Australia Bibliography

Art

Amadio, N. (1986). Albert Namatjira: the life and work of an Australian painter. Melbourne. [N]

Anderson, Sallie (2001). “Rejecting the rainbow serpent: An aboriginal artist's choice of the Christian God as creator.” The Australian Journal of Anthropology 12(3): 291-301. [X]

Bardon, Geoffrey (1991). Defining the Dreamtime and Origin of the Painting Movement. Australian Aboriginal Art from the Collection of Donald Kahn. Miami, Lowe Art Museum: 4-6, 25-30. [Y (X)]

Bardon, Geoffrey and Vivien Johnson (1991). Australian aboriginal art from the collection of Donald Kahn. Coral Gables, University of Miami, Lowe Art Museum. [Y]

Batty, Joyce D. (1963). Namatjira, wanderer between two worlds. Melbourne, Hodder and Stoughton. [N]

Batty, Philip (1992). “Money, Corruption and Authenticity.” Artlink 10(1& 2): 32-3. [Y]

Baume, Nicholas (1989). “The Interpretation of Dreamings: the Australian Aboriginal Acrylic Movement.” Art and Text 33: 110-20. [X]

Beier, Ulli and Paul Cox (1980). Mirka. South Melbourne ; New York, MacMillan Co. of Australia. [N]

Beier, Ulli and et al. (1982). Papunya: Neue Maleri von Australishcen Ureniwohnern. Bayreuth, Iwalewahaus. [N]

Beier, Ulli and Trevor Nickolls (1985). Dream time - machine time: the art of Trevor Nickolls. Bathurst, N.S.W., Robert Brown & Associates in association with the Aboriginal Artists Agency. [Y]

Berndt, Ronald M. (1972). “The Changing Face of the Aboriginal Arts.” Anthropological Forum 3(2): 146-56. [X]

Berndt, Ronald M. (1983). “Images of God in Aboriginal Australia.” Visible Religion 2: 14-39. [N]

Berndt, Ronald Murray, Catherine Helen Berndt, et al. (1982). Aboriginal Australian art: a visual perspective. Sydney, Methuen Australia. [Y]

Berndt, Ronald M. and J. E. Stanton (1980). Australian Aboriginal Art in the Anthropological Museum of the University of Western Australia, University of Western Australia Press. [Y]

Blom, Ina (1995). Change by Appropriation: the example of painting and electronics in two Third World societies. Strategies for survival -- now!: a global perspective on ethnicity, body and breakdown of artistic systems. Christian Chambert and Svenska konstkritikersamfundet. Lund, Sweden, Swedish Art Critics Association Press: 142-5. [X]

Bosch, Anette Van den (1995). Discourse of Cultural Difference in Australia. Strategies for survival -- now!: a global perspective on ethnicity, body and breakdown of artistic systems. Christian Chambert and Svenska konstkritikersamfundet. Lund, Sweden, Swedish Art Critics Association Press: 236-43. [X]

Brazil, Jon (2000). “Dreamtime superstore: encountering Australian Aboriginal beliefs.” Third Text 50: 61-72. [N]

Brody, Annemarie (1984). Kunwinjku Bim: Western Arnhem Land Paintings from the Collection of the Aboriginal Arts Board. Melbourne, National Gallery of Victoria. [Y]

Buhler, Alfred, Terry Barrow, et al. (1962). The Art of the South Sea Islands including Australia and New Zealand. New York, Crown Publishers, Inc. [Y]

Carter, Paul (1987). “Gondolas in Gondwanaland.” Art and Text 23-4: 115-23. [X]

Caruana, Wally, Ed. (1989). Windows on the Dreamings: Aboriginal painting in the Australian National Museum. Chippendale, Ellsyd Press and the Australian National Museum. [N]

Caruana, Wally (1993). Aboriginal art. New York, Thames and Hudson. [Y]

Caruana, Wally, Nigel Lendon, et al. (1997). The painters of the Wagilag sisters story 1937-1997. Canberra, ACT, The National Gallery of Australia. [Y]

Coleman, Elizabeth Burns (2001). “Aboriginal painting: identity and authenticity.” The Journal of Aesthetics and Art Criticism 59(4): 385-402. [X]

Cooper, Carol and et al., Eds. (1981). Aboriginal Australia. Sydney, Australian Gallery Directors Council. [Y]

