Tracey Moffatt is an Australian Aboriginal artist known to be Australia’s most successful artist both nationally and internationally. She was born in Brisbane on the 15th November in 1960 and predominantly uses photography and video to convey her intentions and concepts. During the 1990s’ Moffatt created videos that reflected issues of the world she lived in including sexuality, history, representation and race. As her works developed through the next decade, She began to explore narratives in more gothic settings that were full of drama and emotion. Since the early 2000’s, Moffatt has stopped creating works that contain particular subject matter and environments to becoming more directly concerned with fame and celebrity. Nice Coloured Girls, 1987, 16 minutes, Short Film Nice Coloured Girls, 1987, By Tracey Moffatt is a film about three Aboriginal women wondering through Kings Cross and how they encourage a ‘captain’ (A drunken white man) to spend his money on them and to drink until debilitated while they happily steal his wallet and run away to catch a taxi. The film includes sound with the soundscape recalling a rural environment and a voice-over of extracts from Colonist Lieutenant William Bradley who writes in his diary recalling the first settlement, printed …show more content…
The film during this period was seen as unusual as many contemporary Aboriginal filmmakers created documentaries and realist dramas where as Moffatt uses mockery and false humour to oppose dominant representations, as well as challenge the notion of what constitutes an Aboriginal film. She also explores how representations throughout history has constructed her identity and that of her race by addressing authorised accounts of history in order to re-interpret history from her own experience and knowledge of growing up as an Aboriginal women.
Through the three pieces, the landscapes reflect a painting style is more often associated with European Romantic art, however, unlike the others, the central piece showcases the sky painted with miniscule dots, a technique common within Indigenous art (Lingard 2014, 44). However, the fact that the sky is the only piece of the composition painted with this technique and is placed in the background while more European inspired art and images are placed in the foreground is potentially symbolic of the marginalisation of Indigenous people and their culture in contemporary Australian society. Within Bennett’s own life, he was brought up without his Aboriginal heritage ever being spoken of, describing it himself as “overwhelming Euro-Australian” (McLean 1996, 20). Thus, within his artworks, a dotted circle at the top of each composition includes black footprints facing away from the circle, which matches his personal experience of Indigenous culture being ‘left behind’ in contemporary Australian society. The artist lived in a time where he was connected to a variety of Indigenous experiences including his own as well as the servitude of his mother, and thus through the combination of these varying art techniques, Bennett evokes both discord and further represents the marginalisation of Indigenous culture
Jedda, Australia’s first colour film, created in 1955 by Charles Chauvel deals with an Aboriginal child adopted by a white grazing family. As she grows up, Jedda is tempted more and more to return to her people. Seduced by the wild Marbuck, she partakes in the film's tragedy, played out against a spectacular landscape. This essay seeks to discuss the representations of the Australian landscape as portrayed in the film Jedda, highlighting the use of filmic techniques in these representations.
Indigenous Australian artist Gordon Bennett re-contextualises the work of Colin McCahon by borrowing and transforming key visual features. Bennett’s work challenges the viewer and gives them an alternative perspective of the culture and identity of Indigenous Australians. The quote by The National Gallery of Victoria states, “Often describing his own practice of borrowing images as ‘quoting’, Bennett re-contextualises existing images to challenge the viewer to question and see alternative perspectives.” This quote is clear through analyzing the visual features as well as the meaning behind the work of Gordon Bennett’s appropriated artwork ‘Self-portrait (but I always wanted to be one of the good guys)’ (1990) and comparing it to Colin McCahon’s
Dr. Marcia Langton, an anthropologist from Australia of Australian Aborigines descent, spoke at the Berndt’s lecture in 2011. Her article, Anthropology, Politics and the Changing World of Aboriginal Australians, focuses primarily on the works of an anthropologist couple Robert and Catherine Berndt. They had completed many ethnographic studies in various areas around Australia. Langton states that their work has been crucial in order to have a complete understanding of the Australian Aborigines’ society. The indigenous Australian’s society has been thoroughly researched by many social sciences through the decades. Artworks, religion, rituals, economy, politics, and even claims of UFO sightings have been recorded by a multitude of scholars. It could be argued that the Australian Aborigines’ culture has been better documented than any other non-western society. I would like to capture the movement of Australian Aboriginal tradition to a more modern society by incorporating Dr.Langton’s works as well as the work of National Geographic Journalist, Michael Finkel. By researching the society as it is today in the 21st century, I will to analyze how they relate to Australians of European descent.
The 21st Century appears to be headed towards a future of vast corruption and exploitation as a result of the often inhumane and uncivilised individuals who, over the years have become desensitized to poverty, war, consumerism, racism, mental illnesses and political corruption. As the world moves towards further democracy, and decentralization it is vital that art is given the opportunity to stimulate people’s awareness, participation and judgment. Arts purpose is not only to be a fulfilment of society’s visual needs but is needed be utilised as a function to alert people to society’s problems. Australian born George Gittoes, works within war zones to create confronting paintings, film, photography and prose that frequently portray man’s inhumanity to man. Gordon Bennett, also Australian, paints images that depict his own self questioning about his identity and the injustice towards Aboriginal Australians since the time of settlement.
