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No Ordinary Place: The Art Of David Malangi

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In the transition to public art, aboriginal art usually becomes stylized to some degree, and sometimes becomes plainly commercialized. The kachina dolls of Southwest American tribes are examples of this; as are the totems of African tribes. But Malangi's Australian aboriginal art has stayed away from this tendency. The reason for this is not only Malangi's deep attachment to the aboriginal art and the culture it grows out of, but also his use of natural pigments and other natural, traditional, materials. Most of his works shown are natural pigments on eucalyptus bark, with others natural pigments on wood, and a couple using feathers as well. The sinuous, complex shapes and vivid, intermixed colors for which Australian aboriginal art has gained worldwide notice are retained practically unaffected in Malangi's art. The many works included are known as recent--from the 1960s to the 1990s--from their lack of wear, but not from any stylization as an influence of or concession to public or commercial art. Introductory essays with photos in the margins give the physical and cultural, anthropological, sources of Malangi's art.