The Resource Aboriginal art, Wally Caruana

Aboriginal art, Wally Caruana

Label
Aboriginal art
Title
Aboriginal art
Statement of responsibility
Wally Caruana
Creator
Subject
Language
eng
Summary
Aboriginal art history; depiction of dreaming for numerous Indigenous artists according to region; specific reference to art mediums, techniques, country, dreamings, ancestors, cosmology; analysis and interpretation of themes and compositions; ARNHEM LAND AND SURROUNDS: Art and authority; the last two centuries (p. 16); art in the public domain; collection of artefacts; first exhibitions of Aboriginal art (p. 19); interest in Aboriginal art (p. 20); Arnhem Land as a rich art-producing region; rock art; mediums; bark painting; making brushes (p. 24); use of ochres; Mimi spirits; West Arnhem Land painting styles; magic (p. 28), theme of swallowing & regurgitating; Rainbow Serpent (p. 30); sacred digging sticks and dilly bags (p. 38); fibrecraft (p. 42); rarrk patterns (p. 44); art depicting World War II (p. 46); Rites of Passage of the Yolngu (p. 47); painting the land (p. 56); recognition of women bark painters (p. 64); Dugong; influence of the Macassans (p. 70); Narratives on bark:Groote Eylandt; the subjects of bark paintings (p. 76); shift in bark painting style as result of market change (p. 79); Narratives on Canvas: Ngukurr (p. 81); Art in isolation: The Tiwi (p. 85); bark baskets (p. 88); Bima (p. 90); Tiwi use of ochres and brushes; graphic art style (p. 93); screenprinted cloth, batik, ceramics, printmaking, painting on paper (p. 95); Tiwi women artists; experimentation with new mediums such as synthetic paints and gouache; the art of Wadeye; engraved and painted wooden boards (p. 96); iconography (p. 100); DESERT REGIONS: Desert regions as home to contemporary art movement (p. 101); impact of European settlement (p. 101); physical dislocation and government settlements; forms of classical desert art including decorated weapons, personal adornments, sacret and incised boards and stones called tjuringa, rock engravings and paintings, ephemeral art such as body painting, sand drawings (p. 102); design interpretations; ritual knowledge and religious designs (p. 103); significance of colours; kinship systems; ground mosaics (p. 104); toas (p. 106); public art produced by women; adaption of tool use for art; spinning of hair and fur, crayon drawings, watercolours, canting or wax pen (p. 108); Ernabella success (p. 109); adoption of introduced techniques and materials; Rex Battarbee & Namatjira (p. 110); the Papunya painting movement where Aboriginal artists transferred their ancestrally inherited designs and images into synthetic paints on portable surfaces; Honey Ant dreaming; Geoffrey Bardon and Honey Ant mural - lists names of painters (p. 112); adapting secret and sacred images for public viewing (p. 115); landscape in art ; use of dots (p. 117); depiction of several dreamings in one work (p. 128); Warlpiri artists of Yuendumu and Lajamanu; the art market; formation of Warlukurlangu Artists Association (p. 132); school painting; women artists at Yuendumu (136); Flying Ant (p. 140); from silk batik to car doors: Utopia (p. 145); Kngwarreye; Caring for distant lands: Balgo (p. 154); THE KIMBERLEY: Land of the Wandjina; The Tingari (p. 162); Religion & Bible (p. 164); The Wandjina - ancestral beings (p. 169); pearlshells; ilma (p. 172); revival in the eastern Kimberley : the Warmun community (p. 174); Cyclone Tracey (p. 175); Juntarkal - Rainbow Serpent ; Rover Thomas (p. 176); NORTH QUEENSLAND AND THE TORRES STRAIT ISLANDS: Rock Art of the Laura district (p. 183); shield design (p. 184); Aurukun sculpture (p. 185); ceramics - Thancoupie (p. 187); narrative art of Mornington Island (p. 188); Torres Strait Island Art (p. 190); establishment of an art school at Cairns (p. 192); Artists in the town and city; the first wave of urban art in the second half of the 20th Century; authenticity seen as equating with tradition (p. 194); development of new forms of Aboriginal art; William Barak and Tommy McRae (p. 195); cultural change and the affect on art production and styles (p. 198); first Koorie printmaker, Kevin Gilbert
Cataloging source
VDGV
http://library.link/vocab/creatorDate
1952-
http://library.link/vocab/creatorName
Caruana, Wally
Dewey number
704.039915
Illustrations
  • illustrations
  • maps
Index
index present
Literary form
non fiction
Nature of contents
bibliography
Series statement
World of art
http://library.link/vocab/subjectName
  • Art, Aboriginal Australian
  • Art, Australian
Label
Aboriginal art, Wally Caruana
Instantiates
Publication
Note
Includes glossary and index
Bibliography note
Bibliography: p. 229 - 230
Contents
Patterns of power: Arnhem Land and its surrounds -- The art of place and journey: the desert -- Land of the Wandjina: the Kimberley -- Diversity: North Queensland and the Torres Strait Islands -- Artists in the town and city
Control code
000024765544
Dimensions
21 cm.
Edition
New ed.
Extent
239 p.
Isbn
9780500203668
Isbn Type
(pbk.)
Other physical details
ill. (some col.), maps
Label
Aboriginal art, Wally Caruana
Publication
Note
Includes glossary and index
Bibliography note
Bibliography: p. 229 - 230
Contents
Patterns of power: Arnhem Land and its surrounds -- The art of place and journey: the desert -- Land of the Wandjina: the Kimberley -- Diversity: North Queensland and the Torres Strait Islands -- Artists in the town and city
Control code
000024765544
Dimensions
21 cm.
Edition
New ed.
Extent
239 p.
Isbn
9780500203668
Isbn Type
(pbk.)
Other physical details
ill. (some col.), maps

Library Locations

    • Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS)Borrow it
      51 Lawson Cres, Acton, ACT, 2601, AU
      -35.292556 149.118617
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