'The subject of this article is the absence of Aboriginal art during the period that established the idea of a distinctively Australian modern art. It is intended as a contribution to the historiography of modern and contemporary Australian art history. The period discussed is the two decades between 1962, when Bernard Smith published Australian Painting, 1788–1960, and 1988, the year of the Australian Bicentenary. The article explores what changed in these years when art historians, critics, and curators, albeit belatedly and reluctantly, finally began to acknowledge the great contemporary Aboriginal painting that had long been in many artists’ sights as inspiration and model, and in plain view on display in the so-called primitive cultures’ sections of state museums. It argues that this was because it did not seem part of the national story of art.' (Publication abstract)
'The subject of this article is the absence of Aboriginal art during the period that established the idea of a distinctively Australian modern art. It is intended as a contribution to the historiography of modern and contemporary Australian art history. The period discussed is the two decades between 1962, when Bernard Smith published Australian Painting, 1788–1960, and 1988, the year of the Australian Bicentenary. The article explores what changed in these years when art historians, critics, and curators, albeit belatedly and reluctantly, finally began to acknowledge the great contemporary Aboriginal painting that had long been in many artists’ sights as inspiration and model, and in plain view on display in the so-called primitive cultures’ sections of state museums. It argues that this was because it did not seem part of the national story of art.' (Publication abstract)
