Skip to content

Main Navigation

visibleproject
  • Fellowships
  • Stories
  • Streaming
  • Projects
  • Library
  • Parliaments
  • Who&What
    • What
    • Contributors
    • Yesterday-Today
    • Team and Steering Committee
    • Institutional network
    • About Visible
  • searchDiscover All

Red Skin, White Masks

Annotated by Vivian Ziherl
Year

2014

Publisher

University of Minnesota Press

Author

Glen Sean Coulthard

Topics
Indigenous Rights Social Justice
Related

Publisher website

Annotation

Ever been tempted to consider specific claims of Indigenous rights in the light of either Marxist or Fanonian critique? In that case, this is the book for you. Indigenous (Yellowknives Dene) scholar Glen Coulthard closely examines the unfolding of sovereignty projects in Canada and particularly surrounding the Dene nation. With a keen eye, he teases through the knots encountered by First Nations communities from the 1970s forward, as settler legal and business frameworks wrestled with the fundamentally radical terms of Indigenous sovereignty. Through one arc of analysis in dialogue with Marx, the fundamentally economic basis of Indigenous sovereignty is traced – refuting a narrowly ‘cultural’ basis of Indigneous rights. Through a parallel arc of analysis in dialogue with Marx, the indisputably social, psychological and aesthetic basis of Indigenous rights is also upheld as integral to a politics of ‘Resurgence’.

Vivian Ziherl

I argue instead that instead of ushering in an era of peaceful coexistence grounded on the ideal of reciprocity or mutual recognition, the politics of recognition in its contemporary liberal form promises to reproduce the very configurations of colonialist, racist, patriarchal state power that Indigenous peoples’ demands for recognition have historically sought to transcend.
Related

