The truth in painting
Cultural artefacts as proof of native title
Bibliographic Data
| ID | 15064859 |
|---|---|
| Authors | K Anker (The University of Sydney), Kathrine Elizabeth Anker (The University of Sydney, corresponding author) |
| Year | 2005 |
| Volume | 9 |
| Issue | 1 |
| Publication date | 2005-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Law/text/culture (JOURNAL) |
| Journal identifiers | ISSN: 1322-9060 • E-ISSN: 2200-7121 |
| Publisher | University of Wollongong Library (PUBLISHER) |
| DOI | 10.14453/ltc.540 |
| OpenAlex | W4404188923 |
| Language | EN |
| Citations received | 3 |
On the front cover of the Oxford Companion to Aboriginal Art and Culture an Aboriginal man in a red loin cloth appears dancing on a brightly coloured canvas. He is dwarfed by the size of the painting, and is doubly lost amid the 'riotous colour', the lines, circles and swirls of his platform, the Ngurrara Canvas II. This is Nyilpirr Spider Snell, an artist from the Kimberley/Great Sandy Desert region of North Western Australia, performing the Kurtal -- or snake dreaming dance -- in Canberra to 'remind those sitting on the High Court of the depth of [his peoples'] claim' (Native Title Newsletter 2002: 4)
Art · Art history · Painting · Archaeological Research and Protection · Visual Culture and Art Theory
| Citations per year | 0.43 |
|---|---|
| Citation span | 2019 - 2022 (4) |
| Highly cited | No |