'Fiery Passions' article - Reflection

I am left a little shaken after reading John McDonald's article for The Age, which illustrated a fiery argument between Indigenous artists and non-Indigenous Australians at an art forum in Cairns. I believe that Indigenous artists have a right to express their anger at mainstream Australia, but to be done so in a courteous fashion. Exclaiming statements against the 'boat people' only exacerbates the problem that has been existent since the beginning of colonial Australia. Being mixed race myself, I find it insensitive for an Indigenous Australian to desire equality but to dismiss the right for other races to live in Australia, who may be escaping similar situations of inequality. In order for this nation to move forward, both parties need to put things in the past. We can never forget, but Indigenous Australia can always forgive. I think that mainstream Australia is very aware of the past, and is accepting towards a future that is inclusive of all races. There will be no progression if either party continues to use the past as ammunition to fuel the racial fire. Unfortunately in answering the question, Indigenous artists who express their anger towards mainstream Australia does not help their cause. This is as evident from the article. Everyone has the right to freedom of speech but it must be done so eloquently and tastefully. Anger will only repel those who are already negative, and it is the youngest of Australians who are in need of education of this matter.

Points to be discussed in the major essay

I have chosen to do a comparison between the two Indigenous artists, Tracey Moffatt and Vernon Ah Kee. I have chosen these artists as I am interested in the emotion and reactions that arise from their work. As they are two contemporary artists, the points that are to be discussed in the essay will focus on their role within Australian society. The points are as followed:

• Use of ambiguity to touch upon political issues

• Westernised styles conveying Indigenous perspectives

• The political protest of Indigenous rights

• The social commentary of the current state of Indigenous culture

• The use of symbolism to refer to significant and political events

• Self-motivated work (a reflection of their own past as Indigenous Australians)

• The role of the urban artist in Indigenous culture

• How the urban artist is a representation of Indigenous culture in Non-Indigenous culture fusion

Moffatt's linear narrative of the 'Stolen Generation'

In her short film, 'Night Cries - A rural tragedy', Moffatt touches upon the controversial subject matter regarding the 'Stolen Generation'; a topic that is still regarded as one of Australia's darkest periods in colonial history. Moffatt continues this exploration with her 1998 series, ‘Up in the Sky’ which addresses the traumatic experience of the Stolen Generation. As a victim of the systematic dispossession of Aboriginal children, Moffatt grew up in a non-indigenous foster home in Queensland. With most of her work,  there is an autobiographical element which provokes the kind of affective response that only comes from lived experience as previously witnessed in her short film. ‘Up in the Sky’ is no different. Her filmographic sequence depicts the psychological trauma of Australia’s assimilation policy. Art curator Felicity Fenner described the series,“Irony, wit and a wry intellectual approach to negotiating the conflicted intersection between black and white social territory in Australia today.” 


Moffatt engages the audience with imagery derived from witnessing a traumatic event through her use of visual language, expressing rather than recounting a linear narrative. Consequently, Moffatt activates visual sensations of her memory to connect with the audience (who are not associated with the Stolen Generation) to the experience  of an important event in Australian history. Simple narrative could not express this experience in a more profound way. Furthermore, Moffat is able to document the traumatic event to be viewed by those in the present, with the intent to educate and bring forth awareness.


Most artists that comment on this subject matter lace their work with anger, however Moffatt's approach is refreshing and perhaps more effective to understanding the events of the past. Her narrative showcases balance and perspective. ‘Up in the Sky’ recognises the sociological ignorance of white Australia’s early colonial arrogance without the contempt. Instead, what occurs is a journey into the memory of the artist which welcomes the audience to engage with the trauma of the past and its imprint on contemporary Australia. As with all her work, the audience is left to forge their own opinions and conclusions about the morality of the nation's history.

Images all by Tracey Moffatt - 'Up in the Sky' 1998

Tracey Moffatt: the role as a Contemporary Photographer

In contemporary society, photography is used to disrupt the individual’s perceptions of time and space. Artists set out to create and alter the perceptions of societal issues involving race, gender and sexuality. The continuous manipulation of photographic styles used by artists such as Tracey Moffatt has challenged the viewer’s perception of reality and morality, a trait that is evident in almost all of her work. Moffatt translates a sense of ambiguity to enable this change of perception, as witnessed in her 1989 series ‘Something More.’ The linear narrative follows an indefinite tale of a woman who seeks love and freedom but is met with an untimely death. The story is interpreted in a number of way, as exemplified, “she visits of seeks to depart from an outback shack inhabited by rough types, only to enter into a sadistic lesbian relationship, ending (cornily enough) in death,” (Nelson, Robert 2004). The story's display of vulgarity lends an interesting contrast against the use of cibachrome, becoming a historical reference to the world of photo development of film noir. As witnessed from the photograph below, the artist has used a cibachrome technique to create rich and bold colours, reminiscent of the old Chinese and Hollywood film posters of the 1940s. Photographs have become less of a tool of capturing reality, and more of a means of transmitting the thoughts of the artist. Moffatt's challenge of the audience's perception forces the individual to formulate their own meaning to the story. 

