"I used to boast about you, my son the painter. You painted trees, now you paint squares to humiliate me." Quote by the artist's father in the early 1970s Melbourne.
How much marketability is immanent in the artist's cultural background is a matter of delicate negotiation between dealer and client. Just now, it may appear to some artists an unfortunate fact that for them, Aboriginality is not an option.
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.
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 art practice of Ginger Riley Munduwalawala, born in 1937 at Ngukurr in the Northern Territory. Good colour photos of the artist and some works.
Making a TV documentary about indigenous people's television in Australia. Photographs on location at Ernabella in the Pitjantjatjara lands of far north west South Australia.
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.
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.
An exhibition of contemporary Aboriginal art 'Aboriginal Art and Spirituality' opened at the High Court of Australia in 1991. The exhibition to tour after its opening in Canberra.....All of the works in the exhibition speak quite overtly about the highly problematic intervention of the missions, the politics of racism and the way in which Aboriginal spirituality will always remain linked to the land.