Published 01 September 2005
Published 01 June 2020
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?"
Published June 2011
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.
'Yalangabara: Art of the Djang'kawu' curated by Banduk Marika and Margie West includes art made from 1939 till recently. All works are about the same creation story and all comprise a history of creative and spiritual custodianship by the Marika family of the Rirratjingu clan.
Exhibition Co-ordinator: Katie Lenanton
University of Western Australia Cultural Precinct
15 February – 6 March 2011
Monash University Museum of Art
1 February – 16 April 2011
Curator: Geraldine Barlow
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.
Griffith Artworks and Griffith University Art Gallery Director Simon Wright reviews the stellar career in sculpture and printmaking of Torres Strait Islander Denis Nona whose newest commission at the Musée des Confluences in Lyon is eight metres high.
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.
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.
FELTspace, 12 Compton St, Adelaide
9 March – 3 April 2011