of transmission itself. Therefore, Aboriginal Gothic in the twenty-first century is not limited to the written word, but includes other forms like films, such as Karroyul (2015), and interactive media, such as Warwick Thorton’sThe Otherside Project (2014). In this way, the Gothic’s shape as a literary mode, as opposed to Indigenous oral traditions, is questioned just as much as its history of Othering.

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Glowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives". W Indigenising Anthropology with Guattari and Deleuze, 281–96. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0010.

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This chapter presents digital forms of anthropological restitution developed in the late 1990’s and early 2000 by Barbara Glowczewski with different Aboriginal peoples for their own use and a larger audience. She designed the CD-ROM Dream Trackers (Yapa Art and Knowledge of the Australian Desert published by Unesco) with 51 elders and artists from the Central Australian community of Lajamanu in the Northern Territory. Quest in Aboriginal Land is an interactive DVD based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aimed to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Reticular or network thinking, Glowczewski argues, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so-called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies. First published in 2002.

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Best, Susan. "Repair and the Irreparable in Contemporary Aboriginal Art". W Truth in Visual Media, 15–35. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474467.003.0001.

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This chapter considers the representation of trauma in Australian Indigenous art, focusing in particular on contemporary art that directly or indirectly addresses Australia’s shameful colonial histories. I analyse art that moves beyond the familiar repertoire of postmodern political art, which dominated identity politics art of the 1970s, 1980s and 1990s. That language is effective for the registration of anger, but less effective in conveying the damage caused by annihilating narratives about race and historical atrocities such as massacres. I consider how the work of Brisbane-based Indigenous artists Judy Watson and Robert Andrew occupies the deeply ambivalent space of reparative aesthetics articulated by queer theorist Eve Kosofsky Sedgwick. Sedgwick frames the reparative position as one that can hold in tension both negative and positive feelings. In contrast, the work of artists, such as Gordon Bennett and Vernon Ah Kee, underscores the irreparable and the deep marks of trauma. I examine how these different strategies memorialise traumatic experiences that normally escape capture.

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Joyce, Rosemary A. "Interlude 5". W The Future of Nuclear Waste, 192–99. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888138.003.0011.

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LAND ART MAKERS AND Australian aboriginal painters were not the only artists whose work became entangled with proposals to mark nuclear waste disposal sites. In 2002, the director of the Desert Space Foundation in Nevada, Joshua Abbey, carried out an art competition for designs for a possible marker system for the Yucca Mountain site....

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Sumartojo, Shanti, i Ben Wellings. "Anzac, Race and Empire". W Commemorating Race and Empire in the First World War Centenary, 169–86. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940889.003.0010.

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In 2015, a new memorial was unveiled in Sydney’s Hyde Park, the formal green rectangle in the city’s centre. In a creative and vibrant city like Sydney, the launch of a new public artwork was not remarkable, but this event differed because it was a new war memorial, and even more unusually, it commemorated the military service of Aboriginal and Torres Strait Island Australians. Designed by Indigenous artist Tony Albert, ...

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Clarkson, Chris, Kasih Norman, Sue O'Connor, Jane Balme, Peter Veth i Ceri Shipton. "Australia’s First People". W The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea, C9.S1—C9.S20. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190095611.013.9.

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Abstract Mainland Australia was connected to New Guinea and Tasmania at various times throughout the Pleistocene and formed the supercontinent of Sahul. Sahul contains some of the earliest known archaeological evidence for Homo sapiens outside of Africa, with a growing record of early complex social, technological, and artistic life. Here we present an overview of the oldest known sites in Australia along with key evidence pertaining to the dynamic cultures of early Aboriginal peoples. We review debates surrounding the age of first settlement and present evidence for the earliest technology, economy, and symbolism in Australia, emphasizing maritime skills, a large founding population size, novel technology, and adaptation to a wide range of environments.

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Flood, Josephine. "The Rock Art of Aboriginal Australia from Pleistocene to the Present". W Aesthetics, Applications, Artistry and Anarchy: Essays in Prehistoric and Contemporary Art, 59–70. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv846.9.

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