'Vicious Ingratitude' and art writing’s role in artistic dissent

Cover of ‘Vicious Ingratitude’ and art writing’s role in artistic dissent
Homeland: Sacred Visions and the Settler State
Feature
Marcia Langton

Published March 2000
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An Aṉangu Western
Feature
Lisa Slade

Published 01 December 2023
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Ngurra Bayala (Country speaks) in the Blue Mountains
Feature
Leanne Tobin and Rilka Oakley

Published 01 December 2023
NAVA
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Curtis Taylor and Natalie Scholtz: A close reading
Feature
Jessyca Hutchens

Published 01 December 2023
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Linga yarren yilwarraya dam warna-warnarram: We remember forever that from long ago (ngarranggarnin)
Feature
Ethel McLennon, Madeline Purdie and Cate Massola

Published 01 December 2023
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Ben McKeown and the films of Mark Street
Feature
Una Rey

Published 01 December 2023
Barossa Arts Festival
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Mulanmali (to do over and over): Indigenous custodianship practices at the Art Gallery of New South Wales
Feature
Erin Vink and Juanita Kelly-Mundine

Published 01 December 2023
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Yarning with Cairns First Nations Curators' Collective

Aven Noah Jnr., Peggy Kasabad Lane and Teho Ropeyarn with Hamish Sawyer

Feature
Hamish Sawyer

Published 01 December 2023
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Grace Slonim is a PhD Candidate at Monash University investigating the landscape of Australian arts funding. She lives and works on the unceded lands of the Kulin Nation.

Card image: Casey Jenkins, IMMACULATE, 2020. Photographic documentation of performance work. Photo: Casey Jenkins. Courtesy of the artist.

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