Foreword | p. 7 |
Introduction | p. 9 |
A brief social history of Kuninjku art and the market | p. 19 |
The local contexts of bark painting | |
Painted energy: John Mawurndjul and the negotiation of aesthetics in Kuninjku bark painting | p. 31 |
An arts adviser perspective on producing art for Balanda | p. 47 |
Brokering Kuninjku art: a critical perspective on the complex processes of mediating with the market | p. 53 |
Rarrk on bark: John Mawurndjul's medium of power and beauty | p. 61 |
Identifying contexts of art | |
Art theory and art discourse across cultures: the Yolngu and Kunwinjku compared | p. 75 |
Why we need an intercultural art history | p. 103 |
Intercultural perspective as context: beyond othering and appropriation? The case of John Mawurndjul | p. 113 |
Dilemmata of otherness | p. 123 |
Between Europe and Australia: from local to global | |
From bark to art: Karel Kupka between Arnhem Land and Basel | p. 137 |
Translating the spectacle: John Mawurndjul's intercultural aesthetic | p. 161 |
Art of the Aborigines between new-age mysticism and politics | p. 175 |
What is local about local art? Contemporary African artists between international art world and local life-world | p. 183 |
Tomorrow's museums for today's art | |
30,000 years of Australian art - a neuropsychological approach | p. 199 |
The Creativity Centre: where science meets art | p. 211 |
Rendering visible - new practices for old institutions | p. 217 |
Recognising Indigenous Australians: a new context for art | p. 223 |
Colour Plates I-XXVI | p. 112 |
List of authors | p. 229 |
Index | p. 233 |
Map of Arnhem Land | p. 240 |
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