Published 01 December 2020
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 National Aboriginal Cultural Institute Adelaide South Australia
November 1990 - June 1991
Published June 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.
A reference to Wittgenstein's Zettel.
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.
Exhibition review: Works by Nola Routoulas, Helen Karpathakis, Nora Mantzioris and Alexandra Akritidis.
Artzone Gallery, Adelaide South Australia April 1991
Exhibition Review: Paula Hart, Paul O'Connor, Sarah Toohey and friends Crafts Council Gallery
Perth Western Australia
February - March 1991
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.
Since the birth of Australian television, non-anglo Australians have suffered from an acute case of foreign accent syndrome. Unfortunately 35 years on they are still suffering, not only from bad accents usually spoken by Anglo actors playing NESBs, but from the dearth of authentic storylines and subsequently the lack of accurate representation of NESBs on our TV and screens.
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.
The Office of Multicultural Affairs talks for Artlink with James Mollison, Director of the National Gallery of Victoria March 1991.
It is evident we are trying to redress an imbalance in the cultural representation of our heritage and arts.
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.