Contributors
Sylvia Kleinert
Sylvia Kleinert is currently Associate Professor of Australian Indigenous Art at Charles Darwin University. Previously she was an ARC Postdoctoral Fellow and Research Fellow at the Centre for Cross Cultural Research, ANU. Working across art history and anthropology her areas of research include Indigenous prison art, the Hermannsburg School, Aboriginal art in southeastern Australia, cultural heritage and tourism. She is General Editor (with Margo Neale) of The Oxford Companion to Aboriginal Art and Culture (2000).
Articles
Indigenising Art Education
Far from being at the forefront of Art History/Theory curricula, Indigenous art is frequently missing or relegated to the margins. Kleinert explores this fact through looking at the results of a recent report by Gregory Leong, Bronwyn Power, Penny Mason and Belinda Wright into the percentage of indigenous art material taught in Australian art schools. Furthermore this text focuses on a few recent initiatives which have attempted to strengthen the content of local art education in Australia.
Art History: Go Figure
Sprirituality Aboriginality
An exhibition of contemporary Aboriginal art 'Aboriginal Art and Spirituality' opened at the High Court of Australia in 1991. The exhibition to tour after its opening in Canberra.....All of the works in the exhibition speak quite overtly about the highly problematic intervention of the missions, the politics of racism and the way in which Aboriginal spirituality will always remain linked to the land.
Arts in a Multicultural Australia
The Crafts Come of Age
Book review The Crafts Movement in Australia: a history University of NSW Press $79.95
Thinking Craft, Crafting Thought
Narrangunnawali in Canberra
Narrangunnawali was an exhibition by Aboriginal artists from Canberra and the surrounding region mounted by the Canberra Contemporary Art Space 31 August - 23 September 1989.
Contemporary Australian Aboriginal Art
The Boundary Riders: The Art of Everyday Life
The diversity of work found in the art of everyday life transgresses many of the implicit boundaries about art practice laid down by the art world. Other art meets all the criteria by which we usually evaluate art works such as skill, commitment and self-expression yet is rarely seen in a gallery context. In order to recover meaning and value for the art of everyday life the question must be asked: why have these artists been marginalised by the art world?
Naive & Outsider Art