ANTH-UA 9038.SY1 or SCA-UA 9836.SY1 Indigenous Australian Art: An Analytical and Cultural Study. Fall 2018

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1 ANTH-UA 9038.SY1 or SCA-UA 9836.SY1 Indigenous Australian Art: An Analytical and Cultural Study Instructor Information Fall 2018 Petronella Vaarzon-Morel Consultation by appointment (Mon 9:00am 12:00pm) (Please allow at least 24 hours for your instructor to respond to your s) Course Information Pre-Requisite: None Mondays: 12:30 3:30pm Room 302, NYU Sydney Academic Centre. Science House: Gloucester Street, The Rocks NSW 2000 This course is a survey of the principal themes and issues in the development of Indigenous art in Australia. It focuses on some of the regional and historical variations of Aboriginal art in the context of the colonisation of Australia, while considering the issues of its circulation and evaluation within contemporary discourses of value. Topics include the cosmological dimensions of the art, its political implications, its relationship to cultural and national identity, and its aesthetic frameworks. There will be four required fieldtrips/excursions during which students will visit some of the major collections of Indigenous Australian art as well as exhibitions of contemporary works. The class will involve lectures, student presentations, discussion, and video material to accompany lectures. There will also be guest presentations from Indigenous artists and Indigenous curators of art. Required field trip/excursions: Week 1 (Monday 3 Sep): Museum of Contemporary Art, Exhibition: John Mawurndjul, I am the old and the new. Week 2 (Monday 10 Sep): Guided tour of Aboriginal rock art sites at Ku-ring-gai Chase National Park This field trip is in lieu of normal class time from 12:30m 3:30pm. Indigenous Art Page 1 of 16

2 Week 6 (Monday 8 Oct): Australian National Maritime Museum Exhibitions: 1) Eora First People. Precious Works of Aboriginal and Torres Strait Islander Culture; 2) Gapu-Monuk Saltwater: Journey to Sea Country; 3) Unbroken Lines of Resilience: feathers, fibres, shells. This field trip is in lieu of normal class time from 12:30m 3:30pm. Week 11 (Monday 12 Nov): Student presentations on selected art work in Yiribana Gallery, Art Gallery of NSW Exhibition: Noŋgirrŋa Marawili, from my heart and mind. This field trip is in lieu of normal class time from 12:30m 3:30pm. Course Materials Required Textbooks & Materials Howard Morphy, Aboriginal Art. London, England: Phaidon Press, Supplemental Textbooks & Materials (Not required to purchase; available in NYU SYDNEY Library) See Appendix 1 Course Overview and Goals Upon Completion of this Course, students will be able to: Demonstrate knowledge of the diversity of Indigenous arts in Australia ranging from acrylic paintings of the Western Desert to bark paintings of Arnhem Land to urban, politically motivated works in various media (including photography, sculpture, printmaking, etc.) and reflect critically on the ways in which it is displayed. Think about these works both as objectifications of cultural expression (Aboriginal histories, religious beliefs, cultural/linguistic practices) and as political interventions. Appreciate the role of anthropology/art history in defining Aboriginal art as a genre of high art; think about Aboriginal art as itself an intercultural production, and be able to thoughtfully address our own participation in defining this category on various markets/multiple regimes of value. Relate case studies in Indigenous arts to broader themes, including the definition of race/aboriginality in Australia; the recognition and representation of Indigenous Australians in various forms (the constitution, art museums, media); how value is understood/accrued on markets; destabilising dichotomies between remote/urban, art/craft, ethnography/art, prehistory/history; defining and problematising authenticity, and appropriation and many more. Course Requirements Class Participation Indigenous Art Page 2 of 16

