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Native Colonials: Violet Mace’s Australian Aboriginal-Inspired Pottery Designs 土著殖民地:紫罗兰梅斯的澳大利亚土著启发的陶器设计
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2251989
Peter Hughes
AbstractIn the first half of the twentieth century, many Australian artists, such as the Tasmanian ceramicist Violet Mace (1883–1968), sought to find a distinctly Australian visual expression. Although Modernist aesthetics challenged Mace and her contemporaries to explore abstraction, in order to convey Australia’s specificity she turned to Australian history. Initially, her imagery touched on frontier conflict and the motifs of nineteenth-century Aboriginal artists such as Tommy McCrae. After tracing the sources of Mace’s imagery, this article asks to what extent her representations de-historicised the frontier past and enabled contemporary viewers a comfortable distance from what many Australians now see as a story of violent conquest. Perhaps Mace’s imagery can be read as an episode in a national history of slowly growing appreciation of Australian Aboriginal culture, increasing discomfort with the story of racial and cultural inferiority, and willingness to acknowledge that Australia is the product of invasion. Notes1 This paper builds on a short article by the author on Mace’s work published in Art Monthly 307 (May 2018): 28–33. In the same year, Mace was the subject of an appendix to a catalogue published for an exhibition of Maude Poynter’s work, though neither the exhibition nor the catalogue included any of Mace’s work: Glenda King, Maude Poynter: Painter and Potter (Hobart: Australiana Society, 2018). The earlier literature on Mace is not extensive and mostly consists of brief historical accounts. These contain some valuable information but also factual errors, most frequently Mace’s birth year, usually cited as 1890 rather than 1883. These are: J. Bartram et al., Early Tasmanian Pottery 1920–1950, exhibition catalogue (Hobart: Tasmanian School of Art, TCAE, 1979); C. Ackland and C. Campbell, ‘Pioneer Craftswomen from the Bothwell Area’, Tasmanian Historical Research Association Papers and Proceedings, Hobart, June 1994, 85–8; G. King, ‘Violet Mace’ and ‘Studio Pottery in Tasmania’, in Australian Art Pottery 1900–1950, eds K. Fahey, J. Freeland, K. Free and A. Simpson (Sydney: Casuarina Press, 2004). Penny Edmonds differs in offering a close examination of Mace’s work and its sources in an account of Mace’s use of the Proclamation Board image, in P. Edmonds, ‘The Proclamation Cup: Tasmanian Potter Violet Mace and Colonial Quotations’, reCollections 5, no. 2 (October 