- Class Number 4636
- Term Code 2930
- Class Info
- Unit Value 6 units
- Mode of Delivery In Person
- Brenda Croft
- Brenda Croft
- Class Dates
- Class Start Date 25/02/2019
- Class End Date 31/05/2019
- Census Date 31/03/2019
- Last Date to Enrol 04/03/2019
- Dr Sarah Scott
Australian First Nations’ arts and cultural practices and cosmological beliefs span 60,000+ years, with Australian First Nations' Peoples standing firm in the belief that they have been here since deep time associated with Australian First Nations' Ancestral Beings, creation stories and cosmologies. This course explores the diversity of pre-contact, post-contact Australian First Nations' arts and cultural manifestations, from customary to contemporary representations, incorporating diverse media and trans-disciplinary platforms.
The course in Australian First Nations’ visual arts and culture has three main aims:
* Provide students with basic geographical, historical and contextual frameworks for the study of Australian First Nations’ visual arts and culture in mainland Australia, Tasmania and the Torres Strait Islands.
* Familiarise students with concepts that are fundamental to Australian First Nations’ understandings of the interconnected relationships between art, culture and life, both historically (pre- and early post-contact, up to the early 20th century) and in a contemporary (early 20th - present-day) context.
* Assist students in developing ideas about how contemporary Australian First Peoples’ visual arts and cultures contribute to cross-cultural critical theory, representation and identity, and trans-disciplinary practice and research.
Wherever possible collections and exhibitions at national arts, cultural, social history and archival institutions are used as part of the teaching and learning experience.
Upon successful completion, students will have the knowledge and skills to:
- identify historical and geographical origins of Australian First Nations’ Visual Arts and Culture and Cultural Practices;
- conduct a culturally relevant appreciation of Australian First Nations’ Visual Arts and Culture and Cultural Practices;
- develop cross-cultural awareness in the processes of interpretation of Australian First Nations’ Visual Arts and Culture and Cultural Practices;
- research and access information on Australian First Nations’ Visual Arts and Culture and Cultural Practices;
- speak and write with appropriate cultural sensitivity and awareness on Australian First Nations’ Visual Arts and Culture and Cultural Practices; and
- gain a critical understanding of some of the major issues of debate concerning Australian First Nations’ Visual Arts and Culture and Cultural Practices.
Brenda L Croft is from the Gurindji/Malngin/Mudburra peoples from the Victoria River region of the Northern Territory of Australia, and Anglo-Australian/German/Irish/Chinese heritage. Croft has been involved in the Australian First Nations' and broader contemporary arts and cultural sectors as an artist, arts administrator, curator, academic and consultant for over three decades. Croft's research interests include: Australian First Nations' contemporary visual arts and culture; international First Nations' contemporary visual arts and culture; critical Indigenous performative auto-ethnography, Indigenous Storying and Indigenous Knowledges; creative-led research; cultural representation and identity; re/memorying, memorialisation; personal and public archives and access. From 2012 - 2015 Croft was Senior Research Fellow at the National Institute for Experimental Arts, UNSW Art & Design, undertaking practice-led doctoral research. From 2009 - 2011, Croft was Senior Lecturer, Indigenous Art, Culture and Design at UniSA. In 1998 Croft taught Indigenous Visual Culture at Canberra School of Art.
Sarah Scott is a lecturer in art history and theory. In 2012 she received the Rydon fellowship at Kings College, London to work on her research concerning Australian exhibitions of Australian art for export. From 2009 to 2012 she convened and taught in the Museums and Collections program at ANU. Prior to her appointment at ANU, Sarah was a Lecturer in the School of Creative Arts and Humanities at Charles Darwin University (Darwin) for three years.Scott's research interests include: Australian Modernist Art and its representation; Art Patronage; Australian Indigenous Art and Culture; Public Art; Commonwealth Art and its Politic. Both Brenda L Croft and Sarah Scott have published in the area of Australian First Nations' visual art and culture.
Croft and Scott's research outcomes and publications can be viewed on their respective ANU Reseachers' page.
National Gallery of Australia 1.00-5.00pm, Free of charge
Australian War Memorial 1.00-3.00pm Free of charge
The following are available on short term loan through the ANU Library, no need to purchase:
Art + Soul', documentary Series 2, 2014, Hibiscus Films, available through ANU Library
'Art + Soul', documentary Series 1, 2010; ABC TV, available through ANU Library
Perkins, Hetti, Art + Soul, Melbourne: Melbourne University Press, 2010. Winner, Best Designed Specialist Illustrated Book, APA Book Design Awards, 2011, available through ANU Library
?'Colour Theory, Season Three, with Tony Albert', documentary series, 2016 - 17, SBS TV, available on SBS OnDemand and ANU Library
'Colour Theory, Seasons 1 - 2, with Richard Bell, documentary series, 2013 - 2015, SBS TV, available through ANU Library
Caruana, Wally, Aboriginal Art, London: Thames & Hudson, 1994
Croft, Brenda L., ed. Still in my mind: Gurindji location, experience and visuality, Brisbane: UQ Art Museum, 2017.
