Historically Australian Indigenous Art Is Often Politically or Spiritually Motivated Essay Example for Free

Historically Australian Indigenous Art Is Often Politically or spiritually Motivated EssayHistorically Australian art is often politically or spiritually motivated. This control is proved by a number of indigenous Australian artists including, Nellie Nakamarra Marks, who uses tralatitious techniques and motives to relay her spirituality, and Tony Albert, who recontextualises mainstream items, to crap a postmodern line of battle, challenging the idea of stereotypical equateations in mainstream kitchen-gardening. All spiritual beliefs in Aboriginal culture relate back to the idea of creation and dreaming.The dreaming is the ongoing cultural and spiritual progression that informs identity element and knowledge, which is expressed through traditional indigenous art. This reflects a spiritual society to the overthrow, which is represented by signs and symbols as well as other various techniques, which are unique to traditional indigenous art. Signs and symbols can represent a peculiar(prenominal) location, object or landmark, or a particular story or totem that would be specific to a particular tribe, corroboree or dreamtime story.In traditional indigenous art kit and caboodle, there is no situation or fixed vanishing points for landscape artworks because indigenous Australians do not see their environment as a landscape, but their particular world and universe. They create a concept of place by using signs and symbols to create a map- uniform artwork, which represents their particular world and universe. Essentially, traditional indigenous Australian artists are painting their spirituality, by expressing their connection to the land through signs, symbols and their world.Nellie Nakamarra Marks is a traditional indigenous artist, from the east of Kintore in the Northern Territory. In her work Kalipinypa, there is no set pattern and everything is connected which suggests her spiritualty and connection with the land. Her use of the traditional form of dot painting for her particular area of the Central Desert Region symbolises her world as she sees it, and how she heard about it through stories.In the middle of the right hand side there is overlook of colour, which could symbolise a particular place that has particular spiritual significance. The dark shapes also look like leaves, which could represent the end of season and the coming of autumn, which is supported by the deep, vibrant influence in the painting. The colours also represent her region and place in Australia. The many different varieties of the same shapes could symbolise innovation within their own tribe, as well as the different shapes and movements of the land.The purpose of this artwork is to educate and turn on a particular story to younger generations. Postmodern art challenges mainstream ideas, which usually creates a political or social statement about modern society. Contemporary indigenous art in particular would be classified as postmodern because the artists are communicating their feelings and thoughts about certain aspects of society in modern Australia, which in turn, challenges some pre conceived notions about indigenous Australians in todays society.These particular works by Tony Albert are postmodern, because he recontextualises items from recent history, that were used to create an unrealistic connection between washcloth Australia and indigenous Australia in the 50s and 60s, to challenge history, both politically and socially. Tony Alberts collection recycles kitsch black velvet paintings produced in Australia in the 1950s and 1960s. These velvet paintings were very popular in the get fifty years as home decorations, and like many objects from this period, they were characterized by their depictions of Aboriginal people as simple folk.These ornaments enabled white Australians of the time to have a distant and unrealistic connection to indigenous people. Albert recontextualises these paintings by introducing stenciled s logans to the paintings to create a complex and identifiable character. He uses the languages of politics and pop culture to reconnect the artworks with modern Australia and thus reality. These slogans reclaim the faces of the aboriginals, transferring them from helpless and cute, to bold and complex, which asserts a modern identity and feel of self.This makes the characters more personal, which then creates a connection between the viewer and the subject that is mimicked throughout the collection. The slogans are derived from pop songs, nursery rhymes, advertising, political speeches and sprightliness stories, which has launched these velvet paintings into a new identity, which enables the viewer to connect with the characters beyond a stereotyped context.The generic and common velvet paintings have become empowered and personalized, asserting a new sense of self, which makes this collection actually compelling. This collection by Tony Albert, addresses the write out of stereo typical representations of indigenous Australians in mainstream culture. He challenges this present and historic issue of cultural alienation and displacement experienced by Indigenous Australians by appropriating slogans and recontextualising them to create a sense of lost identity and estrangement.Through the use of many different mediums, Aboriginal artists are motivated by their spirituality or political standpoint to produce art. This is shown by Nellie Nakamarra Marks, who is motivated by her connection to the land and her spirituality, and Tony Albert, who was trying to communicate the stereotypical views of indigenous Australians in mainstream culture. Kalipinypa NELLIE NAKAMARRA attach Acrylic on linen, 90? 90cm Kalipinypa NELLIE NAKAMARRA MARKS Acrylic on linen, 90? 90cm.