Published 01 March 2019
Published 01 December 2018
Le Thanh Nhon and the Acacia Indo-Chinese Children's Centre.
Theatro Oneiron (Theatre of Dreams) a Greek Australian performance ensemble established in Adelaide in the mid 1980s is the result of dedication and vision. Photo from production of 'The Courtyard of Miracles' 1991 included in the article.
Published June 1991
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.
Those who come to know Melbourne's western suburbs find many treasures in the region's history, heritage, environment and contemporary culture.
If mainstream television is not our main source of accurate images, how do people gain access to programs which reflect our society in realistic and creative ways?
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.
Ehibition Review: Galerie Dusseldorf
Douglas Chambers and The Glick International Collection
Held February - March 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!
Multicultural Artworker's Committee [MAC] aims to provide all citizens with equal opportunity to access and promote art in its various forms.
Does anyone have their right to represent stories and cultural background not their own? Does anyone have the responsibility to do so? No, I don't think so.....
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.
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.
Looks at a number of community arts residencies undertaken in South Australia and the art practices of Andrew Hill and Eugenia Hill.