Issue 22:4 | December 2002 | New Museums, New Agendas
New Museums, New Agendas
Issue 22:4 | December 2002
Issue 12:1 | March 1992 | Museums on the Edge
Museums on the Edge
Issue 12:1 | March 1992


The Possibility Forum - Institutional Change and Modest Proposals

This text takes up some of the broader concerns of Tony Bond's initial questions to an Australian panel at ARCO 2002 Madrid, particularly 'can there be a benign global capitalism?' and 'how do we address the value of exchanges between artists?'.

Asia Pacific Triennial 2002 - Starry Night
When talking about non-Indo-European cultures, we are taking on board profound differences in how we arrange our worlds. The 2002 Asia Pacific Triennial endeavours to present art from these cultures through various treatments of time and space relations.
Breathing/Diving/Dreaming/Dancing to the BEAP in Perth (You Can't Buy These Emotions off the Hollywood Shelf)
Immersion was part of the Perth Biennale of Electronic Art (BEAP), a selection of some of the most important international immersive, interactive and virtual reality artworks from the last decade, created by Chris Malcolm and presented at the John Curtin Gallery.
The Generosity of a Light Touch
For the more than 15 years that the Australian organisation Experimenta Media Arts has metamorphosed through various ideological, aesthetic and technological identities, its one constant has been a passionate involvement with and championing of the new and experimental. Prototype, exhibited in Melbourne in 2002, carried on this tradition, more than living up to the title.
I Wonder Where the Public Art Went?
During the first half of 2002 the Danish champion of pedestrians, Dr. Jan Gehl and his team from GEHL Architects were commissioned to analyse the City of Adelaide in terms of its viability as a pedestrian city.
Museums For the 21st Century: Entertainments or Big Challenging Ideas?
Museums both reinforce one's views and challenge them, encouraging innovative connections we hadn't thought of before, driving us on to expanded understandings. Griffin addresses some of the controversies surrounding museums in the age of technology.
Scaling Up at ACCA
Opening in mid October 2002, the new ACCA is a purpose built complex designed by Melbourne- based architects Wood Marsh. An architectural marvel and simultaneously a contemporary art space, at last the ACCA is moving to a building that lives up to the portent of its name. Haley spoke to the new Creative Director Juliana Engberg in August of 2002.
Documenta 11 Takes On Masters of the Universe
Every five years the sleepy little German town of Kassel is invaded by the international art world. The 2002 Documenta exhibition staged here, which have traditionally played second fiddle only to the Venice Biennale, was eagerly anticipated as the first genuinely postcolonial Documenta, due in large part to the appointment of the expatriate Nigerian curator Okwui Enwezor as Artistic Director.
Cacophony + Cramp for the Sensory Bundle
Digital media provides intuitive contemporary ways for storytelling in our times. dLux media arts, based in Sydney, this year curated a selection of installation works derived from their annual d>art program, and for the first time showed it outside Sydney. The five works selected for the Adelaide exhibition were complex and esoteric: a gorgeous array of storytelling techniques which explore and exploit narrative and interactivity.
A Stitch in Time
Peter Callas' show held at Stills Gallery in 2002 Vinculum + Orison resulted from his Asialink residency in Delhi, India and comprises of digital prints on photographic paper and an artist's book. Both the scale and choice of images in this exhibition are seductive and enthralling; deceptively innocent moments in daily and century-old rituals and routines.
Uncertain Terrain
Modern physics suggests we are living within an expanding universe. We are, it seems, still moving away from our point of origin (the singularity of the Big Bang). The intersection of new physics and Buddhism provides pathways into Julia Ciccarone's landscape paintings (exhibited at Niagara Galleries in Melbourne in early 2002), elucidating the narratives and suggesting relationships between the metaphors and symbols she uses.
Small Deaths
Australian artist Kate Breakey, who now resides in Tucson, Arizona, caught up with Sarah Thomas to discuss the impact of growing up in the coastal town of Port Lincoln and the impact her childhood upbringing is having on her recent work. 'I think my childhood proximity to nature turned me into a naturalist...Growing up around animals you learn that life is complicated, survival is a struggle, death usually isn't quick or clean, and nature doesn't make any allowances for love and attachment'.
