Published 01 September 2020
Published September 2020
Nyoongar artist Dianne Jones returned to York in Western Australia where her people come from and researched its tragic Aboriginal history.
Published 01 June 2012
Araluen Arts Centre, Alice Springs 25 February – 25 March 2012
Published June 2012
The National Aboriginal Cultural Institute, known as Tandanya, was established in 1989 in Adelaide. Philip Watkins, Artistic and Cultural Director of Tandanya, 2006-2011, said: “This is Tandanya’s role – to show our world through our eyes, to tell our stories and to sing our songs with our voices.” Curator, educator and writer Sara White reviews Tandanya's 23 years of art and asks "Does Australia need more Tandanyas?"
Artist and lecturer Garry Jones is undertaking a Phd at the Australian National University School of Art in Canberra. In this article he reveals some of his investigations of Aboriginal artefacts in museum collections and questions notions of authenticity, reclamation and reinvigoration of the past in contemporary Aboriginal art.
Stephanie Radok takes the temperature of Aboriginal art and history in 2012.
Legendary curator John Kean looks at three recent large exhibitions of Aboriginal art - Tjukurrtjanu: Origins of Western Desert Art, Desert Country and Living Water, and questions whether the same spirit sings in all of them.
Goulburn Class 2-0-1-1 was an exhibition curated by Djon Mundine at the Goulburn Regional Art Gallery of work made by prisoners at the local Correction Centre in response to ten one day workshops in the prison by seven Aboriginal artists whose work was also in the show. Writer and editor Maurice O'Riordan reviews the exhibition and more importantly the processes it involved.
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.
On the collaboration between Zhou Xiaoping and John Bulunbulun for the exhibition Trepang: China & the Story of Macassan-Aboriginal Trade at the Capital Museum, Beijing, and the Melbourne Museum.
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.