2010).2 Nicolas Thomas, Possessions; Indigenous Art/Colonial Culture (New York: Thames and Hudson, 1999), 111–14.3 Margaret Preston’s work and writing on Australian Aboriginal art, modernity, modernism and the need for an Australian national culture has been the subject of enquiries by a number of authors, most extensively in H. McQueen, The Black Swan of Trespass: The Emergence of Modernist Painting in Australia to 1944 (Sydney: Alternative Publishing Cooperative Limited, 1979), and more recently in David Macarthur, ‘The Experience of Aboriginality in the Creation of the Ra
在20世纪上半叶,许多澳大利亚艺术家,如塔斯马尼亚陶艺家维奥莱特·梅斯(1883-1968),试图找到一种独特的澳大利亚视觉表达。尽管现代主义美学要求梅斯和她的同时代人探索抽象,但为了传达澳大利亚的特殊性,她转向了澳大利亚的历史。最初,她的图像触及边境冲突和19世纪土著艺术家的主题,如汤米麦克雷。在追溯了梅斯的图像来源之后,本文提出了一个问题:她的表现在多大程度上去历史化了过去的边疆,使当代观众与许多澳大利亚人现在认为的暴力征服故事保持了舒适的距离。或许梅斯的形象可以被解读为澳大利亚民族历史上的一段插曲:人们对澳大利亚土著文化的欣赏在缓慢增长,对种族和文化自卑的故事越来越感到不安,并愿意承认澳大利亚是入侵的产物。注1本文基于作者在《艺术月刊》(2018年5月)第307期28-33页发表的一篇关于梅斯作品的短文。同年,梅斯成为莫德·波因特作品展览目录附录的主题,尽管展览和目录都没有包括梅斯的任何作品:格伦达·金,莫德·波因特:画家和波特(霍巴特:澳大利亚协会,2018)。关于梅斯的早期文献并不广泛,大多由简短的历史叙述组成。其中包含一些有价值的信息,但也有事实错误,最常见的是梅斯的出生年份,通常被引用为1890年而不是1883年。这些是:J.巴特拉姆等人,早期塔斯马尼亚陶器1920-1950,展览目录(霍巴特:塔斯马尼亚艺术学院,TCAE, 1979);C. Ackland和C. Campbell,“来自Bothwell地区的先锋工匠”,塔斯马尼亚历史研究协会论文和会议记录,霍巴特,1994年6月,85-8;G. King,“紫罗兰梅斯”和“塔斯马尼亚的工作室陶器”,《澳大利亚艺术陶器1900-1950》,编辑K. Fahey, J. Freeland, K. Free和A. Simpson(悉尼:木麻黄出版社,2004)。彭妮·埃德蒙兹(Penny Edmonds)在P.埃德蒙兹的《公告杯:塔斯马尼亚波特·紫罗兰·梅斯和殖民地语录》(回忆录5,no. 5)中,对梅斯的作品及其来源进行了细致的研究,并描述了梅斯对公告板图像的使用。2 .(2010年10月尼古拉斯·托马斯《财产》;玛格丽特·普雷斯顿(Margaret Preston)关于澳大利亚土著艺术、现代性、现代主义和澳大利亚民族文化需求的作品和写作一直是许多作者研究的主题,其中最广泛的是H.麦昆(H. McQueen)的《非法侵入的黑天鹅:到1944年澳大利亚现代主义绘画的出现》(悉尼:另类出版合作有限公司,1979年),最近在大卫·麦克阿瑟,“在激进的新创造的原住民的经验”,在现代主义世界,编辑斯蒂芬·罗斯和Allana C.林格伦(伦敦:劳特利奇,2015年),227-34;安·斯蒂芬斯,《黑人与现代主义者:不只是黑与白》,载于《环太平洋现代主义》,玛丽·安·吉利斯、海伦·斯剑和史蒂文·姚编(多伦多:多伦多大学出版社,2009年),151-70.4玛格丽特·普雷斯顿,《工艺美术:土著艺术的巧妙应用》,《家园》5号,第151-70.4页。5(1924年12月1日):30-1.5维奥莱特·梅斯写给人类学馆长格雷姆·劳埃德·普雷蒂,1968年6月10日,AA199,南澳大利亚博物馆档案馆。梅斯和波因特有一个共同的曾祖父乔治·梅雷迪斯(1777-1856)。波因特是他的第一任妻子莎拉·韦斯特尔·希克斯(1782-1820)和梅斯的第二任妻子玛丽·安妮·埃文斯(1795-1842)的后裔Preston,“工艺美术”,31.8 McQueen, 151-2.9 Mitchell Rolls,“绘画的梦想白色”,在真实的东西,澳大利亚文化史24(2006):3-28.10“工艺美术协会”,悉尼先驱晨报,1929年7月25日,5,http://nla.gov.au/nla.news-article28049374(访问2017年10月9日)Preston,“工艺美术”,31.12“女性的兴趣”,The Daily News (Perth), 1933年2月1日,9(家庭版),http://nla.gov.au/nla.news-article83916304(2017年10月6日访问)。13“The Society of Arts and Crafts”,悉尼邮报,1927年10月26日,29,http://nla.gov.au/nla.news-article158297780(2017年10月17日访问)这个早期壶的下落不明,2016年TMAG捐赠的五个杯子是梅斯“澳大利亚土著”主题作品中已知最早的现存例子。15“土著绘画”,澳大利亚,1927年7月2日,69,http://nla.gov.au/nla.news-article140798226(2018年4月13日访问)例如:1926年5月20日《亚拉腊广告人报》的“地方和一般新闻”,第2版http://nla.gov.au/nla.news-article75030153(2019年11月11日访问);“一个土著的葬礼”,Albury Banner and Wodonga Express, 1901年11月8日,29,http://nla.gov.au/nla。 