Curator and artist Brenda Croft gets experiential in telling about Australia Day, her latest exhibition Stop (the) gap and what is shared by indigenous people around the globe.
Griffith Artworks and Griffith University Art Gallery Director Simon Wright reviews the stellar career in sculpture and printmaking of Torres Strait Islander Denis Nona whose newest commission at the Musée des Confluences in Lyon is eight metres high.
Curator at AAMU Georges Petitjean describes the 'Remembering Forward' exhibition at the Museum Ludwig in Cologne in detail, how it came about, what surrounds it and what it might mean.
As leaders of unique working partnerships between the Indigenous art industry and the Queensland Government, pioneers like Judy Watson, Dennis Nona, Vernon Ah Kee, Richard Bell and Sally Gabori have established strong international reputations.
French curator Arnaud Morvan, who recently completed his Phd at the University of Melbourne on the art of the East Kimberley, writes about the new approach to showing and consulting about Indigenous art taken by the still-under construction Musée des Confluences (due to open in 2014) in Lyon. "It represents a first step towards an abolition of the segregation endured by non-Western art in Europe and an attempt to rise above the antiquated opposition between art and ethnography."
Tasmanian essayist and poet, currently working as Indigenous Visiting Research Scholar at AIATSIS in Canberra, Greg Lehman looks over David Hansen's recent award-winning essay entitled 'Seeing Truganini' and finds it wanting.
Sarah Scott reviews and questions Yiwarra Kuju: The Canning Stock Route exhibition at the National Musuem of Australa. She asks: "Why don’t the NMA’s collections of Indigenous material culture feature more strongly in their exhibition program? Why are both the NMA and the National Gallery of Australia (NGA) collecting the highly sought after and expensive works produced by major Papunya artists? If the commissioning of art and associated documentary material is a priority for the NMA what other Indigenous material culture may they be neglecting?"