3 Class participation includes two components: 1) Active engagement in discussions and respectful listening; collaborative group work as occasionally assigned; evidence of engagement with readings. 2) 15 minute presentation of course materials during the semester (to be decided via student sign-up on the first class). You will need to summarise authors arguments, present major themes, and raise questions for further discussion. Collaboration with another student may be necessary depending on numbers. Film/video/web clips and/or PowerPoint are welcome but not required. Artwork Presentation Visit the Art Gallery of New South Wales and select and research one work of art by an Indigenous artist that is on display and prepare a 12 minute, object-centered talk on this work. We will be presenting in front of the selected works in the Yiribana Gallery at the Art Gallery of New South Wales in Week11, 12 November. (12 minutes) Exhibition Review Your instructor will provide a listing with addresses. (4-5 pages) Profile of an Art Producing Community You will compose a profile of an Indigenous art producing community in Australia detailing its first experiments with making art for the public domain. Please specify the cultural, historic, stylistic negotiations that informed the community s adaptive practices and include some information on one of its better-known members. (4-5 pages) Final Research Paper Write on a significant topic/issue in Aboriginal art using at least three of the class readings. Assessment criteria and a list of suggestions will be distributed in session 8; you may also choose your own topic/issue in consultation with the lecturer. Please schedule an in-person conversation; is not sufficient. (2,500 words) Written work must include appropriate and consistent citations and references (reference lists are not included in the required number of pages); please follow NYU s Style Guide available on the NYU Classes site for our course (check under Resources ). Grading of Assignments The grade for this course will be determined according to the following formula: Assignments/Activities % of Final Grade Due Class participation 10% Ongoing Class presentation 10% Ongoing Exhibition Review 15% 12:30pm, Fri 5 Oct (Wk 5) (MAKE-UP DAY, NO CLASS ON 1 OCT) Indigenous Art Page 3 of 16

4 Assignments/Activities % of Final Grade Due Artwork Presentation 15% Mon 12 Nov (Wk 11) Community Profile 15% 12:30pm, Mon 3 Dec (Wk 14) Research Paper 35% 12:30pm, Mon 17 Dec For this course, your total numerical score, calculated from the components listed above, is converted to a letter grade without rounding. Extra credit: Site policy does not allow grading of work outside of the assignments included in the syllabus. The final grade will only be calculated from the assessment components listed here and no other work, whether additional or substituted, is permitted. Failure to submit or fulfill any required course component results in failure of the class Letter Grades Letter grades for the entire course will be assigned as follows: Letter Grade A B C D F Explanation of Grade Excellent performance showing a thorough knowledge and understanding of the topics of the course; all work includes clear, logical explanations, insight, and original thought and reasoning. Creative work is of a highly sophisticated standard. Good performance with general knowledge and understanding of the topics; all work includes general analysis and coherent explanations showing some independent reasoning, reading and research. Creative work is of a superior standard. Satisfactory performance with some broad explanation and reasoning; the work will typically demonstrate an understanding of the course on a basic level. Creative work is of an acceptable standard. Passable performance showing a general and superficial understanding of the course s topics; work lacks satisfactory insight, analysis or reasoned explanations. Creative work is of a basic standard. Unsatisfactory performance in all assessed criteria. Work is unfinished or unsubmitted. Grade Conversions For this course your total numerical score, calculated from the components listed above, correspond to the following letter grades: Indigenous Art Page 4 of 16

5 A 94 to 100 A- 90 to < 94 B+ 87 to < 90 B 84 to < 87 B- 80 to < 84 C+ 77 to < 80 C 74 to < 77 C- 70 to < 74 D+ 67 to < 70 D 65 to < 67 F 0 to < 65 Indigenous Art Page 5 of 16

