What lies buried on my land rises

Cover of What lies buried on my land rises
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Risky business: Engaging adolescents at the Art Gallery of South Australia
Feature
Kylie Neagle

Published 01 September 2019
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MCAD Manila: Learning, sharing and conversation
Feature
Joselina Cruz and Paula Acuin

Published 01 September 2019
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Museum MACAN: Critical conversations through art
Feature
Aaron Seeto

Published 01 September 2019
PICA
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Falling in love (Or is the curatorial a methodology?)
Feature
Tara McDowell

Published 01 September 2019
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Being an artist and an art teacher
Feature
Henry Ward

Published 01 September 2019
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Trying to be at home in the world: New parameters for art education
Feature
Gert Biesta

Published 01 September 2019
Riddoch
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Choose your own immersion: Art schools as a site of creative becoming
Feature
Una Rey

Published 01 September 2019
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Vanishing into action: Art beyond the contemporary
Feature
Alasdair Foster

Published 01 September 2019

Nyoongar artist Dianne Jones returned to York in Western Australia where her people come from and researched its tragic Aboriginal history.

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The performative print: Alick Tipoti's Girelal
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Torres Strait Islander artist Alick Tipoti has developed a rigorous and passionate art practice to ensure the maintenance and survival of his cultural traditions. Printmaker Jan Hogan explores the making and the experience of Tipoti's 8 metre long linocut Girelal hung in the 18th Biennale of Sydney 2012.

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Tu Di Shen Ti, Our Land Our Body: the Ngaanyatjarra poetic goes to China
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The exhibition 'Tu Di Shen Ti – Our Land Our Body, Masterworks of the Warburton Collection', was seen in China by about a quarter of a million people, across seven venues, throughout 2011. Director of the Warburton Arts Project Gary Proctor describes how the exhibition came about, what it looked like and what its goal are.

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For architecture and country
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Torres Strait Islander Kevin O'Brien, who is commissioning and directing an independent exhibition called 'Finding Country' at the Venice Architecture Biennale 2012 running from August to 25 November 2012, writes about an Aboriginal architecture that is not about buildings shaped like native animals.

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PROMISE PROGRAM !Metro Arts, Brisbane
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Carmen Ansaldo

21 March – 14 April 2012

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Reviewing Our Mob: A state-wide celebration of South Australian Indigenous art
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Our Mob is a state-wide celebration of South Australian Indigenous art held annually at the Adelaide Festival Centre since 2006. Curator Susan Jenkins who worked on it for three years from 2009-2011 analyses what works about Our Mob and what the future might be.

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Culture Warriors as cultural diplomacy
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Senior lecturer at the College of Fine Arts (CoFA), University of New South Wales, Gail McDonald analyses the exhibition Culture Warriors, the first National Indigenous Art Triennial curated by Brenda L. Croft, that travelled to Washington in 2009. McDonald argues that, rather than diplomatic blandness, real political confrontation was present in the exhibition.

Published June 2012
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Archie Moore: drilling deep
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Timothy Morrell

Freelance curator and writer Tim Morrell studies the art practice of Brisbane-based Archie Moore which is emphatically free from any signature style and is concerned with sharing his experience as an Indigenous Australian in order to put viewers 'in his shoes'.

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Obscured by Light: Pamela Lofts and Kim Mahood
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Kieran Finnane

Araluen Arts Centre, Alice Springs 25 February – 25 March 2012

Published June 2012
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A place of our own
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Daniel Browning

This conversation between curator Hetti Perkins and co-editor Daniel Browning looks at Perkins call for a National Institution, or Centre, of Indigenous Art, which might become, as she puts it, “a living space that breathes culture”.

Published June 2012
Trepang: Crossing cultures, creating connections
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Susan Lowish

The exhibition 'Trepang: China & the story of Macassan-Aboriginal trade' opened in the Capital Museum, Beijing on 1 April 2011 and at the Melbourne Museum on 23 July 2011.
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Published June 2012
The elephant in the room: public art in Brisbane
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Artist-activist Fiona Foley recounts a recent incident of the commissioning of a public art work for Kurilpa (place of the kuril or native water rat). Kurilpa is the cultural precinct where GOMA is located. Foley imagines works by prominent Queensland Aboriginal artists dotted along that place.

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Queerly speaking
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Troy-Anthony Baylis

The art practice of Troy-Anthony Baylis uses knitting, performance, collage and other 'crafts' to engages with queering as a strategy, to unsettle the ways that Aboriginality is constructed as pure and untainted by the complexity of sexuality, mixed ethnographies, mixed geographies and mixed appearances.

Published June 2012
 
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