I traveled to the center of Australia with the hope that I could step deeper into understanding why I have such a powerful attraction to aboriginal art. For 15 years I have been studying these works, often only in reproduction, and my attachment has only deepened with time. While in Alice Springs, I must have looked at several thousand paintings. Sitting with some of the aboriginal artists, I was convinced that they are feeling and seeing the world in a way that is completely different than me. Their boundaries are different: It feels as if they carry the land inside them. Not the image of the land, the land.
I was struggling with the language to describe this significant difference when I fell onto an extraordinary book–Metonymy in Contemporary Art, by Denise Green. Green is an artist, an Australian, and a cerebral thinker who has articulated some of my own questions about the aboriginal world view as it relates to the context of art making.
Here is how she describes her own work:
Denise Green introduces the concept of metomymic thinking, as developed by the late poet and linguist, A. K. Ramanujan, one that is often different from what is present in Western art critical writing. In Ramanujan’s formulation of metonymic thinking, the human and natural worlds are intrinsically related to one another as are the transcendent and mundane worlds. Metonymic thinking in contemporary art implies that one must take into account the inner world of the artist. When artists create metonymically there is a fusion between an inner state of mind and outer material world.
In her book, Green takes on the likes of Clement Greenberg and Walter Benjamin. Both have argued against subjectivity in painting, and Green asserts that the hegemony of their viewpoints in western art criticism has inhibited a deeper understanding of painting. She wants to open up the possibility of viewing contemporary art from a more “global and pluralistic perspective.”
There is much to explore here, and I’m still assembling these ideas into a meaningful relationship for my own understanding. But Green’s book has been a huge step forward in penetrating issues that have been floating around in my consciousness for several years.
I have a lot more to explore on this topic. So more later.
Note: To see some images from my own collection of aboriginal art, go to my Slow Painters blog. They are tagged under the category, “Aboriginal Artists.”
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