Big wave: Desert Country

Cover of Big wave: Desert Country
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Amala Groom: Cosmic Body of remembrance
Feature
Hannah Donnelly

Published 01 June 2019
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imagineNATIVE at 20
Feature
Pauline Clague in conversation with Jason Ryle

Published 01 June 2019
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Sydney Elders: Continuing Aboriginal Stories

State Library of NSW

Feature
Jonathan Jones

Published 01 June 2019
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Speaking back to colonial collections: Building living to Aboriginal archives
Feature
Kirsten Thorpe

Published 01 June 2019
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Unravelling the past: Barbed wire and campfire learnings
Feature
Ali Cobby Eckermann

Published 01 June 2019
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Dark Emu: Thank the Earth
Feature
Bruce Pascoe

Published 01 June 2019
Art Nocturne
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Deaths in custody: We've got to give it everything
Feature
Lorena Allum

Published 01 June 2019
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Indigenous storytelling: Deconstructing the archetype
Feature
Pauline Clague

Published 01 June 2019

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.

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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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Trepang: crossing cultures / creating connections
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Presences in the land: Nici Cumpston
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What lies buried on my land rises
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Lateral Violence is an Indigenous arts thing
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Trepang: Crossing cultures, creating connections
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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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For architecture and country
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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.

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No Place without Other Places: Spinifex Arts Project at fifteen years
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Ancestral memory: out of the shadows
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Indigenous Art Code: cracking the code
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Queerly speaking
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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.

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