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Journal articles on the topic 'Indigenous art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Caton, Steven C. "Possessions: Indigenous Art/Colonial Culture:Possessions: Indigenous Art/Colonial Culture." American Anthropologist 103, no. 4 (2001): 1211–13. http://dx.doi.org/10.1525/aa.2001.103.4.1211.

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2

Baudemann, Kristina. "Indigenous Futurisms in North American Indigenous Art." Extrapolation 57, no. 1-2 (2016): 117–50. http://dx.doi.org/10.3828/extr.2016.8.

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3

Cameron, Liz. "Celebrating Australian Indigenous Art." International Journal of the Arts in Society: Annual Review 6, no. 1 (2011): 185–92. http://dx.doi.org/10.18848/1833-1866/cgp/v06i01/35968.

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4

Smith, Sarah E. K. "Sakahàn: International Indigenous Art." Journal of Modern Craft 7, no. 2 (2014): 219–22. http://dx.doi.org/10.2752/174967814x13990281228567.

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5

Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism." Arts 8, no. 4 (2019): 161. http://dx.doi.org/10.3390/arts8040161.

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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural dip

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6

Grishin, Alexander. "A New History of Australian Art: Dialectic between Indigenous and Non-Indigenous Art." International Journal of the Humanities: Annual Review 6, no. 7 (2008): 97–104. http://dx.doi.org/10.18848/1447-9508/cgp/v06i07/42490.

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7

Thimm, Tatjana. "‘Indigenous Art and Indigenous Tourism in Western Australia – a model of interrelations'." Journal of Australian, Canadian, and Aotearoa New Zealand Studies 4 (August 1, 2024): 96–129. http://dx.doi.org/10.52230/msso3601.

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This article argues that Indigenous art and Indigenous tourism have become important drivers for Indigenous businesses in Australia and are interrelated to varying degrees. The article focuses on Western Australia where Indigenous art and Indigenous tourism businesses are widespread in both rural and urban areas. Indigenous art and tourism have a long history in Western Australia. Art is predominantly displayed in art centres in rural areas, and galleries and museums in urban settings. The term ‘urban’ in Western Australia is often synonymous with the city of Perth, the capital of the federal

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Uzel, Jean-Philippe. "Déni et ignorance de l’historicité autochtone dans l’histoire de l’art occidentale." RACAR : Revue d'art canadienne 42, no. 2 (2018): 30–41. http://dx.doi.org/10.7202/1042944ar.

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Western art history long refused to recognize the historicity of Indigenous art, seeing it instead as a “primitive” mode of human expression. While the dynamism of Indigenous creation since the 1960s has made such an assertion impossible, the institutional recognition given contemporary Indigenous art in the art world is paradoxically accompanied by a lack of critical and theoretical analysis. Today, there is a genuine ignorance concerning Indigenous conceptions of history — their “regime of historicity”— on the part of Western art historians. This is all the more surprising given the recent “

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9

Bähr, Elisabeth. "Political Iconography in Indigenous Art." Zeitschrift für Australienstudien / Australian Studies Journal 27 (2013): 49–66. http://dx.doi.org/10.35515/zfa/asj.27/2013.05.

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10

Hewitt, Pat. "Viewpoint: resources for indigenous art." Art Libraries Journal 33, no. 2 (2008): 3–4. http://dx.doi.org/10.1017/s0307472200015261.

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11

Best, Susan. "Repair in Australian Indigenous art." Journal of Visual Culture 21, no. 1 (2022): 190–205. http://dx.doi.org/10.1177/14704129221088289.

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This article examines artworks by three emerging Australian Indigenous artists who are revitalizing Indigenous cultural traditions. The author argues that their work is reparative in the manner described by queer theorist Eve Kosofsky Sedgwick; that is, their art addresses the damage of traumatic colonial histories while being open to pleasure, beauty and surprise. The artists are all based in Brisbane and completed a degree in Contemporary Australian Indigenous Art at Queensland College of Art – the only degree of this nature in Australia. The artists are Carol McGregor, Dale Harding and Robe

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12

Badoni, Georgina. "Indigenous Motherhood Art as Ceremony." Visual Arts Research 48, no. 2 (2022): 37–41. http://dx.doi.org/10.5406/21518009.48.2.05.

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13

Child, Brenda J. "Contemporary Indigenous Art and History." American Historical Review 129, no. 1 (2024): 93–96. http://dx.doi.org/10.1093/ahr/rhae011.

