The presence of absence
Tommy McRae and Judy Watson in Australia , the imaginary grandstand at the Royal Academy in London
Bibliographic Data
| ID | 13036331 |
|---|---|
| Authors | Khadija Von Zinnenburg Carroll (0000-0003-2519-6823, Museum of London Archaeology, corresponding author) |
| Year | 2014 |
| Volume | 4 |
| Issue | 2 |
| Pages | 209-235 |
| Publication date | 2014-07-03 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | World Art (JOURNAL) |
| Journal identifiers | ISSN: 2150-0894 • E-ISSN: 2150-0908 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/21500894.2014.921863 |
| OpenAlex | W2073610912 |
| Language | EN |
| References cited | 18 |
The presence of absence: Tommy McRae and Judy Watson in Australia, the imaginary grandstand at the Royal Academy in LondonAll authorsKhadija von Zinnenburg Carrollhttps://doi.org/10.1080/21500894.2014.921863Published online:07 November 2014Display full sizeDetail of Tommy McRae, Corroboree or William Buckley and Dancers from the Wathaurong People, c. 1890, ink on paper. University of Melbourne Archives.Nineteenth-century Indigenous art is remarkably absent from Australian contributions to World Art history. This close reading of Tommy McRae's drawings of a Victorian ‘Corroboree after Seeing Ships for the First Time’ argues that the presences and absences in Australian art history are epitomized in these nineteenth-century Indigenous works. The influence of photography and popular press imagery on McRae's representations of ceremony is analysed. How renderings of figure and ground bring colour and race into the very material support of his drawings is explored. The reverse assimilation of the ‘wild white man’ William Buckley is assessed in regard to the proto-national apparel in the colonial space that McRae illustrates. The reassessment of this early Aboriginal artist is framed by the exhibition of his work in London at the Royal Academy in 2013. Comparisons with Eugene von Guérard and William Barak are made in the visual analysis. The significance of the reception of the Australia exhibition as imaginary grandstand for the nation is further highlighted through Judy Watson's fire and water sculpture
Archaeology · Art · Art history · Ceremony · Exhibition · Indigenous · Sculpture · The Imaginary · Visual arts · Watson · White (mutation · Cultural Heritage Management and Preservation · Geographies of human-animal interactions · History · Museums and Cultural Heritage
The Arunta
The archaeology of rock-art
Entangled Objects
Ethnic and Tourist Arts
The Aborigines of Victoria, with Notes relating to the Habits of the Natives of other Parts of Australia and Tasmania
Native Tribes of Central Australia
Eye Contact
International journal of cultural property
Animals into Art
Frontier Regulars
Entangled objects
The Dja Dja Wurrung Bark Etchings Case
More Australian Legendary Tales
The Elementary Forms of Religious Life
The Native Tribes of Central Australia
| Citation velocity | historical |
|---|---|
| Highly cited | No |