Crosscurrents in Australian First Nations and Non-Indigenous Art
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Crosscurrents in Australian First Nations and Non-Indigenous Art
Jordan, Caroline; Scott, Sarah; McDonald, Helen
Taylor & Francis Ltd
01/2025
222
Mole
9781032257389
Pré-lançamento - envio 15 a 20 dias após a sua edição
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Introduction
1. The Weight of Grief - Maree Clarke and Khadija von Zinnenburg Carroll on Artist-centricity
2. On Working as an Aboriginal Museum Director and Curator of the Berndt Museum
3. Price and Provenance: William Barak as an Artist in the Market
4. The Duplicity of Emus and Kangaroos: Coats of Arms from the Australian Frontier
5. The Toa of the Dieri
6. 'The Arts are where Cultures Meet': A Cross-cultural Analysis of Aboriginal Art in Fashion and Textile Design
7. Aesthetically Similar but Politically Far Apart: The Art and Designs of Bill Onus and Byram Mansell during the Assimilationist Era
8. Shared Motives: New Art and Curatorial Collaborations in the 1980s
9. Decolonisation and Conceptual Art: Collaboration, Appropriation, Transculturation
Ian McLean
10. Widening the Aperture: Cross-cultural Collaboration - A Perspective from Borroloola
11. Wrecking Culture: Australian Iconoclash 2020
1. The Weight of Grief - Maree Clarke and Khadija von Zinnenburg Carroll on Artist-centricity
2. On Working as an Aboriginal Museum Director and Curator of the Berndt Museum
3. Price and Provenance: William Barak as an Artist in the Market
4. The Duplicity of Emus and Kangaroos: Coats of Arms from the Australian Frontier
5. The Toa of the Dieri
6. 'The Arts are where Cultures Meet': A Cross-cultural Analysis of Aboriginal Art in Fashion and Textile Design
7. Aesthetically Similar but Politically Far Apart: The Art and Designs of Bill Onus and Byram Mansell during the Assimilationist Era
8. Shared Motives: New Art and Curatorial Collaborations in the 1980s
9. Decolonisation and Conceptual Art: Collaboration, Appropriation, Transculturation
Ian McLean
10. Widening the Aperture: Cross-cultural Collaboration - A Perspective from Borroloola
11. Wrecking Culture: Australian Iconoclash 2020
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
decolonising;racism;political crisis;Yol?u;Eurocentric;reverse appropriation;tourist art;exploitative;street art;art and ethics;landscape;toa;Killalpaninna;Wurundjeri;Iconoclasm;social justice;female artists;cultural heritage protection;kopi skull caps;eel traps;kangaroo-tooth necklaces;bark painting;Possum Skin Cloaks;Torres Strait Islander;Torres Strait Islander Art;Australian Art;Aboriginal Art;South Australian Museum;Clifford Possum Tjapaltjarri;Ernabella Mission;McArthur River Mine;Aboriginal Protection Board;Sacred Aboriginal Site;Papunya Tula Artists;Great Sandy Desert;non-Indigenous Artist;Alice Springs;Bill Onus;De Pury;Rio Tinto;Tent Embassy;Barron River;Imants Tillers;Lil Lil
Introduction
1. The Weight of Grief - Maree Clarke and Khadija von Zinnenburg Carroll on Artist-centricity
2. On Working as an Aboriginal Museum Director and Curator of the Berndt Museum
3. Price and Provenance: William Barak as an Artist in the Market
4. The Duplicity of Emus and Kangaroos: Coats of Arms from the Australian Frontier
5. The Toa of the Dieri
6. 'The Arts are where Cultures Meet': A Cross-cultural Analysis of Aboriginal Art in Fashion and Textile Design
7. Aesthetically Similar but Politically Far Apart: The Art and Designs of Bill Onus and Byram Mansell during the Assimilationist Era
8. Shared Motives: New Art and Curatorial Collaborations in the 1980s
9. Decolonisation and Conceptual Art: Collaboration, Appropriation, Transculturation
Ian McLean
10. Widening the Aperture: Cross-cultural Collaboration - A Perspective from Borroloola
11. Wrecking Culture: Australian Iconoclash 2020
1. The Weight of Grief - Maree Clarke and Khadija von Zinnenburg Carroll on Artist-centricity
2. On Working as an Aboriginal Museum Director and Curator of the Berndt Museum
3. Price and Provenance: William Barak as an Artist in the Market
4. The Duplicity of Emus and Kangaroos: Coats of Arms from the Australian Frontier
5. The Toa of the Dieri
6. 'The Arts are where Cultures Meet': A Cross-cultural Analysis of Aboriginal Art in Fashion and Textile Design
7. Aesthetically Similar but Politically Far Apart: The Art and Designs of Bill Onus and Byram Mansell during the Assimilationist Era
8. Shared Motives: New Art and Curatorial Collaborations in the 1980s
9. Decolonisation and Conceptual Art: Collaboration, Appropriation, Transculturation
Ian McLean
10. Widening the Aperture: Cross-cultural Collaboration - A Perspective from Borroloola
11. Wrecking Culture: Australian Iconoclash 2020
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
decolonising;racism;political crisis;Yol?u;Eurocentric;reverse appropriation;tourist art;exploitative;street art;art and ethics;landscape;toa;Killalpaninna;Wurundjeri;Iconoclasm;social justice;female artists;cultural heritage protection;kopi skull caps;eel traps;kangaroo-tooth necklaces;bark painting;Possum Skin Cloaks;Torres Strait Islander;Torres Strait Islander Art;Australian Art;Aboriginal Art;South Australian Museum;Clifford Possum Tjapaltjarri;Ernabella Mission;McArthur River Mine;Aboriginal Protection Board;Sacred Aboriginal Site;Papunya Tula Artists;Great Sandy Desert;non-Indigenous Artist;Alice Springs;Bill Onus;De Pury;Rio Tinto;Tent Embassy;Barron River;Imants Tillers;Lil Lil
