Deutsche Börse Photography Foundation Prize 2023 @ the Photographers’ Gallery

The Deutsche Börse Photography Foundation Prize is not an open competition which anyone can apply to, like the BP Portrait Award or the Royal Academy Summer exhibition. The exact opposite: the curators choose just four finalists from what they consider to have been the best photographic exhibitions staged by individual photographers, in Europe, in the previous 12 months. To be precise, the stated aim of the prize is to ‘reward artists and their projects considered to have made the most significant contribution to photography over the previous 12 months.’

Therefore, if you visit the Photographers’ Gallery in the next few weeks you will find four rooms, each devoted to an in-depth display of work by just four international shortlisted artists. In alphabetical order these are Bieke Depoorter, Samuel Fosso, Arthur Jafa and Frida Orupabo. The winner of the prize was announced on 11 May and got a tidy sum of £30,000 (the other three entrants got £5,000 each). Who was the lucky winner? I’ll tell you at the end of this review.

I’m going to address the photographers in the order you actually encounter them in the gallery, rather than alphabetically.

1. Frida Orupabo

Frida Orupabo (born 1986) is a Norwegian of Nigerian heritage i.e. Black. She began posting photo collages on Instagram in the mid-2010s, cutting and pasting together images of Black bodies using historical and archive material; then in 2017 she took her approach into the real world (i.e. not just on a screen), creating the large collages you see here. All this led up to the exhibition which brought her to the curators’ attention, which was titled ‘I’ve seen a million pictures of my face and still have no idea’, which was held at the Photomuseum Winterthur, Switzerland, February to May 2022.

Installation view of Frida Orupabo at the Photographers’ Gallery

I immediately liked the results – very big, frameless, freestanding works which are more like sculptures hanging on walls than traditional photos. As far as I could tell, none of them had titles. Orupabo’s being Black and being a woman i.e. pressing contemporary art’s two big buttons of race and gender, sends the curators into a tizzy of artspeak:

The sculptural collages and digital works of Frida Orupabo are multi-layered formations, exploring questions of race, sexuality and identity. Orupabo, a Norwegian Nigerian artist and sociologist, grounds her inquiry in her own experience of cultural belonging. Utilising visual material circulating online, spanning colonial-era photographs and ethnographic relics to contemporary imagery, Orupabo’s hand-wrought works re-arrange and re-make the archive. The resulting images take the shape of fragmented Black, mostly female-bodied, figures.

These figures, first dislocated, are reassembled layer by layer in a complex and poetic manoeuvre that simultaneously denounces one-dimensional depictions of Black lives. Her collaged cutouts hold our gaze and invite various readings of the stories and lives of the people depicted, many of whom are entirely absent from the archives. In this way Orupabo invites a consideration of how photography significantly contributes to the formation and perpetuation of colonial power relations and violence.

Turning by Frida Orupabo (2021) © Frida Orupabo Courtesy of the artist and Galerie Nordenhake, Berlin, Stockholm, Mexico City

Does photography ‘significantly contribute to the formation and perpetuation of colonial power relations and violence’? Isn’t that like saying books ‘significantly contribute to the formation and perpetuation of colonial power relations and violence’ or laws ‘significantly contribute to the formation and perpetuation of colonial power relations and violence’? Surely any technology can ‘significantly contribute to the formation and perpetuation of colonial power relations and violence’ if that’s how the people wielding it want to use it. Probably guns contributed quite a bit ‘to the formation and perpetuation of colonial power relations and violence’, probably quite a bit more than photography. In fact photographs of the atrocities carried out by the authorities in the Belgian Congo did as much to disgrace and discredit that authority, as the kind of photographs the curators have in mind, the kind used to measure and categorise the Indigenous peoples, did to define and control them. Photography is just a technology. I can be used for good or evil. Writing that ‘photography significantly contributes to the formation and perpetuation of colonial power relations and violence’ is just art school boilerplate, modish rhetoric, smart-sounding swank (definition: ‘behaviour, talk, or display intended to impress others).

Anyway, as so often, the curators’ obsession with the twin shibboleths of race and gender blind them to the specificity of the actual art in front of them. Two things struck me. One was the way the deliberate crudeness of the artefacts is intentional: heads are pasted onto bodies at anatomically impossible angles, a pair of legs are completely separated from a body. She is highlighting the utter dysjunctive effect of her collages, their complete artificiality, and that reminded me of Dada, of the deliberately unsmooth, jagged photocollages of George Grosz or John Heartfield from 100 years ago.

Installation view of Frida Orupabo at the Photographers’ Gallery

But something not at all hinted at in the curators’ commentary is the horror tropes. In the top photo you can see that the loosely female figures are, from left to right, 1) attended by two sort of flying rabbit demons; 2) sitting on a monster’s head; 3) is shaped like a mermaid; and 4) in the most striking image, is a human head cut and pasted onto the body of a bat. A whole lot of stuff is going on here, but what strikes me is the invocation of imagery of Gothic tales and horror stories; it’s the stuff of Goya nightmares. What? Why? In this respect she reminds me of the way Kara Walker’s silhouettes of Black people in ante-Bellum Deep South morph into nightmare, monster images.

Installation view of Frida Orupabo at the Photographers’ Gallery

Anyway, it was the sheer weirdness of these big collages which grabbed me, not their alleged commentary on colonialist this, that or the other, and so I’ll tell you straightaway that, for the uncanny unexpected weirdness of her images, Orupabo was my favourite of the four artists: I wanted her to win.

2. Bieke Depoorter

Bieke Depoorter was born in 1986 in Belgium. She was selected for this prize on the basis of a 2022 exhibition titled ‘A Chance Encounter’, staged at C/O Berlin from April to September 2022. The display here consists of two parts, titled ‘Michael’ and ‘Agata’. Apparently:

In ‘Agata’, a first meeting [with Agata Kay] in a Parisian strip-club in 2017 evolves with complex tension into an intricate, changing narrative. The project explores questions of collaboration, the limits of a creative friendship, performance, boundaries and authorship.

I couldn’t find ‘Agata’. Possibly it amounted to one framed photo of a pink room, and maybe a collage of movie posters on one wall, but these weren’t labelled so I wasn’t sure. Going back to reread the introductory wall label more carefully I realised that the subject of Depoorter’s photos, the stripper Agata, eventually asked Depoorter to suspend their relationship and asked that all record of the photos, conversations and letters involved in it be erased. Maybe the Agata project is the absence of any materials about the Agata project. OK. That has a pleasing 1970s conceptual art feel about it.

But the reason I wasn’t too sad about not finding ‘Agata’ is because it was completely dwarfed by the other project displayed here, ‘Michael’. This is an epic, dense, absorbing and deeply unsettling work.

in 2015 Depoorter met a middle-aged, confused man named Michael on the streets of Portland, Oregon, USA. They got talking and Michael took her to his apartment which turned out to be covered from floor to ceiling with scrapbook-style cut-outs from magazines, books, newspapers, school reports, journals and diaries and all manner of bric-abrac.

Michael at home, Portland, Oregon, May 2015 by Bieke Depoorter, © Bieke Depoorter/Magnum Photos. Courtesy the artist

As a result of this encounter Michael gave Depoorter three suitcases containing a trove of his personal items, sketchbooks and essays which she, for unexplained reasons, accepted. Then, presumably, she departed Portland, for the wall label explains that, at some point later on, she tried to contact him again and failed. When she flew back to Portland to find him she discovered his flat rented to someone else and  that Michael had vanished, leaving no trace.

At which point Depoorter commenced what appears to have been months if not years of effort to track him down, the start of an obsessive quest to find Michael and to understand his life. As far as the labels tell us, to this day she still hasn’t found him, but along the way she has created the two big things which this darkened room is filled with. One is the way all the walls are even more covered in detritus and scraps of every kind than Michael’s apartment was, the records and ephemera of her hunt which Depoorter has acquired over the past 6 or 7 years.

Installation view of Michael by Bieke Depoorter at the Photographers’ Gallery

Post-its festoon multiple layers of documents and diaries and journals and magazine photos and contact sheets. Arrows connect different pieces of evidence. It’s exactly like the room of the crazed serial killer which the cops eventually break into in all those American psycho movies. She calls it ‘The investigation room’ and what we see here is just a fragment of the materials she’s accumulated in her obsessive, endless search. She has supplemented Michael’s own collection of ephemera with her own. The two sets of detritus are intimately interwoven. But spooky though this is, it isn’t the main thing: the main thing is the film.

Installation view of ‘Michael’ by Bieke Depoorter at the Photographers’ Gallery

It’s a 31-minute-long film detailing Depoorter’s obsessive quest so far. There are no moving segments. It consists entirely of still photos, so it’s by way of being a slideshow of places she’s been to and people she’s interviewed as she delves deeper into Michael’s life and past, her words and those of the interviewees appearing as captions on the screen.

So, in the sequence I watched, Depoorter spoke to some people who were at high school with Michael, who described his intense upbringing by nice but weird Mormons. We see stills of Michael’s high school yearbook with jagged, uneven hand-written notes scrawled across it. It has lots of overtones of serial killer movie, except Michael is no killer, just an oddball Depoorter bumped into and became slowly obsessed with.

If all this sounds weird (and it definitely is) after just a few minutes I found the pace and determination of Depoorter’s narrative drawing me into the film. Michael may have been just an insignificant nobody and yet, in Depoorter’s powerful telling, the memories of childhood friends and schoolmates become weirdly compelling. I realised I was being drawn into Depoorter’s own obsession. It’s contagious!

The curators comment that this work interrogates:

the complex ethical relationship and boundaries…between the photographer and their subject [and] questions the role and responsibilities of the photographer, the possibility or impossibility of truth in representation and grapples with personal and professional boundaries.

No doubt. But something deeper and weirder was also at work here. I was quite relieved to break away from the film and step back out into the light airy gallery space.

3. Samuel Fosso

Samuel Fosso was born in 1962 in Kumba, Cameroon. He was selected for the prize on the basis his exhibition ‘Samuel Fosso’ at the Maison Européenne de la Photographie, Paris, from November 2021 to March 2022.

Since the mid-1970s Fosso has dedicated his artistic practice to self-portraits and performative photography. In vulgar language, he dresses up and photographs himself. At the tender age of 13 he set up a Studio Photo Nationale in Bangui, capital of the Central African Republic. Alongside commercial work, Fosso began a series of self-portraits, and has carried on to the present day, hence a nickname he picked up along the way, ‘the man of a thousand faces’.

