Published 01 March 2019
Published 01 December 2018
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.
Published June 2011
Fiona Foley's recent public work has gone from strength to strength most recently at Mackay where her six large new works form a trail commemorating the Pacific and black history of the region.
Curator at AAMU Georges Petitjean describes the 'Remembering Forward' exhibition at the Museum Ludwig in Cologne in detail, how it came about, what surrounds it and what it might mean.
Ulli Beier (1922-2011)
I remember a Yoruba saying that Ulli often quoted: “If an old man dies, you shall not weep but congratulate his family for that his life has come full circle.”
Ian McLean is Winthrop Professor, Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia.
Curator: Rodney James
Mornington Peninsula Regional Gallery
16 February - 26 April 2011
Billy Benn Perrurle and Catherine Peattie
with essays by Ian McLean and Judith Ryan
IAD Press RRP $34.95
Melbourne-based Ben McKeown was the overall winner of the 2011 Victorian Indigenous Art Award with a mysterious photograph called Untitled of an Aboriginal man concealing hinself behind two heavy boomernags. McKeown's artwork is inspired by a quest for belonging, by the genealogical researches of the anthropologist Norman Tindale, by the city and the suburbs.
FELTspace, 12 Compton St, Adelaide
9 March – 3 April 2011
Perth International Art Festival
5 - 20 March 2011
Dutch art historian Marianne Riphagen, whose PhD looked at contemporary Indigenous photo-media artists, draws togther the dark and light in the artwork of Rembrandt and South Australia-based Darren Siwes to question the Dutch Golden Age.
Sarah Scott reviews and questions Yiwarra Kuju: The Canning Stock Route exhibition at the National Musuem of Australa. She asks: "Why don’t the NMA’s collections of Indigenous material culture feature more strongly in their exhibition program? Why are both the NMA and the National Gallery of Australia (NGA) collecting the highly sought after and expensive works produced by major Papunya artists? If the commissioning of art and associated documentary material is a priority for the NMA what other Indigenous material culture may they be neglecting?"