DOCSLIB.ORG

Just Not Australian

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Just Not Australian JUST NOT AUSTRALIAN EDUCATION RESOURCE ARTSPACE | MUSEUMS & GALLERIES OF NSW INTRODUCTION This Education Resource has been produced by THIS RESOURCE OFFERS: Artspace, Sydney, in conjunction with Museums & • insight into the conception of Just Not Australian Galleries of NSW to support the touring exhibition and the practice of participating artists Just Not Australian. • an introduction for teachers It is intended to assist school students and teachers. • a timeline and conceptual framework While these activities have been written with late • a glossary of terms primary and secondary students in mind, the concepts they address are intended to be accessible and • worksheets and back-in-the-classroom activities adaptable to learners of all ages and abilities. We also for primary and secondary school students encourage community groups, as well as gallery staff, • creative activity suggestions for galleries to use the information and activities in this resource. PRE-VIEWING PLANNING Before you visit Just Not Australian it is suggested that of discrimination and representation and may be you contact gallery staff to determine the suitability distressing to some visitors. Works contain sexual of the exhibition content and subject matter for the references, strong language and references to strong intended student year level. Works address themes violence. HOW TO USE THIS EDUCATION KIT FOR TEACHERS AND STUDENTS The information in this resource is designed Please note the content of the exhibition and this Gordon Hookey, First Stolen Then Stolen Land, 1998, oil on masonite with timber frame, 134.5 x 196 cm. University of Wollongong Art Collection. Donated through the Australian to provide enrichment and promote deeper resource contains strong language and references to Government’s Cultural Gifts Program by Tess Allas. Photo: University of Wollongong Art understanding of key learning areas including violence. Collection Visual Arts and History (HASS). There is scope to build this resource into existing programs with FOR GALLERY STAFF, FAMILIES AND particular relevance to the Australian Curriculum COMMUNITY GROUPS cross curriculum priority of Aboriginal and Torres This resource can be used to assist or enhance a self- Strait Islander Histories and Cultures as well as directed visit to Just Not Australian. You can build develop it as a standalone program. We have on your experience by enjoying creative activities included some suggestions for pre-visit preparation inside the gallery or back in your community and post-visit activities. Teachers are free to adapt setting. We have provided suggested materials and these learning activities to suit their students and activities. particular contexts. cover: Hoda Afshar, If You Don’t Love it, Live it, 2011, archival inkjet print, 60.96 x 88.9 cm. Courtesy the artist 2 3 ABOUT MUSEUMS & GALLERIES OF NSW Museums & Galleries of NSW (M&G NSW) helps Our program reflects the capacity and diversity of museums, galleries and Aboriginal cultural centres the sector with a focus on access and engagement. of NSW create exciting and inspiring experiences We present the full spectrum of contemporary for visitors and strong, thriving local communities. art practice by leading artists, both emerging and We develop their skills, connect them with others established including Richard Bell, Shaun Gladwell, ABOUT ARTSPACE in the industry, provide funding, point visitors Claire Healy & Sean Cordeiro, Joyce Hinterding, their way, and give them access to ground-breaking Angelica Mesiti, Deborah Kelly, Jason Wing, Fiona exhibitions. Hall and Ken + Julia Yonetani. Each of our exhibitions engage diverse audiences through a range of public Ever changing, ever challenging, Artspace is where contemporary art and culture is contextualised M&G NSW runs the largest regional touring program and educational programs, interpretative material, audiences engage with the artists and the ideas of within current socio-political conditions. It has in NSW, delivering the very best contemporary digital resources and scholarly publications written our times. also spearheaded innumerable educational and Australian art to regional, remote and metropolitan by curators, academics and experts. outreach initiatives through its inter-relational and audiences through the comprehensive network of Established in 1983, Artspace is as an independent, complementary public programming. public galleries Australia wide. We partner with In the last five years, we have reached over 875,000 not-for-profit contemporary art space. It is an artists, curators, regional galleries, contemporary visitors nationwide through 24 exhibitions of institution in permanent transformation, with a As a public institution, Artspace understands its art spaces, university galleries and other producing contemporary art and craft that toured to 131 radically progressive vision to support artists and role as a citizen and a community resource. We are organisations to develop innovative exhibitions for galleries, art centres, museums and contemporary different modes of cultural production through risk, partners for soft diplomacy, education and social tour nationally. We work directly with artists and art organisations across six states and territories. experimentation and innovation. service and will continue to develop initiatives commission new work for the benefit of Australian With all our exhibitions, we provide quality that enable the organisation to look outward and regional audiences. Our exhibitions and associated