Published 01 December 2020
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.
Questions of memory, history and identity in the work of Leandro Salomone.
Published June 1991
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.
Multicultural Artworker's Committee [MAC] aims to provide all citizens with equal opportunity to access and promote art in its various forms.
The way that I want to convey that meaning [racism] here is to use a small number of relatively random examples of current art/race = art/power debates from around the world. They give a flavour of the issues. They have obvious relevance to Australia's relationship to the rest of the world, as well as to relationships within Australia.
Looks at the ceramic works of Zsuzsa Kollo which refer to Pre-historic, Eastern, and Christian works. includes b/w photo.
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.
Cultural Iconographies is an exhibition of work by migrant and refugee artists who have been in Australia for a relatively short time. To take place in the Bondi Pavilion, Sydney during Carnivale October 1991.
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.
The ceramic work of Silvia Stansfield draws on the cultural legacy of South America. Discussion of the work of this artist with good colour photographs.
With the exception of some programming on SBS and the ABC, artists receive very little exposure on television. The limitations of television, the need to maintain a wide audience reach, the difficult question of what is 'good art' in a televisual sense, all may help to explain the absence of living artists from this, the most powerful of all media.
Ritual and ceremony enrich all aspects of Jewish life, its life cycle events and daily life. Jews give constant thanks for God's munificence - for the first fruits of the season, for the food on the daily table, for new clothing donned. Everything is inbued with significance and for all events there are rituals.
Colonial Ghettoes: the possibilities and limitations of new identity as vision.