Aboriginal art
The art of the Aborigines , English called Aboriginal Art , is one of "the oldest continuous art traditions in the world". It is created by indigenous Australians , the Aborigines , and spans a period from 40,000 year old rock paintings to today's modern art based on their traditional culture. The animal world and people were mostly depicted figuratively for both teaching and ceremonial purposes. Pictures were painted and scratched on rock, drawn in sand, painted on bodies and tree bark. Aboriginal art encompasses a wide range of mediums, including painting bark panels, canvas, wood and stone engravings, sculpture, sand and body painting, making ceremonial clothing, and artistically decorating weapons and tools.
New art forms have been developing since around the 1930s: New art forms such as Papunya Tula by Johnny Warangkula Jupurrula emerged from the Hermannsburg School of Albert Namatjira , both with new materials and the watercolor depictions of the central deserts from Papunya with the style of dot painting in the 1980s. This was the first modern generation. It was followed by the second generation of Aboriginal painters in the 1980s, who dealt with the still prevailing racial segregation, which was first depicted in pictures by the painter Robert Campbell Junior . In the past few decades, Aboriginal art has gained international recognition.
Social importance
“ Reputation is earned in Aboriginal culture through knowledge, not material possessions. Art is an expression of knowledge and thus a kind of proof of legitimation. "
Art is part of the main rituals in Aboriginal culture: it marks territories, records history, supports and transmits narratives about the dreamtime . Much like Christians have their own story about the creation of the world, the Aboriginal dream time describes the creation of the world and every single landscape.
When considering the Aboriginal art form, two levels of interpretation are fundamentally important: " The" inner "stories, which are only intended for those who have the appropriate ritual knowledge, and the" outer "stories, which are accessible to everyone. “Traditional Aboriginal art almost always has a mythological undertone that relates to dreamtime. Many modern purists say that if it does not contain any spiritual elements then it is not an actual Aboriginal art. Wenten Rubuntja , an Aboriginal landscape artist, says it's hard to find art that eschews spiritual meaning. “ It doesn't matter what kind of painting we do here in this country, it still belongs to the people, to all the people. It's worship, work, culture. It's all dream time. There are two types of painting. Both are important because they are culture. "
An Aboriginal artist who creates a work is the owner and partner of the displayed content, which is only assigned to him for specific purposes. Only he has the right to use ceremonial patterns and depict spiritual content. These patterns, which belong to others without their permission to use, represent a serious violation of this traditional law by the Aborigines. In today's sense, this "law" would be referred to as copyright.
Howard Morphy tries to make the importance of art in traditional Aboriginal life understandable for outsiders using the example of the Aboriginal tribe of the Yolngu :
- “Art was and is a central component in the traditional life of the Yolngus, significant in the political sphere, in the relationship between the clans and in the relationship between men and women. Art was and is an important component of the secret knowledge and on a metaphysischeren level, it is the most important means to the events of the ancestors back to life in order to ensure continuity with the past of our ancestors and communication with the world of ancestral spirits to receive. For example, the rock painting of the rainbow snake is not just a picture of a 'rainbow snake', but the manifestation of the rainbow snake - it lives in the picture and will come out and devour you if you behave inappropriately towards the picture [...] pictures as embodiments of our ancestral spirits do not just depict these ancestral spirits to tell their stories, [...] as far as the Yolngu are concerned, these images are part of the beings themselves [...] they possess or contain the power of the ancestral spirits. "
Material, symbols and iconography
Painting in traditional culture uses only a few colors because only what was locally available could be used. Some colors were extracted from " ocher mines" and used for both paintings and ceremonies. Inorganic pigments such as ocher and rock flour were traded between clans, and at times it could only be collected by certain men of the clan. Other colors were made from clay, wood ash, and animal blood. The symbolism of rock art and painting varies depending on the tribe and the region, which is still reflected today in the modern art of Aboriginal artists.
The dotted motifs of many of today's modern patterns are the hallmark of the current Papunya art movement . This iconic status evolved from a culture that harks back to a land of yesteryear where it is woven into the dreamtime stories of the desert.
