Black Velvet Anthony Analysis

Art is used as a form of expression, conveying opinions and views about political and societal states through satirical symbolism. Through their work, artists use explicit and subversive messages to make comment, targeting the anonymous masses and the privileged elite1, ‘opening our eyes’ to a more abstract or visual representation of a societal issue. These representations often have an equal or opposite reaction from an audience, establishing awareness and creating controversy for the issue. Such artworks include, Patricia Piccinini’s (1965) The Young Family (2002), Fiona Foley’s (1964) Black Velvet (1996) and Gordon Bennett’s (1955-2014), Jackson Pollock and his other (2001). These three artists convey strong social commentary on emotional

Black Velvet (1996) is an intriguingly simple piece of art yet packs a considerable political punch. She stated, “…we did have a fire in our belly to make a difference, to make a change, and to say things that were a little bit controversial, or to challenge people’s perceptions of what Aboriginal art is...”, all of which, Foley has achieved with her controversial artworks5. Black Velvets invites the audience to confront the immediate suggestion of sexual contact between races in the title, using the colloquial term for Aboriginal women by white frontiersmen which is both unwanted and sexually objective. The title also holds resonances regarding a combination of wealth and hardship6. Black velvet is a series of nine white cotton dilly bags hung in two rows with black and red emblems stitched to the front, an ancient aboriginal representation of the female genitalia, very recently however, used as a feminist symbol. This piece, like those visible in Aboriginal cave art is blatant in its exposure of historical and contemporary emotional realities for women7. Dilly bags are traditional Australian Aboriginal bags woven from Pandanus plant fibers and used to transport grains or berries. Foley recognized the importance of indigenous art as a way to express political issues, connecting a traditional implement with a more contemporary issue regarding sexuality and feminism. Her work reflects her engagement with her cultural history and heritage, involving the issue of colonial oppression which had a great effect on aboriginal women8. The simplicity of the artwork is perhaps what is most powerful, inviting the audience to see a large, complicated political issue in such a simple manner-whilst educating the audience on an unwritten history. As stated by Foley, “I have a strong sense of justice, and wanting the history of Australia to be told