Bibliograhy of 'Narrated World: Contemporary Indigenous Australian Art' © 2022, 2024
This list is a copy from the book for the convenience of readers wanting to access the linked resources directly. No responsibility is taken for the materials at the linked resource. Usually the links are to PDF documents that can be many megabytes in size.
AASD Australian Art Sales Digest: 'Australian Art Auction Sales by Artist Source, 1988-2017', 2018
ABC1: 'Between the Lines'. Message Stick TV Programme, June 22nd, 2008 Transcript.
Aboriginal Art Galerie Bähr, Speyer, Kulturabteilung Bayer, Leverkusen and Bayer Australia, Sydney (eds.):Das Verborgene im Sichtbaren. The Unseen in Scene, Speyer 2000, exh. cat
Aboriginal Artists Agency and Papunya Tula Artists (eds.): Papunya – Ureinwohnermalerei aus der Wüste Zentralaustraliens, 1983, exh. cat.
ABS Australian Bureau of Statistics: ' 3105.0.65.001 – Australian Historical Population Statistics, 2019', Table 10.1 'Minimum estimates of the Aboriginal and Torres Strait Islander population, states and territories, 1788–1971', September 18th, 2019a.
ABS Australian Bureau of Statistics: '3105.0.65.001 – Australian Historical Population Statistics, 2019', Table 10.16 ' Aboriginal and Torres Strait Islander population, age and sex, states and territories, 30 June 2016 (2016 Census- based)', September 18th, 2019b.
ABS Australian Bureau of Statistics: 'Estimates of Aboriginal and Torres Strait Islander Australians; Contains 2016 Census-based final estimates of Aboriginal and Torres Strait Islander and non-Indigenous Australians for various geographies; Reference period June 2016'. August 31th, 2018.
ACCA Australian Centre for Contemporary Art; Boomalli Aboriginal Artists Co-operative (ed.): Blakness. Blak City Culture!, Sydney 1994, exh. cat.
Adler, Moshe: 'Stardom and Talent', The American Economic Review, vol. 75, no. 1, 1985, pp. 208–212
AGNSW Art Gallery of New South Wales: 'Archibald Prize 2020, Charlene Carrington', Sydney 2020.
AGNSW Art Gallery of New South Wales (ed.): Crossing Country – The Alchemy of Western Arnhem Land Art, Sydney 2004a, exh.
AGNSW Art Gallery of New South Wales (ed.): One Sun One Moon. Aboriginal Art in Australia, Sydney 2007, exh. cat
AGNSW Art Gallery of New South Wales (ed.): 'Pukumani grave posts', Sydney 2013.
AGNSW Art Gallery of New South Wales (ed.): Tradition today. Indigenous Art in Australia, Sydney 2004b
AGNSW Art Gallery of New South Wales: 'Wynne, Past works and winners', Sydney 2022.
AGWA Art Gallery of Western Australia (ed.): 1990 Venice Biennale, Australia – Artists: Rover Thomas, Trevor Nickolls, Perth 1990, exh. cat
AGWA Art Gallery of Western Australia (ed.): Art from the Great Sandy Desert, Perth 1986, exh. cat
AGWA and WAC Art Gallery of Western Australia and Warmun Art Centre (eds.): 'Churchill Cann', Indigenous Community Stories ICS-0067, produced by Michelle Broun, 2014
AIATSIS Australian Institute of Aboriginal and Torres Strait Islander Studies (ed.): Kuruwarri. Yuendumu Doors, Canberra
AIATSIS Australian Institute of Aboriginal and Torres Strait Islander Studies: ' Mission and Reserve Records', undated.
AIATSIS Australian Institute of Aboriginal and Torres Strait Islander Studies: ' The Barunga Statement', 1988. Accessed on March 18th, 2021.
AIATSIS Australian Institute of Aboriginal and Torres Strait Islander Studies: ' Yirrkala Bark Petitions 1963', Transcript, Canberra. Allas, Tess: 'History is a Weapon', Artlink, vol. 30, no. 1, 2010a, pp. 56-61
Allas, Tess: 'Why is Aboriginal Art Important to Modern Australia? ', The College Voice, vol. 8, no. 2, 2010b, pp. 1-7
Anaya, James: ' Report by the Special Rapporteur on the sitvuation of human rights and fundamental freedoms of indigenous people', UN General Assembly, Human Rights Council A/HRC/15/37/Add.4., 2010.
