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.
Adventurer Francis Birtles in his car with a man identified as Indigenous artist Nayombolmi.
National Library of Australia
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.
Painting of a raider on horseback (bottom right) with a musket and domestic stock. A ‘rain-animal’ (top right) was likely summoned to wash away the raiders’ tracks.
Courtesy of Sam Challis and Brent Sinclair-Thomson
Runaway slaves joined indigenous Khoe-San people and raided colonial farms. The rock art they left in their hideouts tells a fascinating story.
A slide by Gordon H. Woodhouse to accompany a 1901 lecture by his father Clarence entitled ‘exploration and development of Australia’.
State Library of Victoria
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.
A woman walks past a mural in Vancouver, B.C. The power of public art is its ability to turn artistic practice into a social action.
THE CANADIAN PRESS/Marissa Tiel
When public art pairs artistic expression with community engagement, it can honour the diverse communities that share public spaces and spur important conversations.
Rock paintings from the main gallery at Djulirri in Namunidjbuk clan estate, showing traditional Aboriginal motifs as well as European boats, airplanes, and more.
Photo by Sally K May.
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.
The Torch artist and Barkindji man Trevor Mitchell at work on a painting.
The Torch
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.
December 1972: Billy Miargu, with his daughter Linda on his arm, and his wife Daphnie Baljur. In the background, the newly painted kangaroo.
Photograph by George Chaloupka, now in Parks Australia's Archive at Bowali.
Artists Ian Wilkes and Poppy van Oorde-Grainger invite audiences to walk where the first contact between Noongar and white settlers at Lake Monger took place.
The giant predators were a deadly danger to early European explorers of the Arctic.
Chris Hellier/Corbis Historical via Getty Images
Four Indigenous composers were asked to create works for a square piano from a painful period in our nation’s history. They did so in creative, honest and powerful ways.
For the first time in its 99 year-history, the Archibald Prize has been won by an Indigenous painter. The Wynne and Sulman Prize winners also signal a time of change.
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.
Monuments are testaments to how a society wants to remember. Now is the time to ask which monuments can withstand introspection. Artists are opening those conversations – sometimes hilariously.
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne