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Out of Australia : prints and drawings from Sidney Nolan to Rover Thomas
Summary: This book follows the rise of a distinctive school of Australian art that first emerged in the 1940s. Beginning with the artists of the Angry Penguins movement, Arthur Boyd, Albert Tucker, Joy Hester and Sidney Nolan, whose work exhibited a new strain of surrealism and expressionism, the book continues with the rich variety of 1970s work by Jan Seberg, Robert Jacks and George Baldessin, moving through to contemporary artists such as Rover Thomas and Judy Watson. Stephen Coppel traces the major developments in Australian art from the 1940s to the present day, and examines the significant interplay with the British art scene and the recent rise of Aboriginal printmaking.
Book
Water in a dry land : place-learning through art and story
Water in a Dry Land is a story of research about water as a source of personal and cultural meaning. The site of this exploration is the iconic river system which forms the networks of natural and human landscapes of the Murray-Darling Basin, Australia. In the current geological era of human induced climate change, the desperate plight of the system of waterways has become an international phenomenon, a symbol of the unsustainable ways we relate to water globally. The Murray-Darling Basin extends west of the Great Dividing Range that separates the densely populated east coast of Australia from the sparsely populated inland. Aboriginal peoples continue to inhabit the waterways of the great artesian basin and pass on their cultural stories and practices of water, albeit in changing forms. A key question informing the book is: What can we learn about water from the oldest continuing culture inhabiting the world's driest continent? In the process of responding to this question a team of Indigenous and non-Indigenous researchers formed to work together in a contact zone of cultural difference within an emergent arts-based ethnography. Photo essays of the artworks and their landscapes offer a visual accompaniment to the text on the Routledge Innovative Ethnography This book is perfect for courses in environmental sociology, environmental anthropology, and qualitative methods.
eBook
Aboriginal and Torres Strait Islander Art
Urban Indigenous artists face a number of stereotypes and public
expectations when producing artworks. This book shows that these expectations,
creating a range of tensions for artists, stem from the past policies of the
Queensland government. In particular, this book demonstrates that the actions of the
government body established in the 1950s to create a market for Aboriginal art,
Queensland Aboriginal Creations (QAC), has left a mixed legacy for Queensland
Indigenous artists. Their art styles have been misinterpreted as derivative copies
of ‘true’ Indigenous works and any positive outcomes that have come
from QAC’s engagement with communities and artist has been overlooked. This
book unveils new histories and new understandings about Indigenous art in
Queensland.
Stolte uses rich ethnographic detail to illuminate how both Aboriginal and Torres
Strait Islander artists begin to understand and express their heritage through
artwork at the Aboriginal and Torres Strait Islander art studio in the Tropical
North Queensland College of Technical and Further Education (TNQT TAFE), Cairns.
This is the first book to truly explore the effects of government policy on
indigenous arts. Gretchen Stolte's ethnography further develops methodologies in art
history and anthropology by identifying additional methods for understanding how art
is produced and meaning is created.
Aboriginal and Torres Strait Islander Art explores the effects of Queensland government policies on urban First Nation artists. While such art has often been misinterpreted as derivative lesser copies of ‘true’ Indigenous works, this book unveils new histories and understandings about the mixed legacy left for Queensland Indigenous artists.
Gretchen Stolte uses rich ethnographic detail to illuminate how both Aboriginal and Torres Strait Islander artists understand and express their heritage. She specifically focuses on artwork at the Aboriginal and Torres Strait Islander art studio in the Tropical North Queensland College of Technical and Further Education (TNQT TAFE), Cairns. Stolte's ethnography further develops methodologies in art history and anthropology by identifying additional methods for understanding how art is produced and meaning is created.
eBook
Once Upon a Time in Papunya
Part art history, part detective story, this gripping insider's account of the Papunya art movementwhich was centered around the 1,000 small, painted panels created at the remote northern territory Aboriginal settlement of Papunya during 1971 and 1972goes beyond a mere discussion of the astronomical auction prices in the late 1990s that first drew many people's attention to these pieces. Celebrating Australian art history, this study explores the background of the artists themselves as well as restoring the boards' historical and cultural significance as the first inscriptions of the religious beliefs and sacred visual language of the Western Desert peoples. It additionally looks at the controversies that surrounded the paintings at the time of their creation, the role of teacher Geoffrey Bardon, the depiction of sacred imagery, what they mean to the artists' descendants, and the distant worlds of art auctions and international exhibitionstelling the larger story of Aboriginal art in Australia and beyond.
eBook
Desert Lake
A visual and descriptive portrait of Paruku (Lake Gregory), enriched by Indigenous knowledge and the connecting medium of art.
eBook
We Don't Do Dots
What does it mean when whites say that certain Australian Aboriginal people have 'no culture' but accept that they have art? Why are notions and images of Aboriginal art and culture still dominated by those from the centre and north of the Australian continent, even though most Aborigines reside in the south-east? This book explores these questions, why they matter, and to whom they matter. It draws on extensive fieldwork with Barkindji Aboriginal people in the small country town of Wilcannia, New South Wales. The richly textured ethnographic analysis examines how notions of Aboriginal art and Aboriginal culture are wielded as weapons of power in everyday racism in Australia. In so doing, it demonstrates how Aboriginal people deploy ideas of art, artists and culture to assert individual and group identity, and to subvert dominant culture ideas and ideals which operate as tools of oppression, distancing and harm. 'At the heart of Gibson's fascinating study is a conundrum: Wilcannia Aboriginal art is flourishing although Aboriginal culture is said to be non-existent. She has produced an engaging and challenging account of social life as well as a serious analysis of deeply fraught relationships among the townspeople. The numerous photographs and paintings make this a rich and exciting publication.' Gillian Cowlishaw, The University of Sydney.
eBook