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Eine Liste weiterer Literatur über australischer Kunst (die sich noch nicht im Bestand aboriginal-art.de befindet) wird ständig aktualisiert.
Literatur in unserem Bestand
(M-Z)
McLean, Ian (Hg.): How Aborigines invented the idea of contemporary art, Institute of Modern Art und Power Publications, Bisbane, Sydney 2011, ISBN 9780909952372
Inhaltsverzeichnis ¦ Klappentext ¦ Besprechung⁄Abstract
Inhaltsverzeichnis
What the anthology does -13-
Aboriginal art and the artworld -17-
Becoming modern -77-
Prophets -77-
John Garnder: Natives learn European art - 1945
Alan McCullock: Modern innovations in geometric abstraction - 1961
Tony Tuckson: Future prospects: Seeing Aboriginal art as art - 1964
Ronald M. Berndt: Going a little futher: The anthropology of art - 1964
Dick Roughsey: Portrait of the artist as a black man - 1971
Apostels -84-
Geoffrey Bardon: Origin story - 1979
Bernard Smith: Cultural convergence. Towards an ethical future - 1980
Galarrwuy Yunupingu: Painting is a political act - 1988
Lin Onus: Becoming an Aboriginal contemporary artist - 1990
What is Aboriginal Contemporary Art? -94-
Eric Rowlison: Aboriginal art has not adapted to Western art - 1981
Bernice Murphy: Aboriginal art is cultural adaptation - 1981
Peter Cooke: Aboriginal art is ritual revival - 1982
J.V.S. Megaw: Wester Desert painting is not traditional - 1982
Eric Michaels: Aboriginal art is esoteric - 1987
Eric Michaels: How to spot an Aboriginal painting - 1988
Nicholas Baume: Aboriginal acrylics are the fictional voice of white history - 1989
Trevor Nickolls: Aboriginal art is Australian art - 1990
Philip Jones: Aboriginal art is intercultural - 1992
Peter Sutton: Aboriginal art is traditional - 1992
Hetti Perkins: Even traditional Aboriginal art is contemporary - 1993
Howard Morphy: Contemporary world art is one stage in the history of Aboriginal art - 1998
Djambawa Marawili: Aboriginal art will teach the world - 1999
Charles Green: Aboriginal art is international art - 2001
Rex Butler: Aboriginal art is universal - 2003
Judy Watson: Aboriginal art is country and western - 2003
Christine Watson: Aboriginal paintings are not primarily artistic - 2003
Andrew McNamara: Two Ways: Between tradition and innovation - 2004
John Mawurndjul: Aboriginal art is changing - 2004
Zones of Engagement -115-
Arnhem Land -115-
Luke Taylor: Rarrk and X-ray painting explained - 1982
Margaret K.C. West: Innovation and tradition in the work of Declan Apuatimi - 1988
Banduk Marika: Change and agency - 1990
Howard Morphy: The mask of secrecy: Inside and outside, knowledge and power - 1991
Nigel Lendon: Space in Yolngu bark painting - 1997
Ivan Namirrkki: True paintings: We have not abandoned the first ancestors - 2004
Luke Taylor: John Mawurndjul: Contemporary artist - 2005
Elina Spilia: Contemporary art, ancestral power and Yolngu printmaking - 2006
Western Desert -133-
Nicolas Peterson: Tradition and innovation in the Desert - 1981
Terence Maloon: Beautiful abstracts survive cultural dislocation - 1982
Kenneth Coutts-Smith: Postmodernism or cultural colonialism? - 1982
Imants Tillers: Papunya painting is conceptual art - 1983
Michael Nelson Tjakamarra: We still hold fast to our culture - 1986
Eric Michaels: The authenticity of Desert acrylic painting - 1987
Eric Michaels: The inauthenticity of Desert acrylic painting - 1988
John Kean: Desert painting and the return to Country - 2000
Fred R. Myers: Rethinking tradition in a contemporary context - 2001
Urban Australia -146-
Andrew Crocker: Traditional and urban Aboriginal contemporary art - 1986
