Published 01 June 2020
Interview with First Nations curators Kathleen Ash-Milby (Portland Art Museum), Maia Nuku (Metropolitan Museum of Art) and Nigel Borell (Auckland Art Gallery Toi o Tāmaki).
Zofrea wrote "I want my work to sing forever."
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.
Published June 1991
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.....
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!
Colonial Ghettoes: the possibilities and limitations of new identity as vision.
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.
Le Thanh Nhon and the Acacia Indo-Chinese Children's Centre.
The Emperor's New Clothes
March 1-3 1991
Exhibition Review: An Art and Working Life Project
Hosted by the Working Women's Centre Prospect Gallery
Palimpsest...Vision of a multicultural Australia. An exhibition co-ordinated by the Multicultural Arts Trust of South Australia, December 1990 Chesser Gallery Adelaide. Great colour photos.
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.
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.
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.