TONY ALBERT Duty of Care Duty of Care features all new works conceived and produced at Glassworks. Glass is a new medium for Albert, who regularly works with collage, painting, found materials and photography, he also expanded his practice last year by illuminating the façade of the National Gallery of with a digital animation of the 2019 Enlighten Festival.

During his six-week residency, Albert worked with a team of highly-skilled Canberra-based artists to produce stained glass windows, clear glass lamps and tables that re-cast items of Aboriginalia: domestic and tourist artefacts that include images of Aboriginal people, their cultural objects and designs.

Albert also discovered the possibilities of sandblasting, transforming decorative memorabilia of Captain James Cook’s arrival in Australia with skulls and cross bones. The results are stunning and stinging, ubiquitous and other worldly, familiar and provocative. As always, Albert demonstrates generosity through his practice, not by offering ready solutions to past and present traumas but providing objects, images and ideas that drive urgent and necessary conversations. Albert reminds us that duty of care is a social contract, and obligation we all share to ensure the safety of others. He urges us to recognise the invisible forces that bind us, both strong and fragile, to reckon with our histories to find a better future together. Tony Albert: Duty of Care frosted shades become glowing halos, elevating the two individuals By Sally Brand into the heavenly divine. Albert usually creates a second life for the people captured in Aboriginalia through the inclusion of text, giving a We cannot hide or destroy racist images. They are an important societal voice to the dispossessed. Nguma and Yabu are accompanied in the record that should not be forgotten and must be reconciled so our exhibition by arrangements of words on glass panels that include the future can be better for our children. – Tony Albert, 2016 phrases ‘invisible is my favourite colour’, ‘exotic other’, and ‘sorry’. The works are a quiet chorus for contemplation while Nguma and Yabu Duty of care is a social contract, an obligation of individuals to ensure remain silent and steadfast. Solid and transparent, they appear to be the safety of others. In a country of multiple languages and cultures, asking us: What do we see? What can’t we see? such as Australia, duty of care is also an act of reconciliation. To care and ensure the safety of others we must see, accept and respect difference Accompanying the text pieces and lamps are three boomerang shaped as well as be able to see through it. Care is a visible and invisible force. tables nestled together in the mid-20th-century style from which they In material form, care may well be represented by the clear glass we are cast. The tables are a recreation of furniture (1952–1968) under use in windows to protect us from the rain and wind, in the cups that the direction of the business owner, Aboriginal activist and artist Bill help us quench our thirst, and on the surface of a mirror that reflects Onus (Australian, 1906–1968, Yorta Yorta people). Onus established our own image. Clear glass dominates Tony Albert’s latest exhibition Aboriginal Enterprises in Belgrave at the foot of Victoria’s Dandenong Duty of Care at Canberra Glassworks. Glass is a new medium for Albert, Ranges in the early 1950s employing Indigenous and non-Indigenous a contemporary artist and Girramay, Yidinji, Kuku-Yalanji man, who people to produce and sell a range of boomerangs, ceramics, velvet regularly works with collage, painting, found materials and photography paintings and furnishings. Aboriginal Enterprises was an extraordinarily to explore Australia’s contentious history and fraught race relations. successful business promoting Aboriginal art and culture decades During a six-week residency in late 2019, Albert collaborated with a before the market proliferation of Western Desert painting in the 1980s. team of highly skilled local artists to produce stained glass windows, While the vast majority of Aboriginalia was produced by European sand-etched glass text works, and glass casts of Aboriginalia (domestic makers, either racist or sadly ignorant of their offensive stereotyping of and tourist artefacts that include images of Aboriginal people, their Aboriginal people and their culture, some items of Aboriginalia, such cultural objects and designs). The results are both stunning and as these boomerang tables, were also produced as objects of pride stinging, ubiquitous and other worldly, familiar and provocative, and celebration of Aboriginal culture at Aboriginal Enterprises. Recast characteristics common to Albert’s practice whatever medium he in glass, Albert’s tables are an homage to Onus’s elegant modernist deploys. designs and effort to promote recognition of Aboriginal people and understanding of culture. The tables remind us that while some Visitors to the exhibition are welcomed by two guardian figures, not be Aboriginalia is blatantly sinister other objects come from a space of love forgotten and must be reconciled so our future can be better for our and respect. It is what you know that changes the story. children. Far North . Recast from the artist’s vast collection of Aboriginalia these two glass lamps Nguma and Yabu. The titles Installed at the heart of the exhibition, Brother (The invisible prodigal translate to ‘father’ and ‘mother’, respectively, in Girrimay one of Albert’s son) II is a stained glass window that features a defiant, proud, and ancestral languages from offer another life to the man and woman strong young Aboriginal man with a red