Abstract In a 1995/2004, work entitled Last Laughs, Destiny Deacon ‘amateurishly’ captures a trio of flash, young, ‘laughing’ women of ‘ambiguous’ racial background playing up for the camera. The social and political challenge of this image establishes a standpoint position of photographic practice that reflects the work of other contemporary Australian Indigenous women photographers and indicates a continuum of practice that includes positions of reconciliation and diplomacy, confrontation, humor and parody. In their process of returning the colonial gaze, reframing and reinterpreting the archives and history of aboriginal photography and generating alternative information about aboriginality, the photographers often invent and employ alternative aesthetics in their work. Such alternative aesthetics often reflect an Aboriginal perspective based on a circular, non-linear sense of time and narrative, which dislodges assumed photographic values and provides agency for active viewing – viewing that demands a change of perception. This paper gives an overview of a decade of photography by Indigenous Australian women that illustrates their operational practices.

中文翻译：

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最后的笑声：当代澳大利亚土著女性摄影师作品中的另类美学机构

摘要 在 1995/2004 年，题为“最后的笑声，命运执事”的作品“业余地”捕捉到了三个闪现、年轻、“笑”的、“模棱两可”种族背景的女性在镜头前玩耍的画面。这幅图像的社会和政治挑战确立了摄影实践的立场，反映了其他当代澳大利亚土著女性摄影师的作品，并表明了一种连续的实践，包括和解和外交、对抗、幽默和模仿的立场。在回归殖民凝视、重构和重新诠释原住民摄影的档案和历史以及产生关于原住民的另类信息的过程中，摄影师经常在他们的作品中发明和运用另类美学。这种另类美学通常反映了一种基于循环、非线性时间和叙事感的原住民视角，它推翻了假定的摄影价值，并为主动观看提供了动力——观看需要改变感知。本文概述了澳大利亚土著妇女十年来的摄影作品，展示了她们的操作实践。