17 . news-article128568125(2019年11月11日访问)18安德鲁·塞耶斯,19世纪的土著艺术家(墨尔本:牛津大学出版社,1996年),38-41.19西尔维亚·克莱纳特,“解构“装饰”:欧洲-美国艺术传统对土著艺术和工艺接受的影响”,在社会工艺:观点选集,编辑诺里斯·约阿努(Fremantle:弗里曼特尔艺术中心出版社,1992),121-2.20塞耶斯,46-8.21紫罗兰梅斯到格雷姆劳埃德漂亮,1968年6月10日。梅斯提到,她收集了大量关于澳大利亚土著人及其艺术的书籍和其他材料:“在寻找合适的材料时,我对土著人本身产生了兴趣,并有许多关于这些非常有趣的人的书籍和小册子。Ian Harmstorf,《Basedow, Herbert(1881-1933)》,澳大利亚传记词典,澳大利亚国立大学国家传记中心,1979年首次出版,http://adb.anu.edu.au/biography/basedow-herbert-5151/text8633(2018年1月8日访问)。23“世界书评”,《水星报》(霍巴特),1925年3月21日,15,http://nla.gov.au/nla.news-article23805346(2018年1月8日访问)赫伯特·巴塞多,《澳大利亚土著》(阿德莱德:普利斯和儿子们,1925年),330.25同上,172.26同上,320.27普雷斯顿可能在她的回忆中感到困惑,因为斯泰德是一位博物学家,在这个主题上没有被列为出版人。她可能想到的是G.霍恩和G.艾斯顿的《澳大利亚中部的野蛮生活》(伦敦:麦克米伦出版社,1924年)。玛格丽特·普雷斯顿写给维奥莱特·梅斯的信,1934年8月4日,塔斯马尼亚州立图书馆,写给和来自不同人士的信件,笔记和相关文件,主要与梅雷迪思家族的历史有关,1819年1月17日至1959年7月31日,NS123/1/93.28莫里斯·希尔德,“阿尔布
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引用次数: 0
Immigrant Networks , Museo Italiano, Carlton 16 November 2022–10 February 2023 移民网络,意大利博物馆,卡尔顿,2022年11月16日- 2023年2月10日
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2254056
Flavia Marcello
Click to increase image sizeClick to decrease image size No potential conflict of interest was reported by the author.
点击放大图片点击缩小图片作者未发现潜在的利益冲突。
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Maritime Men of the Asia-Pacific: True-Blue Internationals Navigating Labour Rights, 1906–2006 Maritime Men of the Asia-Pacific: True-Blue Internationals Navigating Labour Rights, 1906–2006 By Diane Kirkby with Lee-Ann Monk and Dmytro Ostapenko. Liverpool: Liverpool University Press, 2022. Pp. 332. £76cloth. 戴安·柯克比与李安·蒙克、德米特罗·奥斯塔潘科合著的《亚太海人:真蓝国际航行劳工权利》(1906-2006)。利物浦:利物浦大学出版社,2022。332页。£76布。
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2261597
Michael Quinlan
"Maritime Men of the Asia-Pacific: True-Blue Internationals Navigating Labour Rights, 1906–2006." Australian Historical Studies, ahead-of-print(ahead-of-print), pp. 1–2
《亚太地区的海员:1906-2006年,真蓝国际劳工权利指南》澳大利亚历史研究,印前(印前),1-2页
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引用次数: 0
Everywhen: Australia and the Language of Deep History Everywhen: Australia and the Language of Deep History Edited by Ann McGrath, Laura Rademaker and Jakelin Troy. Sydney: UNSW Press, 2023. Pp. 324. A$49.99paper. 《无处不在:澳大利亚与深层历史语言》由安·麦格拉思、劳拉·拉德梅克和杰奎琳·特洛伊主编。悉尼:UNSW出版社,2023。324页。49.99澳元。
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2261583
David Christian
"Everywhen: Australia and the Language of Deep History." Australian Historical Studies, ahead-of-print(ahead-of-print), pp. 1–2
