Published 01 September 2018
Published 01 December 2016
The artist writes about her art practice.
Looks at her art practice and design issues, copyright and textiles.
Published June 1990
Looks at the art practice of Wanjidari.
Exhibition review Balance 1990 held at Queensland Art Gallery and curated by Michael Eather and Marlene Hall, March 1990.
Describes the vital and valuable Aboriginal artists in residence program at the Flinders University of South Australia.
Looks at the art practice in Moree in north western NSW.
This is a critical time in the history of the wider region of Cape York Peninsula.
Looks at the art practice of two artists from the Cairns College of TAFE and the Associate Diploma of Art.
Whatever capital city one may visit these days, there will usually be an art gallery exhibiting works from the latest Aboriginal art movement. The demand for Aboriginal painting has probably doubled every year over the past decade and nowhere is this more evident than in central Australia.
Looks at the paintings of Judy Watson.
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.
Hello. My name is Marshall Bell. I live at Inala in Queensland. My father was from the famous Jiman Tribe of Hornet Hill massacre mob. My mother was from the Kamilaroi nation Gunedah/Kooma clans. I was born at the now defunct Charleville Aboriginal reserve in the desert of south west Queensland. Having been living off my art for the last 5 years in a suppressive Queensland environment, I think I know what it is like to be living in isolation.
Emerging from the heart of central Australia is the most exciting and dynamic development in modern Australian art. The materials are modern -acrylic on canvas. But the content is traditional - mythical and ritual.