The Sorry Wall: Pamela Croft's Contribution to the Australian National Museum's '70% Urban' Exhibition
Fredericks, Bronwyn L. (2007) The Sorry Wall: Pamela Croft's Contribution to the Australian National Museum's '70% Urban' Exhibition. (Unpublished)
The Sorry Wall is one of Pamela Croft's most highly political and confrontational works. It measures 10 metres in length and is 4 metres high. It consists of 4 rows of barbed wire from which 95 birdcages were hung from ceiling to floor. The barbed wire fencing symbolises the fences that European settlers used to section off Aboriginal ancestral lands; displacing Aboriginal peoples and claiming land ownership. Each birdcage contains objects. The objects were gathered separately by Croft and her cousin over several years and are one of the most significant symbols of their connections with one another and their shared and disjointed histories and stories. Each birdcage through the objects contains an individual narrative, which links to the other cages. Within the birdcages and narratives there are stories from Croft’s family and others, the dispossession of land, destruction of culture, peoples, animals and land, symbolism that plays on cultural knowledge that is both secret and public, and memories and images of past policies and understandings. The Sorry Wall is the remembering and retelling of the stories.
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|Additional Information:||This is a paper prepared and presented at the Sandhills Studio and Art Gallery during NAIDOC 2007. Sandhills Studio and Art Gallery, Keppel Sands, Australia. 6th July 2007|
|Keywords:||Pamela Croft, Aboriginal, Indigenous, Art, 70% Urban, Urban, National Museum, The Sorry Wall, Keppel Sands, History, Culture, Identity, Stolen Generations, Colonisation, Political|
|Divisions:||Current > QUT Faculties and Divisions > Faculty of Education|
|Copyright Owner:||Copyright 2007 Bronwyn Fredericks (text) / Pamela Croft (art work & art images)|
|Deposited On:||01 Sep 2008 00:00|
|Last Modified:||09 Jun 2010 13:03|
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