Tracey Moffatt - 'Something More', 1989.

This notion is further exemplified by Moffatt's 1998 series ‘Up in the sky’. Through analysis of the image below, the audience is confronted with a vivid display of tension, fear and sorrow. Here is an old man crawling on the road; the viewer is unaware of his story and whether or not he is in danger. The car behind him has its lights turned on, however the image is not captured in the dark. Thus the viewer is unaware of the photograph's time or place. This uncertainty caused the audience to question the intent of the driver, and the fate of the old man. Moffatt's underlying meaning of the series was to reflect on the 'Stolen Generation', so one would question whether the race of the man has an effect on the story of the photograph. The individual photographs of the series are not related in a linear fashion so it is difficult to determine the overall meaning of the image. However, the grey tones set an ominous mood which is assisted by the violent connotations of the photograph's staging. 

Tracey Moffatt - 'Up in the sky' 1998

Week Seven Lecture - Reflection

I really enjoyed this week's lecture as we were shown examples from Arnhem Land, showcasing a variety of styles all experimenting with the use of line and tension. As a Visual Communications student, I connect more with this style as these artists focus on the use of negative space and line. I particularly love the use of white on black, as this creates a bold yet simplified texture. The example below exemplifies this point, as well as the traditional technique of cross-hatching. This is a technique that is native to this region, and I enjoy the intensity it showcases. It almost appears like a tile mural.


Additionally, this style of Indigenous art holds a concentration on tone rather than colour. These prominent tones descend from the ochre used within this region, enabling a collection of browns and beiges to be showcased. This creates a warmth that contrasts with the use of tension from the linear lines. This juxtaposition is very similar to my own style of graphic design, and thus I feel a connection with the Arnhem Land style.


Another interesting point that I discovered is that the region is home to a collection of the world's oldest art work. A rock art that depicted the form of the Genyornis, a native flightless bird, was discovered last year and is said to be nearly 40, 000 years old. The Sydney Morning Herald reports, 


"The genyornis, a flightless bird which stood three times the height of an emu, was one of many megafauna to became extinct when humans began burning the continent for hunting and land-clearing 40,000 years ago."


I found this information to be enlightening, as it proclaims that the history of the Australian art culture is the oldest in the world. It is inspiring to discover this point, as it gives me a further understanding of the significant of Indigenous art to contemporary society. As previously stated, I feel a connection to the linear art movement of this region as it is similar to my own style. It is interesting to discover a relationship one has with a culture that has been alive for thousands of years.

Read more: http://www.smh.com.au/entertainment/art-and-design/arnhem-land-art-could-be-worlds-oldest-20100531-wrgs.html#ixzz1XtMtNUQU

Week Six reading- 'Thinking beyond abstraction' by Felicity Fenner.

Felicity Fenner's article comments on the values placed on Aboriginal art from both Indigenous and Non-Indigenous audiences. She argues that contemporary non-Indigenous artists are far more influenced by Indigenous artists as they have the ability to travel and research influences. Consequently Aboriginal artists are often confined to their own rural town, with no foreign influences to inspire their work. These artists are rarely exposed to contemporary western art, often due to cultural reasons and differences. Fenner argues,

"Western artists tend to paint solely for personal, intellectual fulfilment, the process of painting for Aboriginal artists is also more socio-politically orientated. It is a method of keeping alive traditional cultures otherwise threatened by assimilation." She further argues that Indigenous artists are unaware of their influences on contemporary western work, and are often unimpressed. 

I feel that this is their response to the loss of Indigenous culture through the mis-use of religious and culture icons. Fenner references W.J.T Mitchell through the quote, "the strangeness of buying other people's religious images and putting them onto the wall demands consideration". I agree with this statement as the reproduction of cultural symbols loses significant value through over exposure and mass production. The art becomes an item rather than an icon. However, I also feel that it is ignorant to dismiss western audiences from appreciating Indigenous art. If it is their way of preserving their culture from assimilation, they must showcase their art with pride rather than hiding it from world. Restrictions on the replication of Indigenous art must be maintained for this culture to survive. Additionally, it is a means for Indigenous Australians to bring forth political and social issues. I feel that if non-Indigenous Australians are not exposed to Indigenous art, they will never understand their culture and thus will create further differences between the two races.

