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Arts Victoria v i a a p r e -s e l e c t i o n p a n e l exhibition c u r a t o r s , Private Bag No. 1 Maree Clarke, Curatorial Manager, d e s i g n a n d h a n g i n g South Melbourne 3205 Koorie Heritage Trust; Stephen Boscia Galleries Victoria Australia Gilchrist, Curator – Indigenous Art, photography t e l e p h o n e 03 9954 5000 National Gallery of Victoria; Jirra Harvey, Freelance Curator. Ponch Hawkes f a c s i m i l e 03 9686 6186 c a t a l o g u e d e s i g n t t y 03 9682 4864 v i a a f i n a l j u d g i n g p a n e l a n d s p o n s o r s Actual Size t o l l f r e e 1800 134 894 Lorraine Coutts, Indigenous Curator; (Regional Victoria only) Kevin Williams, Indigenous artist; p r i n t e d b y [email protected] Zara Stanhope, freelance Curator; Gunn and Taylor Printers www.arts.vic.gov.au Stephen Gilchrist, Curator – Indigenous Art, National Gallery The VIAA exhibition runs from of Victoria; Judith Ryan, Senior 29 November to 20 December Curator – Indigenous Art, National 2008, Boscia Galleries, Melbourne Gallery of Victoria; Jason Eades, Victoria, 3000. CEO – Koorie Heritage Trust; Nerissa The exhibition is free and open to Broben, Curatorial Manager – Koorie the public. Heritage Trust; Chris Keeler, Curatorial Assistant – Koorie Artworks featured in the VIAA Heritage Trust. exhibition are available for purchase. This publication is copyright. No part s p o n s o r s ’ representatives Michele and Anthony Boscia, may be reproduced by any process Boscia Galleries. except in accordance with provisions of the Copyright Act 1968. Thank you to all the artists who entered the awards. And those © Copyright: The artists, photographers who worked with us to develop the and the State of Victoria 2008 Victorian Indigenous Art Awards 2008 exhibition and permitted us to profile their work in this catalogue. Thank you to all the people involved in supporting the awards development and delivery. Contents

Message from the Minister for the Arts 6

Award Winners 10

Highly Commended 22

Commended 26 From the Minister for the Arts About the Victorian Indigenous Art Awards

The Victorian Government is One of the underlying aims proud to present the 2008 of the Victorian Indigenous Victorian Indigenous Arts Awards. Arts Awards is to foster commercial opportunities for The awards were established Indigenous artists in Victoria, by the Victorian Government and to develop a market for to support and raise the profile their work. To this end, I must of Indigenous art and artists in acknowledge the generous The Victorian Indigenous Art  the development of the Victoria and to acknowledge the support of Boscia Galleries, Awards (VIAA) is an annual art Indigenous arts industry important role indigenous art sponsor of the Boscia Galleries award program developed for within Victoria; Award for Photography and Indigenous artists through Arts plays in both Victoria’s heritage  the acknowledgement our exhibition partner. Support Victoria. and our contemporary culture. and showcasing of quality from a commercial gallery offers Indigenous art produced in Since the inaugural presentation valuable expertise and exposure VIAA is designed to facilitate Victoria; in 2005, these awards have for the shortlisted artists. outcomes for Indigenous artists grown to become one of through:  facilitating economic and I would also like to acknowledge the richest and most diverse commercial opportunities the ongoing support of our Indigenous art award programs for Victorian Indigenous award sponsors: the Koorie in the country with a total prize artists; Heritage Trust, the National pool of $48,000 across Gallery of Victoria, Peter Brock  raising the profile of six categories. Foundation and the Department Indigenous cultural activities of Planning and Community Each year, the awards discover in Victoria; Development through new talent, provide vital career Aboriginal Affairs Victoria.  developing new audiences; and practice development and opportunities for artists and Finally I congratulate all the  forming partnerships within showcase the depth and diversity award winners and shortlisted the arts sector. of Indigenous art in Victoria. artists whose vibrant and diverse work is featured in this This year, 24 artworks have exhibition and catalogue. been shortlisted ranging from painting to photography and installation. More than half of the shortlisted artists are from regional Victoria demonstrating the strength of Indigenous art Lynne Kosky MP right across the state. Minister for the Arts

