This article was significant in my development of Indigenous understanding. It is written by Adam Hill and Adam Geczy - it is a text that is viewed as a diagnostic of Indigenous art and culture.

Hill and Geczey highlight immediatly the concern over the force that Aboriginal art emerged. The 1972 Papunya initiatives by Geoffery Bardon kickstarted the new form of expression. The previously thought 'primitive' and 'anthropological' artwork from the traditions was the main centre for the international spread of Aboriginal art. With the changing Aboriginal culture into a more contemporary focus, a new freedom of expression has been released.

Whether the conformity into 'western' conceptual and contempory art is inevitable to the Indigenous culture because of globalisam - I don't know - but the traditional elements and values in Indigenous art will remain the same. Such as in Indigenous urban artist Yvonne Koolmatrie's work, the traditional weaving technique has been combined with western contemporary ideas to produce something that is still highly authentic and new.

Hill and Geczy mention the french poet and significant figure in the modernist and symbolist movements Charles Baudelaire in their article, refeering to his confronting comparison between modern art and prostitution. The public display and sale of Aboriginal works is something that could be seen as parallel to Baudelaires statement. When veiwing the Film Quest of Jimmy Pike, this issue of the 'exploitation' of Aboriginal art comes into context. The ever increasing Aboriginal art infrastructure has boomed - with almost no hope of return. It is debatable whether this is benefitial to Indigenous artists, Hill and Geczy write in their article;

'It has to do with maintaining difference for the sake of a particular market system, which is the exhibition and export of Aboriginal art, the last bastion of the 'primitive'. Or to present this another way, the socio-economic system that debases Aboriginal art and culture through not giving them the same level of recognition on a national scale is also what elevates Aboriginal art and artists, and in numerous cases gives them advantages not allowed non-indigenous artists.' (pp. 133)

Thinking into the future - and perhaps even the present - it is inevitable that the Indigenous art movement is one that will be pinicle of art history. It may be seen as the rebirth of modern art, after the claims about the 'death of art'. It is rather exciting that I will be a part of this movement, even though technically I am an 'outsider' to the Indigenous community. The oppertunities for Indigenous artists are endless, the benifits are ready to be reaped. So as a part of the non-Indigenous community I feel as if Indigenous artists deserve the spotlight - bring it on!

Hill, A, Geczy, A 2011. Aboriginal Art Diagnostic. Contemporary Visual Art Broadsheet. vol 40.2. pp 133 - 135.