Lin Onus: Koori art: Light at the end of the tunnel - 1988
Djon Mundine: The urbanisation of Aboriginal art - 1990
Marcia Langton: The authenticity of urban Aboriginal art - 1992
Brenda L. Croft: Picturing the invisible: Portraying ourselves - 1993
John Kean: New regional Aboriginalities and national narratives - 1993
Gordon Bennett: Subverting urban Aboriginal art - 1996
Judy Watson: Fluid identities - 2003
The Australian artworld -159-
Graeme Sturgeon: Meaningless decoration - 1982
Imants Tillers: White Aborigines - 1982
Vivien Johnson: Aboriginal artists move on the artworld - 1986
Tim Johnson: Discovering Papunya painting - 1989
Terry Smith: The collision of Aboriginal art with the artworld - 1991
Joan Kerr: Autralias greatest modern art movement - 2001
Fred R. Myers: Ideology and the reception of Aboriginal art - 2002
Vivien Johnson: Indigenous art is the mainstream - 2004
John Mawurndjul: Painting for the balanda - 2004
Abroad -170-
Suzanne Pagé: Paris: The dream and the reality - 1983
Lance Bennett: Paris: Our culture is as modern as today - 1983
Jill Montgomery: Paris: Dreaming of the antipodes - 1984
John Weber: New York: A new vision demands a new criticism - 1989
Ronald Jones: New York: Postmodernist primitivism - 1989
Andrei Kovalev: Moscow: The universality of Aboriginal formalism - 1992
Bernhard Lüthi: Düsseldorf: The postcolonial challenge - 1993
Fred R. Myers: New York: Modernist judgements - 1994
Howard Morphy: London: New primitivism - 1995
Djon Mundine: Europe and the United States: Global reach, local differences - 1998
Guido Magnaguagno and Clara B. Wilpert: Basel: World art - 2005
Issues - 189
Gender - 189-
Françoise Dussart: Women Desert painters - 1988
Howard Morphy: Really, women are the inside - 1991
Hetti Perkins: Liberating Aboriginal women artists - 1991
Marcia Langton: Aboriginal woman and other Koori fantasies - 1997
Lynne Cooke: Gender as metaphor in Tracey Moffatts art - 1998
Jennifer L. Biddle: The new performativity of Western Desert womens art - 2003
Apolline Kohen: Kuninjku women make art - 2004
Ethics -205-
Ian Burn: Aboriginal art and the national collection - 1982
Peter Sutton and Christopher Anderson: Language and representation - 1988
Terry Smith: How to write about Aboriginal art - 1993
Tim Bonyhady: Aboriginal art and national narratives - 1998
Marcia Langton: Postmodern distortions - 2004
Nicolas Rothwell: The poverty of Aboriginal art criticism - 2004
Sebastian Smee: The dilemma of curating Aboriginal art - 2006
Robert Nelson: Everyone wants to be a whistle-blower - 2006
Modernism -217-
Nicholas Baume: Modernism and Aboriginal art - 1989
Terry Smith: Mimicking modernism - 1989
Nigel Lendon: Aboriginal cubism or para-traditionalism? - 1994
Louis Nowra: Aesthetic power: Blackness in Rover Thomass art - 1998
Roger Benjamin: The fallacy of Aboriginal modernism - 1998
Rex Butler: The impossibility of an Aboriginal art ciriticism - 1998
Howard Morphy: The necessity of anthropology and the limits of art criticism - 2001
Hans Joachim Müller: Modernism triumphant: Taming the rainbow serpent - 2005
Aesthetics -234-
Geoffrey Bardon: Haptic predilections in Aboriginal sensibility - 1979
Eric Michaels: Why there is no bad Aboriginal art - 1988
Howard Morphy: Yolngu aesthetics: The ancestral sublime - 1989
Jimmy Robertson Jampijinpa: Dot is nothing for us - 1990
Ian Burn and Ann Stephen: Namatjiras intercultural aesthetic - 1992
Gordon Bennett: Deconstructive aesthetics - 1993
Judith Ryan: Sensibility and vitality in Aboriginal art - 1995
