NOTES
- Robert Kane, Through the Moral Maze, Searching for Absolute Values in a Pluralistic World, Arkmon, New York: North Castle Books, 1996, 1.
- “Presenting Indigenous Arts: Meaning and Interpretation in the exhibition, performance and marketing of Indigenous arts,” A Visiting Scholars Program carried out in conjunction with the Centre for Cross-Cultural Research at the Australian National University, Canberra, July 15–26, 2002.
- Edward Said, Orientalism, New York: Penguin, 1978, 1985.
- William Rubin, Primitivism in 20th Century Art, Affinity of the Tribal and the Modern, exh. cat., New York: Museum of Modern Art, 1984. Two articles taking up this debate regarding Primitivism include T. McEvilley, “Doctor, Layer, Indian Chief,” Artforum, November, 1984, 54–62 and J. Clifford, “Histories of the Tribal and the Modern,” Art in America, vol. 73, no. 4, April 1985, 164–77, 215.
- David Craven identified a Eurocentrism in Greenbergian formalism that contributes to its diminished credibility in the 1980s. David Craven, “Clement Greenberg and the ‘Triumph’ of Western Art,” Third Text, no. 25, Winter 1993/4, 3–9.
- William Rubin, “Modernist Primitivism: An Introduction,” Primitivism and 20th Century Art, 5.
- ibid.
- W. Rubin, “Modernist…” 5.
- ibid., 14.
- ibid., 19.
- William Rubin & Kirk Varnedoe, “Prefaces”, Primitivism and 20th Century Art, x.
- Jean-Hubert Martin, “A Delayed Communication,” Aratjara: Art of the First Australians, Bernard Luthi (ed.), exh. cat., Dusseldorf, Germany: Kunsstammlung Nordkein-Westfalen, 1993, 33.
- Hal Foster, “The ‘Primitive’ Unconscious of Modern Art,” Art in Modern Culture, an Anthology of Critical Texts, Francis Franseina & Jonathan Harris, (eds.), London: Phaidon Press, 1992, 202, 207.
- Magiciens de la terre: Centre Georges Pompidou, Musee national d'art moderne, La Villete, la Grande Halle, Paris, exh. cat., Paris: Editions du Centre Pompidou, 1989.
- “Magicians of the Earth,” Crossings Part 2, The Listening Room, ABC Radio, August 14, 1989.
- ibid.
- ibid.
- Martin, “A Delayed Communication…,” 34.
- “Magicians of the Earth,” Crossings Part 2.
- B. Lüthi, “The Marginalisation of (Contemporary) Non-European/Non-American Art (as reflected in the way we view it,)” Aratjara, Art of the First Australians, London: The South Bank Centre, Humlebaek Denmark: Louisiana Museum of Modern Art, Melbourne: National Gallery of Victoria, 1993, 16.
- ibid.
- “Magicians of the Earth,” Crossings Part 2.
- Two exhibitions that addressed this spiritual aspect of art are Maurice Tuchman, with the assistance of Judi Freeman, The Spiritual in Art: Abstract Painting 1890–1985, exh. cat., Los Angeles, California, U.S.A.: Los Angeles Country Museum of Art, New York: Abbeville Press, 1986; and in Australia, Nick Waterlow and Ross Mellick (curators), Spirit + Place, Art in Australia 1861–199 Australians, exh.cat., Düsseldorf: Kunstsammlung Nordrhein-Westfalen, 6, exh. cat., Sydney: Museum of Contemporary Art, 1996.
- Among other reviews, one entire issue of the journal Third Text was devoted to a critique of this exhibition. Third Text, no. 6, Spring 1989.
- Review of the Yuendumu contribution to this exhibition is covered in, Peter McKenzie, “FromYuendumu to Paris,” Artlink, vol.10, nos.1 & 2, Autumn/Winter 1990, 77–9.
- Sydney Biennale Ltd., European Dialogue, 3rd Sydney Biennale, exh. cat., Sydney: Art Gallery of New South Wales, 1979.
- Paula Latos-Valier, “Looking Back, The Biennale of Sydney 1973–1998,” Biennale of Sydney 2000, exh. cat., Sydney: Sydney Biennale Ltd., Art Gallery of New South Wales, 2000, 160–163.
- Latos-Valier, “Looking Back…” 160.
- ibid., 168–70.
- Performance art was regarded as a rejection of modernist principles in that it impeded the collection and subsequent canonisation of art, however documentation and film recording of the performances were collected by art museums and the art thus entered a canon nonetheless.
- Nick Waterlow, “1979 European Dialogue 12 April-27 May,” Sydney Biennale 2000, exh. cat., 169.
- Sydney Biennale Limited, Vision in Disbelief: The 4th Biennale of Sydney, exh. cat., Sydney: Art Gallery of New South Wales, 1982. This artwork from Lajamanu was called Warlpiri Sand Painting (1982).
- The whole concept of “explaining” artworks was a contentious issue at the time, and must be factored into whether or how Aboriginal arts were incorporated into exhibitions. There is nonetheless a certain set of assumptions regarding art that is at play, whether the terms of dialogue are articulated or not.
- The Aboriginal acrylic painting movement is most often referred to as Western Desert Aboriginal acrylic painting however this is not entirely accurate where it concerns artists from areas in the eastern regions of Central Australia. Constant reference to “Western and Central Desert Aboriginal acrylic painting” is a lengthy term and cumbersome, and because the movement deserves a name rather than a description, the movement henceforth in this essay will be referred to as Desert Painting.
- Sydney Biennale Limited, Origins, Originality + Beyond, exh.cat., Sydney: Sydney Biennale, Art Gallery of New South Wales, 1986.
- An introductory reference in this regard is Robert Young, Colonial Desire: Hybridity in Theory, Culture, and Race, London, New York: Roudedge, 1995.
- Sydney Biennale Ltd., The Boundary Rider, 9th Sydney Biennale, exh.cat., Sydney: Art Gallery of New South Wales, 1992.
- Anthony Bond, “1992/93 The Boundary Rider,” Sydney Biennale 2000, exh.cat., 182.
- Sydney Biennale Ltd., Jurassic Technologies Revenant, 10th Biennale of Sydney, exh. cat., Sydney: Art Gallery of New South Wales, 1996.
- Edmund Capon, “Director's Foreword,” Australian Perspecta 1993, exh.cat., Sydney: Art Gallery of New South Wales, 1993, iii.
- ibid.
- Victoria Lynn, “Curator's Introduction,” Australian Perspecta 1993, exh.cat., iii.
- ibid., v.
- ibid., ix.
- ibid., vi.
- ibid., vii.
- ibid., vi.
- ibid., v.
- Kane, Through the Moral Maze…, 1.