target through his chest. This originally captured as racist stereotypes. Transformed into glass, their piece is one of a series that premiered on the grounds of the National Art School for NIRIN, the 22nd Biennale of curated by First as white privilege. Three decades ago, Bennett was at the forefront of Nations artist Brook Andrew. In preparation for NIRIN, Albert visted a movement to broaden the mainstream understanding of Australia’s the school that has occupied the site of the former Darlinghurst Gaol history of massacres and violence against this country’s first peoples. since 1922. The central chapel, built in 1873, features a stained glass His painting of such atrocities, The nine ricochets (fall down Black Fella, window with its central subject the prodigal son, a parable of Jesus jump up White Fella) (1991), won him the Moet et Chandon Australian that reminds us of the power of acceptance and the importance of Art Fellowship at the National Gallery of Australia, which at the time family. For Albert, the connection with his Brothers series, created was the most prestigious art prize in the country. Over the past three almost a decade ago in response to police violence against a group of decades, many other artists, historians, broadcasters, curators, writers Aboriginal teenage boys in Sydney’s Kings Cross, was immediate. The and poets have worked to broaden the mainstream understanding Brothers series ‘.. allude to the holy trinity – strong yet powerful, bathed of this history of Australia. Today, within our cultural organisations, in light, yet still innocent and vulnerable. I wanted to immortalise our government departments, universities and other civic forums we people who are all too often written out of history.’ Brothers series onto regularly acknowledge the continuous culture of First Nations peoples. the epic brutalist façade of the National Gallery of Australia. Images This year we may even have a referendum to give First Nations people a from the Brothers series also won Albert the prestigious Telstra National voice to parliament as requested in the Uluru Statement from the Heart Aboriginal and Torres Strait Islander Art Awards in 2014. Albert regularly in 2017. We can and should feel optimistic about these recognitions reuses images and materials in his practice and one might expect this and important changes in our society’s understanding of the past, could dilute their power. For the Brothers series, this repetition has present and potential future. In their artistic practices, Bennett and the opposite effect. This series continues to be potent and relevant Albert are not proposing we be cynical, but rather measured in our because institutional and systemic violence experienced by Aboriginal appreciation of these changes. Albert’s Nuance re-casts the head of people, and particularly men, is unchanging. While Albert was resident an Aboriginal man in five glass colours from black, brown to clear. at Glassworks news of Warlpiri man Kumanjayi Walker shot dead by The head is cast from a decorative piece of Aboriginalia, once used Northern Territory police sparked protests and fundraising initiatives as a wall hanging in Australian homes. In Bennett’s original Untitled across the county. This month, America is burning after the death of (Nuance) (1992) eight photographs show the artist removing a skein African American man George Floyd at the hands of white police of dried glue from his face. Underneath these images, Bennett has officers. Another brother with his life cut short, another too many. We paired monochrome panels that transition from black to white with six see him, but can we see the system that perpetuates such violence? inscribed with the word ‘nuance’. In both Albert and Bennett, there is the promise of transformation but in actuality very little change. Australia’s optimism but ultimate impotence for change were also central concerns for the artist Gordon Bennett (1955-2014) who In Duty of Care Albert demonstrates generosity through his practice, Albert directly references in his five-part piece Nuance. Bennett is best not by offering ready solutions to past and present traumas but known for his large paintings of the late-1980s and early-1990s that providing objects, images and ideas that drive urgent and necessary championed quotational strategies to re-present the history of Australia. conversations. The artist urges us to recognise the invisible forces that In these works, Bennett rejected the Modernist concept of progress: bind us, both strong and fragile, to reckon with our histories to find a the assumption that humanity was, as a matter of course, engaged in an better future together. Glass is both fragile and strong and like racism it ongoing collective advancement. Rather Bennett’s practice sought to can be broken. expose hidden truths and biased structures that today we acknowledge Yabu, 2020 Nguma, 2020 Yabu, 2020 cast and blown glass, painted steel and commercial light fitting 49 x 32 x 32 cm Nguma, 2020 cast and blown glass, painted steel and commercial light fitting 52 x 32 x 32 cm Duty of Care, 2020 Duty of Care, 2020 fused, coldworked and constructed glass, ink Large (overall) – 39 x 82 x 55 cm Medium – 33.5 x 67 x 45 cm Small – 28.5 x 51 x 35 cm Nuance, 2020 cast glass – 5 items 18 x 17 x 6.5 cm (each) Uncodified (I want to beLIEve), 2020 sandblasted recycled glass 31 x 110.5 x 12 cm (overall) 30 x 30 x 0.6 cm (each) Uncodified (Duty of Care), 2020 sandblasted recycled glass 31 x 230.5 x 12 cm (overall) 30 x 30 x 0.6 cm (each) Uncodified (which way same way), 2020 sandblasted recycled glass 31 x 165.5 x 12 cm (overall) 30 x 30 x 0.6 cm (each)

STAINED GLASS WINDOWS Brothers (The Prodigal Son) I is a site-specific work created for NIRIN: 22nd Biennale of Sydney. In this work Albert responds to a nearby window depicting the prodigal son with one of his own references to the holy trinity, drawn from his work Brothers, a series of photographs of young Indigenous men shown with their chests painted with red target symbols. The images were inspired by an incident where Albert saw teenagers at a rally protesting an instance of police brutality in King’s Cross, Sydney, who painted their chests as an act of protest. Placed outdoors, this window memorialises another story of heroic figures, enshrining a beautiful act of defiance, and embedding a local Indigenous story at this site.

‘This work came out of a recent residency at Canberra Glassworks. On a site visit to the National Art School I was struck by the beautiful stained-glass window in the central building, showing the prodigal son. I wanted to recreate this image for the Biennale in leadlight. The Brothers images, from a previous series, allude to the holy trinity. Strong and powerful bathed in light, yet still innocent and vulnerable. I wanted to immortalize our people that are all too often written out of history.’

Glass is a new medium for Albert, who regularly works with collage, painting, found materials, photography and video. During his six-week Glassworks residency, Albert worked with Canberra artists Ruth Oliphant and Tom Rowney to produce a series of stain glass windows. Brothers (The Invisible Prodigal Son) II, 2020

Installation view, Duty of Care, Canberra Glassworks Brothers (The Invisible Prodigal Son) I under construction at Canberra Glassworks Brothers (The Prodigal Son) I, 2020

Installation view, Nirin: 22nd Biennale of Sydney, National Art School Brothers (The Prodigal Son) I under construction at Canberra Glassworks Brothers (The Prodigal Son) I, 2020 glass, lead, photographic decal, steel, stone 180 x 60 cm (plus mount) ed. of 2 + 1 AP

Brothers (The Invisible Prodigal Son) II, 2020 glass, lead, photographic decal, steel 180 x 60 cm ed. of 2 + 1 AP TONY ALBERT

Tony Albert’s practice interrogates contemporary legacies of colonialism in ways which prompt audiences to contemplate elemental aspects of the human condition. Mining imagery and source material from across the globe, Albert draws on both personal and collective histories to explore the ways in which optimism might be utilised to overcome adversity. His practice is concerned with identity and the ascribing of social labels; unpacking what it means to judge and be judged in the absence of recognition or understanding.

Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with a kind of urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in- turn, invisibility of Aboriginal People across the news media, literature, and the visual world. Central to this way of working is Albert’s expansive collection of Aboriginalia (a term the artist coined to describe kitschy objects and images that feature naive portrayals of Aboriginality).

In 2020 Albert is included in numerous significant group exhibitions, including Nirin: 22nd Biennale of Sydney at the Museum of Contemporary Art, Cocktaoo Island, and the National Art School (where Brothers (The Prodigal Son) I is included); Australia. Antipodean Stories at Padiglione d’Art Contemporanea, Milan, Italy; OCCURRENT AFFAIR: proppaNOW at UQ Art Museum, ; among others. TONY ALBERT b. 1981, Townsville, QLD; lives and works in Sydney, NSW

EDUCATION 2004 Bachelor of Visual Arts, Contemporary Indigenous Australian Art, Queensland College of Art, , Brisbane

RESIDENCIES 2020 Carriageworks, Sydney NSW 2019 Canberra Glassworks, ACT 2019 Carriageworks, Sydney NSW 2018 Carriageworks, Sydney NSW 2016 Solid Ground Alexandria Park Community School 2016 Asialink Kerjasama Reciprocal Residency, Jogyakarata 2015 International Studio and Curatorial Program, Brooklyn, New York, United States 2012 Artspace, Sydney NSW

SELECTED COMMISSIONS 2019 House of Discards, The National, Carriageworks, Sydney NSW 2019 Native Home, Encounters, Art Basel Hong Kong 2019 I am Visible, Enlighten Festival, National Gallery of Australia, Canberra 2018 The Glad Tomorrow, Lady Cilento Children’s Hospital, Brisbane 2017 – 2018 Blacktown Native Institute Project, C3West, Museum of Contemporary Art and Blacktown City Council 2013 Be Deadly Mural, Redfern Jarjum College, Redfern Street, Sydney 2015 Sydney Hyde Park War Memorial, NSW

