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School of Art and Design · ANU College of Arts and Social Sciences
We are in an extraordinary moment in Australia. Art historians, art museums, artists and critics are responding to Black Lives Matter, the continuing destruction of First Nations sacred sites and are attempting to move towards reconciliation between First Nations and non-Indigenous peoples. In this course you will critically examine settler/non-Indigenous artists and/or First Nations artists and creators in visual culture more broadly (designers, photographers, dancers, and film-makers) who have engaged through their art in cross-cultural activity, within the colonial, modernist or contemporary periods.You will study the places and people and the circumstances that led to the production of artworks involving interactions between non-Indigenous artists and First Nations art and culture. The course will also address how the meaning of the artworks changed over time, for example, in relation to contemporary First Nations re-evaluation, repatriation and reception of historical works. Finally, you will be provided with knowledge of best practice concerning collaboration between non-Indigenous and First Nations artists and curators. You will experience works first hand through visits to the national galleries and museums, and will listen to both First Nations and non-Indigenous voices as part of this course.
Four wall labels of 250 words (totaling 1000 words)
Learning outcomes 1, 2, 4, 5
Theoretical essay (1000 words)
Learning outcomes 1, 2, 3, 4, 5
Catalogue essay for general public with list of 12 artworks (artworks and 2000 words essay)
Learning outcomes 1, 2, 3, 4, 5
Participation
Learning outcomes 1, 2, 3, 5
130 hours of total student learning time made up from: a) 36 hours of contact over 12 weeks: lectures, seminars and tutorials; and b) 94 hours of independent student research, reading and writing.
No textbook required. Some relevant readings will be posted on Wattle. Others will be put on reserve in the library. Preliminary Reading Geoffrey Bardon and James Bardon, Pupunya Tula: A Place Made After the Story: the beginnings of the Western desert painting movement Melbourne: Miegunyah Press, 2007. Rex Butler What is Appropriation?: an anthology of writings on Australian art in the 1980s and 1990s Brisbane: Institute of Modern Art, 2004. Kate Darian Smith et al eds. Conciliation on colonial frontiers: conflict, performance and commemoration in Australia and the Pacific Rim New York: Routledge, 2015 Martin Edmond, Battarbee and Namatjira Sydney: Giramondo, 2014. Marcia Langton, ‘Stamped! Indigenous history and Australia post’, Ngoonjook: Journal of Australian Indigenous Issues, No. 24 (Dec. 2003), p. 25-29 Donna Leslie, ‘Indigenous Australian inclusion in Australian art history’ Carolyn Lovitt, ‘Aboriginal Art as Décor: The Politics of Assimilation in White Australian Homes 1930-1970’ (Masters Research Thesis, University of Melbourne, 2000). Susan Lowish Rethinking Australia’s Art History: The Challenge of Aboriginal Art (New York: Routledge, 2018). Journal of Australian Indigenous Issues. Volume 15, issue 1 (March 2012) Ian Mclean, White Aborigines: Identity Politics in Australian art , Cambridge: Cambridge Unviersity Press, 1998. Ian Mclean Double Desire: transculturation and Indigenous contemporary Art (Newcastle: Cambridge Scholars Publishing, 2014). Christine Nicholls From Appreciation to Appropriation: Indigenous influences and images in Australian visual art (Adelaide: Flinders Universty Art Museum, 2000). Alice Procter, The Whole Picture: The Colonial Story of the Art in our museums and why we need to talk about it (London: Cassell, 2020) Terry Smith, Transformations in Australian Art vol 1 and 2, St Leonards: Craftsman House, 2002. Linda Tuhiwai Smith, Decolonizing Methodologies London: Zed Books 2012 Khadija Von Zinnenburg Carroll, Art in the Time of Colony, Surry: Ashgate, 2014.