Despite having occupied the continent for 65,000 years, the indigenous population of Australia was viewed as nomadic with no concept of land ownership. Using the erroneous concept of 'terra nullius,' these communities had their own customs, language and laws yet were driven from their traditional lands by the settling colonial forces.
Conflict ensued as native communities resisted settlement. Orchestrated colonial attacks and private acts of violence and murder resulted in a series of massacres that spanned the frontier. Many communities were shot with muskets or cannons, while others had their water and food poisoned.
Most Australians are oblivious to warriors such as Pemulwuy and Windradyne, massacres such as Myall Creek, Risdon Cove or Williams Valley or even how locations in their own towns and communities such as Poison Waterhole Creek, Murder Island or Skull Hole attained their names.
This project documents sites of Australian Indigenous massacres. From places where men, women and children were subjected to canon fire to locations where entire communities were shot, poisoned or pushed off cliffs, these are important and sacred sites that have been left out of Australia’s sterilized account of its history.
professional category
Indigenous Australian Massacre Sites (Series)
DESCRIPTION
AUTHOR
Brett Leigh Dicks is an American photographer who shares his time between the United States and Australia. His photographic endeavors have led him to explore the world's natural and urban landscapes with the resulting imagery spanning Australia, America and Europe. In employing the tradition of fine black and white photography, Brett primarily investigates the landscape and the fragile ties that it shares with human history. Highlights of his extensive career include the group exhibition "Arcana Naturae" which toured Europe for five years featuring the collected works of Imogen Cunningham, Alfred Ehrhardt, Albert Renger-Patzsch, Josef Sudek and Sugimoto. In Australia, "On the Street", a joint exhibition with mentor and friend Lewis Morley, was a prestigious event featuring their individual takes on street photography. Another honor was taking part in the "The Voice of the Print" exhibition as it drew together photographers who were also noted print-makers and had Brett's work hanging reverently beside that of Ansel Adams. His work is held in both private and public collections the world over.
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