Crawford, I. M. and Western Australian Museum (1968). The art of the Wandjina; aboriginal cave paintings in Kimberley, Western Australia. Melbourne, New York etc., Oxford University Press. [Y]

Croft, Brenda L. (1992). A Very Brief Bit of Overview of the Aboriginal Arts Cultural Industry by a Sort of Renegade, or the Cultural Correctness of Certain Issues. Aboriginal Art in the Public Eye. Sylvia Kleinert, Djon Mundine and David McNeill. Canberra, Art Monthly Australia: 20-2. [Y(X)]

David, Bruno, Ian McNiven, et al. (1994). “Of Lightning Brothers and white cockatoos: dating the antiquity of signifying systems in the Northern Territory, Australia.” Antiquity 68(259): 241-51. [X]

Davila, Juan (1987). “Aboriginality: a lugubrious game?” Art and Text 23-4: 53-6. [X]

Dawes, Glenn (1998). “The Art of the Body: Aboriginal and Torres Strait Islander youth subcultural practices.” Journal of intercultural studies 19(1): 21-. [N]

Eagle, Mary (1999). “Traditions of representing the land in Aboriginal art.” Art and Australia 37(2): 236-45. [N]

Elsasser, Albert B., Vivian Paul, et al. (1969). Australian aboriginal art; the Louis A. Allen collection. An exhibition at the Robert H. Lowie Museum of Anthropology of the University of California, Berkeley, January 17--August 25, 1969. Berkeley. [Y]

Feinstein, Roni (2000). “The Biennale of Reconciliation. (art exhibition in Sydney, Australia).” Art in America 88(12): 38. [X]

Flood, Josephine (1989). Animals and Zoomorphs in Rock Art of the Koolburra Region, north Queensland. Animals into art. Howard Morphy. London, Allen & Unwin: 287-300. [X]

Flood, Josephine (1996). “Culture in Early Aboriginal Australia.” Cambridge Archaeological Journal 6(1): 3-36. [Y]

Fry, Tony and Anne-Marrie Willis (1989). “Aboriginal Art: Symptom or Success?” Art in America(86): 108-17. [X]

Hall, Victor C. (1962). Namatjira of the Aranda. Adelaide, Rigby. [N]

Haskovec, Ivan P. and Hilary Sullivan (1989). Reflections and Rejections of an Aboriginal Artist. Animals into art. Howard Morphy. London, Allen & Unwin: 57-74. [X]

Hossack, Rebecca (1991). Dreamtime to Machine Time: the contemporary art of Austrlia. Il Sud Del Mundo. Marsala: 109-14. [Y(X)]

Isaacs, Jennifer (1984). Arts of the Dreaming: Australia's Living Heritage. Sydney, Lansdowne. [N]

Isaacs, Jennifer (1992). Australian aboriginal paintings. New York, Dutton Studio Books. [Y]

Isaacs, Jennifer (1999). Spirit country: contemporary Australian Aboriginal art. South Yarra, Vic.: San Francisco, Hardie Grant; Fine Arts Museums of San Francisco. [Y]

Johnson, Vivien (1995). “Maxie Tjampitjinpa: the minimal mythologist.” Art + Text 50: 54-9. [X]

Johnson, Vivian (2001). “Especially good Aboriginal art.” Third Text 56: 33-50. [N]

Kleinert, Sylvia, Djon Mundine, et al., Eds. (1992). Aboriginal Art in the Public Eye. Art Montholy Australia Supplement. Canberra, Art Monthly Australia. [Y]

Lancashire, Dianne (1999). “Open for Inspection: Problems in Representing a Humanised Wilderness.” The Australian Journal of Anthropology 10(3): 306-19. [X]

Langton, Marcia (1994). “Aboriginal Art and Film: the politics of representation.” Race and Class 35(4): 89-106. [X]

Layton, Robert (1986). The Political Use of Australian Aboriginal Body Painting and its Archaeological Implications. Archaeological 'Objectivity; in Interpretation. [X]

Layton, Robert (1992). Art and Anthropology. Anthropology, Art, and Aesthetics. Jeremy Coote and Anthrony Shelton. Oxford, Oxford University Press: 137-59. [Y]

Lendon, Nigel (1992). Having a History: Changes in the Paintings of the Story of the Wagilag Sisters. Aboriginal Art in the Public Eye. Sylvia Kleinert, Djon Mundine and David McNeill. Canberra, Art Monthly Australia: 13-5. [Y]