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14

Horneman-Wren, Brigid. "Prison art programs: Art, culture and human rights for Indigenous prisoners." Alternative Law Journal 46, no. 3 (2021): 219–24. http://dx.doi.org/10.1177/1037969x211008977.

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This article argues that prison art programs are central to the human rights of Indigenous detainees. It examines how these programs are most commonly understood in terms of their rehabilitative value, an approach which fails to fully capture the right of Indigenous detainees to participation in them. It argues that a human rights framework should be applied to prison art programs. This recognises the pivotal role art programs play in realising a multitude of interconnected rights, upholds the voices of Indigenous prisoners and emphasises the crucial place of self-determination in the design,

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15

Bolt, Barbara. "Rhythm and the Performative Power of the Index: Lessons from Kathleen Petyarre's Paintings." Cultural Studies Review 12, no. 1 (2013): 57–64. http://dx.doi.org/10.5130/csr.v12i1.3413.

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Is it possible to find an ethical and generative way to speak about the ‘work’ of Indigenous art? Regardless of what prohibitions exist to protect sacred knowledge from the gaze of Western eyes, Indigenous work is circulating; it is being read, misread, interpreted, misinterpreted and otherwise known. How can a non-Indigenous person ‘speak’ about Indigenous art without reducing it to the diagram, collapsing it into Western modes of knowing, or intruding into the domain of restricted cultural information? Given the lessons of the Indigenous cultural practices, I propose that the work of art is

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16

Portes, Edileila Maria Leite. "Art, Indigenous art, Borum / Krenak art: the intertwined paths to understanding the art." ARS (São Paulo) 13, no. 25 (2015): 89. http://dx.doi.org/10.11606/issn.2178-0447.ars.2015.105525.

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Objetivando compreender e interpretar os desenhos da etnia Borum Krenak2,<br />o presente artigo propõe uma discussão acerca dos conceitos dados à arte<br />orientados pela hegemonia dos códigos culturais europeus e norte-americanos brancos e das próprias mutações pelos quais estes conceitos têm passado desde a Idade Moderna. Para tanto, trago para análise, os desenhos borum colhidos por meio de uma caminhada etnográfica pelo território3 Krenak, no Vale do Rio Doce, Minas Gerais, aliado a uma reflexão teórica calcada na linha epistemológica baseada na teoria compreensiva de Weber (

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Loaney, Denis. "Australian Indigenous Art Innovation and Culturepreneurship in Practice: Insights for Cultural Tourism." Arts 8, no. 2 (2019): 50. http://dx.doi.org/10.3390/arts8020050.

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Indigenous cultural tourism offers significant future opportunities for countries, cities and Indigenous communities, but the development of new offerings can be problematic. Addressing this challenge, this article examines contemporary Australian Indigenous art innovation and cultural entrepreneurship or culturepreneurship emanating from Australia’s remote Arnhem Land art and culture centres and provides insight into the future development of Indigenous cultural tourism. Using art- and culture-focused field studies and recent literature from the diverse disciplines of art history, tourism, so

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Butler, Sally. "‘Art for a New Understanding’: An Interview with Valerie Keenan, Manager of Girringun Aboriginal Art Centre." Arts 8, no. 3 (2019): 91. http://dx.doi.org/10.3390/arts8030091.

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A network of Indigenous art and culture centres across Australia play a significant role in promoting cross-cultural understanding. These centres represent specific Indigenous cultures of the local country, and help sustain local Indigenous languages, traditional knowledge, storytelling and other customs, as well as visual arts. They are the principle point of contact for information about the art, and broker the need to sustain cultural heritage at the same time as supporting new generations of cultural expression. This interview with Dr Valerie Keenan, Manager of Girringun Aboriginal Art Cen

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Olatunji, Nneka Zelda, and Bolajoko Esther Adiji. "The Evolution of Contemporary Indigenous Textile Practice in South West Nigeria." East African Journal of Interdisciplinary Studies 5, no. 1 (2022): 205–11. http://dx.doi.org/10.37284/eajis.5.1.906.

