Hiller - The Myth of Primitivism. Perspectives on Art - Esoteric Online

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Aboriginal representation and kitsch 281 ’nd the winds <strong>of</strong> change Were blo win’ cold that night! <strong>The</strong>y were standin’ on the shore one day Saw the white sails in the sun Wasn’t long before they felt the sting White man—White law—White gun Don’t tell me that it’s justified ’cause somewhere someone lied. (Shane Howard 1982. © Uluru Music) In its innocent way, this song, ‘Solid Rock’, brings together a number <strong>of</strong> important themes: failure to come to terms with historical reality and an ill-thought-out sense <strong>of</strong> white collective guilt (‘cause somewhere someone lied), the noble savage (proud people came), primally pure spirituality versus brutal materialism (Solid Rock, Sacred Ground, White law, White gun) and the Arcadian conflation <strong>of</strong> pre-contact Australia with western millennial fantasy (the Promised Land, paradise). I raised the question at the beginning <strong>of</strong> this chapter: why are the most ‘sympathetic’ representations <strong>of</strong> Aborigines usually the worst? Part <strong>of</strong> the answer <strong>of</strong>ten lies in the quality <strong>of</strong> the sympathy itself, exemplified by this song. Appearances notwithstanding, it isn’t really a song about Aboriginal history at all. It
<strong>The</strong> myth <strong>of</strong> primitivism 282 16.2 William Ricketts, <strong>The</strong> Spiritual Form <strong>of</strong> William Ricketts, outdoor sculpture, Dandenongs, Australia. is an alienated, urban teenagers’ lament for a missing sense <strong>of</strong> legitimate belonging in the country, and a lament for something cosmic and mystical with which to identify. It appropriates a dimly conceived notion <strong>of</strong> Aboriginal spirituality as a talisman <strong>of</strong> its
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The MYTH o
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The MYTH o
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PART I Contents List of</st
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Illustrations Display case, Berlin
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10.2 A blend of sa
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Display case, Berlin Ethnographical
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little pictures inserted me neatly
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10 Christian Metz (Fall 1985) ‘Ph
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assumptions of the
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PART I
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The myth o
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Outsiders or insiders 19 Th
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Outsiders or insiders 21 content it
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Outsiders or insiders 23 honoured i
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Outsiders or insiders 25 If the con
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Outsiders or insiders 27 of
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Outsiders or insiders 29 free-range
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Outsiders or insiders 31 which the
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Outsiders or insiders 33 Melly, Geo
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‘Remember, you are the stranger.
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Editor’s introduction The
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5 Emil Nolde’s ‘ethnographic’
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The resurgence <st
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From primitivism to ethnic arts 133
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PART III
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Ethnography and the formation <stro
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10 Art and meaning SIGNE HOWELL In
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Art and meaning 181 which the sculp
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Art and meaning 183 overall social
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Art and meaning 185 woven into syst
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Art and meaning 187 anthropologists
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Art and meaning 189 and visited Mus
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Art and meaning 191 ultimate ‘oth
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Art and meaning 193 10.5 Jah Hut me
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Art and meaning 195 The</st
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Art and meaning 197 without models
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11 Dark continents explored by wome
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Dark continents explored by women 2
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Leonardo’s ‘Last Supper’ in F
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Page 259 and 260: The myth o
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Page 285 and 286: 15 Locality fails IMANTS TILLERS Al
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Page 309 and 310: 17 Born from sharp rocks Edgar Heap
Page 315 and 316: Notes on contributors 294 P.S.122.
Page 317 and 318: Index aboriginality, as Australian
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Page 321 and 322: Index 300 Eurocentrism 14-15, 21, 8
Page 323 and 324: Kirchner, Ernst Ludwig 99, 144, 240
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Page 327 and 328: Index 306 ‘soft
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Hiller - The Myth of Primitivism. Perspectives on Art - Esoteric Online

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