Lawrence Daws: From Mandala to Full Circle
Australian artist Lawrence Daws speaks of seven phases of his work, based on specific themes that have guided his development as an artist. There has been a gradual trend in his work from themes of archetypal symbolism and exotic portent towards the more local and personal.
Singapore Opens Up to the World - Site + Sight: First Major International Show
Using Singapore as the first 'site' for the exhibition, Site + Sight: Translating Cultures from 7 June to 26 July 2002 brought together 26 international artists from 11 countries to discuss and present artworks relating to the theme of globalisation and its cultural impact on the world.
Marine Nature in Porcelain: The Recent Work of Robin Best
Ceramic artist Robin Best became fascinated by a complex marine world which included sea-invertebrates/filter feeders like bryozoans, sea sponges and ascidians (sea squirts) during walks on the beach in her seaside suburn of Semaphore. Here Walker discusses some of Best's recent work and conceptual concerns.
Fashion Infiltrates the Galleries
Even if one's first reaction upon hearing the sound of the words 'Melbourne Fashion Festival' is not to reach for one's gun, but to condemn the dumbing down of 'culture' into Madonna or Barbie 101, bemoan the melting of the abstract expressionist/tachiste snows of yesteryear, it has unquestionably enriched the city's art experience.
Jewel Mackenzie: Gemini Paintings
Jewel Mackenzie's practice explores both the understanding and experience of the world and the history and legacies of painting. Her background in both dressmaking and in public administration has informed her project to provoke and explore the positioning of the artist within contemporary bureaucratic culture.
Lin Onus
Lin Onus had a remarkable career, from motor mechanic and political activist to maker of marvellous, witty and original paintings and sculptures. He was also widely loved and respected for his compassion and willingness to lead the cause of Aboriginal advancement. 
Museums on the Edge
Guest editor for Vol 12 No 1 Museums on the Edge. This edition was founded on a perception of a lack of any quantity of readily available material on the Australian and New Zealand experience of museums.
Museums on the Edge
Some Thoughts on Museum Futures
The quintessential purpose of Museums is to encourage and instil the joy of intellectual and aesthetic discovery. Abstracted partly from a public lecture entitled 'Ideas -Heresies even - for Museum Futures' given in Perth for the Western Australian Government Department of the Arts Task Force on Museums in August 1991.
Museums on the Edge
From Curiosities to the Hyper-Real: Notes on Context in Museum Anthropology Exhibitions
Daniel Thomas provoked a distinct murmur at the 1990 CAMA Conference when he suggested that art museums have a greater capacity to disturb and move people than other cultural museums. If this is true and I think it is.....
Museums on the Edge
Aboriginal People and Museums: Restricting Access to Increase It
The South Australian Museum has the world's largest and most comprehensive collection of Australian Aboriginal material culture. It also has a vast archive of information about that material and about other aspects of Aboriginal life in the form of photographs, films, audio tapes, diaries and other records.
Museums on the Edge
Towards the Light: The story of One New Age Gallery's Quest for Purpose and Relevance in a Changing World
On 23 October 2002, yet another Council of Australian Museums Associations (CAMA) ran down. Conferees were already half deep in thought about melting credit cards and distant work site desks stacked high with urgent files. Well Not exactly CAMA...
Museums on the Edge
Cultural Diversity and the Challenges of Access
Cultural diversity has become a key issue in the 1990s for a number of reasons. In the United States we have recently completed a census. The results of that census indicate a dramatic change in the nation's demographics.
Museums on the Edge
Urban Regions and the City Centre: A Changing Cultural Relationship
One of the curious things about very large cities is the gulf that exists between the inner city and the outer suburbs or hinterland.
Museums on the Edge
Exhibiting Conflict - Who Dares?
Museum exhibitions tend not to challenge visitors with critical perspectives, contradictory points of view or subject matter which is controversial. I would like to explore different ways that conflict might be included in exhibitions and used to further our understanding of the past.
Museums on the Edge
To Have and To Hold: Art Museum Departments
One of the things which continues to fascinate me about museums is how, despite the vast amount of talk about displaying material culture, the often personal, often idiosyncratic, often haphazard decisions about departments are very rarely mentioned. Yet these decisions are central to much of the museum's collection, display, exhibitions and research programme.
Museums on the Edge
Whams and Whimms: An Exercise in Classification and Meaning
Interview with Louise Dauth about issues of gender. Dale Spender is a foundation member of the Women Heritage and Museums Group.
