Big wave: Desert Country

Cover of Big wave: Desert Country
0.666
Melanie Jame Wolf's Pop-Cultural Drag: The Chronopolitics of Labour, Libido and Image
Feature
Daniel Mudie Cunningham

Published April 2021
0.663043478261
Apprehending the Multiverse: A Costumed Allegory for Four Percussionists Michaela Gleave's Cosmic Time
Feature
Ann Finegan

Published April 2021
0.66
Michaela Stark: On Control and Beauty
Feature
Alison Kubler

Published April 2021
City of Unley
0.788
Cigdem Ayedemir: Like a Prayer
Feature
Sumaiya Muyeen

Published April 2021
0.688
On art, fashion, purpose and more: Peggy Griffiths-Madij and Jan Griffiths in conversation with Alana Hunt
Feature

Published April 2021
0.692
From the clothes rack to the body of the wearer: Circumnavigate Kandos in our clothes
Feature
Ann Finegan

Published April 2021
Ballarat Foto Biennale
0.668
Sarah Rodigari: Redressing the vernacular
Feature
Abigail Moncrieff

Published April 2021
0.724
The Mangkaja x Gorman Collection: A new wave of Indigenous art and fashion collaboration
Feature
Belinda Cook

Published April 2021

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.

Buy   or   Subscribe
Artlink App in iTunes
Share on Facebook Share on Twitter

More from this Issue Full Issue Contents

0.786
Presences in the Riverland: Nici Cumpston
Artist Profile
Una Rey

Published 01 June 2012
0.65873015873
Restless - Adelaide International 2012
Review
Stephanie Radok

Curator: Victoria Lynn
Flinders University City Gallery
Samstag Museum of Art
Contemporary Art Centre of South Australia
Australian Experimental Art Foundation
March 2012

Published June 2012
0.667202572347
PROMISE PROGRAM !Metro Arts, Brisbane
Review
Carmen Ansaldo

21 March – 14 April 2012

Published June 2012
0.786259541985
Exhibitions to Watch
Stephanie Radok

Published June 2012
0.666666666667
No Place without Other Places: Spinifex Arts Project at fifteen years
Feature
Darren Jorgensen

University of Western Australia lecturer Darren Jorgensen examine the Spinifex Arts Project from its inception with reference to a new exhibition happening August-October 2012 at John Curtin Gallery and asks the big question: "What would it mean if Aboriginal artists were not tied to language groups, communities, art centres and regional styles?"

Published June 2012
0.756613756614
Postcards from China
Feature
Jason Wing

Multi-disciplinary artists Jason Wing, who has both Aboriginal and Chinese forebears, undertook a residency in Xucun, a remote village in China, where Chinese artists Qu Yuan and Shen Shaomin have established the Xucun Art Commune in order to protect the village's beauty and heritage.

Published June 2012
Trepang: Crossing cultures, creating connections
Feature
Alison Inglis and Susan Lowish

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.

Published 01 June 2012
0.666666666667
Into Cosmos: Adelaide Festival Artists' Week 2012
Review
Christine Morrow

Published June 2012
0.786
Troy-Anthony Baylis: Queerly speaking
Artist Profile
Troy-Anthony Baylis

Published 01 June 2012
0.751428571429
Editorial: ®ECLAIMED closing the gap of radical apathy
Editorial
Daniel Browning

Daniel Browning takes a long hard look at the gap of apathy in Australia.

Published June 2012
0.666666666667
Archie Moore: drilling deep
Artist Profile
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'.

Published June 2012
0.666
Culture Warriors as cultural diplomacy
Feature
Gay McDonald

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
 
NAVA
Experimenta
MUMA
ACE Open
Guildhouse 2