Literature in our Collection
(A-L)

Bähr, Elisabeth und Lindsay Frost: Narrated World: Contemporary Indigenous Australian Art, ArtHistoricum, Universität Heidelberg, Juni 2024, DOI: https://doi.org/10.11588/artdok.00009068

Table of Contents        ¦         Cover Text        ¦         Book Review

Table of Contents

Elisabeth Bähr and Lindsay Frost: 01 Preliminaries -11-

Openness and Equality -11-

Art Movement -14-

The Bähr/Frost Collection -15-

Terminology -16-

Following chapters -19-

02 The Bähr/Frost Collection , Plates -21-

Elisabeth Bähr: 03 Individuality and Community - 179-

Maxie Tampitjinpa -181-

Ginger Riley Munduwalawala -181-

David Cox -182-

Mirdidingkingathi Juwarnda Sally Gabori -183-

Patrick Mung Mung -185-

Eubena (Yupinya) Nampitjin -186-

Fiona Foley -187-

Churchill Cann (Yoonany) -192-

N. Yunupi?u -195-

Gloria Tamerre Petyarre - 198-

Elisabeth Bähr: 04 Sources of Inspiration - 203-

Jukurrpa, the Holistic Worldview -204-

Land and Identity - 205-

Time -210-

Jukurrpa as an Archive of Knowledge -211-

Historical Events as Part of Jukurrpa -212-

Discussion Secret/Sacred -213-

Preserving the Cultural Heritage - 214-

Jukurrpa as Everlasting Energy -215-

Repression as a Source of Inspiration - 216-

Conclusion -220-

Elisabeth Bähr: 05 Narrated World -223-

Introduction -223-

Narrative Art -224-

Indicative Art from a Holistic Worldview -224-

Narrative Layers, True Stories, Concepts of Time -225-

The Indigenous Worldview -233-

The Incongruence of Cultures -235-

Secret/Sacred and the (Non-)Readability of Paintings - 238-

Art for the Transmission of Culture -243-

Love and Family -247-

The Importance of Family -247-

Love, Sexuality, and Marriage Laws -249-

Painting of the Country versus Landscape Painting - 250-

Close Observation of Nature - 253-

Landscape Paintings as Wittnesses of Destruction and as a Call for Cultural Survival -255-

The Portrait -256-

The Political in Indigenous Art -259-

All Art is Political -259-

Land Rights - Three Forms of Political Art -260-

Land and Sea Rights - 261-

The Bark Petition -261-

'The Barunga Statement? 2 -262-

The ?Ngurrara? Collaborative Painting on Land Rights -264-

Another Form of Demanding Land Rights -266-

Sea Rights - 267-

The Assertion of Indigenous Culture and Identity -268-

Destruction of the Country and Disrespect for Indigenous Life -270-

Genocide and Annihilation: Opposing Oblivion - 273-

Massacre Portrayed as Historical Event and as Critique -273-

Stolen Generations -276-

Against Racism and the ?Intervention? ' -278-

Against Stereotypes -280-

The Influence of Christianity and the Missions - 281-

*Paintings without Stories - An Abstract Art? -286-

Mutual Inspiration -289-

Innercultural Influences -289-

Intercultural Influences -292-

Transculturalism - 293-

Conclusion -295-

Elisabeth Bähr: 06 Techniques and Materials -297-

Techniques -297-

Dot Painting -297-

Lines -303-

Glow, Shine, Flimmer, Flicker -304-

The Haptic in Art -306-

Bark Painting -307-

Materials - 309-

Bark -309-

Natural Pigments and Charcoa -l 310-

New Elements of Design - 313-

Use and Meaning of Colour -315-

Lindsay Frost: 07 Brief History of Indigenous Art -319-

Before the British -320-

The Viewpoint of the Settlers around 1788 -321-

Invasion -321-

Taking their Land, Saving their Souls -322-

The Indigenous Perspective -325-

Introduction - 325-

1931 Yirrkala -327-

1934 Ntaria (Hermannsburg) -331-

1948 Pukatja (Ernabella) -334-

1969 Yurntumu (Yuendumu) -335-

1971 Papunya -338-

1975 Warmun (Turkey Creek) -344-

1977 Utopia -347-

1981 Wirrimanu (Balgo) - 349-

*1987 Boomalli Aboriginal Artists Co-operative (Sydney) -350-

1997 Jirrawun Aboriginal Art Corporation -351-

2001 APY Lands -352-

Support by the Government -355-

The Art Scene View -357-

The Art Museums - 358-

Influence of Indigenous Art on Non-Indigenous Artists -362-

Conclusion -365-

Elisabeth Bähr: 08 (In)Acceptance of Indigenous Australian Art in Germany - Part I: A Report -367-

Troublesome -368-

Statistical -369-

*Disrespectful -371-

Eurocentric -372-

Respectful -374-

Comparative -375-

Well Known -376-

What to Do? -376-

Lindsay Frost: 09 (In)Acceptance of Indigenous Australian Art in Germany - Part II: Analysis -377-

Introduction - 377-

Artification: Factors Influencing Acceptance -379-

Exhibitions in Germany -382-

1993 ?Aratjara. Kunst der ersten Australier?, Düsseldorf -382-

1994 ?Gemaltes Land. Kunst der Aborigines aus Arnhemland?, Stuttgart and Hamburg -384-

1994 ?Traumzeit - Tjukurrpa. Kunst der Aborigines der Western Desert?, Munich -385-

1995 ?Stories, eine Reise zu den großen Dingen?, Hannover - 385-

1999-2000 ?The Aboriginal Memorial?, Hannover - 386-

2001 ?The Native Born. Objekte und Darstellungen aus Ramingining, Arnhemland?, Hannover -386-

2005-2006 ???rarrk??. John Mawurndjul. Zeitreise in Nordaustralien?, Hannover -387-

2006-2007 ?Opening Doors?, Hannover -388-

2010-2011 ?Remembering Forward?, Cologne - 389-

2017-2018 ?Indigenous Australia: Masterworks from the National Gallery of Australia?, Berlin -390-

Documenta -391-

Private Art Museums, Municipal Galleries, Art Associations, and Ethnological Museums -391-

Artification Factors in Australia and Germany -392-

Luxory Good -392-

Material and Social Status - 392-

Uniqueness, Provenance -393-

Non-Mundane -394-

Endorsement -395-

Explainability -395-

Advocacy -398-

The Art Scene -398-

The Community of Art Historians and Museum Directors -401-

The Community of Gallery Owners -403-

Outstanding Artists -404-

State of Artification - 405-

Precluded Artification -406-

Five Barriers -406-

Transculturalism vs. Eurocentrism -409-

Historical Context -409-

Discourse in Australien -411-

Discourse in Germany - 413-

A Comparison with African Art -415-

Conclusions - 418-

10 Information on Artists represented in the Collection Bähr/Frost -419-

Bibliography -470-

Index of Persons -486-

The Authors -492-

Acknowledgements - 493-

Image Credits -494-

Impressum -496-

Map -497-