Battarbee and Namatjira is the biography of two artists Rex Battarbee and Albert Namatjira, one white Australian from Warrnambool in Victoria, the other Aboriginal, of the Arrernte people, from the Hermannsburg Mission south of Alice Springs. From their first encounters in the early 1930s, when Battarbee introduced Namatjira to the techniques of water-colour painting, through the period of Namatjira’s popularity as a painter, to the tragic circumstances leading to his death in 1959, their close relationship was to have a decisive impact on Australian art. This biography, illustrated with photographs, makes extensive use of Battarbee’s diaries for the first time, to throw new light on Namatjira’s life, and to bring Battarbee, who has been largely ignored by biographers, back into focus. Some of its findings will be controversial. By moving between the artists and their backgrounds, and looking closely at the nature of their friendship, Edmond is able to portray the personal and social complexities the two men faced, while at the same time illuminating larger cultural themes – the treatment of the Arrernte and Indigenous people generally, the influence of the Lutheran church, the development of anthropology, and the evolution of Australian art.

Taking an interdisciplinary approach unmatched by any other book on this topic, this thoughtful Handbook considers the international struggle to provide for proper and just protection of Indigenous intellectual property (IP). In light of the United Nations Declaration on the Rights of Indigenous Peoples 2007, expert contributors assess the legal and policy controversies over Indigenous knowledge in the fields of international law, copyright law, trademark law, patent law, trade secrets law, and cultural heritage. The overarching discussion examines national developments in Indigenous IP in the United States, Canada, South Africa, the European Union, Australia, New Zealand, and Indonesia. The Handbook provides a comprehensive overview of the historical origins of conflict over Indigenous knowledge, and examines new challenges to Indigenous IP from emerging developments in information technology, biotechnology, and climate change. Practitioners and scholars in the field of IP will learn a great deal from this Handbook about the issues and challenges that surround just protection of a variety of forms of IP for Indigenous communities.

Widely referred to as the 'Bible' of Australian art, The Encyclopedia of Australian Art is the major reference work on Australian art 1770-1994.

This edited collection examines art resulting from cross-cultural interactions between Australian First Nations and non-Indigenous people, from the British invasion to today. Focusing on themes of collaboration and dialogue, the book includes two conversations between First Nations and non-Indigenous authors and an historian’s self-reflexive account of mediating between traditional owners and an international art auction house to repatriate art. There are studies of ‘reverse appropriation‘ by early nineteenth-century Aboriginal carvers of tourist artefacts and the production of enigmatic toa. Cross-cultural dialogue is traced from the post-war period to ‘Aboriginalism’ in design and the First Nations fashion industry of today. Transculturation, conceptualism, and collaboration are contextualised in the 1980s, a pivotal decade for the growth of collaborative First Nations exhibitions. Within the current circumstances of political protest in photographic portraiture and against the mining of sacred Aboriginal land, Crosscurrents in Australian First Nations and Non-Indigenous Art testifies to the need for Australian institutions to collaborate with First Nations people more often and better. This book will appeal to students and scholars of art history, Indigenous anthropology, and museum and heritage studies.

Global Film Color: The Monopack Revolution at Midcentury explores color filmmaking in a variety of countries and regions including India, China, Japan, and Russia, and across Europe and Africa. Most previous accounts of color film have concentrated on early 20th century color processes and Technicolor. Far less is known about the introduction and application of color technologies in the period from the mid-1940s to the 1980s, when photochemical, “monopack” color stocks came to dominate global film markets. As Eastmancolor, Agfacolor, Fujicolor and other film stocks became broadly available and affordable, national film industries increasingly converted to color, transforming the look and feel of global cinema. Covering a broad range of perspectives, the chapters explore themes such as transnational flows, knowledge exchange and transfer, the cyclical and asymmetrical circulation of technology in a global context, as well as the accompanying transformation of color film aesthetics in the postwar decades.

Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world. Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano

Large, bold, and colorful, indigenous Australian art—sometimes known as Aboriginal art—has made an indelible impression on the contemporary art scene. But it is controversial, dividing the artists, purveyors, and collectors from those who smell a scam. Whether the artists are victims or victors, there is no denying the impact of their work in the media, on art collectors and the art world at large, and on our global imagination. How did Australian art become the most successful indigenous form in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art market to which they had historically been denied access? Beautifully illustrated, this full stunning account not only offers a comprehensive introduction to this rich artistic tradition, but also makes us question everything we have been taught about contemporary art.

FROM THE PUBLISHERS OF THE BESTSELLER FIRST AUSTRALIANS COMES the lavishly illustrated art+soul, the companion book to the prime-time ABC TV series by the same name. art+soul is inspired by the flourishing of Aboriginal and Torres Strait Islander art in Australia over the past thirty years, captivating viewers around the world with astonishingly powerful artworks. Hetti Perkins, the distinguished Aboriginal art curator, travels to the startlingly beautiful landscapes of remote Arnhem Land, saltwater country and the desert heartlands of Central Australia, sharing with us the rare privilege of being welcomed into the homes and homelands of many senior artists. This lavishly illustrated book captures the remarkable energy and diversity of Aboriginal art, from the Papunya Tula Artists, the renowned art movement that had its humble beginnings in the early 1970s, to Rover Thomas and his heirs' phenomenal achievements in the East Kimberley. It features the work of contemporary artists Destiny Deacon, Brenda L Croft and Michael Riley, and that of the celebrated Emily Kam Ngwarray, whose paintings revolutionised Australian art. art+soul tells their storiesandmdash;heartfelt, intimate and political. The book includes more than 150 artworks, and photographs by Warwick Thornton, director of the accompanying television series and the award-winning film Samson and Delilah.

Hunters and Collectors is about historical consciousness and environmental sensibilities in European Australia from the mid-nineteenth century to the present. It is in part a collective biography of amateur antiquarians, archaeologists, naturalists, journalists and historians: people who shaped the Australian historical imagination. Dr Griffiths illuminates the way these avid collectors and investigators of the Australian land and of its indigenous inhabitants contributed a sense of identity at colony-wide and eventually nationwide level. He also considers the rise of professional history, anthropology and archaeology in the universities, which ignored the efforts of the amateurs. Griffiths shows how the seemingly trivial activities of these hunters and collectors feed into the political and environmental debates of the 1990s. This book is outstanding in its originality, interpretative insight and literary flair.