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y separately published work icon Blood Language selected work   prose  
Issue Details: First known date: 2009... 2009 Blood Language
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AbstractHistoryArchive Description

'Lavishly illustrated, this invaluable study examines the scope and depth of the work of leading contemporary Australian artist Judy Watson. Exploring the plight of the dispossessed, indigenous Australians with whom she shares a family history and heritage, Watsons's works are divided into the seven defining elements within her artistic themes. Each section serves as an extended picture-essay featuring commentary from the artist about her work and travels, as well as objective perspectives by art critics.' Source: http://www.angusrobertson.com.au/(Sighted 16/11/09)

Exhibitions

Notes

  • Epigraph: 'Aboriginal artists mapping our countries, exploring the new, recovering old known ways. Charting our existence, defending our territiories, proving our ancestral connections...' From 'holding the map upside down', Judy Watson 1999
  • Editor's note: This is number one hundred and fourteen in the second numbered series of the Miegunyah Volumes made possible by the Miegunyah Fund established by bequest under the wills of Sir Russell and Lady Grimwade.

    'Miegunyah' was the home of Mab and Russell Grimwade from 1911 to 1955.

  • Includes:

    • Index
    • Bibliography (p. 223-234)

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Carlton, South Hurstville area, Hurstville area, Sydney Southern Suburbs, Sydney, New South Wales,: Melbourne University Press , 2009 .
      image of person or book cover 786373597618683905.jpg
      This image has been sourced from online.
      Extent: 238p.
      Description: col. illus.
      ISBN: 9780522856583

Works about this Work

The Poetics of (Re)Mapping Archives : Memory in the Blood Natalie Harkin , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;

'This paper explores stories of re-mapping the archives through art and poetic-prose, using ideas of haunting through ‘memory in the blood.’ Our family archives are like maps that haunt and guide us toward paths past-travelled and directions unknown. We travel through these archives that offer up new stories and collections of data, and a brutal surveillance is exposed at the hands of the State. We gain insight into intimate conversations, letters, behaviours and movements, juxtaposed with categorisations of people, places, landscapes and objects. These records are our memories and lives; material, visceral, flesh and blood. The State wounds and our records bleed. I travel through my own Nanna’s records and recognise that we have never lived outside the State, and this very act of recognition continues the wounding. State acts of surveillance, recording and archiving had the power to place our

family stories in the public domain, or obliterate stories within a broader history of erasure; filed away, silent and hidden until bidden. But our bodies too are archives where memories, stories, and lived experiences are stored, etched and anchored in our bloodlines deep. They ground our creativity in what become personal and political acts of remembering, identity making and speaking back to the State. Detective-like methods allow us to creatively re-map events and landscapes, piece together lives fragmented and heal our wounds.' ((Re) Mapping the Archive, 4)

The Poetics of (Re)Mapping Archives : Memory in the Blood Natalie Harkin , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014;

'This paper explores stories of re-mapping the archives through art and poetic-prose, using ideas of haunting through ‘memory in the blood.’ Our family archives are like maps that haunt and guide us toward paths past-travelled and directions unknown. We travel through these archives that offer up new stories and collections of data, and a brutal surveillance is exposed at the hands of the State. We gain insight into intimate conversations, letters, behaviours and movements, juxtaposed with categorisations of people, places, landscapes and objects. These records are our memories and lives; material, visceral, flesh and blood. The State wounds and our records bleed. I travel through my own Nanna’s records and recognise that we have never lived outside the State, and this very act of recognition continues the wounding. State acts of surveillance, recording and archiving had the power to place our

family stories in the public domain, or obliterate stories within a broader history of erasure; filed away, silent and hidden until bidden. But our bodies too are archives where memories, stories, and lived experiences are stored, etched and anchored in our bloodlines deep. They ground our creativity in what become personal and political acts of remembering, identity making and speaking back to the State. Detective-like methods allow us to creatively re-map events and landscapes, piece together lives fragmented and heal our wounds.' ((Re) Mapping the Archive, 4)

Last amended 18 May 2016 15:23:43
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