Published 01 September 2018
Published 01 December 2016
Dabah was the Aboriginal Artist in residence at the Flinders University 1989 - 1990.
Should art centres cater more for the few 'Top Quality' artists that each has or should they support and encourage artistic activities by all who are interested?
Published June 1990
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.
Aboriginal poet Ken Canning ( Burraga Gutya) looks at the nature of poetry. 3 poems of Burraga Gutya included in the issue.
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.
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.
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.
Jujurrpa is a Warlpri word meaning Dreaming and it is the Dreamtime stories that are depicted on the canvases of a group of Warlpri, Pitjantjatjara, Luritja and Anmatyerre women from the Alice Springs area.
Looks at her art practice and design issues, copyright and textiles.
Looks at the Santa Teresa Community 80 kilometres south of Alice Spring and home of the Arrernte people where the Keringke Arts Centre was established in 1987.
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.
In every area of the arts where Aborigines are participating there is an intense surge of creative vitality. Once could call it a renaissance period. When I began writing poetry, Kath Walker (Oodgeroo Noonucul) was the only recognised poet.
Interview with Bluey Roberts.