《无处不在:澳大利亚和历史悠久的语言》澳大利亚历史研究,印前(印前),1-2页
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Old Dead Trees and Young Trees Green: The Cambridge Legal History of Australia 老死树与绿嫩树:剑桥澳大利亚法律史
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2241227
Richard P. Boast
Click to increase image sizeClick to decrease image size Notes1 Peter Cane, Lisa Ford and Mark McMillan, eds, The Cambridge Legal History of Australia (Cambridge: Cambridge University Press, 2022).2 Markus D. Dubber and Christopher Tomlins, eds, The Oxford Handbook of Legal History (Oxford: Oxford University Press, 2018); Heikki Pihlajamäki, Markus D. Dubber and Mark Godfery, eds, The Oxford Handbook of European Legal History (Oxford: Oxford University Press, 2018).3 See Keith Pickens, ‘The Writing of New Zealand History: A Kuhnian Perspective’, Historical Studies 17, no. 68 (1977): 384. Keith Sinclair, A History of New Zealand (Harmondsworth: Penguin, 1959) is essentially Turnerian (stressing the frontier and the local creation of culture and identity); W.H. Oliver, The Story of New Zealand (London: Faber and Faber, 1960) is essentially Hartzian.4 Patricia Nelson Limerick, The Legacy of Conquest: The Unbroken Past of the American West (New York: Norton & Company, 1988). Nevertheless the frontier thesis remains alive and well, and numerous distinguished books by prominent American and Canadian historians have been published recently which continue to utilise the concept of the frontier.5 David Lieberman, ‘English Legal Culture in the Late Eighteenth Century: Institutions and Values’, in The Cambridge Legal History of Australia, 40–60.6 See, for example, Ion Idriess, Our Living Stone Age (Melbourne: Angus and Robertson, 1963).7 B. Spencer and F.J. Gillen, The Arunta: A Study of Stone Age People (London: Macmillan, 1927), vii. This book correlates with the evolutionist phase in the history of cultural anthropology, which has long been supplanted by the functionalist school of Malinowski and others as well as by the style of anthropology pioneered by Franz Boas in the USA. See generally G.W. Stocking, After Tylor: British Social Anthropology 1888–1951 (Madison: University of Wisconsin Press, 1995).8 See Mike Smith, The Archaeology of Australia’s Deserts (Cambridge: Cambridge University Press, 2013), 212–67. The modern emphasis is to understand Aboriginal rock art as a product of complex cultural traditions unique to Australia and to discard synchronic and diachronic comparisons.9 Ibid.10 Coel Kirby, ‘Australia and the World’, in The Cambridge Legal History of Australia, 281–302.11 Ibid., 282.12 See e.g. John Hirst, Freedom on the Fatal Shore: Australia’s