Jennifer L. Biddle: Reading Aboriginal art - 1996
Christine Watson: The aesthetic of touch - 1999
Fred R. Myers: Taste and sensibility in Puntupi acrylic painting - 2002
Christine Nickolls: The spatial aesthetic of Desert painting - 2003
Christine Watson: Balgo colour: An intercultural aesthetic - 2004
Pijaju Peter Skipper: Nglirramanu. Making colour strong - 2004
Elizabeth Burns Coleman: How to appreciate Aboriginal art aesthetically - 2004
Nikos Papastergiadis: Being and becoming in Michael Rileys portraits - 2006
Appropriation -263-
Vivien Johnson: Two worlds collide - 1985
Vivien Johnson: Appropriation and Aboriginal art - 1986
Juan Davila: Appropriation as neo-colonialism - 1987
Eric Michaels: Appropriation as critical postmodernism - 1989
Marcia Langton: Appropriation is a paper tiger - 1992
Vivien Johnson: Five stories, nine shots: From appropriation to collaboration - 1997
Rex Butler and Morgan Thomas: The ethics of appropriation - 2003
Commerce -277-
R.G. (Dick) Kimber: Art for sale: Pretty pictures and easy stories - 1981
Kenneth Coutts-Smith: Art market creates demand for primitivist art - 1982
Howard Morphy: Primitive fine art and market expectations - 1982
Jon Altman: Selling art: Capitalism, power and prestige in western Arnhem Land - 1982
Paul Taylor: The Aboriginal art craze: Paintings that turned into money - 1989
Fred R. Myers: How commercial imperatives have changed traditional practices - 2002
Nicolas Rothwell: From the Desert, profits come: The death of an art movement - 2006
Politics -285-
Anne-Marie Willis and Tony Fry: Symptoms of ethnocide - 1988-89, 2007
Sylvia Kleinert: The divided politics of Aboriginality - 1988
Vivien Johnson: Reply to Kleinert - 1988
Geoffrey Bardon: Painting to defeat the white man - 1989
Brenda L. Croft: Controlling our own images - 1989
Robert Benjamin: Profits and cultural empowerment - 1990
Fred R. Myers: How art ciriticism colonises Aboriginal art - 1991
Peter Sutton: The conundrums of agency - 1992
Hetti Perkins and Victoria Lynn: Blak artists, cultural activists - 1993
Michael Nelson Tjakamarra: Parliament House mosaic: Art as political action - 1993
Mick Dodson: The social politics of Aboriginal art - 1996
Marcia Langton: Can reconciliation come from an artwork? - 1999
Ngarralja Tommy May: Native Title paintings - 2002
Richard Bell: Aboriginal art is a white thing - 2002
Jon Altman: The triumph of Aboriginal art - 2005
Futures -317-
Alan McCulloch: The future of Aboriginal art - 1984
Ian North: The new Aboriginal Australia - 2001
Imants Tillers and Ian North: Post-Aboriginality - 2001
Rex Butler: An end of Aboriginal art and the shock of the new - 2003
Marcia Langton: Aboriginal art in the age of hyper-reality - 2003
Mick Kubarkku: Today balanda are everywhere, so we send paintings to balanda - 2004
Kim Mahood: Surreal faultiness - 2005
Vernon Ah Kee: Paradigm me - 2006
How Aborigines invented the idea of contemporary art -333-
Map -346-
Klappentext
This is the first anthology to chronicle the global critical reception of Aboriginal art since the early 1980s, when the art world began to understand it as contemporary art. Featuring 96 authors – including art critics and historians, curators, art centre co-ordinators and managers, artists, anthropologists, sociologists, philosophers and novelists – it conveys a diversity of thinking and approach. Together with editor Ian McLeans important introductory essay and epilogue, the anthology argues for a re-evaluation of Aboriginal arts critical intervention into contemporary art since its seduction of the art world a quarter-century ago.