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’.
All content for Heart of Artness is the property of Heart of Artness and is served directly from their servers
with no modification, redirects, or rehosting. The podcast is not affiliated with or endorsed by Podjoint in any way.
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’.
Since the 1960s, the Yolngu artists of Australia’s tropical north have wielded art and culture to win legal and political rights. They’ve been abetted in this quest by white people embedded in the community. Anthropologist Howard Morphy and art centre manager Will Stubbs reflect on these remarkable milestones.
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’.