First Colony (Melbourne: Black Inc., 2008). This book is a consolidation of the same author’s Convict Society and Its Enemies (1983) and The Strange Birth of Colonial Democracy (1988).13 Bruce Kercher, ‘Colonial Settlement to Colony’, in The Cambridge Legal History of Australia, 87–107.14 Ibid., 88.15 See Catherine Hall, Civilising Subjects: Metropole and Colony in the British Imagination (Cambridge: Polity, 2002).16 Amanda Nettelbeck, ‘Protection Regimes’, in The Cambridge Legal History of Australia, 482–501.17 Ibid., 499.18 See John H. Langbein, The Origins of Adversary Criminal Trial (Oxford: Oxf
注1彼得·凯恩、丽莎·福特和马克·麦克米兰主编,《澳大利亚剑桥法律史》(剑桥:剑桥大学出版社,2022年)马库斯D.杜伯和克里斯托弗汤姆林斯,编辑,《牛津法律史手册》(牛津:牛津大学出版社,2018);2 . Heikki Pihlajamäki, Markus D. Dubber和Mark Godfery主编,《欧洲法律史牛津手册》(牛津:牛津大学出版社,2018)见基思·皮肯斯,“新西兰历史的写作:库恩主义的视角”,《历史研究》17期,第17期。68(1977): 384。基思·辛克莱的《新西兰史》(哈蒙兹沃斯出版社:企鹅出版社,1959年)本质上是特纳式的(强调边疆和当地创造的文化和身份);w·h·奥利弗的《新西兰的故事》(伦敦:费伯与费伯出版社,1960年)本质上是哈兹安的。帕特里夏·纳尔逊·利默里克的《征服的遗产:美国西部完整的过去》(纽约:诺顿出版社,1988年)。尽管如此,边疆理论仍然存在,而且很好,美国和加拿大著名的历史学家最近出版了许多杰出的书籍,继续利用边疆的概念大卫·利伯曼,《18世纪晚期的英国法律文化:制度与价值》,载于《剑桥澳大利亚法律史》,第40-60.6页。例如,参见Ion Idriess,《我们的活石器时代》(墨尔本:Angus and Robertson出版社,1963)B. Spencer和F.J. Gillen, The Arunta: A Study of Stone Age People (London: Macmillan, 1927), vii。这本书与文化人类学历史上的进化主义阶段有关,这一阶段早已被马林诺夫斯基等人的功能主义学派以及美国博阿斯开创的人类学风格所取代。7 .参见G.W. Stocking,《泰勒之后:1888-1951年英国社会人类学》(麦迪逊:威斯康星大学出版社,1995年)见迈克·史密斯:《澳大利亚沙漠考古》(剑桥:剑桥大学出版社,2013),212-67页。现代的重点是把土著岩石艺术理解为澳大利亚独特的复杂文化传统的产物,抛弃共时性和历时性的比较同上10 Coel Kirby,“澳大利亚与世界”,载于《剑桥澳大利亚法律史》,281-302.11同上,282.12参见John Hirst,《致命海岸上的自由:澳大利亚的第一个殖民地》(墨尔本:Black Inc., 2008)。这本书是同一作者的《罪犯社会及其敌人》(1983)和《殖民地民主的奇怪诞生》(1988)的综合16 . Bruce Kercher,“从殖民地到殖民地”,载于《剑桥澳大利亚法律史》,87-107.14,同上,88.15见Catherine Hall,《文明主体:英国想象中的大都市和殖民地》(Cambridge: Polity, 2002)19 . Amanda Nettelbeck,《保护制度》,载于《剑桥澳大利亚法律史》,第482-501.17页,同上,第499.18页。见John H. Langbein,《敌对刑事审判的起源》(牛津:牛津大学出版社,2003年)见理查德·希尔,《驯服的殖民边境:1867-1886年的新西兰警务》(惠灵顿:内务部历史分部和GP出版社,1989年)Mark Finnane,“土著居民和定居者刑法”,载于《剑桥澳大利亚法律史》,629 - 50,629.21同上,650.22 Diane Kirkby,“劳动法”,载于《剑桥澳大利亚法律史》,671-92.23同上,688-9.24 Bruce H. Mann,“早期美国法律和经济的转型”,载于《剑桥美国法律史》,卷1,早期美国(1850-1815),编辑Michael Grossberg和Christopher Tomlins(剑桥:剑桥大学出版社,2008),365-99,377.25关于英国运输的美国阶段,见A.罗杰·埃克里奇,开往美国:英国囚犯到殖民地的运输,1718-1775(牛津:克拉伦登出版社,1987)。关于各种形式的自由和不自由移民,以及在英属北美殖民地的劳动力,见克里斯托弗·汤姆林斯,自由约束:法律,劳工和公民身份在殖民英属美洲,1580-1865(剑桥:剑桥大学出版社,2010)。汤姆林斯在一篇延伸的讨论中认为,在英属北美殖民地,“自由”和“不自由”劳动力之间的界限是高度可渗透的;我看不出为什么殖民时期的澳大利亚不能这样说,它不仅接收罪犯,还接收被奴役的太平洋岛民,通过委婉地称为太平洋“劳工贸易”的方式被送到那里。我可能错过了,但我在《剑桥澳大利亚法律史》中找不到关于后者的任何内容;关于新喀里多尼亚作为法国的刑罚殖民地,见louis - jossore barbanon, L ' archipel des forats(巴黎:出版社de Septentrion,巴黎,2003),15.26筱野小西,“与过去的计算”,澳大利亚剑桥法律史,740-64。
