String Lines: Continuing Developments in Aboriginal Fibre Art

Across the tropical and desert regions of the Northern Territory a quiet revolution is taking place in the most neglected and least understood area of Indigenous creativity – in women’s fibre practice. While we may consider this region remote, it is the homeland of diverse cultural groups who express their identity through even the ordinary things they make. Objects, people and the environment are inextricably bound together by ancestral agency and “string” as the metaphor often used to describe these interconnections.

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The 14th Annual Linden Postcard Show

Linden St Kilda Centre for Contempory Arts 5 February - 19 March 2005

Juliette Peers

Neverland vs. Reality: How to Sustain an Art Practice in the Territory

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.

Malcolm Smith

Women's Business by Remote

In the past two decades the face of Australian art practice has been changed immeasurably by a renewed focus on the culture of Indigenous people and the efflorence of Aboriginal art. This article looks at the work of three non-Indigenous artists who worked in places regarded as remote and developed art practices through engagement with Aboriginal people.

Daena Murray

The Larrakia Legacy of Billiamook

Larrakia people bore the brunt of colonial expansion in the Northern Territory when Darwin was settled by beraguds (white people) in 1869. Gary Lee writes of Billiamook, one of the first Larrakia to interact with the settlers and the first Aboriginal artist to have his work exhibited and recognised as art.

Gary Lee

Just Really Out There

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.

Steve Fox

Bush Techies and Secret Data Business

Caroline Farmers position at 24HR Art, the Northern Territorys Centre for Contemporary Art required an involvement with projects specifically aimed to help indigenous artists acquire new media skills. What she found in the Territory however required her to think in an entirely new way. Farmer discusses some of her experiences with her new found traditionally and technologically aligned environment.

Caroline Farmer

Kuninjku Modernism

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.

Ian McLean

From Fregon to Srinigar and Back

Kaltjiti Arts is a community owned arts centre in Fregon. A cross-cultural project between two groups of community artists based in South Australia's remote and traditional Anangu Pitjantjatjara Yankunytjatjara Lands and in Srinigar, the turbulent capital of Kashmir is based on the combining of these two isolated and very different cultures via their arts and traditions.

Caroline Wilson

Paji Honeychild Yankarr

Paji Honeychild Yankarr 1914-2004

Karen Dayman

Proof: The Act Of Seeing With One's Own Eyes

Curator: Mike Stubbs Australian Centre for the Moving Image, Melbourne 9 December 2004 - 13 February 2005

Judith Elliston

Disappearing Act

Sherman Galleries, Sydney 10 February - 5 March 2005

Joanna Mendelssohn

Metaphor and Climate: My flight to the tropics

Anne Ooms

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