Anderson, Jane Elizabeth: The Production of Indigenous Knowledge in Intellectual Property Law, PhD Thesis, University of New South Wales, Sydney 2003.
Angelini, Francesco, Massimiliano Castellani and Pierpaolo Pattitoni: 'Artist Names As Human Brands: Brand Strategies in the Italian Gallery Art Market', SSRN Electronic Journal 2019. doi: 10.2139/ssrn.3495474
ANU Australia National University, Drill Hall Gallery (ed.): The Loaded Ground. Michael Nelson Jagamara & Imants Tillers, Canberra 2012, exh. cat
Art Cologne: Richtlinien zum Zulassungsverfahren (RzZ) / Admission Procedure Guidelines (APG), 2020.
Arts Law Centre of Australia: 'Indigenous Cultural & Intellectual Property (ICIP) 2011', April 2019. Accessed on September 12th, 2021.
Australian Government: 'Aboriginal welfare. Initial conference of Commonwealth and state Aboriginal authorities.', Canberra, April 21st to 23rd, 1937
Australian Government, Australian Institute of Family Studies: 'Child protection and Aboriginal and Torres Strait Islander Children', CFCA Resource Sheet, January 2020a.
Australian Government, Department of Agriculture, Water and the Environment: Australian Heritage Database, Wilgie Mia Aboriginal Ochre Mine, 2013.
Australian Government, Department of Finance and Deregulation: 'Strategic Review of Indigenous Expenditure: Report to the Australian Government', Canberra 2010.
Australian Government, Department of the Prime Minister and Cabinet: 'Closing the Gap, Report 2020', Canberra 2020b.
Australia, Office of the Aboriginal Land Commissioner: Mount Barkly land claim, Report no. 22, Canberra 1985.
Azarmi, Ted F. and Philipp R. P.Menny: 'Star Artists and Herding in Fine Arts' Market: Theory and Empirical Evidence', 2013. doi: 10.2139/ssrn.2232307
Bähr, Elisabeth: Die Kunst von Aborigines. Über die Schwierigkeiten, das Fremde zu akzeptieren, FernUniversität Hagen 1995
Bähr, Elisabeth: 'The Impact of Christianity on Australian Indigenous Art'. In: Holleuffer, Henriette von and Adi Wimmer (eds.): Australien. Realität Klischee Vision. Australia. Reality Stereotype Vision, Trier 2012, pp. 49-67
Bardon, Geoffrey: Aboriginal Art of the Western Desert, Adelaide 1979
Bardon, Geoffrey: Papunya Tula: Art of the Western Desert, Melbourne 1991
Bardon, Geoffrey: 'The Great Painting, Napperby Death Spirit Dreaming, and Tim Leura Tjapaltjarri'. In: Ryan, Judith (ed.): Mythscapes. Aboriginal Art of the Desert from the National Gallery of Victoria, Melbourne 1989, exh. cat., pp. 46–49
Bardon, Geoffrey and James Bardon: Papunya. A Place Made After the Story. The Beginnings of the Western Desert Paint-ing Movement, Melbourne 2004
Barkley, Glenn: 'Vernon Ah Kee interviewed by Glenn Barkely, 7 March 2009'. In: Franzidis, Evie (ed.): Vernon Ah Kee: Born In This Skin, Brisbane 2009, pp. 19–23
Bateson, Charles: The convict ships, 1787-1868, Glasgow 1985
Bauer, Hermann (ed.): Die große Enzyklopädie der Malerei, vol. 1, Freiburg, Basel, Vienna 1975
Becker, Howard S.: Art Worlds, 2nd ed., Berkeley 2008
Beisiegel, Katharina (ed.): Musées du XXIe siècle: visions, ambitions, défis, Munich 2017, exh. cat
Bell, Richard: ' Bell?s Theorem: Aboriginal Art – It?s a white thing!'. In: Leonard, Robert (ed.): Richard Bell: Positivity, Brisbane 2007, exh. cat., pp. 26-32.