Video of Tracey Moffatt's 'Night Cries' Part Two

Part two of Tracey Moffatt's short film, 'Night cries - A rural tragedy'

http://youtu.be/xqdK7gryXp0

The second part of the film showcases a deeper understanding of the complex relationship between the mother and daughter, through the inclusion of many symbolic elements that are to be discussed. Furthermore, symbolism is used to illustrate Moffatt’s social commentary on the commercialization of Indigenous art, as well as the colonization of these artists. Indigenous singer, Jimmy Little is filmed at the beginning and end of the film singing Christian lyrics reminiscent of the chants that were taught in mission schools. Moffatt uses Little as a, “cultural mediator between the two worlds constituting her aesthetic, white and Aboriginal.”[1] He is dressed and groomed in a traditional western custom, demonstrating the effects of colonization. This is further exemplified through Moffatt’s references to Albert Namatjira’s landscape paintings used for the film’s backdrop. The highly stylized landscapes symbolize Namatjira’s position in Indigenous society functioning, “as a bridge between the Aboriginal landscape and its Western appropriation. In short, Moffatt shapes the Australian outback with the artificiality of a stage setting or a canvas.”[2] It is Moffatt’s intent to reject Western culture’s ‘dominant obsession’ with using real photographs as a landscape.[3] Once again the audience is confronted with symbolism and social commentary, gaining wider knowledge of Indigenous issues involving colonization and cultural loss.

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[1] Alessandra Senzani, “Dreaming back: Tracey Moffatt’s bedeviling films”, Post Script, http://www.freepatentsonline.com/article/Post-Script/176371862.html, (accessed 18/08/2011).

[2] Ibid, (accessed 18/08/2011).

[3] Ibid, (accessed 18/08/2011).

Video of Tracey Moffatt's 'Night Cries' Part One

Part one of Tracey Moffatt's 'Night Cries- A rural tragedy'.

http://youtu.be/Tv1IN-i1t5Q

Part one of the film establishes of the controversial plot, and displays the tension between the two characters. 'Night Cries' has widened my understanding of Indigenous art, most prominently of contemporary Indigenous artists. Moffatt weaves symbolism into her work enabling a number of political issues to surface including assimilation, the commercialization of Indigenous art and the complex relationships of a mixed race family. Yet her social commentary is laced with ambiguity, allowing the film to avoid being labeled a ‘protest’ against history. This tactic has become a signature feature of her work, forcing the audience to construct their own conclusions.[1] Further research into the history of Indigenous assimilation highlighted that Moffatt herself, was raised by a Caucasian family. Many of her works have incorporated scenarios from her own life, with stories merging as her own social commentary. This technique has changed my perspective of Indigenous art, previously being only exposed to work from the Central and Western Deserts region. This style of art involves the use of dotting, which has become misinterpreted as the only art form of Indigenous culture.

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[1] Catherine Summerhayes, “The moving images of Tracey Moffatt”, http://trfineart.com/pdfs/reviews/0000/0186/Moving_Images_of_Tracey_Moffatt_reduced.pdf, pg 22.

'Night Cries: A rural tragedy' by Tracey Moffatt

A barren and arid landscape under a sun burnt sky opens a complex story in Tracey Moffatt’s 1989 short film, ‘Night cries’. Howling wolves set an unsettling tone as the audience is introduced to the film’s two main characters, a middle-aged Indigenous woman and her dying Caucasian mother. Moffatt depicts a bittersweet relationship between a mother and daughter, touching upon issues of mixed race families and the Assimilation Policy of the sixties. This legislation enforced Indigenous children to be adopted into white families, which is illustrated by Moffatt’s use of symbolism to demonstrate colonization.[1] The daughter faces a battle between the love and loyalty she has for her mother, overshadowed by evocations of a childhood nightmare.[2] The daughter feels obliged to fulfill her duty as a caretaker, yet longs for her own independence in a distant place. Flashbacks and dreams into the future confuse the character, forcing the viewer to become empathetic with her situation. The viewer questions whether the daughter feels trapped and willing to define her own independence, or whether she is longing for her true Indigenous family. 

Moffatt's short film touches upon controversial subject matter, but does it artistically and subtly. Her work incorporates a degree of ambiguity, forcing the viewer to construct their own conclusions. This is an effective tool that has allowed her to explore social and political issues, without appearing to construct a protest.  The film brought to my attention the effects of the Assimilation policy, and the complications that it caused for many mixed race families. 

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[1] National Museum of Australia, “States agreed on a policy of assimilation at the 1961 Native Welfare Conference”, National Museum of Australia, http://www.indigenousrights.net.au/document.asp?iID=946, (accessed 16/08/2011).

[2] Janet Watson, “Fractured Realities, Fractured Truths in Tracey Moffatt’s Nice Coloured Girls and Night Cries: A Rural Tragedy”, Deakin University, http://www.doubledialogues.com/archive/issue_nine/watson.html, (accessed 16/08/2011).