Abstract
Aboriginal Australian artist Albert Namatjira resists identification. Was Namatjira a product of Australia’s assimilation, a “mimic man” who adopted a Western referential frame, or was his trajectory the product of a “split identity,” as alleged during his lifetime? Can Namatjira’s watercolours be viewed as a critique of Eurocentrism? This article seeks to revisit the nature of Namatjira’s legacy in light of the recent retrocession of the artist’s copyright.
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