On the ground with Our Mob in 2011

Cover of On the ground with Our Mob in 2011
0.808
A Reason To Re-Imagine: The Image is not Nothing (Concrete Archives)

ACE Open

Review
Ali Cobby Eckermann

Published 10 May 2021
0.78
Catherine Truman: Shared Reckonings

Santos Museum of Economic Botany and The Deadhouse (Mortuary Building), Botanic Gardens of South Australia

Review
Anne Brennan

Published 10 May 2021
0.8
Clarice Beckett: The Present Moment

Art Gallery of South Australia

Review
Eleanor Amor

Published 10 May 2021
Artlands
0.666
Experimenta Life Forms

Plimsoll Gallery, UTAS, Hobart

Review
Eliza Burke

Published 14 April 2021
0.666
Adelaide // International

Samstag Museum of Art

Review
Julianne Pierce

Published 14 April 2021
0.666
Know My Name: Australian Women Artists 1900 to Now: An Historical Context

National Gallery of Australia, Canberra

Review
Anne Marsh

Published April 2021
IMA
0.666
Annabel Nowlan: Unfinished Maps

Wagga Wagga Art Gallery

Review
Sam Bowker

Published 12 March 2021
0.752
Site & Sound: Sonic art as ecological practice

McClelland Gallery, Langwarrin

Review
Saskia Beudel

Published 12 March 2021

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.

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

More from this Issue Full Issue Contents

0.663333333333
Big wave: Desert Country
Feature
John Kean

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.

Published June 2012
Parallel Collisions: 2012 Adelaide Biennial of Australian Art
Review
Chloe Langford

2 March to 29 April 2012
Art Gallery of South Australia
Curators: Natasha Bullock, Alexie Glass-Kantor

Published June 2012
0.63315696649
Panorama: are we there yet?
Review
Joanna Mendelssohn

Daniel Boyd, Nadine Christensen, Sarah Goffman, Fiona Lowry, Bennett Miller, Arlo Mountford, Joan Ross, Caroline Rothwell, Bernie Slater, Jemima Wyman

Casula Powerhouse Arts Centre, NSW
27 January 2011 – 13 March 2012

Published June 2012
The Ballad of Jimmy Governor
Feature
Djon Mundine

Emeritus Indigenous curator Djon Mundine wrote this essay on the occasion of a production of Posts in the Paddock a play about Jimmy Governor by the company My Darling Patricia. The performance included members of the both families involved. Mundine addresses questions of familial and national forgiveness.

Published June 2012
0.669064748201
Obscured by Light: Pamela Lofts and Kim Mahood
Review
Kieran Finnane

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

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
1.333333333333
Marco Fusinato: There Is No Authority
Review
Amy Griffiths

Anna Schwartz Gallery, Sydney
11 February - 17 March 2012

Published June 2012
Reviewing Our Mob: A state-wide celebration of South Australian Indigenous art
Feature
Susan Jenkins

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.

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

Published 01 June 2012
0.529411764706
FotoFreo 2012: The City of Fremantle Festival of Photography
Review
Thelma John

Perth, Western Australia
17 March – 15 April 2012

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
Tandanya: the case for home
Feature
Sara White

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?"

Published June 2012
 
Darwin Aboriginal Art Fair
Ballarat Foto Biennale
City of Unley
NAVA
MUMA