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This paper examines changes that has occurred in the Nigerian textile from its cradle and the influence it had on both contemporary and Indigenous textile practice. Indigenous textile practice in South West of Nigeria has evolved over the past years. This study is an attempt to evaluate contemporary indigenous textile in Nigeria, to understand the difference between the two terms contemporary and indigenous. There is the need to exploit the potential of indigenous textile practice. Therefore, to understand the contemporary evolution that has affected it is important. The aim of this paper ther

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Olatunji, Nneka Zelda, and Bolajoko Esther Adiji. "The Evolution of Contemporary Indigenous Textile Practice in South West Nigeria." East African Journal of Interdisciplinary Studies 6, no. 1 (2023): 100–106. http://dx.doi.org/10.37284/eajis.6.1.1145.

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This paper examines changes that has occurred in the Nigerian textile from its cradle and the influence it had on both contemporary and Indigenous textile practice. Indigenous textile practice in South West of Nigeria has evolved over the past years. This study is an attempt to evaluate contemporary indigenous textile in Nigeria, to understand the difference between the two terms contemporary and indigenous. There is the need to exploit the potential of indigenous textile practice. Therefore, to understand the contemporary evolution that has affected it is important. The aim of this paper ther

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21

Robertson, Carmen. "Utilising PEARL to Teach Indigenous Art History: A Canadian Example." Australian Journal of Indigenous Education 41, no. 1 (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

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22

Hill Sr., Richard W. "The Fine Art of Being Indigenous." Art Bulletin 97, no. 1 (2015): 7–9. http://dx.doi.org/10.1080/00043079.2015.981474.

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23

McMaster, Gerald. "Contemporary Art Practice and Indigenous Knowledge." Zeitschrift für Anglistik und Amerikanistik 68, no. 2 (2020): 111–28. http://dx.doi.org/10.1515/zaa-2020-0014.

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AbstractIndigenous artists are introducing traditional knowledge practices to the contemporary art world. This article discusses the work of selected Indigenous artists and relays their contribution towards changing art discourses and understandings of Indigenous knowledge. Anishinaabe artist Norval Morrisseau led the way by introducing ancient mythos; the gifted Carl Beam enlarged his oeuvre with ancient building practices; Peter Clair connected traditional Mi'kmaq craft and colonial influence in contemporary basketry; and Edward Poitras brought to life the cultural hero Coyote. More recently

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24

Leuthold, Steven. "Is There Art in Indigenous Aesthetics?" Journal of Arts Management, Law, and Society 25, no. 4 (1996): 320–38. http://dx.doi.org/10.1080/10632921.1996.9941808.

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25

Congreve, Susan, and John Burgess. "Remote art centres and Indigenous development." Journal of Management & Organization 23, no. 6 (2017): 803–20. http://dx.doi.org/10.1017/jmo.2017.66.

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AbstractArt centres fulfil many functions in remote regions as a source of Indigenous identity and creativity; as a link to the global art market; as centres for community engagement and participation; and as a source of social capital providing a range of services for local communities. They are dependent on funding from State and Federal authorities and they are identified as one of the success stories in remote community development. However, they face an uncertain future in the light of their multiple functions and their position as both a source of traditional identity and a link to an ex

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26

Webb, Jen. "Negotiating Alterity: Indigenous and 'Outsider' art." Third Text 16, no. 2 (2002): 137–52. http://dx.doi.org/10.1080/09528820210138281.

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27

Graham, Karen, Rhonda Camille, and Tracey Kim Bonneau. "En’owkin Centre Breastfeeding Art Expo." Canadian Food Studies / La Revue canadienne des études sur l'alimentation 5, no. 2 (2018): 196–203. http://dx.doi.org/10.15353/cfs-rcea.v5i2.289.

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A unique Indigenous-focused Art Expo on the topic of breastfeeding was held at En’owkin Centre at Penticton Indian Band in October and November 2017. The En’owkin Centre is a nationally recognized Indigenous arts and training centre. This review highlights some of the art from the En’owkin Indigenous Expo including six of the Community Art Projects and three Independent Art pieces.  The En’owkin Breastfeeding Art Expo was part of a larger Expo (2017-2018) that is a joint partnership with Interior Health and the non-profit social service organization KCR-Community Resources; it was funded

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28

Agnes, Kansiime. "Art and Health: Lessons from Indigenous Cultures." RESEARCH INVENTION JOURNAL OF BIOLOGICAL AND APPLIED SCIENCES 4, no. 2 (2024): 18–22. https://doi.org/10.59298/rijbas/2024/421822.

