Published 01 June 2020
Interview with First Nations curators Kathleen Ash-Milby (Portland Art Museum), Maia Nuku (Metropolitan Museum of Art) and Nigel Borell (Auckland Art Gallery Toi o Tāmaki).
A reference to Wittgenstein's Zettel.
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].
Published June 1991
Paul Borg, an artist of Maltese origin, speaks of his unusual working arrangements.
Exhibition review: Works by Nola Routoulas, Helen Karpathakis, Nora Mantzioris and Alexandra Akritidis.
Artzone Gallery, Adelaide South Australia April 1991
Colonial Ghettoes: the possibilities and limitations of new identity as vision.
The Network links NESB, ethnic and arts organisations, sets up cross cultural and other training programs for artists, arts organisations and the media and lobbies governments and other funding bodies to reassess their policies and practices.
Looks at the art practice of Fiona Foley (Thoorgine Country), Terry Ganadilla (Mewenbi Country) and Dale Yowingbala (Gamerdi Country), three aboriginal artists who worked together on an unusual project in Maningrida during 1991.
It is evident we are trying to redress an imbalance in the cultural representation of our heritage and arts.
A great starting point for more research in this area. List prepared by Dr Helen Andreoni, of the School of Aboriginal and Multicultural Studies, University of New England.
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.
Fortunately the artists are capable of overturning all the newly acceptable conceits about them, and they might deny most of the assumptions that multicultural academics make about them, whilst still giving a new window on our world, as indeed, all good art from anywhere will.
Questions of memory, history and identity in the work of Leandro Salomone.
The Emperor's New Clothes
March 1-3 1991