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One of the main benefits of private art collections is their subjectivity. The grouping of selected artworks into a ‘collection’ often, (although not always), tells its own particular story about certain qualities or themes in art. In the recent McCulloch & McCulloch publication, New Beginnings, Classic Paintings from the Corrigan Collection of 21st Century Aboriginal Art, we are treated to a comprehensive view of what Pat Corrigan, one of Australia’s leading art patrons, regards as the best in 21st century Aboriginal painting. In the book it becomes apparent that what pulls this collection together is a common drive amongst the artists to craft an Aboriginal concept of Country out of paint, and the best (or ‘Classic’) thrust of this art is its standard of craftsmanship.
Craftsmanship has always been a priority in an Aboriginal worldview, but it finds new standards of expression in the context of the art market. Corrigan’s collection underscores that there is an art movement here—and it is one defined by Aboriginal artists who are driven to visualise in paint what it means to belong to, or identify with, a particular place. This place is their state of mind; their state of being; their state of self. The standard of how well an artist conveys this to outsiders is something we can make a judgement upon—we can make a call on good and bad Aboriginal art. Corrigan’s collection also emphasises that the best of this movement is defined by a quality of craftsmanship—artists with a clear plan of what they want to paint and how to go about it. Even if we do not know the details of their country, we can see that this is a