Published 25 August 2021
Looks at the Canberra School of Art Print Workshop has played a key role in encouraging Aboriginal artist to make prints.
John and Ros Moriarty of Jumbuna Designs in interview.
Published June 1990
'Bangarra' is a Wiradjeri word meaing to make fire and the dance company so named has sparked enthusiasm for its performances in countries as far afield as Japan, New Guinea, the USA and Finland.
In the 1940s the name Albert Namatjira became a household word and the skill of this Arrernte artist brought the vivid colours and beauty of the central Australian landscape into the galleries and living rooms of Australia. He and other painters who lived around Hermannsburg mission and in Alice Springs came to be known as the Arrernte watercolour school.
Looks at the artist's co-operative Boomalli located in Sydney NSW.
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.
"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!"
Broome, sleepy, dusty, sub-tropical country town on the north west of Western Australia, with a population of only 7,000 has at least 5 working bands including the well known bands Kuckles and Scrap Metal - a myriad of solo performers as well as traditional Aboriginal musicians.
Gordon Bennett interviewed on the development of his work.
Looks at her art practice and design issues, copyright and textiles.
Looks at the art practice of Victorian artist Gayle Maddigan.
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.
"In January 1989, I attended the second national Black Playwrights conference. I arrived at this conference feeling very unsure and insecure with nine small scenes which I had hoped would turn in to a play."