Abstract
In a series of paintings dated from 2008, artist Lucas Grogan attracted the ire of artists and curators for appropriating rock art motifs. These works used cross-hatched painting resembling Arnhem Land rarrk, as well as spirit figures resembling mimis. This essay places Grogan's babe series of paintings into a history of appropriations of erotic motifs in Australian rock art, by artists and anthropologists alike. This history of rock art eroticism here collides with Web 2.0 and the potency of Kunwinjku bark painters from the 1950s and 1960s.
| Original language | English |
|---|---|
| Article number | 4 |
| Pages (from-to) | 210-221 |
| Number of pages | 11 |
| Journal | Australian & New Zealand Journal of Art |
| Volume | 19 |
| Issue number | 2 |
| DOIs | |
| Publication status | E-pub ahead of print - 18 Dec 2019 |