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This paper examines the interconnectedness of art and health in Indigenous cultures, examining how traditional artistic practices contribute to holistic well-being. Indigenous approaches to health often integrate art as a therapeutic practice, aligning spiritual, emotional, and community health with cultural expressions like storytelling, dance, and visual arts. The paper highlights the potential for integrating these insights into contemporary healthcare systems by analyzing Indigenous health practices that embody holistic and community-focused values. The study offers a framework for reimagi

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Araújo, Gustavo Cunha de, and Taylane Fernandes Silva. "Apinayé art: a case study in a Brazilian indigenous school." Cogent Education 8, no. 1 (2021): 1869365. https://doi.org/10.1080/2331186X.2020.1869365.

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The <em>Apinayé</em> are a Brazilian indigenous ethnic group that live in a transition zone between the <em>Cerrado</em> and the Amazon. This study primarily aims to understand the meaning that art holds for <em>Apinayé</em> indigenous students at a Brazilian Indigenous School. We used an ethnographic research methodology, while also observing art classes and distributing open questionnaires to these students. The results showed that the arts produced by the indigenous people mostly refer to the body paintings and cultural artifacts they produce, suc

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30

Tyquiengco, Marina. "Defying Empire: The Third National Indigenous Art Triennial: National Gallery of Australia, May 26 – September 10, 2017." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 113–19. http://dx.doi.org/10.5195/contemp.2017.232.

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Exhibition ReviewExhibition catalog: Tina Baum, Defying Empire: 3rd National Indigenous Art Triennial. Canberra: National Gallery of Art, 2017. 160 pp. $39.95 (9780642334688) Exhibition schedule: National Gallery of Australia, Canberra, ACT, May 26, 2017 – September 10, 2017

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McIntyre, Sophie. "Questions of Identity and Origins in the Museological Representation of Contemporary Indigenous Art in Taiwan." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (2017): 110–29. http://dx.doi.org/10.1163/23523085-00302006.

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The significant ideological and cultural role of public museums in shaping national identity is widely acknowledged. This paper focuses on the roles of Taiwan’s public art museums in generating nationalist narratives that privilege notions of cultural distinctiveness and authenticity in the visual representation of art from Taiwan. Two exhibitions of contemporary Indigenous art provide a platform for critical analysis of the impact of identity politics on the selection, display, and promotion of Taiwanese Indigenous art. Questions of artistic agency are also explored in this paper, demonstrati

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Jurosz, Gabriela. "Anthropology of Art. Indigenous Concepts in Contemporary Art in Guatemala." Anthropos 109, no. 1 (2014): 206–17. http://dx.doi.org/10.5771/0257-9774-2014-1-206.

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McMaster, Gerald, Michael Frederick Rattray, Natalja Chestopalova, et al. "The Virtual Platform for Indigenous Art: An Indigenous-led Digital Strategy." Collections: A Journal for Museum and Archives Professionals 18, no. 1 (2022): 84–95. http://dx.doi.org/10.1177/15501906211072908.

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Over the past decade, a multitude of digital platforms engaging with Indigenous collections of ancestral belongings have been developed for the public in an effort to reconsider and reconceptualize notions of access and Indigenous ownership in virtual space. An initiative in partnership with the Onsite Gallery, the Virtual Platform for Indigenous Art (VPIA) is a newly developed resource that originates from Dr. Gerald McMaster’s Entangled Gaze Project at the Wapatah Centre for Indigenous Visual Knowledge, OCAD University in Toronto, Canada. VPIA is a strategic digital platform that brings toge

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34

Sackler, EA. "The ethics of collecting." International Journal of Cultural Property 7, no. 1 (1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.

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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred obj

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35

Bae-Dimitriadis, Michelle. "Land-Based Art Criticism: (Un)learning Land Through Art." Visual Arts Research 47, no. 2 (2021): 102–14. http://dx.doi.org/10.5406/visuartsrese.47.2.0102.

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Abstract This article provides an overview of how land-based settler colonial critique can reorient art criticism and art education to expand the scope of art and art practice to critical considerations of land politics and social justice, particularly in terms of the repatriation of Indigenous lands. In particular, land-based perspectives can help to rethink place/land by offering decolonizing methods for critiquing Western works of art that address place. Art educators’ ability to understand and critique settler colonialism in art has been hindered by Eurocentric art criticism. This article

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Vett. "Australian Indigenous Art Centres Online: A Multi-Purpose Cultural Tourism Framework." Arts 8, no. 4 (2019): 145. http://dx.doi.org/10.3390/arts8040145.

