Challenging Indigenous identity fraud in academia must name and focus explicitly on structures of whiteness, white entitlement and settler colonialism so we don’t recreate the harms of past policies.
Academic rigour, journalistic flair
Articles on Indigenous art
Displaying 21 - 40 of 122 articles
Descendants of the Bidjara, Ghungalu and Garingbal peoples, two renowned artists come together in this family exhibition.
The Productivity Commission has proposed inauthentic Indigenous art should be labelled. But ‘fake art’ is only part of the problem.
During the 1950s, Nat made hundreds of carvings. Today, many of these are likely to be lying unidentified in people’s homes and in museum basements.
The Spencer/Cahill Collection at Museums Victoria contains approximately 170 bark paintings – and now we can name one of the artists behind them.
The Kakadu region has gone through immense transformation throughout history. How can archaeological food scraps tell us about how the First Australians adapted?
Australia’s stunning galleries of rock art are vast repositories of knowledge that can teach us much.
Bark painting in Yirrkala is a tradition of antiquity – but it is constantly reinvented, as this stunning exhibition of contemporary women’s work attests.
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.
In recent years, some prominent people have been called out for falsely claiming Indigenous identity. Why would someone falsely claim an identity? And what does it mean to be Indigenous?
For thousands of years, Native Americans left their artistic mark deep within caves in the American Southeast. It wasn’t until 1980 that these ancient visual expressions were known to archaeologists.
The cancellation of Aboriginal and Torres Strait Islander community events such as NAIDOC, but the continuation of sporting events, reminds us sport is prioritised over art and culture.
One was a celebrity adventurer, the other was a skilled Indigenous artist who painted everything in sight. A new look at old photographs confirms their meeting.
Runaway slaves joined indigenous Khoe-San people and raided colonial farms. The rock art they left in their hideouts tells a fascinating story.
Exclusion has been central to utopian ideas of Australia since before Federation. It still lingers. To progress in this climate-challenged century, Australia’s foundational wrongs must be righted.
When public art pairs artistic expression with community engagement, it can honour the diverse communities that share public spaces and spur important conversations.
Pictures of boats and ships in rock art at the northwestern tip of Australia show the European incursions from the 1800s — but also the much earlier and lesser known sea trade with southeast Asia.
Gwoja Tjungurrayi features on our $2 coin and was the first living Australian to feature on a postage stamp. It turns out he made his stamp debut much earlier.
With 350 artworks created by 320 Indigenous artists who are in or recently released from prison, The Torch is making a difference to how people are seen and how they see themselves.
How does rock art matter? New research finds it can act as a kind of intergenerational media –even when no longer visible to the eye.
Top contributors
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Chair in Rock Art Research and Director of the Place, Evolution and Rock Art Heritage Unit (PERAHU), Griffith University
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Rock Art Australia Ian Potter Kimberley Chair, The University of Western Australia
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Honorary Professor, Edith Cowan University
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Joanna Mendelssohn is a Friend of The Conversation.
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne
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Honorary Senior Lecturer, Australian National University
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Associate Professor, University of Adelaide
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Adjunct Fellow, Place, Evolution and Rock Art Heritage Unit, Griffith University
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Chancellor’s Postdoctoral Indigenous Research Fellow, Faculty of Design, Architecture and Building, University of Technology Sydney
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Distinguished Professor of Design History, UTS, University of Technology Sydney
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Senior Curator of Australian and First Nations Art, National Gallery of Victoria, The University of Melbourne
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Professor, Indigenous Studies and Director of The Centre for Global Indigenous Futures, Macquarie University
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Adjunct Professor of Art History, Australian National University
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Professor, The University of Melbourne
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PhD Candidate, Griffith University
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Associate Professor, School of Humanities and Communication Arts, Western Sydney University
