The belief held by Aboriginal people that their art is ultimately related to their identity, and to the continued existence of their culture, has made the protection of indigenous peoples' art a pressing matter in many postcolonial countries. The issue has prompted calls for stronger copyright legislation to protect Aboriginal art. Although this claim is not particular to Australian Aboriginal people, the Australian experience clearly illustrates this debate. In this work, Elizabeth Burns Coleman analyses art from an Australian Aboriginal community to interpret Aboriginal claims about the relationship between their art, identity and culture, and how the art should be protected in law. Through her study of Yolngu art, Coleman finds Aboriginal claims to be substantially true. This is an issue equally relevant to North American debates about the appropriation of indigenous art, and the book additionally engages with this literature.

This book is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society’s negotiation of Indigenous people’s status within the nation. Through critical reflection on Aboriginal art’s idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art’s meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art’s vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition.

This highly original book shows that Australian art, and the writing of its history, has since settlement been in a dialog (although often submerged) with Aboriginal art and culture; and that this dialog is inextricably interwoven with the struggle to find an identity in the antipodes. McLean argues that the colonizing culture invested far more in indigenous aspects of the country and its inhabitants than it has been willing to admit. He considers artists and their work within their cultural context, and in light of contemporary theory.

Illusions of identity: the art of nation.

Aboriginal and Torres Strait Islander Art explores the effects of Queensland government policies on urban First Nation artists. While such art has often been misinterpreted as derivative lesser copies of ‘true’ Indigenous works, this book unveils new histories and understandings about the mixed legacy left for Queensland Indigenous artists. Gretchen Stolte uses rich ethnographic detail to illuminate how both Aboriginal and Torres Strait Islander artists understand and express their heritage. She specifically focuses on artwork at the Aboriginal and Torres Strait Islander art studio in the Tropical North Queensland College of Technical and Further Education (TNQT TAFE), Cairns. Stolte's ethnography further develops methodologies in art history and anthropology by identifying additional methods for understanding how art is produced and meaning is created.