Julie Dowling’s<i>strange fruit</i>

Click to increase image sizeClick to decrease image size Notes David Margolick, Strange Fruit, Billie Holiday, Café Society and an Early Cry for Civil Rights, Payback Press, London, 2001, p 19. Born in Subiaco, a suburb of Perth in Western Australia, on 30 January 1969 the artist completed a Diploma of Fine Art at Claremont School of Art in 1989. She completed a Bachelor of Fine Art at Curtin University and, in 1995, an Associate Diploma in Visual Arts Management at Perth Metropolitan TAFE. Julie Dowling’s paintings, prints, and drawings are included in over 200 private and public collections in Australia, the United States, England, Germany, and Switzerland. In the Federation Series (2001), purchased by the National Gallery of Victoria and exhibited at the opening of Federation Square in October 2002, the artist has produced a cycle of paintings to ‘commemorate Federation’ (the federation of the Australian states into the Commonwealth of Australia in 1901). In a series of thirteen canvasses, each one representing a decade of the last century, a ‘black’ history of the twentieth century is presented. Juliet Mitchell, ‘Trauma, Recognition, and the Place of Language’, Diacritics, Winter 1998, pp 28, 4, 121–33, 121. Shoshana Felman and Dori Laub, Testimony, Crises of Witnessing in Literature, Psychoanalysis and History, Routledge, London and New York, pp 68–9. There is a substantial literature on the stolen generations. A useful introduction is Peter Read’s A Rape of the Soul So Profound: The Return of the Stolen Generation, Allen & Unwin, Sydney, 1999. Many of Dowling’s paintings are accompanied by artist’s statements. These can be accessed by contacting the Artplace in Perth. See Linda Williams, ‘Mirrors without memories: Truth, History and The Thin Blue Line’, in Keith Grant and Jeanette Sloniowski, eds, Documenting the Documentary: Close Readings of Documentary Film and Video, Wayne State University Press, Detroit, MI, 1998, 379–96. See Judith Butler, ‘Gender is Burning: Questions of Appropriation and Subversion’, in Anne McClintock, Amir Mufti and Ella Shohat, eds, Dangerous Liaisons: Gender, Nation and Postcolonial Perspectives, University of Minnesota press, Minneapolis, 1997, pp 381–95. Nicholas Roeg’s film Walkabout, 1971, has a powerful scene at the end of the film in which the David Gulpilil character is seen hanging in a Mango tree in the outback. Sigmund Freud, Art and Literature, vol 4, The Pelican Freud Library, Albert Dixon, general editor, Penguin, London, 1985, p 340. Ibid, p 345. Mary Louise Pratt, Imperial Eyes, Travel Writing and Transculturation, Routledge, London, 1992. Jeanette Hoorn, ‘Captivity, Melancholia and Diaspora in Marlon Fuentes: Revisiting Meet Me in St Louis’ Bontoc Eulogy’, in B Creed and Jeanette Hoorn, eds, Bodytrade: Captivity, Cannibalism and Colonialism in the Pacific, Pluto Press, Sydney, 2001, pp 195–207. ‘This is a piece of oral history from my grandmother Mollie and my great Uncle George Latham. (Mary’s children).’ Artist’s statement, May 2001. For a discussion of the touring of Inuit people in the United States in the early twentieth century, see Shari M. Huhndorf, ‘Nanook and his Contemporaries: Imagining Eskimos in American Culture, 1897–1922’, Critical Inquiry, no 27, Autumn 2000, pp 122–48. See my discussion of the portrait in relationship to the history of the captivity narrative in J. Hoorn, ‘Julie Dowling’s Melbin and the Captivity Narrative in Australia, in Australian Cultural History, 23, 2004, pp. 201–212. Anna Haebich, Broken Circles, Fragmenting Indigenous Families 1800–2000, Fremantle Art Centre Press, Perth, 2000. Roland Barthes, Camera Lucida: Reflections on Photography, Fontana, London, 1982, p 70. Henrietta Fourmile has written widely on the issues of ownership of cultural property in Australia. See for example, ‘Aboriginal Heritage Legislation and Self Determination’, Australian‐Canadian Studies, 7:1–2, Special Issue, 1989, pp 45–61. Haebich, op cit. On the Fourteenth Street painters see Ellen Wiley Todd, The ‘New Woman’ Revised: Painting and Gender Politics on Fourteenth Street, University of California Press, Berkeley, London and New York, 1993. Note to the author from Julie Dowling, September 2002. Interview with Julie Dowling, 21 September 2002 See discussion in Anna Haebich’s Broken Circles, Fragmenting Indigenous Families, 1800–2000, op cit, pp 188–90. Ibid. Tom Stannage, ‘Bishop Salvado: A Review of the Memoirs’, in Bob Reece and Tom Stannage, eds, European–Aboriginal Relations in Western Australian History, University of Western Australia Press, 1984, p 34. Muriel Berman, ‘Bishop Salvado: A Reappraisal’, in Bob Reece and Tom Stannage, eds, Studies in Western Australian History: European–Aboriginal Relations in Western Australian History, vol 8, 1984, p 39. Kenneth Branagh recently appeared in the Australian film Rabbit Proof Fence (Phillip Noyce, 2001) as A O Neville. Based on the novel by Doris Pilkington, the film describes the lives of two young sisters, taken from their communities and placed under the care of the Chief Protector in the 1930s. See Deborah Cain, ‘A Fence Too Far? Postcolonial Guilt and the Myth of Difference in Rabbit Proof Fence’, Third Text, 18:4, 2004, pp 297–303. Haebich, op cit, p 187 See artist’s statement, 1996.

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