The artist writes about her art practice, in particular her preoccupation with the Australian landscape and how people perceive it. Two images are included: 'Secret Self' and 'Blanket' both from 1990.
Tang Qizhong is a painter and Fine Arts educator from China. He writes about his art practice and the relationship between art practices and institutions in China and Australia.
Making a TV documentary about indigenous people's television in Australia. Photographs on location at Ernabella in the Pitjantjatjara lands of far north west South Australia.
If mainstream television is not our main source of accurate images, how do people gain access to programs which reflect our society in realistic and creative ways?
A great starting point for more research in this area. List prepared by Dr Helen Andreoni, of the School of Aboriginal and Multicultural Studies, University of New England.
The way that I want to convey that meaning [racism] here is to use a small number of relatively random examples of current art/race = art/power debates from around the world. They give a flavour of the issues. They have obvious relevance to Australia's relationship to the rest of the world, as well as to relationships within Australia.
Exhibition Review: Tandanya Adelaide South Australia January - June 1991. Interviews with curators Kerry Giles Kurwingie and John Kean. Images of inma at Ernabella included in the article.
Does anyone have their right to represent stories and cultural background not their own? Does anyone have the responsibility to do so? No, I don't think so.....
How much marketability is immanent in the artist's cultural background is a matter of delicate negotiation between dealer and client. Just now, it may appear to some artists an unfortunate fact that for them, Aboriginality is not an option.
Looks at the art practice of Fiona Foley (Thoorgine Country), Terry Ganadilla (Mewenbi Country) and Dale Yowingbala (Gamerdi Country), three aboriginal artists who worked together on an unusual project in Maningrida during 1991.