Benjamin, Roger and Andrew C. Weislogel (eds.): Icons of the Desert: Early Aboriginal Paintings from Papunya, New York 2009, exh. cat
Bennett, Tony, Deborah Stevenson, Fred Myers and Tamara Winikoff: The Australian Art Field: Practices, Policies, Institutions, London 2020
Berrell, Nina: 'Inroads offshore: the international exhibition program of the Aboriginal Arts Board, 1973–1980', reCollections: Journal of the National Museum of Australia, vol. 4, no. 1, 2009, pp. 13-30.
Berryman, Jim: ' Exhibiting Western Desert Aboriginal painting in Australia?s public galleries: an institutional analysis, 1981-2002', Journal of Art Historiography, vol. 7, 2012, pp. 1-19.
Biddle, Jennifer: 'Dot, circle, difference: Translating Central Desert Paintings'. In: Diprose, Roslyn and Robyn Ferrell (eds.): Cartographies – Poststructuralism and the mapping of bodies and spaces, North Sydney 1991, pp. 27-39
Biddle, Jennifer Loureide: Remote Avant-Garde. Aboriginal Art under Occupation, Durham, London 2016
BIGSAS Bayreuth International Graduate School of African Studies.https://web.archive.org/web/20201025165345/http://www.bigsas.uni-bayreuth.de/en/index.html
Blackartprojects and Mimili Maku Artists (eds.): Mumu MikeWilliams, Kunmanara Martin, 2018.
Bleiker, Roland and Sally Butler: 'Radical Dreaming: Indigenous Art and Cultural Diplomacy', Int. Political Sociology, vol. 10, no.1, 2016, pp. 56-74
Bloch, Lee and Macario Garcia (eds.): Songs of a Secret Country, Charlottesville 2017, exh. cat
Bolger, Audrey: East Kimberley Impact Assessment Project (Australia): The effect of public sector activity on Aborigines in the East Kimberley. Part I, Canberra 1987.
Bonnet, Anne-Marie: ?Dilemmata of otherness?. In: Volkenandt, Claus and Christian Kaufmann (eds.): Between Indigenous Australia and Europe: John Mawurndjul, Berlin 2009, pp. 123–134
Booth, Jessica Adelaide: Understanding buyer behaviour in the primary market for Aboriginal and Torres Strait Islander art – A cross-disciplinary study in marketing and arts management, M.A. Thesis, University of South Australia, Adelaide, 2014
Boulter, Michael: The Art of Utopia. A New Direction in Contemporary Aboriginal Art, Sydney 1991
Bourdieu, Pierre: The Field of Cultural Production, New York 1993
Bourke, Eleanor: 'Australia's First People: Identity and Population'. In: Bourke, Colin, Eleanor Bourke and Bill Ed-wards (eds.): Aboriginal Australia, St Lucia 1994, pp. 38–55
Bowness, Alan: The Conditions of Success. How the ModernArtist Rises to Fame, Walter Neurath memorial lectures, no. 21, New York 1989
Britain?s Nuclear Weapons: ' British Nuclear Testing', August 23rd, 2007.
Brock, Peggy: ' Skirmishes in Aboriginal History', Aboriginal History, vol. 28, 2004, pp. 207–225.
