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Deserting Aboriginal Art Discourse

Deserting Aboriginal Art Discourse Australian and New Zealand Journal of Art, 2017, vol. 17, no. 1, 68–83 https://doi.org/10.1080/14434318.2017.1333485 Astarte Rowe* Introduction This paper tackles a phenomenon that has so far been neglected in the large body of discourse accompanying the production of Aboriginal art from Australia since the 1970s; namely, that the discoursing of Aboriginal art – its conversion into an object of institutional analysis, popular appreciation, and cultural-political capital – has birthed a desert within discourse. To be sure, this discourse has already accounted for the myriad connections that obtain between art and desert in culturally specific ways. However, by adopting a meta-critical approach to this discourse, as opposed to taking up a position within it, one develops a topographic sense for its contours, flows, and permutations. From this externalised perspective, discourse can be treated as a vector for desert. A desert has coevolved alongside the discoursing of this art, such that one is always the extension and deterritorialised milieu of the other: discourse as desert and desert as discourse. In addition to identifying and framing this question, my paper examines how a ‘deserted discourse’ can work towards decolonising our understanding of Aboriginal art – evacuating it of its political, anthropological, historical, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Australian and New Zealand Journal of Art Taylor & Francis

Deserting Aboriginal Art Discourse

Rowe, Astarte
Australian and New Zealand Journal of Art , Volume 17 (1): 16 – Jan 2, 2017
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Deserting Aboriginal Art Discourse

Abstract

Australian and New Zealand Journal of Art, 2017, vol. 17, no. 1, 68–83 https://doi.org/10.1080/14434318.2017.1333485 Astarte Rowe* Introduction This paper tackles a phenomenon that has so far been neglected in the large body of discourse accompanying the production of Aboriginal art from Australia since the 1970s; namely, that the discoursing of Aboriginal art – its conversion into an object of institutional analysis, popular appreciation, and cultural-political capital –...
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Publisher
Taylor & Francis
Copyright
© 2017 The Art Association of Australia and New Zealand, Inc
ISSN
2203-1871
eISSN
1443-4318
DOI
10.1080/14434318.2017.1333485
Publisher site
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Abstract

Australian and New Zealand Journal of Art, 2017, vol. 17, no. 1, 68–83 https://doi.org/10.1080/14434318.2017.1333485 Astarte Rowe* Introduction This paper tackles a phenomenon that has so far been neglected in the large body of discourse accompanying the production of Aboriginal art from Australia since the 1970s; namely, that the discoursing of Aboriginal art – its conversion into an object of institutional analysis, popular appreciation, and cultural-political capital – has birthed a desert within discourse. To be sure, this discourse has already accounted for the myriad connections that obtain between art and desert in culturally specific ways. However, by adopting a meta-critical approach to this discourse, as opposed to taking up a position within it, one develops a topographic sense for its contours, flows, and permutations. From this externalised perspective, discourse can be treated as a vector for desert. A desert has coevolved alongside the discoursing of this art, such that one is always the extension and deterritorialised milieu of the other: discourse as desert and desert as discourse. In addition to identifying and framing this question, my paper examines how a ‘deserted discourse’ can work towards decolonising our understanding of Aboriginal art – evacuating it of its political, anthropological, historical,

Journal

Australian and New Zealand Journal of Art – Taylor & Francis

Published: Jan 2, 2017

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