stop(the)gap: international indigenous art in motion · 5 stop(the)gap: international indigenous...

� Stop(the)Gap: International Indigenous art in motionEducationResource

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� Stop(the)Gap: International Indigenous art in motionEducationResource

Coverimage:WarwickThoRnTon,Stranded(detail),�0��filmstill,commissionedbyAdelaideFilmFestivalInvestmentFund�0��,©theartist

AcknowledgementsEducationResourcewrittenbyJohnneylon,artwriter,curatorandartmuseum/educationconsultant.

ThewriteracknowledgestheparticularcontributionofBrendaLCroft,EricaGreenandEmmaEpstein,andthatoftheSamstagMuseumofArtstaff,theparticipatingartistsandadvisorycurators.

PublishedbytheAnne&GordonSamstagMuseumofArtUniversityofSouthAustraliaGPoBox�47�,AdelaideSA500�T 08830�0870E [email protected]/samstagmuseum

Copyright©theauthor,artists,andUniversityofSouthAustralia

Allrightsreserved.ThepublishergrantspermissionforthisEducationResourcetobereproducedand/orstoredfortwelvemonthsinaretrievalsystem,transmittedbymeanselectronic,mechanical,photocopyingand/orrecordingonlyforeducationpurposesandstrictlyinrelationtotheexhibitionStop(the)Gap: International Indigenous art in motion,attheSamstagMuseumofArt.

ISBn978-0-9807�75-5-6

SamstagMuseumofArtDirector:EricaGreenCurator:ExhibitionsandCollections:EmmaEpstein/StephenRainbirdCoordinator:ScholarshipsandCommunication:RachaelElliottSamstagAdministrator:JaneWickshelpmannAcademyIntern:LaraMerrington

GraphicDesign:SandraElmsDesign

3 Stop(the)Gap: International Indigenous art in motionEducationResource

About this Education Resource ThisEducationResourceispublishedtoaccompanytheexhibition

Stop(the)Gap: International Indigenous art in motion �4February–��April�0��Anne&GordonSamstagMuseumofArt,Gallery�–3

ASamstagMuseumofArtand�0��BigPondAdelaideFilmFestivalproject

ThisEducationResourceisdesignedtosupportlearningoutcomesandteachingprogramsassociatedwithviewingtheStop(the)Gapexhibitionby:

n Providinginformationabouttheartists

n Providinginformationaboutkeyworks

n ExploringIndigenousperspectiveswithincontemporaryart

n Challengingstudentstoengagewiththeworksandtheexhibition’sthemes

n Identifyingwaysinwhichtheexhibitioncanbeusedasacurriculumresource

n Providingstrategiesforexhibitionviewing,aswellaspre-andpost-visitresearch

Itmaybeusedinconjunctionwithavisittotheexhibitionorasapre-visitorpost-visitresource.

Stop(the)Gap: International Indigenous art in motionEducation Resource: John Neylon


Contents 1 Background briefing 5

Aboutthisexhibition 5

2 Exploring the works 8

RebeccaBelmore 8

DanaClaxton �0

AlanMichelson ��

novaPaul �4

LisaReihana �6

WarwickThornton �8

3 Exploring the exhibition: Themes 20

Theme�:Symbolismandritual �0

Theme�:Country/Land �0

Theme3:Sharedhistory �0

Theme4:Parallelanddivergenthistory ��

Theme5:historyofothers ��

Theme6:Voices ��

Theme7:Powerfulart ��

Theme8:Traditionandchange ��

4 For teachers 23

PlanningasuccessfulvisittoStop(the)Gap �3

5 Get started 24

In-exhibitionengagementactivities �4

6 Further research 25

Curatorialframeworks �5

7 Artist biographies 28

8 List of works 30

Year Level ThisResourceisprimarilydesignedtobeusedbysecondarytoseniorsecondaryvisualartteachersandstudents.Componentscanbeadaptedforusebyupperprimaryandalsotertiarystudents.


1 Background briefing

Stop(the)GapisamajorinternationalIndigenousmovingimageproject,developedforthe�0��BigPondAdelaideFilmFestivalinpartnershipwiththeSamstagMuseumofArt.CuratorBrendaLCroftbringstogetherrecentworksbyrenownedIndigenousartistsfromAustralia,Aotearoa/newZealand,CanadaandtheUSA,tochallengeglobalpreconceptionsofcontemporaryinternationalIndigenousexpression.

