What do you think?
Rate this book
Fugitive History: The Art of Julie Gough
Fugitive The Art of Julie Gough celebrates Gough’s art practice, which has been central to her search for, and creation of, an identity for over twenty years. As an Aboriginal woman whose family from Tasmania had moved to Victoria and left behind connections to place and history, this search became as much about negotiating absence, distance, and lack, as discovery.
This title includes essays by Brigita Ozolins, artist and senior lecturer at the Tasmanian College of the Arts; James Boyce, author of Born Bad and Van Diemen’s Land, which won the Tasmanian Book Prize; and Khadija von Zinnenburg Carroll, Professorial Fellow and Chair of Global Art History in the Department of Art, Curating and Visual Studies at the University of Birmingham.
This title includes essays by Brigita Ozolins, artist and senior lecturer at the Tasmanian College of the Arts; James Boyce, author of Born Bad and Van Diemen’s Land, which won the Tasmanian Book Prize; and Khadija von Zinnenburg Carroll, Professorial Fellow and Chair of Global Art History in the Department of Art, Curating and Visual Studies at the University of Birmingham.
350 pages, Paperback
Published June 19, 2018
5 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 2 of 2 reviews
March 27, 2022
So worth reading — the perfect introduction to Julie Gough's powerful, necessary and decolonial work. I return to this work again and again, for personal reading, for courage, for writing; for research.
Want to read/know/learn from Trouwunna mob calling to account the amnesia of settler Tasmanians? This is that book. It memorialises the work of mob past, and the challenging of cognitive dissonance and colonial fanaticism that continues to this day in settler 'tasmania' — and which they work so hard to avoid. There is no space within these pages, the essays, the artworks represented, Gough's own account of the what and why behind her art practice, allow no room for the self-congratulation so often present by settlers, and in this case, 'tasmanian' settlers, who very rarely (almost never) succeed in moving beyond their own colonial egos and need to possess.
For mob - this work is a balm and a nourishing of spirit and strength. For mob not from Trouwunna it is chance to learn and understand what is little known. If you wish to learn — then find a copy of this book! (Purchasing is $$$ - most libraries can order it in).
Want to read/know/learn from Trouwunna mob calling to account the amnesia of settler Tasmanians? This is that book. It memorialises the work of mob past, and the challenging of cognitive dissonance and colonial fanaticism that continues to this day in settler 'tasmania' — and which they work so hard to avoid. There is no space within these pages, the essays, the artworks represented, Gough's own account of the what and why behind her art practice, allow no room for the self-congratulation so often present by settlers, and in this case, 'tasmanian' settlers, who very rarely (almost never) succeed in moving beyond their own colonial egos and need to possess.
For mob - this work is a balm and a nourishing of spirit and strength. For mob not from Trouwunna it is chance to learn and understand what is little known. If you wish to learn — then find a copy of this book! (Purchasing is $$$ - most libraries can order it in).
Did Not Finish
March 9, 2023This book was reading for my Cross Currents in Australian First Nations and Non-Indigenous Art and Culture class at uni.
Displaying 1 - 2 of 2 reviews