6 Course Schedule Week 1: 3-Sep-18 What is Indigenous Art? A Journey to Recognition. Required Reading: Howard Morphy. A Journey to Recognition: The Discovery of Aboriginal Art in Aboriginal Art, London, England: Phaidon Press, 1998, pp Recommended Reading: Jolene Ricard Absorbing or Obscuring the Absence of a Critical Space in the Americas for Indigeneity: The Smithsonian's National Museum of the American Indian, Res: Anthropology and Aesthetics 52, Harvard University: Peabody Museum Press, Boston, Fall, 2007, pp Required field trip/excursion: Museum of Contemporary Art, Exhibition: John Mawurndjul, I am the old and the new. ( pm). (We will meet at Science House in Room 302 first) Homework Assignment: Research the Indigenous peoples from your hometown or city and write one or two paragraphs based on your findings. Please be prepared to present and discuss briefly on the bus (Wk 2). Week 2: 10-Sep-18 The Memory of Place: Aboriginal rock engravings of Sydney and Murujuga Guest Lecturer: Matt Poll Val Attenbrow, Sydney's Aboriginal past: Investigating the archaeological and historical records. Sydney, UNSW Press, 2010, pp ; ; and Video Managing Aboriginal Rock Art, min. at Recommended Reading: Robert G Bednarik, The Survival of the Murujuga (Burrup) Petroglyphs, Rock Art Research 19 (1), 2002, pp Required field trip/excursion: Guided tour of Aboriginal rock art sites at Ku-ring-gai Chase National Park This excursion will be instead of the regularly scheduled class time at the Academic Centre. We will meet at the Academic Centre and a bus will take us to Kuring-gai Chase National Park, which will take approximately 45 minutes. Depending on traffic, we may be a little late returning to Sydney. Please wear comfortable closed-toed shoes, as we will be walking on uneven, rocky and sometimes steep paths. A hat, Indigenous Art Page 6 of 16

7 sunscreen, sunglasses and a bottle of water are recommended for the field trip. This trip will be in lieu of class from 12:30 3:30pm. Homework Assignment: Visit the Art Gallery of New South Wales and select and begin research on one work of art by an Indigenous artist that is currently on display. Most of the Indigenous works are exhibited in the Yiribana Gallery which is on the lower ground floor of the Gallery. You will need to take the escalators down three levels to reach the Yiribana Gallery. This research will form the basis of a 12 minute talk that you will deliver in front of the selected work and in front of your class mates in Week 11. Please me your selection by 6 October to avoid duplication and to ensure that the work will still be on display for our presentations. Every day at am, the Art Gallery of New South Wales offers free-guided tours of its Indigenous collection in the Yiribana Gallery, departing from the main Information Desk. Consider joining one of these or other free-guided tours. Please note that Indigenous art is hung throughout the Gallery and isn t just on the lower ground floor. Week 3: 17-Sep-18 First Citizen: Albert Namatjira and the Hermannsburg School Howard Morphy, Transformations: The Contemporary Art of Central Australia in Aboriginal Art, London, England: Phaidon Press, 1998, pp Brenda L Croft Albert s Gift, in Australian Aboriginal Art, Issue 1, 2009, pp Selected reading for class presentation: Philip Jones, Namatjira: Traveller between two worlds, in The Heritage of Namatjira: The Watercolourists of Central Australia, Port Melbourne, Victoria: William Heinemann Australia, Jane Hardy, J.V.S. Megaw, and Ruth Megaw, eds., 1992, pp Recommended reading: Alison French, ed. Seeing the Centre: The Art of Albert Namatjira , National Gallery of Australia, Canberra, 2002, pp Media: The Namatjira Project First Citizen: Albert Namatjira. Directed by John Tristram, 1989, 54 mins. Week 4: 24-Sep-18 Papunya: Genesis and Genius Howard Morphy, Transformations: The Contemporary Art of Central Australia in Indigenous Art Page 7 of 16

8 Aboriginal Art, London, England: Phaidon Press, 1998, pp (beginning at last paragraph) Fred Myers. Truth, Beauty and Pintupi Painting. Visual Anthropology, Vol 2, 1989, pp Selected reading for class presentation: Fred Myers, Representing culture: The production of discourse(s) for Aboriginal acrylic paintings, Cultural Anthropology, 6, 1, 1991, pp Recommended Reading: Geoff Bardon, The Money Belongs to the Ancestors. in Papunya Tula: Genesis and Genius, Sydney, Art Gallery of New South Wales in association with Papunya Tula Artists, Hetti Perkins and Hannah Fink, eds., 2000, pp Media: Excerpts from Mr Patterns (2004), dir. Catriona McKenzie (55 mins) Week 5: 5-Oct-18 MAKE-UP DAY FOR LABOUR DAY PUBLIC HOLIDAY (NO CLASS ON MON 1 OCT) Marking country, social relations and self: artistic practices in Warlpiri and Anmatyer communities Françoise Dussart, A Body Painting in Translation in Rethinking Visual Anthropology, New Haven, Yale University Press, Howard Morphy and Marcus Banks, eds., 1997, pp Selected reading for class presentation: Jennifer Biddle. Country, Skin, Canvas: The Intercorporeal Art of Kathleen Petyarre in Australian and New Zealand Journal of Art, Vol. 4, No. 1, 2003, pp Recommended reading P. Vaarzon-Morel Continuity and Change in Warlpiri Practices of Marking the Landscape In William A. Lovis and Robert Whallon (eds.) Marking the Land: Hunter-Gatherer Creation of Meaning in their Environment. Routledge Studies in Archaeology. 2016, pp Lisa Stefanoff Moving painting in Visual Anthropology Review, 2018 Vol. 34, Issue 1, pp Week 6: 8-Oct-18 Northeast, Central, and Western Arnhem Land: Contact, Collections and Cultural Practices Indigenous Art Page 8 of 16

