UCLA Center for the Study of Women

In the 20th century art market, women’s Aboriginal art was perceived as something insignificant and easy to create. During the last half of the century, female Aboriginal artists were under-valued, under-researched, and poorly marketed. Not only were they paid significantly less, but they were also considered less talented than male Aboriginal artists. Nevertheless, the 21st century shows a shift away from these sexist notions as Aboriginal women negotiate new styles in their artwork.

As women’s artwork diversified from the traditional Aboriginal style, Australian galleries started exhibiting more of women’s paintings. In developing a new style, Aboriginal women like Emily Kgnwarreye, Destiny Deacon, and Tracey Moffatt have achieved greater respect, visibility, and value in today’s art market. However, scholars argue whether this new style is authentically Aboriginal or a product of Western missionization.

In straying from traditional Aboriginal painting, some art historians see the women’s’ artistic deviation as a betrayal to Aboriginal culture. For, with the introduction of new media, it is clear that women’s artwork looks distinctly “Western”, and almost Impressionistic, rather than traditionally “Aboriginal.” Despite their “Western” appearance, some scholars argue that the works of women artists like Kngwarreye, Deacon, and Moffatt are seeped in Aboriginal subject matter. Thus, viewers are uncertain on how to interpret women’s Aboriginal artwork. This uncertainty has not only brought attention to Aboriginal artists but has provoked scholars to take a second look at how Aboriginal women negotiate Western and Aboriginal influences in their artwork.