Published 01 June 2019
State Library of NSW
Nyoongar artist Dianne Jones returned to York in Western Australia where her people come from and researched its tragic Aboriginal history.
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.
Published June 2012
Bruce McLean, Curator of Indigenous Art at the Queensland Art Gallery/ Gallery of Modern Art, writes about Bindi Cole's work and how it links personal and historical notions of forgiveness.
Araluen Arts Centre, Alice Springs 25 February – 25 March 2012
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.
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.
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.
Terry Cleary was the Statewide Indigenous Community Artists Development (SICAD) Program Manger with Ananguku Arts and Culture from 2009-2011. He reflects on the potential power of Our Mob when it works.
2 March to 29 April 2012
Art Gallery of South Australia
Curators: Natasha Bullock, Alexie Glass-Kantor
The Director of the Indigenous Art Code John Oster explains the Code, how it works, why it is needed and who isn't complying.
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?"
Artistic Director: Marco Marcon
Fremantle Arts Centre
4 February - 11 March 2012
21 March – 14 April 2012