publications, interpretation, educational material, As one of the leading institutions for the production build social capital in our communities. Artspace programs balance the programming needs of public program opportunities and activities. and presentation of contemporary art in the has a sustained focus on local, regional, national regional galleries and support their staff, facilitate Asia-Pacific region, Artspace’s curatorial vision and international partnerships, which provides skill sharing and professional development, foster is to commission and produce contemporary art, the bedrock for the organisation’s artistic program collaboration and build connections, capacity and supporting Australian and international artists of all and offers a diversified and generous approach to networks for artists, curators and arts workers generations, from emerging through to established, connecting with audiences. By situating partnerships across distance. to pursue new directions and make their most at the centre of all Artspace’s activities, its ambitious ambitious work to date. Artspace presents exhibitions collaborations amplify the organisation’s capacity to and hosts a rent-free studio residency program and present a collaborative, civic and creative platform is a site of critical thinking and dialogue, in which from Woolloomooloo to the Asia-Pacific and beyond. artspace.org.au mgnsw.org.au Follow us on social media Follow us on social media Instagram and Twitter: @ArtspaceSydney Instagram and Twitter: @mgnsw Facebook: Facebook.com/ArtspaceSydney Facebook: Facebook.com/mgnsw 4 5 ABOUT THE EXHIBITION Just Not Australian brings together 20 artists across nationalistic fantasies of what it means to be generations and diverse cultural backgrounds to Australian. Over the years the phrase has been deal broadly with the origins and implications of pitched against striking workers, communists, contemporary Australian nationhood. With works anti-war protestors, monarchists, migrants, asylum ranging from the late 1990s right through to newly seekers and just about anyone seen to be violating commissioned pieces, they are united by their desire Australian cultural ‘norms’. Its 2020 incarnation, to take Australia’s ‘official’ history to task, making according to current Prime Minister Scott Morrison, space for people and events that have, often wilfully, is the ‘un-Australian’ panic buying in the face of the been sidelined or omitted. coronavirus pandemic. The artists explore the politics of images, their Predicated on an Us-versus-Them dichotomy, at construction and circulation, as well as their its core the term is intended to exclude: what’s at connection to legacies of racial and cultural stake is a sense of belonging. Yet far from a simple misrepresentation. They utilise familiar nationalistic equation, a consideration of what’s not Australian symbols such as flags, maps and currency to ultimately leads to questions of what is, and it’s here interrogate individual and collective relationships that many of the artists in Just Not Australian weigh with the nation state. Adopting text in various forms in. Consciously enlisting tactics of larrikinism, satire from song lyrics to parliamentary records they and resistance, they present a multifarious nation reveal the use of language in cultural alienation, divided across numerous issues, from immigration subjugation and liberation alike. With creative and border protection to land rights and Indigenous invention and fortitude they address historical and sovereignty, bigotry and xenophobia to resource Jon Campbell, I’m not racist, but ..., 2013, enamel and spray paint on plywood, contemporary mistruths and injustices. exploitation and climate change. And as its title 35 x 45 cm. Collection of Harry Hobbs and Annabel Johnson, Sydney suggests, Just Not Australian also acknowledges Just Not Australian engages with the moral and that these matters do not just affect Australia but ethical undertones of the loaded rejoinder
Load more

Recommended publications
  • Just Not Australian Cultural Mediation Training Pack
    JUST NOT AUSTRALIAN Just Not Australian brings CULTURAL MEDIATION TRAINING PACK together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood. The show engages with the moral and ethical undertones of the loaded rejoinder ‘un- Australian’ – a pejorative now embedded in our national vocabulary that continues to be used to further political agendas and to spread nationalistic ideals of what it means to be Australian. This training pack outlines how the practice of Cultural Mediation can be engaged to translate the broad themes and manage the difficult conversations that this exhibition may ignite, as well as provide a vocabulary and further reading to encourage an inclusive and culturally safe space. Liam Benson, Black Flag, 2016, sequins, seed beads, cotton thread, cotton poplin, 30 x 59 cm. Courtesy the artist and Artereal Gallery, Sydney. Photos: Zan Wimberley Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW. UQ ART MUSEUM Museums & Galleries of NSW (M&G NSW) has been ABOUT ANESHKA MORA ABOUT THIS researching and providing training on the practices of Cultural Mediation with the aim to equip gallery and museum staff with the tools to implement this Aneshka Mora is queer, scholar of colour living on TRAINING PACK engagement strategy across the sector. Cultural Cameraygal Country in the Eora Nation, who is broadly Mediation is about deepening the engagement of interested in contemporary art strategies of decoloniality audiences at a peer-to-peer level through personal within the limits of institutions and settler-colonialism.
