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Women's Business: Cross-cultural Collaborations in Remote Indigenous Art Centres

The Australian art world has developed a rich discourse on Aboriginal and Torres Strait Islander art since the Western Desert painting movement entered its sights in the 1980s. The form, style and substance of this writing is cross-disciplinary, born of anthropology, art history, politics, curatorial developments and art criticism, ranging from the scholarly to the activist and the tabloid. Its writers are established and emerging, black and white, male and female, and they have encouraged the evolution of audiences for Indigenous art, positioning it firmly within the lexicon of Australian art. Missing from this discourse, however, is a sustained critique of praxis when Indigenous and non-Indigenous artists share creative ground, so much so that one might think that the intrinsically cross-cultural element is a defining taboo of the discourse, banished, like Plato’s poets, from the Republic. But like all taboos, a few exceptions slip through the gates, most visibly sighted in cross-cultural exchanges between male artists in central Australia, such as Albert Namatjira and Rex Battarbee in the 1930s, and Geoffrey Bardon, Tim Johnson and Imants Tillers’ associations with male painters at Papunya since the 1970s. Though less visible, women’s cross-cultural engagements share this history, from Margaret Preston’s provocative modernist primitivism to Marina Abramovi c’s (and Ulay’s) desert sojourn in the summer of 1980/81 and Dolly Nampijinpa Daniels and Anne Mosey’s long-term intercultural collaborations in the 1990s. Most recently, Fiona Hall’sWrong Way Time (2015), shown in the Australian Pavilion at the 56th Venice Biennale, included the collaborative installation Kuka Irititja, developed over two weeks near Pilakatilyuru in Western Australia with 12 Indigenous women working collectively as the Tjanpi Desert Weavers. In the interest of inserting women’s cross-cultural and intercultural art practices into the discourse, this paper examines three contemporary examples of women engaging in such residencies or collaborations in remote communities. Each has a different backstory, representative of the different ways artists are taking up these challenging, and often fraught, opportunities. Sydney-based interactive media artist Lynette Wallworth was first commissioned byMartumili Artists in 2010 to make what