Kimberley art: strong in country and law - Kimberley languages - Figurative art of the North-west and Central Kimberley - Paddy Jaminji and the Gurirr Gurirr - The East Kimberley aesthetic - Art of Fitzroy Crossing - Art of Balgo - Kimberley art and material culture - Materials and techniques of the contemporary Kimberley artist.

Describes the art of the Australian Aborigines including rock painting and engraving as well as sand and bark painting; also discusses the symbolism found in these works.

A paradigm-shifting book in the vein of Sapiens that brings a crucial Indigenous perspective to historical and cultural issues of history, education, money, power, and sustainability—and offers a new template for living. As an indigenous person, Tyson Yunkaporta looks at global systems from a unique perspective, one tied to the natural and spiritual world. In considering how contemporary life diverges from the pattern of creation, he raises important questions. How does this affect us? How can we do things differently? In this thoughtful, culturally rich, mind-expanding book, he provides answers. Yunkaporta’s writing process begins with images. Honoring indigenous traditions, he makes carvings of what he wants to say, channeling his thoughts through symbols and diagrams rather than words. He yarns with people, looking for ways to connect images and stories with place and relationship to create a coherent world view, and he uses sand talk, the Aboriginal custom of drawing images on the ground to convey knowledge. In Sand Talk, he provides a new model for our everyday lives. Rich in ideas and inspiration, it explains how lines and symbols and shapes can help us make sense of the world. It’s about how we learn and how we remember. It’s about talking to everyone and listening carefully. It’s about finding different ways to look at things. Most of all it’s about a very special way of thinking, of learning to see from a native perspective, one that is spiritually and physically tied to the earth around us, and how it can save our world. Sand Talk include 22 black-and-white illustrations that add depth to the text.

Nominated for the 2016 Art in Literature: Mary Lynn Kotz Award, Library of Virginia Owing to digitization, globalization and mass culture, what is deemed 'desirable' and 'of the moment' in art has increasingly followed the patterns of fashion. While in the past artistic styles were always inflected with signs of their modernity, today biennales and art markets are defined by the next big thing, the next sensation, the next new idea. But how do opinions of what is 'good', 'progressive' and 'cutting edge' guide styles? What is it that makes works of art fashionable and commercial? Fashionable Art critically explores the relationships between art, commerce, taste and cultural value. Each chapter covers a major style or movement, from Chinese and Aboriginal art, Cubism and Pop Art to alternative identity and outsider art, exploring how contemporary art has been shaped since the 1970s. Drawing upon a variety of theoretical frameworks, from Adorno and Bourdieu to Simmel and Zizek, expert visual cultural scholars Geczy and Millner engage with both historical and contemporary debates on this lively topic. Taking a complex view of the meaning of fashion as it relates to art, while also offering critiques of 'art as fashion', Fashionable Art is an original, key text that will be essential reading for students and scholars of art history, fashion studies and material culture.

The hidden costs of artificial intelligence, from natural resources and labor to privacy and freedom What happens when artificial intelligence saturates political life and depletes the planet? How is AI shaping our understanding of ourselves and our societies? In this book Kate Crawford reveals how this planetary network is fueling a shift toward undemocratic governance and increased inequality. Drawing on more than a decade of research, award-winning science, and technology, Crawford reveals how AI is a technology of extraction: from the energy and minerals needed to build and sustain its infrastructure, to the exploited workers behind "automated" services, to the data AI collects from us. Rather than taking a narrow focus on code and algorithms, Crawford offers us a political and a material perspective on what it takes to make artificial intelligence and where it goes wrong. While technical systems present a veneer of objectivity, they are always systems of power. This is an urgent account of what is at stake as technology companies use artificial intelligence to reshape the world.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world. Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano

Dijan buk gada ola memri ai bin abum gada main abija from wen ai bin lilgel til imin libu wi. Imin titjim mi loda tings bla koltja en bla kantri. Mi hepi ba pasim det stori la main femili en bla pudum la dis buk.' 'This book has the memories I had of my grandfather from when I was small until he left us. He taught me many things about culture and country. I'm happy to pass this story on to my family and to put it in this book.' With luscious artwork and a lyrical text in Kriol and English, celebrated Ngukurr artist Karen Rogers evokes the world of her childhood in a remote part of the Northern Territory. Her story is a beautiful celebration of a special relationship, showing how culture is passed on from generation to generation. 'My grandfather touched my heart. I hope everybody can have a chance to love one grandparent that way.' '[V]ibrant and joyful.' Thuy On, Books+Publishing

In Art to Come Terry Smith—who is widely recognized as one of the world's leading historians and theorists of contemporary art—traces the emergence of contemporary art and further develops his concept of contemporaneity. Smith shows that embracing contemporaneity as both a historical concept and a condition of the globalized world allows us to grasp how contemporary art exists in a fluid space of increasing interdependencies, multiple contemporaneous modernities, and persistent inequalities. Throughout these essays, Smith offers systematic proposals for writing contemporary art's histories while assessing how curators, critics, philosophers, artists, and art historians are currently doing so. Among other topics, Smith examines the intersection of architecture with other visual arts, Chinese art since the Cultural Revolution, how philosophers are theorizing concepts associated with the contemporary, Australian Indigenous art, and the current state of art history. Art to Come will be essential reading for artists, art students, curators, gallery workers, historians, critics, and theorists.

In the dynamic realm of generative artificial Intelligence (AI), the fusion of human creativity and machine intelligence has created a vibrant ecosystem of collaborative artmaking. However, this transformative process brings forth a myriad of concerns, ranging from ethical considerations and the need for originality to navigating the legal complexities surrounding intellectual property. As more and more online communities appear around the use of AI to aid in the creation of images, there arises a pressing need for a comprehensive guide that not only dissects the intricacies of artmaking with generative AI tools but also offers practical solutions to the evolving dilemmas faced by artists, researchers, and technologists. Making Art With Generative AI Tools emerges as an exploration of the challenges posed by this intersection of human expression and artificial intelligence. Artists engaging with generative AI find themselves grappling with issues of authenticity, social toxicity, and the commercial viability of their creations. From avoiding stereotypical visuals to ensuring proper crediting, the realm of generative AI is rife with these complexities. Furthermore, the blurred lines between human and machine authorship necessitate a deeper exploration of how these innovative tools impact creativity, representation, and the very fabric of the art world.