Visual Arts-new

Djalkiri are “footprints'– ancestral imprints on the landscape that provide the Yolŋu people of eastern Arnhem Land with their philosophical foundations. This book describes how Yolŋu artists and communities keep these foundations strong, and how they have worked with museums to develop a collaborative, community-led approach to the collection and display of their artwork. It includes contributions from Yolŋu elders and artists as well as Indigenous and non-Indigenous historians and curators. Together they explore how the relationship between communities and museums has changed over time. From the early 20th century, anthropologists and other collectors acquired artworks and objects and took photographs in Arnhem Land that became part of collections at the University of Sydney.

Desert Lake is a book combining artistic, scientific and Indigenous views of a striking region of north-western Australia. Paruku is the place that white people call Lake Gregory. It is Walmajarri land, and its people live on their Country in the communities of Mulan and Billiluna. This is a story of water. When Sturt Creek flows from the north, it creates a massive inland Lake among the sandy deserts. Not only is Paruku of national significance for waterbirds, but it has also helped uncover the past climatic and human history of Australia. Paruku's cultural and environmental values inspire Indigenous and other artists, they define the place as an enduring home, and have led to its declaration as an Indigenous Protected Area.

The double desire explored in this book is that of the divided but also amplified attractions that occur between cultural traditions in places where both indigenous and colonial legacies are strong. The essays, by fourteen experts in the field, discuss Indigenous contemporary art practices and their artworld reception in different locales in Australia, America and Africa, from metropolitan centres to regional and remote communities. The main frames of this discussion are postcolonial theories of transculturation, globalism and relational art practices that galvanize current theories of contemporary art.