Museums on the Edge
The Ownership of Cultural Meaning: Local Museums and Access
According the the Australia Council figures in 1990 a number of people exceeding the entire population of Australia visited the 187 Australian Museums that employed paid staff in 1989/90 at a cost, for maintence, development and operations in excess of $13.00 per head of population, excluding any charges imposed on entry to museums or exhibitions. And what does $13.00 buy for the Museum going public?
Museums on the Edge
Implementing Aboriginal and Multicultural Policy in the Museum Sector
Helen Andreoni writes on matters which are addressed in the report commissioned by the Office of Multicultural Affairs (OMA) by Amareswar Galla (also in this edition of Artlink).
Museums on the Edge
Background to the Project: Heritage Curricula and Multiculturalism (HC&M)
Background to the National Agenda for a Multicultural Australia with the final report to be released by the Office of Multicultural Affairs OMA in mid 1992. See also the article by Helen Andreoni in this issue.
Museums on the Edge
European Museums Make an Exhibition of Themselves
Report on the 3rd International Salon of Museums and Exhibitions (SIME) at the Grand Palais Paris January 1992
Museums on the Edge
Repatriation of Papua New Guinea's Cultural Heritage
Jim Specht of the Australian Museum Sydney, has written that "public and private collections of archaeological and ethnographic specimens around the world contain tens of millions of specimens yet only a minute fraction of this total is actually held in its countries of origin" ; most of this material he says, was acquired through colonial or military occupation.
Museums on the Edge
Designing for Interesting People
Andrew Andersons is, and has been, engaged to contribute to many of Australia's leading art museums as well as to other public buildings and spaces. His work might be described as adaptive; accommodating to the style and typology of the major buildings on which he has worked as well as responding to the varied views of curators with whom he has co-operated closely when designing galleries.
Museums on the Edge
Abel Tasman at Dunedin
Looks at the exhibition 'Terra Australis Incognita' at the Dunedin Public Art Gallery in New Zealand, to celebrate the 350th anniversary of Abel Tasman's discovery.
Museums on the Edge
Local Conditions: New Zealand Art
Headlands: Thinking through New Zealand Art. Exhibition for the Museum of Contemporary Art, Sydney from 31st March 1992. Article by the co-curator Robert Leonard.
Museums on the Edge
Te Papa Tongarewa: Museum of New Zealand
Looks at recent issues for the National Art Gallery of New Zealand from the boardroom dismissals and judgments as well as the operations.
Museums on the Edge
A Continuum of Maori Art
Whatu Aho Rua - Tandanya Aboriginal Cultural Institute Adelaide Festival. The exhibition Whatu Aho Rua 'weaving with two strands' organised by the Sarjeant Gallery in Wanganui, New Zealand, is a departure form exhibitions usually seen in New Zealand Galleries.
Museums on the Edge
Sources of Synergy: Museums for Design
The Zandra Rhodes costume in Sydney's Powerhouse Museum holds unique significance within the design collection.
Museums on the Edge
Exhibiting the Museum
The recession led rash of public conferences on the theme of Australian identity raises questions about the sources of our national self-knowledge. The congregation of bureaucrats, economists, television personalities, writers and artists has a democratic ring to it but it also points to the failure of our cultural institutions - notably our museums, galleries and libraries - to embrace their responsibility to develop a regional self consciousness.
Museums on the Edge
Charging to Disaster: The Introduction of Museum Entry Fees
Museums are complex social phenomena and valuable resources. There's an ecological analogy there; if you mess with even apparently trivial elements of a complex system, the results can be unpredictable, powerful and are most often catastrophic.
Museums on the Edge
A New Museum for Victoria
In the first project of its kind, private investors will provide half the money needed to build the Museum of Victoria at a new site on the Yarra River.
Museums on the Edge
Victoria Moves Towards Museum Accreditation
Accreditation is set to become one of the significant features of the Victorian museum scene in the 1990s. At a time when Victoria might be perceived as out for the count it may seem unlikely to be introducing major developments in the operation of the State's 400 Museums.
Museums on the Edge
If you Can't Measure It, You Can't Manage It!
I am particularly troubled about debates such as those illustrated by the publications 'What Price Heritage? - Finance 1989' and 'What value Heritage? DASETT 1990' and Professor Donald Horne's article 'Weekend Australian Jan 4-5 1992' on museums, because there is nearly always truth on all sides.
Museums on the Edge
Museums and Technology: A Recession Boom?
With so many people feeling bruised and battered by the 1980s, it may seem cynical to point out that this unlamented decade also produced some new museums. These two 1980s legacies appear unrelated. On the face of it, museums are a quintessentially boom-time phenomenon, another emblem of 1980s extravagance.
Museums on the Edge
Heritage Collections not Museums
In 1975 the Whitlam Government's Committee of Inquiry on Museums and National Collections (the Piggott Committee, after its chairman P H Piggott) unsuccessfully recommended setting up of a Museum's Commission.
Museums on the Edge
Bad Names Improved
Suggestions for renaming many cultural institutions which are ambiguously named.
Museums on the Edge
Conservation: The State of the Art Conservation - Access, Equity and Future Directions
Conservation - access, equity and future directions. Everyone is talking about the effects of the economic climate, some people are calling it a recession and others a depression.
Museums on the Edge
A Virtue of Necessity: Deaccessioning Without Guilt
De-accessioning is too often characterised as an ill-wind, blowing through the vast and mostly undisturbed reaches of our cultural store-houses capriciously violating the integrity of our collections.
Museums on the Edge
CAMA Conference: An Overview
Conference review CAMA Something for Everyone: Access to Museums held at the University of Adelaide October 1991.
Museums on the Edge
Independent Curators
Book review A guide for the Employment of Independent Curators by Alison Carroll Published by the Art Museums Association of Australia 1991
Museums on the Edge
Australian Art Museums and Public Galleries Directory
Book review Australian Art Museums and Public Galleries Directory published by the Art Museums Association of Australia Inc and the National Centre for Australian Studies Monash University 1991.
Museums on the Edge
Museums Listings
Selected list of museums and art galleries around Australia.
Museums on the Edge
Here We Go Again
Life in Cyrus with all its charms and challenges.
Museums on the Edge
A Dialogue with Richard Grayson
Exhibition review An Interrupted Dialogue. One of the first international experimental art exhibitions to be shown outside Hungary since the end of World War 2. Grayson worked with Suzy Meszoly of the Soros Fine Art Documentation Centre of Budapest in 1988 during the time when changes were sweeping through Central Europe.
Museums on the Edge
Spirit of Enquiry Refreshing
Exhibition review Moet and Chandon Touring Exhibition Tasmanian Museum and Art Gallery Hobart 12 February - 22 March 1992 and touring
Museums on the Edge
Testing the Meaning of Heritage
Exhibition review The Heritage of Namatjira Tandanya National Aboriginal Cultural Institute Adelaide South Australia November - December 1991 Curated by Angela Tidmarsh and JVS Megaw on behalf of the Flinders University of South Australia Catalogue edited by Ruth Megaw.
Museums on the Edge
Ordinary Otherness
Exhibition review Unfamiliar territory: Second Adelaide Biennial of Australian Art 1992 Art Gallery of South Australia 28 February - 19 April 1992
Museums on the Edge
Arthouse and Beyond
Looks at Arthouse in Launceston Tasmania.
Museums on the Edge
Polemic: From the 21st Century and Through the Telescope
Polemic: There has been a paradigm shift in Australia with the development of Aboriginal art, which may be as consequential as that of the Impressionists. Over the last 30 years Aboriginal artists have been making their voices heard and now make up at least 25% of the country's working visual artists though they are only 1.7% of the population. Their art will go down in history as providing new perspectives with which to view the world
New insight into old North Australian Rock-Art
The rich rock art of Australia, especially of Arnhem Land and the Kimberly continues to be the subject of research, as well as fierce debate about their meaning and age, with obvious implications for Aboriginal cultural history. Three signficant styles are identified : the 'Bradshaws', (named after explorer Joseph Bradshaw who discovered them in the 1800s) the 'Dynamic' and the 'Wanjina' paintings. Most of the more than 100,000 ancient sites are not effectively protected but are of great importance to living Aboriginal people.
Homeland: Sacred Visions and the Settler State
In spite of supporting a vast artworld of curators, critics and collectors, the 'otherness' of Aboriginal art in the Western canon persists, fuelled by white settler reluctance to acknowledge history. The valorisation of the life and work of Emily Kame Kngwarray is one of the great imponderables of our time. Her extreme age, traditional origins, style of painting and prodigious output were the causes. Most significantly she demonstrated the possibility of human intimacy with landscapes.