Some symbols of the modern movement retain the same meanings across different regions, although the meaning of the same symbol can change in the context of the bigger picture. When displayed in monochrome, circles within circles look similar. Depending on the Aboriginal tribe, a circle can mean a fireplace, tree, hill, hole, water hole or spring. The meaning of the symbol can be made clear by the color; For example, water is shown in blue or black.
Many images by Aboriginal artists depicting Dreamtime stories are shown from a bird's eye view. The narrative follows the location of the land as it was created by the ancestral spirits on their journey through creation. The modern representations are reinterpretations of the songs, ceremonies, rock art, and body art that have been common for many thousands of years.
Whatever the meaning or interpretation of a symbol, it should always be viewed in the context of the artist's origin, the story behind the painting, the style of the image, and additional references such as the colors used.
Traditional aboriginal art
The main focus of traditional Aboriginal art (see map) is in the Northern Territory (especially in Arnhem Land ), Queensland (especially West and East Cape and Torres Strait ), South Australia and Western Australia (especially in the Kimberleys ) .
Art styles by region
The most diverse traditional art style in Arnhem Land can be regionalized into four language groups: Kuniwinjku and Kuninijku in the north, the Rembarrgna language group in the middle, the Yolngu in the northeast and in the middle and ultimately those who live in the peripheral areas.
In the cultural area of the Western Desert , which includes the deserts of the states of Northern Territory, South Australia and Western Australia, the traditional art style is characterized by patterns and signs that refer to places or sites in the dreamtime or to paths and movements, with the ceremonial patterns in the Warlpiri language Kuruwarri and that of the women are called Yawulyu . In the desert peoples, rules on consanguinity are of great importance, which means for art that there is a paired assignment of artist persons in ceremonial roles and in the production of works of art, also for the production of art for non-Aborigines. A work is created with the participation not only of one artist, but with the participation of a member of the opposite moieties (half) of the tribe.
Traditional art in northern Queensland includes Cape York Peninsula , Mornington Island and the Torres Strait islands and differs in that on the mainland the traditions of the ancestral spirits are preserved and on the islands the cultural relationship with Papuan New Guinea is pronounced. Since this area is neither artistically nor historically uniform, a variety of art styles can be identified.
Body painting
Possibly one of the earliest forms of Aboriginal art is body painting; it is still used today. For example, the Yolngus and Arnhem Lands cover their bodies with traditional patterns for ceremonies and dances. The preparation can take many hours and the best artists are selected for it. The patterns and motifs show the relationship of the Aboriginal to relatives or clan members. The patterns that are applied to the bodies are traditional patterns that often include fine cross-hatching and lines of dots belonging to the clan of the person being decorated. Body painting was believed to have been the inspiration for many of the patterns now found in tree bark painting.
Tree bark painting
These paintings are applied to the smoothed interior of tree bark that has been removed from eucalyptus trees with thick bark. It is still carried out in Arnhem Land and the Top End and the Kimberley region today . Traditionally, barks were painted to aid explanations and ceremonies and were ephemeral objects.
The patterns are owned by the artist, their skin group or their clan and cannot be used by other artists. These patterns were originally applied to bodies during ceremonies, but were also painted on tree trunks during funeral rituals. While the patterns themselves are old, painting on smooth tree bark is a relatively new phenomenon, although there is evidence that artists painted the walls and roofs of their homes from tree bark.
The modern forms of bark painting first appeared in the 1930s when missionaries in Yirrkala and Milingimbi asked the Yolngu to make bark painting for sale in towns in New South Wales and Victoria. The missionaries wanted to use the money they earned to finance their mission stations and educate white Australians about the Yolngu culture (Morphy 1991). As trade increased and demand grew, leading artists like Narritjin Maymuru were asked to put exhibitions together.
Only since the 1980s has bark painting been viewed as “fine art” and no longer just as interesting indigenous handicraft. The prices achieved on the international art markets rose accordingly. Nowadays the value of a picture is determined not only by the technical skills and fame of the artist, the quality of the picture as a whole, but also to what extent the work of art includes culture by telling a traditional story. The best artists are recognized in the annual National Aboriginal & Torres Strait Islander Art Award .
