Published 01 September 2018
Published 01 December 2016
The artist writes about her art practice.
Paddy inherited his unique style of painting form his father and father before him. It is the old 'style'.
Published June 1990
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.
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.
Interview with Djon Mundine and Howard Morphy at Ramingining in Arnhem Land, Northern Territory (with assistance from Luke Taylor).
Looks at the art practice in Moree in north western NSW.
Describes the vital and valuable Aboriginal artists in residence program at the Flinders University of South Australia.
Narrangunnawali was an exhibition by Aboriginal artists from Canberra and the surrounding region mounted by the Canberra Contemporary Art Space 31 August - 23 September 1989.
Contemplating the work of Lin Onus the artist, the arts administrator and the panel beating mechanic.
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.
Explores Aboriginal radio in far north Queensland.
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.
Interview with Bluey Roberts.