Autoportrait by Samuel Fosso, from the series 70s Lifestyle (1976) © Samuel Fosso. Courtesy of the artist and JM Patras, Paris

More recently Fosso has created a series titled ‘African Spirits’ in which he dressed up as – and recreated famous photographs featuring – Black celebrities such as (the ones on display here) radical activist Angela Davis, Martin Luther King, Malcolm X, Haile Selassie and Tommie Smith, one of the African Americans who gave the Black Power clenched fist salute from the podium of the 1968 Olympics.

Installation view of ‘African Spirits’ by Samuel Fosso at the Photographers’ Gallery. Can you name all 6 of these famous Black figures?

According to the curators:

Playing the role of key historical figures and social archetypes in front of the camera, Fosso embodies a powerful way of existing in the world, and a vivid demonstration of photography’s role in the construction of myths.

There’s also a pair of huge colour photos of himself dressed as soldiers from the First and Second World Wars, tribute to the many African and Black soldiers who fought in those wars (see my blog post, Congolese soldiers in the world wars).

Compared to the previous two displays, photocollage sculptures and a weirdly compelling documentary film, Fosso’s exhibits – classic framed photographs – seemed, well, kind of obvious, kind of quaint.

4. Arthur Jafa

Arthur Jafa was born in 1960, Tupelo, Mississippi, USA. He is an artist and filmmaker. What is an American doing in an exhibition supposedly restricted to exhibitions in Europe?

Well, one answer is that art curators can’t stop themselves promoting the Great Yoonited States of America: after all, Depoorter’s  ‘Michael’ project is about an American and entirely set in America and half of Fosso’s African Spirits are American. And now we have an actual American photographer. Three out of the four displays are heavily or entirely American.

Why do British curators love American art?

What can you do against the endless tide of American art and artists being promoted by British art curators and adding to the vast sea of American culture which floods all our channels? If Britain’s art curators are so hell-bent on promoting American culture and American values at every opportunity, all I can do is register my feeble protest and point out that there are, in fact, other countries in the world apart from America. Quite a few, actually.

Why do we rarely or never hear about them? Because America is easy, that’s why. American art comes pre-packaged with 1) fluent, articulate artists who are great in interviews 2) innumerable American critics who bubble over with rhetoric about race and gender and 3) political and cultural ‘issues’ which we all already know too much about about because they flood our TV, radio, movies, documentaries, newsfeeds, twitter and all the other American-run social media.

When an American artist gives an interview saying they’re addressing issues of #metoo or Black Lives Matter,everybody immediately knows what they’re talking about and nods in concerned sympathy because we’ve already seen and heard and read hundreds and hundreds of news items and newspaper stories and magazine features and documentaries interviews and tweets about just these ‘issues’.

American art is like McDonalds art. It’s smooth, pre-packaged, ready to consume, processed, pre-masticated, baby food. Just add water and you’re good to go. Compare and contrast the problems you’d encounter with the language barrier and with explaining all the little-known historical and cultural references if you tried to stage an exhibition of contemporary, say, Indonesian or Peruvian art. But another African American artist yakking about slavery or the institutional racism of American society – piece of cake, child’s play, no brainer, no mental effort required, just the appropriate amount of liberal sympathy.

Arthur Jafa

Anyway, Jafa is here despite not being European because his exhibition, ‘Live Evil’, was shown at Arles in the South of France i.e. a European venue, from April to November 2022.

There’s a video of an extended interview with Jafa. He’s very angry about racism, in America, Europe, everywhere. In the bit I watched he quoted Malcolm X and the Black Panthers. In a modern art gallery you’re never far away from the 1960s. My eyes glazed over because I have heard scores of Black artists complaining about racism in America and read hundreds of articles about racism in America. Black Lives Matter posters hang in the windows of concerned students round where I live.

The stories of Uyghurs Muslims locked up and tortured in Xinjiang, of the people dying and displaced in Yemen or Syria, of the 920,000 Rohingya refugees from Myanmar living in the world’s largest refugee camp in Bangladesh, now as I write and you read? Are these packing the walls of the Barbican, Tate Modern, the Royal Academy, the Photographers’ Gallery? No. Silence. Nada. Their stories will never be told. They might as well not exist. But another American artist doing another show about how racist America is? Take your pick.

One last obvious point about the ubiquity of American artists: America is rich. It has the wealth to support a huge class of artists who, if they play their cards right, can become very wealthy, successful, appear in all the right magazines, and generally enjoy a great lifestyle. Makes me feel a bit sick when artists from the richest country in the world complain about their suffering and oppression. Go and live in Somalia, Sudan, Liberia, Afghanistan for a month then fly back to your air-conditioned studio in LA and tell me about the suffering of ‘your people’.

Anyway, according to the curators, Jafa’s work is another ‘extended meditation on the issues of race and the Black experience’. Just like Frida Orupabo’s display, then. I’d swear there are other ethnicities in the world apart from Black and White. There are quite a lot of Indians and not a few Chinese, for a start. But not in Curatorworld. Black, Black and more Black, preferably American Black, is the only experience, the only voice, the only art we are going to be shown. I’m not saying ‘the Black experience’ is not a thing to investigate. I’m just saying that maybe it’s not the only story in the entire world to be aware of, to listen to.

Anyway, to quote the curators:

Drawing from a rich collection of images, film footage and music, Arthur Jafa uncompromisingly articulates Black experience, providing us with an exercise in visual literacy, confronting us with a new Black aesthetic which avoids fixed hierarchies and linear storytelling

There are just six works in Jafa’s display, six very large photos. First, maybe a word of explanation about the tile. ‘Live Evil’ is the name of a Miles Davis album, released in 1971, a live recording of a concert performed in December 1970 in Washington DC. After the epoch-making ‘Bitches Brew’ of 1969, Miles was working with a large group of almost entirely electric instruments, producing a strange voodoo swamp sound, mashing up heavy funk grooves with Jimi Hendrix guitar, and his own trumpet heavily electronically distorted. During this period Miles cultivated a dark and brooding image. He revelled in the nickname ‘the Prince of Darkness’, in fact he released an album titled ‘The Prince of Darkness’ in 1971, same years as ‘Live Evil’. Anyway, ‘Live Evil’, which sounds like this:

Miles Davis (1926 to 1991) was without doubt one of the great musical artists, composers and performers of the twentieth century. In the show he is featured in a diptych (‘any object with two flat plates which form a pair’) alongside the godfather of the Delta Blues, acoustic guitarist and singer Robert Johnson (1911 to 1938), which looks like this:

Bloods II by Arthur Jafa (2020) © Arthur Jafa. Courtesy of the artist and Gladstone Gallery

Johnson died young leaving only 20 or so recordings behind which have, nonetheless, become legendary and inspired all the blues guitarists of the 1940s and since. Dying young, Johnson left a legend or urban myth about himself which is that, in order to play so amazingly, he had sold his soul to the Devil. This legend was fostered by tracks with titles like ‘Me and the Devil Blues’ or ‘Hellhound on my trail’:

So what does Jafa’s juxtaposition of these two Black musical icons tell us? Well for a start, they both made smoking look cool. To consider their music, although only about 40 years separate the photos (1930 to 1970) they seem musically and technologically galaxies apart. Then again, maybe they’re linked by the common thread of their devilish reputations, hellhounds and princes of darkness. Finally, maybe it’s simpler than that: Robert and Miles were both outstanding musicians, embodiments of Black excellence.

Across the room is another, bigger and more dramatic juxtaposition:

‘Mickey Mouse was a Scorpio’ by Arthur Jafa (2016) © Arthur Jafa. ). Courtesy the artist and Gavin Brown’s enterprise

On the face of it, this is a straight contrast between an image of innocence and one of scary threat. Yet some other visitors I got talking to explained to me that they’re both images of identity masquerade: apparently, the earliest iterations of Mickey were based on white entertainers who’d blacked up as minstrels; while the figure on the right is actually a white actor who has blacked up using scary voodoo imagery (I assume this photo was shot on a film set but I can’t find out which one. Do you know?). They’re both lies, or deceptions, or multi-layered images of Blackness. Is that it?

This article explains that Jafa’s work:

tackles the complexity of African-American cultural identity, as defined by an existential paradox that places the Black subject ‘in essential intimacy with death’, as Saidiya Hartman explains in Jafa’s documentary ‘Dreams are Colder than Death’ (2013).

The endlessness of American pop culture

I liked the clarity of these dyptychs and also the fact that they were much deeper than they first appeared to be. The trouble, though, with popular culture, especially American popular culture, is that it is endless. Like the Bible, you can find a passage or quotes to prove anything you want to. I can cut and paste Homer Simpson next to Superman and straightaway I’m making important statements about masculinity, or something. Given such a vast sea of pop ephemera it would be hard to splice together two random elements and not find yourself raising interesting cultural or semiotic issues.

American culture combines technological wizardry with super-refined commercial strategising. Look at the Marvel Comic Universe movies, which are spectacular viewing, rank as the highest-grossing film series of all time, having netted over $29.1 billion, and have a mental age of around 9.

And American artists are trapped within this culture, condemned to try and imbue meretricious trash with meaning – and Black American artists are doubly trapped, trapped in a sea of Americana from which they (apparently, if someone like Jafa is to be believed) feel profoundly alienated. So I understand Jafa when he says that Black American artists are they trying to create narratives of Blackness which will help them navigate the bottomless dumpster of American pop culture, and the complex matrix of racist laws, assumptions and culture. I assimilate this kind of message because I’ve heard it hundreds, maybe thousands of times. It comes pre-packaged and ready to consume.

Anyway, the puzzling thing about the Arthur Jafa display is that the use of these two sly juxtapositions is not his only trick – only two of the six items use it; the other four items are single images and far more varied, not to say troubling.

One is a treated image of the Black singer of a rock band (HR of Bad Brains) jumping about onstage, which left me cold, having spent too much of my teenage year paying attention to images of rock performers to be impressed by one more.

But in a completely different tone from everything else, one entire wall is taken up with an enormous photo of what appears to be a room somewhere in Rwanda, empty of people, but filled with washing lines (?) from which hang the clothes and rags of people hacked to pieces in the terrible genocide.