    [Show full text]
  • 1980-2001 Researchers Made Brief Synopses of Material in These Categories and Periodicals, Which Are Attached to Their Bibliographical Details
    ASIAN ACCOUNTS OF AUSTRALIA: CHANGE, COMPARISON, AND ANALYSIS A Joint project between the Australian National University and the National Library of Australia under the auspices of the Australian Research Council Strategic Partnerships with Industry Research and Training Scheme. TITLE: Post-1980 Japanese Monographs (58 titles in total). RESEARCH CONTRIBUTION BY: Manabu Kawakatsu DATE OF COMPLETION: 01/08/2001 ©**** 2 PREFACE: The National Library of Australia (NLA) has very large holdings of Asian material, in English, in Asian languages, and in Asian scripts. The ASIAN ACCOUNTS OF AUSTRALIA project received resources in 2000-2002 from the Australian Research Council and the NLA to examine this collection of ‘Australiana’ in Chinese and Japanese. A pilot project in 1999 had identified the most promising material as being in monographs and periodicals in both languages and, in the case of Chinese, in both traditional and simplified characters. In order further to narrow the amount of material to be examined to fit within the resources of the project, researchers were asked to concentrate on monographs and periodical articles dealing with Australia in the following categories: • Australia as a place of settlement • Australia as exotic • Australia as a model • Australia/Asia geopolitical commentary • Culture, both high and low • Economics, trade and industrial relations • Indigenous Australia • Politics • Tourism • One Nation and Pauline Hanson • An Australian republic • Sydney Olympic games The material covered was divided chronologically as follows: Chinese: Periodicals (simplified characters) 1995-2001 (traditional characters) 1986-2000 Monographs (simplified characters) 1973-1999 (traditional characters) 1947-2000 Japanese: Periodicals (general) 1987-2001 (Nichigo Press) 1995-2000 Monographs 1881-1979 Monographs 1980-2001 Researchers made brief synopses of material in these categories and periodicals, which are attached to their bibliographical details.
    [Show full text]
  • Managing Alcohol and Drugs in Event and Venue Settings: the Australian Case
    Event Management, Vol. 18, pp. 457–470 1525-9951/14 $60.00 + .00 Printed in the USA. All rights reserved. DOI: http://dx.doi.org/10.3727/152599514X14143427352238 Copyright © 2014 Cognizant Comm. Corp. E-ISSN 1943-4308 www.cognizantcommunication.com MANAGING ALCOHOL AND DRUGS IN EVENT AND VENUE SETTINGS: THE AUSTRALIAN CASE ROB HARRIS,* DEBORAH EDWARDS,* AND PETER HOMEL† *Australian Centre for Event Management, UTS Business School, University of Technology, Sydney, Australia †Crime Reduction and Review Program, Australian Institute of Criminology, Sydney, Australia One of the major challenges of operating events and venues is that of managing attendee/patron alcohol and drug use. In the Australian context, a rising number of alcohol and drug-related incidents in and around these settings have resulted in a renewed focus on how these negative outcomes can be more effectively controlled. In order to aid those charged with the task of addressing this matter— event and venue managers, police, security firms, alcohol and drug regulatory bodies, and govern- ments at all levels—this article seeks to identify those variables with the potential to impact this management issue. Further, it aims to provide the previously identified stakeholders with a deeper appreciation of the raft of practices that are currently in use, and potentially available to them, as they build responses to this challenge at the individual state, precinct, venue, or event level. The research approach used involved an extensive literature review and a series of in-depth interviews with key stakeholders across three states—New South Wales, Victoria, and Western Australia. Key words: Drugs and alcohol; Events and venues; Regulation; Enforcement; Control practices Introduction has resulted from the rising number of incidents of individual harm, violence, and community disrup- Pressure from the broader community on key stake- tion that have occurred in and around these settings.