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In early 2019, Australia’s Northern Territory (NT) government announced the $106 million funding and promotion of a new state-wide Territory Arts Trail featuring Indigenous art and culture under the banner “The World’s biggest art gallery is the NT.” Some of the destinations on the Arts Trail are Indigenous art centres, each one a nexus of contemporary creativity and cultural revitalisation, community activity and economic endeavour. Many of these art centres are extremely remote and contend with resourcing difficulties and a lack of visitor awareness. Tourists, both independent and organised,

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37

Pageot, Edith-Anne. "L’art autochtone à l’aune du discours critique dans les revues spécialisées en arts visuels au Canada. Les cas de Sakahàn et de Beat Nation." Article quatre 9, no. 1 (2018): 81–94. http://dx.doi.org/10.7202/1052629ar.

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This article offers a qualitative and quantitive analysis of the critical reception of two exhibitions, Sakahàn:International Indigenous Art (National Gallery of Canada, Ottawa 2013) and Beat Nation: Art, Hip-Hop and Aboriginial Culture (organised and circulated by the Vancouver Art Gallery, 2013-2014). The study treats articles which appeared between 2012 and 2015 in English and French visual-arts publications. The comparative analysis intends to highlight general trends, in order to identify challenges that contemporary Indigenous arts pose for art criticism. A review of the texts shows that

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38

Goodfellow, Kirstie. "Reframing Timelines: Daniel David Moses and Indigenous Wonderworks in the 1980s." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (2021): 163–73. http://dx.doi.org/10.5206/tba.v3i1.13943.

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Indigenous speculative fiction was conceptualized and produced in the late twentieth century, engaging with themes related to the modern Indigenous political movement that was occurring at the same time including decolonization, education, and resistance to settler-colonialism. In Canada, the late twentieth century experienced a cultural boom of Indigenous art in response to the pan-Indigenous political movement that enveloped the nation in the 1960s-1990s. Daniel David Moses's The Dreaming Beauty is an early example of Indigenous Wonderworks, situated within the broader framework of Indigenou

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Neeparanya, Guha. "Exploring Indigenous Artistic Identity during the Colonial Period in India." Trivium A multi disciplinary journal of humanities of Chandernagore College 3, no. 5 (2019): 1–12. https://doi.org/10.5281/zenodo.13827557.

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This paper explores the development of indigenous artistic styles in India during the British colonial period, focussing on Bengal, the main hub of cultural rediscovery as well as artistic innovations. During the initial period of European cultural exposure, there was mostly a whole-hearted reception of European artistic styles. Indian traditional art was already in a state of oblivion following the decline of the Mughal rule and the gradual strengthening of the British Empire. Artists like Raja Ravi Varma though initially hailed for their artistic contributions, were later denounced for their

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Edwards, Ashley, and Courtney Vance. "The Salish Weave Box Sets." Partnership: The Canadian Journal of Library and Information Practice and Research 19, no. 2 (2025): 1–10. https://doi.org/10.21083/partnership.v19i2.8057.

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The Salish Weave Box Sets: Art and Storytelling Project is a project carried out for the Indigenous Curriculum Resource Centre (ICRC) at Simon Fraser University (SFU) Library, with the goal of providing resources to include Indigenous art in the post-secondary classroom. The project looked at the concept of art as literature, using the concept of Indigenous Storywork (Archibald, 2008). In this paper, we provide further context on the ICRC at SFU Library, the Salish Weave Box Sets, and present the approach, project themes, and lessons learned from the Salish Weave Box Sets: Art and Storytelling

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Stolte, Sarah Anne. "Spirituality, Art, and Memory in Installations by John Hitchcock and Eric-Paul Riege." Religion and the Arts 29, no. 1-2 (2025): 127–43. https://doi.org/10.1163/15685292-02901003.

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Abstract The installation artworks of John Hitchcock and Eric-Paul Riege exemplify the intersection of art, memory, and spirituality in contemporary Indigenous arts, functioning as acts of resilience and survival. Riege’s immersive installations, which incorporate traditional Diné weaving and performance, transform galleries into spaces of ancestral memory and spiritual reflection while critiquing historical representations of Indigenous identities. Similarly, Hitchcock’s multi-media installations use traditional Comanche symbols alongside contemporary elements to explore themes of historical

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Riphagen, Marianne, and Gretchen M. Stolte. "The Functioning of Indigenous Cultural Protocols in Australia’s Contemporary Art World." International Journal of Cultural Property 23, no. 3 (2016): 295–320. http://dx.doi.org/10.1017/s0940739116000163.

