In 2003, Brisbane artist Richard Bell lambasted the white anthropologists, art historians, dealers and curators who presumed to judge Aboriginal art. Here he discusses Bell’s Theorem (Aboriginal Art: It’s A White Thing), racism and his rise from fringe-dweller to renowned contemporary artist, collected by London’s Tate Modern. His gallerist, Josh Milani, salutes Bell’s provocations: ‘The more he offends people, the more I put his prices up’.
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In 2003, Brisbane artist Richard Bell lambasted the white anthropologists, art historians, dealers and curators who presumed to judge Aboriginal art. Here he discusses Bell’s Theorem (Aboriginal Art: It’s A White Thing), racism and his rise from fringe-dweller to renowned contemporary artist, collected by London’s Tate Modern. His gallerist, Josh Milani, salutes Bell’s provocations: ‘The more he offends people, the more I put his prices up’.
Three Yolngu artists take us to the site of a massacre of their people in North East Arnhem Land in 1911 and beyond, to the powerful art and heart of Yolngu culture today. The thriving Buku-Larrnggay Mulka art centre is run by a former criminal lawyer who has learned to live in a 'two-ways world', where Western and Aboriginal views sit side by side.
Heart of Artness
In 2003, Brisbane artist Richard Bell lambasted the white anthropologists, art historians, dealers and curators who presumed to judge Aboriginal art. Here he discusses Bell’s Theorem (Aboriginal Art: It’s A White Thing), racism and his rise from fringe-dweller to renowned contemporary artist, collected by London’s Tate Modern. His gallerist, Josh Milani, salutes Bell’s provocations: ‘The more he offends people, the more I put his prices up’.
