A research article I wrote on contemporary urban Aboriginal women artists has just been published in the International Journal of the Arts in Society.
The article discusses Fiona Foley's work in the context of the history of the Boomali Aboriginal art collective, and the transnational communication of urban Aboriginal women's art in the international art world. Also included in the article are photographs and analysis of works from Foley's installation on Cockatoo Island at the 2010 Sydney Biennale, and from the exhibition of indigenous women's art held concurrently at the Sydney College of the Arts, Women's Art, Women's Business with works by ProppaNow artists including Jennifer Herd, Andrea Fischer and Bianca Beeson and curated by Dr Tressa Berman, director of San Francisco-based community arts organisation, BorderZone Arts. This was held as part of the 5th International Conference in on the Arts on Society at Sydney College of the Arts.
Below is one of several photographs in the article of the work of prominent urban Aboriginal Australian artist, Fiona Foley, that I took when she showed me around her first major survey show, Fiona Foley: Forbidden at Sydney's Museum of Contemporary Art, 2009-10.
The article discusses Fiona Foley's work in the context of the history of the Boomali Aboriginal art collective, and the transnational communication of urban Aboriginal women's art in the international art world. Also included in the article are photographs and analysis of works from Foley's installation on Cockatoo Island at the 2010 Sydney Biennale, and from the exhibition of indigenous women's art held concurrently at the Sydney College of the Arts, Women's Art, Women's Business with works by ProppaNow artists including Jennifer Herd, Andrea Fischer and Bianca Beeson and curated by Dr Tressa Berman, director of San Francisco-based community arts organisation, BorderZone Arts. This was held as part of the 5th International Conference in on the Arts on Society at Sydney College of the Arts.
Below is one of several photographs in the article of the work of prominent urban Aboriginal Australian artist, Fiona Foley, that I took when she showed me around her first major survey show, Fiona Foley: Forbidden at Sydney's Museum of Contemporary Art, 2009-10.
Figure 6: Fiona Foley. Dispersed 2008, charred laminated wood, aluminum, .303 inch calibre bullets, edition of 3, 9 parts, each 52 x 32 x 25 cm. Collection National Gallery of Australia, Canberra, purchased 2008; and Stud Gins, 2003, exhibited in Fiona Foley: Forbidden Museum of Contemporary Art, Sydney 2009. Photograph: Ruth Skilbeck
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