Installation view of Arthur Jafa at the Photographers’ Gallery

Is this part of ‘the Black experience’? Or the African experience? Or the human experience? It was certainly part of this generation of Rwandans’ experience. Does it directly impact anyone who wasn’t there? If so, why more so than the Armenian genocide or the Holocaust or – the most disastrous civil war in history, the Taiping Rebellion in China in which at least 20 million perished (which I’ve just been reading about at the new exhibition at the British Museum)? Or the Great Leap Forward, 1958 to 1962, in which anything up to 50 million Chinese starved to death? Or, during my lifetime, the killing fields of Pol Pot’s Kampuchea in which up to 2 million people, a quarter of the population, were murdered or starved to death, 1975 to 1978?

I carry the images and histories of all these atrocities in my head, which not only gives me a very dim view of human nature, but also appears to be where I differ from someone like Jafa, because I don’t categorise these atrocities by the skin colour of the victims. They’re all human to me, each one an individual who suffered more than I can imagine, died in misery and terror, mounting up to a vast weight of guilt on the conscience of mankind. The collected atrocities of mankind don’t respect colour or ethnicity, which is why I find the foregrounding or privileging of some massacres or genocides over others morally repugnant.

Anyway, back to Jafa. The last piece in his display is a partial sculpture, a kind of bas-relief hanging on the wall of the whip-scarred back of a Black slave, a very potent image of man’s grotesque inhumanity to man or the atrocities of the Atlantic Slave Trade.

Ex-Slave Gordon 1863 by Arthur Jafa (2017) © Arthur Jafa. Courtesy of the artist and Gladstone Gallery. Photo by the author

I get it, the Black slave trade was a very, very bad thing and generations of white exploiters captured, bought, transported and treated their African slaves with unbearable savagery and brutality. But I happen to have just finished reading Robert Hughes’s epic history of transportation to Australia, The Fatal Shore, and it is packed to overflowing with the unspeakably sadistic treatment meted out to the transported white convicts, especially in the penal colonies of Port Moresby and Norfolk Island. For even slight misdemeanours like looking at an overseer the wrong way, a convict could get three hundred lashes till bystanders could see their spine and ribs through the remains of their butchered back and the bystanders had to pick gobbets of raw human flesh off their clothes. Hughes repeats descriptions of British or Irish convicts who were whipped to death. So this, for me, is the image of a whipped human.

Most of human history is an abattoir. To limit notions of suffering and injustice to just one ethnicity or to one group or one class seems to me historically and morally questionable. It’s a form of boasting – my grievance is bigger than your grievance. It’s very much part of the grievance and victim culture which America has perfected and exported to the rest of the developed world.

But billions have suffered abominably, in every continent, at the hands of all races. The génocidaires in Rwanda weren’t white. The killers in Cambodia weren’t white. The people who implemented the Great Leap forward weren’t white. The murderers of 1.5 million Armenians weren’t white. The administrators of the gulags weren’t Western imperialists.

If these seem disproportionately enormous ideas for a photography exhibition that’s because Jafa is aiming to trigger big ideas about history. It’s just that I happen to be, maybe, more knowledgeable about the history of atrocity than the average gallery goer and so my frame of reference is wider, maybe, than he intends. Maybe it’s just me. I’ve read more widely about atrocities throughout history than is good for anyone, and so this powerful object triggers a wider, deeper historical response than he was, maybe, expecting.

I’m reading Emma Sky’s book about Iraq. She mentions General David Petraeus raising Thucydides’s Melian Dialogue in conversation. This was written about the siege of Melos in 416 BC, part of the wider the Peloponnesian War. When the Athenians finally took the city of Melos they executed the entire male population and enslaved all the women and children. My year of reading Roman history and literature drummed into me that slavery was a universal institution throughout the ancient world, that the civilisations of ancient Athens, Rome and Egypt entirely depended on it and that the huge slave population was subjected to terrible, awful lives of unending labour and liable to whipping, cutting, maiming and torture for the slightest infraction.

That’s what I know, that’s what an image like this triggers; not the suffering of one particular group, but the universal horror of human history.

Jafa summary

Anyway, back from these vast horizons to a small room in Soho containing half a dozen artworks by Arthur Jafa. The conclusion from this small display seems to be that Jafa has at least two modes of operation, one consisting of the canny juxtaposition of images from popular culture, an astute form of curating and darkling satire; the other mode, flat-out horrific memorials of ‘the Black experience’.

This latter is, as you can imagine, catnip to modern white curators, driven by the bottomless resource of white bourgeois guilt:

By placing one resonant cultural artefact next to another Jafa references and questions the universal and specific articulations of Black experience. Eschewing a linear narrative, Jafa organises his material through formal and affective associations, linking his images through visual resemblance or thematic resonance. In this way Jafa aspires to an art that harnesses ‘the power, beauty, and alienation of black music.’

That’s from the press release. On the introductory wall label the curators say:

Embracing slippage and dissonance Jafa creates art that is as fluid and multidimensional as Blackness itself.

‘…as fluid and multidimensional as Blackness itself.’ What I took from the four exhibits on show here is that ‘Blackness’ as an artistic, critical and curatorial concept is indeed so fluid and multidimensional that artists, critics and curators can say almost anything about it and sound convincing. It lends power and a sense of urgency and relevance to even the most anodyne exhibition. It adds the spice of the ‘radical’ to a medium which all curators are uneasily aware is overwhelmingly white and bourgeois. Along with Gender it is a power word and, more than that, a kind of ideological matrix or discursive machine, which will continue to generate works and words, art and discourse, with ever-proliferating effect, for the foreseeable future.

From one perspective, ‘the Black experience’ as an art category is not so much the product of Black people’s actual experiences (which I imagine are very varied and complex) as it is of the liberal guilt of the White art establishment.

Who won?

Who do you think should have won the prize? It was won by Samuel Fosso, ‘the man of a thousand faces’. Why? Shoair Mavlian, the (White, obvz) Director of The Photographers’ Gallery and Chair of the Jury said that Fosso’s:

‘sustained exploration of self-portraiture uses a traditional, studio-based approach steeped in history, while at the same time his work remains relevant and addresses contemporary political issues of today with humour and authenticity. His work has created an extraordinary platform for Black voices and artists throughout his career.’

It’s a difficult choice but I think I liked Frida Orupabo’s weird, Gothic photomontages more than Fosso’s dressing up; and, although I’ve just given him a hard time, actually the clarity and design of Arthur Jafa’s diptychs have stayed with me days later, but then that’s American art for you, as slick and efficient as a Spielberg movie.

Who would you have given the prize to?


Related links

Atrocity reviews

More Photographers’ Gallery reviews

The Fatal Shore: A History of The Transportation of Convicts to Australia, 1787 to 1868 by Robert Hughes (1987)

Warra, warra
(First recorded words of the first indigenous people met by the captain of the first convict fleet to Australia in 1788. They mean: ‘Go away’)

Prime fact: The First Fleet of 11 ships transporting convicts from Britain to Australia landed at Botany Bay on 20 January 1788.

If you’re my age you might remember watching the Australian journalist and art critic Robert Hughes (1938 to 2012) presenting his ground-breaking TV series about modern art, ‘The Shock of the New’, back in 1980. He looked like a boxer and expressed feisty, sometimes controversial, opinions in a muscular, punchy prose style.

Seven years later Hughes published his epic study of the British penal colonies and early European settlement of Australia, ‘The Fatal Shore’ (1987). It became an international best-seller because there were few if any histories of Australia which presented the facts of the country’s early history with such a combination of solid research and journalistic brio.

‘The Founding of Australia by Captain Arthur Phillip RN, Sydney Cove, 26 January 1788’ by Algernon Talmage (1937) [The British flag was not officially planted until 7 February 1788, when possession was formally proclaimed]

The text is laid out in a pleasingly clear structure, proceeding logically topic by topic and exploring each of them thoroughly and convincingly.

The narrative starts dramatically with the arrival of the first shipload of convicts at Botany Bay on 20 January 1788. What was the land like that they had arrived at? Hughes gives us several pages description of the astonishingly weird and unique fauna of Australia (pages 3 to 7) and his narrative will go on to be peppered with periodic descriptions of the arid, sunburned, eucalyptus-riddled terrain.

Indigenous Australia

What were the people like that they met? He gives us a ten-page summary of what was then known (1980) about Aboriginal or indigenous culture (pages 7 to 18).

What comes over in his description is the really primitive nature of Aboriginal culture: the Aborigines hadn’t invented the bow and arrow, they had no buildings, they hadn’t even invented the tent (unlike American Indians) because they never stayed long in one place. Some made temporary lean-tos out of bark which the settlers quickly nicknamed ‘humpies’ but their entire way of life was based on firing the bush to catch wildlife, then moving on.

It’s now thought that Australia had been inhabited for over 60,000 years when the Brits arrived. Its  inhabitants had developed a patchwork of tribes and peoples and nations, each inhabiting large tracts of land (Australia is only fractionally smaller than the landmass of continental United States, 2,969,907 square miles to America’s 3,119,884 square miles). To this day scholars debate the precise number, but at least 300 languages and language families existed.

The AIATSIS map of Indigenous Australia attempts to represent the language, social or nation groups of indigenous Australia

The people who inhabited the area of south-east Australia where the Brits landed were called the Iora. They had no concept of private property so the Brits couldn’t barter with them. They didn’t wash, in fact they covered their bodies with fish guts as a prophylactic against disease and so stank to high heaven. They treated their women appallingly. Unwanted children were aborted by ingesting herbal medicines or simply thumping the pregnant woman’s stomach. Deformed babies were killed at birth. There was no room for the weak in the Indigenous people’s nomadic economy.

Hughes’s description of the Aborigines sets the tone of the entire book. It is going to be deliberately anti-Romantic, debunking myths, puncturing legends, showing that the reality is always more squalid and sordid than the rose-tinted stories he and his generation were told at school or prim progressives tell each other today about the noble savage. In this story, nobody is noble.

According to the estimates available to Hughes, when the Brits arrived in 1788 there were an estimated 300,000 Indigenous Australians across a continent the size of America. No wonder it felt almost ’empty’ to the Europeans: no towns, no villages, no buildings of any kind, no agriculture, nothing that registered with them as civilisation or culture.

(I wouldn’t be surprised if someone contacts me to say this description is unduly negative. Hughes makes every effort to be fair to the Indigenous Australians, and to depict their heart-breaking plight, but he was writing nearly 40 years ago, so I wouldn’t be surprised if some of his account is wrong and/or nowadays considered offensive. I apologise in advance if it is and am happy to be corrected.)

