"I used to boast about you, my son the painter. You painted trees, now you paint squares to humiliate me." Quote by the artist's father in the early 1970s Melbourne.
Cultural Iconographies is an exhibition of work by migrant and refugee artists who have been in Australia for a relatively short time. To take place in the Bondi Pavilion, Sydney during Carnivale October 1991.
A great starting point for more research in this area. List prepared by Dr Helen Andreoni, of the School of Aboriginal and Multicultural Studies, University of New England.
How much marketability is immanent in the artist's cultural background is a matter of delicate negotiation between dealer and client. Just now, it may appear to some artists an unfortunate fact that for them, Aboriginality is not an option.
A very personal view. And finally there is a need for us to allow art and artists to develop from their own roots, regardless of their country or culture of origin.
Does anyone have their right to represent stories and cultural background not their own? Does anyone have the responsibility to do so? No, I don't think so.....
The way that I want to convey that meaning [racism] here is to use a small number of relatively random examples of current art/race = art/power debates from around the world. They give a flavour of the issues. They have obvious relevance to Australia's relationship to the rest of the world, as well as to relationships within Australia.
Looks at the art practice of Fiona Foley (Thoorgine Country), Terry Ganadilla (Mewenbi Country) and Dale Yowingbala (Gamerdi Country), three aboriginal artists who worked together on an unusual project in Maningrida during 1991.