Marie Geissler
Biographic Data
| ID | 6891497 |
|---|---|
| NAME | Marie Geissler |
| GIVEN NAMES | Marie |
| FAMILY NAME | Geissler |
| SIGNATURE | GEIßLER M |
| AFFILIATIONS | University of Wollongong |
| ORCID | 0000-0002-6250-0081 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Indigenous Agency in Australian Bark Painting
In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with t…
Contemporary Indigenous Australian Art and Native Title Land Claim
This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural materials as supporting evidence. Specifically, the text highlights the effective agency of indigenous visual expression as a communication tool within t…
Bark painting of Arnhem Land, Australia
This article brings together existing research as well as new data to examine the shift in the reception of Arnhem Land (Australia) bark painting, from being understood initially as a form of ethnographic art, to one of contemporary art. It investigates the historical and conceptual nature of this process of recognition, especially its institutional basis. Despite key studies, this overall process is not well known or always considered. Although …
No prominent works on this page.
Bark painting of Arnhem Land, Australia
This article brings together existing research as well as new data to examine the shift in the reception of Arnhem Land (Australia) bark painting, from being understood initially as a form of ethnographic art, to one of contemporary art. It investigates the historical and conceptual nature of this process of recognition, especially its institutional basis. Despite key studies, this overall process is not well known or always considered. Although …
Contemporary Indigenous Australian Art and Native Title Land Claim
This paper investigates a select number of examples in which largely non-literate First Nation peoples of Australia, like some First Nations peoples around the world, when faced with a judicial challenge to present evidence in court to support their land title claim, have drawn on their cultural materials as supporting evidence. Specifically, the text highlights the effective agency of indigenous visual expression as a communication tool within t…
Indigenous Agency in Australian Bark Painting
In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with t…
Archaeology (3 works) · Art (3 works) · Cultural Heritage Management and Preservation (3 works) · Ecology (3 works) · Geography (3 works) · History (3 works) · Painting (3 works) · Sociology (3 works) · Visual arts (3 works) · Archaeology and Rock Art Studies (2 works)