Working in Indigenous Art Centres

Cover of Working in Indigenous Art Centres
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Between worlds: Belinda Mason and Blur Projects
Feature
Alasdair Foster

Published 01 September 2020
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Body, remember: Wrap me in a sister cloak
Feature
Ali Gumillya Baker

Published September 2020

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Regimes of care: Concerning the afterlife of artists
Feature
Robert Cook

Published 01 September 2020
MGNSW
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The idea of redemption: Artmaking in prison
Feature
Alasdair Foster

Published 01 September 2020
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On thin ice: Creating a life beyond addiction
Feature
Ginger Gorman

Published 01 September 2020
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Flesh after fifty: Changing images of older women in art
Feature
Jacqueline Millner

Published 01 September 2020
UTS
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How can I live in your world? Empathic strategies in contemporary Asian art
Feature
Reuben Keehan

Published 01 September 2020
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Shahidul Alam: You're blocking the sun
Feature
Kelly Hussey-Smith

Published 01 September 2020

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.

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More from this Issue Full Issue Contents

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CoBra and Aboriginal art at AAMU, Utrecht
Feature
Khadija La

Newtown fellow at the University of Cambridge Khadija La visited AAMU (the Musuem of Contemporary Aboriginal Art) in Utrecht to see "Breaking with Tradition" an exhibition curated by Georges Petitjean that hangs works by CoBrA artists together with work by Indigenous artists and Roar artists who work or worked in Indigenous art centres.

Published June 2011
Rewriting the Labels
Editorial
Stephanie Radok

Indigenous culture is moving out of dedicated spaces and into the mainstream. Ultimately all Indigenous culture is claiming the space for experiences that have not been widely told and this broadens the space for the stories of everyone whose stories are untold.

Published June 2011
New Exhibitions Projects Initiatives
Artlink

Published June 2011
1
Donning Oxford
Feature
Christian Thompson

Christian Thompson who is one of the two inaugural Charlie Perkins Scholars at Oxford University writes about this experience and how it makes him think of his upbringing and the responsibility it entails. "...it is our arrival at Oxford that reminds me of how much work we still have ahead of us as young Aboriginal people and future leaders of our communities. This is something you feel as an inherent responsibility when you meet people daily from all around the world, whose communities are facing similar hardships and the symptoms of the ravages of colonisation; time is of the essence."

Published June 2011
Tracey Moffatt / Stop(the)Gap /
tall man
Review
Sarah White

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

Published June 2011
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FELTspace Gold
Review
Peter Drew

FELTspace, 12 Compton St, Adelaide
9 March – 3 April 2011

Published June 2011
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Landscapes and Horses: Ivan Durrant
Review
Tom McCullough

Curator: Rodney James
Mornington Peninsula Regional Gallery
16 February - 26 April 2011

Published June 2011
1.5
Elcho Island: Morning Star over London
Feature
Jo Higgins

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.

Published June 2011
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Exhibitions to Watch
Stephanie Radok

Published June 2011
Trevor Nickolls: Other side Art
Feature
Ian McLean

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
Alive and Kicking
Editorial
Daniel Browning

This issue is subtitled ‘beauty and terror’; let me explain.

I often think of the natural environment of the continent as a metaphor that mirrors the history of colonisation; a kind of infinite pathetic fallacy redoubling on itself.

Published June 2011
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TextaNudes: Arlene Textaqueen
Review
Naomi Gall

Sullivan and Strumpf Fine Art, Sydney
3 - 27 March 2011

Published June 2011
 
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