'I paint for everyone' - the making of Utopia art

Abstract

At the core of this research is the history and development over the past four decades of the Utopia art movement in Central Australia. Initiated as an adult education programme teaching batik-making in the late 1970s it has since become nationally and internationally renowned. However, much of its history is not recorded, nor are the artworks and its records kept in a database entertained by a community art centre or similar institution. Despite this apparent lack of recording and documentation much has been written about the artworks as well as about some artists from Utopia. Critics engaging with art from Utopia praise it in terms of 'abstract', 'abstract expressionist', 'impressionistic' and even 'similar to European masters of the 20th century'. I question whether these similarities are a result of the close interaction with the art world and possibly even the reaction to the demands made on 'artists' to satisfy a certain prevailing taste in the arts? How do artists negotiate these market demands and their relationships with the art world? I argue that through close observation of artistic practices and negotiation processes between artists and art dealers, artists' agency can be uncovered. Throughout the history of the art movement artists have had to become their own agents in dealing with art dealers, wholesalers, curators and collectors. Being one's own agent in the art world might have a far greater influence on the art than has been discussed to date. Influences of art dealers, the art world, families, artists in the community, everyday life and the constraints associated with living in a remote community all affect the creation of artworks. By looking at the artworks through the framework of influence, similarities and differences in art from Utopia become apparent. The different currents and sub-currents found in Utopia art will be defined and described by means of a close formal analysis of the artworks. Combining this formal analysis with methods of new art history, such as qualitative interviews and observation of art practice, will reveal the influences and effects on artworks. Finally this examination of artworks and relationships in the art world will facilitate a better understanding of the emerging of local art movements, their development and their multi-layered histories. Furthermore it will give a point of comparison for further studies and research into Indigenous art histories throughout Australia. -- provided by Candidate.