In addition to the tree bark, paints, fixation, brushes and fire are needed to produce the painting. The bark must be free of knot eyes and other defects. The bark was best cut in the spring when the sap rises. Two horizontal and one vertical cuts are made and then the bark is carefully peeled off with a sharp tool. Only the inner soft bark is suitable for bark painting, which is then heated in a fire. After this process, the bark must be smoothed with the feet and finally weighted down with stones or tree trunks and dried. The application of the painting is done with earth pigments (ocher) in red, yellow and black. They consist of mineral oxides such as iron or magnesium. White clay made from calcium carbonate is also used. Orchid juice was used for fixation. When the picture is complete, the ends are cut to prevent the bark from curling up.
Sand paintings
While pictures on pieces of bark that were pressed flat were widespread in Arnhem Land, pictures of the ground were made in the desert regions . The floor paintings in the sand, which were mainly used for ceremonial purposes, were ephemeral and were replaced with the introduction of new painting techniques and materials such as synthetic paints and canvas. Nevertheless, the graphic patterns and symbolic forms of expression of sand painting were not given up, but supplemented by means of the new techniques and materials. The patterns complement and reflect the ritual, social and political situations.
The large pictures are executed in color in the sand and with pigments . These images are often secret, but they are also made for the public. From May to August 1989, six artists ( Paddy Jupurrurla Nelson , Paddy Japaljarri Sims, Paddy Cooki Japaljarri Stewart, Neville Japangardi Poulsen, Francis Jupurrurla Kelly and Frank Bronson Jakamarra Nelson) from the Yuendumu artist colony produced one of the most famous public floor paintings . It is a yams dreaming with a size of 40 square meters in the Center Georges Pompidou in Paris in the Le Hall del Villette , which was designed on the occasion of the exhibition Magiciens de la Terre .
Rock painting
Rock painting originated over a long period of time, with the oldest finds in the Pilbara Region and Carpenter's Gap in the Kimberleys in Western Australia, as well as in the Olary District in South Australia, all three being estimated to be 40,000 years old. There are also significant finds in the Kimberleys , Arnhem Land and the Sydney region. Few rock art has been found only in Victoria and in the southeast of Queensland.
Rock painting gives us descriptive information about social activities, economic conditions, changes in the environment, myths and ceremonies.
Indigenous art includes a number of different styles of rock painting:
- The X-ray style from the Arnhem Land and the Kakadu region in the Northern Territory shows the skeletons and entrails of animals and people drawn as inner contours like in cross-sectional images.
- In central Australia, for sacred and secret ceremonies, geometrical figures such as circles, spirals, lines, points and arcs were used to represent totems and objects and to depict their stories. A figurative representation was chosen for secular purposes. Places where these paintings are found are always close to watering holes that also show traces of human habitation.
- Stencil art, especially the motif of a hand. Simpler patterns such as straight lines, circles, and spirals are also common, and in some cases believed to be the inspiration for some forms of contemporary Aboriginal art.
- A special type of painting known as the Bradshaw rock painting appears to prevail in the caves in the Kimberley region of Western Australia . They are named after the European missionary, Joseph Bradshaw, who first reported on them in 1891. They are known to the Aborigines of the region as Gwion Gwion .
- Figurative rock painting is found mostly in and around Sydney; the figures are shown only in outline and greatly simplified.
Traditional Aboriginal art uses inorganic colors; modern artists often use synthetic colors to paint on canvas, such as acrylic .
X-ray image of Barramundi at Nourlangie Rock in Kakadu National Park
Mimihs as rock painting on Nourlangie Rock in Kakadu National Park
Stone carvings
The rock carvings are the most long-lived artifacts of the Aboriginal people. There are various forms of stone carving on rocks and stone walls in Australia; the best known are from Murujuga in Western Australia, the Sydney rock engravings around Sydney in New South Wales and the Panaramin tea style near Adelaide in northeastern South Australia .
- The Murujuga stone carvings are probably the largest collection of petroglyphs and patterns, estimated at 300,000 to over 1,000,000. The images of extinct animals threatened by industrialization, such as the pouch wolf, are estimated to date back to 30,000 years and to the colonization by the Europeans.
