Published 01 December 2019
Published 01 March 2020
Published 01 January 2020
Paddy inherited his unique style of painting form his father and father before him. It is the old 'style'.
The artist speaks about her art practice.
Published June 1990
This is a critical time in the history of the wider region of Cape York Peninsula.
Contemplating the work of Lin Onus the artist, the arts administrator and the panel beating mechanic.
Emerging from the heart of central Australia is the most exciting and dynamic development in modern Australian art. The materials are modern -acrylic on canvas. But the content is traditional - mythical and ritual.
Located in an old terrace house in Cope Street Redfern, is the voice of the Aboriginal Community in Sydney. The terrace house is not unlike any other in the inner city. However with the Koori colours on one wall and the music of Koori bands blasting out from its speakers up on the balcony the house is fairly outstanding.
The Power Institute at the University of Sydney ran a 10 week program devised by Susan Simons and Bronwyn Bancroft of panel discussions, presentations, films/videos and seminars exploring many of the issues of Aboriginal art in Australian society.
The Pitjantjatjara share a common heritage with Anangu (Aboriginal people) throughout the vast Western desert. They use the same rich vocabulary of visual symbols that has now become well known through the work of the Papunya Tula artists.
Looks at the paintings of Judy Watson.
The period of 1986 - 1989 has been epoch making for Aboriginal printmaking, not necessarily because of an improvement in the quality of the prints produced during that time but because Aboriginal prints in forums broadly motivated by the centenary has allowed them to receive the recognition they deserve.
Howard Morphy interviews Djon Mundine about the Aboriginal Memorial - a collection of hollow log coffins made by artists of the community of Ramingining in the Northern Territory, to commemorate Aboriginal people who had died since the invasion of Australia in 1788
In 1989, Jon Altman, Chris McGuigan and Peter Yu were asked by the Minister for Aboriginal Affairs to look into the viability of the Aboriginal Arts and Crafts industry, to point to ways to improve its efficiency and effectiveness and to advise which government programs could give cost effective support to the industry and to recommend managing and marketing strategies.
Describes the vital and valuable Aboriginal artists in residence program at the Flinders University of South Australia.