Published 01 December 2018
It is evident we are trying to redress an imbalance in the cultural representation of our heritage and arts.
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!
Published June 1991
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.
Exhibition Review: Performance Installation by Andrew Petrusevics and Chris Gaston
Adelaide Univsersity Union Art Gallery
7 - 21 March 1991
Looks at the art practice of Gunta Parups who was and remains a displaced person. The experience of leaving one's homeland as a refugee at the age of thirteen during the war is etched indelibly into her being.
Looks at the dance practice of the Bharatam Dance Company from Melbourne and at that stage in its 5th year of operation. Photos of the dancers in production included.
The artist writes about her art practice, in particular her preoccupation with the Australian landscape and how people perceive it. Two images are included: 'Secret Self' and 'Blanket' both from 1990.
Looks at the art practice of Januzs Kozak, a painter who was born in Poland and who now works and lives in Wollongong.
Tang Qizhong is a painter and Fine Arts educator from China. He writes about his art practice and the relationship between art practices and institutions in China and Australia.
Exhibition Review: Tandanya Adelaide South Australia January - June 1991. Interviews with curators Kerry Giles Kurwingie and John Kean. Images of inma at Ernabella included in the article.
A very personal view. And finally there is a need for us to allow art and artists to develop from their own roots, regardless of their country or culture of origin.
The Australian National Gallery's library has just completed a project which documented ethnic and immigrant objects in about 750 photographs. The bulk of these photographs show textile and ceramic craft brought with immigrants to Australia or made in Australia following traditional methods and designs. Nearly 20 ethnic groups from Europe, the Middle East and Asia are represented. Photos of textiles included.
During the process of producing his artworks, George looks for ways of translating different philosophical ideas into marks and images.