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引用次数: 0
Australian Art and its Aboriginal Histories 澳大利亚艺术及其土著历史
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2261166
Caroline Jordan, Helen McDonald, Sarah Scott
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引用次数: 0
‘Not all Placards and Protests’: Disrupt, Persist, Invent: Australians in an Ever-Changing World , National Archives of Australia, 8 December 2022–12 June 2023 “并非所有的标语牌和抗议”:扰乱,坚持,发明:澳大利亚人在一个不断变化的世界,澳大利亚国家档案馆,2022年12月8日至2023年6月12日
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2253946
Paul Ogborne
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引用次数: 0
Asbestos in Australia: From Boom to Dust Asbestos in Australia: From Boom to Dust Edited by Lenore Layman and Gail Phillips. Melbourne: Monash University Publishing, 2019. Pp 368. A$39.99 paper. 石棉在澳大利亚:从繁荣到尘埃石棉在澳大利亚:从繁荣到尘埃由丽诺Layman和盖尔菲利普斯编辑。墨尔本:莫纳什大学出版社,2019。页368。39.99澳元。
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2259074
Henry Reese
"Asbestos in Australia: From Boom to Dust." Australian Historical Studies, ahead-of-print(ahead-of-print), pp. 1–2
“石棉在澳大利亚:从繁荣到尘埃。”澳大利亚历史研究,印前(印前),1-2页
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引用次数: 1
The Berndts’ Mid-Century Arnhem Land Bark Painting Exhibition: Its Legacies 伯恩特夫妇的中世纪阿纳姆土地树皮画展:它的遗产
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2247012
Catherine Speck
AbstractThis article investigates the first exhibition of Aboriginal art to be shown in a state art gallery, the Art Gallery of Western Australia, in 1957. The curators were anthropologists Ronald and Catherine Berndt. The exhibition was held when there was a growing interest in Aboriginal art, its links to national identity and the need to exhibit it to educate viewers about the art. The legacies of this exhibition are various including that it signalled a museological shift from anthropological modes of curating Aboriginal art to an aesthetic approach, and it began a conversation between curators, anthropologists, and art historians, and more recently with First Nations curators, about which approaches to employ in presenting Aboriginal art. Notes1 On framing Aboriginal art in a primitive art context, Australian Aboriginal Art curated by Charles Barrett and A.S. Kenyon was shown in 1929 at the National Museum of Victoria.2 Philip Jones, ‘The Art of Contact: Encountering an Aboriginal Aesthetic from the Eighteenth to the Twentieth Centuries’, in The Cambridge Companion to Australian Art, ed. Jaynie Anderson (Cambridge: Cambridge University Press, 2011), 23.3 Nanette Carter and Robyn Oswald-Jacobs, Frances Burke: Designer of Modern Textiles (Melbourne: Miegunyah Press, 2021), 157.4 Jones, ‘The Art of Contact’, 32.5 R. and C. Berndt, ‘Aboriginal Art in Central-Western Northern Territory’, Meanjin 9, no. 3 (1950): 183.6 Ibid., 187.7 Jones, ‘The Art of Contact’, 22.8 See Luke Taylor, ‘“They May Say Tourist, May Say Truly Painting”: Aesthetic Evaluation and Meaning of Bark Paintings in Western Arnhem Land, Northern Australia’, The Journal of the Royal Anthropological Institute 14, no. 4 (2008): 865–85.9 Judith Ryan, Spirit in Land: Bark Paintings from Arnhem Land (Melbourne: National Gallery of Victoria, 1990), 14–21; Luke Taylor, ‘Bark Painting’, in Anderson, 143–52.10 Howard Morphy, Becoming Art: Exploring Cross-Cultural Categories (London: Routledge, 2007), 51; Anne E. Wells, Milinginbi: Ten Years in the Crocodile Islands of Arnhem Land (Sydney: Angus & Roberston, 1963), 138.11 Luke Taylor, Seeing the Inside: Bark Painting in Western Arnhem Land (Oxford: Clarendon Press, 1996), 1–14.12 Terry Smith, Transformations in Australian Art, Volume Two: The Twentieth Century – Modernism and Aboriginality (Sydney: Craftsman House, 2002), 149.13 Ronald M. Berndt, ‘Transformation of Persons, Objects and Country: Some Comments’, in University of Queensland. Anthropology Museum. Occasional papers in Anthropology 1979; 9; 143–52, 144, 151.14 Nicolas Peterson, Lindy Allen and Louise Hamby, ‘Introduction’, in The Makers and Making of Indigenous Australasian Museum Collections, eds Nicolas Peterson, Lindy Allen and Louise Hamby (Melbourne: Melbourne University Press, 2008), 12.15 Berndt, ‘Transformation of Persons, Objects and Country’, 145.16 John Stanton, ‘“I did not set out to make a collection”: The Ronald and Catherine Berndt Collection at the Berndt Museum of
《国家美术馆馆长会议34分钟》,昆士兰国家美术馆,1956年8月1日至4日,AGSA研究图书馆。Margaret Preston的文章包括:“工艺美术:土著艺术的巧妙应用”,the Home(1924年12月);《澳大利亚本土艺术》,《艺术与澳大利亚》11期(1925);“什么是我们的民族艺术?”《灌木丛》(1927年3 - 4月);“土著设计的应用”,《澳大利亚艺术》31(1930年3月),第36页伊恩·麦克莱恩,《白人土著:澳大利亚艺术中的身份政治》(剑桥:剑桥大学出版社,1988),90.37同上,90-6;史蒂夫·米勒,《土著文化的设计》,载于《现代时代:澳大利亚现代主义不为人知的故事》,安·斯蒂芬、菲利普·戈德和安德鲁·麦克纳马拉主编(墨尔本:米古尼亚出版社,2008年),30.38特里·史密斯引用于黛博拉·爱德华兹、玛格丽特·普雷斯顿(悉尼:新南威尔士州美术馆,2005年),52.39西尔维亚·克莱纳特,《土著企业:协商城市土著》,土著历史34(2010年):183-7。2021年,特里基·奥努斯和亚历克斯·摩根发行了一部关于比尔·奥努斯的电影:燃烧,https://iview.abc.net.au/show/ablaze(2023年7月24日访问)伊恩·麦克莱恩,《土著如何发明当代艺术理念》(布里斯班:现代艺术学院,2011),22.42该职位由卡内基基金会资助,为期三年。罗纳德·伯恩特,《1957年1月至1958年3月,西澳大利亚大学社会人类学建立与发展总报告》,西澳大利亚大学档案馆人类学系档案,1.43凯瑟琳和罗纳德当时并不知道一项大学政策的变动,即配偶不允许在同一系任教。到1958年,凯瑟琳是客座导师,从1963年起,她是客座或兼职讲师:罗伯特·汤金森和迈克尔·霍华德,“伯恩特一家:传记素描”,在《独自行动:土著自治的前景:纪念罗纳德和凯瑟琳·伯恩特的论文》中,罗伯特·汤金森和迈克尔·霍华德编辑(堪培拉:土著研究出版社,1990年),33.44 J.A.巴恩斯的话,由吉姆·贝尔报告给罗纳德·伯恩特,被格雷引用杰弗里·格雷,“混乱的部门:《罗纳德·伯恩特与悉尼大学民族志文集的发行(1956-57)》,《回忆》第2期。