Brody, Anne (ed.): Utopia Women?s Paintings – The First Works on Canvas. A Summer Project 1988-89, Perth 1989, exh. cat
Brody, Anne Marie: Utopia. A Picture Story – 88 Silk Batiks from the Robert Holmes à Court Collection, Perth 1990
Brody, Anne, Ulrich Krempel and Elisabeth Bähr: Stories: eine Reise zu den großen Dingen. Elf Künstler der australischen Aborigines, Hannover 1995, exh. cat
Burmeister, Ralf, Michaela Oberhofer and Esther Tisa Francini: Dada Afrika. Dialog mit dem Fremden, Zurich 2016, exh. cat
Butel, Elizabeth and Margaret Preston: Selected writings: Margaret Preston, Sydney 2015
Bystron, Daniela and Monika Zessnik: 'Kulturzentrum oder Museum? Vermittlungspraxis im Ethnologischen Museum Dahlem und Hamburger Bahnhof – Museum für Gegenwart – Berlin'. In: Kamel, Susan and Christine Gerbich (eds.): Experimentierfeld Museum: Internationale Perspektiven auf Museum, Islam und Inklusion, Bielefeld 2014, pp. 319–352
Campbell, Liam: Darby. One hundred years of life in a changing culture, Sydney 2006
Carmichael, Bethune and Apolline Kohen: 'The forgotten Yuendumu Men?s Museum murals: Shedding new light on the progenitors of the Western Desert Art Movement', Australian Aboriginal Studies, vol. 1, 2013, pp. 110–116
Carrigan, Belinda (ed.): Rover Thomas. I want to paint, Perth 2003, exh. cat
Carrington, Sade, Jonathan Kimberley, V. Kowalski, S. Lewincamp, Patrick Mung Mung, Gabriel Nodea, R. Park, M. Scott and R. Sloggett: 'Conservation and the production of shared knowledge'. In: Bridgland, J. (ed.): ICOM-CC 17th Triennial Conference Preprints, Melbourne, 15–19 September 2014, Melbourne 2014
Carty, John: 'West Side Story, Aboriginal Art History in the Canning Stock Route Country'. In: La Fontaine, Monique and John Carty (eds.): Ngurra Kuju Walyja – One Country, One People. Stories from the Canning Stock Route, South Yarra 2011, pp. 178-195
Chinweizu, Ibekwe: The West and the Rest of Us: White Predators, Black Slavers, and the African Elite, New York 1975
Chirac, Jacques: ' Opening Of The Musée Du Quai Branly Speech', November 12th, 2007.
Chryssides, Helen: 'Earthly treasures?, Bulletin, May 7th, 1996, Sydney, pp. 74-75
Chuguna, Jukuna Mona, Pijaji Peter Skipper, Ngarralja Tommy May and Karen Dayman: 'Mangkaja Arts Resource Agency Aboriginal Corporation: Maparlany Parlipa Mapunyan – We are Painting True, Really True'. In: Hill, Rosemary, Kate Golson, Pat Lowe, Maria Mann, Sue Hayes and Jane Blackwood (eds.): Kimberley Appropriate Economies Roundtable Forum Proceedings. Convened 11-13 October 2005, Cairns 2006, pp. 114-118.
Clark, Ian D.: Scars in the Landscape. A register of massacre sites in western Victoria 1803-1859, Australian Institute of Aboriginal and Torres Strait Islander Studies Report Series, Canberra 1995.
Clark, Marshall and Sally K. May: Macassan History and Heritage: Journeys, Encounters and Influences, Canberra 2013.
Clarkson, Chris, Zenobia Jacobs, Ben Marwick et al.: ' Human occupation of northern Australia by 65,000 years ago', Nature, vol. 547, no. 7663, 2017, pp. 306–310.
Cohen-Solal, Annie: 'Revisiting Magiciens de la Terre', Stedelijk Studies Journal, vol. 1, 2014.https://web.archive.org/web/20201026234948/https://stedelijkstudies.com/journal/revisiting-magiciens-de-la-terre/
Coleman, Elizabeth Burns: ' Historical ironies: the Australian Aboriginal art revolution', Journal of Art Historiography, vol. 1, 2009.
Cook, Michael: ' Artist's statement for: Identity – Andu (Son)'. In: Andrew Baker Art Dealer (ed.): Mother, Brisbane 2016.
Cook, Michael: 'Michael Cook'. In: Global Art Affairs Foundation and European Cultural Centre (eds.): Personal Structures. Crossing Borders, Venice 2015, pp. 54-55
Cooper, Carol: 'Art of temperate south-east Australia'. In: Rowlison, E., C. Cooper, H. Morphy, D. J. Mulvaney and N. Peterson: Aboriginal Australia, Sydney 1981, pp. 29–40, 82–120
Cowan, James: Wirrimanu. Aboriginal Art from the Balgo Hills, East Roseville 1994
Cubillo, Franchesca and Wally Caruana (eds.):Aboriginal & Torres Strait Islander Art. Collection Highlights, National Gallery of Australia, Canberra 2010
Culture Victoria: ' Stories – Aboriginal Culture – Oil Paint and Ochre – Memory: Barak?s painting', 2016.