TheexhibitionattheSamstagMuseumofArtisaccompaniedbyacomplementaryprogramofmovingimageexhibitions,filmscreenings,outdoorprojectionsandforums,presentedacrossvariousAdelaidevenues.http://tix.adelaidefilmfestival.org/browseAtt�.asp?g=�&a=�67

Artists TheprojectattheAnne&GordonSamstagMuseumofArtfeaturesthemovingimageworkofsixartists:

Rebecca Belmore(Canada)

Dana Claxton(Canada)

Alan Michelson(USA)

Nova Paul(Aotearoa/nZ)

Lisa Reihana(Aotearoa/nZ)

Warwick Thornton(Australia)

Curator ThecuratorofStop(the)Gap,BrendaLCroft(Gurindji /Malgnin/Mudpurrapeoples),islecturerofIndigenousArt,CultureandDesignattheUniversityofSouthAustralia.PriortothisshewastheSeniorCuratorofAboriginalandTorresStraitIslanderArtatthenationalGalleryofAustraliafrom�00�–�009andhasworkedextensivelythroughoutthecontemporaryIndigenousandAustralianartsandculturalsectorsfortwoandahalfdecades.

Curatorial advisers AlsocontributingtothisprojectareinternationalIndigenouscuratorialadvisersKathleenAsh-Milby(navajo,USA),AssociateCuratorattheSmithsoniannationalMuseumoftheAmericanIndian,newYork;DavidGarneau(Métis,Canada),AssociateProfessorofPainting,DrawingandTheory,UniversityofRegina,Canada;andMeganTamati-Quennell(M ori:TeAtiawa,ng iTahu,ng tiMutunga,KatiMamoepeople,Aotearoa/newZealand),CuratorofContemporaryM oriandIndigenousArt,MuseumofnewZealand,TePapaTongarewa.

Curatorial perspectives Croftcomments:

“Indigenouscommunitiesaroundtheglobesharecolonialhistoriesrelatingtodispossession,injustice,inequityandmisrepresentation.Eveninthe��stcentury,contemporaryIndigenousartcontinuestobenegativelyconfiguredthroughthehistoricalcontextsofWesternart;itscomplexdiversitiesandissuesaredistilledthroughWesternperspectivesof‘authenticity’,‘authority’,and‘tradition’.Throughthesepractices,thecapacityofcontemporaryIndigenouscommunitiestoengageglobally,acrossdisciplinesandever-shiftingborders,ismisconstruedandignored,arguablyintentionally.

InStop(the)Gap,individualartists’worksvaryvisuallyandincontentandmedia,butalladdressissuesofhumanrights,thecontinuingimpactofcolonialism,andculturalidentityinacontemporaryworld.

Theemphasisisonbothavant-gardemoving-imagework–asopposedtostillimageryormainstream/traditionalWesternfilmconstructswhichareeffectivelyshowcasedthroughexistingfestivals,andperformativepractices–asmanyoftheartistsaremulti-disciplinaryintheirpractice.”

BrendaLCroft(Gurindji/Malgnin/Mudpurrapeoples),‘Sell-abrasionofournations’,�0��

About this exhibition


Consider n Surveyothers(suchasstudentswithinownclass,teachers)intermsofwhattheyunderstandbythe

term‘Indigenousart’.Askthemtodescribeorgiveexamples.Analysetheresultstoseeifthereisdivergenceorcommongroundbetweendifferentperceptions.Thenconsidertowhatdegreetheseperceptionsmatchyourownresearchorunderstandingoftheterm.

n Inthecontextoftheabovesurvey,howreliableoraccuratetoyouthinkyourperceptionsorthatofotherstobe?Consideranddiscussyourreasons.

n ThereisalongtraditionwithinAustralianartofIndigenousartistsadapting‘non-traditional’technologies(suchasacrylicpaintoncanvas)andusingvisualsystemsofrepresentationderivedfromWesternEuropeanart.Researchthistraditiontofamiliarizeyourselfwithsomekeydevelopmentsandartists.

n IntheabovecontextdoesyourresearchrevealanyissuesordebateconcerningtheclassificationorunderstandingofsuchartasIndigenousortraditional?Lookcloselyatthereasonsgivenandterminologyusedwithinanydiscussionordebate.

n Whatdoyouthinktheterm‘authentic’Aboriginalartmeans?Inwhatcontextisthistermusuallyused?Doyouthinkyourunderstandingofthistermisreliableoraccurate?Why?

Resources n BrendaLCroft,curatorofStop(the)Gap,wasalsocuratoroftheNational Indigenous Art Triennial 07

(NIAT 07).TheworkoftheartistsinthisprojectreflectsthewidediversityofexpressionandstylesassociatedwithcontemporaryIndigenousartinAustralia.

