ABSTRACT
The geopolitical landscape of remote Aboriginal Australia offered an invitation to young women to test their mettle in a relatively new hybrid field of creative practice. Kimberle Williams Crenshaw argued that black women were discriminated against by virtue of their gender and their race, and built cases that formally recognised this 'double jeopardy' of discrimination. From the late 1980s until her death in 1996, Emily Kame Kngwarreye was the magnum opus of the Australian art world, epitomising the 'remote star' theory of contemporary art's mythologising and inadvertently announcing the women's turn in Aboriginal art from remote communities. Women were the high earners at the art centres she managed, though she has observed that exposure to 'mission activity, or tourist moneymaking ventures' could undermine an artist's work. With the increasing mobility of global artists both physically and virtually, 'cross-cultural collaboration' has become a regular feature of contemporary art.