SELECTED AWARDS AND PRIZES 2019 Dobell Drawing Prize, National Art School, Sydney, finalist 2018 Josephine Ulrick and Win Schubert Photography Award, finalist 2018 King & Wood Mallesons Contemporary ATSI Art Prize, Parliament House, NSW, People’s Choice 2018 Gold Award, Rockhampton Art Gallery, QLD, finalist 2017 Ramsay Art Prize, Art Gallery of South Australia, finalist Brothers (The Prodigal Son) I, 2020 2017 Archibald Prize, Art Gallery of New South Wales, finalist 2017 Still: National Still Life Award, Coffs Harbor Regional Gallery, finalist Installation view, Nirin: 22nd Biennale of Sydney, National Art School 2016 Fleurieu Art Prize, winner QUT, Australian Institute of Aboriginal and Torres Strait Islander Studies 2015 FBI Sydney Music Arts & Culture Award, ‘Best Visual Artist’, winner Shepparton Art Museum, Victoria 2014 31st Telstra National Aboriginal & Torres Strait Islander Art Award, Ten Cubed Foundation, Melbourne Darwin, winner University of Queensland Art Museum, Brisbane 2014 Basil Sellers Art Prize, winner Western Australian Art Museum, Perth 2014 Hyde Park War Memorial, City of Sydney 2012 Official War Artist, Northern Territory Norforce, Australian War SELECTED SOLO EXHIBITIONS Memorial, Canberra 2020 Duty of Care, Canberra Glassworks, Canberra 2019 Wonderland, Sullivan+Strumpf, Sydney COLLECTIONS 2019 Native Home, Sullivan+Strumpf, Encounters, Art Basel Hong Kong Art Gallery of New South Wales, Sydney 2018 Visible, Queensland Art Gallery | Gallery of Modern Art, Brisbane Art Gallery of South Australia, Adelaide 2018 Unity, Sullivan+Strumpf, Sydney Art Gallery of Western Australia, Perth 2017 The Hand You’re Dealt, Sydney Contemporary, Carriageworks, Sydney Australian War Memorial, Canberra 2017 Moving Targets, Sullivan+Strumpf, Sydney Bendigo Art Gallery, VIC 2017 Unalienable, Tandaya (National Aboriginal Cultural Institute), Adeliade Blacktown Arts Centre, NSW 2016 Unalienable, Sullivan+Strumpf, Sydney Cairns Art Gallery, QLD 2015 Video Contemporary, Sydney Contemporary, Carriageworks, Sydney Caloundra Regional Art Gallery, Caloundra 2015 Thou Didst Let Fall, Sullivan+Strumpf, Sydney Campbelltown Arts Centre, Sydney NSW 2014 We Come in Peace, Sullivan+Strumpf, Sydney City of Sydney, NSW 2013 Brothers, Sullivan+Strumpf, Sydney Fondation Opal, Switzerland 2013 Projecting Our Future, Level 2 Project Space, Art Gallery of New Gilbert+Tobin, Australia South Wales, Sydney Griffith University Art Museum, Brisbane 2012 Family, Sullivan+Strumpf, Sydney Home of the Arts, Gold Coast, QLD 2011 Be Deadly, Cairns Indigenous Art Fair, Cairns Contemporary Regional Hood Museum of Art, Dartmout College, New Hampshire, USA Gallery, Cairns Horsham Regional Art Gallery, Horsham 2010 Pay Attention, City Gallery Wellington, Wellington, New Zealand Maitland Regional Art Gallery, Maitland NSW 2008 Must Have Been Love, Canberra Contemporary Art Space, Canberra Monash Gallery of Art, Melbourne Murdoch University, Perth SELECTED GROUP EXHIBITIONS Museum and Art Gallery of the Northern Territory, Darwin 2020 Nirin: Biennale of Sydney, Sydney Musuem of Contemporary Art, Sydney 2020 Misfits: Collage and Queer Practice, National Art School, Sydney National Gallery of Australia, Canberra 2019 Dark Mofo, Contemporary Art Tasmania, Hobart TAS National Museum of Australia, Canberra 2019 Brisbane Brief, Festival House, Fortitude Valley, Brisbane National Gallery of Victoria, Melbourne 2019 NIRIN, 22nd Biennale of Sydney, Sydney Parliament House New South Wales, Sydney 2019 The Abyss: Strategies in Contemporary Art, Griffith University Art Patrick Corrigan Collection, Sydney Museum, NSW Queensland Art Gallery|Gallery of Modern