Crossing country: tribal modernism and Kuninjku bark painting
RIS ID
68388
Abstract
There was a time when Western artists looked seriously to the art of other cultures. Andre Breton and Jean-Paul Sartre supported political and cultural struggles in the colonies and several mid-twentieth-century US artists engaged directly with their Mexican revolutionary counterparts. For a host of European modernists, African art and Afro-American jazz seemed to embody the machine age better than anything in the Western tradition. Yet modernism continued to be conceived as a singularly European invention. The artworld's postcolonial return to this inter-cultural terrain has made salient that:
Publication Details
McLean, I. A. (2006). Crossing country: tribal modernism and Kuninjku bark painting. Third Text: third world perspectives on contemporary art and culture, 20 (5), 599-616.