Cumpston, Nici and Barry Patton: Desert Country, Adelaide 2010, exh. cat
Czaban, Jessie: Challenging White Fantasies of 'post-Aborigi-nality': reading the work of Fiona Foley and Vernon Ah Kee, M.A. Thesis, University of Sydney, 2014.
Danzker, Jo-Anne Birnie: Traumzeit – Tjukurrpa: Kunst der Aborigines der Western Desert. Die Donald Kahn-Sammlung, Munich, New York 1994, exh. cat
Davidson, Kate and Michael Desmond: Islands: Contemporary Installations from Australia, Asia, Europe and America, London 1996, exh. cat
Davis, Michael: ' Indigenous peoples and intellectual property rights', Department of the Parliament Library of Australia, Information and Research Services, Research Papers (20), Canberra 1996.
Dayman, Karen: 'Maparlany Parlipa Mapun – We are Painting True, Really True'. In: Ryan, Judith (ed.): colour power. Aboriginal art post 1984, Melbourne 2004, exh. cat., pp. 115–118
Dayman, Karen and Pat Lowe (eds.) with Jukuna Mona Chuguna, Hitler Pamba, Jimmy Pike, Ngarralja Tommy May, Pijaju Peter Skipper and Gail Smiler: 'Painting up big. The Ngurrara canvas'. In: Chance, Ian (ed.): Kaltja now. Indigenous Arts Australia, Adelaide 2001, pp. 26-41
Deadly Vibe: 'Adam Hill. Loud and Proud', Deadly Vibe 84, 2004.
Deloitte: ' Art & Finance report 2017', 11.22.2017.
De Lorenzo, Catherine: 'Somewhere: Manuwanku life with a nuclear waste dump', Artlink, vol. 32, no. 4, 2012, pp. 62-65
De Lorenzo, Catherine and Dinah Dysart: A Changing relationship: aboriginal themes in Australian art c. 1938-1988, Sydney 1988, exh. cat
De Lorenzo, Catherine, Joanna Mendelssohn and Catherine Speck: ' 1968-2008: Curated exhibitions and Australian art history', Journal of Art Historiography, no. 4, 2011, pp. 1-15.
Dempsey, Sister Alice: 'The emergence of the art movement in Balgo'. In: Healy, Jacqueline (ed.): Warlayirti. The Art of Balgo, Melbourne 2014, exh. cat., pp. 45-53
Dissanayake, Ellen: ' The Artification Hypothesis and Its Relevance to Cognitive Science, Evolutionary Aesthetics, and Neuroaesthetics', Cognitive Semiotics 5, 2009, pp. 148-173.
Dodd, Sammy: 'I?m still making kulata every day'. In: Wattler, Anna: Kulata Tjuta, Rennes 2020, exh. cat., p. 80
Dolan, David: 'The Academy, the Market and the Art Museums in the Repositioning of Australian Aboriginal Art', Canadian Art Review, vol. 28, 2003, pp. 56-65
Drahos, Peter: 'The Universality of Intellectual Property Rights: Origins and development'. In: World Intellectual Property Organization (ed.): Intellectual Property and Human Rights, Geneva 1999, pp. 13-41
Eickelkamp, Ute: ' Don't Ask for Stories«: the Women from Ernabella and their Art – 'Tjukurpa tjapintja wiya'': minyma anapalanya ngurara tjutangku warka palyantja craftroomangka, Canberra 1999
Elder, Bruce: Blood on the Wattle. Massacres and Maltreatment of Aboriginal Australians since 1788, Brookvale 1988
Elmer, Vickie: 'The Global Art Industry'. In: SAGE businessresearcher (ed.): Issue: The Global Art Industry, Los Angeles, Washington 2016.
Ernabella Arts Inc.: 'Ernabella Arts: The Oldest Art Centre', 2021.