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Abstract:In recent decades, cultural protocols have emerged as a non-judicial alternative to the inadequate legal protection of Indigenous cultural heritage. They are meant to protect Indigenous peoples from the misappropriation of their heritage by outsiders and enhance Indigenous peoples’ control over their own domain. This article examines the functioning of Indigenous cultural protocols within Australia’s contemporary art world. As we will demonstrate, cultural protocols have clear practical utility. They can raise awareness, instigate changes in behaviour, and operate as a conduit for cor

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Samidi and Sarkawi B. Husain. "Actualization And Inheritance Of Pabitte Passapu Art In Tanah Towa Village, South Sulawesi." Mudra Jurnal Seni Budaya 39, no. 3 (2024): 271–82. http://dx.doi.org/10.31091/mudra.v39i3.2694.

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The preservation of the traditional art of Pabitte Passapu faces challenges when there are changes in the community supporting the art, so that the inheritance of art to the younger generation is hampered. This condition disrupts the stability of the arts in the Kajang indigenous community. Therefore, the problem in this article is the efforts made by the Kajang indigenous community in maintaining the art of Pabitte Passapu so that the value and meaning of the art remain a source of learning. The objectives of this article are first, to explain that the Kajang indigenous people maintain local

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Gilchrist, Stephen, and Henry Skerritt. "Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 108–21. http://dx.doi.org/10.5195/contemp.2016.183.

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Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibit

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Garneau, David. "Arte Indígena: de la apreciación a la crítica de arte." Revista Sarance, no. 49 (December 12, 2022): 69–85. http://dx.doi.org/10.51306/ioasarance.049.04.

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El artículo comienza con el reclamo del artista Aborigen australiano Vernon Ah Kee alrededor de la ausencia de crítica a su arte. Su demanda parte del reconocimiento de que el arte contemporáneo, es decir, arte que participa en los discursos y las instituciones artísticas internacionales, solo es considerado como tal cuando es objeto de crítica. Al no atraer a la crítica, el arte Aborigen queda fuera de las altas esferas del mundo artístico. Esta resistencia puede explicarse por un racismo institucional: la cultura dominante se niega a reconocer al arte Aborigen como arte contemporáneo. O, qui

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Kraus, Brittany. "Art for Everyone?" Theatre Research in Canada 40, no. 1-2 (2020): 42–63. http://dx.doi.org/10.7202/1068257ar.

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Founded in 2008 by Shahin Sayadi and Maggie Stewart, the Prismatic Arts Festival is a Halifax-based multidisciplinary arts festival that features the work of Indigenous and culturally diverse artists. This article examines the development of the Prismatic Arts Festival and the ways in which the festival has sought to negotiate, challenge, and transform Halifax’s artistic landscape by creating a model that is locally-grounded, nationally-networked, and fundamentally devoted to advancing the careers and profiles of Indigenous and culturally diverse artists in Nova Scotia and across Canada both w

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Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (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 conc

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Griniuk, Marija. "Decolonizing curatorial ways: Curating from Sámi perspective." PlaySpace 2, no. 1 (2023): 21–30. http://dx.doi.org/10.31265/ps.599.

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The paper explores multiple perspectives on curating indigenous art and builds upon the case project of the nongraduate program for Sámicurators and its part realized in autumn 2022 at the SámiCenter for Contemporary Art in Karasjok. The curatorial ways are discussed from a threefold perspective: decolonizing curatorial practice, nonhierarchy of narratives, and pluriversal curating. The findings outline the main tools applied, such as the involvement of Sámicurators and scholars, nonindigenous scholars working with Indigenous art, the use of the lecture, presentation, and experience formats, a

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Scudeler, June, and Patricia Marroquin Norby. "Art, Aesthetics, and Indigenous Ways of Knowing." American Indian Culture and Research Journal 39, no. 4 (2015): ix—xi. http://dx.doi.org/10.17953/aicrj.39.4.scudeler.norby.

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Gigler, Elisabeth. "Indigenous Australian Art Photography: an Intercultural Approach." Zeitschrift für Australienstudien / Australian Studies Journal 2122 (2008): 57–64. http://dx.doi.org/10.35515/zfa/asj.2122/200708.07.

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