AchecklistofNIAT 07artistswouldprovidethebasisforyourresearchintoanumberofthe‘Consider’researchtasksabove.Thislist(alongwithagalleryofimagesandanextensiveEducationResource)canbefoundonline:http://nga.gov.au/Exhibition/nIAT07/

IntheintroductoryessayoftheNIAT 07catalogueCroftstates:

“Alloftheseartistsarecontemporary,irrespectiveoftheirdomicile,theirexperiences,theirconnectiontocountryandculturalpractices–theyarecreatingworkinthehereandnow.Demarcationsdefinedbyotherscomeandgo,resurfacingandfadingaway–primitive,ethnographic,traditional,urbannaïve,folk,authentic–alloftheseartistsconsiderthemselvesIndigenousfirstandforemost,theirheritagebeingtheframeworkandfoundation,whichunderpinstheircreativity.”

BrendaLCroft,‘Cannotbuymysoul’,Culture Warriors,ThenationalIndigenousArtTriennial,nationalGalleryofAustralia�007,p. XI

n AlloftheStop(the)Gapartistshaveextensivewwwprofilesvaryingfromextendedbiographiesandprofessionalprofiles,mediaarticlesandinterviewsandacademicessays.Mostoftheartistshavededicatedartistwebsiteswhichprovidecomprehensiveintroductiontopractice.Thesesitesarereferencedintheartists’profiles(Section�).

n TheSamstagArtMuseumStop(the)Gapcatalogue(withcompletecuratorialessay)canbeaccessedonline:http://www.unisa.edu.au/samstagmuseum/exhibitions/�0��/docs/SMASTGCatalogue.PDF


LisaREIhAnA,Groundswell,�00�,eightchanneldigitalvideoinstallation,sound,30:00minutescourtesytheartistandARTPRoJECTS,newZealand


RebeccaBelmoreofAnishinaabe-Canadianheritage,wasborninUpsala,ontario,andlivesandworksinVancouver,BritishColumbia,Canada.TheofficialCanadianrepresentativeatthe�005VeniceBiennale,Belmore’sworkasamulti-disciplinaryartistcombinesmovinganddigitalimagery,aswellasperformanceandnewmedia.ItisgroundeduponherexperienceasacontemporaryFirstnationswoman.

“Belmore’sperformancesbringtotheforethecomplexityofassociationsandissueswithremarkableincisiveness,penetratingthesurfaceofcomplacencylikeasharpknifeslippedundersoftflesh.”

JessicaBradley,‘ArtandtheobjectofPerformance’,Caught in the Act: An anthology of Performance Art by Canadian Women,editedbyTanyaMarsandJohannahouseholder.

Artistwebsite:http://www.rebeccabelmore.com/home.html

Work The Named and the Unnamed,�00�,videoinstallation,38:�5minutesCollectionoftheMorrisandhelenBelkinArtGallery,TheUniversityofBritishColumbia

“The Named and the Unnamed(�00�)isaninstallationincorporatingBelmore’sperformanceVigil,conductedindowntowneastsideVancouverasatestimonytotheincreasingnumbersofvanishedFirstnationswomen.overseveraldecades,morethan500aboriginalwomendisappearedacrossCanada.TheprovinceofBritishColumbiahadthehighestconcentration,particularlyfromtheinnercityandalonghighway�6(alsoknownasThehighwayofTears)innorthernB.C..Largelyignoredbytheauthoritiesinwhatmanyconsideredanofficiallysanctionedlackofcarebasedontheirrace,lowsocio-economicstatus,andsupposedexpendability,manywomenhavebeenfoundmurdered,somethevictimsofserialkiller(s).”

BrendaLCroft,statementaboutThe Named and the Unnamedfromtheexhibitioncatalogueessay

“[Belmore’s]workisbeyondsimplyuncoveringthetrauma;sherecoversorsetsrightorbalancestheimbalance....‘The Named and the Unnamed’performancecreatesaliminalspacethatcanbeunderstoodasanaboriginalepistémé.SoftyellowlightsaredigitallysuperimposedandfloatoverBelmore’sbodyinarandompattern.Eachindividuallightsymbolizesthepresenceofthemurderedwomenandhencegivessymboliclifeandenergytothememoryofeachvictim.ItisthisuseoflightandenergythatisreminiscentandtakesusbacktoBelmore’sunderstandingofandconnectiontothepowerofthenorthernlights.”

