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dc.contributor.authorGilchrist, Stephen
dc.date.accessioned2020-05-18
dc.date.available2020-05-18
dc.date.issued2020-01-01
dc.identifier.urihttps://hdl.handle.net/2123/22301
dc.description.abstractIndigenous art has been one of the most important vehicles for promoting intercultural understanding in Australia. It visualises Indigenous ways of seeing, knowing and experiencing the world. Indigenous forms of curation have been instrumental in creating these profound moments of intercultural connection, contributing to new theorisations of Indigenous art. This research project seeks to identify an Indigenous critical framework with which to apprehend the complexity of Indigenous art exhibitions. Through detailed case-studies of six exhibitionary projects by Indigenous curators, running from the Aboriginal Memorial of 1988 to barrangal dyara (skin and bones) in 2016, I demonstrate that Indigenous curation is not only an important political act of recognition and visibility, it is also deeply indebted to Indigenous cultural practices and philosophies. The projects chosen are situated within sites of high national and international value and through these case studies I chart a curatorial manoeuvre that I describe as ‘unbelonging’. Unbelonging is not a position of statelessness, but a deliberative model of both subversively unsettling and detaching from the imposition of statehood. In many instances, it uses the resources of leading institutions, but agitates to create self-determined spaces within them. Through a process of unbelonging to the state, to the institution, to disciplines and to history, Indigenous curators are rewriting their own ways of belonging. I understand Indigenous curation as not politically reactive to colonisation as is often presumed, but emerging from Indigenous political formations of governance and sovereignty, value and heritage, consensus and relation. By creating new and broadening complacent formulations of art and social history, identity, and museological practice and temporality, Indigenous curators have reshaped institutional and disciplinary cultures and have contributed to the strengthening of Indigenous art and culture.en_AU
dc.rightsThe author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.en_AU
dc.subjectIndigenousen_AU
dc.subjectIndigenisationen_AU
dc.subjectDecolonisationen_AU
dc.subjectCurationen_AU
dc.subjectExhibitionsen_AU
dc.subjectSovereigntyen_AU
dc.titleBelonging and Unbelonging: Indigenous forms of Curation as Expressions of Sovereigntyen_AU
dc.typeThesisen_AU
dc.type.thesisDoctor of Philosophyen_AU
usyd.facultyFaculty of Arts and Social Sciences, School of Literature, Art and Mediaen_AU
usyd.departmentDepartment of Art Historyen_AU
usyd.degreeDoctor of Philosophy Ph.D.en_AU
usyd.awardinginstThe University of Sydneyen_AU


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