Publisher website

Related Contents

chevron_left chevron_right
Sovereign Words: Indigenous Art, Curation and Criticism
What are the commonalities across Indigenous experience, political struggle and artistic practice trans-regionally? What sovereign Indigenous projects find ground across the national spaces known as ‘Taiwan’, ‘Australia’, ‘Finland’, ‘Bangladesh’, ‘Samoa’ or ‘Canada’, to name a few? The anthology Sovereign Words makes a stride towards potentials of Indigenous dialogues across continents. The sixteen contributions emerge from the Critical Writing Ensembles workshop supported by OCA at the 2018 Dakar Art Summit.
Discover more
The White Possessive: Property, Power and Indigenous Sovereignty
The White Possessive is a collection of essays that reads with the cohesive strength of the best of monographs. The cumulative weight of its texts inveigh against the fundamentally racist formation of the European property form. With this publication, Quandamooka scholar Aileen Moreton Robinson is an unmissable reference when it comes to the critique of liberalism, colonial governance and the double binds of European political theory.
Discover more
A Billion Black Anthropocenes or None
From different ongoing Anthropocene discussions and theories, this short book drives a clear argument and claim about the relation between racism, colonialism and the effects of the Anthropocene. Anthropocene is highly gendered. Yusoff’s arguments are vital in understanding the terms and stages of the Anthropocene especially in understanding indigenous studies and landscapes. A Billion Black Anthropocenes or None has clear arguments that may help art practices on decolonisation in various indigenous territories that strongly relate to non-human worlds. 
Discover more
A Third University Is Possible
A Third University is Possible offers a refreshing theoretical framework and interpretation of the issues of university education, decolonisation and activism. The writer, la paperson (K. Wayne Yang), proposes that a university ‘is an assemblage of machines and not a monolithic institution’ that has colonial history and purposes, yet it can also be subverted to produce decolonising subjects. Taking inspiration from Third Cinema and Black filmmaking assemblages, worlding theory and Deleuzian posthumanism, the book explores decolonial ‘possibilities’ in various indigenous and black schools and colleges in the US, Kenya and India and presents the seminal idea of ‘scyborg’ which is a ‘decolonising agent of technological subversion’ operating within the Third University itself in order to break down the ideological machine. 
Discover more
Bell’s Theorem: Aboriginal Art, It’s a White Thing!
The infamous and incendiary essay ‘Bell’s Theorem: Aboriginal Art, It’s a White Thing!’ was originally written to accompany an artwork and prize entry into the 20th Telstra National Aboriginal Arts Award. It was a shattering of orthodoxy. The award had previously been reserved for ‘authentic’ Indigenous art, framed in ethnographic terms. Then, in 2003, Richard Bell’s Scienta E Metaphysica (Bell’s Theorem), or ‘Aboriginal Art It’s a White Thing’ took the prize with a repudiation of its very terms. It was a work that either had to win, or be banned. The text offers a polemical and mock art-historical analysis of ‘Aboriginal Art’, with the argument that as an industry and anointed artistic genre it is a White-determined artefact. While the essay speaks to a particular historical moment, it remains a vital critique and a seriously good read. 
Discover more
Dark Emu: Aboriginal Australia and the Birth of Agriculture
Sometimes a book is a movement. That is the case with Pascoe’s Dark Emu. First published in 2014, it is now into its twenty-fifth reprint. After a fumbled right-wing attempt to discredit the author in early 2020, the uptake of this book shows no signs of slowing at the time of writing. The book opens with an astrological image. The Dark Emu of the title is Biame, a Spirit Emu visible as a dark shape in the Milky Way. Pascoe points out that whereas the European tradition is to stare at the stars, the Indigenous way is to recognise the spaces between them.
Discover more
Decolonizing Nature: Contemporary Art and the Politics of Ecology
Art historian T. J. Demos repurposes recent art history by interweaving the chronicles of socially engaged artistic practices with environmental activism and political ecology. Departing from the well-known pioneering names such as the Harrisons and Bonnie Sherk, the author describes the entanglement of art and ecology through the perspectives of indigenous communities, denouncing the very Western gaze that informed the UN’s understanding of ecology, one that rarely acknowledges ‘post-colonial concerns and the inequality between so-called post-industrial nations and those in the Global South’. The book unfolds around the urgencies that global warming is causing and offers an incredible array of examples of artists who engage in long-term projects, such as Amy Balkin, Superflex and Pedro Reyes. Many of the featured projects are also part of the Visible network, like the projects by Maria Thereza Alves and Mabe Bethônico. 
Discover more
The Rainbow Serpent
In terms of curriculum from a non-Indigenous perspective, The Rainbow Serpent can hardly be omitted. Through at least the 1990s, Indigenous stories and experiences were entirely absent from the mainstream primary school curriculum in Australia. National and local histories were a matter of colonial explorers and prosaic local inventions such as the ‘stump jump plough’. However, at least in Queensland, nestled somewhere in almost every children’s library was a copy of The Rainbow Serpent.
Discover more
Theft Is Property! Dispossession and Critical Theory
Robert Nichols’s Theft is Property does the work of explicating the confounding gaps, paradoxes and convenient impossibilities by which settler colonial violence does its day-to-day work. This book is not specific to artistic practice per se. However, its political analysis is highly useful in comprehending the institutional structures amid which contemporary art is often bound up – particularly so in European and White Anglophone contexts. The titular essay ‘Theft Is Property!’ is an indispensable resource. It places radical European 18th century critiques of property alongside critiques made by Indigenous authors, and breathtakingly demonstrates the shortcomings of some of the most heralded European emancipatory efforts. 
Discover more
Unbecoming
Often an outsider has keener insight into a society’s fundamental structures than many of those raised in its midst. Eric Michaels was an American who died in Australia in 1988, where he counts among the AIDS dead. Working as an ethnographer in the Yuendumu community, he witnessed the emergence of the 1970s and 1980s market for Aboriginal art, and is counted among its keenest observers and critics. Essays such as ‘Bad Aboriginal Art’ remain indispensable in their unflinching view of the contradictions and colonial neurosis of white Australian attitudes to Indigenous art production. Unbecoming is Michaels’s AIDS diary. From his Brisbane hospital bed Michaels casts a dispassionate and often disgusted eye across the Australian Bicentennial celebration, queer cultures at the colonial crossroads, and the strange habits of second-hand furniture salesmen. Particularly memorable is a Foucauldian take on the Australian ‘tidiness’ discourse and historical erasure – from the grime beneath his hospital table in the infectious diseases ward to white-painted rocks at Yuendemu. 
Discover more
un Magazine, 12.1 ‘The Unbearable Hotnessof Decolonisation’
This special issue of the long-running un Magazine marks just part of a wave of resurgent Indigenous and anticolonial thought and artistic practice in Australia in recent years. The contributions range across poetry, ficto-criticism, interviews and essays with vivid purpose and immediacy. The transcript of a multimedia conference presentation of the Ara Iritija archive by Rene Kulita is published together with audience dialogue, lists of colonial landowners and proprietors sit alongside photographic artworks by Julie Gough, and Genevieve Greives speaks personally and autobiographically of urban-based Indigenous practice.
Discover more
Wild Australia: Meston’s Wild Australia Show 1892 – 1893
This slender volume deftly pinpoints the precise historical nexus of raw colonial expropriation and the aesthetics of ethnographic display in Queensland, Australia. Co-edited by Indigenous historians Michael Aird, Paul Memmott and Mandana Mapar, Wild Australia brings together the surviving images of the eponymous ethnographic show that toured the east coast in 1892/93. In an unsurprising historical twist, the self-taught ethnographer Archibald Meston, who produced the show, also became the self-appointed state ‘Protector’ of Aboriginal People during the infamous period of ‘The Act’.
Discover more
We are unable to show you a video, here.
Details
© Visible 2025. All images © of their respective owners.
  • Fellowships
  • Stories
  • Streaming
  • Projects
  • Library
  • Parliaments
  • Who&What
  • Discover All
  • Instagram
  • Facebook
  • Newsletter
© Visible 2025. All images © of their respective owners.
cached
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.