Ernst Grosse: European Reception Of Aboriginal Art

This work examines the past and also imagines the future by using references of past racial murders and the way they coincide with the present context and explore Australian Indigenous and non-Indigenous culture in the present-day. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody, for protection of

Buchan and Heath (2006) argue that Indigenous Australian people could never meet these British standards of ‘civilisation’ because it was built on a ‘solidly Eurocentric template’ of what constitutes a State, property, and cultivation, therefore, the term ‘savage’ was possible constructed to aid the description of Australia as terra nullius, rather than

Contemporary artist, Ah Kee, has created a work, “Unwritten #9”, references past racial murders and the way they resonate in the present context and explore Australian Indigenous and non-Indigenous culture in the contemporary society. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody and protection of their own lead to accusations of racism, riots by the Islanders and their further oppression by the police. The faces are also non-specific and have no identity, this refers to the devastating history of racism and violence against indigenous peoples in Australia. This symbolism also suggests the often unspoken motivations for actions and interactions between Australians

The notion of the contemporary indigenous identity and the impact of these notions are both explored in texts that have been studied. Ivan Sen’s 2002 film ‘Beneath Clouds’ focuses on the stereotypical behaviours of Indigenous Australians highlighting Lina and Vaughn’s journey. This also signifies the status and place of the Australian identity today. Through the use of visual techniques and stereotypes the ideas that the Indigenous are uneducated, involved in crime and the stereotypical portrayal of white people are all explored. Similarly the notion of urban and rural life is represented in Kennith Slessor’s ‘William Street’ and ‘Country Towns’.

The poet Oodgeroo Noonuccal, draws the realistic image of the confronting realities of alienation and displacement of Indigenous Australians. It is because of such experiences that has empowered Noonuccal to express and advocate learning from experiences by positioning the audience to view the horrors that occurred, creating a platform for her poetry. Through the emphasis of identity, it allows the audience to deeply connect with the past, determining and illustrating a profound link between the ancient past and contemporary present. Oodgeroo’s deep connectivity with art and poetry highlights the importance of learning from experiences, for not only the Aboriginal culture but, for all cultures, and that colonisation does not destroy self-identity. Through the poems The Past and China…Woman, it has allowed the individual to promote change, encouraging the survival of cultures through learning from past experiences

2. He does the painting and printmaking art. And hid style is urban indigenous art.

Native American art is a profoundly expressive culture that has been a way of life for so many Native Americans. Native American art history has advanced over thousands of years and is composed of several idiosyncratic styles from the differentiating cultures of diverse Indian tribes. From Navajo to Hopi, each tribe has a particular history, which consists of many types of Native American arts including beadwork, jewelry, weaving, pottery, carvings, kachinas, masks, totem poles, and more. To truly understand Native American art, we will explore Native American art history, its subjects, and if Native American art has a spiritual connection to it.

In the early 20th century Charles Meere used art to depict Australia’s beaches as an idyllic place where the average Aussie would spend their free time. These works were during a time when Australian Immigration had a white policy and this was reflected in his subjects being tanned, physically strong, dominant male bodies alongside perfectly shaped young women and carefree children. Meere’s ‘Australian Beach Pattern’ is a symbol of the ideal Australian and promotes it to be typical of Australia’s identity of this era, however, fast forward 49 years to Anne Zahalka’s 1989 ‘The Bathers’ from the Bondi series, ‘Playground of the Pacific’, where she recreates Meere’s iconic painting and compare the characteristics of the Australian people from this timeframe. This photograph highlights how Australia’s culture has evolved while still embracing the importance of the beach to family

Australian landscapes have long been used to place fear and anxiety in the Anglo-Australian’s psyche. This anxiety and the requirement for Indigenous peoples to negotiate white ideals is reflected in current Australian literature and cinematic identities. This essay will discuss the critical arguments of what makes the chosen texts Australian literature. This discussion will be restricted to the critiques of the film Lantana directed by Ray Lawrence and the novel Biten’ Back written by Vivienne Cleven. The will firstly look at the use of landscape as a crime scene and how this links to the anxieties caused by the doctrine of terra nullius and the perceived threats from an introduced species. It will then look at the Australian fear of a different ‘other’ followed then by a discussion around masculinity and the need for Indigenous people to negotiate white ideals. The essay will argue that Australian literature and film reflect a nation that still has anxieties about the true sovereignty of the land and assert that Indigenous people have a requirement to fit in with white ideals.

The ‘colonisation' of Australia by Europeans has caused a lot of problem for the local Aborigines. It drastically reduced their population, damaged ancient family ties, and removed thousands of Aboriginal people from the land they had lived on for centuries. In many cases, the loss of land can mean more than just physical displacement. Because land is so much connected to history and spirituality, the loss of it can lead to a loss of identity. This paper will examine the works of Tim Rowse and Jeremy Beckett as well as other symbols of identity that are available to modern Aborigines in post colonial Australia.

Elizabeth Tragenza (2010) establishes that the Western Desert, or “Papunya art movement”, fully transpired in 1971 and was a “contemporary Aboriginal art form”. This movement was shared and pertained within language groups, such as the Pintupi, Warlpiri, Arrernte,

This work is consisted of two sheets self-portraits of Vernon Ah Kee and portraits of his consisting grandfather. Yet another explanation is that Beacon Aboriginal anthropologist recorded image. Profiles and a front view recommendations

A holistic and contextual understanding of indigenous communities in Australia alters the nature of research and the perception of history. Clint Bracknell’s article critiques historical research on the arts of Noongar Aboriginal peoples, and argues how song is not only an integral part of their identity but that it is through the insight of this form of communication that researchers comprehend how Noongar have adopted Western traditions but still remained close to their heritage. As a descendant from Noongar, situated in south-west of Australia, he is closely attached to this research, so it is understandable why his purpose is to encourage investigation into the archival records of song from Noongar peoples as to revitalise an indigenous

Describe one of the pieces of indigenous art and how this indigenous art is an expression of sovereignty, as defined by Joanne Barker.

Good artists copy, great artists steal. By borrowing key visual features of Colin McCahon’s work “Victory Over Death II” (1970) Gordon Bennett recontextualises the work in his piece “Self Portrait (but I always wanted to be one of the good guys)” (1990) to create an alternative perspective on Indigenous Australian identity. Through appropriation, Bennett also emphasises Born in Timaru, New Zealand 1919, Colin McCahon is regarded as one of New Zealand’s most prominent and celebrated artists.