Source TitleThird Text
PublisherTaylor & Francis (Routledge)
University of Melbourne Author/sGreen, Charles
AffiliationArt History, Cinema, Classics And Archeology
Document TypeJournal Article
CitationsGreen, C. (2004). Group soul. Third Text, 18 (6), pp.595-608. https://doi.org/10.1080/0952882042000285005.
Access StatusOpen Access
C1 - Journal Articles Refereed
This is an electronic version of an article published in Third Text. Third Text is available online at <http://www.informaworld.com/smpp/content~db=all~ content=a713998324?words=green*|charles*>.
This essay is a reflection on collective ownership in a collaborative work of art, noting the contemporary relevance of traditional Aboriginal understandings of intellectual and spiritual copyright. The subject matter of this essay is the intersection of Western Desert painting and a 1980s post studio artist collaboration, underneath which I’m overtly asserting Western Desert painting’s importance to a global audience, even though critics and curators find Western Desert painting difficult to place in the context of contemporary art. They acknowledge its importance, but are constricted by categorizations based on the assumption that nationality and ethnicity equals narrative. The last twenty years or so demonstrates, though, the failure, not the necessity, of the idea of nationalisms and, equally, the dark dangers lurking behind the valorization of ethnicity and religion. By this I mean that the regional narrative doesn’t really explain very much, except to Sotheby’s or Christies’ clients, although models that show the virtual Balkanization and overlapping dispersal and globalization of different types of art and audiences certainly seem to, at the same time as anthropological frameworks are being displaced in the study of Aboriginal art. The reasons for this history lesson will become clear: the stakes are high with regard to artists and visuality.
KeywordsArt History and Appreciation ; The Creative Arts
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