Literatur in unserem Bestand

Taylor, Luke und National Museum of Australia (Hg.): Painting the Land Story, Canberra 1999, Ausst. Kat., ISBN 0642565449

Inhaltsverzeichnis        ¦         Klappentext        ¦         Buchbesprechung


Djon Mundine: Preface -iii-

Acknowledgements -v-

Luke Taylor: Introduction. Painting the Land Story, National Museum of Australia -1-

Kim Akerman: The art of the Kurirr-Kurrir ceremony (The Kimberley) -13-

Luke Taylor: Rainbows in the water (Western Arnhem Land) -33-

Howard Morphy: Manggallili art and the Promised Land (Eastern Arnhem Land) -53-

Ute Eickelkamp: Anapalaku walka - Ernabella Design: a women's art movement (South Australia) -75-

Brenda L Croft: Boomalli: from little things big things grow (Urban and rural Australia) -95-

Mary Bani: Tradition in contemporary form (Torres Strait Islands) -119-

References -137 -

Notes to the contributors -140-

Index -141-


The National Museum of Australia houses a rich collection of the works of Aboriginal and Torres Strait Islander artists. Indigenous Australians live in a wide variety of geographical and social circumstances, from the remote communities of the north and the west to the cities and country towns of the eastern states. Their art reflects this diversity. For many Indigenous Australians the act of painting is a kind of personal religious communion between the artist and the ancestral creation beings that made the country. This sense of ancestral precedent is most strongly felt in the essays by Luke Taylor and Howard Morphy, which focus respectively on western and eastern Arnhem Land. Through their art, Arnhemlanders seek to assert the value of their culture and to educate the recent settlers of the continent about their attachment to the land. In the essay on the Kimberley, Kim Akerman shows how individual creativity finds artistic expression within the context of regional ceremony, as an overt response to contemporary events framed within established themes. The three remaining essays in the volume explicitly address the postcolonial context of Indigenous art. Ute Eickelkamp shows how the women of the desert groups who were drawn into the mission settlement of Ernabella forged a new art movement which is an expression of community identity. Brenda L Croft charts the rise of the Boomalli Co-operative in Sydney as a showcase for the work of urban and rural Indigenous artists and a moving force in the redefinition of all Indigenous art as contemporary art. Mary Bani's essay on the Torres Strait Islander community shows how the artists of the rising generation are drawing on their training in techniques of painting and printmaking to create works of unique power.