- The Sydney rock engravings have a style of their own not found anywhere else in Australia with engraved animals, people and symbols. They are made in a style known as "simple illustrative" and estimated to be at least 5,000 years old. These include engravings that cannot be more than 200 years old, such as European sailing ships.
- The oldest rock carvings in the Panaramitee steep, made in the thousands, are estimated to be 14,000 years old. This Aboriginal art style is based on two basic forms that are also found in other prehistoric and traditional Aboriginal art forms. The basic forms of this style are tracks from animals, birds and geometric shapes. It is therefore called the way and the circle style .
Stone circles
Stone arrangements in Australia can be stone circles with a diameter of up to 50 meters with 1 meter high stones set into the ground - as in Victoria , or smaller stone arrangements as they are found all over Australia, for example near Yirrkala where they accurately portray the prose of the Makassar Strait fishermen . In addition to the stone carvings from Murujuga, there are numerous stone arrangements there that presumably served ceremonial purposes.
Sculptures
Sculptures of the Tiwis from the Tiwi Islands have been famous since the 1930s. They are sculptures of birds and animals. Recently Enraeld Djulabinyanna has been producing human sculptures that thematize the dream time story of the Tiwi tribe of Purukuparli and Bima, at the end of which Purukuparli dies.
Mimih (or Mimi) are traditionally small, human-like mythological imps that are depicted in plastic or as engravings. Mimihs are so sensitive that they can never stay outside on a windy day because otherwise they would blow away like leaves. When people approach them, they run into a crevice, and if there is no crevice, then the rock itself opens and closes behind the Mimih in the ideas of the Aborigines. The Mimihfiguren by Crusoe Kuningbal for ceremonial purposes and similar sculptures are known . Kuningbal's figure sculptures are static in contrast to other lively Mimih sculptures. Kuningbal created numerous sculptures in the last ten years until his death in 1984. His son, who makes figures up to 3 to 4 meters high, continues this tradition.
Jewellery
Ornate mussel shells, which are braided on strings of hair, the so-called Riji are common around Broome and into the Kimberleys and are part of the art. They are only worn by men who have already been initiated through the ritual of the bora . There are also chains and other jewelry, such as those of the Tasmanians , which are common.
Contemporary art
1st generation: breaking with traditions
Hermannsburg School
In 1934, the Australian painter Rex Batterbee taught the Aboriginal artist Albert Namatjira and other artists to paint landscapes with watercolors in Hermannsburg . It became a popular style now known as the Hermannsburg School, which was shown and sold at exhibitions in Melbourne, Adelaide and other cities.
In 1966, one of David Malangi's designs was depicted on the Australian 1 dollar bill, originally without his knowledge. It was the first copyright case in which an Aboriginal received payments (through the Reserve Bank).
In 1988, a memorial to Aboriginal and Torres Strait Islanders was unveiled at the National Gallery of Australia in Canberra , made up of 200 hollow log tombs - similar to those used for funeral ceremonies in Arnhem Land . It was created for the 200th anniversary of the British colonization of Australia and is in memory of those Aborigines who died in conflicts with the settlers. It was made by 43 artists from Ramingining , including 10 sculptures by David Malangi, and the surrounding communities. The path that runs through the center represents the Glyde River . In the same year, the new Parliament House opened in Canberra with a 196 square meter granite mosaic made of paving stones by Michael Nelson Jakamarra .
The late Rover Thomas is another well-known modern Australian artist who was born in Western Australia; he represented Australia in 1990 at the Biennale di Venezia . He knew and encouraged other well-known artists to paint, including Queenie McKenzie from the east of the Kimberleys, and greatly influenced the work of Paddy Bedford and Freddy Timms .
Emily Kngwarreye's work gained popularity in the late 1980s and early 1990s . Although she was engaged in artificial fabrics for most of her life, she did not gain recognition as a painter until she was over 80 years old. She was from the Utopia Community northeast of Alice Springs . Kngwarreye only painted for a few years towards the end of her life. Her style changed every year and is seen as a mix of traditional and contemporary art. Her rise in popularity preceded that of many other indigenous artists: Kngwarreye's niece Kathleen Petyarre , Minnie Pwerle , Dorothy Napangardi , Jeannie Petyarre (Pitjara) and dozens of others became sought-after artists in the art market. The popularity of these often older artists and the consequent pressures on them and their health became such a concern that art centers stopped selling these art online; instead, customers were put on a waiting list.