Lowe Art Museum University of Miami (1991). Australian Aboriginal Art from the Collection of Donald Kahn. Miami, Lowe Art Museum, University of Miami. [Y]

McCarthy, F. D. and A. P. Elkin (1974). Australian aboriginal decorative art. Sydney, Trustees of the Australian Museum. [Y]

Mead, Sidney M., Ed. (1979). Exploring the visual art of Oceania: Australia, Melanesia, Micronesia, and Polynesia. Honolulu, University Press of Hawaii. [Y]

Megaw, J. V. S. (1982). “Western Desert Acrylic Painting-- artefact or art?” Art History 5(2): 205-18. [X]

Megaw, J. V. S. (1990). Art as Identity: aspects of contemporary aboriginal art. Art and Identity in Oceania. Allan F. Hanson and Louise Hanson. Honolulu, University of Hawaii Press: 282-92. [X]

Michaels, Eric (1988). “Bad Aboriginal Art.” Art and Text 28: 59-73. [X]

Michaels, F. (1987). Western Desert Sandpainting and Postmodernism. Kuruwarri Yuendumu Doors/Warukurlangu Artists. F. Michaels. Canberra, Australian Institute of Aboriginal Studies. [N]

Morgan, Sally (1987). My place. Boston, Little. [Y]

Morphy, Howard (1981). The Art of Northern Australia. Aboriginal Australia. Carol Cooper and et al. Sydney, Australian Gallery Directors Council: 53-65. [Y(X)]

Morphy, Howard (1989). On Representing Ancestral Beings. Animals into art. Howard Morphy. London, Allen & Unwin: 144-60. [X]

Morphy, Howard (1990). “Myth, Totemism and the Creation of Clans.” Oceania 60: 312-28. [X]

Morphy, Howard (1991). Ancestral Connections: art and an Aboriginal system of knowledge. Chicago, Chicago University Press. [N]

Morphy, Howard (1992). From Dull to Brilliant: the aesthetics of spiritual power among the Yolngu. Anthropology, Art, and Aesthetics. Jeremy Coote and Anthrony Shelton. Oxford, Oxford University Press: 181-208. [Y]

Mountford, Charles Pearcy (1945). The Art of Albert Namatjira. Melbourne, Bread and Cheese Club. [N]

Mundine, Djon (1992). Spot the Primitive. Aboriginal Art in the Public Eye. Sylvia Kleinert, Djon Mundine and David McNeill. Canberra, Art Monthly Australia: 5-6. [Y]

Mundine, Djon, Bernice Murphy, et al., Eds. (2000). The native born: objects & representations from Ramingining, Arnhem Land. Sydney, N.S.W., Museum of Contemporary Art. [X]

Mundine, John (1989). “Aboriginal Art in Australia Today.” Third Text 6: 33-44. [X]

Munn, Nancy D. (1973). The Spatial Presentation of Cosmic Order in Walbiri Iconography. Primitive Art and Society. A. Forge. London, Oxford University Press: 193-220. [Y(X)]

Munn, Nancy D. (1973). Walbiri Iconography. Ithaca, Cornell University Press. [Y]

Myers, Fred (1991). “Representing Culture: the production of discourse(s) for Aboriginal acrylic paintings.” Cultural Anthropology 6(1): 26-62. [X(Y)]

Napaljarri, Peggy Rockman, Lee Cataldi, et al. (1994). Yimikirli: Warlpiri dreamings and histories. San Francisco, HarperCollins. [Y]

National Gallery of Australia. and Avril Quaill (1996). Marking our times: selected works of art from the aboriginal and Torres Strait Islander collection at the National Gallery of Australia. Canberra, ACT; New York, NY, National Gallery of Australia; Distributed by Thames and Hudson. [Y]

Nicoll, Fiona (1993). “The Art of Reconciliation: Art, Aboriginality and the State.” Meanjin 52(4): 705-18. [X]

Nicoll, Fiona (1998). “Blacklash: Reconciliation after Wik.” Meanjin 57(1): 167-83. [X]

Nicoll, Fiona (2000). “White Aborigines: identity politics in Australian art (Review of Ian McLean White Aborigines identity politics in Australian art. Melbourne, Cambridge University Press.” Postcolonial Studies: Culture, Politics, Economy 3(1): 111-7. [X]