6 7 Victorian Indigenous Art Awards 2008 RECIPIENTS

WINNERS HIGHLY COMMENDED COMMENDED

Deadly Art Award Victorian Cultural Deadly Art Award Koorie Heritage Trust Marilyne Nicholls Heritage Award Ivan Johnson Acquisition Award Perception of Spirit Jennifer Mullet Walking on the Landscape Brian Birch from Land The Talking Dog Legend Celebration of Survival Victorian Cultural

Lin Onus Award Boscia Galleries Award Heritage Award Ronald Edwards for Photography Eileen Harrison Borun and Tuck Johnathan Harradine The children of Jackson’s Track Smoking Free Zone Koorie Heritage Trust Lin Onus Award Acquisition Award Sharmane Maddigan Reko Rennie-Gwaybilla Coloured Girl Big Red Koorie Heritage Trust NGV Acquisitive Prize Acquisition Award Gayle Maddigan Arthur Dawes Memory lines of a Gunai/Kurnai tribe shields distant wailing

8 9 Deadly Art Award Marilyne Nicholls winner Perception of Spirit from the Land 2008 Basket Grass Fibre 136cm in diameter (irregular) Resides: Wood Wood Watti Watti/Barrapa/Dja Dja Wrung/Yulpagulp

Marilyne Nicholls has lived most Judges’ comments: of her life in and around Swan This piece is a dramatic and Hill. She was encouraged to many-layered work, utilising the weave by her mother, also an traditional technique of coiling excellent and exhibited weaver. to weave a contemporary Her practice involves researching description of connections and documenting suitable to the land. The concentric plants for weaving, and in the weaves move outward, with past has incorporated colour, motifs which adorn the surface acrylics and screen printing into at intervals, revealing both the her work. Nicholls continues to internal history, and a Dreaming. explore ideas of perception Similarly, these undulating and its representation in open lines map the past movement coil weaving. of the artists’ hand, working delicately over time. This is ‘As I became more interested in further evidenced in the gradual weaving I started experimenting change of brightness in the with plant fibres and looking colour of the grass. at how I could intertwine my thoughts into the weaving. The The artists’ dedication to look of the open coil weaving developing and working reminds me of lace, and is creatively with a practice she distinctively contemporary as it has learnt from family is an adds an interesting dynamic to inspiration, and her work is the traditional weave technique.’ stimulating to artists and non-artists alike.

10 11 Lin Onus Award Ronald Edwards winner Borun and Tuck 2008 Acrylic on paper 49 x 74cm (image size) Resides: Morwell Gunnai/Kurnai

Ronald Edwards is also known This is the story from the as Ngetal Maktar. In 2006 he dreamtime of the Gunnai/Kurnai. graduated with a Certificate IV I’m keen to continue to express in Aboriginal & Torres Strait myself through my painting and Islander Art & Design and also tell the stories of my ancestors. in Cultural Arts from Gippsland The circles symbolize the TAFE. He has had several shows meeting places where different at Latrobe Regional Gallery events happened back in in Morwell and the Koorie dreamtime. The line-workings Heritage Trust, Melbourne. are the traditional markings of my tribe.’ ‘The first Gunnai/Kurnai came from the mountains in the Judges’ comments: north-west, carrying his canoe. This work clearly indicates the He was Borun – the Pelican. development of a personal He crossed Tribal River by Sale way of expressing culture that and walked to Tarra Warackel employs a fresh perspective (Port Albert) in the West. As he on designs from the artists’ walked he heard constant country. His use of line tapping sounds, but couldn’t throughout this piece is identify them. When he reached reminiscent of etching found the water inlets, Borun put on clubs and shields from his down his canoe and much to country, the Gippsland region. his surprise there was a woman in it. She was Tuck, a musk-duck. He was very happy to see her and she became his wife, and Mother of the Gunnai/ Kurnai people.

12 13 Koorie Heritage Trust Reko Rennie-Gwaybilla Acquisition Award Big Red 2008 winner Synthetic polymer on two canvas panels 244 x 92cm (assembled) Resides: Port Melbourne Kamilaroi/Gamilaraay/Gummaroi

Reko Rennie-Gwaybilla Judges’ comments: discovered graffiti as a teenager, From the moment we walked and with no formal training in into the gallery, our attention art, he soon began his artistic was arrested by the giant apprenticeship on the streets kangaroo standing at the head of Melbourne. His stencil art of the room. and installations use traditional flora and fauna imagery that Reko Rennie-Gwaybilla’s stencil represent his community and work provides a contemporary continually explore issues of interpretation of local culture. identity, race, law and justice, It is inextricably reminiscent of health, education, land rights, two discrete cultures; the style stolen generations and other used by our ancestors to leave issues affecting Aboriginal their marks on rock faces to tell and Torres Strait Islanders in stories of our country, and urban contemporary society today. street culture.

