Summary Of Charlie Colbung Past To Present

I chose the artwork “Kelly and the Red Horse” to represent the cultural frame. This detailed piece of Australian art shows the outback, mountains, skies and trees. It also falls under the cultural frame because of its mountainous, Australian scenery. The cultural qualities of this painting is what makes it fall under this category.

The Australian Indigenous community hold extremely significant corrections to the land of Australia, of which they refer to as ‘Country.’ Indigenous people acquire deep meaning from the land, sea and the countless resources derived from them. This special relationship has formed for many centuries. To them ‘Country’ is paramount for overall wellbeing; the strong, significant, spiritual bonds embody their entire existence. Knowledge is continually passed down to create an unbroken connection of past,

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

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.

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

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,

Bonny Wyse is a Canadian Salish Aboriginal artist. The richness of her aboriginal ancestry is what gives her inspiration for her art. She dedicated years of her life to the creations of inspirational art and designs. She works with respected elders for guidance and further inspection. She has gained national recognition and her designs have been showcased at many different places. Her goal is to bring awareness to how the aboriginal culture is slowly fading and is trying to bring its revival through her art and programs.

‘Bush-fire II’ is one of Aboriginal artwork, which is come from Early Western Desert Paintings and made in 1972. During the period 1971-1974, a new, dynamic movement in painting palmer Pan Ya in indigenous communities in the centre of Australia. These Luritja Pintupi, collaborated with Anmatyerr man begin to create using the ship and canvas acrylic painting works of art from ancient story. These poignant representations of the Dreaming exploded onto the Australian art market. The painting is the strong statements on aboriginal culture. Every picture reference, this is the ancestor teach people a certain area of land and related laws. Artists use imagery of rituals, before in the holy sacrifice object, and the body design and protocol used in painting,

An example of this “revolutionary conceptualism” (Ferell, 2012) is observed in Figure 2, a piece of artwork called “The Elders of the Tribe”, by Elizabeth Durack (1953). Overall, the image depicts the elders of a Warlpiri kinship group sitting around a distinctive ground pattern, representing their ancestral origin in Central Australia (Durack, 2015). The wavy and distinctive insignia convey the elders being “swept away by the wind” (Durack, 2015), in addition to the concentric circles, connoting to various spiritual events that occurred at various campsites within the Warlpiri community. Moreover, Durack (2015) further explains that the artwork represented a “conversion from red and white ochre to acrylic medium”, supporting the artistic transition from traditional Aboriginal ground art to Western-inspired acrylic paintings.

Australia’s Aboriginal Peoples form the longest living culture in the world, they have experienced massive conflicts and suffered many losses. Tjukurpa Kunpa, means ‘Strong Law & Culture,’ and forms part of a collection of paintings that concentrate on political and cultural issues that have resulted from colonisation. The painting outlines the shape of Australia and is decorated with symbols and writings that hold significant meaning to Aboriginal cultures.

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.

He was adept at painting his own country and the sacred sitesit contained. In a publication titled Albert’s Gift, Brenda L. Croft discusses the life of Namatjira and the nature of his naturalistic watercolor landscape paintings. According to Croft, Namatjira was “lauded as the perfect example of assimilation, un-made as a black man, and refashioned as a white man, then discarded altogether” (Croft 2009: 70). Some saw Namatjira’s mastery of European art techniques as evidence for the potential success of the assimilation policy--the desired policy for the the absorption and elimination of Aboriginal identity. While Western critics and commentators alike dismissed his works as derivative, interpreting them as “a symbol of assimilation and the subordination of Aboriginal traditions to introduced forms” (Murphy 265). However, as Croft regards, Namatjira painted “not so much the things he saw but what he felt inside and how he loved the MacDonnell Ranges.” (Croft 2009: 70). The subject matter depicted by Namatjira speaks of his intimate attachments to country; thus, informing the relationships between Central Desert Aboriginal people and the presence of the ancestral forces that shape the

Australia’s national and cultural icons range from natural landmarks to man-made wonders. They are instantly recognisable, have special significance and are uniquely Australian. (1) Two Australian artist’s that created cultural iconic images through their artworks, were Sydney Nolan and Russell Drysdale. During the 1940s cultural, social changes and the Second World War influenced them to depict issues in their works. Both artists were affected by the war, had an interest in the bush, its people and the harsh drought at the time. This encouraged them to reflect on national themes which they personally could associate and identify with. Their

The construction of Aboriginality in Australia has been achieved through a variety of processes, in various places and at various levels of society, giving rise to a complex interaction between the constructions. At the local level, the most striking line of tension may seem to lie between what Aboriginal people say about themselves and what others say about them. But crosscutting this is another field of tension between the ideas of Aboriginality (and non-Aboriginality) that people of all kinds construct and reproduce for themselves, and the constructions produced at the national level by the state in its various manifestations, the mass media, science, the arts and so on (Beckett, 1988).

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