Ernst Grosse: European Reception Of Aboriginal Art

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

‘Mythread’ this artwork comes from Australian artist Vernon Ah Kee. Vernon Ah Kee comes from the Kuku Yalanji, Waanyi, Yidinyji, Gugu Yimithirr and Kokoberrin North Queensland. He lives and works in Brisbane. In the most of Vernon Ah Kee’ artworks, he use the white and black as his artwork’ s main color tone, and use sketch as his main approach. Through these ways, he tries to illustrate the history, which is happened in last century to racism and violence against indigenous peoples in Australia in his artwork.

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.

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

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,

The artist’s job is to be a witness to their time and location in history. They record and reflect on events and themes that have occurred in their personal life and society around them. Gordon Bennett creates artworks exploring Australian colonialism and the impact it has had on Aboriginal History. Bennett’s work bares witness to the disregard for Aboriginal people in history, in his time and today. Bennet grew up unaware of his indigenous heritage.

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

This book is based mostly around aboriginal culture and their connection to their culture and ancestors, this can be seen in many ways, but the most important ones are ‘They dance, bare feet stamping into that wood floor. The sound of those clapsticks scare off the bad spirits’’ seen on page fifty. This uses techniques of imagery and personification and it links to cultural heritage because a big part of their culture is their spiritual world, and their traditional dances relate to their spirits. This book uses the technique personification a lot, to bring life to nature, which they’re deeply connected to. The text ‘’ With no buildings around, with that sea lapping a rhythm and mountains hugging in close, with the sun in the sky and the birds in the trees, it doesn't seem like the world’s gonna end no more’’, found on page 52.This use of personification and imagery, displays the theme of cultural heritage and how a big part of their culture was their bond with their

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

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

Australia is a young, modern country made up of a diverse and multicultural population, therefore, it’s difficult to say that it has a single national identity. This essay will examine what Australia’s identity may look like, specifically, through 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.

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.

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 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’.