Relevant bibliographies by topics / Artists, Aboriginal Australian

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Artists, Aboriginal Australian'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Artists, Aboriginal Australian"

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Franklin, Adrian. "Aboriginalia: Souvenir Wares and the ‘Aboriginalization’ of Australian Identity." Tourist Studies 10, no. 3 (December 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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Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 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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Allen, Louis A. "The Artists and Their Work." Aboriginal Child at School 14, no. 4 (September 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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Price-Williams, Douglass, and Rosslyn Gaines. "The Dreamtime and Dreams of Northern Australian Aboriginal Artists." Ethos 22, no. 3 (September 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, no. 3 (June 12, 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, no. 2 (April 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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Maher, Katie. "Traveling with Trained Man." Transfers 10, no. 2-3 (December 1, 2020): 83–102. http://dx.doi.org/10.3167/trans.2020.10020306.

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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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Alcock, Sharon. "Painting Country: Australian Aboriginal artists’ approach to traditional materials in a modern context." AICCM Bulletin 34, no. 1 (December 2013): 66–74. http://dx.doi.org/10.1179/bac.2013.34.1.008.

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Alcock, Sharon. "Painting Country: Australian Aboriginal artists’ approach to traditional materials in a modern context." AICCM Bulletin 34, no. 1 (December 2014): 66–74. http://dx.doi.org/10.1179/bac.2014.34.1.008.

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Lampert, R. J., and T. A. Konecny. "Aboriginal spears of Port Jackson type discovered—a bicentennial sequel." Antiquity 63, no. 238 (March 1989): 137–41. http://dx.doi.org/10.1017/s0003598x00075657.

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Notice was taken in ANTIQUITY last year of the Australian bicentennial, and in particular of the remarkable ‘art of the First Fleet’, the ethnographic record provided by the watercolour artists of the contact years around Botany Bay. This note, held over into the bicentennial-plus-one year, finds further insight by tying closer together the painter's record, the ethnographic collections, and the archaeological record.
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Dissertations / Theses on the topic "Artists, Aboriginal Australian"

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

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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, and 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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Croft, Pamela Joy, and 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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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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Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.

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Foster, Susanne. "Contemporary indigenous art reflecting the place of prison experiences in indigenous life /." Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.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. "March 2005" Bibliography: leaves 179-190.
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Edmonds, Frances. "‘Art is us’: Aboriginal art, identity and wellbeing in Southeast Australia." 2007. http://repository.unimelb.edu.au/10187/7112.

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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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Books on the topic "Artists, Aboriginal Australian"

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

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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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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: New Holland, 2002.

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

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Isaacs, Jennifer. Australian aboriginal paintings. New York: Dutton Studio Books, 1992.

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Book chapters on the topic "Artists, Aboriginal Australian"

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Althans, Katrin. "Aboriginal Gothic." In 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." In 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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Joyce, Rosemary A. "Interlude 5." In 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, and Ben Wellings. "Anzac, Race and Empire." In 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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Flood, Josephine. "The Rock Art of Aboriginal Australia from Pleistocene to the Present." In 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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