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I was scheduled to give a paper at the 2013 International Symposium on Electronic Art" /> <meta property="article:author" content="https://saic.academia.edu/DelindaCollier" /> <meta name="description" content="CrossRef DOI: The situations debated and analyzed in Double Desire: Transculturation and Indigenous Contemporary Art, edited by Ian McLean, were familiar to me. I was scheduled to give a paper at the 2013 International Symposium on Electronic Art" /> <title>(PDF) Review of Ian McLean's edited volume, Double Desire: Transculturation and Indigenous Contemporary Art | Delinda Collier - Academia.edu</title> <link rel="canonical" href="https://www.academia.edu/27349295/Review_of_Ian_McLeans_edited_volume_Double_Desire_Transculturation_and_Indigenous_Contemporary_Art" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = '9387f500ddcbb8d05c67bef28a2fe0334f1aafb8'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1733050396000); window.Aedu.timeDifference = new Date().getTime() - 1733050396000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"CrossRef DOI: The situations debated and analyzed in Double Desire: Transculturation and Indigenous Contemporary Art, edited by Ian McLean, were familiar to me. I was scheduled to give a paper at the 2013 International Symposium on Electronic Art (ISEA) in Sydney on a white South African artist whose work comes from a genealogy of European/American minimalism and abstraction. After some discussion it was decided that my paper should be moved from the panel on experimental art to the panel for Latin American art, because the panel covered art practices \u0026amp;quot; marginal \u0026amp;quot; to the West and my paper was \u0026amp;quot; from Africa. \u0026amp;quot; On the day of the panel, we were informed that two Australian filmmakers had been added to the panel because their films had been rejected from the overall program and they wanted a platform from which to voice their dissent. The (self-identified) Aboriginal artists pointed out that even though ISEA holds its symposia all over the world, organizers rarely make serious commitments to supporting indigenous artists in those locations. 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I was scheduled to give a paper at the 2013 International Symposium on Electronic Art (ISEA) in Sydney on a white South African artist whose work comes from a genealogy of European/American minimalism and abstraction. After some discussion it was decided that my paper should be moved from the panel on experimental art to the panel for Latin American art, because the panel covered art practices \" marginal \" to the West and my paper was \" from Africa. \" On the day of the panel, we were informed that two Australian filmmakers had been added to the panel because their films had been rejected from the overall program and they wanted a platform from which to voice their dissent. The (self-identified) Aboriginal artists pointed out that even though ISEA holds its symposia all over the world, organizers rarely make serious commitments to supporting indigenous artists in those locations. Indeed, the artists accused ISEA of cynicism in featuring an \" Aboriginal welcome \" in the opening of the festival, when they had effectively shut out Aboriginal new-media artists."},"document_type":"other","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Review of Ian McLean's edited volume, Double Desire: Transculturation and Indigenous Contemporary Art","broadcastable":false,"draft":false,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [66105]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":47603614,"attachmentType":"pdf"}"><img alt="First page of “Review of Ian McLean's edited volume, Double Desire: Transculturation and Indigenous Contemporary Art”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/47603614/mini_magick20190206-14503-12qcc89.png?1549466496" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/assets/single_work_splash/adobe.icon-574afd46eb6b03a77a153a647fb47e30546f9215c0ee6a25df597a779717f9ef.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Review of Ian McLean's edited volume, Double Desire: Transculturation and Indigenous Contemporary Art</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="66105" href="https://saic.academia.edu/DelindaCollier"><img alt="Profile image of Delinda Collier" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/66105/18609/19762401/s65_delinda.collier.jpg" />Delinda Collier</a></div><div class="ds-work-card--detail"></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">CrossRef DOI: The situations debated and analyzed in Double Desire: Transculturation and Indigenous Contemporary Art, edited by Ian McLean, were familiar to me. I was scheduled to give a paper at the 2013 International Symposium on Electronic Art (ISEA) in Sydney on a white South African artist whose work comes from a genealogy of European/American minimalism and abstraction. After some discussion it was decided that my paper should be moved from the panel on experimental art to the panel for Latin American art, because the panel covered art practices " marginal " to the West and my paper was " from Africa. " On the day of the panel, we were informed that two Australian filmmakers had been added to the panel because their films had been rejected from the overall program and they wanted a platform from which to voice their dissent. The (self-identified) Aboriginal artists pointed out that even though ISEA holds its symposia all over the world, organizers rarely make serious commitments to supporting indigenous artists in those locations. Indeed, the artists accused ISEA of cynicism in featuring an " Aboriginal welcome " in the opening of the festival, when they had effectively shut out Aboriginal new-media artists.