2(2006): 168.45罗纳德·伯恩特致副校长,1956年10月3日,西澳大学档案馆,格雷引用,34.46《截至1958年6月30日的受托人年度报告》,西澳大利亚博物馆和美术馆,第47页12月23日晚上8点,西澳大利亚大学校长在珀斯博物馆举行的澳大利亚土著树皮画展开幕式上的讲话草稿,西澳大学档案馆人类学系档案馆,6.48“土著绘画展览”,1957年12月19日,西澳大利亚;49“人类学家收集精美的土著艺术展览”,西澳大利亚,1958年1月7日;50 Berndt,“人、物和国家的转变”,145。151.51罗纳德·伯恩特和凯瑟琳·伯恩特,“澳大利亚土著艺术”,阿纳姆地的艺术:澳大利亚土著艺术展览,阿纳姆地的树皮和雕刻人物绘画,西澳大利亚美术馆,1957年12月- 1958年1月,4-9.52伯恩特和伯恩特,“澳大利亚土著艺术”,4-9.53玛西娅·兰顿,“人类学,政治和澳大利亚土著世界的变化”,人类学论坛21,第21期。1(2011): 20.54国家美术馆馆长会议纪要,西澳大利亚美术馆,1958年10月14-17日,AGSA研究图书馆。55哈尔·米辛厄姆,“前言”,澳大利亚土著艺术:树皮画、雕刻人物、神圣和世俗物品,澳大利亚国家美术馆举办的展览,1960,第56页同上57 J.A. Tuckson,“土著艺术与西方世界”,澳大利亚土著艺术,Ronald M. Berndt主编(纽约:麦克米伦出版社,1964年),63.58 Howard Morphy,“20世纪60年代的土著艺术”,安德森,157-8;凡妮萨·拉斯,《新南威尔士美术馆的土著艺术史》(伦敦:劳特利奇,2021年),96-8.59这些是奥佩利、古尔本岛、利物浦河、米林金比、伊尔卡拉、格罗特·埃兰特、贝斯维克溪、济茨港、沃尔科特湾和梅尔维尔岛。60塔克森到伯恩特,1960年3月23日,塔克森档案馆:澳大利亚土著艺术,研究图书馆,新南威尔士美术馆。61塔克森到伯恩特,1960年4月21日,塔克森档案馆。62土著艺术展览:埃尔金教授的正式开幕,未注明日期,塔克森档案馆,“致谢”,澳大利亚土著艺术,第63页Charles Mountford,“土著树皮画”,阿德莱德艺术节,1960年3月12-26日,纪念品项目(阿德莱德:阿德莱德艺术节,执行委员会,1960),49。蒙特福德是一位民族学家,横跨艺术和人类学,并于1961年成为AGSA土著艺术荣誉策展人。 64罗伯特·爱德华兹致约翰·贝利,1973年9月27日,《梦幻时代的艺术》展览文件,AGSA研究图书馆。65弗兰克·诺顿,《前言》,土著艺术(珀斯:西澳大利亚美术馆,1975年),2.66迪克·拉夫西,《介绍》,诺顿,土著艺术,1.67罗伯特·爱德华兹,《介绍》,保护土著文化:博物馆的新角色,编辑罗伯特·爱德华兹和珍妮·斯图尔特(堪培拉:澳大利亚政府出版署,1980年),2-3.68罗纳德·伯恩特致塔克森先生,1961年2月8日,塔克森档案馆;Russ, 101.69 R.M. Berndt,“序”,载于Berndt,澳大利亚土著艺术,3.70同上,10.71 Russ, 101.72 J.A. Tuckson,“土著艺术与西方世界”,载于Berndt,澳大利亚土著艺术,63.73 [Ronald Berndt],“开幕:土著艺术展”。珀斯美术馆:1961年2月1日’,伯恩特档案馆,伯恩特人类学博物馆,西澳大利亚大学。74 R.M.伯恩特,“尾声”,伯恩特,澳大利亚土著艺术,69.75同上,71,73。我的解释与Howard Morphy的不同,“在画廊里看到土著艺术”,《人文研究杂志》第7期。1 (2001): 39-40.76 Meyer Schapiro,“风格”,《今日人类学:百科全书式的清单》,A.L. Kroeber主编(芝加哥:芝加哥大学出版社,1953),54,57 - 8.77 Ronald Berndt,《澳大利亚土著艺术研究中的一些方法论考虑》,Oceania 29, no。1(1958): 34.78同上,41,42.79 Alan McCulloch,“土著艺术展览”,Meanjin 20(1961年7月):192.80 Berndt,“澳大利亚土著艺术研究中的一些方法论考虑”(我的斜体).81泰勒,“树皮画”,152.82当作者在2019年检查伯恩特博物馆的非限制性展品时,1957年展览中一些展品的性质发生了变化。83麦克莱恩,土著人如何发明当代艺术的想法,54.84泰勒,“树皮画”,152;1993年,达芙妮·华莱士(Daphne Wallace)被任命为AGNSW的第一位土著永久策展人;Margo Neale在1994年紧随其后:Margo Neale,《谁的身份危机?》《民族志与艺术博物馆之间》,载于《双重欲望:跨文化与本土当代艺术》,伊恩·麦克莱恩主编(纽卡斯尔:剑桥学者出版社,2014),291-2.86页
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引用次数: 0
The Routledge Companion to Global Indigenous History The Routledge Companion to Global Indigenous History Edited by Ann McGrath and Lynette Russell. London: Routledge, 2021. Pp. 798. A$431cloth, A$91paper. 《劳特利奇全球土著历史指南》由安·麦格拉思和勒奈特·罗素编辑。伦敦:劳特利奇出版社,2021。798页。布431美元,91美元。
3区 历史学 Q1 HISTORY Pub Date : 2023-10-02 DOI: 10.1080/1031461x.2023.2261154
Heidi Norman
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AUSTRALIAN HISTORICAL STUDIES
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