Georgian crime

Why was the transportation policy created by the British? Hughes gives a fascinating review of the growth of criminality in Georgian Britain (the long century from 1714 to 1830), which powerfully conveys the stink, poverty and abject misery endured by most of the population (pages 19 to 42).

The Georgians refused to set up a police service, as many nations on the continent had, because of an obstinate belief that it would infringe on the ‘liberty of the subject’ which they fetishised. (Plus the French had a form of police who had the right to enter and search private dwellings, so if the French had one, it must be bad.) But at the same time, the second half of the 18th century witnessed a population explosion which resulted in a surplus of young men who migrated from the country to the city, discovered there were no jobs for them, and so took to crime.

In the absence of a police force the Georgian authorities resorted to passing ever more draconian laws, an astonishing number of them carrying the ultimate sanction i.e. the death penalty. Eventually, there were some 200 statutes carrying the death penalty on the books and you could be hanged for burning a house or hut, a rick of corn, for poaching a rabbit, for damaging a fishpond, for cutting down an ornamental shrub of appearing on a high road with a sooty face (p.29). These were in fact provisions of a particular law, the Waltham Black Act of 1723, designed to stop agrarian unrest in Hampshire (the lawbreakers moved at night with blacked-up faces, hence the oddly specific provision). But most crime was urban and the result of poverty and starvation. As you read on you come across plenty of examples of people transported for life for stealing a loaf of bread, some butter, some bacon etc.

Middle-class people could be transported too. An architect was sentenced to death for forging a contract, commuted to transportation for 14 years (p.297). A satirical poet, Michael Massey Robinson, tried to blackmail an ironmonger by threatening to publish a scurrilous poem about him and was transported for life (p.300).

Hughes describes the rituals of hanging day and the long trek of the victims’ cart from Newgate prison to Tyburn ‘tree’, the sturdy wooden frame situated where Marble Arch is now, the route lined with cheering Londoners, the actual hangings witnessed by crowds of up to 30,000, drinking heavily, pullulating with pickpockets and whores, the whole thing, paradoxically, a festival of criminality, something which outraged moralists deplored in Boswell’s day (1760s and 70s) and Dickens was still complaining about in the 1850s (pages 31 to 36).

‘The Idle Prentice Executed at Tyburn’ by William Hogarth (1747)

In fact Hughes returns to the question of class and crime repeatedly throughout the book. I suppose it’s obvious but I hadn’t thought about the way the policy of transportation was merely one aspect of British penal policy. In other words, it was entirely dependent upon and reflected 80 years of British social and economic history. What was happening in Britain entirely dictated who was sent to Australia, and when and why and in what numbers.

In other words, the book is as much a social history of Britain during this period as it is of Australia. Thus there’s a lot more detail than you’d expect about, especially early on, about, for example, the geography, slums and criminal classes of Georgian London.

The hulks

Britain had no nationwide prison system, in fact at least half of the prisons were privately owned and run (p.37). There was no belief in rehabilitation, prisons were just regarded as dumping sites for toxic males to stew in their own juice.

By the 1770s the prisons had become so overcrowded that the authorities had the bright idea of sending the ever-increasing population of convicts to prison ships or ‘hulks’, the rotting shells of decommissioned navy ships moored in harbours like Portsmouth and Plymouth. In 1776 Parliament passed the ‘Hulks Act’ (16 Geo III, c.43) (p.41). These hulk-bound prisoners were used as labourers in the naval dockyards and, in the picture below, can be seen being taken by boat from a hulk to their work on the mainland.

Prison hulk at Deptford, London, after a painting by Samuel Prout (about 1826)

The American precedent

One of the little known facts about the period which I found fascinating is that the practice of transportation was already well established, but it was transportation to the American colonies. The Transportation Act of 1717 had begun the process of sending indentured servants to Britain’s colonies in the Americas 53 years before Australia was even discovered. Between 1717 and 1777 as many as 40,000 convicts were sent to America for seven or 14-year periods. They were sold to shipping contractors who then sold them on in America to plantation owners in the Caribbean or mainland in what Hughes describes as a ‘thinly-disguised form of slavery’ (pages 40 to 41).

But when they declared independence in 1776 the Americans refused to accept any more British criminals. Anyway, as Hughes points out, they didn’t need them. By the year of independence more African slaves were arriving in America every year (about 47,000) than white convicts had done in the previous 60 years put together (40,000) (p.41).

At first the British authorities thought the Americans would give up their fight for independence. It took until 1783 for the government to finally accept American independence and another few years for the full implications to be worked out for Britain’s overflowing prisons. By the early 1780s even the hulks were overflowing and William Pitt’s government was receiving angry demands from MPs for Plymouth and Portsmouth to do something about them. There began to be riots aboard the hulks, convicts rebelling against the disgusting conditions. In one riot aboard a prison hulk, in 1786, eight convicts were killed and 36 wounded (p.65).

It’s fascinating to read Hughes’s account of the way the mounting complaints of MPs with hulks in their constituencies became a real political problem for Pitt and drove him to appoint a commission to look into ways of disposing of the convicts which filled them – surprising that the problem of what to do with Britain’s surplus convict population became such a leading political issue. It crossed my mind it was a little like the refugee crisis of our own day: successive governments keep promising to do something decisive about it and keep dismally failing. And both involve boats and the problem of what to do with unwanted people…

The other side of the world

Fascinating to learn that, as a result, the British authorities were open to all suggestions, and that a number of entrepreneurs came up with bold and crazy schemes. One was to transport the convicts to the island of Lemane 400 miles up the River Gambia and set up an African penal colony there (p.64). Or how about a penal colony somewhere off the coast of South America?

Zeroing in on the continent which was eventually chose, Hughes gives us a potted history of European theories and encounters with the legendary southern continent before Captain Cook did his first definitive exploration of Australia’s eastern coast (pages 43 to 48). He describes the voyages of Magellan and various intrepid Dutchmen, mentions the Englishman, William Dampier, who touched on the north-west coast of Australia in 1688.

Captain Cook

Then, of course, Captain Cook. Hughes gives a typically factual, forthright and gripping account of Cook’s expeditions, devoting some space to the long-running problem for all seafarers of scurvy, and how Cook, a modern innovator in this as so many other things, lost not a single man from scurvy by the savvy use of anti-scorbutics. As Hughes puts it, with typical pith and wryness:

Malt-juice and pickled cabbage put Europeans in Australia, as microchip circuitry would put Americans on the moon. (p.49)

Hughes gives a characteristically thorough and vivid description of Cook’s voyage in the Endeavour (‘a converted Whitby trawler, small and brawny’, p.51). He devotes a fascinating few pages to the technical inventions which had just recently made such map-making voyages more precise and useful, namely John Harrison’s invention of the marine chronometer, a device for solving the problem of calculating longitude while at sea (pages 50 to 57).

The convict problem

Prisons overflowing with unreformable criminals? A newly discovered continent on the other side of the world? The British authorities put two and two together and realised that this was an opportunity to redirect the now-defunct American transportation policy, and on a far larger scale. Fascinating to learn that the policy was accompanied or swayed by a number of other considerations. For example, Admiralty strategists suggested that establishing a colony in Australia would aid in the ongoing conflict with France to establish naval supremacy in the Indian Ocean. Others pointed out the need to have a base in the Far East to compete with the well-established Dutch colonies out there.

Practically minded boosters claimed that the tall pine trees and flax plants Cook had noted on what he named Norfolk Island, 1,000 miles off the Australian coast, could quickly become a commercial business, capable of supplying Royal Navy ships with masts and sails. In the event, none of these pipe dreams were to work out. Sydney is, quite obviously, on the wrong side of the continent to be of use in patrolling the Indian Ocean and the ‘pine’ and ‘flax’ on Norfolk Island turned out to be commercially worthless.

The First Fleet

And so, after a great deal of prevaricating, and parliamentary committees, and bickering about the number of ships and who should captain them and how it should be paid for – typical British bumbling – the first convict convoy was dispatched to Australia in May 1787 and arrived in the place Cook had named Botany Bay, on the southeast coast of Australia, on 20 January 1788. It was commanded by Captain Arthur Phillip who was to become first governor of the new penal colony.

Hughes gives a characteristically thorough profile of this modest man (a ‘middle-aged nonentity’) who had had a patchy naval career and was in retirement when contacted by the Admiralty to carry out the policy which had finally been agreed by the government of William Pitt (pages 67 to 71). What comes over is Phillip’s professionalism. Hughes shows that he thought the equipping and provision for a fleet setting out to colonise an entire continent from scratch was hopelessly inadequate and bombarded ministers and Admiralty for more (p.71).

Of the 736 convicts sent at least 431 were guilty of ‘minor theft’ and Hughes gives examples of how pitifully trivial these might be (p.72). The oldest was Dorothy Handland, aged 83, a dealer in rags convicted for 7 years for perjury. The youngest was John Hudson, a chimney sweep aged 9 (p.73).

Hughes gives a characteristically thorough description of the challenges of the 8-month-long voyage (252 days) across 15,000 miles of ocean. Forty-right people died on the journey while 28 were born. All were to be confronted by the immense disappointment of Botany Bay when they finally arrived. Within days Phillips and his lieutenants had realised it was wholly impractical as a settlement, not least due to the thin sandy soil cluttered with eucalypt detritus. The bay was open and unprotected, the water was too shallow to allow the ships to anchor close to the shore, fresh water was scarce, and the soil was poor.

So they sailed up the coast to Port Jackson, the name given to the bay area where Phillip established a settlement he called Sydney, after the current Home Secretary ,Thomas Townshend, 1st Viscount Sydney (p.87).

The starvation years

Agricultural opportunities turned out to be very poor. Supplies were meagre and Phillip had to introduce rationing which got steadily tighter (p.96). Crops failed or wouldn’t take. The convicts became too tired and listless to work. The first couple of years were dire and some wondered if the entire colony would die of starvation, before the final arrival of the Second Fleet in June 1790.

The Second Fleet was notorious for the poor conditions aboard the vessels, and for cruelty and mistreatment of its convicts. A quarter of the 1,006 convicts transported aboard the fleet died during the voyage and around 40 per cent were dead within six months of arrival in Australia. Hughes describes in stomach-churning detail the disgusting conditions aboard the early convict ships. Not all ships in the fleets had the same standards. Those in which people suffered worse, were worse treated and with the highest death rates came to be called the ‘hell ships’.