    [Show full text]
  • Ready Lajamanu Emerged of Families Going Without Food and Some It’S Hurting
    FREE November 2016 VOLUME 6. NUMBER 3. PG. ## MARLENE’S FUTURE P.22 IS IN HER HANDS ROYAL COMMISSION WATARRKA POKIES? BREAK OUT YEAR FOR WORRIES WIYA! PRISONER TEAM P. 4 PG. # P. 5 PG. # P. 26 ISSN 1839-5279ISSN NEWS EDITORIAL Want our trust? This time, keep your promises. Land Rights News Central Australia is published by the Central Land Council three We’ll hold you to these election promises: times a year. Aboriginal Hand control to local organisations, develop The Central Land Council workforce training plans and leadership courses with 27 Stuart Hwy organisations them and provide “outposted” public servants to help. Alice Springs Housing $1.1 billion over 10 years for 6500 “additional NT 0870 living spaces”, locally controlled tenancy management and repairs and maintenance, tel: 89516211 capacity development support for local housing www.clc.org.au organisations. email [email protected] Outstations Increase Homelands Extra funding and work with outstation organisations to provide jointly funded Contributions are welcome new houses. As opposition leader, Michael Gunner pleaded with CLC delegates to give Labor a chance to regain their trust. Education Create community led schools with local boards, plan education outcomes for each school region SUBSCRIPTIONS THE MOST extensive return recognises the critically with communities, back community decisions about bilingual education, expand Families as Land Rights News Central of local decision making to important role that control Aboriginal communities since over life circumstances plays First Teachers program, $8 million for nurse Australia subscriptions are self-government, overseen by in improving indigenous home visits of pre-schoolers, support parent $22 per year.
    [Show full text]
  • WAH Catalogue
    Community Engaged Practice – An Emerging Issue for Australian ARIs 41 Contents Lisa Havilah Children, Creativity, Education& ARIs: Starting Young, Building Audiences 43 Claire Mooney The Feeling Will Pass... Space/Not Space 46 WAH Exhibition Documentation & Texts Brigid Noone The Feeling Will Pass… 2 The Subjectivity of Success 48 Brianna Munting Scot Cotterell We are (momentarily) illuminated 4 ARIs and Career Trajectories in the Arts 50 Georgie Meagher Lionel Bawden Exhibition Audience Survey Infographic Display 6 Money 52 Blood & Thunder Sarah Rodigari Tension Squared 10 ARIs in the National Cultural Policy 54 Cake Industries Tamara Winikoff The ooo in who? 12 Hossein Ghaemi WAH Debate It Was Never Meant To Last (BIG TIME LOVE) 16 The Half-Baked Notes of the First Speaker 57 Michaela Gleave Frances Barrett When there is no more anxiety, there is no more hope 20 Biljana Jancic WAH Essays I am here 22 We are...have been...here: Sebastian Moody a brief, selective look at the history of Sydney ARIs 62 Jacqueline Millner Unworkable Action 24 Nervous Systems A History of Sucess? 66 Din Heagney Path to the Possible: critique and social agency in artist run inititaives 27 Hugh Nichols Out of the Past: Beyond the Four Fundamental Fallacies of Artist Run Initiatives 70 Experiment 03: Viral Poster Experiment 30 Alex Gawronski S.E.R.I. (Carl Scrase) Dear friends, artists, and cultural workers 74 WAH Symposium: Presentations & Reflections Jonathan Middleton We Are Here – A View from the UK 79 We Are Here 34 Lois Keidan Welcome by Kathy Keele We Are Here 83 We were there.
    [Show full text]
  • Presentation Tile
    Authentic and engaging artist-led Education Programs with Thomas Readett Ngarrindjeri, Arrernte peoples 1 Acknowledgement 2 Warm up: Round Robin 3 4 See image caption from slide 2. installation view: TARNANTHI featuring Mumu by Pepai Jangala Carroll, 2015, Art Gallery of South Australia, Adelaide; photo: Saul Steed. 5 What is TARNANTHI? TARNANTHI is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through contemporary art. TARNANTHI is a national event held annually by the Art Gallery of South Australia. Although TARNANTHI at AGSA is annual, biannually TARNANTHI turns into a city-wide festival and hosts hundreds of artists across multiple venues across Adelaide. On the year that the festival isn’t on, TARNANTHI focuses on only one feature artist or artist collective at AGSA. Jimmy Donegan, born 1940, Roma Young, born 1952, Ngaanyatjarra people, Western Australia/Pitjantjatjara people, South Australia; Kunmanara (Ray) Ken, 1940–2018, Brenton Ken, born 1944, Witjiti George, born 1938, Sammy Dodd, born 1946, Pitjantjatjara/Yankunytjatjara people, South Australia; Freddy Ken, born 1951, Naomi Kantjuriny, born 1944, Nyurpaya Kaika Burton, born 1940, Willy Kaika Burton, born 1941, Rupert Jack, born 1951, Adrian Intjalki, born 1943, Kunmanara (Gordon) Ingkatji, c.1930–2016, Arnie Frank, born 1960, Stanley Douglas, born 1944, Maureen Douglas, born 1966, Willy Muntjantji Martin, born 1950, Taylor Wanyima Cooper, born 1940, Noel Burton, born 1994, Kunmanara (Hector) Burton, 1937–2017,
    [Show full text]
  • The Essential Introduction to Aboriginal Art (25 Facts)
    INTRODUCTION TO ABORIGINAL ART INTRODUCTION TO THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) Authors Jilda Andrews, Fenelle Belle, Nici Cumpston and Lauren Maupin The Art Gallery of South Australia acknowledges and pays respect to the Kaurna people as the Traditional Custodians of the land on which the Gallery stands. Aboriginal and Torres Strait Islander people are respectfully advised that this publication may contain the names of people who have passed away. INTRODUCTION TO ABORIGINAL ART ABORIGINAL TO INTRODUCTION THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) artgallery.sa.gov.au/learning There’s a lot of misinformation out there about Aboriginal and Torres Strait Islander peoples and art. That’s why this guide was created, in collaboration with leading Aboriginal curators. | Learning at the Gallery | Art Gallery of South Australia Aboriginal and Torres Strait Islander art and culture is In our increasingly globalised world, this ability to the oldest continuous tradition on the planet. In recent speak across cultural borders without forsaking decades it has also emerged as one of the world’s most any of its distinctive identity makes Aboriginal and important contemporary art movements. Whether on Torres Strait Islander art some of the most innovative bark, canvas or in new media, Aboriginal and Torres and challenging contemporary art being produced Strait Islander artists have used art to express the power anywhere today. and beauty of their culture, across cultures: to show their enduring connection to, and responsibility for, ancestral lands and the continuity of their identities and beliefs. image: Daniel Boyd, Kudjla/Gangalu peoples, far north Queensland, born 1982, Cairns, Queensland, Treasure Island, 2005, Canberra, oil on canvas, 192.5 x 220.0 cm; Purchased 2006, National Gallery of Australia, Canberra, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
    [Show full text]
  • The Conversation Rise of Indigenous Art Speaks Volumes About Class in Australia February 24, 2014
    FORT GANSEVOORT Rise of Indigenous art speaks volumes about class in Australia February 24, 2014 The children of the wealthy know that mainstream culture belongs to them. urbanartcore.eu The Conversation is running a series, Class in Australia, to identify, illuminate and debate its many manifestations. Here, Joanna Mendelssohn examines the links between Indigenous art and class. The great story of recent Australian art has been the resurgence of Indigenous culture and its recognition as a major art form. But in a country increasingly divided by class and wealth, the rise of Indigenous art has had consequences undreamed of by those who first projected it onto the international exhibiting stage. 5 NINTH AVENUE, NEW YORK, 10014 | [email protected] | (917) 639-3113 FORT GANSEVOORT The 1970s export exhibitions of Arnhem Land bark paintings and reconceptualisations of Western Desert ceremonial paintings had their origins in different regions of the oldest culture. In the following decade, urban Indigenous artists began to make their presence felt. Trevor Nickolls, Lin Onus, Gordon Bennett, Fiona Foley, Bronwyn Bancroft, Tracey Moffatt – all used the visual tools of contemporary western art to make work that was intelligent, confronting, and exhibited around the world. The continuing success of both traditional and western influenced art forms has led to one of the great paradoxes in Australian culture. At a time when art schools have subjugated themselves to the metrics-driven culture of the modern university system, when creative courses are more and more dominated by the children of privilege, some of the most interesting students and graduates are Indigenous.
