Literatur in unserem Bestand

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        ¦         Buchbesprechung


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: Autralia’s 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 Moffatt’s art - 1998

Jennifer L. Biddle: The new performativity of Western Desert women’s 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 Thomas’s 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: Namatjira’s 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 Riley’s 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-


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 McLean’s important introductory essay and epilogue, the anthology argues for a re-evaluation of Aboriginal art’s critical intervention into contemporary art since its seduction of the art world a quarter-century ago.