At nearly two and a half metre’s The work will be the first piece tall, Big Red stakes his claim by the artist to enter our to space, power, land and collection and we look forward culture. It confronts the viewer to working with the artist to in a confident upright stance, mount his first solo exhibition. conveying an inner and physical strength and sense of defiance. The red kangaroo is a national mascot, and is also a significant symbol for many Aboriginal communities and Big Red is intended as an iconic image of contemporary Australia.

14 15 NGV Acquisitive Prize Gayle Maddigan winner Memory lines of a distant wailing 2008 130 x 200 cm Oil on Canvas Resides: Mandurang Wertigkia/Ruemelin

‘The image represents that which Judges’ comments: is heard in the spirit.’ The artist’s lyrical and expressive work is strong in cultural Gayle Maddigan was born in memory and attachment to , grew up in Red Cliffs place. The colours and broken and now lives and works in brushstrokes are evocative Mandurang, near Bendigo. of her ancestral bush country She holds a Diploma of Fine and recall the palette used by Art, a Graduate Diploma of Australian Impressionist artists Secondary Education and a McCubbin and Streeton. But Masters in Fine Art. Over the this is an unpeopled landscape, past three decades, she has the work’s title hinting at the participated in solo and group severe cultural destruction exhibitions of her work, both witnessed in Victoria after the nationally and internationally, founding of Melbourne and into and is represented in many the twentieth century, during private and public collections. which time Indigenous presence was remodelled in the popular Maddigan has been the imagination as inexplicable, recipient of the following ghosted absence. awards: the National Indigenous Heritage Commission Award 1993; the Botany Aboriginal Art Award 1990; the Stephen Keller Art Award 1990; the Telstra National Aboriginal & Torres Strait Islander Heritage Art Award 2005; and the Gumbri White Dove City of Darebin Aboriginal and Torres Strait Islander Art Award 2008.

16 17 Victorian Cultural Jennifer Mullet Heritage Award The Talking Dog Legend 2008 winner Charcoal on paper 32 x 31cm (image size) Resides: Bairnsdale Kurnai/Monero

Jennifer Mullet’s practice The Kurnai all heard the dogs investigates the emergence of and were turned to stone. They constructed symbols through now stand to this day as a red memory, and actively researches rock on the shores of Lake King. myths and legends to reconnect This rock is called Wallung with her heritage. She has lived (The Rock) and is pointed out in rural, forested, mountainous to Kurnai children as an example areas; around lakes and deserts, of what may happen to the as well as the urban environment, greedy and thoughtless. and these experiences directly inform her work. ‘By articulating my Aboriginal consciousness I can maintain The Talking Dog legend tells of an Aboriginal ‘body’. In this way, a large mob of Kurnai camped the representation of identity at Metung on the north shores and the construction of symbols of Narran (Lake King). The mob sustain the art.’ were fishing, and caught many fish which they feasted on. But Judges’ comments: the Kurnai were forgetful of their The research the artist has dogs. The dogs, hoping to at undertaken into the Talking Dog least be offered a stray fish head legend was inspiring. Moreover, became frustrated, with one her individual aesthetic and suddenly speaking, “you greedy visual expression of this cultural Kurnai, why have we no fish?” narrative is highly distinctive. This work is an exemplar of pictorially representing culture, in a wholly unique adaptation.

18 19 Boscia Galleries Award Jonathan Harradine for Photography Smoking Free Zone 2008 winner 20 x 18 cm (image size) Photographic print Resides: Mildura Latji Latji

Jonathan Harradine grew up Judges’ comments: in Euston on the NSW border This is a strong image and has lived in Mildura for the which successfully employs past five years. He is currently photographic techniques such completing a Certificate III/IV as focus, tone and subject in Aboriginal & Torres Strait framing. The image highlights Islander Cultural Arts at the strength of independence Sunraysia Institute of TAFE. In within the youth with a 2007 he was highly commended sense of humour. The artist has for the Boscia Galleries Award skilfully used the medium to the for photography as part of the advantage of the subject. Victorian Indigenous Art Awards.

