Steve Fox's job involves regular 1400km round trips from Uluru to some of the most remote communities in Australia. He reports on a typical four-day excursion in the Maruku troopcarrier.
Kuninjku Modernism pays respect to the wellspring of the Indigenous art movement and the many artists of Western Arnhem Land, furthermore exploring the several countries or nations of this large civic nation.
Marrying visual art, dance and inspirational rhetoric has been one of the hallmarks of the Jirrawun Artists Co-operation operating out of Kununarra. These traditional people have been at the forefront of contemporary political debates and Indigenous art practice. Cath Bowdler follows the story of Jirrawun Artists Co-operation from its inception in 1998 to the present day. A non-government funded body, Pro bono partnerships with the corporate and private sector.
Erica Izett explores the cultural convergence between Australias indigenous and non-indigenous people over the past few decades and the rewarding implications it is having on Australias artistic and cultural practice and awareness.
The Aboriginal community of Balgo, situated on the cusp of the Tanami and Great Sandy Desert is a melting pot for contemporary Aboriginal art and culture. This article examines a group of white women artists and their various bodies of work which grew from their time spent at Balgo.
Historically, people in the Territory have viewed southeners with suspicion, often characterising them as missionaries or carpetbaggers. Some emerging artists here are beginning to question these attitudes and are starting to take advantage of the financial and critical lifelines that the south has to offer. Bronwyn Wright and Tobias Richardson are two who have engaged energetically with southerners and achieved high levels of recognition.