O'Ferrall, Michael A. (1990). Aboriginal Art: Continuity. Sydney, Visual Arts/Crafts Board and Aborignial Arts Unit of the Australia Council. [N]

Oguibe, Olu (1995). Fiona Foley: medium, memory, and melancholy. Atlantica: 12. [X]

Pearson, Christopher (1991). Aboriginal Representation and Kitsch. The Myth of Primitivism: perspectives on art. Susan Hiller. London, Routledge: 326-37. [Y]

Pelrine, Diane and Indiana University Bloomington. Art Museum. (1993). Affinities of form: the Raymond and Laura Wielgus collection of the arts of Africa, Oceania, and the Americas. Bloomington, Ind., Indiana University Art Museum. [Y]

Perkins, Hetti and Hannah Fink (2000). “Covering ground--the corporeality of landscape: Papunya Tula: genesis and genius.” Art and Australia 38(1): 74-83. [X]

Phipps, Jennifer (1998). “Reflections on Aboriginal art, assimilation and land rights.” Art Monthly Australia 114: 22-. [N]

Rankin-Reid, Jane (1989). “Colonial Foreplay.” Artscribe International 77: 12-3. [X]

Royal Pavilion Art Gallery and Museums. (1988). Yolngu: aboriginal cultures of North Australia. Brighton, Royal Pavilion Art Gallery & Museums. [Y]

Rubinstein, Meyer Raphael (1989). “Outstations of the Postmodern: Aboriginal acrylic painting of the Western Australians Desert.” Arts Magazine 63(6): 40-7. [X]

Smith, Terry (2001). “Public Art between Cultures: The Aboriginal Memorial, Aboriginality, and Nationality in Australia.” Critical Inquiry 27(4): 629-61. [X]

Stubbs, Dacre (1974). Prehistoric Art of Australia. New York, Charles Scribners & Sons. [N]

Sutton, Peter and et al., Eds. (1988). Dreamings: the art of Aboriginal Australia. New York, The Asia Society Galleries. [Y]

Tacon, Paul S. C. (1989). Art and the Essence of Being: symbolic and economic aspects of fish among the peoples of western Arnhem Land Australia. Animals into art. Howard Morphy. London, Allen & Unwin: 236-50. [X]

Taylor, Luke (1989). Seeing the 'inside': Kunwinjku painting and the symbol of the divided body. Animals into art. Howard Morphy. London, Allen & Unwin: 371-89. [X]

Taylor, Luke (1990). “The Rainbow Serpent as Visual Metaphor in Western Arnhem land.” Oceania 60: 329-44. [X]

Thomas, Nicholas (1999). Possessions: indigenous art, colonial culture. New York, N.Y., Thames and Hudson. [Y]

Tillers, Imants (1991). Locality Fails. The Myth of Primitivism: perspectives on art. Susan Hiller. London, Routledge: 315-25. [Y]

Tuckson, J. A. (1964). Aboriginal Art and the Western World. Australian Aboriginal Art. R.M. Berndt: 60-8. [N]

Uhlmann, Anthony (1999). “Cultural Translation and the Work of Albert Namatjira.” Communal/Plural: Journal of Transnational & Crosscultural Studies 7(2): 159-76. [N]

von Sturmer, John (1989). “Aborigines, Representation, Necrophilia.” Art and Text 32: 127-39. [X]

Wells, Julie T and Michael F Christie (2000). “Albert Namatjira and the burden of citizenship.” Australian Historical Studies 31(114): 110-30. [X]

Williams, Nancy (1976). Australian Aboriginal Art at Yirrkala: the introduction and development of marketing. Ethnic and Tourist Arts: cultural expressions from the Fourth World. Nelson H. H. Graburn. Berkeley, University of California Press: 266-84. [Y]

Willis, Anne-Marie and Tony Fry (1988). “Art as Ethnocide: the case of Australia.” Third Text 5: 3-20. [X]

Yunupingu, Galarrwuy (1997). “Indigenous art in the Olympic age. aboriginal artist on the indigenous and non-indigenous peoples of Australia.” Art and Australia 35(1): 64-7. [X]

Music

Breen, Marcus (1992). Desert dreams, media, and interventions in reality: Australian Aboriginal music. Rockin' the boat: mass music and mass movements. Reebee Garofalo. Boston, South End Press: 148-70. [X]

