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This Side of the Frontier: Indigenous Art in Australia | storylines.org.au

Storylines was a three-year (2007-2009) ARC funded survey of ‘non-remote’ Indigenous artists. You can read our findings by clicking on the images below for individual topics or download the complete report.

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This Side of the Frontier: Indigenous Art in Australia | storylines.org.au | storylines.org.au Reviews
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Storylines was a three-year (2007-2009) ARC funded survey of ‘non-remote’ Indigenous artists. You can read our findings by clicking on the images below for individual topics or download the complete report.
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1 acknowledgements
2 the research
3 the results
4 gender
5 other occupations
6 place of birth
7 residence
8 language groups
9 heritage country
10 family
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This Side of the Frontier: Indigenous Art in Australia | storylines.org.au | storylines.org.au Reviews

https://storylines.org.au

Storylines was a three-year (2007-2009) ARC funded survey of ‘non-remote’ Indigenous artists. You can read our findings by clicking on the images below for individual topics or download the complete report.

INTERNAL PAGES

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1

Download | storylines.org.au

http://www.storylines.org.au/download

Thanks For Your Interest In the Storylines Report. You can download the full report in PDF format simply by clicking the link below. If you have any issues, or depending on your browser, you may try to right-click the link and select the “save as” option that appears. Http:/ www.storylines.org.au/wp-content/uploads/2009/12/STORYLINESFINAL.pdf.

2

Family | storylines.org.au

http://www.storylines.org.au/the-results/family

The importance to artists in the. Sample of their Indigenous ancestry and their family history was demonstrated by their often detailed knowledge of relatives going back three or four generations to great great grandparents, great aunts or uncles and so on, far more than the average non-Indigenous Australians’ knowledge or recall of their family history. Family is a subject for many. Artists, in works underpinned by both celebration and mourning. Take for example Michael Riley. 1998) and Ricky Maynard’s.

3

Recognition | storylines.org.au

http://www.storylines.org.au/the-results/recognition

Representation in the collections of state and national museums and galleries, and in regional galleries, university collections, the National Library, Parliament House art collections, ArtBank and major private collections provides a measure of acceptance by the Australian art establishment. However, the same group of about 25 of the highest profile artists in the. Sample made up a substantial proportion of the major public and private collection totals in almost every case. Queensland and Tasmanian.

4

About | storylines.org.au

http://www.storylines.org.au/about

Dividing ‘remote’ Indigenous Australians from those who live on this side of the ‘frontier’. Findings have implications for Indigenous arts funding policies, but the project’s concerns are primarily cultural and conceptual: the. Of Indigenous artists from ‘settled’ Australia as part of both Indigenous art. Is a blueprint for what the DAAO. Team prepared A Guide to Researching with the DAAO.

5

The Rowley Line | storylines.org.au

http://www.storylines.org.au/rowley-line

To the end of his life, C.D. Rowley regarded the view that a person with European ‘blood’ is not a ‘real’ native, Aboriginal, Papuan or what have you as one of the less forgiveable myths of the colonial system because it dismisses the fact that culture and belief systems are not inherited with skin colour. [1]. Recovery: The Politics of Aboriginal Reform. Ringwood, VIC: Penguin, 1986), 22. Bill Arthur and Frances Morphy (Gen. eds). North Ryde, NSW: Macquarie Library, 2005), 70.

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This Side of the Frontier: Indigenous Art in Australia | storylines.org.au

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