Art, Brisbane 2019 Giant Leap, Casula Powerhouse, Sydney 2019 Museum of Days, Sullivan+Strumpf, Singapore 2014 Conflict: Contemporary Responses to War, University of Queensland 2019 Australia: A Journey Down Under, Pac-Padiglione d’Arte Art Gallery, Brisbane Contemporanea, Milan, Italy 2014 Dark Heart, Adelaide Biennial of Australian Art, Adelaide 2019 The National, Carriageworks, Sydney NSW 2014 String Theory, Museum and Art Gallery of the Northern Territory, 2019 I am Visible, commission for Enlighten Festival Canberra, National Darwin, Curated by Glenn Barkley Gallery of Australia, ACT 2013 Vivid Memories: An Aboriginal Art History, Musee d’Aquitaine, 2019 Just Not Australian, Art Space, Sydney, NSW Bordeaux, France 2019 National Anthem, Buxton Contemporary, Melbourne University VIC 2013 My Country, I Still Call Australia Home: Contemporary Art from 2019 Queen’s Land: Black Portraiture from the late 19th Century to the Black Australia, Gallery of Modern Art, Brisbane Present, Cairns Regional Gallery, QLD 2013 String Theory, Museum of Contemporary Art, Sydney, Curated by 2019 Annual Group Show, Sullivan+Strumpf, Sydney Glenn Barkley 2018 Weapons for the Soldier, Hazelhurst Arts Centre, Sydney NSW 2013 The Collectors Show: Weight of History, Singapore Art Museum, 2018 Contour 556, Canberra Public Art Beinnial, Canberra Singapore 2018 Continental Drift, Cairns Regional Art Gallery, Queensland 2013-12 Making Change, touring, Galleries UNSW, College of Fine Arts, 2018 We can be heroes, GOMA Children’s Art Centre, Queensland Sydney; National Museum of China, Beijing, China 2017 In Cahoots: Artists Collaborate Across Country, Fremantle Arts 2013-12 The Future’s Not What It Used To Be, Chapter Gallery, Cardiff, Centre, Perth Wales 2017 The Unflinching Gaze: Photo Media and the Male Figure, Bathurst 2012 unDisclosed: 2nd National Indigenous Art Triennial, National Regional Art Gallery, NSW Gallery of Australia, Canberra 2017 Engender, Alaska Projects, Sydney 2012 Like, Casula Powerhouse, Sydney 2017 Octopus 17: Forever Transformed Gertrude Contemporary, 2012 Variable Truth, 4A Centre for Contemporary Asian Art, Sydney Melbourne 2011 Roundabout, Tel Aviv Art Museum, Israel 2017 Defying Empire: 3rd National Indigenous Art Triennial, National 2010 21st Century: Art in the First Decade, Queensland Art Gallery/ Gallery of Australia, Canberra Gallery of Modern Art, Brisbane 2017 Cementa17 Contemporary Arts Festival, Kandos, NSW 2010 Roundabout, City Gallery Wellington, Wellington, New Zealand 2016 Sappers & Shrapnel: Contemporary Art and the Art of the Trenches, 2010 The Trickster, Gyeonggi Museum of Modern Art, Seoul, Korea Art Gallery of South Australia, Adelaide 2010 Putsch, Tandanya National Aboriginal Cultural Institute, Adelaide 2016 Kerjasama #3, Cemeti Art House, Yogyakarta, Indonesia Festival, Adelaide 2016 When Silence Falls, Art Gallery of New South Wales, Sydney 2009 me-take, Perth Centre for Photography, Perth 2015 Tarnanthi, Festival of Contemporary Aboriginal & Torres Strait 2009 Octopus, Gertrude Contemporary, Melbourne Islander Art, Art Gallery of South Australia, Adelaide 2009 I Have Not Been Myself Lately, Queensland College of Art Gallery, 2015 24 Frames Per Second, Carriageworks, Sydney Griffith University, Brisbane 2015 (IN)VISIBLE: The First Peoples and War, Lake Macquarie City Art 2009 The 10th Biennial of Havana, Havana, Cuba Gallery 2009 Terra Nullius, ACC Galerie Weimar, Weimar, Germany 2015 Guarding the Home Front, Casula Powerhouse Arts Centre 2009 Temperature 2, Museum of Brisbane, Brisbane 2014 31st Telstra National Aboriginal and Torres Strait Islander Art Award, 2008 Optimism, Queensland Art