Detail from Emily Kam Kngwarray, Anmatyerr people.
Yam awely 1995
synthetic polymer paint on canvas
150 x 491 cm
National Gallery of Australia, Canberra Gift of the Delmore Collection, Donald and Janet Holt 1995 © Emily Kam Kngwarray.
Today, beauty counts for little in the judgement of works of art. But our felt experience of beauty connects us with an object's maker, revealing a pure moment of humanity.
Detail from William Barak, Figures in possum skin cloaks, 1898, pencil, wash, charcoal solution, gouache and earth pigments on paper, 57.0 x 88.8 cm (image and sheet)
National Gallery of Victoria, Melbourne Purchased, 1962
Colony at the NGV pairs colonial art with Indigenous responses, in an effort to create dialogue about Australia's history.
The opening scene of The Cake Man, recreating the arrival of the British in Australia.
Robert Merritt, author of The Cake Man, grew up on the Erambie Mission at Cowra. His play captures the grinding poverty and emotional paralysis of the mission experience.
A.B. Original member Briggs performs at the 2017 ARIA Awards.
AAP Image/David Moir
A.B. Original made waves in 2017, but Indigenous hip hop has flourished since the 1980s.
Fish iceblocks return slowly to Sydney Harbour in Four Thousand Fish at Sydney Festival.
Aboriginal women are at the heart of two events at the Sydney Festival, which grapple with the impact of colonisation on their lives.
Indigenous artists, including Josephine Mick, experience the immersive multimedia DomeLab, part of the Songlines: Tracking the Seven Sisters exhibition.
George Serras, NMA
This exhibition at the National Museum of Australia is not only brilliant but marks an important turning point in how Aboriginal art is exhibited.
Ngathu, in Bangarra’s Ones Country, is a brilliant combination of the contemporary and traditional, telling the story of the ngathu, or cycad, in Arnhem Land.
Photo by Daniel Boud
Bangarra’s current season of three new works, Ones Country, is uneven in parts but worth seeing for the diversity of Indigenous stories from some new choreographic voices.
Sabbia Gallery - Alison Milyika Carroll working on a pot at Ernabella Arts ceramic studio, 2017.
Photo Ernabella Arts, Courtesy of Sabbia Gallery
Clay Stories, a travelling exhibition, showcases ceramic art from Indigenous artists across the country. It is a triumphant display of specific stories and Dreamings, standing against cultural and political amnesia.
Indigenous Australians use ochre to add colour and detail to items such as this shield at the South Australian Museum.
Image courtesy of South Australian Museum
Ochre is more than just paint - it tells stories of culture and trade in Indigenous Australians. Using museum artefacts plus science can track ochre sources and untangle a lost history.
Mitch Cairns’s Agatha Gothe-Snape, oil on linen, 140.5 x 125 cm.
© the artist Photo: Mim Stirling, AGNSW
This year's annual Archibald, Wynne and Sulman Prizes both reaffirm traditions and confirm new directions in the arts establishment.
Detail from Percy Leason, Thomas Foster, 1934, oil on canvas, 76.0 x 60.8 cm, State Library Victoria, Melbourne.
Gift of Mrs Isabelle Leason, 1969 (H32094) © Max Leason
Anthropologist Percy Leason thought he was painting the extinction of Victoria's Indigenous people in the 1930s. He was wrong, but his portraits, part of a new exhibition at the National Gallery of Victoria, are surprisingly sympathetic.
A close up from Michael Jensen’s Pintupi and Anmatyerr artists in Men’s Painting Room (circa August 1972).
The Men's Painting Room - a Nissen hut in the government settlement of Papunya - is Australian art's most important atelier. A new form of creative expression happened here.
Ken Thaiday’s dance machines layer people, animal, land and sea.
Ken Thaiday Snr, an internationally-acclaimed artist from Erub Island in the Torres Strait, has been awarded a 2017 Red Ochre Award. Thaiday's work draws on dance, the people and land of the islands to produce elaborate masks and headdresses.
Brenda L. Croft.
shut/mouth/scream (detail) 2016
Courtesy of the artist and Stills Gallery
The National Gallery of Australia's Third National Indigenous Art Triennial presents a passionate well-considered argument for an enduring Aboriginal culture.
Part of Mandy Martin’s painting Cool Burn (2016): in her painting workshops at Djinkarr, Indigenous rangers brought the threats to their land to life on canvas.
Feral cats and pigs, mission grass and climate change - in western Arnhem Land, Indigenous rangers are battling many environmental threats. Through painting and performance, they are also telling 'healthy country' stories.
Indigenous games like ‘Honour Water’ can teach Indigenous values and ceremonial practices.
Honour Water/Elizabeth LaPensée
A strengthening movement of Indigenous designers and developers is working to show Indigenous cultures, teachings, languages and ways of knowing through video games.
Detail of Brook Andrew, Sexy and dangerous 1996.
courtesy National Gallery of Victoria
A 20th-century image of an anonymous 'Aboriginal Chief' becomes an investigation of power, colonialism and queer sexuality in the hands of Brook Andrew.
A fruit cart depicting a ‘picanniny’ child: such figures were popular at a time when Aboriginal children were being removed from their families.
What are we to make of 'Aboriginalia': bric-a-brac, tiles, ornaments and artworks - once hugely popular - depicting caricatures of Indigenous people? What if they are collected now in a knowing, ironic way?
The piles of rock where Murujuga’s rock art is found, in close proximity to industry.
Murujuga, or the Burrup Peninsula, is home to over a million rock artworks. But as concern grows about the impact of industrial pollution on the art, the WA government continues to play down the area's heritage value.
Detail of Judy Watson, black ground (1989) courtesy of the National Gallery of Victoria.
© Judy Watson/Licensed by VISCOPY, Australia
Judy Watson pours ochre and pigment onto unstretched canvases laid on the ground. The puddling and drying created an image of a simple termite mound with a profound connection to country.