Black Velvet: redefining and celebrating Indigenous Australian women in art

A picture of strength: lifelong activist Bonita Mabo OA in front of her portrait as a young woman, which features in her granddaughter Boneta-Marie Mabo’s first solo exhibition. Josef Ruckli, courtesy of the State Library of Queensland, CC BY

A picture of strength: lifelong activist Bonita Mabo OA in front of her portrait as a young woman, which features in her granddaughter Boneta-Marie Mabo’s first solo exhibition. Josef Ruckli, courtesy of the State Library of Queensland, CC BY

* Warning: This article contains graphic language that may upset some readers, while Aboriginal and Torres Strait Islander readers should be aware that it may contain images, voices or names of deceased people.

With her first solo exhibition, artist Boneta-Marie Mabo has been inspired by the State Library of Queensland’s collections to create new works that speak back to colonial representations of Indigenous womanhood.
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Queensland’s hot modernist architecture shows bold city vision

Centenary Pool, Spring Hill, architect: James Birrell. James Birrell private collection

Centenary Pool, Spring Hill, architect: James Birrell. James Birrell private collection

When most people think of Brisbane architecture, they usually picture a Queenslander: high-set, timber-and-corrugated iron houses that are ideally suited to subtropical conditions. Modernism fits into that picture awkwardly, as if an intruder.
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[dis]connect your life

 

Does technology allow us to better communicate with others, or are relationships becoming increasingly lost through digitised connections?

The latest QUT Shape of Things to Come exhibition, [dis]connect,  plays with ideas of connection, interaction, engagement and intersection. We live in a world where objects can influence society in new and profound ways, and our graduates’ work grapples with these notions of rippling relationships.
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New faces at Brisbane’s Institute of Modern Art may upset the ‘lovely consensus’

One of Perry’s illustrations to accompany his talks; ©Grayson Perry; Source: BBC (http://www.bbc.co.uk/programmes/galleries/p01j9rwb)

In the first of his 2013 Reith Lectures last month, celebrated British artist Grayson Perry spoke of the ‘lovely consensus’ that is required for a work of art to be deemed worthy of attention. Art, he observed, achieves greatness not simply due to its intrinsic qualities, but as a result of the approval bestowed by other artists, curators, dealers, collectors and critics. It is an astute observation.
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Qaphqa: Joseph Breikers at the IMA

Given that inner Brisbane has seen such a proliferation of grayscale apartment blocks in the past five years, Qaphqa, Joseph Breikers’ stacked toilet cubicles in the forecourt of Brisbane’s Institute of Modern Art, seemed a highly apt gesture.  Assembled in untreated pine and plywood, festive flags fluttering on its roof, the slender three-storey outhouse stood like a DIY mock-medieval parody of the concrete blocks of flats that surrounded it.

Joseph Breikers, 'Qaphqa' (2013), Institute of Modern Art, Brisbane. Photo credit: Richard Stringer

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OM NOM NOM NOM: Alice Lang at Boxcopy

Alice Lang, 'Sorry Dude' (2013) puff paint, acrylic mirror, goosebumps and babysitters club books, 1.2 x 1.4 x 0.4cm

Alice Lang’s recent exhibition OM NOM NOM NOM at Boxcopy artist-run space presented a series of captivatingly vivid works, cued by the language of social media but cut with a hefty dose of schoolbag materiality.
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