9 Guest Lecturer: Matt Poll Luke Taylor, Fire in the Water: Inspiration from Country in Crossing Country: The Alchemy of Western Arnhem Land Art Art Gallery of New South Wales, Sydney, 2004, Hetti Perkins, ed.,pp Djon Mundine, An Aboriginal Soliloquy in They are Meditating Bark Paintings from the MCA s Arnott s Collection, Sydney, Museum of Contemporary Art, 2008, pp Required fieldtrip/excursion: Australian National Maritime Museum exhibitions: 1) Eora First People. Precious Works of Aboriginal and Torres Strait Islander Culture. 2) Gapu-Monuk Saltwater: Journey to sea Country Yirrkala Bark Painting of Sea Country. We will be meet at the Maritime Museum, 2 Murray St, Darling Harbour, Sydney. Week 7: Oct SEMESTER BREAK No Class Week 8: 22-Oct-18 Eulogies in Ochre: Art from the East Kimberley and the Tiwi Islands Guest Lecturer: Matt Poll Henry F Skerritt, "Strange Relatives: Negotiating the Borderlines in East Kimberley Painting," in Crossing Cultures: The Owen and Wagner Collection of Contemporary Australian Aboriginal Art, Hanover, NH: Hood Museum of Art, Dartmouth College, 2012, Stephen Gilchrist, ed., pp Selected reading for class presentation: Marcia Langton, Hungry Ghosts: Landscape and Memory, in Blood on the Spinifex, Ian Potter Museum of Art, University of Melbourne, Melbourne, Bala Starr, ed., 2002, pp ; AND "Pedro Wonaeamirri: In Conversation" in One sun one moon: Aboriginal art in Australia, Sydney, Art Gallery of New South Wales, 2007, Hetti Perkins and Margie West, eds., pp In Class Media: Excerpts from Art and Soul, dir. Hetti Perkins; Putuparri and the Rainmakers, dir. Nicole Ma Week 9: 29-Oct-18 Indigenous Art Page 9 of 16

10 Indigenous Art in south-east Australia: remembering William Barak, Tommy McRae and Mickey of Ulladulla. Guest Lecturer: Matt Poll Required Reading: Howard Morphy, Chapter Ten: Documents of Change The Art of William Barak and Tommy McRae, in Aboriginal Art, London, England: Phaidon Press, 1998, pp Selected reading for class presentation: Andrew Sayers, Drawing Contemporary Art in Aboriginal Artists of the Nineteenth Century, Melbourne: Oxford University Press in association with the National Gallery of Australia, 1994, pp Recommended reading Carol Cooper, Remembering Barak in Remembering Barak, Melbourne, National Gallery of Victoria, 2003, pp In Class Media: clips from: Culture Victoria Joy Murphy on her uncle, William Barak Jonathan Jones on William Barak Commission at the National Gallery of Victoria Murruwaygu: following in the footsteps of our ancestors Week 10: 5-Nov-18 Daguerreotypes, Stereotypes, Prototypes: Reframing Indigenous Photography Hannah Fink, Self-Evident: Indigenous Artists and the Photographic Image, in One sun one moon: Aboriginal art in Australia, Sydney, Art Gallery of New South Wales, Hetti Perkins and Margie West, eds., 2007, pp Brenda L. Croft, The Instability of Truth: Aspects of Developing a Specific Indigenous Methodology on Experimental Practice-Led Research, in Visual Anthropology Review, 2018 Vol. 34, Issue 1, pp Selected reading for class presentation: Marianne Riphagen, Black on White: or varying shades of grey? Indigenous Australian photo-media artists and the "making of" Aboriginality, Australian Aboriginal Studies, Vol. 2008, No. 1, pp Recommended Reading: Mick Dodson, The End in the Beginning: Re(de)finding Aboriginality, in Indigenous Art Page 10 of 16