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":47603614,"attachmentType":"pdf","workUrl":"https://www.academia.edu/27349295/Review_of_Ian_McLeans_edited_volume_Double_Desire_Transculturation_and_Indigenous_Contemporary_Art"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":47603614,"attachmentType":"pdf","workUrl":"https://www.academia.edu/27349295/Review_of_Ian_McLeans_edited_volume_Double_Desire_Transculturation_and_Indigenous_Contemporary_Art"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download 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It concludes with an analysis of the exhibition of Indigenous new...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Indigenous New Media Arts: Narrative Threads and Future Imaginaries","attachmentId":87065517,"attachmentType":"pdf","work_url":"https://www.academia.edu/80806722/Indigenous_New_Media_Arts_Narrative_Threads_and_Future_Imaginaries","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/80806722/Indigenous_New_Media_Arts_Narrative_Threads_and_Future_Imaginaries"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="12950552" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/12950552/_Centring_the_Indigenous_Postcommodity_s_Trans_Indigenous_Relational_Art_Third_Text_September_2015">“‘Centring the Indigenous’: Postcommodity’s Trans-Indigenous Relational Art,” Third Text, September 2015</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3508075" href="https://clayton.academia.edu/MarkWatson">Mark Watson</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"“‘Centring the Indigenous’: Postcommodity’s Trans-Indigenous Relational Art,” Third Text, September 2015","attachmentId":38665602,"attachmentType":"pdf","work_url":"https://www.academia.edu/12950552/_Centring_the_Indigenous_Postcommodity_s_Trans_Indigenous_Relational_Art_Third_Text_September_2015","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/12950552/_Centring_the_Indigenous_Postcommodity_s_Trans_Indigenous_Relational_Art_Third_Text_September_2015"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="30707543" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/30707543/Remote_Avant_Garde_Aboriginal_Art_under_Occupation_Jennifer_Loureide_Biddle_Durham_Duke_University_Press_2016_304_pp">Remote Avant-Garde: Aboriginal Art under Occupation. Jennifer Loureide Biddle. Durham: Duke University Press, 2016. 304 pp.</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="27442128" href="https://auburn.academia.edu/ChristopherBerk">Christopher Berk</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Museum Anthropology Review, 2016</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Remote Avant-Garde: Aboriginal Art under Occupation. Jennifer Loureide Biddle. Durham: Duke University Press, 2016. 304 pp.","attachmentId":51154050,"attachmentType":"pdf","work_url":"https://www.academia.edu/30707543/Remote_Avant_Garde_Aboriginal_Art_under_Occupation_Jennifer_Loureide_Biddle_Durham_Duke_University_Press_2016_304_pp","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/30707543/Remote_Avant_Garde_Aboriginal_Art_under_Occupation_Jennifer_Loureide_Biddle_Durham_Duke_University_Press_2016_304_pp"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="74246710" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/74246710/Disturbances_in_the_field_Exhibiting_Aboriginal_art_in_the_US">Disturbances in the field: Exhibiting Aboriginal art in the US</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="128798" href="https://nyu.academia.edu/FredMyers">Fred Myers</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Journal of Sociology, 2013</p><p class="ds-related-work--abstract ds2-5-body-sm">This article considers the role of varied agents in the circulation of Papunya art across the relations between the Australian and the international art fields. My analysis follows an exhibition that took place at New York University’s Grey Gallery in 2009, tracing in particular the international circulation of the highly valued ‘early Papunya boards’. By focusing on the unsettled nature of Aboriginal art’s circulation and the problem of producing its value socially in a world that is not consolidated, I consider Bourdieu’s ‘field of cultural production’ as still becoming. Finally, my argument should caution against assuming that ‘antipodean fields’ might be addressed as autonomous from international agents, circuits of distribution and so on. It also questions Bourdieu’s tendency to treat national art fields as independent.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Disturbances in the field: Exhibiting Aboriginal art in the US","attachmentId":82463853,"attachmentType":"pdf","work_url":"https://www.academia.edu/74246710/Disturbances_in_the_field_Exhibiting_Aboriginal_art_in_the_US","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/74246710/Disturbances_in_the_field_Exhibiting_Aboriginal_art_in_the_US"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" 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