Croft, Brenda L., ed. Culture Warriors: the National Indigenous Art Triennial 07, Canberra: National Gallery of Australia, 2007.
Croft, Brenda L., ed. Michael Riley: Sights Unseen, Canberra: National Gallery of Australia, 2006.
Gilchrist, Stephen, ed. Everywhen: The Eternal Present in Indigenous Art from Australia, Cambridge, Massachusetts, Harvard Art Museums, New Haven: Distributed by Yale University Press, 2016
Horton, David, (general editor) The Encyclopaedia of Aboriginal Australia: Aboriginal and Torres Strait Islander history, society and culture. Canberra: Aboriginal Studies Press for the Australian Institute of Aboriginal and Torres Strait Islander Studies, 1994.
Johnson, Vivien, ed., Papunya Painting: Out of the Desert, Canberra: National Museum of Australia, 2007.
Kleinert, Sylvia and Neale, Margo, (general editors), The Oxford Companion to Aboriginal Art and Culture, Sydney: Oxford University Press, 2000.
Mellor, Doreen and Janke, Terri, Valuing Art, Respecting Culture. Protocols for Working with the Australian Visual Arts and Crafts Sector, Sydney: National Association for the Visual Arts, 2001.
Morphy, Howard, Aboriginal Art, London: Phaidon, 1998.
Morphy, Howard and SmithBoles, Margo, Art from the land: Dialogues with the KlugeRuhe Collection of Australian Aboriginal art, Charlottesville, Virginia: University of Virginia; Michelago, MSquared, 1999.
McLean, Ian, ed., Rattling Spears: A History of Indigenous Australian Art, Chicago, Illinois: Reaktion Books, University of Chicago Press, 2018.
McLean, Ian, ed., How Aborigines Invented the idea of Contemporary Art. Writings on Contemporary Aboriginal Art, Sydney: Power Publications and Brisbane: Institute of Modern Art, 2011
Perkins, Hetti and West, Margie, eds., One Sun One Moon: Aboriginal Art in Australia, Sydney: Art Gallery of New South Wales, 2007.
Sutton, Peter, ed., Dreamings: The Art of Aboriginal Australia, Ringwood, Vic.: Viking Penguin Books in Association with the Asia Society Galleries, New York, 1988.
Students will be given feedback in the following forms in this course:
- written comments
- verbal comments
- feedback to whole class
ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). The feedback given in these surveys is anonymous and provides the Colleges, University Education Committee and Academic Board with opportunities to recognise excellent teaching, and opportunities for improvement. The Surveys and Evaluation website provides more information on student surveys at ANU and reports on the feedback provided on ANU courses.
Chicago Manual of style. See style guide: http://www.chicagomanualofstyle.org/tools_citationguide.html
SEE WATTLE WEBSITE FOR BIBLIOGRAPHY AND POSTED READINGS
|Week/Session||Summary of Activities||Assessment|
|1||Guest lecture: Paul House, Ngambri/Ngunnawal Traditional Custodian/Knowledge Holder - Connection to Country and community; Course overview - Associate Professor, Brenda L Croft (Gurindji, Malngin, Mudburra peoples; Anglo-Australian, Irish, German, Chinese heritage).||Tutorial: Visual analysis - 'Mark Making/Making a Mark' - south-eastern dendroglyphs and Reko Rennie, (Gamilaroi people), 'Untitled (Bogong Moth)', 2017, National Museum of Australia commission.|
|2||Lecture: Introduction to foundational concepts and terminologies. Nations vs. Borders - regional and stylistic diversity (part 1). Australian First Nations' visual art and culture, pre-contact (European), post-contact (European) to late 19th century. Includes cultural definitions and references in relation to Australian First Nations' material culture and art. (Croft/Scott)||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Assessment 4: Wattle forum post|
|3||Lecture: Introduction - The Native Born. Regional and stylistic diversity (part 2). Australian First Nations' visual art and culture, post-contact (European), early 20th century to now. Includes cultural definitions and references in relation to Australian First Nations' material culture and art. (Croft/Scott)||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Tutorial: Albert's Gift - the legacy of Albert Namatjira.|
|4||Site visit, National Gallery of Australia, lecture theatre (TBC), lecture commencing by 10:15 am. Guest lecture - 'The Aboriginal Memorial, from concept to creation, 30th anniversary', Franchesca Cubillo, ( Larrakia, Bardi, Wardaman and Yanuwa woman from the Top End of the Northern Territory), Senior Curator, Aboriginal and Torres Strait Islander Art. Lecture: Key displays in Aboriginal and Torres Strait Islander Art galleries. (Croft/Scott - two groups)||Assessment 1 : Review 1000 words, 20% Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Tutorial: Focus on key work(s) in the NGA Aboriginal and Torres Strait Islander Art Galleries.|
