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Indigenous Intellectual Property
Taking an interdisciplinary approach unmatched by any other book on this topic, this thoughtful Handbook considers the international struggle to provide for proper and just protection of Indigenous intellectual property (IP). In light of the United Nations Declaration on the Rights of Indigenous Peoples 2007, expert contributors assess the legal and policy controversies over Indigenous knowledge in the fields of international law, copyright law, trademark law, patent law, trade secrets law, and cultural heritage. The overarching discussion examines national developments in Indigenous IP in the United States, Canada, South Africa, the European Union, Australia, New Zealand, and Indonesia. The Handbook provides a comprehensive overview of the historical origins of conflict over Indigenous knowledge, and examines new challenges to Indigenous IP from emerging developments in information technology, biotechnology, and climate change. Practitioners and scholars in the field of IP will learn a great deal from this Handbook about the issues and challenges that surround just protection of a variety of forms of IP for Indigenous communities.
The Making of Indigenous Australian Contemporary Art
This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.
Art Is Not What You Think It Is
Art Is Not What You Think It Is utilizes original research to present a series of critical incursions into the current state of debate on the idea of art, making manifest what has been largely missing or unsaid in those discussions. Links museology, history, theory, and criticism to the realities of contemporary social conditions and shows how they have structurally functioned in a variety of contexts Deals with divisive and controversial problems such as blasphemy and idolatry, and the problem of artistic truth Addresses relations between European notions about art and artifice and those developed in other and especially indigenous cultural traditions
Writing Borderless Histories of Art
Writing Borderless Histories of Art is an aspirational, historical, and critical project that offers a fundamental rethinking of the relationship of humans to the rest of nature. Social justice, Indigeneity, abuses of power, and the environmental crisis are the burning issues of today. A transcultural approach calls for abandoning structures of domination that are built into the academic disciplines, regardless of the scale or extent of interpretation. Drawing upon writings from a wide range of fields, Claire Farago argues that Art History can play a role in advancing the public's interconnectedness with the planetary life-support system that so urgently needs to be restored. Studying the di...
Histories of Australian Rock Art Research
Australia has one of the largest inventories of rock art in the world with pictographs and petroglyphs found almost anywhere that has suitable rock surfaces – in rock shelters and caves, on boulders and rock platforms. First Nations people have been marking these places with figurative imagery, abstract designs, stencils and prints for tens of thousands of years, often engaging with earlier rock markings. The art reflects and expresses changing experiences within landscapes over time, spirituality, history, law and lore, as well as relationships between individuals and groups of people, plants, animals, land and Ancestral Beings that are said to have created the world, including some rock ...
Imagining Spaces and Places
Imagining Spaces and Places seeks to produce an interdisciplinary dialogue between art history and literature studies and other fields of cultural analysis that work with the concepts of space, place and various “scapes”, such as cityscapes, bodyscapes, mindscapes and memoryscapes, as well as the more familiar landscapes. The volume was inspired by new lines of study that underline the experiential and multidimensional aspects of spaces. We explore how art, literature or urban spaces forge “scapes” by imposing or suggesting aesthetic, evaluative or ideological orderings and perceptual as well as emotive perspectives on the “raw material” or on previous ways of spatial worldmaking...
Rethinking Australia’s Art History
This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.
Rethinking Australia's Art History
This book aims to redefine Australia¿s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term¿s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.
Brought to Light II
Brought to Light II: Contemporary Australian Art 1966-2006 includes more than 60 commissioned texts on key works in the Gallery's Australian collection, including painting, sculpture, installation, video, photography, printmaking, glass, ceramics and textiles. Eminent curators, art historians and scholars, have contributed to the publication. Sebastian Smee explores Fred Williams's 'Australian landscape' series of the 1960s and 1970s, curator John Murphy traces the life of the Australian adventurer-writer Ernestine Hill in his discussion of Sam Fullbrook's 1970 portrait, and the assemblage art of Rosalie Gascoigne is discussed by writer Mary Eagle. Brisbane-based art theorist Rex Butler examines the Australian landscape tradition in the work of Queensland artist William Robinson, anthropologist Howard Morphy explores the creativity of recent Yolngu art from Arnhem Land, curator Hetti Perkins contributes a study of Michael Riley's photographic and cinematic oeuvre, and Queensland Art Gallery curators Suhanya Raffel and Bruce McLean provide insight into recent works by Fiona Hall and the Hermannsburg Potters respectively. Features over 500 illustrations (many full-page).
Acts of Seeing
Parallel to Kemp's interest in contemporary science, one of his most consistent themes is the historical exploration of the possibilities of perceived and represented structures and patterns as organisational imperatives in nature and cognition. Structures in the context of Kemp's writing not only relate to the privileged observation sites of modern science but also act as instruments for an art history of contextually examined yet philosophically approached continuities.
