Published 01 June 2019
State Library of NSW
Larissa Behrendt writes about both soothing and painful installations and paintings by Jason Wing that explore his Chinese and Aboriginal roots.
This is the first time that noted historian and writer on Aboriginal art Ian McLean has written a substantial interpretive artcile on the work of Trevor Nickolls. Nickolls began working in the 70s and is still painting his own particular brand of cross-cultural art.
Published June 2011
The National Museum of Australia's Margo Neale writes in depth about the curation of a 100 year old collection of Aboriginal art at the Vatican in Rome. She asks: "How do Aboriginal and Torres Strait Islander people, previously captive to the anthropological gaze and to unequal power relations, not only interrogate the histories that defined them as ‘other’ and ‘lesser’, but also regain their voice and agency over historic cultural objects that reside in collections around the world?"
In 2009 eight new case displays were added to the legendary 1884 Pitt Rivers Museum in Oxford. Indigenous art scholar and lecturer Susan Lowish examines how Aboriginal art fared in this rejig of history.
Artlink's UK contributing editor Jo Higgins interviewed Melbourne-born London gallerist Rebecca Hossack about her Indigenous art program and her attempts to raise its profile in London. She has two galleries and each summer for three months both galleries show only Australian Indigenous art in her Songlines series. Recently Elcho Island art featured.
Ryan Renshaw Gallery, Brisbane
3 - 26 March 2011
Curator and artist Brenda Croft gets experiential in telling about Australia Day, her latest exhibition Stop (the) gap and what is shared by indigenous people around the globe.
French curator Arnaud Morvan, who recently completed his Phd at the University of Melbourne on the art of the East Kimberley, writes about the new approach to showing and consulting about Indigenous art taken by the still-under construction Musée des Confluences (due to open in 2014) in Lyon.
"It represents a first step towards an abolition of the segregation endured by non-Western art in Europe and an attempt to rise above the antiquated opposition between art and ethnography."
Felicity Wright speaks from long experience, as a worker and as a reviewer of art centres on Aboriginal lands. Her thoughtful article teases out many do's and don'ts in this highly contested field.
As leaders of unique working partnerships between the Indigenous art industry and the Queensland Government, pioneers like Judy Watson, Dennis Nona, Vernon Ah Kee, Richard Bell and Sally Gabori have established strong international reputations.
Tracey Moffatt: Narratives
Curators: Stephen Zagala, Maria Zagala
Art Gallery of South Australia
26 February - 20 March 2011
Stop (the) Gap: International Indigenous art in motion
Curator: Brenda Croft
Samstag Museum of Art
24 February - 21 April 2011
Vernon Ah Kee: tall man
Australian Experimental Art Foundation
23 February - 26 March 2011
The Mulka Project is a Yolngu archive and production centre incorporating a theatre, media lab, project office, audio video library and museum. “As the Mulka Project is growing up we need to be clear that it is just a resource and the law and culture is coming from the land where people are staying, even where there is no one staying, its patterns, the designs and culture, are coming from the country.” states Djambawa Marawili.
Dina Ibrahim looks at the Joe Rootsey Retrospective curated by Bruce McLean at the Queensland Art Gallery in 2010 to find an artist who in his short life achieved compelling evocations of his relationship to country.