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.
Detail of Mungurrawuy Yunipingu (Gumatj), Macassan Prau 1946.
Berndt Collection, Berndt Museum, The University of Western Australia
For centuries, fishing fleets from Sulawesi regularly visited Australia in search of trepang. Their visits were recorded orally and have been depicted in detailed artworks.
The 1,200 year old Umayyad Mosque – also known as the Great Mosque of Aleppo – lost its minaret (on left) in 2013 after continued heavy gunfire between rebels and Syrian government forces.
It is important to prosecute militants who destroy antiquities. But 'everyday' development - from dams flooding towns to the impact of mining on Indigenous rock art – does vastly more damage to heritage than war.
Richard Ffarington painted idealised versions of Aboriginal people, as in King George Sound, 1840s.
State Art Collection, Art Gallery of Western Australia
The first Europeans to arrive in Western Australia were baffled by the strange land they saw. A new exhibition explores the Arcadia artists tried to transpose over native plants and people.
Fifty years after the Maralinga atomic tests, an exhibition grapples with the pain and devastation left behind.
Karen Standke, Road to Maralinga II (detail). Supplied
The Maralinga atomic tests were devastating to life and land in Central Australia. Black Mist Burnt Country brings together dozens of artistic responses in a powerful, but somewhat incoherent memorial.
Rika Hamaguchi from the Bangarra Dance Theatre performs at the culmination of the barrangal dyara exhibition.
Photo Peter Greig/Kaldor Public Art Projects
Jonathan Jones uses Aboriginal shields to create a skeleton of Sydney's Garden Palace, destroyed by fire in 1882. In song, dance and sculpture, he celebrates what has been lost and rediscovered.
Anita Heiss’ latest work presents unsettling questions for the non-aboriginal reader.
A young Aboriginal woman falls in love with an escaped Japanese POW in 1944. Anita Heiss' new book entwines romance with questions of enmity and friendship: who is fighting whom?
Lithograph, ‘Burning of the Garden Palace, Sydney’, Gibbs Shallard and Company, Sydney, 1882.
Museum of Applied Arts and Sciences, Sydney.
Sydney's Garden Palace, which burned to the ground in 1882, was a monument to empire's glory. Indigenous artist Jonathan Jones is now working on an epic exhibition that will explore this historical epoch from an Aboriginal perspective.
Detail of Mirdidingkingathi Juwarnda Sally Gabori, Dibirdibi Country – Topway 2016.
Queensland Art Gallery | Gallery of Modern Art Collection Image courtesy Alcaston Gallery © The Estate of the Artist and Viscopy Australia
Mirdidingkingathi Juwarnda Sally Gabori began painting in her 80s, and over ten years created an extraordinary body of work. Her paintings are more like music and dance – depicting the stories of the Kaiadilt people for the first time.
William Barak’s Ceremony has sold at auction to an unknown buyer.
Can you repatriate a painting? Descendants of Aboriginal painter William Barak ran a crowdsourcing campaign to try to buy back the previously unknown artwork Ceremony.
Television is embracing Indigenous people as more than victims in a white story.
Too often, TV shows and films present Aboriginal characters as oppressed people. But two new TV series, Cleverman and Songlines on Screen, are a welcome contrast.
David Gulpilil as Jagamarra Jurunba, Mark Weaver as Bellyup, Dougie McCale as George and Cameron Wallaby as Pete in Satellite Boy.
A Satellite Films production Photo by Matt Nettheim SAB
The French capital will light up to the sights and sounds of Cleverman, Samson and Delilah, and The Sapphires.
Koen West, played by Hunter Page Lochard, is the Cleverman.
Australia's first Indigenous superhero can heal like Wolverine and hear the voices of the Dreamtime. Superhero expert Dr Liam Burke sat down with Cleverman cast and crew to talk powers and politics.
A picture of strength: lifelong activist Bonita Mabo OA in front of her portrait as a young woman, which features in her granddaughter Boneta-Marie Mabo’s first solo exhibition.
Josef Ruckli, courtesy of the State Library of Queensland
Boneta-Marie Mabo's art responds to a colonial past in which Aboriginal women were fetishised as "black velvet". But it also celebrates strong women, including her activist grandmother Bonita Mabo.
Koori women Treahna Hamm, Vicki Couzens and Lee Darroch wear ‘Biaganga’, traditional possum coats at the Melbourne Museum’s Aboriginal Cultural Centre in Melbourne.
Museums are cracking open the temperature-controlled, dehumidified display cases and inviting people in. Working with Aboriginal communities is reawakening cultural connections and ancient art forms.
‘Children who are yet to be born need to know their place in the never-ending story.’
Warangkula family portrait alongside Warangkula Court street sign. Photo: Helen Puckey
Succeeding generations need to know where they are placed in the unfolding grand narrative of Aboriginal art. Those of us who are not Aboriginal need to understand the complex relationship between settler Australians and the people of the land.