‘When I take photos I look for the unusual. When a smoker blows smoke…it is usually thin… on this occasion the smoke was thick and moved around the shape of my cousin Josh’s face. I like the way the smoke trails upwards over his face.’

20 21 Deadly Art Award Ivan Johnson Lin Onus Award Sharmane Maddigan HIGHLY COMMENDED Walking on the Landscape 2008 HIGHLY COMMENDED Coloured Girl 2008 122 x 91cm 73 x 87cm (print size) Oil on canvas Photographic print Resides: Mildura Resides: Mandurang Parkinji Wamba Wamba/Wertigkia/Nyeri Neryi/Dhudoroa

Ivan Johnson graduated from ‘This lake is very special to my Sharmane Maddigan has lived ‘The image represents the Latrobe University, Mildura with people, because there are in Dja Dja Wrung country colored layers of self: I have to a Bachelor of Fine Arts in 1998. hundreds of burial sites there. (Bendigo) all her life. Her stand here and be. I am caught He is currently working at the It is also known as the place creative output is diverse, and in the colours that I see.’ Victorian College of Koorie of the Rufus River massacre, is also a musician. Her work Education in Mildura. between Lake Victoria and the has been exhibited at Latrobe Murray River. My mum’s University Gallery, Mandurang Johnson is inspired by traditional grandparents lived and worked Studio in Bendigo and the landscape and enjoys working in around that area on Nulla Station, Koorie Heritage Trust. both oils and watercolours. He is before moving to different areas inspired by Albert Namatjira and along the Darling River for work. Fred Williams. My mum is one of the elders who still visit the site to see that all the bones and vegetation are not disturbed for future generations.’

22 23 Koorie Heritage Trust Arthur Pepper-Dawes Victorian Cultural Eileen Harrison Acquistion Award Gunnai/Kurnai Tribal Shields 2008 Heritage Award The children of Jackson’s Track 2008 HIGHLY COMMENDED Acrylic on paper HIGHLY COMMENDED 102 x 122cm 50 x 75cm (image size) Acrylic on Canvas Gunnai/Kurnai Resides: Warragul Kurnai

Arthur Pepper-Dawes has Arthur Pepper-Dawes Eileen Harrison is a Kurnai elder, It was there that Daryl met passed away. The Dawes family completed a Certificate IV born on Bungyarnda (Lake and fell in love with my Auntie has chosen to continue with in Aboriginal & Torres Strait Tyers) Mission Station where Euphie and Jackson’s Track this entry. Islander Cultural Arts course she lived until 1963. In 2002 became a settlement for every at Central Gippsland TAFE in she commenced a Certificate aboriginal person who came to ‘I called this painting Gunnai/ 2006, and began a Certificate III in Aboriginal & Torres Strait stay and work the Tonkin’s land. Kurnai Tribal Shields. The I in Learning Pathways in 2007. Islander Art and Design. Her background is painted in the His work has been represented work has featured in several I visited the site where they all colours of the Aboriginal Flag in group exhibitions including: solo and group exhibitions. once lived. Life for them all was and the oval shapes represent Dala Koote, Latrobe Regional based on truth, trust, dignity, shields. They contain designs of Gallery 2007; Summer ‘In 1937 two white brothers, culture and history. How tragic the Gunnai/Kurnai tribes.‘ Show, Koorie Heritage Trust, Daryl and Harry Tonkin, came to now, that there is nothing left Melbourne, 2007; Tribal Gippsland looking for a place except for Daryl’s house and Expressions, Koorie Heritage to call home. They bought a the memories.’ Trust, 2006. property bordering a track.

24 25 Koorie Heritage Trust Brian Birch Other Exhibited Works Acquisition Award Celebration of Survival 2008 COMMENDED Acrylic on Canvas 122 x 122cm Resides: Brunswick

Megan Cadd Post Colonisation Remedies 2008 70 x 47 x 15cm Medicine cabinet, vials and creams Resides: Doncaster East

‘This piece reflects the complexities of dealing with the multitude of issues that affect Aboriginal people today as a result of past policies and practices in Australia. Projected through this piece are my feelings of wishing these issues could be resolved in a simple way…how much I wish it would be as simple as going to a medicine cabinet to fix these problems for my people.’

