Australian Indigenous art: the journey from public to private space and back again

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F22%3A73617844" target="_blank" >RIV/61989592:15210/22:73617844 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Australian Indigenous art: the journey from public to private space and back again

Popis výsledku v původním jazyce

This paper will focus on the counter-cultural transition of Aboriginal art from its original space, generally considered private, to the public spaces of museums and art galleries. It will present the history, context and outcomes of this transition. Non-Indigenous interest in Aboriginal art tended toward objects that reflected known forms of art, or implements of practical use. This limited selection process was compounded by evolutionary theories that ranked the Indigenous below Western society. The range of displayed artworks was narrow and was further diminished by indifference to preservation. By the close of the nineteenth century, Aboriginal art was gaining recognition as a valuable intellectual commodity that represented the origin of human artistic endeavour. Attempts to display Aboriginal art publicly by Aborigines themselves emerged in the 1950s and 1960s, therefore the transition cannot be considered linear or initiated solely by Westerners. The outcomes of the transition impacted Aboriginal people, culture and art in a variety of ways, including the use of new motifs and materials, techniques and an altered position of Aboriginal artists within Australian society. The institutionalisation of Aboriginal art is also connected to the recognition of Aboriginal art as a significant art form, however the process was impeded by the existing dichotomies between anthropology and art, museum and gallery. The paper applies John Dewey’s critique of ‘the museum conception of art’ (Art as Experience 1934) to verify that, if the ‘continuity between art and life’ is sustained, the unique values and aesthetic principles of different cultures are accentuated and provide a suitable environment for understanding of diverse cultural contexts.

Název v anglickém jazyce

Australian Indigenous art: the journey from public to private space and back again

Popis výsledku anglicky

This paper will focus on the counter-cultural transition of Aboriginal art from its original space, generally considered private, to the public spaces of museums and art galleries. It will present the history, context and outcomes of this transition. Non-Indigenous interest in Aboriginal art tended toward objects that reflected known forms of art, or implements of practical use. This limited selection process was compounded by evolutionary theories that ranked the Indigenous below Western society. The range of displayed artworks was narrow and was further diminished by indifference to preservation. By the close of the nineteenth century, Aboriginal art was gaining recognition as a valuable intellectual commodity that represented the origin of human artistic endeavour. Attempts to display Aboriginal art publicly by Aborigines themselves emerged in the 1950s and 1960s, therefore the transition cannot be considered linear or initiated solely by Westerners. The outcomes of the transition impacted Aboriginal people, culture and art in a variety of ways, including the use of new motifs and materials, techniques and an altered position of Aboriginal artists within Australian society. The institutionalisation of Aboriginal art is also connected to the recognition of Aboriginal art as a significant art form, however the process was impeded by the existing dichotomies between anthropology and art, museum and gallery. The paper applies John Dewey’s critique of ‘the museum conception of art’ (Art as Experience 1934) to verify that, if the ‘continuity between art and life’ is sustained, the unique values and aesthetic principles of different cultures are accentuated and provide a suitable environment for understanding of diverse cultural contexts.

Druh

D - Stať ve sborníku

CEP obor

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OECD FORD obor

50802 - Media and socio-cultural communication

Projekt

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Návaznosti

N - Vyzkumna aktivita podporovana z neverejnych zdroju

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název statě ve sborníku

SÚRADNICE ESTETIKY, UMENIA A KULTÚRY 7: Verejný priestor v kontextoch estetiky, umeleckej teórie a umeleckej praxe

ISBN

978-80-555-2996-7

ISSN

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e-ISSN

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Počet stran výsledku

15

Strana od-do

263-277

Název nakladatele

Prešovská univerzita v Prešove,

Místo vydání

Prešov

Místo konání akce

Prešov

Datum konání akce

11. 11. 2021

Typ akce podle státní příslušnosti

WRD - Celosvětová akce

Kód UT WoS článku

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