Evans, Nicholas: 'Muthaa miburlda ngad: the life of Sally Gabori'. In: Woolloongabba Art Gallery (ed.): Sally's Story, Woolloongabba 2005, exh. cat., pp. 13-15
Evans, Nicholas: The Heart of Everything: the art and artists of Mornington & Bentinck, Fitzroy 2008
Everett, Jim: 'Aboriginality'. In: Alexander, Alison (ed.): The Companion to Tasmanian History, Centre for Tasmanian Historical Studies, University of Tasmania, 2006.
Everett, Jim: 'Ricky Maynard/The Man'. In: Museum of Contemporary Art (ed.): Ricky Maynard. Portrait of a Distant Land, Sydney 2007, exh. cat., pp. 29-34
Faulkner, William: Requiem für eine Nonne, Stuttgart 1956 [1951]
FBF Fondation Burkhardt-Felder Arts et Culture (ed.): Ochre Magic, Môtiers 2016
FCA Federal Court of Australia: ' Kogolo v State of Western Australia [2007] FCA 1703', 2007.
Fenner, F. and S. F. Harris: ' Herbert Cole Coombs 1906-1997 ', Historical Records of Australian Science, vol. 13, no. 1, 2000, pp. 67-81.
Fenner, Felicity and Vivien Johnson (eds.): Talking about Abstraction: Exhibition 27 May-3 July 2004, Sydney 2004, exh. cat
Ferrell, Robyn: Sacred Exchanges. Images in Global Context, New York 2012
Fesl, Eve Mumewa D.: 'How the English Language is used to put Koories down, deny us rights, or is employed as a political tool against us'. In: The University of Melbourne, School of Art History, Cinema, Classics and Archaeology (ed.): Contemporary Aboriginal Art, Subject Reader, Melbourne 2006
Field, Jennifer Jo: Written in the Land – The Life of Queenie McKenzie, Melbourne 2008
Fine, Gary Alan: Everyday Genius: Self-Taught Art and the Culture of Authenticity, Chicago 2006
Fisher, Laura and Gay McDonald: 'From fluent to Culture Warriors: curatorial trajectories for Indigenous Australian art overseas', Media International Australia, vol. 158, no. 1, 2016, pp. 69-79
Flam, Jack and Miriam Deutch (eds.): Primitivism and twentieth-century art: a documentary history, Berkeley 2003
Flinders University Art Museum (ed.): roads cross. Contem-porary directions in Australian art, Adelaide 2012, exh. cat
Flinders University City Gallery (ed.): Holy Holy Holy, Adelaide 2004, exh. cat
Foley, Daniel Joseph: The British Government Decision to Found a Colony at Botany Bay, New South Wales in 1786, PhD Thesis, University of London, 2004
Foley, Fiona: 'I Speak to Cover the Mouth of Silence', Art Monthly, vol. 250, June 2012, pp. 55-57
Foley, Fiona: 'The elephant in the room: public art in Brisbane', Artlink, vol. 32, no. 2, 2012, pp. 64-67
Foley, Fiona: 'The Natives are restless'. In: Kleinert, Sylvia and Margo Neale (eds.): The Oxford Companion to Aboriginal Art and Culture, Melbourne 2000, pp. 498-499
Fondation Opale: Interview with Judy Watson on December 13th, 2020, in a Webinar as part of the exhibition 'Resonances' from June 14th, 2020, to April 25th, 2021, unpublished
Foster, Hal: 'The ''Primitive'' Unconscious of Modern Art', October, vol. 34, 1985, pp. 45-70.doi: 10.2307/778488
Frederick, George William (King George III): ' Instructions for Our Trusty George R and well beloved Arthur Phillip Esq. Our Captain General and Governor in Chief, in and over (LS.) Our Territory of New South Wales and its Dependencies, or to the Lieutenant Governor or Commander in Chief of the said Territory for the time being. Given at Our Court at St. James the 25th day of April 1787 ', Governor Phillip?s Instructions, April 25th, 1787 (UK), Transcript.
Freie Universität Berlin: ' Transkulturelle Verhandlungs-räume von Kunst. Komparatistische Perspektiven auf historische Kontexte und aktuelle Konstellationen '.