11 Blacklines: Contemporary Critical Writing by Indigenous Australians, Carlton, Vic. : Melbourne University Press, Michele Grossman, ed, 2003, pp Jane Lyndon (ed.) Calling the Shots: Aboriginal Photographies Aboriginal Studies Press, 2014 In-class media: Excerpts from Colour Theory with Richard Bell, Series 1 Episode 4, Nici Cumpston, (2013) dir. Richard Bell (25mins) Week 11: 12-Nov-18 Class Presentations We will be meeting at the Art Gallery of New South Wales for our presentations on an Indigenous work of art in the collection of the Art Gallery of New South Wales. We will also view the exhibitions: Nonggirrga Marawili from my heart and mind; and Judy Watson, paintings prints and drawings. Week 12: 19-Nov-18 Alternative Models: Aboriginal Artists Cooperatives and the Indigenous Avant-Garde Guest Lecturer: Matt Poll Required Reading: Tess Lea and Elizabeth A. Povinelli, Karrabing: An Essay in Keywords in Visual Anthropology Review, 2018 Vol. 34, Issue 1, pp Selected reading for class presentation: Brenda L Croft, Boomalli: From Little Things Big Things Grow in Painting the Land Story, Canberra, National Museum of Australia, 1999, Luke Taylor, ed, pp In Class Media: Excerpts from Art and Soul, dir. Hetti Perkins Week 13: 26-Nov-18 Aboriginal Art on the Market: Circulation and Value in/through Auctions, Art Centres, Galleries, Museums Fred Myers, Recontextualisations: The Traffic in Culture, in Painting Culture: The Making of an Aboriginal High Art, 2002, pp Recommended Reading: Benjamin Genocchio, An Art Market on Steroids pp. 9 26; Epilogue: Speculation or Adulation pp , in Dollar Dreaming: Inside the Aboriginal Art World, Prahran, Vic.: Hardie Grant, Indigenous Art Page 11 of 16

12 Haidy Geismar, Alternative Market Values? Interventions into Auctions in Aotearoa/New Zealand, The Contemporary Pacific Vol. 20, No. 2, 2008, pp Week 14: 3-Dec-18 Indigenising Museums: Repatriation, Activism and the Politics of Curation Christina Kreps, Indigenous Curation, Museums and Intangible Cultural Heritage in Intangible Heritage, Laurajane Smith and Natsuko Akagawa, eds, London, Routledge, 2009, pp Lyndel V. Prott The Dja Dja Wurrung Bark Etchings Case, The International Journal of Cultural Property Vol. 13, No. 2, 2006, pp Selected reading for class presentation: Elizabeth Willis, The Law, Politics, and Historical Wounds: The Dja Dja Wurrung Bark Etchings Case in Australia, The International Journal of Cultural Property Vol. 15, No. 1, 2008, pp Week 15: 10-Dec-18 Art: Culture, Visibility, and Survival Required Reading: Howard Morphy, Settler Australia: The Survival of Art in Adversity in Aboriginal Art, London, England: Phaidon Press, 1998, pp Selected reading: Biddle, Jennifer L. Introduction: The Imperative to Experiment in Remote Avant- Garde: Aboriginal Art Under Occupation, Duke University Press, 2016, pp Recommended reading: Faye Ginsburg and Fred Myers, A history of Indigenous Futures: Accounting for Indigenous Art and Media. Aboriginal History, Vol. 30, 2006, pp (2 students to collaborate on presentation) Homework Assignment. Please bring a coloured print out, or alternatively, me at least two days before class, one or two images of your favourite Indigenous works that you have encountered during the semester. This will fuel our final discussions in class and we will co-curate an exhibition in class and invite NYUS staff to attend. Indigenous Art Page 12 of 16

