I'm sorry to say that I left last week's tutorial feeling very cynical about Indigenous 'authenticity'. Many of the tutorial participants seemed far too eager to see it perpetuated indefinitely through their art, which I believe may be an antagonizing factor in the disparity of Indigenous living standards compared to their western comrades. What seems obvious to me, is that the desire for 'authenticity' in Indigenous art prevents any artistic exploration and cultural sophistication on their behalf.
The merits of this 'authenticity' were discussed at length last week, from what constitutes 'authenticity', to its departure by artist Albert Namatjira who adopted a very European style of painting (fig.1). But what struck me more than anything was the plight of a certain group of Indigenous artists relayed by Carmel Young, Festival Manager at Tandanya National Aboriginal Cultural Institute, and our guest tutor for the day. These artists were left high and dry when, after switching from traditional ochre paint to more manageable acrylics, their new work was considered 'un-authentic'. Vivid blues and vibrant pinks were too far a departure from the more traditional reds and yellows it seems. Understandably, they reverted to using ochres in order for demand to increase.
The merits of this 'authenticity' were discussed at length last week, from what constitutes 'authenticity', to its departure by artist Albert Namatjira who adopted a very European style of painting (fig.1). But what struck me more than anything was the plight of a certain group of Indigenous artists relayed by Carmel Young, Festival Manager at Tandanya National Aboriginal Cultural Institute, and our guest tutor for the day. These artists were left high and dry when, after switching from traditional ochre paint to more manageable acrylics, their new work was considered 'un-authentic'. Vivid blues and vibrant pinks were too far a departure from the more traditional reds and yellows it seems. Understandably, they reverted to using ochres in order for demand to increase.
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| fig.1 Albert Namatjira, "Central Australian Gorge", 1940, watercolour and gouache over pencil on thick wove paper , 53.5 x 36.7 cm, Queensland Art Gallery |
If this story has any truth to it, then those who wallow in the 'beauty of Indigenous authenticity' should be thoroughly ashamed. By essentially demanding that no progress or artistic exploration be considered by these artists, their ability to break new ground was being hindered. What kind of cultural progression can be made in such an environment? None, I put it to you. Cultural sophistication flourishes in environments where artistic endeavor is unimpeded. Indigenous Artistic 'Authenticity' is therefore thoroughly mixed up with the never-ending debate on Indigenous standards of living in Australia. And until westerners stop glorifying the historicity of Indigenous art, (that is to say its 'authentic component'), they will find it very difficult to be part of the ever shrinking global society.
Appreciating their history and culture through their art is fine, but satisfying our own lust for primal 'authenticity' to the detriment of their artistic exploration is borderline totalitarian.
It would be fair to say that this view hinges on only one anecdotal piece of evidence which I freely admit is the case. However, I strongly suspect, and hope to convince others over the remainder of the course, that the abhorrent attitude to authenticity is more widespread and institutionalised than it first appears.
ReplyDeleteYou've argued your point well man, and to be honest, I do agree with you. One of the biggest problems is then, how does an indigenous person practicing indigenous art through another means then identify themselves as being an indigenous artist? And what consistutes indigenous art? Should it even be categorised as such? I tried discussing a lttle of that here http://australianindigenousartsjournal.blogspot.com/2011/07/heavy-lexicon-for-aboriginal-art.html. You should definitely try and pick up a copy of that journal and read the article. It's quite poignant. Adam Hill himself uses both bright and orthodox colours in his work, crossing boundaries.
ReplyDeleteIf you look, there are still plenty of indigenous artists, particularly the younger artists coming through, who have whole-heartedly embraced new mediums. Check out Reko Rennie via Google Images, for instance.
The problem is again a case of authenticity, though. Does this work need to be identified as "indigenous art" or is it art by indigenous persons?