Karen Clarke-Edwards 1987 2008 Brian Birch always enjoyed ‘This is my celebration of all 18 x 15cm (image size for all four prints) drawing but it was not till he Aboriginal Australians surviving Etching and aquatint on Magnani Paper was 70 that he picked up a the onslaught of colonization Resides: Mildura Mutti Mutti/Wemba Wemba paintbrush and his impressive and subsequent cultural exploration with colour and conflicts. Under the clearest ‘I purchased a dress as I was drawn to the bold canvas began. Since then, he blue sky, closely watched from linear patterns and colour within the fabric. It was has received the 2006 Gumbri the heavens by the creators of a modern pattern and reminded me of traditional White Dove DAITSIC Art Award, this land all the communities dreamtime marks. I have used these patterns in my the 2006 Victorian Indigenous have gathered around the work to pay tribute to traditional women and have Art Award – National Gallery elders to celebrate their survival since discovered these patterns closely resemble of Victoria Acquisitive Prize with the ceremonious singing Victorian Women’s symbols.’ and has been a finalist in and dancing.’ the Victorian Indigenous Art Awards, Koorie Heritage Trust Acquisition award.

26 27 Other Exhibited Works

Bindi Cole John Duggan How to be a Domestic Goddess 2008 Beneath Our Feet 2008 66 x 96cm (image size) Mixed media – Stone, Ochre, Sand, Shell, Bone Pigment print on Rag Paper 43 x 53 x 4cm Resides: Altona North Resides: South Morang Kamilaroi

How to be a Domestic Goddess forms part ‘Stone knapping is an activity that requires lots of of a series photographed in 2008. The series practice. Over the last three years I have spent captures “Foxy” during the transformation from many hours practicing and refining traditional man to woman and the many roles she plays as knapping techniques. This work reflects the an Aboriginal drag queen. This work, and Cole’s diversity of traditional raw materials from state practice, closely examines the complex culture to state and can be used as a guide to identify and subcultures of . Her workable stone across the country.’ images are often challenging and force viewers to re-evaluate preconceived ideas of Indigenous Australians, offering an insight into what it means to be Aboriginal in current society.

Jennifer Dunne Joanne Egan Kooramook, Possum Skin Rug Elements of Survival 2008 (kirrae wurrung meaning blood lip) 2008 Black & white photographic prints Acrylic on Canvas Both works top left to right: 31 x 36.5cm (framed) 61 x 91cm Bottom left to right: 31 x 36.5cm (framed), Resides: Mill Park 39 x 31cm (framed) Kirrae Wurrung/ Resides: Mildura Mutti Mutti/Wiradjuri Traditionally in Victoria, the possum was used for food and skins, which were kept and sewn together ‘These documentary style photographs depict a to create cloaks. The revitalisation of Indigenous midden on the banks of the Murray River, a scarred culture and preservation of traditions is important, tree, ‘Johnnie’ cakes being cooked on a fire and a and this work aims to maintain this knowledge for reflection of trees on water. Water, food, trees and future generations. fire are all vital for life. Whether we are Indigenous or Non-Indigenous, we all need to protect and preserve our precious waterways and trees.’

28 29 Other Exhibited Works

Johnathan Harradine Janet Ogston Love 2008 Be Hidden 2008 20 x 18 cm Acrylic on Paper Photographic print 50 x 68cm (image size) Resides: Mildura Resides: Morwell Latji Latji Wodi Wodi

‘My cousin is a tattoo artist and I have taken this ‘When I was a little girl my dad and aunt took us to photograph of the word “LOVE” tattooed on his La Perouse to visit our aunty. While we were there right hand across his fingers. I asked my cousin the government officers came. My aunt told us to make a fist so the image could be focused on kids to go to the cellar under the house. We were the fist and the rest of the image blur into the very frightened as the cellar was so dark, we clung background. Josh’s mean pose is in contrast to together and were told not to make a noise or cry the letters.’ because they would find us. Fifty three years later I still remember that terrifying day.’

