The Resource 'I paint for everyone' - the making of Utopia art, Chrischona Schmidt

'I paint for everyone' - the making of Utopia art, Chrischona Schmidt

Label
'I paint for everyone' - the making of Utopia art
Title
'I paint for everyone' - the making of Utopia art
Statement of responsibility
Chrischona Schmidt
Creator
Subject
Language
eng
Summary
Annotation pending
Additional physical form
Also available as PDF version on cd-rom
http://library.link/vocab/creatorName
Schmidt, Chrischona
Dissertation note
Thesis (Ph. D) -- Australian National University, 2013
http://library.link/vocab/subjectName
  • Kngwarreye, Emily Kame
  • Art, Aboriginal Australian
  • Art dealers
  • Art centers
  • Art movements
  • Ritual in art
  • Women artists, Aboriginal Australian
Label
'I paint for everyone' - the making of Utopia art, Chrischona Schmidt
Instantiates
Production
Bibliography note
Includes bibliographical references : pages 355-373
Carrier category
  • volume
  • computer disc
Carrier MARC source
rdacarrier
Content category
  • text
  • still image
Content type MARC source
rdacontent
Contents
Part 1 : Locating art from Utopia in literature and in public discourse; Art from Utopia in literature: ethnography of art and artists from Utopia; Womne's role and land rights; Embodiment and women's ritual; Affect and kinesis -- Art from Utopia in public discourse : the art market and exploitation of artists; The issue of authenticity; Inclusion of Indigenous art into the Western art canon; Modernity in Indigenous art; Conclusion: Myth-making and universal expressions; Agency of artists -- Utopia - geography and history of the place; Utopia: the place and its people; Utopia's place in history: an overview from first contact with Europeans until 1980; A historical overview of the development of the Utopia art movement: the "inner" art world: introduction, from batik to paintings; The art centre story -- A historical overview of the development of the Utopia art movement: the "outer" art world: introduction; Art dealers and their networks: Rodney Gooch, Marc Gooch and Janet Pierce - their network; Donald and Janet Holt; Tim Jennings and the Mbantua Gallery network; Art coordinators and their networks; Hank Ebes and his network; Conclusion -- Part II: Agency of artists : Interactions with the art world; Structures and art facilities in Utopia: the art centre model and its failings in Utopia; Constraints of everyday life in Utopia and its impacts on the creation of artworks -- Art dealers and their relationships with Utopia artists: Dealers of fine art: excursus: Christopher Hodges - an example of a fine art dealer; Dealers of commodity art; Excursus: an example of an art-as-commodity dealer: Tim Jennings - gallery owner and art dealer; Dealers in between categories: Donald and Janet Holt; Relationships between art dealers and artists; Relationships between art dealers; One-on-one-artist-dealer relationships and the rise of the solo artist; Conclusion -- Art practices in Utopia: introduction; What is an artist?; Artists and "occasional art producers"; Quality markers; What do artists paint for whom?; Artists as agents; Conclusion -- Part III: The diversity of artworks: Three currents in Utopia art: everyday life in art from Utopia: introduction; Bushtucker and bush medicine stories; Narrative paintings: children's story books and the Altyerr hunting series, camp scenes, massacre paintings, Captain Cook series, football paintings and sculptures; The everyday in sculptures; Conclusion -- Ritual art from Utopia: introduction; Awely and women's ceremonies: different approaches to awely and women's ceremonies, painting awely on bodies and canvas, awey sculptures; Men's rituals : men's body designs and ritual sculptures; Kwertaty and atham-areny spirit sculptures : kwertaty and atham-areny spirit sculptures; Conclusion -- Abstraction in art from Utopia: introduction; Bushtucker stories; Dreaming stories; Conclusion -- Life, art, career and visual repertoire of Emily Kam Kngwarray : introduction; Who was Emily Kam Kngwarray?; The discourse of the art world around Kngwarray's art; Themes, form and innovation; Subject matter, themes and topics; Conclusion -- Emily Kam Kngwarray and the artists of Alhalker : introduction; Emily Kam Kngwarray's painting school?; Alhalker artists; Emily Kam Kngwarray's legacy; Conclusion -- Appendix : collections visited from March 2008 until December 2011; Fieldwork highlights
Dimensions
30 cm
Extent
  • xxxiii, 373 pages
  • 1 cd-rom
