Related Papers
Remembering: Aboriginality, public art and urban design
Catherine De Lorenzo
Third Text
Negotiating Alterity: Indigenous and'Outsider'art
2002 •
Jen Webb
The Inevitable Collision between Politics and Indigenous Art
Gary Foley
In the past thirty years we have seen a revolution in the history and politics of Australian indigenous art. Since the late 1960s perceptions of indigenous art have progressed from quaint disinterest to international excitement and the creation of a multi-million dollar industry. From a tiny 1.7 percent of the Australian population, Aborigines make-up at least 25 percent and probably around 50 percent of working visual artists as well as creating more than half the total value of Australian visual fine art and dominating the export market. Australia-wide the Aboriginal art industry is estimated to make in excess of $200 million a year and to be growing at 10 per cent a year. Aboriginal artists in the Northern Territory are the largest producers in the industry. Their work has an estimated value of $110 million annually. Unfortunately, the practitioners and custodians of the art work itself continue to be marginalized and exploited to such an extent that less than one percent of the millions generated by their work is returned to them or their communities. Further, the intense international interest created by indigenous art rarely translates into an appreciation of the enormous historical injustices that continue to have a destructive effect on indigenous peoples throughout Australia. The whole world it seems is excited by indigenous art of Australia. The same whole world simultaneously demonstrates total disinterest in the reality of the present day indigenous social, political and economic condition. That such appreciation of art and indifference to suffering can reside together is a contradiction that shall be examined in a small way in this essay. Through an examination of a few significant moments in the recent history of indigenous Australia I shall illustrate the struggle by indigenous artists to assert their self-determination, challenge exploitation at the same time as altering the cultural and political landscape of Australia.
Manifestations: New Native Art Criticism
"Owning the Image: Indigenous Arts since 1990.” In Manifestations: New Native Art Criticism. Ed. Nancy Marie Mithlo. Santa Fe: Institute of American Indian Arts, 2011.
2011 •
Mario A Caro
Art Journal 77.4
Toward a Relational Historicization of Indigenous Art
2019 •
Lindsay Nixon
eTropic
Indigenous Art and Sovereignty Inspiring Change against Environmental Degradation
2020 •
Geraldine Le Roux
This special issue on “Environmental Artistic Practices and Indigeneity: In(ter)ventions, Recycling, Sovereignty" constitutes a body of creative contributions and academic articles addressing numerous forms of artistic practices of the Pacific Islands, Australia, French Guiana, the Caribbean, and Southeast Asia. Inspired by Indigenous artists and writers whose practices and creativity help reimagine sustainable ways to inhabit the world, this introduction and our special issue interrogate contemporary environmental issues and the legacy of colonisation. They examine how Indigenous artists and writers, and artists working with Indigenous artists and communities, have for decades raised awareness about environmental issues, and encouraged people to regain their agency to struggle against environmental degradation and further destruction of Indigenous people’s societies and health. This introduction contextualises the concepts and Indigenous terms used by artists to express their ...
Museum Anthropology Review
Remote Avant-Garde: Aboriginal Art under Occupation. Jennifer Loureide Biddle. Durham: Duke University Press, 2016. 304 pp.
2016 •
Christopher Berk
Introduction to Philosophy: Aesthetic Theory and Practice
ENGAGING WITH INDIGENOUS ART AESTHETICALLY
2021 •
Elizabeth B Coleman
Historically, artworks created by Indigenous peoples have been treated by Western, nonIndigenous artists and art critics as “primitive art” and belonging to ethnographic museums rather than in art galleries. This chapter traces how Indigenous arts have come to be reevaluated as arts and explores how the artforms of Indigenous peoples may be appreciated while recognising that these artforms are often created in artistic traditions quite different from those associated with the Western institution of fine arts. These traditions may not separate art from everyday life or ceremony and may involve quite different assumptions about the metaphysical nature of representation and the nature of beauty. Finally, it explores important ways to understand and appreciate the dynamic developments of Indigenous art, beyond the idea that “traditional” means without change.
Figurative Repatriation: First Nations ‘Artist-Warriors’ Recover, Reclaim, and Return Cultural Property through Self-Definition.” Special Issue: Beyond Art/Artifact/Tourist Art. The Journal of Material Culture. Volume 9(2) (July):161-182.
Jennifer Kramer
This article begins with an analysis of the problems of ‘physical repatriation’, as I review the case of the return of a First Nations mask to its community of origin. First Nations struggle to fit their concepts of ownership into western ones, where objects are viewed as alienable. As an alternative, the art of John Powell and Marianne Nicolson depicts a ‘figurative repatriation’ that does not rely on either the courts or museums to recognize legal or moral ownership. I argue that these contemporary artworks are social agents, which bring First Nations cultural objects home by staking out territory within museums. These ‘artist warriors’ forcibly recover (both literally and metaphorically) First Nations objects on display in foreign settings and reinscribe meaning at the level of the personal and the communal. They make objectified assertions of native identity that reclaim the right to self-definition. Moreover, these claims are made all the more powerful through their conscious location within an oppositional discourse framed by the Canadian western art world.
GeoHumanities
Indigenous Moves Collaborative Multimedia and Decolonial Aesthetics
2018 •
Altha Cravey
This article—a component of a multimedia series that includes academic papers, video documentaries,painting, poetry, dance, and song—documents and visualizes the continuities and contradictions inherent in diaspora and immigration for Indigenous Mexicans in the U.S. South. We argue for deployment of a decolonial aesthetics that calls into question long-standing colonial systems of meaning making, particularly racialized representations. We elaborate decolonial aesthetics by draw-ing on the visual language of Seed Spirits, a video documentary produced in collaboration with Otomi people. Decolonial aesthetics works through an affective register to evoke a wide range of responses tothe video including a deeper respect for ontologies of difference. A sacred element of Otomi cosmology, artisanal paper known as papel amate, further illuminates how we understand the liberatory potential of decolonial aesthetics. In conclusion, the Mexican diaspora and the cultural politics of Indigeneity it unleashed are reinscribing the narrative of Indigeneity in the Americas.Key Words: affectivity, decolonial aesthetics, Indigeneity, multimedia, Otomi.
