Published 01 September 2018
Published 01 December 2016
Looks at the ceramic works of Zsuzsa Kollo which refer to Pre-historic, Eastern, and Christian works. includes b/w photo.
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.
Published June 1991
At times, life feels like a collection of unrelated events, a necklace without the string. Christl Berg writes of her experiences of leaving Germany when she was 25 and having lived in three different continents with three different cultures at varied stages in her life.
It is evident we are trying to redress an imbalance in the cultural representation of our heritage and arts.
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.
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.
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.
Multicultural Artworker's Committee [MAC] aims to provide all citizens with equal opportunity to access and promote art in its various forms.
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?
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.
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 Emperor's New Clothes
March 1-3 1991
Le Thanh Nhon and the Acacia Indo-Chinese Children's Centre.