An expansive Queensland Art Gallery survey show of lyrical Indigenous artist Judy Watson, mudunama kundana wandaraba jarribirri, is both thought provoking and stunningly beautiful.
The theatre, dance and music works at this year’s festival have helped fulfil a three-pronged vision from some two decades ago.
Archaeologists and a scientist using artificial intelligence to study how Aboriginal rock painters’ styles developed over thousands of years.
AAP Image/Flinders University
There are many programs where people can generate art using AI. However, this comes with a risk of non-Indigenous people generating Indigenous art, which negatively affects Indigenous artists.
Remote art centres are central to the Indigenous contemporary art industry. They typically have a white art centre manager and other staff overseen by an Indigenous board.
Large painting of a crocodile attributed to Majumbu along with two child hand stencils.
Photograph courtesy of the Melbourne Museum, object 019930, object size 2.94m by 1.03m
Daniel Boyd’s solo exhibition Treasure Island, now at the Art Gallery of New South Wales, is a deeply political and personal interrogation of Australia’s colonial history.
The bark painting depicting a barramundi that Namadbara created for Spencer at Oenpelli in 1912 and that he identified in the interview with Lance Bennett in 1967, now in Museums Victoria Spencer/Cahill Collection (object X 19909).
The Spencer/Cahill Collection at Museums Victoria contains approximately 170 bark paintings – and now we can name one of the artists behind them.
Cherine Fahd, Being Together: Parramatta Yearbook, 2021-2022. Produced by C3West on behalf of the Museum of Contemporary Art Australia in partnership with Parramatta Artists’ Studios, an initiative of the City of Parramatta.
Courtesy of the artist
Three stories from Australia and the UK exploring the role of art in helping people deal with the challenges life throws at them. Listen to The Conversation Weekly podcast.
Arika Waulu (Koolyn, Gunnai, Djap Wurrung, Peek Wurrung, Dhauwurd Wurrung), Yuccan Noolert (Mother Possum) 2021. Wood, red ochre, yellow ochre, charcoal, acrylic, ink, melaleuca bark, crushed granite, koolor (lava stone). Dimensions variable. Installation view, WILAM BIIK, TarraWarra Museum of Art, 2021.
Courtesy of the artist. Photo: Andrew Curtis
Wilam Biik (Home Country) at TarraWarra offers a different way to look at Country. Not by the roads we travel, but by the relationships embedded in it.
Installation view: Tarnanthi 2021, featuring Fur stories by John Prince Siddon, Art Gallery of South Australia, Adelaide.
Photo: Saul Steed
Too often in conversations about cultural centres, the incredible resources already available are neglected.The Berndt Museum, in Perth, is a collection of national and international significance.
Gumatj clan dancers perform at the Garma Festival.
Lucy Hughes Jones/AAP
For non-Indigenous Australians, the last summer of bushfires seemed to mark the end times. Indigenous Australians have a long perspective on history, which offers hope.
Honorary Associate, Department of Theatre and Performance Studies, School of Literature, Art, and Media, Faculty of Arts and Social Sciences, University of Sydney