Emily Kame Kngwarray
A tribute to Emily Kame Kngwarray the celebrated painter from Sandover near the central desert community of Utopia, who died in 1996 after a meteoric career during which she produced 3,000 works in 8 years. Although her concern was to paint and thus protect her country (her main subject was the pencil yam after the seeds and flowers of which - kam - she was named) she was acclaimed by some as a major abstract painter of the 20th century. She won a major creative fellowship and was posthumously shown at the Venice Biennale.
Queenie McKenzie
A tribute to the Western Australian artist Queenie McKenzie who died in 1998. She lived her whole life in the Texas Downs area and before taking up painting in old age she worked on the cattle station there and was a stalwart supporter of 'women's law business' and language. She was a confident and prolific painter mostly of her country but sometimes of social topics. When her work was recognised by the art market she shared her material success generously with her adopted family.
Rover Thomas
A tribute to the Western Australian artist Rover Thomas who died in 1998 aged around 72. After a full life spent as a stockman and an important leader of ceremonial life through the Kurirr-Kurirr dance cycle in the Warmun community, in 1982 he began establishing a new mode of painting based on Kimberly rock art. His bold and original painting depicts the land and the massacres that took place there up to the 1950s. The National Gallery of Australia accorded him a retrospective exhibition Roads Cross in 1994.
M.N. Tjapaltjarri
A tribute to Mick Namarari Tjapaltjarri born c.1926 in Pintupi country and who died in 1998. He lived in Papunya and was encouraged by Geoff Bardon to start painting and was a member of the Papunya Tula Artists Company. By 1991 when he won the National Aboriginal Art Award his works were being acquired by national collections and many other collectors.
Y.Y. Gibson Tjungurrayi
A tribute to the Pintupi painter Yala Yala Gibbs Tjungurrayi born c.1928 in the region of Kintore and died in 1998. He was a strongly traditional man and after migrating to Papunya he was encouraged by Geoff Bardon to take up painting. His works, mainly the Tingari stories to do with the ceremonial stories of ancestral men, were acquired by collections in Australia and internationally.
George Milpurrurru
Tributes to two painters from Ramingining in Arnhem Land, George Milpurrurru and David Malangi who helped to place this region on the map. Paintings were included in the 1979 Sydney Biennale. The iconography, style of painting and the public response to their work and interaction with the wider art world is discussed. Both of these major artists died during the 1990s after careers of around four decades.
The 'Aboriginal Art Scandals' Scandal
A chronicle of a spate of so-called 'Aboriginal art scandals' which happened in the late 1990s, some of which involved white artists passing off work as Aboriginal. The custom amongst indigenous artists of family members working with an artist on paintings creates problems for the western art market and leads to claims of fraud. The media is often guilty of distorting and sensationalising events. The newly launched Label of Authenticity enters the scene.
Black Glory: Erotica Old and New
The exhibition 'Love Magic' explored Aboriginal male erotica and reveals a little-known dimension in traditional spirituality which has been echoed by contemporary artists. Images of phalluses, couples embracing and testicles going walkabout refer to legends and stories of the Old People. This very large exhibition was a life-affirming spectacle with humour and poignancy as well as some powerful eroticism.
Looking at the Stolen Generation
The government policy of separating Indigenous children from their parents was still in force until the 1970s in some states. Indigenous artists who have recently begun depicting these events include Julie Dowling, Gordon Syron, John Packham, Rea and Brenda Croft. Their work has been part of the uncovering of the hidden history of these children of which many non-indigenous Australians were quite ignorant until the mid 1990s.
Good Brother Working with our Kids
Ron Gidgup was the first Aboriginal fashion designer in WA. Since getting the Aboriginal of the Year Award in 1997 he began to turn his skills towards helping Aboriginal youth in crisis. He runs workshops in textile and clothing design and brought many young people back from the brink of death from substance abuse. He has worked in urban and rural settings, with schools and other groups.
Charting Co-existence
Mapping Our Countries was an exhibition at the short-lived Djamu Gallery in Sydney, curated by artist Judy Watson and archaeologist Dr Paul Ta'on. They collected objects and works of art to illustrate how they relate to the idea of mapping land or sea. Mapping is done for a huge variety of reasons, for exploiting resources, for proving theories, for simply finding one's way.
