Published 01 August 2022
Located in Kununurra Western Australia Waringarri Arts was set up for artists in the Kimberley region.
The artist talks about his art practice.
Published June 1990
The artist speaks about her art practice.
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.
Explores a historic trip for six traditional artists from Australia for the exhibition 'Magicians of the Earth'. This global overview was created to "reveal the force of communication" and was true to its title.
"I joined the Jabiru Cabaret in Cairns as one of the ten founding cast members in November 1988. The excitement for me as a performer, is to bridge the gap of understanding between various races, colours, cultures and countries. To witness the audience reaction to us as a group performing in three distinct areas makes us all feel very close to achieving the message of a minority through our art."
Until recently, Pitjantjatjara communities had very limited acces to or influence from mainstream media, communications, technology and information systems. English is still a foreign language to most of the population and functional levels of literacy are very low.
Looks at the works of West Australian artist Shane Pickett.
Looks at the artist's co-operative Boomalli located in Sydney NSW.
Explores Aboriginal radio in far north Queensland.
Examines the Desert Designs Company formed by Stephen Culley and David Wroth which began in the early 1980s.
Margie West talks to NE Arnhem Land artist Banduk Marika about artists working in Yirrkala, an Aboriginal community. She addresses traditional ceremonies today, the appropriate use of traditional designs, payment for work, copyright, and working to redress environmental damage to the beaches and lands by regenerating native trees and plants.
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.
