Since then? Countless posters and street art paste-ups; illustrations, cartoons, newspapers, newsletters, magazines, catalogues and books; T-shirts, banners, murals, cassette and CD covers; business cards and letterheads—and the occasional fabric design.
My family’s journey is but one of thousands of similar travels and travails undertaken by Stolen Generations’ members and their descendants. I follow in the footsteps of my grandparents – Bessie and Joe Senior; my father – Joe, and through the determined efforts of my mother, Dorothy, to ensure my father was reunited with his/our family. It is because of them – all gone now - that I have been able to undertake my journey, to work out where ‘home’ is for me.
Fecund—Fertile Worlds is the first in Artback NT’s Spark NT Curator Program, initiated to foster art critical and curatorial practice within the NT and to provide NT artists with opportunities to showcase their work within curated touring exhibitions.
It was only then they saw what the initialism spelt out, that they realised they couldn’t call the new seat of higher learning the “College of the University of the Northern Territory”.
Further to the previous post by John Birmingham published at his Alien Side Boob website, this just popped into my inbox from Chips Mackinolty. It is a poster—among many—that he knocked up while at the Earthworks Poster Collective in Sydney around this time. Chips also sent through the following short note … see, even New South […]
Wollongong, and in no small way the junkies, punks, bikies—and barmaids—of that town, had made an unsung contribution to the success of the Uluru handback. They had proved to one Anangu man that Australians of good will can be found in the most unexpected places.
Landscape is perhaps the most value laden of genres within which to peel back the layers of influence in post-contact Australian history. Landscape in Australian art history and in particular “pastoraphilia” as the leitmotif of Australian nationhood and identity, mitigated the harsh historical realities and made palpable the strange and un-picturesque landscape for European eyes. Landscape is infused with the legacy of (and in this part of the world the ongoing) dispossession of land and wholesale destruction of people and culture.
Intanto alla Vucciria Chips Mackinolty, street artist australiano, realizza “Dolce & Gamberi”, il dipinto di un abito d’“alta moda” con stampa di cannoli e gamberoni. L’ennesimo omaggio ad una Palermo che, per un lungo weekend, sarà davvero internazionale.
The Darwin Festival has failed local visual artists. Spending money on a roving class of interstate creatives and acts is capital that gets drained out of the local culture making economy. There is no substantial quota for local engagement, there is no compulsion that local creatives get engaged and employed. The current festival model fails to connect with and engage the local culture makers. Even the influx of DF production crew in August are like carnies - here for the month then off again to fleece another community with their generic arts festival business model.
20 years ago not everyone supported our approach of using humour and satire: I would hardly claim to have a monopoly on a “correct” response to the viciousness of racism. However, Therese and I did not sit on our hands: nor should the current arts community.