Published 01 September 2005
Published 01 June 2020
Questions of memory, history and identity in the work of Leandro Salomone.
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.
Published June 1991
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?
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.
Exhibition Review: Tandanya Adelaide South Australia January - June 1991. Interviews with curators Kerry Giles Kurwingie and John Kean. Images of inma at Ernabella included in the article.
Survey of five Malaysian artists living and working in Melbourne Australia. Great colour photos of their works.
Exhibition review: Works by Nola Routoulas, Helen Karpathakis, Nora Mantzioris and Alexandra Akritidis.
Artzone Gallery, Adelaide South Australia April 1991
The Emperor's New Clothes
March 1-3 1991
Looks at a number of community arts residencies undertaken in South Australia and the art practices of Andrew Hill and Eugenia Hill.
The artist writes about his art practice. Good colour photographs.
...Underlying this linguistic fertility is a migrant intuition of the relativity of language, of the lightness and mutability of its phonology, inflections and syntax. Less portentously there is no migrant to this country who has not experienced those punning co-incidences, echoic repetitions, mutual misunderstandings and mishearings which are the basis of my scripts. It may be no accident that in 1992 Australian voices evoke first contact with the New World.
A very personal view. And finally there is a need for us to allow art and artists to develop from their own roots, regardless of their country or culture of origin.
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.