French, Hayley Megan: See where it Drifts. The Influence of Aboriginal Art on an Australian Ontology of Painting , PhD Thesis, Sydney College of the Arts, The University of Sydney, 2015.
Frieling, Ralph and Elisabeth Bähr (eds.): ' Traumspuren'. Kunst und Kultur der australischen Aborigines, Iserlohn 2003
Frost, Lindsay: 'The Intervention: The Truth, the Whole Truth and Nothing but the Truth?' In: Baehr, Elisabeth and Barbara Schmidt-Haberkamp (eds.): ' And there'll be no dancing'. Perspectives on Policies Impacting Indigenous Australia since 2007, Newcastle upon Tyne 2017, pp. 13-86
Furniss, Elizabeth: ' Timeline History and the Anzac Myth: Settler Narratives of Local History in a North Australian Town ', Oceania, vol. 71, no. 4, 2001, pp. 279–297.
Garde, Murray: ' Art in translation: Murray Garde and John Mawurndjul ', MCA 2018.
Garneau, David: 'Indigenous Art: From Appreciation to Art Criticism'. In: McLean, Ian: Double Desire: Transculturation and Indigenous Contemporary Art, Newcastle upon Tyne 2014, pp. 311-326
Gassen, Richard W.: 'Wege der Abstraktion. Auf der Suche nach einer neuen Wirklichkeit'. In: Gassen, Richard W. and Bernhard Holeczek (eds.): die neue wirklichkeit. abstraktion als weltentwurf, Ludwigshafen 1994, exh. cat., pp. 15-40
Geissler, Marie: Arnhem Land Bark Painting: The Western Reception 1850–1990, PhD Thesis, University of Wollongong, Wollongong 2017
Geissler, Marie: 'Ulli Beier, the Aboriginal Arts Board and Aboriginal Self-Determination', Australian and NewZealand Journal of Art, vol. 20, no. 2, 2020, pp. 268–287.doi.org/10.1080/14434318.2020.1837380
Gilchrist, Stephen (ed.): Everywhen: The Eternal Present in Indigenous Art from Australia, Cambridge (USA) 2016, exh. cat
Gilchrist, Stephen: 'Jananggoo Butcher Cherel: ''Am I a Good Painter or Not?'' '. In: Skerritt, Henry F. (ed.): No Boundaries, Aboriginal Australian Contemporary Abstract Painting from the Debra and Dennis Scholl Collection, Munich, London, New York 2014, pp. 44-48
Ginsburg, Faye: 'The Parallax Effect: The Impact of Aboriginal Media on Ethnographic Film', Visual Anthropology Review, vol. 11, no. 2, 1995, pp. 64-76
Goddard, C. (ed.): Pitiantjatiara/Yankunytjatjara to English Dictionary, 2nd ed., Alice Springs 1996
Goddard, Clif and Anna Wierzbicka: 'What does Tjukurrpa (''Dreamtime'', ''the Dreaming'') mean? A semantic and conceptual journey of discovery', Australian Aboriginal Studies, vol. 1, 2015, pp. 43-65
Godelier, Maurice (ed.): Wati. Les hommes de loi. The Law Men. Collection d?Arnaud Serval, Paris 2002, exh. cat
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Goldwater, Robert John: Primitivism in Modern Art, Cambridge (USA) 1986
Gondarra, Djiniyini and Richard Trudgen: 'The Assent law of the first people: Principles of an effective legal system in Aboriginal communities ', contribution at the conference 'Law and Justice within Indigenous Communities', Melbourne, February 22nd, 2011.
Graham, Mary: 'Some Thoughts about the Philosophical Underpinnings of Aboriginal Worldviews', Australian Humanities Review, vol. 45, 2008, pp. 181-194
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Gumana, Yinimala: 'It comes from the spirit of the land. Yinimala Gumana in conversation with Will Stubbs', Artlink, vol. 34, no. 2, 2014, pp. 50-53
Haag, Oliver: ' Indigenous Australian Literature in German: Some Considerations on Reception, Publication and Translation ', Journal of the Association for the Study of Australian Literature, Special Issue 2009.