13 Course Policies Submission of Work Assignments (excluding in-class presentations and exams) must be submitted electronically via NYU Classes. It is the student s responsibility to confirm that the work has been successfully uploaded. In the unlikely event that a submission to Classes fails, students must immediately submit the work to the Academic Programs Coordinator via before the original submission deadline accompanied by an explanation of the issue. All in-class presentations and exams must be completed during the scheduled class time. An assessment component is considered completed when the student has met all the terms for that assessment component as outlined by the instructor. An assessment component completed after the deadline without an agreed extension receives a penalty of 2 points on the 100-point scale (for the assignment) for each day the work is late. Work completed beyond five weekdays after the due date without an agreed extension receives a mark of zero, and the student is not entitled to feedback for that piece of work. Because failure to submit or fulfil any required assessment component will result in failure of the course, it is crucial for students to complete every assignment even when it will receive a mark of zero. Plagiarism Policy The academic standards of New York University apply to all coursework at NYU Sydney. NYU Sydney policies are in accordance with New York University s plagiarism policy. The presentation of another person s words, ideas, judgment, images or data as though they were your own, whether intentionally or unintentionally, constitutes an act of plagiarism. It is a serious academic offense to use the work of others (written, printed or in any other form) without acknowledgement. Cases of plagiarism are not dealt with by your instructor. They are referred to the Director, who will determine the appropriate penalty (up to and including failure in the course as a whole) taking into account the codes of conduct and academic standards for NYU s various schools and colleges. Attendance Policy Study abroad at Global Academic Centres is an academically intensive and immersive experience, in which students from a wide range of backgrounds exchange ideas in discussion-based seminars. Learning in such an environment depends on the active participation of all students. And since classes typically meet once or twice a week, even a single absence can cause a student to miss a significant portion of a course. To ensure the integrity of this academic experience, class attendance at the centres is mandatory, and unexcused absences will affect students' semester grades. The class roster will be marked at the beginning of class and anyone who arrives after this time will be considered absent. Students are responsible for making up any work missed due to absence. For courses that meet once a week, one unexcused absence will be penalised by a two percent deduction from the student s final course grade. For courses that meet two or more times a week, the same penalty will apply to two unexcused absences. Repeated absences in a course may result in failure. Indigenous Art Page 13 of 16

14 Faculty cannot excuse an absence. Requests for absences to be excused must be directed to the Academic Programs Coordinator. Students must provide appropriate documentation for their absence. In the case of illness, students must contact the Academic Programs Coordinator on the day of absence. They must provide medical documentation to Academic Programs Coordinator within three days of the absence in order to be medically excused. The note must include a medical judgement indicating that the student was unfit to attend class/work on the specific day or dates of the absence. Faculty will be informed of excused absences by the Academic Programs staff. Religious Observance Students observing a religious holiday during regularly scheduled class time are entitled to miss class without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday. Students must notify their professor and the Academic Programs Coordinator in writing via one week in advance before being absent for this purpose. Classroom Expectations This is a seminar subject and requires the active participation of all students. It also requires engaged discussion, including listening to and respecting other points of view. Your behaviour in class should respect your classmates desire to learn. It is important for you to focus your full attention on the class, for the entire class period. Arrive to class on time. Once you are in class, you are expected to stay until class ends. Leaving to make or take phone calls, to meet with classmates, or to go to an interview, is not acceptable behaviour. Phones, digital music players, and any other communications or sound devices are not to be used during class. That means no phone calls, no texting, no social media, no , and no internet browsing at any time during class. Laptop computers and tablets are not to be used during class except in rare instances for specific class-related activity expressly approved by your instructor. The only material you should be reading in class is material assigned for that class. Reading anything else, such as newspapers or magazines, or doing work from another class, is not acceptable. Class may not be recorded in any fashion audio, video, or otherwise without permission in writing from the instructor. Diversity, Inclusion and Equity NYU is committed to building a culture that respects and embraces diversity, inclusion, and equity, believing that these values in all their facets are, as President Andrew Hamilton has said, not only important to cherish for their own sake, but because they are also vital for advancing knowledge, sparking innovation, and creating sustainable communities. At NYU Sydney we are committed to creating a learning environment that: Indigenous Art Page 14 of 16

