The First Art Newspaper on the Net   Established in 1996 United States Wednesday, September 18, 2019

The Valencian Institute for Modern Art opens exhibition: Contemporary Indigenous Art in Australia
Tiger Palpatja

VALENCIA.- The director of the IVAM, Consuelo Císcar, the curators of the exhibition Ian McLean and Erica Izett and artists Judy Watson and Christian Thompson presented the exhibition "Contemporary Indian Art Australia. Missana-Sordello Collection, which will run until April 16 . The exhibition draws primarily from the private collection of Marc Sordello & Francis Missana and brings together 71 works from 58 artists that are part of Western Desert, a movement that brings together indigenous artists from the communities of the almost desert of Western Australia . The exhibition also includes the work of indigenous artists who are part of today's urban culture as Christian Thompson and Judy Watson.

This exhibition is mainly drawn from a private collection of Western Desert painting, most of which has been made during the previous five years, by which time the art movement was well established and the artists confident in their practice as professional artists.

Generally Western art is exhibited in the generous plush rooms of fine art museums whereas Indigenous art is relegated to the crowded hangs of anthropology and natural history museums, as if the former is the palace of the future and victory, and the latter the mausoleum of the past and defeat. However, the changing face of contemporary art and particularly the pressures of globalization are opening the artworld to Indigenous art as a contemporary practice fit for exhibition in fine art spaces. In Australia this has been the case for more than twenty years.

Less than 3% of Australians are indigenous. Of these, about 80% live in urban areas, and 20% reside in sparsely populated remote Australia near or on their country. Most Indigenous art is made in remote Australia, and is part of a lively hybrid culture that combines Indigenous and Western traditions. The breakthrough for Australian Indigenous artists occurred in the 1980s and 90s, when large acrylic paintings on canvas from communities in the Western Deserts attracted the attention of the artworld and, before long, a lucrative market.

The remote settlements that dot the Western Deserts typically consist of several hundred to a thousand closely related inhabitants. Compared to more urbanized cities and towns in Australia, they have the highest proportion of Indigenous Australian and Australian born-residents, females, births, younger people, unemployment, funerals and chronic disease such as diabetes and glaucoma, and the lowest proportion of home-computer use. Mobile telephones, however, are endemic. As well, per head of population, they are serviced by more cultural and art centres, and have the highest proportion of professional artists anywhere in the world.

Remote Indigenous art is mainly practiced under the auspices of senior Lawmen and women who have deep knowledge of Indigenous traditions. While deeply immersed in their culture and responsibilities, many of these artists know about Western contemporary art through books, travel to fine art museums and their contacts with Western artists and the artworld more generally. Nevertheless, their art is primarily an assertion of Indigenous values. It might resonate with the formal energy of Western contemporary art and echo Western artworld concerns about identity, place, affect and language in today's changing world – and this is what makes it contemporary art – but it is conducted on its own terms even when collaborations and workshops are undertaken with Western artists.

The exhibition also includes the work of two urban-based Indigenous artists. Unlike the remote artists, many urban artists have been educated in university art schools and directly engage with mainstream artworld discourse. While urban Indigenous art reflects the Western traditions taught in Australia's universities, invariably it also connects with Indigenous perspectives on the histories of colonization and globalization – as indeed much non-Indigenous Australian does. The artworld success of both remote and urban Indigenous art but also the extent to which they are and remain subcultures within mainstream contemporary art, are a telling barometer of the changing world in which we live.

Today's News

February 1, 2012

Ten fantasy portraits by Tiepolo shown publicly for the first time at Fundación Juan March

National Gallery of Victoria corrects details of missing Bonington painting investigation

Extensive survey show of works by the Cuban painter Carmen Herrera at Lisson Gallery

New exhibition sheds new light on the rarely shown collection of the Fondation de l'Hermitage

Accidental discovery in a Connecticut storage unit expands story of '2 Malcolms'

Turner watercolour, lost from public view for 100 years, brought home to Brighton

Andy Warhol Museum announces Andy Warhol exhibition traveling throughout Asia

Special contributions allow Knoxville Museum of Art to acquire masterpiece by Catherine Wiley

Art detective and leading art dealer Philip Mould is on the hunt for lost treasures

Bonhams to sell Zulu heritage in London: German art training that gave new insights into Africa

Heather Gaudio Fine Art announces exhibition of select works by Robert Kushner & Cornelia Kubler Kavanagh

Inaugural Metro Show ended its 5-day run with dealer optimism and solid sales

New book Francesca Woodman, The Roman Years: Between Flesh and Film to be published

Amon Carter Museum of American Art Announces New Interpretation Manager

"A Portrait of a Young Lady in Pink" leads January Period Art & Design auction at Bonhams

The Valencian Institute for Modern Art opens exhibition: Contemporary Indigenous Art in Australia

Hard Press Editions announces the publication of first ever collection of writings by art critic Amy Goldin

Exhibition invites nternational artists to dialogue with Giorgio de Chirico's House-museum

Linda Jackson's Bush Couture opens at the National Gallery of Victoria

Most Popular Last Seven Days

1.- Holocaust 'masterpiece' causes uproar at Venice film festival

2.- To be unveiled at Sotheby's: One of the greatest collections of Orientalist paintings ever assembled

3.- Bender Gallery features paintings by up and coming Chicago artist Michael Hedges

4.- Lévy Gorvy exhibits new and historic works by French master in his centenary year

5.- Artificial Intelligence as good as Mahler? Austrian orchestra performs symphony with twist

6.- Fascinating new exhibition explores enduring artistic bond between Scotland and Italy

7.- Exhibition explores the process of Japanese-style woodblock production

8.- Robert Frank, photographer of America's underbelly, dead at 94

9.- The truth behind the legend of patriot Paul Revere revealed in a new exhibition at New-York Historical Society

10.- Hitler bust found in cellar of French Senate

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful