Maningrida: Traditions Open to Change

Cover of Maningrida: Traditions Open to Change
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Risky business: Engaging adolescents at the Art Gallery of South Australia
Feature
Kylie Neagle

Published 01 September 2019
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MCAD Manila: Learning, sharing and conversation
Feature
Joselina Cruz and Paula Acuin

Published 01 September 2019
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Museum MACAN: Critical conversations through art
Feature
Aaron Seeto

Published 01 September 2019
Artlink Subs Promo
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Falling in love (Or is the curatorial a methodology?)
Feature
Tara McDowell

Published 01 September 2019
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Being an artist and an art teacher
Feature
Henry Ward

Published 01 September 2019
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Trying to be at home in the world: New parameters for art education
Feature
Gert Biesta

Published 01 September 2019
Artlink Promo
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Choose your own immersion: Art schools as a site of creative becoming
Feature
Una Rey

Published 01 September 2019
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Vanishing into action: Art beyond the contemporary
Feature
Alasdair Foster

Published 01 September 2019

Maningrida Art and Craft is synonymous with the best of contemporary traditional Aboriginal bark painting and sculpture, both major individual works and important collections.

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More from this Issue Full Issue Contents

Balance 1990
Feature
Louise Dauth

Exhibition review Balance 1990 held at Queensland Art Gallery and curated by Michael Eather and Marlene Hall, March 1990.

Published June 1990
Two Profiles from Cairns: Tatipai Barsa and Zane Saunders
Artist Profile
Anna Eglitis

Looks at the art practice of two artists from the Cairns College of TAFE and the Associate Diploma of Art.

Published June 1990
Utopia
Feature
Christopher Hodges

The people of Utopia have been making important visual images for thousands of years, on their bodies and ceremonial objects. In 1977 these images leapt onto lengths of silk via the batik technique and it was in this medium that the women of Utopia went on to establish a reputation for themselvs with their powerful images and distinctive style.

Published June 1990
Jabiru
Feature
Alan Dargin

"I joined the Jabiru Cabaret in Cairns as one of the ten founding cast members in November 1988. The excitement for me as a performer, is to bridge the gap of understanding between various races, colours, cultures and countries. To witness the audience reaction to us as a group performing in three distinct areas makes us all feel very close to achieving the message of a minority through our art."

Published June 1990
The Bicentenary and Beyond: Recent Developments in Aboriginal Printmaking
Feature
Christine 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.

Published June 1990
Aboriginal Theatre in Tasmania
Feature
Jim Everett

"From the time that whites arrived in Tasmania and up until 1983 Aboriginal performing arts especially theatre arts, had become almost as extinct as whites would have people believe Tasmanian Aborigines were. Not so!"

Published June 1990
Yolngu Women Artists
Feature
Margie West

If the 70s is remembered as a period of nurture for Aboriginal art, the 1980s will certainly be remembered as the decade of its dramatic development...there has been an eflorescence of community based enterprises in the remote areas of Australia.

Published June 1990
Money, Corruption and Authenticity
Feature
Philip Batty

Whatever capital city one may visit these days, there will usually be an art gallery exhibiting works from the latest Aboriginal art movement. The demand for Aboriginal painting has probably doubled every year over the past decade and nowhere is this more evident than in central Australia.

Published June 1990
Australia to the World
Feature
Michael O+Ferrall

In the choice of Rover Thomas and Trevor Nickolls to echibit in the Australian Pavilion at the 1990 Venice Biennale, Australia will present a combination that challenges many conventional attitudes to Aboriginal art. Simultaneously the exhibition offers an appropriate platform to two important if highly idiosyncratic contemporary painters.

Published June 1990
Review of the Review
Feature
Tim Rowse

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.

Published June 1990
Milpatjunanyi: Recent Pitjantjatjara Women's Painting
Feature
John Kean

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.

Published June 1990
Mecca for Printmakers
Feature
Theo Tremblay

Looks at the Canberra School of Art Print Workshop has played a key role in encouraging Aboriginal artist to make prints.

Published June 1990