First failed attempt to colonise Norfolk Island

Norfolk Island is about 1,000 miles east of the Australian coast. It turned out to be extremely inhospitable, the pine trees weren’t true pines, the flax couldn’t be woven, it was immensely difficult to clear the land for agriculture. A ship bringing supplies and more convicts sank, losing the supplies but adding hundreds of mouths to feed, making 959 in total. All that saved the first settlers from starvation was easy availability of tame mutton birds, Pterodroma melanopus which they slaughtered in their hundreds of thousands. By 1830 the settlers had driven the mutton bird to extinction (p.100).

Van Diemen’s Land and the genocide

He devotes a section to the settlement of Van Diemen’s Land off the south coast of Australia under the command of David Collins (pages 120 to 128). The island had named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s. In 1642 Tasman became the first known European to land on the shores of Tasmania but the Dutch never followed through on the discovery. Now, 150 years later, the British claimed it. The capital, Hobart, was named after the Secretary of State for the Colonies who was the patron of Collins’s expedition.

The island was initially perceived to be less fertile than the land around Sydney and early attempts at farming failed, so the colonists faced starvation. What saved them was the humble kangaroo which was far more common than around Sydney. Every able-bodied man was issued a gun to hunt and kill kangaroo for himself and dependents (wife or children).

As Hughes pithily puts it this reliance on hunting triggered social results, all of them bad. It installed the gun rather than the plough as the totem of survival on the island. It incentivised settlers to ignore long-term planning required for farming and live by day-to-day hunting. And as nearby roos were wiped out and the heavily white settlers ranged further afield it brought them into conflict with the native populations who, more often than not, they shot.

It soon created a fringe class of armed, uncontrollable bushmen, most of whom regarded Aborigines as vermin. (p.126)

With their guns and hinting dogs these men became completely independent of the authorities. They were the first bushrangers. And so were laid the foundations of what would be the only real genocide of the British Empire, the deliberate extermination of the entire native population of Tasmania.

Impact on Indigenous Australians

As to the natives, the government had explicitly ordered friendly treatment, enjoining Phillip to ‘conciliate their affections…[and] live in amity and kindness to them.’ At first this held, but what nobody knew was the white ships had brought white infectious diseases, endemic in Britain and entirely unknown in Australia, flu, cholera, smallpox, typhus, which quickly spread. it was a common sight for the early settlers to come across indigenous corpses huddled in the bush where they’d crawled to die. The British incomers were, literally, a plague.

As settlement spread out from Sydney, the Aborigines took to fighting back, raiding farms, killing livestock, singling out for assassination white farmers of community leaders who’d acquired reputations for killing them. Which triggered massacres of unarmed Aborigines by vigilante gangs, for example the Myall Creek massacre when at least 28 unarmed Indigenous Australians were executed by 12 armed colonists on 10 June 1838. Which triggered further revenge raids, and so on, in a deadly spiral downwards into a sustained ‘frontier war’ (pages 272 to 281).

The System

Year by year the shipments came to be called ‘the System’, the process of sending shiploads of convicts to Australia, who had to build their own prisons and barracks for the soldiers who guarded them and pleasant houses for the civil authorities who supervised the whole thing.

Between 1787 and 1868 around 162,000 convicts were sent to Australia and Hughes goes on to give a fascinating and vivid description of every stage of the development of the System.

Hughes is at pains to dispel the stereotype of life under the convict system which he and his generation inherited, which is that it was a living hell on remote ‘secondary’ or punishment settlements on Van Diemen’s Island. On the contrary, most convicts served out their time, then were released to become citizens in the fast-growing new colony.

Only a fraction of the men and women transported to Australia spent any time in these ‘secondary’ settlements, which were as a rule reserved for prisoners who had committed second crimes while in the colony. Most served a few years of their sentences in assignment to a free settler or in government labour, never worse chains, got their tickets-of-leave and in due course were absorbed into colonial society as free citizens. (Introduction, page xiii)

He makes one simple but devastating riposte to the endless cheap jokes about Australia being a land of convicts:

Whatever other conclusions one might draw from our weird national origins, the post-colonial history of Australia utterly exploded the theory of genetic criminal inheritance. Here was a community of people, handpicked over decades for their ‘criminal propensities’ and for no other reason, whose offspring turned out to form one of the most law-abiding societies in the world.

Hell ships

Conditions on the first ten years or so of ships was so appalling they acquired the nickname of ‘hell ships’. Conditions of unbelievable squalor which people who’d sailed on both thought were worse than slave ships. And the condition of the survivors was no better. A propos slavery, an anonymous convict ballad from 1825 runs:

The very day we landed upon the Fatal Shore,
The planters stood around us, full twenty score or more;
They ranked us up like horses and sold us out of hand,
They chained us up to pull the plough, upon Van Dieman’s Land.

Conditions were dire. In the early years the entire colony nearly starved. But as the settlement at Sydney became established so did its reputation for appalling brutality. The descriptions of lashings and floggings which litter the book are quite nauseating, with prisoners’ backs being reduced to raw meat, bystanders being flecked with lumps of raw flesh.

Hughes devoted a passage to proving that conditions for the convicts were not literally slavery, not as practiced in the Caribbean or American South; convicts had legal rights and could take the masters they were assigned to to court (pages 282 to 287), if arrested they could invoke habeas corpus (p.346), something African slaves couldn’t do. But conditions were consistently atrocious and exploitative nonetheless. It’s difficult to imagine the primitiveness of the conditions.

Governor Macquarie’s Australia was more backward than Cromwell’s England. There was as yet no steam power; draft animals were few; and there were no streams near Sydney reliable enough to turn watermills. So every hole was dug, every log sawn, every rock quarried and every ton of rubble moved by that least efficient of engines, the human body toiling in gangs. (p.298)

Futile escapes

Obviously convicts tried to escape continually. The most shocking story is of a group of convicts that escaped in Van Diemen’s land (Tasmania) and ended up eating each other. There was a persistent folk belief that if you travelled north far enough you would get to China. In fact most escapees either perished in the Outback from starvation and thirst, were murdered by Aborigines, or stumbled back into government settlements more dead than alive. Hughes devotes a chapter to the more colourful escape attempts, notably that of Mary Bryant (pages 203 to 226).

New South Wales Corps

The New South Wales Corps were formed in 1789. Indisciplined and corrupt it quickly gained a reputation for lawlessness and corruption. In particular it acquired a monopoly of the importation and sale of rum to convicts and freemen alike, so much that it was nicknamed the Rum Corps. It repeatedly clashed with the civil governor, most flagrantly in the 1808 Rum Rebellion against governor Bligh who tried to assert civil power over them, see below.

Governors of New South Wales

1. Arthur Phillip 1788 to 1793

Commander of the epic First Fleet and settlement at Sydney, which he named. After guiding the colonists through the early starvation years as they struggled to establish agriculture and had to repeatedly reduce rations of the limited supplies they’d brought from Britain, Phillip was allowed to return home.

Lieutenant-Governorship of Francis Grose 1793 to 1795

For the next two years the military were in complete control of the fledgling colony under Lieutenant-General Francis Grose. The European population of New South Wales when Grose took over was 4,221, of whom 3,099 were convicts. Grose established military rule, abolished civil courts, and made generous land-grants to his officers. Grose unmercifully exploited the convicts and during his lieutenant-governorship a great traffic in alcoholic spirits (mostly rum) developed, managed and run by officers of the New South Wales Corps. This clique gained control of the courts and management of the lands, public stores, and convict labour, all led by John Macarthur, ‘British Army officer, racketeer, entrepreneur, grazier, usurper and politician’.

2. John Hunter 1795 to 1800

Hunter had been second in command on the First Fleet. He was appointed governor and tasked with combating the abuses of power built up by the New South Wales Corps, represented by their commander, John MacArthur, but was too mild and fair-minded to succeed. In fact the militarily cleverly sent letters back to the British ministers accusing Hunter of the very crime and peculation he was trying to stamp out, with the result that he was recalled in 1799 to defend himself.

3. Philip Gidley King 1800 to 1806

King helped develop livestock farming, whaling and mining, built many schools and launched the colony’s first newspaper but was forced to resign after conflicts with the military. He appointed Major Joseph Foveaux as Lieutenant-Governor of Norfolk Island where Foveaux ruled with extreme brutality and sadism.

4. William Bligh, 1806 to 1808

Chosen as the job because a strict disciplinarian who was tasked with taking on the military and their control of the hugely profitable rum trade. However his confrontational style led to the so-called Rum Rebellion of 1808, a coup d’état in which the New South Wales Corps arrested Bligh, keeping him first in confinement in Sydney, then aboard a ship off Hobart, Van Diemen’s Land, for the next two years.

Lieutenant-Governorship of Major George Johnston, 1808 to 1810

Johnston led the troops that deposed Governor William Bligh, assumed the title of lieutenant-governor, and illegally suspended the judge-advocate and other officials. The administration of justice became farcical, and there were signs of strong discontent among the settlers. He sailed back to Britain in 1809 where he was court-martialled but let off with the lenient sentence of being cashiered.

5. Lachlan Macquarie 1810 to 1821

Had a crucial influence on the transition of New South Wales from a penal colony to a free settlement and therefore to have played a major role in the shaping of Australian society in the early nineteenth century

The Irish

Like every subject he touches, Hughes gives the background to the arrival of the first Irish convicts with brisk authority. He gives a whistlestop review of the colonisation of Ireland by England, which had started back in the twelfth century, and led to the creation of a society divided between Protestant rulers who deprived the native Catholic majority of land and rights for centuries (pages 181 to 195).

The reason this is needed is because in 1798 a great rebellion broke out in Ireland which terrified the English ruling class because a) it united both Protestant and Catholic rebels and b) the rebel leaders allied with England’s traditional enemy, France, leaguing with a French force to land in the west of Ireland and combine with them against the British occupiers. Unfortunately, the plans were discovered and most of the rebel leaders arrested before the planned rising and invasion could take place.

Most of the rebel leadership was killed and estimates of the total death toll of the subsequent fighting have been put in the tens of thousands. Hundreds of the rebels were briskly tried and transported to Australia. Here they presented the authorities with a severe security problem. The English convicts, surly and disobedient and quick to escape, nonetheless were the same nationality as the authorities. The Irish, on the contrary, refused to accept the authority of any part of the System and took every opportunity to buck it. With the result that governors and leaders of the New South Wales Corps were doubly severe and brutal with them.

