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• W1567116602 abstract "Everybody is scandalised by the slogan on Richard Bell's T-shirt: 'White Girls Can't Hump.' It is condemnable because it is racist and it offends women, they say. But behind this there might be another story. It would have almost certainly been OK in conversation, and it might have raised a laugh if it had have been on a painting. But apparently it is a different matter when written in black and white on a T-shirt and sported at the Telstra Indigenous Art Award by the very artist who won the top prize. It is OK to be radical chic, even expected of Aboriginal artists, but it is not OK to transpose it into the everyday, literally in your face in the polite 'with-it' world of 'high art' openings, prize givings and live television coverage. The frame of a painting stuck on a wall can tame the most crude and confronting images and statements. There has not been any public outrage about Vernon Ah Kee's text-based work ('Non People', Bellas Gallery, Brisbane 2002) nor about some of Hookey's scathing 'Ruddock's Wheel' series (Pacific Wave, Casula Powerhouse, Sydney 200l). And more recently, Fiona Foley's show 'Red Ochre Me' (Queensland College of Art, Brisbane 2003) containing Adult themes, Language, Sex references and Nudity has not offended anybody. Not that I've heard. It seems that transposing such a confrontation onto a T-shirt exposes the political in its naked bluntness; it unleashes it at the level of the interpersonal. And not just the interpersonal, the sexual. It is not longer just about ideas, but about actual encounters. Flesh on flesh. Isn't it what confrontation and especially racist vilification is all about? It is lived on the skin. The criticism that Bell launches from his winning canvas 'Aboriginal Art Is a White Thing' is not only acceptable but lifted to glory although it is a direct attack on the institutionalised racism of the Aboriginal art industry. 'This painting was made to win', Brian Kennedy, director of the ANG and one of the Telstra Award judges was reported as saying. The work criticises the very institution, which is seen to promote and celebrate Aboriginal art; it does so, however, within the unspoken parameters that define what 'Aboriginality' is or what Aborigines, artists and ordinary blackfellas, can say and do, no more no less. 'Aboriginal Art Is a White Thing' is an attack, but it falls within the acceptability of the expected. Indeed, it satisfies the expectation precisely of an attack. But an attack within limits. It is allowed to strike but it should not affect deeply. Aboriginality, an essence defined from the outside, is made to move back and forward between notions and styles, expectations and definitions of the traditional, the urban, the naif, 'the pretty', the 'protestation', the kitsch, the tourist, the secret, the whatever (all of which, of course, need to be absolutely authentic). Abstract categories celebrate lived lives by keeping them at a safe distance. If Aboriginality can be just right, it can be too much or too little. Rumour has it that an art work submitted to the same Telstra Art Award was deemed not to be 'Aboriginal enough' and so was hoisted from the competition. Aboriginal art is classified as such when it accords with expectations of what Aboriginal art is to be. In this case it is a matter of Aboriginal content rather than agency and creativity, it is an about and not a by (von Sturmer personal communication). Bell's painting is a version of an earlier work which, beyond the same statement, ABORIGINAL ART IS A WHITE THING, across the canvas, more strongly expresses the frustration and consequent desire of stepping out of the box or, in a dialogue with Imants Tillers (1982), (1) is a struggle against the constraining historical circumstances and local parameters which not only exploit Aboriginal artists economically but position Aboriginality before the artwork and the artist, the essence before the individual, and the category before the person. (2) Among other government institutions and private initiatives which create enclosures of space and time dedicated to Aboriginal things and affairs, how far has the Art industry moved away from essentialism or, as Vernon Ah Kee succinctly puts it in one of his works, gone beyond the colonial constructions of Aboriginal people and artists as 'non-person personas'? …" @default.
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• W1567116602 date "2004-01-01" @default.
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• W1567116602 title "When Is Aboriginal Aboriginal Too Much? (Not a Hump but a Historical Speed Bump)" @default.
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