|5||Guest lecture: Dr Amanda Stuart, SOAD Sculpture Department, and Aidan Hartshorn (Wiradjuri people),artist, SOAD student, on the Balawan Elective Project, 2018. Non-Traditional Research Outcomes, Studio and Field trip research. (TBC) Lecture: Signs and significance. Petroglyphs, carving and painting; dendroglyphs, incisions; flags and signals, text and context. Concept - object, subject, intent. Material culture, utilitarian and conceptual art. (Croft/Scott)||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Assessment 4: Wattle forum post Tutorial: Public art/action - cultural revival and reimagining.|
|6||Guest lecture: Erin Vink (Ngemba people), Assistant Curator of Art, Australian War Memorial. ‘Erub Kaubu Kerkera Gemasak: Erub, wartime contributions’ exhibition, and 'For Our Country', sculpture commission by Daniel Boyd (Kudjila/Gangalu peoples, from Clermont South to the Dawson River region of mid Queensland, and South Sea Islander heritage). Lecture: Re/memorying, Memorials and Memorialisation. Case studies including Tony Albert, 'Yininmadyemi: Thou Didst Let Fall', 2015, City of Sydney sculpture commission, Hyde Park, Sydney; Yhonnie Scarce, 'Thunder Raining Poison', 2015, Art Gallery of South Australia; Judy Watson, 'Baru: Monument for the Eora', City of Sydney, upcoming.||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation Tutorial: Memorials vs. monuments, discussion|
|7||Lecture: The sacred and the secular; from protection to self-determination. The impact of the church and state on First Nations' communities, their visual art and cultural practices and presentation. Reserves, missions, co-operatives, land rights, sovereignty, treaties, activism and actions. (Croft/Scott)||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Assessment 4: Wattle forum post Tutorial: First Nations' vs. non-Indigenous curation - perspective and standpoint.|
|8||Lecture: Exhibitions, case studies, including 'Dreamings', Asia Society, New York (1988); 'Urban Aboriginal Art', National Gallery of Australia, (1989); 'Aboriginal Women's Exhibition', Art Gallery of NSW (1991), 'Aratjara', Germany, Denmark, UK (1993); Lecture and discussion: Image and Imagining. Australian First Nations' representation, from in front of the lens in 19th century portraits, to Australian First Nations' presentation, representation and identity. (Croft/Scott)||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Tutorial: Who is the intended audience and market, who is in control? discussion. Tutorial: Mervyn Bishop, Tracey Moffatt, Michael Riley, Destiny Deacon, Christian Thompson - compare and consider.|
|9||Lecture: Craft to Conceptual - art centre models and outlets across Australia, including arts/crafts outlets to art centres, artists' co-operatives and artist-run-initiatives, mid-20th century to now. (Croft/Scott) Lecture: Collecting and collections - presentation and (re)presentation: from the basement to the walls in the white cube, and beyond western walls. (Croft/Scott)||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Assessment 4: Wattle forum post Tutorial: Lecture: Craft to Conceptual - art centre models and outlets across Australia, discussion.|
|10||Guest lecture: Parlingarri Mamanta: Longtime Friendship - Jock Puatjimi and Luna Ryan, 2013. Canberra-based glass artist Luna Ryan discusses her collaboration with Tiwi artist, Jock Puatjimi. Lecture: Individual and communal visions, collaboration and commissions. Family/community; First Nations'/non-Indigenous; cross-cultural/conceptual. Case studies including: 'The River', Euraba Paper Company, with Monika Grzymala, 2012 Biennale of Sydney, 'All our Relations'; 'Kulata Tjuta Project', 2010 - 2012: Tjala Arts, SA, and Jonathan Jones (Gamilaroi/Wiradjuri), 2014 Adelaide Biennial; Lynette Wallworth, Antony and Martu Artists, 2014 Adelaide Biennial; Fiona Hall and Tjanpi Desert Weavers, Venice Biennale, 2015. (Croft/Scott)||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Tutorial: What is collaboration, what is commission?|
|11||Guest lecture: Kelli Cole (Warumunga and Luritja woman from central Australia), Assistant Curator, Aboriginal and Torres Strait Islander Art, National Gallery of Australia. Subversive, diverse curatorial visions - National Gallery of Australia, National Museum of Australia, Canberra Glassworks. Lecture: Exhibitions, a condensed overview, from non-Indigenous to First Nations' curation. (Croft/Scott)||Assessment 2 (Week 2 - Week 11): Oral presentation and paper, 10 minutes, 1000 words, 25%. 2 presentations per week (max), paper due 1 week after presentation. Assessment 4: Wattle forum post Tutorial: First Nations' vs. non-Indigenous curation - perspective and standpoint.|
|12||Film: 'Beneath clouds', 2002, directed by Ivan Sen, 1 hour, 30 mins. Course review/recap - discussion. (Croft/Scott)||Tutorial: Film response and discussion, and course recap.|
|13||Assessment 3 submission||Assessment 3: Essay, 2500 words, 40%|
|Assessment task||Value||Due Date||Return of assessment||Learning Outcomes|
|Oral Presentation and Paper||30 %||13/03/2019||21/06/2019||1,2,3,4,5|
* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details
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Moderation of Assessment
Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.
