Published 01 March 2019
Published 01 December 2018
Explores Aboriginal radio in far north Queensland.
Located in the University of Adelaide in South Australia the Centre for Aboriginal Studies in Music was set up in 1972 in order that many aboriginal people both urban and tribal may develp effective skills of communicating their cultural, social, political and economic feelings through music to Australian people and the world at large.
Published June 1990
Article by the artist about her art practice.
Looks at the works of Abie Jangala from Lajamanu and the country about 500 kilometres north west of Alice Springs.
Narrangunnawali was an exhibition by Aboriginal artists from Canberra and the surrounding region mounted by the Canberra Contemporary Art Space 31 August - 23 September 1989.
Exhibition review Balance 1990 held at Queensland Art Gallery and curated by Michael Eather and Marlene Hall, March 1990.
It's now early September 1989 and Aboriginal Rock Bands from the Northern Territory and interstate are travelling by any means possible to Darwin for the Sing Loud Play Strong 2nd Festival of Aboriginal Rock Music.
Two alternative opinions on Australia's most obvious cultural exchange - Aboriginal and non-Aboriginal- was the original conception of Balance 1990 Views, Visions, Influences - a collaborative exhibition originally titled Balance 1988: Two views One Vision. Beginning by artists sitting and talking it became obvious that there were more than just two perspectives.
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.
Looks at the art practice in Moree in north western NSW.
Looks at the Canberra School of Art Print Workshop has played a key role in encouraging Aboriginal artist to make prints.
There can be few artists who live and work in such isolation as does Jimmy Pike. His isolation is not merely geographical, though our camp on the edge of the Great Sandy Desert is two and a half hours' drive in dry weather from Fitzroy Crossing and inaccessible in dry weather, but also social and artistic.
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