Contemporary indigenous art

While Gough and Bell may come from very different backgrounds and have differing focuses, they do raise some similar issues surrounding Indigenous art and artists, such as the current question about what makes something specifically Aboriginal art? The obvious answer here would be that any art made by an Aboriginal person could be considered Aboriginal art, but there is conflict over whether the subjective content of contemporary and traditional Aboriginal art are of the same category, if the contemporary art produced is considered Aboriginal art at all. Neale says on this topic that “Aboriginal art and culture has survived through its ability to adapt and change, and in this process has found many new ways of expressing cultural values.” (2003, p.106). On this Bell argues that this problem “arises out of the very nature of Western Art [and] Westerners need to sort and categorise everything…” (2002)

This struggle with authenticity within the Aboriginal art scene stems from the issue that the Aboriginal art industry is predominately white-controlled and privileges art that tells more ‘traditional’ stories, as well as viewing art from remote areas as more “authentic” than that from urban areas. (McHugh and McLean, 2018) One of the problems with this is that, not only does it restrict what Indigenous contemporary artists will have success selling but it limits them in ever being released from this White view of what an Indigenous artist should or could be. In another sense, Bell speaks on this in the context of the appropriation of Aboriginal imagery and culture and strongly claims that “Aboriginal People all over the world are adamant that their respective cultures are not for sale – that our cultures are the only things we still own and that we will own and that we will struggle mightily to maintain that ownership.” (2002)

There is also the more recent phenomena where Indigenous artists are separating their Indigenous identity from their artistry. Gough speaks on this topic, stating that “Self-denial of identity reveals the desperate discontent of being the token black artist.” (2006, p. 9) This is similarly reinforced by Bell in his essay where he says, “Many Urban artists have rejected the ethno-classification of Aboriginal Art to the extent they don’t participate in Aboriginal shows. They see themselves as artists – not as Aboriginal artists” (2002). This attempt to escape from the stereotype is a direct result of the pressure that Western Art culture puts on Indigenous people to only create one specific type of art; missing the point of art almost entirely and maintaining that Aboriginal art and artists are only valuable when catering to a white audience. Which in turn only serves to sustain the unfortunate reality of Aboriginal peoples objectification, we are selling the idea of Aboriginal art rather than the work itself (Gough 2006, p.9), and continue to treat them and their culture as mere entertainment for the Western masses.

This epidemic of exploitation of Indigenous people has been ongoing since the invasion and colonisation of Australia. Contemporary Indigenous artists will only regain agency and the right to their own culture when the Australian Government ceases to assert the idea that Aboriginal People have privileges when what they need and deserve are rights. (Bell,2002) Only then will the issues that affect Indigenous people and their art; as raised in both Bell’s and Gough’s essays, be resolved - when they won’t have to prove their Aboriginality and have their value sustained in what please the Western Art audience. Just as any other artist has the right to create and explore however and whatever they want - without their authenticity and relevance being questioned.

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