Health and Art: Can art make people (feel) well?
Art can function in a wide range of ways beyond what is normally regarded as its arena. It can empower by raising confidence, providing income which can be used to improve diet and living conditions, it can be therapeutic, liberating and provide an emotional and intellectual outlet, while posters and TV ads can convey important messages about health issues. When a culture is strong the people are healthy.
Photography with Intent
Various indigenous artists began to use photography to express ideas about their social and political position in the 1980s; the 1988 Bicentennial celebrations were a strong catalyst. Formerly they were always on the other side of the lens, as anthropological subjects. The exception was Mervyn Bishop, employed as a press photographer in the 1960s, and pioneer in the medium and role model for younger artists including Fiona Foley, Ricky Maynard, Peter McKenzie.
Challenging boundaries: Indigenous Art in Three Dimensions
Recent Indigenous 3-D work is regarded as both art and craft. The materials range from shell and rushes to scrap steel, grass, ceramic, glass and bull kelp; the works may be vessels, installations, necklaces, small figures etc. The works often contain explicit references to cultural or historical truths eg the figures by WA artist Joyce Winsley which recall characters from her youth in the country, or Lola Greeno's water containers made in the traditional way from bull kelp .
Printmaking Gains Momentum
The first Aboriginal prints were linocuts made in jail by Kevin Gilbert. By the late 1970s Aboriginal printmaking in collaboration with print studios had begun. The Canberra School of Art, Port Jackson Press and now Northern Editions have been catalysts for the many enthusiasts at the Yirrkala, Papunya, Tiwi, Munupi, Oenpelli, Ernabella etc communities and workshops are run in remote centres at their request. Some like Lockhart River are now setting up their own facilities.
Political Theatre in Beyond the Pale
The Adelaide Biennial of Australian Artin 2000 was a survey of new indigenous art titled Beyond the Pale. This attempt to show the best of new work was staged as a series of rooms each with a different mood from baskets and shimmering paintings to rooms of confrontation where works invited viewers to be shocked by figures of authority seen in very unflattering mode.
Bush Toys
Bush Toys was an exhibition of toys made from scraps of metal and copper wire by the male members of the Eastern Arrente tribe of Central Australia in the late 1990s. These recall the era when Aboriginal people were the backbone of the pastoral industry, as stockmen and horse trainers. There are miniature horses and riders, windmills and stockyards, and wooden 'cars' for children to push along or ride in. The toys are a source of great pride for the men who make them.
Art in Warmun community
A new art centre at Warmun in the Kimberly of WA is a showcase for the talents of the artists of the area, some of whom used to work on big pastoral stations in this remote area. Celebrated founders of the centre were Rover Thomas and Queenie Mckenzie. There are tensions between their interests and those of white landowners in relation to access to 'country' being denied. Young people are unable to have a traditional education and are becoming westernised through videos.
New Ways With Clay: Tiwi Pottery
The Tiwi people on Melville and Bathurst Islands just north of Darwin have a 30-year tradition of pottery. They have absorbed a range of influences from the British Michael Cardew to visiting potters from Australia or via annual workshops with a Swiss potter Claude Presset. Some pots were collaboratively done - thrown by experienced potters and decorated by local artists. Slab and coil pieces drew on artists' experience in wood carving and painting.
Tandanya: One City and a Festival
3SPACE -C21st Indigenous Explorers was an exhibition by Darryl Pfitzner Millika, Mark Blackman and David Pearce for the 2000 Adelaide Festival. In common is their shared history as contemporary indigenous artists in Adelaide, the city which had the first indigenous art centre Tandanya, a powerful catalyst for many enterprises which without it would not have been so well presented or widely seen.
Boomalli: Fact or Fantasy: you decide!
Boomalli, founded in 1987, enters an unlikely future where anonymous benefactors help them to buy premises in an inner city suburb, to employ curators and become independent of funding bodies. Tax-free havens are set up for indigenous artists in NSW and Boomalli members exhibit regularly at MOMA in New York.
Judy Watson's etched zinc wall at Bunjilaka
Queensland artist Judy Watson spent three months in Melbourne on a commission for a zinc wall around 50 metres long for the Bunjilaka gallery at the new Museum Melbourne. Watson used motifs relating to Aboriginal material culture in the etched panels of this work.