Kahli Luttrell Wayne Quilliam Life 2008 Immaterial Perception 2008 34 x 58 cm (print size) Photographic print on Alubond Mixed media and digital print 160 x 100cm Resides: Reservoir Resides: Point Cook Yorta Yorta Palawa, Tasmania

‘This piece is a celebration of life and surrounding ‘Traditional Aboriginal stories and tales influence nature. The energy and bright colours in the work my work. I like to seduce the subconscious to represent our busy world. The colours may change ponder the hidden, camouflaging the content in in our lives, as we go through happy and tough my works to recreate another reality. This work aims times, sometimes people and places change as to encapsulate the sense of spirituality present in well, but the important thing is to know who you nature; and to reveal the duality of representation are and where you are going.’ and reality.’

30 31 Other Exhibited Works

Annette Sax Carol Wright Nira illiam buluk (Our people, Our place) 2008 My Dreaming cuts deep 2008 Felt, silk and wood 64 x 48cm (image size) 170 x 220cm (irregular) Linocut on Rag Paper Resides: Strathmore Resides: Mill Park Taungurung Gunnai/Kurnai

‘In Taungurung language “Nira illiam buluk” means ‘In this work I have surrounded the creator “creek dwelling people”. This is the clan group of with motifs from my Gunnai/Kurnai heritage. This my great grandfather, John Franklin born in 1837, represents my spiritual feelings of culture and pride at Sugarloaf Creek in Broadford. I have depicted him in my people. I took up art at a late age and have as a newborn with his mother. I have represented found that the act of creative expression, has given their 12 children with line work. This shows their me a great sense of cultural healing.’ connection to the land of their ancestors.’

Peter Waples-Crowe Homotraditional 2008 102 x 76cm Mixed media on canvas Resides: West Melbourne Wiradjuri/, NSW

‘I went to be in the Ngarigo country in the Snowy Mountains of NSW, a place I was displaced from at birth. I went there to feel its spirit and to meet with Uncle John an elder, to talk about Ngarigo culture. We talked for hours over cups of tea. He told me that in traditional Ngarigo culture men who touched other men were speared. Homotraditional is a statement about my homosexuality and my Aboriginal culture.’

32 33 Arts Victoria is the Government Department of Planning and Koorie Heritage Trust Cultural The National Gallery of Boscia Galleries exhibits The Peter Brock Foundation body charged with advising Community Development, Centre aims to protect, Victoria (NGV) was established leading Indigenous, allocates funds and direct on and implementing arts Aboriginal Affairs Victoria preserve and promote the in 1861 in paen (freshwater) contemporary and urban support to individuals, policy, developing the arts and (AAV) works to strengthen living culture of the Indigenous country of the and artists. Located in Flinders families, community groups cultural industries across the Victoria’s Aboriginal people of south-eastern started collecting Indigenous Lane, Melbourne’s premier and organisations that have State and ensuring access for communities. AAV promotes Australia. ‘Gnokan Danna Murra Australian art in 1984. Since that art precinct, Boscia Galleries demonstrated their genuine all Victorians. It is a division understanding and respect for Korki’, is the motto of the time the NGV has developed specialises in advising individual need. With its motto ‘The of the Department of Premier Indigenous culture and guides Trust and is the combination an outstanding collection of and corporate collectors on energy for caring’ it expresses and Cabinet. Arts Victoria action across Government that of two Koorie languages and around 2600 Aboriginal and the most appropriate art the drive behind the Board of supports the arts and cultural enables Aboriginal people to means ‘Give me your hand my Torres Strait Islander works that portfolio that meets their Directors. They aim at all times industries to encourage actively engage and participate friend’ and bridge the cultural focus on contemporary diversity collecting criteria. The directors to encourage people to help excellence, develop good ideas, in the communities in which gap. The Koorie Heritage Trust and acknowledge the current are strongly committed to others and above all, to truly build audiences, encourage they live. AAV also works believes that through education resurgence of Indigenous art developing and fostering long help themselves. participation and improve collaboratively with Aboriginal and promotion it can raise an in Victoria. The NGV’s vision is term relationships with both facilities. Arts Victoria supports people and organisations across awareness and appreciation illuminating life by collecting, artists and collectors. Indigenous artists through the State to manage, protect of the cultural diversity of conserving and presenting the Victorian Indigenous Arts and interpret Victoria’s unique Koorie culture in south-eastern great art. Awards and the Indigenous cultural heritage. Australia and work towards the Travel and Professional broader goals of reconciliation Development Fund. for all Australians. The Koorie Heritage Trust Cultural Centre includes four galleries that showcase the best of emerging and established Koorie artists with a calendar of twenty-four exhibitions per year.

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