Literatur in unserem Bestand

Volkenandt, Claus und Kaufmann, Christian (Hg.): Between Indigenous Australia and Europe: John Mawurndjul, Dietrich Reimer Verlag, Berlin 2009, ISBN 9783496028093

Inhaltsverzeichnis        ¦         Klappentext        ¦         Buchbesprechung


Guido Magnaguagno: Foreword -7-

Claus Volkenandt & Christian Kaufmann: Introduction -9-

Jon Altman: A brief social history of Kuninjku art and the market -19-

Part 1: The local contexts of bark painting

Luke Taylor: Painting energy: John Mawurndjul and the negotiation of aesthetics in Kuninjku bark painting -31-

Apolline Kohen: An arts adviser perspective on producing art for Balanda -47-

Jon Altman: Brokering Kuninjku art: a critical perspective on the complex processes of mediating with the market -53-

Judith Ryan: Rarrk on bark: John Mawurndjul’s medium of power and beauty -61-

Part 2: Identifying contexts of art

Howard Morphy: Art theory and art discourse across cultures: the Yolngu and Kunwinjku compared -75-

Claus Volkenandt: Why we need an intercultural art history -103-

Kitty Zijlmans: Intercultural perspective as context: beyond othering and appropriation? The case of John Mawurndjul -113-

Anne-Marie Bonnet: Dilemmata of otherness -123

Part 3: Between Europe and Australia: from local to global

Christian Kaufmann and Richard McMillan (+): From bark to art: Karel Kupka between Arnhem Land and Basel -137-

Sally Butler: Translating the spectacle: John Mawurndjul’s intercultural aesthetic -161-

Jean-Hubert Martin: Art of the Aborigines between new-age mysticism and politics -175-

Till Förster: What is local about local art? Contemporary African artists between international art world and local life-world -183-

Part 4: Tomorrow’s museums for today’s art

John Onians: 30,000 years of Australian art - a neuropsychological approach -199-

Paul S. C. Tyçon: the Creativity Centre: where science meets art -211-

Marianne Eigenheer: Rendering visible - new practices for old institutions -217-

Bernhard Lüthi: Recognising Indigenous Australians: a new context for art -223-

Colour Plates I-XXVI -after 112-

List of authors -229-

Index -233-

Map of Arnhem Land -240-


Increasingly, Australian Indigenous art is drawing the attention of international audiences, in part because of the amazing stories the artists tell of human creativity. John Mawurndjul is one of several Aboriginal artists whose work is collected and displayed in art museums and galleries throughout the world. As his work is both simultaneously grounded in his country in northern Australia, and internationally, the resulting dual perspective raises basic questions about how art should be viewed and approached in intercultural terms. From their different perspectives, renowned Australian contributors, Jon Altman, Sally Butler, Apolline Kohen, Howard Morphy, Judith Ryan, Luke Taylor and Pauls S. C. Taçon, join a range of international commentators, to raise and debate key questions. For example, what is the main reference point when dealing with the work of John Mawurndjul. Is it the art gallery where the work is displayed, or its place of origin in Arnhem Land? And what are the ramifications of the choice of a specific reference point on the interpretation and understanding of his art works?