Contemporary Voices: Australian Aboriginal Cultures Gallery in the SA Museum
The new Aboriginal Cultures Gallery at the SA Museum has set a new standard of excellence in interpretation of historical material. The use of film, video and computer terminals carrying extensive information from songs and interviews to historical documentation adds to the rich texture of the displays. Contemporary Voices is a set of filmed interviews conducted by museum staff in the six months before the opening of the new Gallery
Labelled - Buyer Be Aware
The introduction of a Label of Authenticity has some problems for contemporary urban Aboriginal artists who feel once again that they are being asked to confirm their status. Another issue is that any indigenous person can apply for the Label regardless of the integrity of their art practice. Is the Label too blunt an instrument to be useful to most artists?
The Indigenous Visual Arts Industry: Issues and Prospects for the Next Decade
The economics of indigenous art is analysed in detail in relation to production, collection and distribution, consumption, developments in the 1990s, prospects for the next decade, tourist art, protection of intellectual property, quality control, authenticity and leadership.
Fair Trade in Central Australia
Without regulation in a market there will always be carpetbaggers. Warlukurlangu Artists was set up by a group of artists to protect them from this. DESART, the peak body for Central Australian art producers, in 2000 has initiated a Central Australian Indigenous Art Label which aims to educate consumers and lead the way by example rather than police a market.
The House of Aboriginality
The House of Aboriginality is an evolving multimedia project about the merchandising of Indigenous imageries. A CD-rom sets out the story of the circulation of this in mainstream culture through the metaphor of a house entirely furnished with products bearing Aboriginal art designs.
Snapshot of a Culture
A conference about Indigenous arts and crafts was held in 1999 and was a useful sounding board for issues from the new Label of Authenticity and copyright, to the new Goods and Services Tax and art in cyberspace.
The Art and Craft Centre Story
Review of The Art and Craft Centre Story Volume I by Felicity Wright and Frances Morphy. This is an exhaustive survey of Indigenous art centres examining every aspect of their operations. The appalling conditions under which the staff of these centres work bely the extraordinary success of these centres. The authors recommend adoption of a policy of coordinated help with human resources.
Nomad to TV star in three years: Walala Tjapaltjarri meets the world
In late 1984 Walala Tjapaltjarri and other Pintupi tribespeople walked out of the Gibson desert in WA and met Europeans for the first time. Within a few years Walala adapted his traditional ground and body painting to painting on canvas and was filmed by Robert Hughes for his TV series Beyond the Fatal Shore.
Remote Area Computer Art: Multi-Media Talent Emerges in Yuendumu
Donovan Rice is a young Warlpiri man who has virtually taught himself to make computer art in the remote community of Yuendumu. He is making digital images and animations which relate to his own cultural situation against the backdrop of a chronically disfunctional society. He works under the aegis of Warlpiri Media, a community-run media resource centre and TV production house.
0.858 - Virtual Sales of Actual Art? Profit or Promotion
The obstacles to Indigenouse people selling their art on the internet are many and daunting for most. Some pioneer groups like Boomalli and Warlukurlangu Artists have web sites, but in the near future Indigenous art sales on line will be an accepted way of operating. Some web sites are listed.
Snapshots of Contemporary Sound, Movement and Words from Broome
Broome is a town in WA with a long history of many cultures living and working together. It is the home of a vibrant Indigenous music industry, its most famous sons being the Pigram brothers and Jimmy Chi, author of the musicals Bran Nue Day and Corrugation Road . Magabala Books is flourishing, and the Stompen' Ground Festival is gaining in strength and reputation.
The Art of Gift Giving...

The magnificent donations made to museums, galleries and libraries in the last 12 months were made possible by the Commonwealth's Cultural Gifts Program, an initiative that encourages Australian patronageof the arts by offering attractive tax incentives to donors. Wallace here presents a short expression of appreciation.

Shell Fremantle Print Award
Fremantle Arts Centre 31 August - 6 October 2002
African Marketplace and Reporting the World: John Pilger's Great Eyewitness Photographers
African Marketplace Ivan Dougherty Gallery, Sydney 22 August - 28 September 2002 Reporting the World: John Pilger's Great Eyewitness Photographers Museum of Contemporary Art, Sydney 8 August - 6 October 2002
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