Thirty years ago Australian Aboriginal art was little more than a footnote to world art. Today, it is considered to be an important contemporary art movement, often promoted as being connected to a deep cultural past. Becoming Art provides a new analysis of the shifting cultural and social contexts that surround the production of Aboriginal art.
Thirty years ago Australian Aboriginal art was little more than a footnote to world art. Today, it is considered to be an important contemporary art movement, often promoted as being connected to a deep cultural past. Becoming Art provides a new analysis of the shifting cultural and social contexts that surround the production of Aboriginal art.
Howard Morphy is Director, Centre for Cross-Cultural Research, The Australian National University.
Inhaltsangabe
PrefaceIntroductionChapter 1: Cross-Cultural Categories and the Inclusion of Aboriginal Art Section 1: A Short History of Yolngu ArtChapter 2: The History BeginsChapter 3: Bark Painting and the Emergence of Yolngu Fine ArtChapter 4: Dialogue and ChangeSection 2: Engaging with Art HistoryChapter 5: Visuality and Representation in Yolngu ArtChapter 6: Style and Meaning: Abelam Art through Yolngu EyesChapter 7: Art Theory and Art Discourse Across CulturesSection 3: Yolngu Art and the Chimera of Fine ArtChapter 8: Placing Indigenous Art in the GalleryChapter 9: Conclusion
PrefaceIntroductionChapter 1: Cross-Cultural Categories and the Inclusion of Aboriginal Art Section 1: A Short History of Yolngu ArtChapter 2: The History BeginsChapter 3: Bark Painting and the Emergence of Yolngu Fine ArtChapter 4: Dialogue and ChangeSection 2: Engaging with Art HistoryChapter 5: Visuality and Representation in Yolngu ArtChapter 6: Style and Meaning: Abelam Art through Yolngu EyesChapter 7: Art Theory and Art Discourse Across CulturesSection 3: Yolngu Art and the Chimera of Fine ArtChapter 8: Placing Indigenous Art in the GalleryChapter 9: Conclusion
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