هنر بومی و جامعهٔ استرالیا: امید و ناامیدی (مطالعات سرود در ادبیات و فرهنگ استرالیا)

"'Hope and Disenchantment' is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society's negotiation of Indigenous people's status within the nation over the last century. Through critical reflection on Aboriginal art's idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art's meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art's vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition"-- Résumé de l'éditeur Front Matter 2 Half-Title 2 Series 3 Title 4 Copyright 5 Dedication 6 Contents 8 Preface and Acknowledgements 12 Chapters 16 Introduction 16 Part I. Governance, Nationhood and Civil Society 30 Chapter 1. New Intercultural Relationships in the Post-Assimilation Era 32 1.1 Cultural Trauma in Australian Public Culture 32 1.2 The End of Assimilation and the Rise of Aboriginal Culture 33 1.3 Paul Keating, Indigenised Settler Nationalism and Reconciliation 42 Chapter 2. Aboriginal People Mobilising Aboriginal Art 46 2.1 Aboriginal Art Mobilised in Political and Legal Domains 46 2.2 Aboriginal Art, Activism and Pan-Aboriginal Identity 48 2.3 Urban Indigenous Aesthetic Public Spheres 53 Chapter 3. Understanding Aboriginal Art Subsidy 56 3.1 ‘Meaningful Work’: Making Sense of Aboriginal Art Subsidy 56 3.2 The Ambiguity of Aboriginal Art Sector Policy 61 Chapter 4. The State Mobilising Aboriginal Art 64 4.1 The Acquisition, Endorsement and Appropriation of Aboriginal Art and the Growth of Aboriginal Public Culture 64 Chapter 5. ‘Aboriginal Culture’ at the Nexus of Justice, Recognition and Redemption 72 5.1 Cultural Loss, Cultural Rights and Keeping Culture Strong 72 5.2 Aboriginal Art as Metonymic for Aboriginal Culture 79 5.3 Conclusion to Part I 83 Part II. Contemporary Aboriginal Art in the 1980s 86 Chapter 6. The Emergence of Aboriginal Art in the 1980s 90 6.1 The Cultural Cringe and Provincialism 91 6.2 The Emergence of Contemporary Aboriginal Art 92 6.3 Artistic and Critical Approaches to Aboriginal Art 94 6.3.1 Cultural convergence and rapprochement 94 6.3.2 ‘Killing me softly’: cultural colonialism and ethnocide 96 6.3.3 Landscape and tribalism 98 6.3.4 Appropriation 98 6.3.5 Postmodernism and conceptualism 101 6.3.6 Social justice 103 6.4 The Overseas Reception of Aboriginal Art 104 6.5 Postcolonial Critique and Urban Aboriginal Voices 108 6.6 The Bicentenary 111 6.7 Conclusion to Part II 112 Part III. Negotiating Difference 118 Chapter 7. Negotiating Aboriginal Difference 120 7.1 Four Facets of Difference 120 7.2 The Cosmopolitan and the Tourist: Being an Outsider with Aboriginal Art 126 7.3 Authenticity and ‘The Story’ 128 Chapter 8. The Art/Anthropology Binary 132 8.1 The Disciplinary Relationship between Art and Anthropology 136 8.2 Western Secularisation and the Differentiation of Primitive Art 140 8.3 Anthropology, Colonialism and the Urban Aboriginal Art Movement 141 8.4 Conclusion to Part III 144 Part IV. Aboriginal Art, Money and the Market 148 Chapter 9. Ethics and Exploitation in the Aboriginal Art Market 154 9.1 The Bifurcation of the Aboriginal Art Market 158 9.2 Where Does the Value of Aboriginal Fine Art Reside? 160 9.3 Morality and Money in the Aboriginal Art Arena 164 Chapter 10. ‘Aboriginal Mass Culture’ and the Cultural Industries 170 10.1 A Critical History of ‘Aboriginal Mass Culture’ and Visual Culture 170 10.2 Aboriginal Art and Culture and the Cultural Industries 175 10.3 What Do ‘Aboriginal Mass Culture’ and the Cultural Industries Do to Aboriginal Fine Art? 179 10.4 Aboriginal Artistic Labour, the Economic Imperative and the Crisis of Aboriginal Art’s Value 181 10.5 Conclusion to Part IV 185 Conclusion 188 Back Matter 200 Notes 200 References 214 Index 250 Half-Title......Page 2 Series......Page 3 Title......Page 4 Copyright......Page 5 Dedication......Page 6 Contents......Page 8 Preface and Acknowledgements......Page 12 Introduction......Page 16 Part I. Governance, Nationhood and Civil Society......Page 30 1.1 Cultural Trauma in Australian Public Culture......Page 32 1.2 The End of Assimilation and the Rise of Aboriginal Culture......Page 33 1.3 Paul Keating, Indigenised Settler Nationalism and Reconciliation......Page 42 2.1 Aboriginal Art Mobilised in Political and Legal Domains......Page 46 2.2 Aboriginal Art, Activism and Pan-Aboriginal Identity......Page 48 2.3 Urban Indigenous Aesthetic Public Spheres......Page 53 3.1 ‘Meaningful Work’: Making Sense of Aboriginal Art Subsidy......Page 56 3.2 The Ambiguity of Aboriginal Art Sector Policy......Page 61 4.1 The Acquisition, Endorsement and Appropriation of Aboriginal Art and the Growth of Aboriginal Public Culture......Page 64 5.1 Cultural Loss, Cultural Rights and Keeping Culture Strong......Page 72 5.2 Aboriginal Art as Metonymic for Aboriginal Culture......Page 79 5.3 Conclusion to Part I......Page 83 Part II. Contemporary Aboriginal Art in the 1980s......Page 86 Chapter 6. The Emergence of Aboriginal Art in the 1980s......Page 90 