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Notes on video lecture:
Australian Indigenous Visual Culture
Choose from these words to fill the blanks below:
geometric, Tiwi, ceremonial, contemporary, Papunya, ephemeral, cave, spirit, indigenous, ceremony, country, composition, Balgo, artifact, ancestral, paint, ground, artists, Jokepa, men, Australia, women
contemporary                      art
gathering momentum in                    from the 1970s onwards
indigenous visual culture is the longest continuous art form on the planet
50,000 years
prior to contact by Europeans, its locus was
primary                 
largely                   
1971
following the work of bark painters and sculptors in Arnhem land in the          Islands
laid the ground work for revolution in indigenous art
artists at                transferred designs onto small sheets of                        board
before that only visible on                      ground
women not allowed to           
before this art
Papunya art was viewed as                 
a curiosity
not deserved to be considered as equivalent as art
Papunya art was seen as art
not works for use in ceremony
they were largely                   , seemingly abstract
dots form an important part of iconography
shields
         walls
used on the body and on the             
term: "dot painting"
these painting showed the actions of                    beings
from a place called the             
art was bequeathed to next generations
the              of a person comes from a particular place in the landscape to which the person will return when they pass away
continuous life cycle
the position of            in traditional society
the emergence of women as               
the 1980s the first time to work as artists in their own right
women began painting at Yuendumu, Lajamanu and           
in discussion with        gained permission to use dots because dots belonged to men
their works were about their responsibilities to               
less formal than those of men
Emily, Cara, and Laura were leading artists in this society
one canvas of Emily's
was reproduced on the cover of the group's publication
women's linear designs was covered by a field of dots
used to be the predominant iconography of Papunya men's painting
what was happening at Yuendumu or Balgo
collectors wanted to see more of Emily's works
but she had no knowledge of any                          art movement

Ideas and Concepts:

More curiosities of human behavior, via tonight's Sexing the Canvas: "Art and Gender course:"In the mid 1980s, women in Australian aborigine cultures of Yuendumu, Lajamanu and Balgo began to work as artists in their own right. Up to this point, women were only allowed to paint with stripes and lines. Beginning around 1986, in discussion with men, women gained permission to use dots because dots belonged to men."
Tiepolo´s Cleopatra: Agency in Paint
The Political and Sexual Agency of Cleopatra
Gainesborough and 18th Century Effeminism
Soldiers, Chivalry, and Men of Feeling
Gainsborough's Portrait of Karl Friedrich Abel
The Ligoniers: The Tensions of Gender in Paint
Effeminacy and the Culture of Sensibility
Gainsborough's Cottage Door: Charity and Sensibility
Seduction in Boucher's pastoral paintings
Boucher's Madame de Pompadour: Controlling the Gaze
Rococo Eroticism in 18th Century Popular Culture
John Lavery in Morocco: Orientalism and the Academy
Hazel Lavery and the Politics of Display
Hilda Rix Nicholas in Morocco
The Dream by Henri Rousseau
Henri Rousseau's The Sleeping Gypsy
Restaging the Nude: Matisse's Dance
Cezanne’s Bather: Masculinity and Movement
Max Dupain (1911-1992): Australian Men on the Beach
Frida Kahlo's Fulang-Chang and I
Frida Kahlo: Self Portrait with Cropped Hair
Myth and Sexuality: Glyn Philpot's Oedipus
Australian Indigenous Visual Culture