As the international art market globalizes the indigenous image,
it changes its identity, status, value, and purpose in local and
larger contexts. Focusing on a school of Australian Aboriginal
painting that has become popular in the contemporary art world,
Robyn Ferrell traces the influence of cultural exchanges on art,
the self, and attitudes toward the other.
Aboriginal acrylic painting, produced by indigenous women
artists of the Australian Desert, bears a superficial resemblance
to abstract expressionism and is often read as such by viewers. Yet
to see this art only through a Western lens is to miss its unique
ontology, logics of sensation, and rich politics and religion.
Ferrell explores the culture that produces these paintings and
connects its aesthetic to the brutal environmental and economic
realities of its people. From here, she travels to urban locales,
observing museums and department stores as they traffic
interchangeably in art and commodities.
Ferrell ties the history of these desert works to global acts of
genocide and dispossession. Rethinking the value of the artistic
image in the global market and different interpretations of the
sacred, she considers photojournalism, ecotourism, and other sacred
sites of the western subject, investigating the intersection of
modern art and postmodern culture. She ultimately challenges the
primacy of the "European gaze" and its fascination with sacred
cultures, constructing a more balanced intercultural dialogue that
deemphasizes the aesthetic of the real championed by western
philosophy.
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