Abstract
This chapter explores the connections between histories of the civil rights movement in Australia and Indigenous artists working in Australia that identify their practice as part of this lineage, rather than European histories in Australia. In this chapter, I explore the work of Karla Dickens and the strategies of resistance she employs.
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Notes
- 1.
Whittaker, A (2017) ‘Acknowledgement’. Overland Journal (Summer). https://overland.org.au/2017/01/acknowledgement/.
- 2.
Right Wrongs ’67 Referendum—WA 50 years on, see http://museum.wa.gov.au/referendum-1967/referendum-day. Accessed Friday 14 September 2018.
- 3.
In conversation with the author, July 2018.
- 4.
Curthoys , A (2002) Freedom Ride : A Freedom Rider Remembers. Allen & Unwin, p. 7.
- 5.
Ibid., p. 14.
- 6.
Tickner, R (2001) Taking a Stand: Land Rights to Reconciliation. Sydney: Allen & Unwin, p. 7.
- 7.
Reynolds , H (2000) Why Weren’t We Told? London: Penguin, p. 45.
- 8.
Mitchell, T in Reynolds , H (2000) Why Weren’t We Told? London: Penguin, p. 233.
- 9.
Perkins , C (1975) A Bastard Like Me. Sydney: Ure Smith Books.
- 10.
Curthoys , A (2002) Freedom Ride: A Freedom Rider Remembers. Sydney: Allen & Unwin, p. 221.
- 11.
Ginsburg, F & Myers, F (2006) ‘A History of Indigenous Futures: Accounting for Indigenous Art and Media’. Aboriginal History, 30, 95–110, p. 99.
- 12.
Ibid., p. 97.
- 13.
Collins, D (1798) An Account of the English Colony in New South Wales. London: T. Cadell, W. Davies.
- 14.
The song can be heard here http://nationalunitygovernment.org/content/bennelong-and-yemmerrawanyea-singing-england.
- 15.
Zeppel, H (1999) ‘Who Were Bennelong and Pemulwuy? Museums in Sydney and Interpretation of Eora Aboriginal Culture’. International Journal of Heritage Studies, 5 (3–4).
- 16.
Bates , D (1966) The Passing of the Aborigines: A Lifetime Spent Among the Natives of Australia. London: John Murray, p. 60. For more on Fanny Balbuk life, see http://journal.media-culture.org.au/index.php/mcjournal/article/view/1038.
- 17.
via personal correspondence with Dickens, August 2018.
- 18.
Foster, H (2004) ‘An Archival Impulse.’ October 110, 3–22.
- 19.
Taylor, D (2003) Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, p. 82.
- 20.
Ibid.
- 21.
Statistic from Australia Council for the Arts. http://www.australiacouncil.gov.au/workspace/uploads/files/arts-nation-final-27-feb-54f5f492882da.pdf. Accessed 10 August 2018.
- 22.
McLean, I (2016) Rattling Spears: A History of Indigenous Australian Art. London: Reaktion Books, Chapter 6, pp. 147–207.
- 23.
Bancroft, B (2011) https://www.boomalli.com.au/about-1/. Accessed 10 August 2018.
- 24.
Dickens, K (2017) ‘Artist Statement’. Defying Empire, National Gallery of Australia. https://nga.gov.au/defyingempire/artists.cfm?artistirn=18896.
Bibliography
Bancroft, B (2011) https://www.boomalli.com.au/about-1/. Accessed 10 August 2018.
Bates, D (1966) The Passing of the Aborigines: A Lifetime Spent Among the Natives of Australia. London: John Murray.
Collins, D (1798) An Account of the English Colony in New South Wales. London: T. Cadell, W. Davies.
Curthoys, A (2002) Freedom Ride: A Freedom Rider Remembers. Sydney: Allen & Unwin.
Dickens, K (2017) Artist Statement. Defying Empire, National Gallery of Australia. https://nga.gov.au/defyingempire/artists.cfm?artistirn=18896.
Foster, H (2004) ‘An Archival Impulse.’ October 110, 3–22.
Ginsburg, F & Myers, F (2006) ‘A History of Indigenous Futures: Accounting for Indigenous Art and Media’. Aboriginal History, 30, 95–110.
McLean, I (2016) Rattling Spears: A History of Indigenous Australian Art. London: Reaktion Books.
Perkins, C (1975) A Bastard Like Me. Sydney: Ure Smith Books.
Reynolds, H (2000) Why Weren’t We Told? London: Penguin.
Taylor, D (2003) Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.
Tickner, R (2001) Taking a Stand: Land Rights to Reconciliation. Sydney: Allen & Unwin.
Whittaker, A (2017) ‘Acknowledgement’. Overland Journal (Summer). https://overland.org.au/2017/01/acknowledgement/.
Zeppel, H (1999) ‘Who Were Bennelong and Pemulwuy? Museums in Sydney and Interpretation of Eora Aboriginal Culture’. International Journal of Heritage Studies, 5 (3–4), 182–187.
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McMillan, K. (2019). Art Practice as Resistance/Defying Forgetting. In: Contemporary Art and Unforgetting in Colonial Landscapes. Palgrave Macmillan Memory Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-17290-9_7
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