Hamacher, Duane W. and David J. Frew: 'An Aboriginal Australian record of the great eruption of Eta Carinae', Journal for Astronomical History & Heritage, vol. 13, no. 3, 2010, pp. 1-23
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Harvard Art Museum: ' Gilchrist Talks about Everywhen', 2016.
HCA High Court of Australia: ' Mabo v Queensland (No 2) (''Mabo case'') [1992] HCA 23; (1992) 175 CLR 1 (3 June 1992) ', Canberra 1992.
Healey, Jacky: '' 'Unconventional Business'': Marketing of Aboriginal Art from Remote Area Communities '. The New Wave: Entrepreneurship & the Arts Conference, 5-6 April 2002, Melbourne 2002.
Healy, Jacqueline (ed.): Warlayirti. The Art of Balgo, Melbourne 2014, exh. cat
Heermann, Ingrid and Ulrich Menter: Gemaltes Land: Kunst der Aborigines aus Arnhemland, Australien, Berlin 1994, exh. cat
Heinich, Nathalie: La gloire de Van Gogh: Essai d?anthropologie de l?admiration, Collection ?Critique?, Paris 1991
Heinich, Nathalie: L?élite artiste. Excellence et singularité en régime démocratique, Paris 2005
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Hermens, Frouke and Johannes Zanker: 'Looking at Op Art: Gaze stability and motion illusions', i-Perception, vol. 3, 2012, pp. 282–304
Hiller, Susan: The Myth of Primitivism, London 2006
Hinkson, Melinda: 'New Media Projects at Yuendumu: Intercultural engagement and self-determination in an era of accelerated globalization', Continuum: Journal of Media & Cultural Studies, vol. 16, no. 2, 2002, pp. 201-220
Hookey, Gordon: ' Terrorism and Terraism',borderlands, vol. 5, no. 1, 2006.
HRLC Human Rights Law Centre: ' Australian governments continue to fail kids by refusing to raise the age at which children can be locked in prison', July 27th, 2020.
HRLC Human Rights Law Centre: 'The speech 12 years old Aboriginal child, Dujuan, delivered at the UN Human Rights Council', September 11th, 2019.
Huda, Shireen: Pedigree and Panache: A History of the Art Auction in Australia, Canberra 2011. Accessed on September 19th, 2020.
Husemann, Manuela: Approaching Africa: The Reception ofAfrican Visual Culture in Germany 1894-1915, PhD Thesis, University of East Anglia, Norwich 2015.
Ian Potter Museum of Art. The University of Melbourne (ed): Blood on the Spinifex, Melbourne 2002, exh. cat
IartC, Indigenous Art Code: A code to promote fair and ethical trade in works of art by Indigenous artists, Randwick 2011.
Inglis, Alison: 'Affinity and Collaboration: Zhou Xiaoping and the art of cultural exchange'. In: Lauraine Diggins Fine Art (ed.): Zhou Xiaoping. The Cross Cultural Influences of Chinese and Indigenous Art, North Caulfield 2018, exh. cat.
Inglis, Alison, Joanna Mendelssohn, Catherine De Lorenzo and Catherine Speck: Australian Art Exhibitions: Opening Our Eyes, London 2018
Institut für Museumsforschung, Staatliche Museen zu Berlin (ed.): Statistische Gesamterhebung an den Museen der Bundesrepublik Deutschland für das Jahr 2005, vol. 60, p. 15, Berlin 2006.
Institut für Museumsforschung, Staatliche Museen zu Berlin (ed.): Statistische Gesamterhebung an den Museen der Bundesrepublik Deutschland für das Jahr 2013, vol. 68, p. 19, Berlin 2014.
Isaacs, Jennifer: Aboriginality: Contemporary Aboriginal Paintings and Prints, St Lucia 1992
Isaacs, Jennifer: Spirit Country. Contemporary Australian Aboriginal Art
, South Yarra 1999, exh. cat
James, Rodney: 'The Battle for the Spencer Barks: from Australia to the USA, 1963–68', The La Trobe Journal, vol. 94, 2014, pp. 181–195
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