Viewing ofReference Material
Art students and others conducting research are welcome to make an appointment with us to view the works listed in the adjacent table.
It is also recommended for Europeans to use the online search system at KVK (Karlsruher Virtueller Katalog), in which all German and many European scholarly libraries list their available references. Sometimes the works are available for loan.
A list of further references about Australian art, which however are not yet in our reference collection, is also maintained and continually extended.
Literature in our Collection
(A-L)
Art Gallery of New South Wales (Hg.): Daniel Boyd. Treasure Island, Sydney 2022, Ausst. Kat., ISBN 9781741741599
Table of Contents ¦ Cover Text ¦ Review⁄Abstract
Table of Contents
Foreword -8-
Isobel Parker Philip und Erin Vink: Introduction -10-
Daniel Browning: Beautiful subterfuge: a personal reckoning with the art of Daniel Boyd -16-
Erin Vink: The recontextualisation of things -22-
Isobel Parker Philip: Drawing with and into darkness -32-
Jazz Money: Trade winds -63-
Nathan 'Mudyi' Sentance: Dismantling the colonial gaze -79-
Ellen van Neerven: Taste is cruel -93-
Léuli Eshraghi: Bambae ol stamba fasin blong lukaotem mo kasem ol wanwan sead blong solwora i no save lusum -111-
Light Work -124-
Daniel Boyd: Balbay and Yamani recalcitrant radiance -143-
Michael Mossman: Vulnerability in collaboration: 'For our Country' -173-
Daniel Boyd, Djon Mundine and Asad Raza in conversation: Unbroken links -188-
From the artist's studio: Gauwullbunngil charrabumm (Fartheast island) -193-
List of Daniel Boyd works -225-
Image captions and credits -229-
Notes -230-
Contributors -233-
Akcnowlegements -235-
Cover Text
Daniel Boyd: Treasure Island traces this acclaimed artist's practice from 2005 to today. Holding a lens to colonial history. Daniel Boyd grapples with the way the past inflects the present and the present inflects the past. Informed by his Aboriginal and ni-Vanuatu heritage, Boyd regifues archival imagery, art historical references and his own family photographs. Through his idiosyncratic painting technique, he interrogates the brutal legacies of colonisation and creates moving tributes to family and the power of cultural survival, forcing viewers to contend with hidden and overlooked histories. Richly illustrated and with new writing by curators and First Nations authors, this book is also a response to the current moment where critical dialogues on ideas of community, connectivity and cultural repratriation carry particular urgency.