Governing access note
Open access - Reading ; Open copying for private study, Closed quotation. Not for inter library loan
Immediate source of acquisition
Author
Media category
  • unmediated
  • computer
Media MARC source
rdamedia
Other physical details
  • coloured illustrations, maps
  • coloured illustrations, maps
Stock number
MAR14/029
Label
'I paint for everyone' - the making of Utopia art, Chrischona Schmidt
Production
Bibliography note
Includes bibliographical references : pages 355-373
Carrier category
  • volume
  • computer disc
Carrier MARC source
rdacarrier
Content category
  • text
  • still image
Content type MARC source
rdacontent
Contents
Part 1 : Locating art from Utopia in literature and in public discourse; Art from Utopia in literature: ethnography of art and artists from Utopia; Womne's role and land rights; Embodiment and women's ritual; Affect and kinesis -- Art from Utopia in public discourse : the art market and exploitation of artists; The issue of authenticity; Inclusion of Indigenous art into the Western art canon; Modernity in Indigenous art; Conclusion: Myth-making and universal expressions; Agency of artists -- Utopia - geography and history of the place; Utopia: the place and its people; Utopia's place in history: an overview from first contact with Europeans until 1980; A historical overview of the development of the Utopia art movement: the "inner" art world: introduction, from batik to paintings; The art centre story -- A historical overview of the development of the Utopia art movement: the "outer" art world: introduction; Art dealers and their networks: Rodney Gooch, Marc Gooch and Janet Pierce - their network; Donald and Janet Holt; Tim Jennings and the Mbantua Gallery network; Art coordinators and their networks; Hank Ebes and his network; Conclusion -- Part II: Agency of artists : Interactions with the art world; Structures and art facilities in Utopia: the art centre model and its failings in Utopia; Constraints of everyday life in Utopia and its impacts on the creation of artworks -- Art dealers and their relationships with Utopia artists: Dealers of fine art: excursus: Christopher Hodges - an example of a fine art dealer; Dealers of commodity art; Excursus: an example of an art-as-commodity dealer: Tim Jennings - gallery owner and art dealer; Dealers in between categories: Donald and Janet Holt; Relationships between art dealers and artists; Relationships between art dealers; One-on-one-artist-dealer relationships and the rise of the solo artist; Conclusion -- Art practices in Utopia: introduction; What is an artist?; Artists and "occasional art producers"; Quality markers; What do artists paint for whom?; Artists as agents; Conclusion -- Part III: The diversity of artworks: Three currents in Utopia art: everyday life in art from Utopia: introduction; Bushtucker and bush medicine stories; Narrative paintings: children's story books and the Altyerr hunting series, camp scenes, massacre paintings, Captain Cook series, football paintings and sculptures; The everyday in sculptures; Conclusion -- Ritual art from Utopia: introduction; Awely and women's ceremonies: different approaches to awely and women's ceremonies, painting awely on bodies and canvas, awey sculptures; Men's rituals : men's body designs and ritual sculptures; Kwertaty and atham-areny spirit sculptures : kwertaty and atham-areny spirit sculptures; Conclusion -- Abstraction in art from Utopia: introduction; Bushtucker stories; Dreaming stories; Conclusion -- Life, art, career and visual repertoire of Emily Kam Kngwarray : introduction; Who was Emily Kam Kngwarray?; The discourse of the art world around Kngwarray's art; Themes, form and innovation; Subject matter, themes and topics; Conclusion -- Emily Kam Kngwarray and the artists of Alhalker : introduction; Emily Kam Kngwarray's painting school?; Alhalker artists; Emily Kam Kngwarray's legacy; Conclusion -- Appendix : collections visited from March 2008 until December 2011; Fieldwork highlights
Dimensions
30 cm
Extent
  • xxxiii, 373 pages
  • 1 cd-rom
Governing access note
Open access - Reading ; Open copying for private study, Closed quotation. Not for inter library loan
Immediate source of acquisition
Author
Media category
  • unmediated
  • computer
Media MARC source
rdamedia
Other physical details
  • coloured illustrations, maps
  • coloured illustrations, maps
Stock number
MAR14/029

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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