6.1 The Cultural Cringe and Provincialism......Page 91 6.2 The Emergence of Contemporary Aboriginal Art......Page 92 6.3.1 Cultural convergence and rapprochement......Page 94 6.3.2 ‘Killing me softly’: cultural colonialism and ethnocide......Page 96 6.3.4 Appropriation......Page 98 6.3.5 Postmodernism and conceptualism......Page 101 6.3.6 Social justice......Page 103 6.4 The Overseas Reception of Aboriginal Art......Page 104 6.5 Postcolonial Critique and Urban Aboriginal Voices......Page 108 6.6 The Bicentenary......Page 111 6.7 Conclusion to Part II......Page 112 Part III. Negotiating Difference......Page 118 7.1 Four Facets of Difference......Page 120 7.2 The Cosmopolitan and the Tourist: Being an Outsider with Aboriginal Art......Page 126 7.3 Authenticity and ‘The Story’......Page 128 Chapter 8. The Art/Anthropology Binary......Page 132 8.1 The Disciplinary Relationship between Art and Anthropology......Page 136 8.2 Western Secularisation and the Differentiation of Primitive Art......Page 140 8.3 Anthropology, Colonialism and the Urban Aboriginal Art Movement......Page 141 8.4 Conclusion to Part III......Page 144 Part IV. Aboriginal Art, Money and the Market......Page 148 Chapter 9. Ethics and Exploitation in the Aboriginal Art Market......Page 154 9.1 The Bifurcation of the Aboriginal Art Market......Page 158 9.2 Where Does the Value of Aboriginal Fine Art Reside?......Page 160 9.3 Morality and Money in the Aboriginal Art Arena......Page 164 10.1 A Critical History of ‘Aboriginal Mass Culture’ and Visual Culture......Page 170 10.2 Aboriginal Art and Culture and the Cultural Industries......Page 175 10.3 What Do ‘Aboriginal Mass Culture’ and the Cultural Industries Do to Aboriginal Fine Art?......Page 179 10.4 Aboriginal Artistic Labour, the Economic Imperative and the Crisis of Aboriginal Art’s Value......Page 181 10.5 Conclusion to Part IV......Page 185 Conclusion......Page 188 Notes......Page 200 References......Page 214 Index......Page 250 This book is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society's negotiation of Indigenous people's status within the nation. Through critical reflection on Aboriginal art's idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art's meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art's vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition. | The Aboriginal art movement flourished during a period in which the Australian public were awakened to the implications of the state's decision to confront the legacies of colonisation and bring Aboriginal culture into the heart of national public life. Rather than seeing this radical political and social transformation as mere context for Aboriginal art's emergence, this study argues that Aboriginal art has in fact mediated Australian society's negotiation of the changing status of Aboriginal culture over the last century. This argument is illustrated through the analysis of Aboriginal art's volatility as both a high art movement and a phenomenon of visual and commercial culture. This analysis reveals the agendas to which Aboriginal art has been anchored at the nexus of the redemptive project of the settler state, Indigenous movements for rights and recognition, and the aspirations of progressive civil society. At its heart this study is concerned with the broader social and cultural insights that can be gleaned from conducting a sustained inquiry into Aboriginal art's contested meanings. To achieve this it focuses upon the hopeful and disenchanted faces of the Aboriginal art phenomenon: the ideals of cultural revitalisation and empowerment that have converged upon the art, and the countervailing narratives of exploitation, degradation and futility. Both aspects are traced through a range of settings in which the tensions surrounding Aboriginal art's aesthetic, political and significance have been negotiated. It is in this dialectic that the vexed ethical questions underlying Australia's settler state condition can most clearly be identified, and we can begin to navigate the paradoxes and impasses underlying the redemptive national project of the post-assimilation era. "'Hope and Disenchantment' is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society's negotiation of Indigenous people's status within the nation over the last century. Through critical reflection on Aboriginal art's idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art's meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art's vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition"-- Résumé de l'éditeur "'Hope and Disenchantment' is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society's negotiation of Indigenous people's status within the nation over the last century. Through critical reflection on Aboriginal art's idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art's meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art's vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition"-- Provided by publisher