Published 25 August 2021
It is evident we are trying to redress an imbalance in the cultural representation of our heritage and arts.
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.
Published June 1991
A great deal of agonising has gone on since the 1988 Bicentenary about the nature of Australian identity and therefore the nature of our distinctive culture.
Survey of five Malaysian artists living and working in Melbourne Australia. Great colour photos of their works.
Exhibition Review: Tandanya National Aboriginal Cultural Institute Adelaide South Australia November 1990 - June 1991
The three storey facility looks incongruous in the ramshackle Aboriginal settlement of Ramingining which crouches along a dirt road in an Arnhem Land eucalypt forest 550 km east of Darwin in the Northern Territory. Photos of people in Ramingining.
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].
During the process of producing his artworks, George looks for ways of translating different philosophical ideas into marks and images.
One of the leading debates in Cultural Studies around the world deals with the issues of cultural difference or ethnicity in relation to concepts of a national culture.
Looks at a number of community arts residencies undertaken in South Australia and the art practices of Andrew Hill and Eugenia Hill.
Above all we need new myths to suit the new Australian culture which is part of the Asia Pacific region. We can't live by Aboriginal myths alone, as some have suggested, in a land so changed by our coming. The unpacking of cultural baggage by writers of all cultural groups, old and new, has to continue until it gives rise to a myth which we all recognise as fitting the Australia to which we have contributed. Wrote David Malouf.
Exhibition review: Works by Nola Routoulas, Helen Karpathakis, Nora Mantzioris and Alexandra Akritidis. Artzone Gallery, Adelaide South Australia April 1991
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!
