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Marketing
contemporary Aboriginal art in Australia is in transition,
shifting sales from the community source to the World Wide
Web. The transition presents challenges and opportunities
to cultural nuances between the Aboriginal artists in their
remote communities and the urban/global consumer.
Bruno Latour's actor-network theory provides a framework for
mapping the cultural implications of marketing contemporary
Aboriginal art through the World Wide Web. Changes to relationships,
cultural identity and power are examined between the Aboriginal
artist in remote regions of Australia and the urban international
art patron and investor.
Through the web pages the images of Australian Aboriginal
communities and contemporary Aboriginal art change from tactile
to virtual, culturally relevant to culturally generic images.
What are the implications for the actors if technology translates
culture between Australian Aboriginal artists in remote communities
and the global predominantly urban-based art parton/investor
as the consumer?
Key words: Australian, Aboriginal, contemporary, art, WWW
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