The Irish were ‘doubly’ convicts. At the slightest suspicion of ‘mutiny’ they were liable to severe punishment, for example when five suspected leaders were each given 500 lashes (p.187). The brutality of their treatment triggered the very mutiny the British authorities feared in the form of the Castle Hill revolt in 1804. On 4 March 1804 233 convicts, led by Philip Cunningham (a veteran of the rebellion of 1798, as well as a mutineer on the convict transport ship Anne), escaped from a prison farm intent on capturing ships to sail to Ireland. The authorities quickly declared martial law and despatched troops who surrounded the rebels on a hillock nicknamed Vinegar Hill on 5 March. While negotiating under a flag of truce Cunningham was arrested then the troops opened fire and decimated the rebels. Nine of the rebel leaders were executed and hundreds were punished with severe floggings.

This was the largest convict mutiny in Australian history but there were further small revolts and a continual atmosphere of sullen anger among the Irish and paranoia among the English. From 1815 to 1840 the Irish countryside was in a state of more or less continual civil war and, in total, some 30,000 Irish men and 9,000 Irish women were transported from Ireland to Australia. This was never forgotten in Irish communities who nursed the grievance of their persecution.

Hughes attributes a strong Irish flavour of bolshie independence to the Australian national character, especially to its working class culture. The long, bitter memories of the Irish community gave a permanent legacy of sectarianism to Australian politics.

Rebels and revolts

Transportation would deal with representatives of every British protest movement, rebellion, upheaval and agrarian revolt for the first half of the 19th century so Hughes’s account has the effect of shedding light on a whole series of political rebellions back in Britain. It’s like reading two histories side by side, that of Britain and that of Australia. British protest movements included:

  • the Scottish Martyrs – the first political agitators transported in the life of the System were convicted in Edinburgh in 1793 and were known as the Scottish Martyrs (pages 176 to 181)
  • the Irish rebellion 1798 – In 1798, an underground republican group known as the Society of United Irishmen instigated a major uprising against British rule in Ireland
  • English Jacobins i.e. sympathisers with the French Revolution, whose activities were increasingly persecuted after Britain and France went to war in 1793
  • frame-breaking Luddites 1812-13
  • food rioters from East Anglia 1816
  • members of the Pentridge Rising 1817
  • members of the Cato Street Conspiracy to which planned to assassinate the entire cabinet, 1820
  • radical weavers from Scotland, 1821
  • Bristol rioters 1831
  • Captain Swing – fictional author to whom threatening letters were attributed during the rural Swing Riots of 1830, when labourers rioted over the introduction of new threshing machines and the loss of their livelihoods (pages 198 to 200)
  • the Tolpuddle Martys, 1834
  • more than 100 Chartists, political activists associated with political campaigns surrounding the Great Charter, a set of demands to extend the franchise to the working class, which was inaugurated in 1839, then flared up periodically through to 1848
  • the Canadian Rebellions of 1837 and 1838 led to the execution of the ringleaders and the transportation to Australia of at least 100 convicts (p.261)

The colourful adventures of the first fleets and the starvation and the antics of the New South Wales Corps grab the reader’s attention, but the heyday of transportation was actually during the 1830s, which saw unparalleled poverty and suffering throughout rural Britain, an epidemic of disorder and crime, and so the peak numbers of transported convicts (p.197). So, throughout the book, the history of transportation is also a detailed history of English social and economic misfortunes.

Bushrangers

Though most attempts to escape were futile failures, plenty of convicts ran off into the wild and became known as ‘bolters’. As the colony expanded, agricultural land was created along with flocks of sheep so there was more for convicts living in the wild to steal. By the 1810s society was stratified enough between large landowners, often senior officials in the administration, judges and the like, and more ordinary smallholders, for convicts living in the wild to make a living stealing sheep or goods from rich landowners and secretly selling it onto the poor. These were the first whites to range through the uncultivated parts of the territory which the settlers had taken to calling ‘the Bush’ – hence ‘bushrangers’ (also known as ‘bolters’). With typically neat turn of phrase, Hughes says:

By taking to the bush, the convict left England and entered Australia. (p.243)

Hughes is as cynical and unillusioned about the bushwhackers as about everyone else in this sorry story. They gave rise to a legend which help inform Australian’s image of themselves as rebels and non-conformists and freedom fighters, who ran away rather than submit to injustice, as Robin Hoods stealing from the rich to give to the poor. The reality was, of course, both more complex and less idealised than that.

Colonial life

Population

The first formal census of New South Wales was made in 1828. It showed that for the first time the free population eclipsed the number of convicts, 20,870 free and 15,728 convicts = total of 36,598. Sydney had a population of 10,815 i.e. less than a third.

Contented convicts

In fact the peak of transportation due to English rural unrest leads to a counter-intuitive result; which is that, as Hughes showed, many of the convicts transported in the 1830s loved their new lives. He quotes many letters back to loved ones reassuring them that convict life was not at all the hell everybody believed it to be. Why? Because there was work, pay and food. These were the very basic elements of life the rural poor were rioting for during the 1830s and they were to be had in abundance in a now settled and well-organised colony.

The man assigned to a decent master in the country districts in the 1830s was, as Eyre pointed out, ‘in a better position than half the honest labourers of England’. (p.314)

And:

Convicts who found benevolent masters far preferred their assigned life to the miseries they had known in England. (p.316)

Class and snobbery

Hughes shows that, contrary to stereotypes of matey modern Australia, the early colony developed into a society obsessed with class. In particular the newly rich and free emigrants were desperate to distance themselves from ‘the stain’ of convictry. Names developed to describe the new colonial classes and the number of names for the same thing indicates the intensity with which people indicated their (or others’) origins:

  • Convict: British prisoner, generally sentenced to death back in Britain, who has their sentence remitted to either a 7-year or 14-year transportation
  • Government man: a convict
  • A ticket-of-leave man: a ticket of leave was a parole document issued to convicts who had shown they could be trusted with some limited freedoms
  • Emancipists: convicts who had completed their terms of imprisonment and were now free settlers
  • Exclusives: members of the sociopolitical faction of free settlers, officials, and military officers of the convict colony, who tried to copy English fashions and recreate a hierarchical class system
  • the Currency: ‘currency lads and lasses’ (collectively known as Currency or The Currency) were the first generations of native-born white Australians, the children of the British settlers and convicts; currency as in money, coins or notes that were ‘only good in the colony’ (p.354)
  • the Sterling: by contrast with the Currency, the Sterling was another name for free-born emigrants (p.355)
  • Merino: an early immigrant to Australia with no convict origins; a member of a leading family in Australian society; a person of fine breeding or good character
  • Specials: educated convicts, a relative rarity (probably fewer than a third of transported convicts could sign their own names, p.349)
  • Old hands: old former convicts who lived on into the era after transportation ended (p.594)

Sheep or seals

Hughes devotes a passage to describing the first sheep farms in Australia and profiling the men who imported and cross-bred the delicate merino strain with hardier breeds (pages 318 to 322, and 326 to 331). He explains how the isolation of shepherds sent off into the Outback to guard their master’s flocks, sometimes in pairs, helped develop the particularly strong Australian concept of ‘mateship’, i.e. sticking with your mate through thick and thin.

So it comes as a surprise to learn that for the first 50 years of its existence, the colony’s major trade was whale and seal catching (pages 331 to 336).

The end of transportation

Overall, the transportation System lasted from 1788 to 1868, during which period some 162,000 convicts were transported. By the 1830s Sydney was settled enough and large enough, with an increasingly free-born residents and settlers, that they lobbied the British government to end transportation. At the same time there was another force at work which is fascinating to learn about. I knew about the long-running opposition among British liberals and religious groups to slavery which became the abolitionist movement and which achieved its goal of having slavery made illegal within the British Empire in 1807. I didn’t realise the same group of people opposed transportation just as vehemently, and gained growing support in the 1800s as reports percolated back to Britain of the atrocities carried out against convicts in hellholes like Norfolk Island. Just as there was a movement to abolish slavery, so there was a movement to abolish transportation.

Thus with pressure from liberal Establishment figures in Britain combined with lobbying from the increasingly free and genteel population of New South Wales and led the government to cease transportation to New South Wales in 1840 (p.484). Transportation to Van Diemen’s land ceased in 1853 (p.402) 50 years to the day after the first settlement was founded at Risdon Cove (p.572).

Was the System a success or failure?

Over the life of the system the British government used about five reasons to justify the policy:

Strategic To protect against French influence in the Indian Ocean and Far East. In the event the French never tried to claim any part of Australia, the Dutch Empire was engaged by other means. No port in early Australia became an important naval station.

Regarding specifically crime, the System aimed to do four things: separate, deter, reform and colonise.

1. Separate

Separate the criminal classes from the general population on the analogy of amputating a diseased limb. This failed because it was based on the false premise that criminality is an inherited genetic attribute whereas, in almost all cases, it is the result of bad education, poor upbringing, childhood abuse and, in the great majority of transported convicts, the result of lack of work, lack of opportunity, poverty and starving.

2. Deterrence

This is always difficult to assess because it’s impossible to measure the number of crimes which weren’t committed. But the arguments against are a) contrary to the claims of its proponents, the crime rate in England did not drop after the policy of transportation was introduced (because its roots lay in gross inequality, crushing poverty and lack of opportunity) and b) for a lot of the English working classes, especially from the hunger years after the end of the Napoleonic Wars, Australia sounded like a land of opportunity. Hence the instructions given to governors like Brisbane, Darling and Arthur to apply relentless suffering to the convicts; hence the appalling brutality of the chain gangs and the barbaric cruelty of Macquarie Harbour, Norfolk Island and Moreton Bay. But it didn’t work. Increasing number of emigrants left for Australia of their own free will. The gold rush of 1851 crystallised the image of Australia as a place the poor and downtrodden of Britain could go to to make a fortune.

3. Reform

Hughes thinks chances are the system did actually ‘reform’ a lot of convicts, in the sense that they came out the other end as law-abiding citizens and, if so, this was down to the assignment system. Many masters were poor, brutal, some were sadistic; but the system did assign men to meaningful labour, which gave them some sort of self respect. It had many flaws but assignment did get many men back into society as self-sustaining workers.