Despite the distance of many artists from urban settlements, the poverty and health problems of many artists, this rapidly growing craft is valued at half a billion Australian dollars.
Papunya Tula and "Dot-Painting"
In 1971 and 1972, the art teacher Geoffrey Bardon encouraged Aborigines in Papunya , northwest of Alice Springs, to capture their stories of the dreamtime on canvas. These Dreamings had previously been drawn in the desert sand, were therefore ephemeral and were now given a permanent shape. They first painted ritual images of honey ants on the school walls in Papunya . After that, the painters used wooden surfaces and the color scale consisted of natural materials, as with the floor paintings. Synthetic colors offered new possibilities for representation and painting, but overall the representation remained within the traditional framework. In 1974 the naturalistic representations with lines disappeared. Furthermore, works were painted on canvas and the patterns with dots were applied to the painting surface from 1980. Johnny Warangkula Jupurrula was one of the first to perfect this form of dot painting and create iconographic elements that dissolve in the picture.
It is believed that the dots should serve to omit parts of the secret and sacred ceremonies. Nonetheless, there has been criticism from other Aborigines that these images revealed too much of their heritage. Secret patterns are limited to rituals and have now degenerated into goods and sold. Much of the art that can be purchased by tourists is based on the dot painting style that was developed in the Papunya artists' colony and is called Papunya Tula . The best-known and most successful artist of this movement was Clifford Possum Tjapaltjarri , one of his paintings for the record price of 2.5 million Australian dollars (AUD) was bought by the Australian state, which wanted to prevent this cultural asset from going overseas. Another representative of this art movement is Johnny Warangkula , whose Water Dreaming at Kalipinya has been sold twice for top prices. The second sale in 2000 had a retail price of AUD 486,500.
In 1983, after some members of the Papunya movement became dissatisfied with the trading of their paintings by private sellers, they moved to Yuendumu and began painting the 36 doors of the school with stories of the dreamtime to start a new movement there. In 1985 the Warlukurlangu Artists Aboriginal Association was founded in Yuendumu, which looks after the artists and markets their works in the interests of the artists. The most famous painters are Paddy Japaljarri Stewart , Paddy Tjapaltjarri Sims, Maggie Napangardi Watson and Judy Napangardi Watson.
Art cooperatives
While most western artists go through formal training and produce their art on their own, 1st generation art is produced together in art centers in the countryside.
Many of these centers operate with online art galleries, where local and international buyers can buy the work directly from the communities, without the use of intermediaries. The cooperatives reflect the diversity of art between the Aborigines of the different regions: the northwest, where mainly ocher is used, the crosshatching, which predominates in the tropical north and finally the Papunya style from the cooperatives of the central desert. Art is increasingly becoming a major source of income for communities.
On the other hand, critical and political art is developing in the cities away from the artist colonies in the countryside, which takes the prevailing racism as an object.
2nd generation: art against racism
Since 1987, works by Robert Campbell Junior have received more attention when he captured events from the past in his works. In 1972 the Tent Embassy (English: Aboriginal Tent Embassy ) was set up in front of the Old Parliament House in the Australian capital Canberra , which initiated the political change of the official Australia to the land rights of the Aborigines. His picture Aboriginal Embassy from 1986 with transparent naked figures with a recognizable esophagus shows the Aborigines' view of the whites and their interests. He also painted numerous pictures that reflected the still prevailing racial segregation in cinemas and swimming pools. His pictures are now a collecting area that is traded at high prices.
Gordon Bennett went one step further when he depicted a decapitated, blood-spattered Aboriginal figure in full paint in the Aboriginal traditions in his picture Outsiders from 1988, thus making a " metaphorical attack on the fortress of European art ". Because Bennett paints the figure of the Aborigine in the picture Bedroom in Arles by Vincent van Gogh in and " penetrates into one of the icons of the western world ". He caused a sensation in his exhibition in Melbourne, entitled Colonial / Post-colonial , where he showed a work with a drunken white man whose dogs kill an Aborigine.
