Ernst Grosse: European Reception Of Aboriginal Art

The work examines both the past and imagines the future by implication of a narrative: a young woman dreams of leaving her isolated home for the big city, but never makes it. This dream scene is also something of what the artist fanaticised as a young child growing up in aboriginal culture. Moffatt draws from multiple disciplines and scores that

Aboriginal art in Australia is both beautiful and meaningful. According to Perkins, Hetti and West (2007) Aboriginal art allows for reconciliation of the events of the past two centuries’ that is used as inspiration for their work. Whilst researching the Indigenous cultural heritage of Mount Barker, Western Australia I came across a well know Noongar artist from the region, Charlie Colbung. Colbung was born in Mount Barker in 1970 and still resides in the South West region where he is an Indigenous health worker as well as an Indigenous programs officer for the Great Southern TAFE (Design and Art Australia, n.d.). There are two prominent themes in Aboriginal art consisting of both country such as the land and kinship, the people (Perkins, Hetti

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.

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

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

Kleiner, Fred S. Gardner's Art through the Ages: A Global History, Fourteenth Edition, Volume II.

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 image was chosen because it captures the beginning of significant changes that altered the history of the Aboriginals people of Australia forever. Sociologists and historians including Michel Foucault acknowledge history as being an important factor to consider when studying social behaviours because ‘historical analysis aids the task of explaining the present conditions in society (Holmes, Hughes & Julian 2015 p. 8). To understanding structural inequalities between Indigenous and non-Indigenous people in Australia today, the origin of the cause needs investigating. This image depicts the start of structural inequality for the Aboriginal people which was created by the invasion and colonisation of Aboriginal land by the British Empire

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

Aboriginals or indigenous Australians are the native people of Australia. Aboriginals were nomadic people who came to Australia about 40,000 – 60,000 years ago from Southeast Asia. Religion is a great part of Aboriginal culture. The essay answers these questions: What do Aboriginals belief? What is a Kinship system? What is Dreaming and Dreamtime? What rituals does Aboriginals have?

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

“Primitivism” was a cultural attitude that arose in Europe during the late 19th and 20th century in opposition to the increasingly decadent and materialistic European culture. Rather than an artistic movement, “primitivism” is a European conception of foreign civilizations and lands as “simple”, less developed, and naive. This is an important distinction to make, because “primitivism” was defined in the eyes of the Europeans who saw foreign civilizations as unsophisticated, indicating that the concept of “primitivism” is heavily biased in the view of the Europeans. Paul Gauguin and Henri Matisse were two artists that were highly influenced by the concept of “primitivism,” and some similarity can be depicted in their works such as the use of female nudes, vivid colors, and artistic techniques. However, their definition and methods of achieving “primitivism” differ heavily, due to the fact that the vagueness of “primitivism” allows it to be a self-defined concept. These similarities and differences can be seen through the two works of art The Spirit of the Dead Watching by Paul Gauguin, and The Blue Nude by Henri Matisse, and the way they depict women in each of the pieces.

The traditional aboriginal art depicts places, events and dreaming ancestors, also incorporating actual events, whereas the temporary was only for initiation ceremonies and funerals. The aboriginal art opens up ways of communicating the close relationship between the ancestral beings and the laws, views, values, ceremonies and obligations of the people. They enable understanding and knowledge within a community and also partcially the outside world.

Boyden’s attempt to "make history our own" has resulted in a text that cannot be viewed exclusively in terms of political objectives, as the healing aesthetic of his complex and strikingly rendered genealogical plot extends beyond the limits of theoretical commemoration and redress, honouring the Aboriginal in history via an imagined journey that is not principally revisionary, but rather that has "good vision." (20).. When Niska meditates on the tragedy of the Aboriginal-turned-

The Aborigines are the indigenous people of Australia. According to their traditional beliefs, the Aborigines have inhabited Australia since the beginning of time, but most modern dating techniques have placed the first native Australians at closer to 60,000 years ago, based on carbon dating of fossils and knowledge of geological changes in the region. Sea levels have fluctuated throughout history and were 200 meters lower at the time the ancestors of the Aborigines were thought to have made their way to Australia. This still left large expanses of open water that had to be crossed- up to 100 km- indicating that these people had developed some sort of sea-faring technology long before any other people. The Aboriginal