Into the Transpocene: The future of Indigenous art

Black is the New White is Nakkiah Lui’s romantic comedy commissioned by the Sydney Theatre Company for the May/June 2017 season. It milks laughs from a stereotypical narrative of a privileged young black woman bringing her inappropriate boyfriend home to meet her parents. The twist—although not much of one these days—is that the boyfriend is white. Black is the New White is also the name of the 2007 autobiography by African American comic genius Paul Mooney. We can reach further back to the early 1990s: to Gordon Bennett’s sweet watercolours of black angels and his more ghoulish messenger between worlds, the large scarified Altered Body Print (Shadow Figure Howling at the Moon) (1994) with its mashed binaries and grotesque white/black, male/female, human/animal totemic‑like monster. Before Bennett there was Tracey Moffatt’s sweet black angel Jimmy Little on the royal telephone to heaven, an ironic serenade to her grim horror film, Night Cries (1989), which unsettled normative understandings of black/white relations with chilling effect.

More from this Issue

Lisa Reihana: Encounters in Oceania

Nicholas Thomas

Introducing the Multiple Modernisms project

Elizabeth Harney and Ruth B. Phillips

Becoming‑with and together: Indigenous transgender and transcultural practices

Maddee Clark

The Masque Ball of Tracey Moffatt

One of Tracey Moffatt’s lasting cinematographic memories, as she told me, is of films with harbour scenes, of working ports, rough workmen, the coming and going of exotic people, fogs, and foghorns. Tracey Moffatt’s photographic and film work commissioned for the Australian Pavilion in Venice responds to this landscape of cinematic time.

Djon Mundine

The Acti.VA.tions of Rosanna Raymond

Dan Taulapapa McMullin

Emily Kame Kngwarreye: The impossible modernist

Art critic Robert Hughes made the assessment that Aboriginal art was the last great art movement of the twentieth century. It started at the Aboriginal community called Papunya, in which Aboriginal men had been painting on canvas for the outside market with great success since the 1980s. The Papunya art style, as it became known, sometimes compared to forms of Western modernism—from abstract expressionism to minimalism and even conceptual art—presented a comparison that was rarely taken literally, although some critics of the 1987 Dreamings exhibition in New York did wonder if the Aboriginal artists had been appropriating New York art. But when it came to the late paintings of Emily Kame Kngwarreye, critics really did start to question the relationship between modernism and Western Desert painting, ascribing to her the genius and expressive freedom associated with the masters of Western modernism.

Margo Neale

Down Under World: Christian Thompson at the Pitt Rivers Museum

An emerging history of transcultural engagements in recent years is evident in the growing number of projects by Australian Indigenous artists working with collections held by British cultural institutions. From Judy Watson’s research at the British, Horniman and Science museums in the 1990s, to Daniel Boyd’s residency with the Natural History Museum and projects by Brook Andrew and Julie Gough at the Cambridge Museum of Archeology and Anthropology, these Australian Indigenous artists have negotiated complex histories of colonial collecting practices, contemporary modes of museum display, issues of cultural ownership and repatriation, as well as the role of the artist as a new kind of researcher and interpreter of archives and cultural heritage.

Jessyca Hutchens