Published 01 September 2018
Published 01 December 2016
Article by the artist about her art practice.
Explores Aboriginal radio in far north Queensland.
Published June 1990
Painting movement at Papunya 1971-75 one of the few positive offshoots of the Government's Assimilation Policy. Senior men began to paint on boards and made murals for the school, initially showing sacred secret material, later self-censored. Paintings use complex patterning and dotting to describe formation of land by Ancestors, natural features and travel.
Looks at the art practice of Wanjidari.
At the 1988 Conference in Broome the author spoke of the growing unlawful use of Aboriginal art by T shirt companies and the fashion industry generally.
The Aboriginal National Theatre Trust Limited arose out of Forums of Aboriginal Performing Artists, Playwrights and Technicians attending the first National Black Playwrights Conference held at the Australian National University in Canberra 1987.
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.
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 art practice of Milton Budge.
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.
"How many people still think that up north or in the centre is the only place for real Aboriginal art. You know when you work with it, selling it, buying it, you hear it all the time."
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.
Birukmarri is an exhibition gallery and retail outlet with a commitment to the professional retailing of Aboriginal art.
