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Series: Archives of empire ;
Published: 10 December 2003
DOI: 10.1215/9780822385042-124
EISBN: 978-0-8223-8504-2
Published: 11 October 2007
DOI: 10.1215/9780822390619-002
EISBN: 978-0-8223-9061-9
Series: Politics, History, and Culture
Published: 30 May 2011
DOI: 10.1215/9780822391814-006
EISBN: 978-0-8223-9181-4
Series: Post-Contemporary Interventions
Published: 01 January 1997
DOI: 10.1215/9780822399780-002
EISBN: 978-0-8223-9978-0
Published: 09 August 1985
DOI: 10.1215/9780822382959-026
EISBN: 978-0-8223-8295-9
Series: Objects/Histories
Published: 05 February 2016
DOI: 10.1215/9780822374602-007
EISBN: 978-0-8223-7460-2
... to the bodies and lifeworlds of its producers. Unlike in northern Australia, where there was a tradition of utilizing ochre in what first became known as “Aboriginal art”—bark paintings, hollow log burial sculptures, mimi figures, shields, spears, and other art objects—the Western Desert art movement did...
Series: Objects/Histories
Published: 05 February 2016
EISBN: 978-0-8223-7460-2
... Australia, where there was a tradition of utilizing ochre in what first became known as “Aboriginal art”—bark paintings, hollow log burial sculptures, mimi figures, shields, spears, and other art objects—the Western Desert art movement did not have an ochre-to-art trajectory. The utilization of ochre today...