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Indigenous Agency in Australian Bark Painting
Arts Pub Date : 2022-09-07 , DOI: 10.3390/arts11050084
Marie Geissler

In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with the world. Within the context of recent art and anthropological scholarship, the paiFntings are understood as artefacts of Indigenous ‘agency’. They are products of the intentional action of artists through which power is enacted and from which change has followed. This paper reveals how the paintings were influential to their audiences and the discourses arising from their display through the agency of the artists who made them, and the curators who selected them. It underlines how Indigenous agency associated with the aesthetic and semantics values of bark painting has been and continues to be a powerful mechanism for instigating cultural, social, economic and political change. As such, it points to the wealth of Indigenous agency yet to be documented in the other collections of bark painting that are held in institutions in Australia and throughout the world.

中文翻译:

澳大利亚树皮绘画的土著机构

在澳大利亚发现土著树皮画的最初几年,人类学家将这种艺术形式视为一种静止不变的传统的一部分。受阿纳姆地岩石艺术和仪式身体设计图像的启发,这些树皮画被澳大利亚土著人创新地改编为树皮媒介。今天,这种艺术以其活力和精致而闻名,为艺术家如何与世界互动提供了一个窗口。在最近的艺术和人类学学术背景下,这些画被理解为土著“机构”的人工制品。它们是艺术家有意识的行为的产物,通过这些行为来制定权力并随之发生变化。本文揭示了这些画作是如何对他们的观众产生影响的,以及通过制作这些画作的艺术家和选择它们的策展人的代理来展示它们所产生的话语。它强调了与树皮画的美学和语义价值相关的土著机构如何一直并将继续成为推动文化、社会、经济和政治变革的强大机制。因此,它表明土著机构的财富尚未记录在澳大利亚和世界各地的机构中保存的其他树皮画收藏中。经济和政治变革。因此,它表明土著机构的财富尚未记录在澳大利亚和世界各地的机构中保存的其他树皮画收藏中。经济和政治变革。因此,它表明土著机构的财富尚未记录在澳大利亚和世界各地的机构中保存的其他树皮画收藏中。
更新日期:2022-09-07
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