Literatur in unserem Bestand

Foley, Fiona, Louise Martin-Chew and Fiona Nicoll (Hg.): Courting Blakness. Recalibrating Knowledge in the Sandstone University. University of Queensland Press, St Lucia 2015, ISBN 9780702253805, Ausst. Kat.

Inhaltsverzeichnis        ¦         Klappentext        ¦         Buchbesprechung


Larissa Behrendt: Foreword -iv-

Introduction: What Can Art Do in a University? -vi-

1. Fiona Nicoll: Recalibrating knowledge in the sandstone university -2-

2. Fiona Foley and Louise Martin-Chew: The politics of art and place -14-

Part One: Architecture, Space and Possession -22-

3. Kevin O‘Brien: Finding Country -24-

4. Kelly Greenop: History receding -32-

5. Louise Chiodo: Architectures of possession -40-

Part Two: History, Identity and Power -48-

6. Katrina Schlunke: A blak woman walks through a blakened landscape -50-

7. Djon Mundine: Persistence, memory and being -60-

8. Jessica Brodie: The Honey and the Bunny -66-

9. Louise Martin-Chew: In conversation with Karla Dickens -70-

Part Three: Haunting Insitutions of Settler-Colonialism -76-

10. Bronwyn Fredericks: Of old and new -78-

11. Natalie Harkin: 'I am small and the wharf’s edge' -88-

12. Elizabeth Strakosch: Settler fantasies -100-

Part Four: 14 Nations: Flagging Sovereignty -110-

13. Sally Babidge: Who belongs in the nation? -112-

14. Archie Moore: 14 Nations -118-

15. Heather Douglas and Jo Besley: An unsettling presence -124-

Part Five: Debt -134-

16. Ryan Presley: Debt -136-

17. Maurice O’Riordan: Change, ambiguity and art -142-

18. Alice Te Punga Somerville: Indigenous currency -156-

Part Six: The Blaktism -164-

19. Morgan Brigg: The Blaktism and the transit between selves -166-

20. Romaine Moreton: Authentic Aborigine -174-

Conclusion: Through My Eyes -184-

21. Fiona Nicoll: Indigenous knowledge and the art of thinking -186-

Contributors -196-

Acknowledgements -200-


A celebration of "Courting Blakness", a groundbreaking exhibition of contemporary Indigenous art. In a bold and unprecedented project, acclaimed international artist Fiona Foley curated a cutting-edge installation in the University of Queensland’s sandstone Great Court. Universities have traditionally been elite institutions, overlooking and undervaluing the knowledge contributions of Indigenous thinkers, activists and artists. This history is etched into the walls of the Great Court, with anachronistic concepts of humanity and racial difference revealed in many of the friezes and sculptural reliefs. Fiona Foley and her team of eight Aboriginal artists aimed to challenge these concepts. The "Courting Blakness" exhibition reclaimed this historically white space, creating a visual dialogue between contemporary Aboriginal art and colonial-inspired architecture. It also sparked important conversations about issues that matter to both Indigenous and non-Indigenous Australians. Featuring striking full-colour images of the artworks as well as essays by artists, curators and academics, "Courting Blakness" is a stylish and comprehensive tribute to this innovative project.