Daryl Lindsay and the appreciation of indigenous art: no mere collection of interesting curiosities

In an era when the acceptance of Indigenous art within our galleries is assumed confidently as self-evident, it is easy to overlook how such a remarkable transformation occurred almost within the space of a decade. Even more misunderstood is the prominent role Daryl Lindsay played in the early acceptance and legitimisation of Australian indigenous art. Within months of becoming director of the NGV, Lindsay prepared a major exhibition of primitive art, including Australian indigenous works, an event that became the defining catalyst for a cultural shift towards indigenous art. In the early 1960s, in the influential role of chair of the Commonwealth Art Advisory Board, Lindsay advocated for the inclusion of Australian Aboriginal art, chosen for aesthetic merit as a dedicated collecting stream in the future NGA. It was a decisive objective, and one that was a central tenet of his vision for Australian art. Yet it is clear that Lindsays role in encouraging the re-evaluation of Australian Indigenous art remains poorly understood within the field of Australian gallery practice. Even within recent years, art historians have misattributed later events as being the catalyst for change, either positioning Lindsay as a reactionary late in his term as director, or placing him outside the formative years of the shift in attitude altogether. This paper explores Lindsays young adult experiences in Central Australia, the backdrop for his empathy with Australian Indigenous culture, and the remarkable shift in Australian Art Museum practice undertaken during his directorship that saw Indigenous artefacts exhibited and appreciated for their artistic merit.