Karen Casey , born in Tasmania , painted a European hunter in his picture Got the guy with a big grin and a rifle on his lap. Next to the hunter lies the carcass of the thylacine , which the Europeans exterminated. The pouch-wolf is the symbol of the oppression and extermination of the Tasmanian Aborigines in 1876.
Richard Bell painted the picture Crisis: What to do with this hybrid . He is addressing racist prejudice by depicting a half-caste (half-caste) in European clothing as a lost figure alongside a white and a black. Bell, who works as a painter, also develops performances or shoots videos, deals radically politically with the relationship between whites and blacks by using traditional and modern Aboriginal art, but always formulating and sharpening contradictions: " Aboriginal Art [art ] - it's a whites thing! ”[…]“ I don't want a tax reduction. I want my whole country back ... "
Modern Art
Judy Napangardi Watson , an Australian sculptor and graphic artist, is an important exponent of modern Aboriginal art. She integrates natural materials in her work, creating the impression of Land Art .
Economization of Aboriginal culture
The success of the Aboriginal art movement also attracted people who have no understanding of art and just want to take advantage of it. Since Geoffrey Bardon's time in the early years of the Papunya Movement, concerns have been expressed that the largely illiterate and non-English speaking artists would be giving away their artwork for below value.
On the other hand, successful painters like Emily Kngwarreye began to produce art on an assembly line, so the results became inconsistent and a number of pictures were not considered valuable. In Kngwarreye's case, for example , Sotheby’s only accepts about every 20th image. The driving force behind this mass production was the pressure to feed the entire extended family - in Albert Namatjira's case, for example, around 600 people are documented.
- “Many of the artists who had played a significant role in the founding of the Art Centers were aware of the growing interest in Aboriginal art during the 1970s and watched with concern and curiosity developments in Papunya among the people to whom they were closely related were. There was a growing market for art in Alice Springs. The artists' experiences were marked by frustration and a feeling of being out of control when buyers refused to pay the asking prices, which reflect the value of the Tjukurrpar , or when they were not interested in understanding the stories. The formation of Warlukurlangu was a way of ensuring that artists had some control over the sale and distribution of their paintings. "
In March 2006, ABC reported on the art scams in Western Australia. Allegations were made of poor working conditions, fake work by English backpackers, inflated prices and artists posing with works of art for photographs that were not their own. A policeman said:
- “[...] especially the elderly. I mean, these people have no education, they haven't had much contact with whites. They have no real understanding of the law and no business acumen. A dollar has no real meaning to them and I think treating them like that [...] is not good for this country. "
In August 2006, the Australian Senate launched an investigation after criticism of Aboriginal art-making practices: The investigation lasted ten months and gathered evidence from all parts of Australia, including through public hearings in Western Australia, Northern Territory, and Sydney Canberra.
In February 2007, Territory Art Minister Marion Scrymgour reported that backpackers were in part the makers of Aboriginal handicrafts . These were mainly handicraft products that were sold in tourist shops in Australia. Extreme abuse was found in the industrial manufacture of didgeridoos and painting by backpackers.
The Senate issued 29 recommendations on June 21, 2007, among others
- general public funding into the infrastructure of the sector
- stronger police controls to reduce unethical business practices
- Introduction of a code of practice in this sector
- Government agencies are implementing a process on how to deal with indigenous art
The report proposed that legal action be taken if the grievances were not addressed.
exhibition
- 2010/2011: Remembering Forward - Painting by the Australian Aborigines since 1960 , Museum Ludwig , Cologne
literature
- G. Bardon: Aboriginal Art of the Western Desert . Rigby, Adelaide 1979.
- Wally Caruna: Aboriginal Art . Thames & Hudson. London 1999, ISBN 0-500-95051-2 , p. 7. (German edition)
- Josephine Flood: Rock Art of the Dreamtime: Images of Ancient Australia . Angus & Robertson, Sydney 1997.