Gallery/Gallery of Modern Art, Brisbane Museum and Art Gallery of the Northern Territory 2008 Half Light, Art Gallery of New South Wales, Sydney 2008 Under the Influence: Art and Music, Queensland University of Technology Art Museum, Brisbane SELECTED BIBLIOGRAPHY 2008 Gallery 4A Members Exhibition, Gallery 4A Centre for Contemporary 2019 Shim, Soo-Min. ‘Review: The National New Australian Art’, Artist Asian Art, Sydney Profile, Issue 47, pg 150-151 2008 NEW: Recent Acquisitions, University of Queensland Art Museum, 2019 Higgins, Jo. ‘Standout Shows’ Art Collector Jan – Mar 2019 The University of Queensland, Brisbane 2019 Hardy, Karen. ‘I am Visible is Enlighten’s most confronting 2007 Living Black, Art Gallery of New South Wales, Sydney illumination’ The Canberra Times, 5 March 2007 Amersham Trophy, proppaNOW Studio, Brisbane 2019 Cox, Will. ‘The New National – Five Australian Artists to Watch’ 2007 The Visitors, Penrith Regional Gallery and the Lewers Bequest, Broadsheet , 1 March Sydney 2018 Harrigan, Chris. ‘Object Lesson’, Smith Journal, 1 September 2007 The Revenge of Genres, Les Brasseurs, Liege, Belgium and Cité 2018 Stephens, Andrew. ‘Visibility Clear’ Art Monthly Australasia, 31 Internationale des Arts, Paris, France August 2007 Arc Biennial Exhibition, QUT Art Museum, Brisbane 2018 Maunder, Tess. ‘On Being Seen’ Vault , 1 August 2007 The revenge of genres, Les Brasseurs in Liege, Belgium; Cité 2018 Carey, Patrick. “Artist Tony Albert focuses on issues of Indigenous Internationale des Arts, Paris visibility in his first major solo exhibition” ABC Arts 19 June 2007 Amersham Trophy, proppaNOW Studio, Brisbane 2018 Boland, Brooke. ‘Tony Albert on the responsibility that comes with 2007 Celebrating Aboriginal Rights?, Macquarie University Art Gallery, telling other people’s stories’, ArtsHub, 7 June Sydney 2018 Larrsson, Chari. ‘Tony Albert’s politically charged kitsch collection 2006 Winners are Grinners, The Perth Institute of Contemporary Arts, confronts our racist past’, The Conversation, 7 June Perth; The Meat Market, Melbourne 2018 Benton, Penelope. ‘Towards national standards for art in the public 2006 The Bodies That Were Not Ours, Linden St Kilda Centre for space’, National Association for the Visual Arts, 5 June Contemporary Arts, St Kilda, Victoria 2018 Roberts, Stacey. ‘New artworks to be unveiled in Blacktown this 2006 From The Edge, The University of New South Wales, Sydney weekend’, Daily Telegraph, 4 June 2006 Tell ‘em ya dreaming, The Dreaming - Australia’s International 2018 Edgar, Coby. ‘Tony Albert: Visible’, Artlines, 1 June Indigenous Festival, Woodford 2018 Martin-Chew, Louise. ‘Preview Tony Albert: Visible’, Art Guide 2006 There Goes the Neighbourhood, proppaNOW Studio, Brisbane Australia, 31 May 2005 Dumb Luck, The Dreaming - Australia’s International Indigenous 2018 Caccetta, Wendy. ‘Kings Cross, kitsch and coming home’, National Festival, Woodford Indigenous Times, 30 May 2005 Bring it, Judith Wright Centre of Contemporary Art, Brisbane 2018 Albert, Jane. ‘Like a punch in the guts’, The Weekend Australian, 26 2005 proppaNOW, Lane Gallery, Auckland, New Zealand May 2005 Thick and Fast, Brisbane Powerhouse, Brisbane 2017 ‘In Conversation With: Tony Albert’, Beyond The Dots, 11 October 2005 proppaNOW, Brisbane City Hall, Brisbane 2017 Faulkner, Noelle. ‘Rebel with a cause: Tony Albert’, Buro 24/7 Australia, 24 July 2017 Watson, Bronwyn. ‘Tony Albert: Brother (I am): politics of defiance’, TELEVISION The Australian, 17 June 2015 Colour Theory, National Indigenous Televsion, SBS 2016 Graefe, Melinda. ‘Trench art tells a story of survival and resilience’, 2013 Colour Theory, National Indigenous