15 fosters intellectual inquiry, research, and artistic practices that respectfully and rigorously take account of a wide range of opinions, perspectives, and experiences; and promotes an inclusive community in which diversity is valued and every member feels they have a rightful place, is welcome and respected, and is supported in their endeavours. Provisions to Students with Disabilities Students with disabilities who believe that they may need accommodations in a class are encouraged to contact the Moses Centre for Students with Disabilities at (212) or mosescsd@nyu.edu as soon as possible to better ensure that such accommodations are implemented in a timely fashion. Instructor Bio Petronella Vaarzon-Morel (M.A., Indiana University) is a sociocultural anthropologist whose interests include Indigenous relations to the land, personhood, identity, visual culture and human-animal relations. Over many years she has conducted ethnographic research with Indigenous groups in central and northern Australia for Aboriginal land and Native Title claims, and for a range of other issues in such areas as environment management, the stolen generation and history. In collaboration with Warlpiri she co-authored the book Warlpiri Women s Voices. Her academic publications include articles and chapters in peer-reviewed journals and edited volumes, and she has presented papers at national and international conferences. In 2012 she was the recipient of an Anthropology of Native Title Services (ANTS) Research Fellowship, at the University of Adelaide, and in 2013 a Research Writing Placement at the Centre for Native Title Anthropology, Australian National University. She is currently a Research Associate at the University of Sydney on the project ' Re-integrating Central Australian community cultural collections'. Her pedagogic background includes a period teaching introductory anthropology at Indiana University, Bloomington. Indigenous Art Page 15 of 16

16 Appendix 1 Supplemental Textbooks & Materials (Not required to purchase; available in NYU SYDNEY Library) Brenda Croft (Curator) Culture Warriors: National Indigenous Art Triennial 1st ed., 2007 Peter Sutton, Dreamings, The Art of Aboriginal Australia, 1998 Margo Neale, The Oxford Companion to Aboriginal Art and Culture Benjamin Genocchio. Dollar Dreaming: Inside the Aboriginal Art World. Hardie Grant Books, 2008 Fred Myers, Painting Culture: The Making of an Aboriginal High Art. Duke, Hetti Perkins, Art and Soul Hetti Perkins, One Sun One Moon Altman, Jon C & Perkins, Hetti 2004, Crossing country the alchemy of western Arnhem Land art, Art Gallery of New South Wales, Sydney Shirley W. Wiencke, When the Wattles Bloom Again: The Life and Times of William Barak, Last Chief of the Yarra Yarra Tribe, 1984 Ian McLean, How Aborigines Invented the Idea of Contemporary Art (2011) Margie West (ed.) Yalangbara: Art of the Djang'kawu (2009) Hetti Perkins and Jonathan Jones Half Light: Portraits from Black Australia, Luke Taylor, Painting the Land Story, 1999 Pamela McClusky and Wally Caruana, Ancestral Modern: Australian Aboriginal Art, Seattle Art Museum Catherine Summerhayes, The Moving Images of Tracey Moffatt Margo Neale (ed.) Utopia: The Genius of Emily Kame Kngwarreye Alison French, Seeing the Centre: The art of Albert Namatjira (2002), National Gallery of Australia Lane, Carly and Franchesca Cubillo (eds) Undisclosed: 2nd National Indigenous Art Triennial. National Gallery of Australia (2012) Bardon, Geoffrey and James Bardon. Papunya: A Place Made After the Story. The Beginnings of the Western Desert Painting Movement. The Miegunyah Press, (2007) [2004]. Jane Lyndon (ed.) Calling the Shots: Aboriginal Photographies. Aboriginal Studies Press, 2014 Jennifer L. Biddle Remote Avant-Garde : Aboriginal Art Under Occupation, Duke University Press 2016 Indigenous Art Page 16 of 16