booknon-fictionCollected cartoons by Melbourne cartoonist and writer Judy Horacek, who believes "humour is a fantastic way of changing the world." ( from biographical noes). The introduction was written by Dale Spender.political art, community art, indigenous rights, racism, discrimination

Booknon-fiction500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.colonial art, craft, competitions, portraiture, furniture, sculpture, indigenous art, museology

non-fictionEssays on feminist art, art history, criticism and museum practices in 1990s Australia by writers, academics, artists.indigenous art, political art, gender, represenation, museology, photography, installation, graphic design, collaborative practices

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Three indigenous women stand before trees and grass trees. The fgiure on the far left is wearing traditional clothing, and the two figures on the right wear Victorian period dresses. The background depicts abstract patterning. At the top of the print are the words "Portland is for Everyone". The bottom of the image includes the words "Thanks to the Aboriginal Cultural Centre, Heywood, and the Portland Historical Society." Background is mauve and colours include green, blue, yellow, orange and tan. Mounted in dark cream matt in an ornate gold-detailed wooden frame.Front: 41/60 (lower left) Angela Gee '83 (lower right) (pencil) Back: (no inscriptions)

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

first nations

Six 6 x 4" colour photographs

Sue Reid is a non-Indigenous Australian textile artist. With permission, and in collaboration with Elder Aunty Cynthia Hardie, Reid reproduced original drawings by Yorta Yorta man Troy Firebrace using acrylic paint, hand embroidery and machine quilting, to acknowledge and celebrate the world's oldest continuous living cultures, those of the First Nations peoples in Australia. This work was acquired as the winner of the Golden Textures art quilt exhibition at Central Goldfields Art Gallery in Maryborough, Victoria in 2019. Held bi-annually at the Gallery, the Golden Textures Award Exhibition celebrates the region’s long connection with textile craft and textile manufacturing, especially in the early to mid-20th Century. Rights: © Sue Reid. Reproduced with permission of the artist. Artwork photographer: Megan Cardamone

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan

Paul Lambeth was Head of the TAFE Program at the University of Ballarat when this work was undertaken. It formed part of his Master of Arts (Visual Arts) exhibition in 2009. The purpose of Lambeth's study was to contribute a non indigenous perspective to current discourse on sense of place in contemporary Australia. The research employed a number of strategies to investigate current response to our geographic and historical time position. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Abstract paintingSigned verso 'Paul Lambeth '08'art, artwork, paul lambeth, place

non-fictionMining the Collection was an Arts NSW funded project in which nine community members and four artists were invited to discover and select works from Albury City's seven cultural collections. The collections were Indigenous Collection, Textile Collection, Social History Objects Collection, Social History Collection (paper based), Photography Collection, Works on paper Collection (Drysdale, drawings) and the Painting Collection. The community members selected individual pieces for the artists to respond to in their chosen medium. All four artists – Arthur Wicks, Ponch Hawkes, Treahna Hamm and Frank Burgers – have a connection with the region and a national profile. The artists' responses to the individual works chosen for them and the range of works selected became an exhibition that introduced visitors to the collection and to the contemporary artworks it inspired. This is a publication to accompany that exhibition. albury art gallery and museum, museum collection albury, exhibitions albury

The sarcastic title of this work pokes fun at the old fashioned idea that race should not be the subject of polite conversation. Deacon uses a white and a Black dolly to represent the unequal power dynamics that exist within Australian society. The dolls stand in for people who, based on the colour of their skin, experience the impact of racial inequality in vastly different ways. The cracked head of the white doll reveals an empty void. Symbolically violent, perhaps this emptiness suggests the dolls will never be able to fully comprehend one another’s experiences.This work was curated in RACE 2016 at Wyndham Art Gallery. Destiny Deacon (1956–2024) was a descendant of the KuKu (Far North Queensland) and Erub/Mer (Torres Strait) people. She exhibited nationally and internationally since the early 1990s in solo and group shows. Deacon held two major retrospectives, in 2004 and 2020, at the Museum of Contemporary Art, Sydney and at the National Gallery of Victoria, Melbourne respectively. Her 2004 survey show, Walk & don’t look blak, toured to the Metropolitan Museum of Photography in Tokyo, the Tjibao Cultural Centre in Noumea, New Caledonia and Wellington City Gallery in New Zealand. In 2022, she was the recipient of the Red Ochre Award for Lifetime Achievement at First Nations Arts Awards. In the same year, Deacon’s work was shown at the Australian Embassy in Paris in an exhibition titled Destiny - The art of Destiny Deacon. In 2023, Deacon was included in the Sharjah Biennial 15, Thinking Historically in the Present, conceived by the late Okwui Enwezor and curated by Hoor Al Qasimi. In 2024, Deacon's work was exhibited in the 24th Biennale of Sydney, Ten Thousand Suns, curated by Cosmin Costinas and Inti Guerrero. Deacon’s work is held in most major public collections in Australia as well as Tate, London, Museum Moderner Kunst (MUMOK), Stifting Ludwig, Vienna, Austria and Museum Sammlung Essl, Austria.first nations photography, australian photography, australian indigenous art, race, racism, colonisation