4. Colonisation

Here the system was an undoubted success. Australia would never have been colonised without the forced labour of over 100,000 transported convicts. No sane free man would have emigrated there in 1788 or 1808. Although most of the first buildings they erected have been demolished and built over, convict labour created from nothing the settlements which now have populations of millions.

Hughes’ style

When he wants to be, Hughes can be a formidably vivid writer:

The sight of the hulks at Portsmouth, Deptford or Woolwich was deservedly famous. They lay anchored in files on the grey, heaving water, bow to stern, a rookery of sea-isolated crime. As the longboat bearing its prisoners drew near, the bulbous oak walls of these pensioned-off warships rose sheer out of the sea, patched and queered with excrescences, deckhouses, platforms, lean-tos sticking at all angles from the original hull. They had the look of slum tenements, with lines of bedding strung out to air between the stumps of the masts, and the gunports barred with iron lattices. They wallowed to the slap of the waves, and dark fleeces of weed streamed in the current from the rotting waterlines. (p.138)

The kind of purple descriptions a scholar, a professional historian, would never attempt. But his narrative is continually punctuated with dazzling displays of prose virtuosity.

Some convicts who tried to cross [the Blue Hills], thinking China lay beyond, died of hunger in their immense labyrinth of sandstone, where bellbirds chimed and long filaments of water fell, wreathing, from distant cliffs. (p.299)

And pages 373 (Macquarie Harbour), 399 (Port Arthur).

Slang and jargon

  • basil – an iron fetter worn on one leg only
  • a canary – 100 lashes (p.345)
  • buttock-and-twang – sex as practiced by prostitutes (p.255)
  • cramping box – punishment cell or room or box too small to sit or lie in (p.155)
  • a sandstone – weakling who crumbled under flogging (p.345)
  • stringy-back – wizened, poor farmer (p.256)
  • triced – secured by a rope or chain (p.155)

Placenames

Australia – since australis is Latin for ‘south’ terra australis was the name used for a hypothetical continent in the Southern Hemisphere since ancient times.

Botany Bay – named by Captain Cook as testament to the number of specimens collected by expedition scientist, Joseph Banks.

Brisbane – named after Major General Sir Thomas Makdougall Brisbane, 1st Baronet, British Army officer, administrator, and astronomer, and sixth governor of New South Wales, from 1821 to 1825.

Hobart – named after Robert Hobart, 4th Earl of Buckinghamshire aka Lord Hobart, secretary of state for the colonies who commissioned Captain David Collins’ expedition to settle Van Diemen’s Land.

Melbourne – founded in 1835 with the arrival of free settlers from Van Diemen’s Land and named after the then British Prime Minister, William Lamb, 2nd Viscount Melbourne.

Sydney – named after Home Secretary Thomas Townshend, 1st Viscount Sydney by Captain Arthur Phillip, leader of the first transport of convicts to Botany Bay, who moved location to the cove north of it, called Port Jackson by Cook, but renamed after Sydney.

Van Diemen’s Land – named in honour of Anthony van Diemen, Governor-General of the Dutch East Indies who had sent the Dutch explorer Abel Tasman on his voyage of discovery in the 1640s.

Old joke

Australia was always destined for greatness because her population was chosen by the finest judges in England! (p.354)


Credit

The Fatal Shore by Robert Hughes was published by William Collins in 1986. References are to the 1987 Guild Publishing hardback edition.

Related links

Related reviews

Indigenous Australia @ the British Museum

‘The first major exhibition in the UK to present a history of Indigenous Australia through objects’

1. Artefacts

In three medium-sized rooms The BP exhibition, Indigenous Australia: enduring civilisation, packs scores and scores of artworks and artefacts designed to illustrate and illuminate the history of the indigenous peoples of Australia. A timeline on the wall starts 60,000 years ago with the first evidence of humans on the continent, proceeds to the first artefacts and art some 40,000 years ago (at a time when Neanderthals were still living alongside homo sapiens in Britain), among much other evidence that Indigenous Australian is the longest continuous, unbroken culture anywhere in the world.

A huge map of Australia on the wall shows the patchwork of tribes and peoples which covered this vast country – the size of Europe – and, when the Europeans arrived, home to some 1 million Indigenous people speaking an estimated 250 separate languages.

From the BM’s collection of 6,000 Australian objects, this exhibition showcases a range of bowls, masks, spearheads, boomerangs, pendants, belts, shields, shell ornaments, speartips, generally dating from the Early Colonial Period (1770 to 1850) when missionaries and explorers began to collect them, most beautifully crafted and decorated with very appealing abstract and geometric designs.

Standout objects included a 5-foot-long crocodile ‘mask’ designed to be worn on the head and a small (6 inch square), wonderfully evocative head and shoulders carved out of coral.

Mask in the form of a human face and a bonito fish, Attributed to Kuduma, Murala. Turtle shell, goa nut, cassowary feather, shell. Nagir, Torres Strait, Queensalnd, Australia before 1888. © The Trustees of the British Museum.

Mask in the form of a human face and a bonito fish, Attributed to Kuduma, Murala. Turtle shell, goa nut, cassowary feather, shell. Nagir, Torres Strait, Queensland, Australia before 1888 © The Trustees of the British Museum.

2. Art

Interspersed with these generally anonymous folk artefacts were large, sometimes very large, paintings by named and much more contemporary aboriginal artists. Almost without exception these were stunningly beautiful and inspiring. The artists included:

They are generally acrylic paint on canvas and there are enough of them, showing enough similarities in style, to have become known as ‘desert paintings’. (There are photos showing the large canvases laid out on a patch of desert and being worked on by one or several artists simultaneously with wide open spaces in the background.) They show abstract patterns derived from natural objects or creatures, but converted into flat panels covered in geometric patterns.There is no attempt at naturalism, they are not confined or trapped by Western notions of perspective or the notion that a painting must be a ‘window on the world’.

‘Kungkarangkalpa’; Kunmanara Hogan, Tjaruwa Woods, Yarangka Thomas, Estelle Hogan, Ngalpingka Simms and Myrtle Pennington (2013) Acrylic on canvas © The artists, courtesy Spinifex Arts Project.

‘Kungkarangkalpa’; Kunmanara Hogan, Tjaruwa Woods, Yarangka Thomas, Estelle Hogan, Ngalpingka Simms and Myrtle Pennington (2013) © the artists, courtesy Spinifex Arts Project

I really liked the way the patterning suggests geometric regularity but is never actually exact, always has an organic-feeling variety and fluidity in its lines and circles, its matrices and swirls. And I loved the use of stippling, large dots of coloured paint to create a mosaic affect.

A century ago most Westerners lived in a post-Renaissance visual world, inculcated to think of ‘Art’ as depictions of heroic white men and docile gauze-veiled women (as exemplified in the recent exhibition at Leighton House). It took decades, maybe a century, of Modernism, the influence of Picasso and his generation breaking free from Renaissance traditions and taking inspiration from South Sea Island masks and African carvings to teach us how to see beauty in art which bears little or no relation to the stifling realism of the Western tradition, and to enjoy images like this for their confidence and imaginative power.

As well as examples of this ‘desert painting’ style, there were other bang up-to-date art works:

James Cook - with the Declaration; Vincent Namatjira (b.1983) South Australia (2014) Acrylic on canvas © Vincent Namatjira

James Cook with the Declaration by Vincent Namatjira (2014) © Vincent Namatjira

  • James Cook with declaration by Vincent Namatjira (2014) a large naive-style painting of Captain Cook holding a big white document representing the law by which the white man will steal the land
  • Undiscovered #4 by Michael Cook (2010) a large print of a photo of a beach showing a Captain Cook-era sailing ship anchored and a man in 18th century British Army uniform standing on the beach – except it is an aborigine in the uniform
  • Barama/Captain Cook by Gawirrin 1 Gumana (b.1935) a large ‘totem pole’ type pole covered in painted patterns with two heads at the top representing Cook and a native god, Barama

And the Museum has commissioned works specifically for this show from Indigenous artists, including two from Judy Watson (b.1959) – the holes in the land 3 and the holes in the land 4 – in which she’s taken floor plans of the current museum and of the museum extension, created standard-size framed prints of the plans, then given them a wash of colour and superimposed on them the outlines of large dark Indigenous artefacts, in the first case, piturri bags.

3. Aboriginal beliefs

A large video screen just inside the door showed a montage of shots of contemporary Australia, breath-taking landscapes, the beaches and sea and islands, mysterious tree-fringed rivers and wide expanses of red desert dotted with spinifax plants, and then humans, the white world of highways and cars and shopping malls, and groups of aboriginals together in camps, painting young boys’ bodies with traditional designs, and the sound of flies in the desert.

Bark painting of a barramundi. Western Arnhem Land, about 1961 © The Trustees of the British Museum.

Bark painting of a barramundi (about 1961) © The Trustees of the British Museum.

Against this visual and aural backdrop the wall labels and audio commentary didn’t attempt a summary of aboriginal beliefs but dropped insights. Not least because Aboriginal religion or traditional beliefs stretch the western mind, their traditions and holistic mindset completely different from our crisp, clearly demarcated divisions of meaning. I don’t pretend to understand it but it includes:

  • the importance of ‘country’ or the land
  • really ancient traditions and stories stretching back thousands of years
  • the songlines and dreamworld, a difficult concept to grasp, to do with the way the ancestors walked through the land and called it into being, called the animals and flora into existence, and the trails and tracks they left across the land which record these legends…

Something which struck me is the way the songlines stretch right across the land and are shared by different groups, so that someone walking them has to pass on to a different song in a different language to continue the journey. Different tribes and sub-tribes inhabited specific areas, but there was much migration and movement, and people could travel freely across the country.

In a small but, I think, significant way this sharing and overlap is exemplified in some of the desert paintings which are actually the product of many hands – the largest painting in the show, right at the start – exhibit 1 – was created by five artists.

‘Pukara’ by Roy Underwood, Lennard Walker, Simon Hogan and Ian Rictor Acrylic on canvas Western Australia (2013) © the artists, courtesy Spinifex Arts Project

Pukara by Roy Underwood, Lennard Walker, Simon Hogan and Ian Rictor (2013) © the artists, courtesy Spinifex Arts Project

4. Politics

I was already well aware that most of the artefacts here are in some sense ‘loot’, sometimes bought or given but most often simply plundered from their rightful owners, often in violent circumstances, and almost always separating the artefacts from the tribe, the location and the tradition which produced them, thus stripping them of much of their meaning and power.

