INDIGENOUS__
Issue 42:3 | Warltati / Summer 2022
The thirteenth consecutive issue of Artlink Indigenous bears no title, a proposition which questions the pace and trajectory of the Australian art and cultural industries’ aspirations to categorise, curate and market our work. Issue 42:3 offered contributors a chance to say what is (publicly) unspeakable about Indigenous art and the contemporary art world, and what’s obscured by prevailing axioms, market drives, institutional and governing bureaucracies, and national anxieties. What emerged is more complex, more nuanced and more powerful, as artists and writers from across and beyond our Country 'take pictures and stories wandering'…
In this issue
In the rapidly expanding literature on the Tennant Creek Brio, writers have touched upon a decidedly ‘masculine’ quality in the group’s work. John McDonald calls the Brio’s work ‘incredibly aggressive’ and ‘raw’ and ‘wild.’ Erica Izett, the Brio’s regular curator and greatest advocate, refers to their work as a form of insurgent ‘guerrilla theatre.’ These masculinist tendencies should be of little surprise. The Brio started in 2016 as an art therapy group as part of Strong Men, Strong Families through funding from the Anyinginyi Health Aboriginal Corporation facilitated by painter Rupert Betheras. It grew to have about twenty men involved before moving to the Nyinkka Nyunyu Art and Culture Centre in 2017, where it was declared an artist collective.
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