Issue Details: First known date: 2017... 2017 Indigenous Perspectives on Museum Collections
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'I can remember the first time I was taken into a museum storeroom. I remember it being still, organised, open and unashamed. I could see countless rows of shelving stretching from the floor to a ceiling so high that the optical illusion it created masked its vastness. The air was unmoving, the smell musty and organic. When my eyes adjusted to what lay on these shelves I had trouble taking it all in: wood, feathers, stone, bark, ochre worked in countless combinations. I searched for the clues which would guide me to material from north‑western New South Wales, to my Father's country, and my ngurrambaa (Yuwaalaraay) or "family land".' (Publication abstract)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Artlink vol. 37 no. 2 1 June 2017 11313695 2017 periodical issue

    'Welcome to the “trans” issue as it is cryptically called (meaning across and beyond in Latin). The aim of this issue is transnational as much as transcultural: to explore relations between Indigenous contemporary artists across the world. So focused are we on the Australian context for Indigenous art that when it comes to aligning ourselves with international art, in both historic and contemporary contexts, we too often deprive ourselves of that defining peer‑to‑peer agency that permits new perspectives. When we step outside of this internal viewpoint to project ourselves internationally, as in the occasion of the representation of two high‑profile Indigenous artists in the national pavilions of Australia and Aotearoa New Zealand for the 57th Venice Biennale, this rite of passage clearly becomes apparent. It is one well‑served by Tracey Moffatt and Lisa Reihana, whose elegant visual narratives demonstrate a form of this trans‑aesthetic, appropriate to taking on Europe and the world.' (Editorial introduction)

    2017
    pg. 88-91
Last amended 16 Jun 2017 08:55:32
88-91 Indigenous Perspectives on Museum Collectionssmall AustLit logo Artlink
Informit * Subscription service. Check your library.
Newspapers:
    Powered by Trove
    X