Abstract
The article uses a key statement by American sculptor David Smith, concerning the ‘fluid force’ of artistic ambition and achievement, as the basis for a critique of the sociological approach to matters of artistic meaning which has had considerable recent currency. Art's existence as Durkheimian ‘social fact’ is acknowledged, but set within the potentially transformative frameworks afforded by the many-sided factors of cultural and social interchange and understanding present today. The importance of a psycho-dynamic, mythically oriented and musically inflected approach to art is illustrated with reference to the exhibitions Strangers in the Arctic: ‘Ultima Thule’ and Modernity (1996) and Dream Traces: A Celebration of Contemporary Australian Aboriginal Art (2003).
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