    [Show full text]
  • Low Culture in Sydney 1887-1914
    Common Pleasures: Low Culture in Sydney 1887-1914 Susan Doyle Doctor of Philosophy 2006 CERTIFICATE OF AUTHORSHIP/ORIGINALITY I certify that the work in this thesis has not previously been submitted for degree, nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledge. In addition, I certify that all information sources and literature used are indicated in the thesis. Susan Doyle. Contents Preface and Acknowledgements ii Abstract vi Introduction 1 Part 1, The Pub 23 Chapter 1: The 1887 Intoxicating Drink Inquiry 24 Chapter 2: Lower-Class Drinking: Places and Practices 54 Chapter 3: Women and the Drink Question 82 Part 2, The Vaudeville Theatre 115 Chapter 4: 'Colour, Music, Light and Rhythm': Vaudeville in Sydney 116 Chapter 5: The Gallery Gods: 'Kicking up a Row in Olympus' 141 Chapter 6: “We’ve Got a Lodger and He’s Very Fond of Ma’: The Vaudeville Repertoire 162 Part 3, The Street 196 Chapter 7: Larrikin Days 197 Chapter 8: The Haymarket Swell: Larrikin Fashion 223 Chapter 9: Everyday Resistance: Larrikin Street Life 248 Conclusion 280 Bibliography 285 i Preface and Acknowledgements In Heterologies De Certeau writes: By a professional reflex, the historian refers any discourse to the socioeconomic or mental conditions that produced it. He needs to apply this kind of analysis to his own discourse in a manner that will make it pertinent to the elucidation of those forces that presently organise representations of the past.
    [Show full text]
  • Tony Albert Brothers May 26 - August 9
    TONY ALBERT BROTHERS MAY 26 - AUGUST 9 OPENING RECEPTION FRIDAY, MAY 29, 2015 5:30 - 7:30 PM NAIDOC CELEBRATIONS WITH THE ARTIST JULY 8 - 11, 2015 ACKNOWLEDGMENTS Tony Albert Carriageworks Colette Blount Liz Nowell Charlene Green Debra and Dennis Scholl Lora Henderson Franklin Sirmans Joanna Williams Sullivan + Strumpf, Sydney Holly Zajur Film: Tony Albert and Stephen Page, Moving Targets, 2015. Commissioned for 24 Frames Per Second. The 24 Frames Per Second exhibition runs from 18 June - 2 August, 2015. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. ll images courtesy the artist. A 2013. KLUGE-RUHE ABORIGINAL aRT COLLECTION rothers, OF THE UNIVERSITY OF VIRGINIA B 400 Worrell Drive, Charlottesville, VA 22911 lbert, [email protected] A ony www.kluge-ruhe.org T 434-244-0234 TONY ALBERT BROTHERS TONY ALBERT: HEAR AND NOW TONY ALBERT (b. 1981) is a Girramay man from Townsville in north FRANKLIN SIRMANS Queensland, Australia. Albert questions how we understand, imagine and construct difference. Certain political themes and visual motifs resurface across his oeuvre, including The focal point of the discussion on the art of Aboriginal artists in Australia has, until thematic representations of the ‘outsider’ and the target recently, focused almost exclusively on the art of abstraction. Yet, artists like Tracey made of concentric circles. Moffatt and Gordon Bennett have been working with conceptualist practices in photography and video for quite some time. A generation younger than Moffatt His work is held in numerous public and private collections and Bennett, Tony Albert has continuously sought to disrupt the perception of internationally, including the National Gallery of Australia, Aboriginal art with his conceptual and highly representational art and a spirit of the Australian War Memorial, the Art Gallery of New South collaboration that has been as potent to the discourse as his works of art.