After all, this is true of almost everything in the British Museum which, from one perspective, is a vast stash of loot from the criminal enterprise known as the ‘British Empire’.

But in the second room of the exhibition the dire history of British colonialism began to make its presence increasingly felt, with a sequence of images of the first British explorers, Dampier and then Captain Cook. Cook and his party had only been ashore ten minutes before they stared firing their guns at a couple of curious natives who’d come down to the beach to see them and relations with the Indigenous peoples continued in the same spirit of misunderstanding and one-sided aggression for the next couple of centuries.

The show is, after all, not an art exhibition but an attempt to tell Indigenous Australian history via objects, and no history of Australia is complete, or can even begin to be written, without taking account of the fact that the land was for tens of thousands of years inhabited by hundreds of tribes of people with an intimate relationship with the land, with rich and strange culture and traditions, and with expert knowledge of coaxing a livelihood out of the dryest continent in the world. Until we showed up and started shooting them, enslaving them, hunting them down, introducing them to alcoholism, prostitution and – even worse – western law about property and land ownership.

All this is indisputable and, if you wanted to be sickened and disgusted by the behaviour of the British explorers, colonists and convicts I recommend Robert Hughes’s massive history of crime and injustice, The Fatal Shore.

But as the exhibition moves into room three and the political injustices are laid on thicker and thicker the show becomes quite oppressive.

Land rights placard from the aboriginal Tent embassy, erected, as a site of protest, in 1972. Paint on Masonite board, Old Parliament House, Canberra, Australia (1972) National Museum of Australia

Land rights placard from the aboriginal Tent embassy, erected, as a site of protest, in 1972. National Museum of Australia

The final room is dominated by a wall-size video screen showing a 3-minute sequence of stills recording the aborigines’ liberation struggle, with highlights such as the way protesters renamed the 150th anniversary of the claiming of Australia for the British Crown, on January 26 1938, ‘A Day of Mourning’. And other milestones in the 1970s, 80s, 90s and up to the present day (‘Key moments in the struggle for indigenous rights 1901 to 2015’). Among other striking facts we learned that the 1901 constitution which actually created the nation of Australia from six self-governing British colonies, for the purposes of census and population counting, explicitly excluded the aborigines, who were thereby declared non-people, non-existent, in their own country.

All this is true and important and tragic and disgusting BUT it had the regrettable affect of almost completely destroying the impact of the first half of the show.

For the first half hour I was straining my brain to understand concepts of land and tradition and art which are completely alien to the Western tradition, well beyond my understanding – as well as learning more tangible insights into Aboriginal art such as, snakes are an important symbol as they are bringers of water to this dry land – or about techniques of painting with ochre on bark. I was working up a feeling of wonder and awe at the age and depth and beauty of these works and of this culture.

Spear thrower. North Western Australia, late 19th or early 20th century © The Trustees of the British Museum.

Spear thrower. North Western Australia, late 19th or early 20th century © The Trustees of the British Museum.

But I felt the delicacy and fragile insight conveyed in these early impressions was rained all over by the increasing politicisation of the show. No doubt the Indigenous peoples have to fight fire with fire and join in the governing western discourse in order to win their due and their rights. No doubt they had to hire lawyers and sign petitions and lobby the authorities and protest and create posters and banners and march for freedom. But I am over-familiar with the rhetorics of western political discourse; like a lot of other people I am sick of western politics and politicians.

With an audible thump the show went from celebrating the invaluable and barely comprehensible insights of a unique and priceless culture, to feeling like I was listening to John Humphreys barking at a lying politician on the Today programme.

I was much more interested to learn that Uta Uta Tjangala (1926 to 90) was a native artist who initiated the transfer of sand and body paintings onto canvas, and therefore a ‘pioneer of contemporary Australian art’. Or to see the photo of aboriginal artist Byron Brooks painting on a large canvas stretched out on the dirt floor outside with a vista of desert stretching into the distance and surrounded by ten or more dogs lazing or sleeping in the hot sun.

You’d have to be quite tough-minded to retain the fleeting feelings the wonderful art and artefacts evoke in the first part of this exhibition and not allow them to be tainted by mounting feelings of anger and shame at the miserable treatment of the Aborigines which the second half documents.

5. The oppressiveness of the Greek legacy

Greek sculpture

The aborigine show is a few hundred yards away from the bigger, blockbuster exhibition about Greek sculpture also currently showing at the British Museum. That show ends with Michelangelo adulating fragments of Greek statuary and so, along with the rest of the Renaissance, passing on the worship of the perfect body into the Western tradition. I made the point in my review of it that, just as all Western philosophy can be said to be footnotes to Plato, so all Western art could be said to be footnotes to Greek sculpture.

The power of perfection

Going further, the Defining Beauty exhibition shows the intimate connection between images of perfection and power: the gods were powerful because they were perfect embodiments of the human form: their power somehow stemmed from their perfection; and their perfection gave them power. They are stunningly perfect.

Discobolus: Marble statue of a discus-thrower (discobolus) by Myron. Roman copy of a bronze Greek original of the 5th century BC. © The Trustees of the British Museum

Discobolus: Marble statue of a discus-thrower (discobolus) by Myron. Roman copy of a bronze Greek original of the 5th century BC © the trustees of the British Museum

Athenian imperialism

People often forget that Athens, at the peak of its artistic and political achievement, was a slave-owning society at the head of an Empire which it had conquered by force. In this sense the Greek statues in the Defining Beauty show are not innocent. They represent Power.

The power of ideas

But not just the power of an army. They represent the power of Greek ideas, the fundamental notion that you gain control over things, over the world, by defining and distinguishing, just as the Greeks pioneered mathematics by exploring all aspects of the interactions of precise, defined values or Plato’s dialogues pursue the definition of abstract terms like the Good, the Beautiful, the Just into mind-boggling depths of analysis.

Plato’s theory of Ideal Forms

In fact, Plato found himself persuaded that all earthly objects are the fallen, imperfect copies of things which exist in Ideal Form in another dimension. In some heaven or the Mind of God reside the permanent and Perfect Forms of Beauty, Justice, Law, Power, Morality and so on. These abstract ideas had one perfect form which we lesser mortals, in this fallen world, invoke every time we mention them. Just as, on a cultural and religious level, there was one god to an idea – the god of war, the god of the sea, the goddess of love, the king of the gods and so on.

Precision of Idea. Unity of Idea. Intellectual Perfection. Physical Beauty. Power. All are interlinked. (And were of course handed on into Christianity, the intellectual heir of the ancient world.)

The clash epitomised

I had these Greek ideas in mind as I walked through the Indigenous Australian show and the vast distance between the two worlds crystallised, for me, in a photo included in the video of key moments in the aborigines’ struggle for justice. This photo shows a white man (presumably a lawyer) standing with three Indigenous men in western suits, all in the shadow of a neo-classical statue of Justice, perfect in shape and form with a light toga falling off her perfect breasts and holding the requisite scales of justice.

One of the tens of thousands of copies of Greek-style super-realist statues which were deployed all around the British Empire to embody ‘our values’: eg the rule of law (i.e. the rule of lawyers), democracy (for white men only), justice (if you can afford it), the integrity of private property (once you’ve stolen it from its rightful owners) and so on.

What Captain Cook brought

When Captain Cook and his crew came ashore they brought not just the obvious tools of conquest – the guns and metal tools and diseases which would decimate the natives. More insidiously, they brought Western law with its vast array of definitions of property and ownership, the precise and pedantic system of codes and rules which was to steal an entire country from its inhabitants. They brought minds educated to venerate big abstract ideas: Civilisation, Culture, Law, Justice, Writing – and used to ‘reading’ those ideas in their chracterstically classical embodiments – Architecture, Public Spaces, Libraries, Statues.

Indigenous culture

In Australia they found none of that. The reverse. The early part of the exhibition emphasises aboriginal culture’s fluidity and depth and localism, the land inhabited by numerous tribes with their own histories, cultures and languages and myths of ancestors criss-crossing the terrain in mysterious tracks and passages, creating the animals and the stories and the means for survival.

Difficult-to-grasp, intangible ideas which the earliest settlers simply didn’t see, couldn’t touch or understand, and so ignored, and so assumed the land was, to all intents and purposes – to white men’s intents and purposes – empty, because the aborigines’ life and culture couldn’t be captured or defined in our precise and pedantic legal terms, wasn’t embodied in forms, in objects or buildings or books, which we could understand.

Mask from Mer, Torres Strait, Queensland, before 1855. Turtle shell, shell, fibre © The Trustees of the British Museum

Mask from Mer, Torres Strait, Queensland, before 1855 © the trustees of the British Museum

Plunder

And the scattered artefacts, the beautiful things the natives made and which gained their meaning from the location and tradition they arose from, these also couldn’t be defined, didn’t refer to One God (as Christian missionaries understood it) or even to one Pantheon of Gods (as a classically-educated Westerner would be familiar with) couldn’t be explained according to the kind of unitary system which Westerners understood and insisted on as the only method to generate meaning. And so could be looted and shipped back to the vast lumberyard of the Museum with impunity, higgledy-piggledy, stripped of their mystical associations, the spoils of Empire.

Conclusion

All of which led me to wonder: If all philosophy can be said to be footnotes to Plato, then can the whole history of Western colonialism and imperial conquest be said to be footnotes to the Greek ideals of discrete, defined, logical concepts – to Greek notions of perfectionism – to the tyranny of Perfect Ideas and concepts – a mindset, a way of thinking, which the conquerors repeatedly failed to find among the native peoples in America, Australia and Africa who instead practiced more holistic, overlapping, complex and less authoritarian modes of belief.

And that this fateful clash of cultures is epitomised – in the realm of art and iconography, at any rate – in these two fascinating exhibitions at the British Museum.

P.S.

On the way out, right next to the main entrance to the museum, don’t miss the room off to one side which is displaying a handful of larrikitj, or memorial poles by contemporary artist Wukun Wanambi, made from the trunks of young-ish trees, absolutely covered with minute designs based on swarms of mullet fish – creating a mesmeric swirling pattern of tiny lozenges or facets which, on closer examination, turn out to be teeny, tiny stylised images of fish. Wonderful, beautiful, enchanting.

The promotional video


Related links

Reviews

More Australia reviews

More British Museum reviews