Published 01 December 2019
Published 01 March 2019
Looks at the works of West Australian artist Shane Pickett.
Looks at the paintings of Judy Watson.
Published June 1990
Examines the paintings of Les Griggs.
'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.
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.
Contemplating the work of Lin Onus the artist, the arts administrator and the panel beating mechanic.
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?
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.
Located in an old terrace house in Cope Street Redfern, is the voice of the Aboriginal Community in Sydney. The terrace house is not unlike any other in the inner city. However with the Koori colours on one wall and the music of Koori bands blasting out from its speakers up on the balcony the house is fairly outstanding.
Kerry Giles and Melanie Howard talking to Felicity Wright about the mural in Port Lincoln South Australia.
Exhibition review Balance 1990 held at Queensland Art Gallery and curated by Michael Eather and Marlene Hall, March 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.