Bring Your Own and After...Migrant Publishing

It is the responsibility of Australian Collections to preserve this material - correspondence and manuscripts as well as printed texts - in many languages, not as exotic flowers of 'accented' literature, but as integral parts of the history and literature of multicultural Australia.

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People's Cultural Action in Australia: The PACIN Experience

Looks at workshops organised by PACIN - the Philippines-Australia Cultural Interaction Network for Asian and Pacific communities in Sydney.

Christian Ramillo

Performing in Tongues

...Underlying this linguistic fertility is a migrant intuition of the relativity of language, of the lightness and mutability of its phonology, inflections and syntax. Less portentously there is no migrant to this country who has not experienced those punning co-incidences, echoic repetitions, mutual misunderstandings and mishearings which are the basis of my scripts. It may be no accident that in 1992 Australian voices evoke first contact with the New World.

Paul Carter

New Artist's Group: Dihedron

The tendency to pigeon hole 'ethnic' art as a second class art practised by minority groups is common in Australia too... Dihedron is a group of artists and supporters operating in Brisbane who share the common goal of helping artists in socio-cultural isolation.

Anthony Gall

Milan Milojevic

The artist writes about his art practice. Good colour photographs.

Milan Milojevic

Other Peoples' Stories, Other Peoples' Voices

Does anyone have their right to represent stories and cultural background not their own? Does anyone have the responsibility to do so? No, I don't think so.....

Ruby Langford

Collaborative Impressions

Exhibition review: Works by Nola Routoulas, Helen Karpathakis, Nora Mantzioris and Alexandra Akritidis. Artzone Gallery, Adelaide South Australia April 1991

Nola Routoulas

Accelerate

"I used to boast about you, my son the painter. You painted trees, now you paint squares to humiliate me." Quote by the artist's father in the early 1970s Melbourne.

Sam Schoenbaum

Silvia Stansfield

The ceramic work of Silvia Stansfield draws on the cultural legacy of South America. Discussion of the work of this artist with good colour photographs.

Stephanie Radok

Cultural Diversity and Public Galleries

Written with Joseph Eisenberg. The National Association for the Visual Arts [NAVA] is currently sponsoring a project on 'Multiculturalism and the immigrant artist in Australian visual culture'. Part of the study focuses on the role of public galleries in appreciating, exhibiting, and acquiring the work of Australian artists from non- English speaking backgrounds [NESB].

Janis Wilton

Archetypal Strategies

Exhibition Review: Josie Starrs, Margaret Worth, Fay Poole and Barbara Zerbini Experimental Art Foundation Adelaide South Australia June 1990 and touring to regional galleries.

Susan Sheridan

Multicultural Artworkers: Sacrificial Anodes?

This is a new notion for me. I'm sure it is a term familiar to most readers. However, just in case, this is my version of what it means. To understand it you need to appreciate that there is an hierarchical order of metals determined by their 'nobility'. A sacrifical anode is less a noble metal which is used to attract impurities away from more noble metals that you do not wish to be eroded. Thus if you wish to avoid erosion in your copper boiler, you can put a sacrificial anode in the water which will attract the impurities in the water and keep them away from your noble boiler. The link between multicultural artworkers and sacrificial anodes is entirely my own!

Helen Andreoni

Realising Our Land of Promise

Looks at a number of community arts residencies undertaken in South Australia and the art practices of Andrew Hill and Eugenia Hill.

Sergios Proios

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