Kathleen Petyarre looking across Atnangker country, Northern Territory, December 2000.
Photograph Ian North; courtesy Wakefield Press
Petyarre, who won the Telstra prize for Indigenous art in 1996, has died in Alice Springs.
Kamsani Bin Salleh and Matthew McVeigh, Foodland, 2018, found metal sign and acrylic, 125 x 400 cm.
Janet Holmes à Court Collection
This Perth exhibition is a raucous, overwhelming, exciting and at times confusing immersion into ideas about national identity.
Detail from Witchetty Grub Dreaming, Jennifer Napaljarri Lewis, Warlukurlangu Artists of Yuendumu.
Courtesy of the artist
A new exhibition pairs paintings by Indigenous Australian artists with microscopic images captured by scientists. The parallels, as this gallery of pictures shows, are intriguing.
A scene from the best-selling ‘Red: A Haida Manga,’ a revenge story.
Michael Nicoll Yahgulanaas
The "Haida manga" by Indigenous artist Yahgulanaas opens a graphic dialogue between the different cultures of the Pacific Northwest and East Asia.
Balgo artists: Miriam Baadjo (b. 1957),Tossie Baadjo (b. 1958), Jane Gimme (b. 1958), Gracie Mosquito (b. 1955), Helen Nagomara (b. 1953), Ann Frances Nowee (b. 1964) and Imelda Yukenbarri (b. 1954).
Bush medicine: a collaborative work by women from Wirrimanu (Balgo), 2018, acrylic on linen, 120×180cm, MHM2018.32, © Warlayirti Artists; Medical History Museum
At least half the food eaten by the first Australians came from plants. And in terms of medicines, many different parts of plants were used.
Artist Nyapanyapa Yunipingu is assisted by art centre worker Jeremy Cloake at Buku-Larrnngay Art Centre,Yirrkala.
White people hugely influence the Aboriginal art world – but that can be a good thing, according to the artists.
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.