In this article Philip Batty, a former art teacher at the Aboriginal community of Papunya  offers some personal reflections on his involvements with the rise to fame of indigenous artist Emily Kngwarreye and other indigenous pieces and attempts to make sense of them. Batty discusses some of the problems associated with viewing these traditional works within the Western framework of modern art. He proceeds to offer some speculative answers as to how various political, economic, historical and aesthetic conventions transformed Aboriginal religious business into art. Batty uses the work of Emily Kngwarreye to exemplify how indigenous works can become merely a mirror image of European desires.

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.

The broadcasting in remote Aboriginal Communities Scheme and the failure of policy.

Aboriginal culture, National identity and the Australian Republic. The closing ceremonies of the Atlanta Olympics were watched by a 1/5th of the world's population. This was arguably the most expensive bit of air time on the planet at that moment....