Synopses & Reviews
Seeing the Inside is the first detailed study of one of the world's great visual art traditions and its role in the society that produces it. The bark painting of Aboriginal artists in western Arnhem Land is the product of a unique tradition of many thousands of years' duration. In recent years it has attracted enormous interest in the rest of Australia and beyond, with the result that the artists, who live primarily as hunters in this relatively secluded region of northern Australia, now paint for sale to the world art market.
Though the richness and power of Aboriginal arts are now, belatedly, finding wide recognition, they remain insufficiently understood. In this thoroughly illustrated book Luke Taylor examines the creative methods of the bark painters and the cultural meaning of their work. He discusses, on the one hand, the arrangements which allow the artists to project their culture onto an international stage, and on the other, the continuing social and religious roles of their paintings within their own society. The result is a remarkable and fascinating picture of artistic creativity in a changing world.
Review
"Remarkably detailed, instightful, and sympathetic, this study helps readers to understand the many meanings, forms, methods, and other aspects of what looks superficially like a 'primitive art' but is in fact highly sophisticated and enjoying a world market."--Choice
Description
Includes bibliographical references (p. [269]-278) and index.
About the Author
Luke Taylor is a Senior Curator at the National Museum of Australia. He has worked for the Australian Federal Government's Review of the Aboriginal Artsa and Crafts Industry, and held a Visiting Research Fellowship at the Australian Institute of Aboriginal and Torres Strait Islander Studies. In 1995/6 he was a visiting scholar at the National Museum of Ethnology, Osaka, Japan. He has published articles on Australian Aboriginal art and society, and he is co-editor of
Marketing Aboriginal Art in the 1990s (Aboriginal Studies Press, Canberra, 1990).
Table of Contents
1. Introduction
2. The development of the market for bark paintings in western Arnhem Land
3. Kunwinjku social organization and land ownership
4. Apprenticeship and the social identity of artists
5. Themes and paintings in ceremonies
6. Formal components of bark paintings
7. Iconic representation
8. Transforming figures
9. The meaning of x-ray paintings
10. Metaphors and socialization
Conclusion: Innovation and social reproduction
Appendix: Glossary of Kunwinjku words
Bibliography, Index
1. Introduction
2. The development of the market for bark paintings in western Arnhem Land
3. Kunwinjku social organization and land ownership
4. Apprenticeship and the social identity of artists
5. Themes and paintings in ceremonies
6. Formal components of bark paintings
7. Iconic representation
8. Transforming figures
9. The meaning of x-ray paintings
10. Metaphors and socialization
Conclusion: Innovation and social reproduction
Appendix: Glossary of Kunwinjku words