LAUSR

ditions such as shell necklace-making, and whose work supplies a subtle yet forceful rebuke to myths about the supposed erasure of Tasmanian Indigenous culture. Though the layperson seeking a general introduction to or overview of the art of Indigenous Australians might not find what they’re looking for in Rattling Spears, the art historian or curator will find in McLean’s highly readable and absorbing book a fine example of a postcolonial analysis at work, and a compelling rereading of the power, impact and enduring appeal of a vast, fascinating and complex realm of Australian visual and cultural expression.