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Acknowledgements

The quote in 'The context of appropriation', 'So strong was her conviction that...', is from De Lorenzo, C, 1988, A Changing Relationship: Aboriginal Themes in Australian Art 1938-1988, S H Ervin Gallery, Sydney. With the permission of Catherine de Lorenzo.

The quotes in 'Art as a sign of ownership' Banduk Marika ('The dancing and artwork is your whole life...'), and Raymond Meeks ('I believe that art is a language for interpreting who you are...') and of Lin Onus in 'Ownership among groups' ('I realised that by the time I left school...') are from Isaacs, J, 1992, Aboriginality: Contemporary Aboriginal Paintings and Prints, revised edn, University of Queensland Press, St Lucia, Qld. Copyright holder of Aboriginality text is Jennifer Isaacs.

The quote in 'Ownership among groups', 'The things that I create are all personal stories...', is from Bancroft, B, 1990, Artlink, vol 10, nos 1-2, Autumn/Winter (special double issue). With the permission of Bronwyn Bancroft.

The quote in 'Ownership among groups', 'In the traditional context...', is from West, M, 'Aboriginal Women as Artists', in C McGuigen (ed), Karnta: Aboriginal Women's Art (exhibition notes), Association of Northern and Central Australian Aboriginal Artists, Katherine, Northern Territory. With the permission of Margaret West.

The quote in 'Cultural context', 'We are not like American artists...', is from Tjakamarra, M N, 1991, 'Three Aboriginal Voices - Three Aboriginal Artists', in Rosemary Crumlin (ed), Aboriginal Art and Spirituality, HarperCollins Publishers, Sydney. Reproduced by permission of HarperCollins Publishers.

The quote in 'Dominant and marginalised cultures', 'The emergence', is from Davila, J, 1987, 'Aboriginality: A Lugubrious Game', Art and Text, March-May. With the permission of Juan Davila.

The quote in 'Motives for appropriation', '...the dot screen or matrix...', is from Johnson, T, 1993, Across Cultures, University of Melbourne Museum of Art, Parkville, Vic, and quoted in Williams, D, 1995, In our own image: the story of Australian art, McGraw Hill. With the permission of Tim Johnson.

The quote in 'criticism', '... the Westen dot painting...', is from Fry, Tony & Willis, Anne-Marie, 1989, 'Aboriginal Art: Symptom or Success?', Art in America, July, New York, p113. Quotation from K Larson, 'Their brilliant careers', New York Magazine, 24 Oct 1988, p148.

The quotes in 'Appropriation: a two way street?', 'The strategy I'm employing...' and 'I'm very conscious of being appropriated...', are from Bennett, G, 1996, in McAuliffe, C, 'Interview with Gordon Bennett', in R Butler (ed), What is Appropriation?, Powers Publications and Institute of Modem Art, Sydney. With the permission of Gordon Bennett.

The quote in 'Cultural integrity and 'urban' artists', 'It is impossible to ignore...', is from Foley, F, 1991, 'Urban Art', in R Crumlin (ed), Aboriginal Art and Spirituality, Collins Dove, Victoria. With the permission of Fiona Foley.

The quote in 'Fair game: 'Aboriginal' designs in the marketplace', 'I still think about right back where I come from...', is from Skipper, P, 1991, 'Three Aboriginal Voices - Three Aboriginal Artists', in Rosemary Crumlin (ed), Aboriginal Art and Spirituality, HarperCollins Publishers, Sydney. Reproduced by permission of HarperCollins Publishers.

The quote in 'Fair game: 'Aboriginal' designs in the marketplace', 'I have to worry about what designs I use...' is from an interview with Banduk Marika in Dreamtime machine time (video, 52 min), 1987, Featherstone Productions, Bondi Junction, NSW. With the permission of Banduk Marika.

In addition, the Board of Studies wishes to acknowledge and extend special thanks to the many Aboriginal and Torres Strait Islander artists, artists' cooperatives, organisations and communities who made this resource possible by giving their time, energy and knowledge.


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