NOTES
- Vivien Johnson, “Upon a Painted Emotion: Recent Work by Judy Watson”, Art and Australia 30.2 (Summer 1992) 238–40.
- ibid. 240.
- ibid. 239–40.
- ibid. 238.
- ibid. 240.
- ibid.
- ibid.
- See Jill Bennett, “Global Interconnections”, Empathie Vision: Affect, Trauma and Contemporary Art (Stanford: Stanford UP, 2005) 124–148 and Olu Oguibe, “Medium, Memory, Image”, The Culture Game (Minneapolis, London: U of Minnesota P, 2004) 90–120.
- Johnson, “Upon a Painted Emotion” 238. Johnson notes Watson's typically allusive titles and her deployment, especially in the early stages of her career, of texts elucidating “episodes in the artist's search for her Aboriginal roots” which functioned as clues to the contents of her paintings.
- See Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature, ed. Randal Johnson (Cambridge: Polity P, 1993) 258. On the dangers of “exhaustive” attention to context see Jacques Derrida, “The Spatial Arts: An Interview with Jacques Derrida”, Deconstruction and the Visual Arts: Art, Media, Architecture, eds Peter Brunette and David Wills, (Cambridge: Cambridge UP, 1994) 28.
- Statements made by Watson about her paintings, such as the quotation cited in Johnson's article, have specified that the forms depicted in her works are female. In the critical reception of Watson's works there is little doubt regarding the femininity of these figures. Hannah Fink's entry for Watson in The Oxford Companion to Aboriginal Art and Culture, eds Sylvia Kleinert and Margo Neale (Melbourne: Oxford UP, 2000) 735, notes that in the exhibition “groundwork” (1990) “the different strands of Watson's work—her feminism, environmentalism, and Aboriginalitv—came together in an exploration of her matrilineal heritage in the form of the guardian figure, an enduring image in her oeuvre.” Howard Morphy in Aboriginal Art (London: Phaidon, 1998) states unequivocally that the guardians “represent the matrilineal line of [Watson's] family”: 394.
- See the figure on the right in the second row in the reproductions of the work in Morphy, Aboriginal Art 395.
- See the figure on the left in the second row in Ibid.
- Sanford Kwinter, ‘“Quelli che Partono'as a General Theory of Models”, Architecture, Space, Painting: Journal of Philosophy and the Visual Arts, ed. Andrew Benjamin (London: Academy Editions, St. Martins P, 1992) 37.
- Morphy, Aboriginal Art: 394.
- One of the most famous of these is Monica Sjöö's 1969 painting God Giving Birth.
- Christine Battersby, The Phenomenal Woman: Feminist Metaphysics and the Patterns of Identity (Cambridge: Polity P, 1998).
- Lynda Nead, “Framing the Female Body” in Feminism-Art-Theory: An Anthology 1968–2000, ed. Hilary Robinson (Cambridge, MA. and Oxford: Blackwell, 2001) 565.
- Christine Battersby, The Phenomenal Woman: 40–1.
- ibid. 46.
- Jennifer Biddle, “Inscribing Identity: Skin as Country in the Central Desert,” Thinking Through the Skin, eds Sara Ahmed and Jackie Stacey (London and NY: Routledge, 2001) 178.
- Didier Anzieu, The Skin Ego, trans. Chris Turner (New Haven: Yale UP, 1989) 102.
- Hamid Naficy, An Accented Cinema. Exilic and Diasporic Filmmaking (Princeton and Oxford: Princeton UP, 2001) 28.
- Iris Marion Young, “Throwing Like a Girl: a Phenomenology of Feminine Body Comportment, Motility, and Spatiality”, The Thinking Muse: Feminism and Modern French Philosophy, eds Jeffner Allen and Iris Marion Young (Bloomington: Indiana UP, 1989) 62–3.
- Hamid Naficy, “Phobic Spaces and Liminal Panics” in Global/Local: Cultural Production and the Transnational Imaginary, eds Rob Wilson and Wimal Dissanayake, (Durham and London: Duke UP, 1996) 131.
- Nicholas Thomas, Possessions: Indigenous Art/Colonial Culture (London: Thames and Hudson, 1999) 255.
- In a note accompanying a catalogue essay for True Colours: Aboriginal and Torres Strait Islander Artists Raise the Flag, Hetti Perkins and Brenda L. Croft point out that they have chosen to take a “deliberately historical stance because most internationally circulated ‘Aboriginal art’ books avoid the overtly political content of Aboriginal and Torres Strait Islander art; preferring to decontextualise it as an isolated phenomena—immersed in its own unintelligible mystique” (Sydney: Boomali Aboriginal Artists Co-operative) unpaginated.
- Elizabeth Grosz, Sexual Subversions: Three French Feminists (Sydney: Allen and Unwin, 1989) 76.
- Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (NY: Columbia UP, 1982) 68.
- Buckley and Gottlieb point out that if Mary Douglas attributed “the notion of menstrual pollution only to certain types of societies…others have not been so careful” (32). Their essay “A Critical Appraisal of Theories of Menstrual Symbolism” includes a range of examples from non-western cultures to demonstrate that menstrual blood is often understood in markedly ambiguous terms, and associated with particular kinds of power and ritual potency. See Blood Magic: The Anthropology of Menstruation, eds Thomas Buckley and Alma Gottlieb (Berkeley: U of California P, 1988) 3–50. Chris Knight's essay “Menstrual Synchrony and the Australian Rainbow Snake” (in the same volume) argues that menstrual synchrony has been associated with power in a number of Aboriginal societies: 232–55.
- Jean-François Lyotard, “The Sublime and the Avant-Garde” The Lyotard Reader, ed. Andrew Benjamin (Cambridge, MA and Oxford: Blackwell, 1989) 205.
- Simon Malpas, Jean-François Lyotard (London and NY: Routledge, 2003) 47.
- See Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (Oxford: Oxford UP, 1985).
- Mette Hjort, “The Uncertainties of Mood—Reflections on Possum.” In p.o.v.: A Danish Journal of Film Studies, No. 7, March, 1999 (Aarhus: Aarhus University) 112.
- See William Lyons, F.motion (Cambridge: Cambridge UP, 1980) and K Oatley and J.M. Jenkins, Understanding Emotions (Cambridge, MA & Oxford, UK Blackwell, 1996) 125.
- Mette Hjort, “The Uncertainties of Mood—Reflections on Possum”: 112.
- Lisa Tickner draws on Barthes's work in her article “Between Image and Representation” in Feminism-Art-Theory, ed. Robinson: 469.
- ibid.