- Vivien Johnson (Ed.): Papunya painting: out of the desert . National Museum of Australia, Canberra 2007.
- Kasper König (Ed.): Remembering Forward: Painting by the Australian Aborigines since 1960 . Hirmer, Munich 2010, ISBN 978-3-7774-3161-1 .
- S. McCulloch: Contemporary Aboriginal Art: A guide to the rebirth of an ancient culture . Allen & Unwin, Sydney 1999.
- H. Morphy: Ancestral Connections . University of Chicago Press, London 1991.
- H. Morphy: Aboriginal Art . Phaidon Press, London 1998.
- N. Rothwell: Another Country . Black Inc., Melbourne 2007.
- Percy Trezise: Dream Street. A voyage of discovery to the rock art of the native Australians. Jan Thorbecke, Sigmaringen 1998, ISBN 3-7995-9026-9 .
- Wright, F. Morphy, Desart Inc .: The Art and Craft Center Story . 3 vols. Aboriginal and Torres Strait Islander Commission, Woden 1999-2000.
- Indigenous Art: Securing the Future - Australia's Indigenous visual arts and craft sector . Senate Standing Committee on the Environment, Communications, Information Technology and the Arts, Canberra 2007.
Web links
- Association of Northern, Kimberley and Arnhem Aboriginal Artists
- Australian Indigenous Art Trade Association
- National Aboriginal & Torres Strait Islander Art Award
Individual evidence
- ↑ Wally Caruna: The Art of the Aborigines (see literature)
- ^ Wally Caruna: The Art of the Aborigines , p. 198
- ^ Wally Caruna: The Art of the Aborigines , p. 15.
- ^ Wally Caruna: The Art of the Aborigines , p. 14.
- ^ The Weekend Australian Magazine , April, 2002
- ↑ Wally Caruna: The Art of the Aborigines , p. 15f.
- ^ Howard Morphy: Ancestral connections . 1991, p. 13, ISBN 0-226-53866-4
- ↑ Aboriginal Symbols - Indigenous Australia
- ↑ Aboriginal Symbols
- ↑ Wally Caruna: The Art of the Aborigines , p. 26
- ↑ Wally Caruna: The Art of the Aborigines , p. 99 ff.
- ↑ Rock Art ( Memento of the original from August 1, 2018 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Aboriginal Art Online, accessed April 2008.
- ↑ Morwood, page 37
- ↑ samuseum.sa.gov.au ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. (PDF file; 8.3 MB)
- ↑ Wally Caruna: The Art of the Aborigines . P. 88 f.
- ↑ Wally Caruna: The Art of the Aborigines . P. 38
- ↑ Warlayirti Artists, 'Supply and Demand', Archived Copy ( Memento of the original from July 15, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , retrieved July 2007
- ^ Senate Standing Committee on the Environment, Communications, Information Technology and the Arts (2007), Indigenous Art: Securing the Future - Australia's Indigenous visual arts and craft sector , Canberra: The Senate
- ^ Wally Caruana: The Art of the Aborigines , p. 110
- ^ Wright, Felicity and Morphy, Frances 1999-2000. The Art & Craft Center Story . Canberra: ATSIC (3 vols).
- ↑ a b Wally Caruana: The Art of the Aborigines , p. 199
- ↑ http://www.abc.net.au/rn/arts/sunmorn/stories/s1108576.htm
- ^ Wally Caruana: The Art of the Aborigines , p. 201
- ↑ Wally Caruana: The Art of the Aborigines , p. 203 f.
- ↑ Tour of the exhibition - Richard BELL ( Memento of the original from November 3, 2009 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , ACC-Weimar.
- ↑ Coslovich, Gabriella: Aboriginal works and artful dodgers , The Age, September 20 of 2003.
- ^ Warlukurlangu Artists
- ^ Call for ACCC to investigate Aboriginal Art industry , ABC PM, March 15, 2006.
- ^ Australian Senate Inquiry into Australia's Indigenous Visual Arts and Craft Sector
- ↑ Sydney Morning Herald (2007): Backpackers fake Aboriginal art, Senate told .
- ^ Final Report: Indigenous Art - Securing the Future , Parliament of Australia, Senate.