Assessment Task 1
Learning Outcomes: 1,2,5
Exhibition or Art Commission Review - Erub Kaubu Kerkera Gemasak: Erub, wartime contributions (exhibition), or For Our Country, (sculpture commission) by Daniel Boyd, Australian War Memorial.
Details of task:
Guide for writing a review:
- Include a ‘hook’ sentence at the beginning of the review to capture the reader’s interest.
- Discuss at least one key work in more detail in order to convey the character of the exhibition.
- Identify the argument that the exhibition puts forward. What is the shape, concept, intent of the exhibition?
- Make sure that your review puts forward your own argument which presents your point of view concerning the exhibition. What is the exhibition trying to do? Is the exhibition successful in its aims?
- Conclude with a sentence that encourages the reader to further speculate about the exhibition.
- Read other reviews of other exhibition reviews and other public art commissions and in general (see Wattle website) but remember to present your own original voice in your review. What can you uniquely offer the reader?
Your review will be assessed according to the following criteria:
- Capacity to put forward an interesting critical argumentThe quality of the discussion of key artwork
- Depth of research
Focus on Key Work
Details of Task:
Choose a work from the National Gallery of Australia's Aboriginal and Torres Strait Islander Art Collection, or the National Museum of Australia, or the Australian War Memorial. Include at least a 500 word visual analysis of the work discussing medium, scale, texture, line, colour, composition. How do these formal elements relate to the meaning of the work? Include up to 500 words about the artist(s) intent and context.
Your focus on a key-work will be assessed according to the following criteria:
- Depth of visual analysis of the chosen artwork
- Relationship between the visual analysis and content of the work
- Depth of research
- Capacity to put forward an interesting critical argument
- Quality of the overview of the artist’s work
Word limit: 1500 words
Presentation requirements: double spaced
Hurdle Assessment requirements (where applicable): Presentation
Individual Assessment in Group Tasks (where applicable): N/A
Assessment Task 2
Learning Outcomes: 1,2,3,4,5
Oral Presentation and Paper
Give a 10 minute presentation on the work of an Aboriginal or Torres Strait Islander artist. This cannot be the same artist that you chose for Assignment one. Critically assess and put forward an argument concerning the artist’s work supported with a powerpoint presentation including no more than 10 images.
Present a paper that provides a critical reading of one of the texts set for the course (ie included on the Wattle site). This is NOT just a summary of the reading. It is presenting your own point of view concerning the reading. What is the main argument and do you agree with it? Why or why not?
Your presentation will be assessed according to the following criteria:
- Relevance to the course material
- Relevant use of support material such as images or information handouts
- Your ability to interpret the material being discussed rather than simply providing information about it
Word limit: 1500 words
Oral presentation 10%
+ Paper 20%
Presentation requirements: oral presentation, ten minutes. Paper, typed, double spaced.
Estimated return date:
Assessment Task 3
Learning Outcomes: 1,2,3,4,5
Essay questions are posted on the Wattle website.
Assessment Rubrics: Essays will be assessed according to the criteria in the rubric included at the end of this course guide.
Word limit: 3000 words
Presentation requirements: typed, double spaced.
Estimated return date:
Assessment Task 4
Learning Outcomes: 1,3,5
Students must participate actively in the course through reading of assigned texts and participation in class discussion
Value: 10% of total mark
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For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.
Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.
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Resubmission of Assignments
No resubmission allowed for this course.
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Australian First Nations' contemporary visual arts and culture; international First Nations' contemporary visual arts and culture; critical Indigenous performative auto-ethnography, Indigenous Storying and Indigenous Knowledges; creative-led research; cultural representation and identity; re/memorying, memorialisation; personal and public archives and access