In the novel “Black Boy” by Richard Wright, Richard’s different character traits are revealed through multiple different instances of indirect characterization. Indirect characterization is a literary element commonly used in the novel. It is when the author reveals information about a character through that character's thoughts, words, actions, and how other characters respond to that character; such as what they think and say about him. Richard is put into many circumstances where the way he acts, the things he says and thinks, and the way others respond to him clearly show his character. Richard shows his pride when he refuses to fight Harrison for white men’s entertainment, principles when he doesn’t take advantage of Bess even though he has the opportunity, and ignorance when he sells KKK papers.
Unlike Gordon Bennett, who grew up struggling from his Aboriginal heritage, Tony Albert, a founding member of Queensland's Indigenous art collective proppaNOW explores political, social and cultural issues that are relevant to Indigenous Australian in today’s society. Albert’s artistic practice has a range of media and applications producing 2D wall art, sculpture and installation based works. According to Albert, he began to see the ‘problematic representations of his identity’ (Art Monthly Australia, 2015, p.55) after discovering the work of contemporary Aboriginal artists Tracey Moffat and Gordon
White privilege is a concept that many people are unfamiliar with, but not because they do not benefit from it. In the paper “White Privilege: Unpacking the Invisible Knapsack” by Peggy McIntosh argues that white people have an advantage over those of other races, though most are completely unaware of it or simply take it for granted. Her recognition of white privilege came from the concept of male privilege. She says that she looked at that concept and realized there was certainly something similar to it in regards to race (McIntosh, 1988, 11). This paper has great importance to the function of society. Because many white people do not recognize their unfair and disproportionate advantage in society, racial tensions can rise even more because there is a major wall blocking people from fixing the current issues.
Contemporary art is the art that has been and continues to be created during our lifetimes, which can include and represent the Australian culture, politics and music as well as in art forms such as portrait and landscape. Contemporary art is defined as art that is current, offering a fresh perspective and point of view and often employing new techniques and new media. Current art means work by both emerging and also established artists. Rosalie Gascoigne and Imants Tillers are honoured for their contribution showing the Australian landscape in fresh, new and transformational way. Whilst both are similar in their use of text and original interpretation of our landscape they are vastly different in their approach and creating meaning for their
Before 1919, Aboriginal/indigenous art and artifacts were virtually non-existent in the world of art, with almost no representation whatsoever and was “thought to be dying under the waves of white cultural encroachment on their lands, languages and cultural practices.” (The Canadian Encyclopedia, paragraph #4). After returning from a trip to England in 1899, feeling “cheated by 'bad health and circumstances'”, Emily felt isolated in Victoria, being in her mid-thirties and single, grouped with her sisters critical opinions of her and old friends having moved away or joined private groups such as 'The Married Ladies' Club' that she could not join. In 1905, she visited a small Aboriginal village by the name of Ucluelet, where she had often been to in her teen years and had been known as Klee Wyck, meaning “laughing one” in Kwakiutl (Tippett, Maria, Emily Carr: a Biography, p. 63-65).
Rosie Gascoigne, is an artist who has aspired an appreciation for undiserable remnants and utilised with them in purpose to produce an assemblage of work that sees into a reflection of the past and present landscape of Australian society. Her growing motivation has taken further interest and development as the founding layers of her work through her deliberate perception, subject to the preservation of the environment and surrounding landscape. Gascoigne’s work offers an insight into deep country outback life of an Australian individual and introduces conceptualities that mirror a focus situated about ‘re-using’, ‘ recycling’ and understanding the insightful meaning present within everyday remnants. Her work is a collective gathering of selected materials to form a composition or an
Jim Crow, a series of laws put into place after slavery by rich white Americans used in order to continue to subordinate African-Americans has existed for many years and continues to exist today in a different form, mass incarceration. Jim Crow laws when initially implemented were a series of anti-black laws that help segregate blacks from whites and kept blacks in a lower social, political, and economic status. In modern day, the term Jim Crow is used as a way to explain the mass incarcerations of blacks since Jim Crow laws were retracted. Through mass incarceration, blacks are continuously disenfranchised and subordinated by factors such as not being able to obtain housing, stoppage of income, and many other factors. Both generations of Jim Crow have been implemented through legal laws or ways that the government which helps to justify the implementation of this unjust treatment of blacks.
Colorism has became a huge issue in today’s society. Colorism is an issue because, it is a form of racism, it reflects back on the days of slavery, it is overall rude, and jail terms are affected.
Reflecting directly on the cultural attitudes and sociocultural messages explained throughout this course, it is clear that race, gender, and sexuality are all socially constructed in one way or another. Contrary to popular belief, race is actually almost completely socially constructed, it is not biological. Further, a human’s DNA does not differentiate at all to create any specific race. However, society has categorized certain things, such as skin color, to determine the race of individuals. In simpler terms, there are not specific genes that parents pass on to their offspring that determine their race; society categorizes people into specific races when they are born based on their
Multiracial Feminism: Recasting the Chronology of Second Wave Feminism introduces ideas by Becky Thompson that contradict the “traditional” teachings of the Second Wave of feminism. She points out that the version of Second Wave feminism that gets told centers around white, middle class, US based women and the central problem being focused on and rallied against is sexism. This history of the Second Wave does not take into consideration feminist movements happening in other countries. Nor does it take into consideration the feminist activism that women of color were behind, that centered not only on sexism, but also racism, and classism as central problems as well. This is where the rise of multiracial feminism is put to the foreground and