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’.
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’.
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’.
