The Allure of Textiles

In 1998 the National Gallery of Victoria staged a major textile exhibition entitled Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait which toured to three interstate venues. Visitors to the exhibition were surprised by the beauty and visual power of the works. The Age newspaper entitled its article on the exhibition 'Social fabric', alluding to the communal interaction involved in their surface decoration. This title also captures the audience's reaction - the gallery was always filled with noise. The Sydney-based artist Bronwyn Bancroft, a founding member of Boomalli, noted that she "did textiles to give all Aboriginal community members access to a cheaper piece of art work that they could wear or put on their walls". The Raiki Wara exhibition proved to be a significant vehicle in igniting a broader understanding about Indigenous Australian textiles, an area that is perhaps one of the art world's best kept secrets.

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Queenie McKenzie

A tribute to the Western Australian artist Queenie McKenzie who died in 1998. She lived her whole life in the Texas Downs area and before taking up painting in old age she worked on the cattle station there and was a stalwart supporter of 'women's law business' and language. She was a confident and prolific painter mostly of her country but sometimes of social topics. When her work was recognised by the art market she shared her material success generously with her adopted family.

Patricia Vinnicombe

Printmaking Gains Momentum

The first Aboriginal prints were linocuts made in jail by Kevin Gilbert. By the late 1970s Aboriginal printmaking in collaboration with print studios had begun. The Canberra School of Art, Port Jackson Press and now Northern Editions have been catalysts for the many enthusiasts at the Yirrkala, Papunya, Tiwi, Munupi, Oenpelli, Ernabella etc communities and workshops are run in remote centres at their request. Some like Lockhart River are now setting up their own facilities.

Basil Hall

David Malangi

Tributes to two painters from Ramingining in Arnhem Land, George Milpurrurru and David Malangi who helped to place this region on the map. Paintings were included in the 1979 Sydney Biennale. The iconography, style of painting and the public response to their work and interaction with the wider art world is discussed. Both of these major artists died during the 1990s after careers of around four decades.

Michael O'Ferrall

Tandanya: One City and a Festival

3SPACE -C21st Indigenous Explorers was an exhibition by Darryl Pfitzner Millika, Mark Blackman and David Pearce for the 2000 Adelaide Festival. In common is their shared history as contemporary indigenous artists in Adelaide, the city which had the first indigenous art centre Tandanya, a powerful catalyst for many enterprises which without it would not have been so well presented or widely seen.

Darryl Pfitzner Millika

Art awards on the move

Sharon Phillips

Remote Area Computer Art: Multi-Media Talent Emerges in Yuendumu

Donovan Rice is a young Warlpiri man who has virtually taught himself to make computer art in the remote community of Yuendumu. He is making digital images and animations which relate to his own cultural situation against the backdrop of a chronically disfunctional society. He works under the aegis of Warlpiri Media, a community-run media resource centre and TV production house.

Sue Angel

George Milpurrurru

Michael O'Ferrall

Boomalli: Fact or Fantasy: you decide!

Boomalli, founded in 1987, enters an unlikely future where anonymous benefactors help them to buy premises in an inner city suburb, to employ curators and become independent of funding bodies. Tax-free havens are set up for indigenous artists in NSW and Boomalli members exhibit regularly at MOMA in New York.

Ken Watson and Bronwyn Bancroft

Political Theatre in Beyond the Pale

The Adelaide Biennial of Australian Artin 2000 was a survey of new indigenous art titled Beyond the Pale. This attempt to show the best of new work was staged as a series of rooms each with a different mood from baskets and shimmering paintings to rooms of confrontation where works invited viewers to be shocked by figures of authority seen in very unflattering mode.

John Kean

Looking at the Stolen Generation

The government policy of separating Indigenous children from their parents was still in force until the 1970s in some states. Indigenous artists who have recently begun depicting these events include Julie Dowling, Gordon Syron, John Packham, Rea and Brenda Croft. Their work has been part of the uncovering of the hidden history of these children of which many non-indigenous Australians were quite ignorant until the mid 1990s.

Christine Nicholls

The Indigenous Visual Arts Industry: Issues and Prospects for the Next Decade

The economics of indigenous art is analysed in detail in relation to production, collection and distribution, consumption, developments in the 1990s, prospects for the next decade, tourist art, protection of intellectual property, quality control, authenticity and leadership.

Jon Altman

Health and Art: Can art make people (feel) well?

Art can function in a wide range of ways beyond what is normally regarded as its arena. It can empower by raising confidence, providing income which can be used to improve diet and living conditions, it can be therapeutic, liberating and provide an emotional and intellectual outlet, while posters and TV ads can convey important messages about health issues. When a culture is strong the people are healthy.

Felicity Wright

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