Castles, John (1998). Tjungaringanyi: Aborignal Rock (1971-91). Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. Philip Hayward. London; New York, Cassell: 11-25. [X]

Davies, Chris Lawe (1993). Aboriginal rock music: Space and place. Rock and popular music: Politics, policies, institutions. Tony Bennett. London, Routledge: 249-65. [N]

Dunbar-Hall, Peter (1996). “Rock Songs as Messages: Issues of health and lifestyle in Central Australian Aboriginal Communities.” Popular Music and Society 20(2): 43-67. [X]

Dunbar-Hall, Peter (1997). “Music and Meaning: the Aboriginal rock album.” Australian Aboriginal Studies 1: 38-47. [X]

Gibson, Chris (1998). “`We sing our home, we dance our land': Indigenous self-determination and contemporary geopolitics.” Environment & Planning D: Society & Space 16(2): 163-85. [X]

Gibson, Chris and Peter Dunbar-Hall (2000). “Nitmiluk: Place and empowerment in Australian aboriginal popular music.” Ethnomusicology 44(1): 39-64. [N]

Hayward, Philip (1998). Safe, Exotic and Somewhere Else: Yothu Yindi, 'Treaty' and the Mediation of Aboriginality. Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. Philip Hayward. London; New York, Cassell: 190-8. [X]

Hayward, Philip, Ed. (1998). Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. London; New York, Cassell. [X]

Hayward, Phillip and Karl Neunfelds (1998). Yothu Yindi: Context and Significance. Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. Philip Hayward. London; New York, Cassell: 175-80. [X]

Kaeppler, Adrienne Lois and Jacob Wainwright Love, Eds. (1998). The Garland encyclopedia of world music. New York, Garland Pub. [Y]

Magowan, Fiona (1994). 'This land is our märr (essence), it stays forever': the yothu-yindi relationship in Australian aboriginal traditional and popular musics. Ethnicity, identity, and music: the musical construction of place. Martin Stokes. Oxford, UK ; Providence, RI, Berg: 135-55. [X]

Magowan, Fiona (1996). Songs of the spirit or spirit songs?: tension and confluence in Yolngu music syncretism. Manchester, Dept. of Social Anthropology, University of Manchester. [X]

Mitchell, Tony (1993). “World Music and the Popular Music Industry: an Australian view.” Ethnomusicology 37(3): 309-52. [X]

Neuenfeldt, Karl, Ed. (1997). The didjeridu: from Arnhem Land to Internet. Sydney, J. Libbey/Perfect Beat Publications. [N]

Neuenfeldt, Karl (1998). Yothu Yindi: Agendas and Aspirations. Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. Philip Hayward. London; New York, Cassell: 199-208. [X]

Newton, Janice (1990). “Becoming 'Authentic' Australians Through Music.” Social Analysis 27: 93-101. [X]

Nicol, Lisa (1998). Culture, Custom and Collaboration: the production of Yothu Yindi's 'Treaty' Videos. Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. Philip Hayward. London; New York, Cassell: 181-9. [X]

Ryan, Robin (1998). Koori Music in Melbourne: Culture, Politics and Cetainty. Sound alliances: indigenous peoples, cultural politics, and popular music in the Pacific. Philip Hayward. London; New York, Cassell: 62-77. [X]

Samuel, Aaron David (1999). Dreamtime wisdom, modern time vision: the Aboriginal acculturation of popular music in Arnhem Land, Australia. Casuarina, N.T., North Australia Research Unit, the Australian National University. [N]

Streit-Warburton, Jilli (1995). Craft, raft and lifesaver: Aboriginal women musicians in the contemporary music industry. Sounding off: Music as subversion/resistance/revolution. New York, Autonomedia: 307-19. [N]

Stubington, Jill and Peter Dunbar-Hall (1994). “Yothu Yindi's "treaty": Ganma in music.” Popular music 13(3): 243-59. [X]

Walker, Clinton (2000). Buried country: the story of Aboriginal country music. Annandale, NSW, Pluto Press. [N]

Yunupingu, Mandawuy (1990). Mandawuy Yunupingu: Yothu Yindi Band. Aboriginal Voices: Contemporary aboriginal artists, writers and performers. Brookvale, Simon and Schuster: 100-3. [N]

Yunupingu, Mandawuy (1994). “Yothu Yindi: finding balance.” Race and Class 35(4): 113-20. [X]

Yothu Yindi Web site at http://www.yothuyindi.com