    [Show full text]
  • Fbi Radio Date Received: 4 July 2019
    Submission No 17 INQUIRY INTO LIQUOR AMENDMENT (MUSIC FESTIVALS) REGULATION 2019 AND GAMING AND LIQUOR ADMINISTRATION AMENDMENT (MUSIC FESTIVALS) REGULATION 2019 Organisation: FBi Radio Date Received: 4 July 2019 04 July 2019 To The Regulation Committee, RE: LIQUOR AMENDMENT (MUSIC FESTIVALS) REGULATION 2019 AND THE GAMING AND LIQUOR ADMINISTRATION AMENDMENT (MUSIC FESTIVALS) REGULATION 2019 Thank you for opportunity to contribute to this inquiry. FBi Radio is an independent, not-for-profit community broadcaster and is a unique highlight of the Sydney landscape as the only radio station dedicated to the emerging music, arts and culture of Sydney. Our mission is to shape and amplify independent culture to a broad audience. Through programming, promotion and artist development, we contribute to the growth of the Australian music industry. As the only radio station dedicated to the emerging music, arts and culture of Sydney, FBi Radio plays 50% Australian music, with half of that from Sydney, and provides a platform for musicians, artists and creators to reach broad audiences. Beyond broadcast, FBi Radio has developed a range development programs to conitrubte to the New South Wales music and arts economy. This includes Dance Class, a mentoring and training initiative designed to encourage greater participation of young women in electronic music, as well as Tracks, a professional development program and live music showcase building artists and contemporary music audiences in Western Sydney. The annual FBi Sydney Music, Arts & Culture Awards exist to recognise and celebrate emerging local talent, putting Sydney artists, musicians, curators and venues, many in early stages of their career, in front of FBi Radio's broad audience.
    [Show full text]
  • Art of Engagement: Practice-Led Research Into Concepts of Urban Aboriginal Art and Heritage
    Art of Engagement: Practice-led research into concepts of urban Aboriginal art and heritage. Garry Charles Jones Submitted: July 2019 A thesis submitted for the degree of Doctor of Philosophy of the Australian National University Word Count: 39,600 © Copyright by Garry Charles Jones 2019 Statement of Originality To the best of my knowledge and belief, the exegesis contains no material previously published or written by another person except where due reference is made in the exegesis itself. 11 December 2019 _____________________________ Date: _________________________ Garry Charles Jones i Acknowledgements I would like to acknowledge the valuable support and assistance from my supervisors Alex Martinis Roe, Amanda Stuart, and Ian McLean, as well as previous supervisors Wendy Teakel, Paul Hay and Gordon Bull. More generally, I want to acknowledge the ANU School of Art and Design, and the many generous people I have encountered over the years. ii Abstract My practice-led research explores developments that have underpinned contemporary Aboriginal art within an urban Australian context, taking into consideration the social, cultural, and political influences from colonial times through to the present. This inquiry has three primary components: the emergence of an urban-based Aboriginal ontology, the colonial archive and its ambivalent role in Aboriginal cultural healing and contemporary cultural heritage, and an interrogation of the conceptual tension between ontological being and becoming in the context of Aboriginality today. I ask the question: What does it mean for me, disconnected from traditional material cultural practices, to “authenticate” my life and cultural identity, through reclaiming and replicating archival objects? These objects were created in the context of functional and/or ceremonial practice, under colonisation became objects of ethnographic curiosity and taxonomy, and are increasingly objects of contemporary art and contemporary cultural heritage.
    [Show full text]