On Cross-Cultural Interpretations of Aboriginal Art

Abstract This paper critiques three schools of international art scholarship and their relevance to Australian Aboriginal art from remote communities. These schools are primitivism, histories of ornament and aesthetic theory. This is with a view to looking beyond accounts of Aboriginal art as representational, and toward a cross-cultural and sensual account of its practice. While primitivism influenced the scholarship on high art, histories of ornament and aesthetic theory offer new approaches to this art, and new ways of thinking about Aboriginal painting. The paper partly argues that the extensive influence of primitivism has prevented these latter areas of study in having much impact on the study of Aboriginal art, as critics attend to the inequitable relationship between indigenous and non-indigenous societies. Instead, the interest of ornament and cross-cultural aesthetics in the visual rather than socio-economic and postcolonial conditions of artistic production conceives of a more equitable exchange between cultures, and a revised account of modern visual practices. Keywords: Aboriginal ArtCross-Cultural AestheticsOrnamentPrimitivism Additional informationNotes on contributorsDarren JorgensenDarren Jorgensen is a lecturer in art history in the Faculty of Architecture, Landscape and Visual Art, at the University of Western Australia. He has previously published on Aboriginal art and representations in ArenaJournal, Australian Cultural History and Journal of Australian StudiesHe also writes on critical theory, visual culture, science fiction and utopia