NOTES
- Eric Michaels, “Postmodernism, Appropriation and Western Desert Acrylics”, Postmodernism: A Consideration of the Appropriation of Aboriginal Imagery, ed. Sue Cramer, Brisbane: Institute of Modern Art, 1989, 28.
- For example, see Christine Nicholls, “The art of Emily Kame Kngwarreye: A Utopian tale”, Emily Kame Kngwarreye: Body Painting Series, New York and Adelaide: Robert Steele Gallery and Anima Gallery, 1997.
- See Tuan, Yi-Fu, Topophilia A Study of Environmental Perception, Attitudes and Values, Englewood Cliffs: Prentice Hall, 1974; and Vladimir Jankovic, Reading the Skies: A cultural history of the English Weather, 1650–1820, Chicago: Chicago University Press, 2000, 105.
- Howard Morphy, Aboriginal Art, London: Phaidon, 1998, 420.
- Tony Swain, A Place for Strangers, Cambridge: Cambridge University Press, 1993, 23.
- Stephen, Muecke, Textual Spaces, Kensington: New South Wales University Press, 1992, 93.
- I will follow contemporary practice and capitalise the term “Country” when it refers to a relationship of belonging and custodianship to particular sites.
- Michaels, “Postmodernism, Appropriation and Western Desert Acrylics”, 29–30.
- Eric Michaels, “Western Desert Sandpainting and Postmodernism”, Bad Aboriginal Art Tradition, Media and Technological Horizons, St Leonards: Allen & Unwin, 1994, 58.
- Walter Benjamin, “Art in the Age of Mechanical Reproduction”, Illuminations, ed. Hannah Arendt, translated Harry Zohn, Bungay: Fontana,1982, 227.
- Michaels, “Postmodernism, Appropriation and Western Desert Acrylics”, 33.
- ibid., 32.
- The best evidence he offers is in his research of Indigenous television—but here he seems to argue that the narrative forms they develop are very different from those of conventional Western television.
- Michaels, “Western Desert Sandpainting and Postmodernism”, 60–1.
- Eric Michaels, “Bad Aboriginal Art”, Bad Aboriginal Art, 162
- See Daniel, Glyn, The Idea of Prehistory, Harmondsworth: Penguin Books, 1964, 9–10.
- Eric Michaels, “Hollywood Iconography: A Warlpiri Reading”, Bad Aboriginal Art, 83.
- See Diana Fuss, Essentially Speaking, London: Routledge, 1989.
- Michaels, “Postmodernism, Appropriation and Western Desert Acrylics”, 27.
- See Jean Baudrillard, Seduction, translated Brian Singer, New York: St Martin's Press, 1990.
- Michaels,”Hollywood Iconography”, 82–3.
- Paul Ricoeur, “Universal Civilisation and National Cultures”, History and Truth, translated Charles Kelbley, Evanston: Northwestern University Press, 1965, 279.
- Anthony Giddens, Modernity and Self-Identity, Stanford: Stanford University Press, 1991, 16–17.
- Jean Baudrillard, The Illusion of the End, translated Chris Turner, Stanford: Stanford University Press, 1994, 7.
- Edward Casey, The Fate of Place, Berkeley: University of California Press, 1998, 78.
- McLuhan, Marshall, The Gutenberg Galaxy, New York: Mentor Book, 1969, 17.
- Michaels,“Hollywood Iconography”, 91.
- The title of a report he wrote for the Australian Institute of Aboriginal Studies, Canberra, 1986
- ibid., 81.
- McLuhan, The Gutenberg Galaxy, 138.
- Martin Heidegger, “The Age of the World Picture”, The Question Concerning Technology and Other Essays, translated William Lovit, New York: Harper Torchbooks, 1977, 130.
- Marshall McLuhan, Understanding Media, London: Abacus, 1974, 15–16.
- Michaels, “Hollywood Iconography”, 84–86.
- See McLuhan, Understanding Media pp. 33–36; The Gutenberg Galaxy 83.
- Ricoeur, 275.
- ibid., 272.
- ibid., 281–3.
- ibid., 282.
- ibid., 283.
- ibid., 277.
- ibid., 282.
- Michaels, “Western Desert Sandpainting and Postmodernism”, 51.
- Of course, there was nothing providential, mysterious, suspect or even untypical about either her emergence or success. An important, experienced and wily elder, she was a practised painter of the ceremonial Altyerre body designs that form the basis of her acrylic paintings. She played an important role in the Utopia Batik fabric printing business initiated in the 1980s, and was always looking for ways to sustain and promote her responsibilities as an elder. She was also amongst the first of her community to take up acrylic painting on canvas, following the success of other Desert communities, and it was only natural that she did it with her usual energy.
- Quoted in Terry Smith, “Kngwarreye Woman Abstract Painter”, “Ammatyerre Artist”, Emily Kngwarreye Paintings, Issacs, Jennifer, Terry Smith, et al., Sydney: Craftsman House, 1998,20.
- See Terry Smith, “Kngwarreye Woman Abstract Painter”, 24–42.
- Bernard Smith with Terry Smith, Australian Painting, Melbourne: Oxford University Press, 1992, 496.
- ibid., 495.
- Michaels, “Postmodernism, Appropriation and Western Desert Acrylics”, 28.
- Vivien Johnson, “Especially Good Aboriginal Art”, Third Text, 56, Autumn 2001,44.
- Michaels, “Western Desert Sandpainting and Postmodernism”, 51.
- Muecke, 94.
- Referred to earlier in this essay. With very McLuhanesque reasoning, Baudrillard gives three reasons for this reversibility, each of which derives from the speed, implosion and simultaneity of the electronic age (The Illusion of the End, 1–9).
- Morphy, 420.
- ibid., 417.
- Djon Mundine, “Between two worlds”, Art Monthly, 150, June 2002, 25–6.
- Rob Wilson, and Wimal Dissanayake, “Introduction: Tracking the Global/Local”, Global/Local, Durham: Duke University Press, 1996, 1.
- Quoted on Ann Wilson Lloyd, “Rambling round a world that's gone biennialistic”, Art Monthly, 148, April 2002,29.
- Baudrillard, The Illusion of the End, 10–11.
- ibid., 9.