Crossing country: tribal modernism and Kuninjku bark painting
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:
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