Television (Channel 34) The Conversation, 16 November 2016 ‘Tony Albert wins the 2016 Fleurieu Art Prize’, Art Almanac, 2 June 14 February 2016 Nunn, Louise. ‘Tony Albert wins South Australia’s $65,000 Fleurieu 2013 Davidson, Helen. ‘Indigenous War Memorial: design unveiled in Art Prize with The Hand You’re Dealt’, The Advertiser, 2 June Sydney’s Hyde Park’, The Guardian, 8 November 2015 ‘Tony Albert’, Convicts, 10 August 2013 McDonald, John. ‘String Theory’, Sydney Morning Herald, Spectrum, 2015 Geczy, Adam. ‘(in)visible: The First Peoples and War’, Artlink, Issue 31 August 35, 2 June 2013 Fortesque, Elizabeth. ‘Portraits of Defiance have a message for all’, 2015 Browning, Daniel. ‘Perceiving the Distant’, Artlink, Issue 35, 2 June The Telegraph, 16 August 2015 Taylor, Andrew. ‘Film, Dance and Art Colllide in Carriageworks’, The 2013 ‘Preview: String Theory’, Art Monthly Australia, Issue 261, July 2013, Sydney Morning Herald, 2 June p. 52 2015 Cones-Brown, Emily. ‘Q&A With Tony Albert: The Truth of 2013 Wolff, Sharne. ‘Projecting Our Future’, The Art Life, 21 June Yininmadyemi’, Art Collector, 13 May 2012 Nowell, Liz. ‘Family Man’, Art Monthly, Issue 256, Summer 2012/2013, 2015 Muniz Reed, Ivan. ‘Shifting Memory & Meaning – Tony Albert in pp. 86 - 89 Conversation’, Art Monthly, 1 April 2012 Elliott, Tim. ‘Out of the Corner’, The Sydney Morning Herald, 2015 Kembrey, Melanie. ‘Tony Albert’s ‘Confronting’ Tribute to Indigenous Spectrum, August 18 - 19 Diggers Revealed’, The Sydney Morning Herald, 2011 Cooks, Bridget R. and Stephen Gilchrist. ‘Tony Albert – It always 31 March seems impossible until it’s done’, Hong Kong: Conceptio Unlimited 2014 Stone, Tim and Zeccola, Carlo. ‘Basil SellersArt Prize winner Tony 2010 Albert, Tony. ‘Old Man, Young Man’, Before Time Today Reinventing Albert tackles racism in sport’, ABC Arts, 4 August Tradition in Aurukun Aboriginal Art. Ed. Sally Butler. Brisbane, Australia: 2014 ‘Tony Albert Wins Basil Sellers Art Prize’, ArtAsiaPacific, 29 July University of Queensland Art Museum 2014 ‘Tony Albert Wins Basil Sellers Art Prize’, Australian Arts Review, 28 2010 Cohn, Don J. ‘From All Sides Now.’ Roundabout. Ed. Elaine W. Ng. July New York, New York: Art Asia Pacific 2014 ‘Tony Albert Wins Basil Sellers Art Prize’, Art Guide Australia, 25 July 2010 Lynn, Victoria. ‘The Tricksters’, Seoul, South Korea: Gyeonggi 2014‘Tony Albert Wins $100,000 Basil Sellers Art Prize’, Daily Review, 25 Museum of Modern Art, 2010 July 2010 Thomas, Nicholas. ‘For Us and Our Children After Us’, Roundabout. 2014 Forrest, Nicholas. ‘Tony Albert wins $100,000 Basil Sellers Art Prize Ed. Elaine W. Ng. New York, New York: Art Asia Pacific for 2014’, Blouin Artinfo, 25 July 2009 Gilchrist, Stephen. ‘Shifting Identities’, Art & Australia, Volume 46, 2014 Ross, Annabel. ‘Tony Albert wins Basil Sellers Art Prize’, The Sydney Number 4, pp. 616 – 625 Morning Herald, 25 July 2008 McLea, Bruce. ‘Tony Albert – Sorry’, Optimism, Brisbane, Australia: 2014 Mendelssohn, Joanna. ‘2014 Adelaide Biennial Contemporary Art Queensland Art Gallery as it was meant to be’, The Conversation, 1 March 2008 Perkins, Hetti. ‘Tony Albert. Half Light Portraits from Black Australia’, 2014 McDonald, John. ‘Master Showman’, The Sydney Morning Herald, Sydney, Australia: Art Gallery of New South Wales 1 March 2014 Stone, Tim and Zeccola, Carlo. ‘South Australia’s Dark Heart Revealed’, ABC Arts, 26 March 2014 Champtaloup, Julia. ‘Dark Heart Takes Australia’s Pulse’, A Magazine, February 2014 Fairley, Gina. ‘A Dark Heart with a difference: Tony Albert’, ArtsHub, SULLIVAN+STRUMPF / SYDNEY / SINGAPORE

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