JoleneRickard,Tuscaroranation,‘RebeccaBelmore:PerformingPower’,�005

“The Named and the UnnamedisBelmore’sofferingtothesilencedones,invokingtheirnames,scrawledupherarmsliketattoosorscarificationmarks,theirlives,theirlovedonesleftbehind.Globesoflighttwinklelikestarsinthenightsky,oneforeachofthewomeninthedowntownarea.Theharshsummerlightofthegrittyurbansettingcontrastswiththetorn,frayedfabricofBelmore’sreddress,nailedagainandagaintowoodenpostslikeacrucifixion.Watercleanses,refreshes,reflectsliketears;rosesarestrippedbarebyBelmore’steethasshesummonsthenamesofhersisters.”

BrendaLCroft,statementaboutThe Named and the Unnamedfromtheexhibitioncatalogueessay.

Framing questions and research n howdoyouthinkyouwouldfeelorbehaveasamemberoftheaudiencewatchingthisperformance

takingplace?

n GiventhatthisworkwasperformedinanareaofVancouverwhereanumberofwomenhadbeenmurderedordisappeared,doesthischangethemeaningoftheworkinanyway?

n Inthisperformancetheartistmakesextensiveuseofsymbolicactions,objectsandmaterials.Identifyasmanyasyoucan.

Rebecca Belmore

2 Exploring the works


n Thisperformanceincorporatesormakesreferencestoritualsusedinadiversityofculturalceremonies.Areanyoftheseritualsstillusedwithincontemporarysociety?Ifso,why?

n Withinthisperformancetheartistusesherbodytocommunicatecodedmessagesaboutviolencetowomen.Watchasegmenttocloselyobservehowtheartistdoesthis.

n onecommentator(CharlotteTownsend-Gault)hascommentedthat“The Named and the Unnamedconsistsofasequenceoftableauxwhichpictureviolation.Theydosoinquitesimpleterms,drawingonapolyglotrepertoireofsymbols:thelightnessofair,theheavinessofwater,thepurityofwhite,theincomprehensibleblacknessofdeath,redtheever-troublingpassionthatthreatenspurityandcausesdeath.”Considertheseperspectiveswhilewatchingandanalysingthework.

n Duringtheperformancetheartistcallsoutthenamesofwomen.Thesenamesareinscribedonherarms.Whatisthesignificanceofthis?

n Whydoyouthinktheperformanceendswiththeartistleaningonapick-uptruckwithasoundsystemplayingJamesBrown’s It’s a Man’s, Man’s World?

n Doyouthinkthiskindofpublicperformanceisaneffectivewayofcommunicatingaboutsuchsocialissues?

n Croftcommentsthat“Belmore’sperformativeritualisacleansingreclamationofvictimswhocontinuetobedeniedequaljustice.”Whatdoyouthinkthisstatementmeansandhowmightitapplytothiswork?

RebeccaBELMoRE,The Named and the Unnamed,�00�,photographbyhowardUrsuliakCollectionoftheMorrisandhelenBelkinArtGallery,TheUniversityofBritishColumbia

�0 Stop(the)Gap: International Indigenous art in motionEducationResource

DanaClaxtonisfromthehunkpapaLakotaSiouxnation,andherfamilyreserveisWoodMountain,Canada.Claxtonworksinfilm,video,photography,installationandperformance;sheisalsoactiveasanindependentcuratorandeducator.

“I’minfluencedbymyownexperienceasaLakotawoman,asaCanadian,asamixedbloodCanadian,andthenmyownrelationshiptothenaturalandsupernaturalworld.Sotakingthatwholebundleofexperiences,itallgoesintotheartwork,Ithinkthat’swherethemulti-layeringcomesinbecauseI’vehadaverymulti-layeredlife.Andit’sallthoseexperiencesthatgointothework.”

DanaClaxton,artiststatementArtistwebsite:http://www.danaclaxton.com/

Work Rattle,�003,fourchanneldigitalvideoinstallation,sound,��:�5minutescourtesytheartist

“[A]politicalfocusisapparentasathreadrunningthroughDana’scareer.Withintheworksofbeautyandtheworksofragethereisalwaysapassionforjustice.Inthe�003four-channelinstallationRattle,Danatalksaboutthesubversivenatureofthepieceinitsdepictionofbeading.Flankingtherattle,thevisualprayer,areexamplesofbeadwork.Danasaysthatthiswasasubversiveact.Shetookbeadwork,relegatedtoCraftandmuseum,andblewituptofloodthegallerywallswiththebeautyofbeading,reclaimingthegalleryspaceforAboriginalartexpressions.”

TaniaWillard,Curator,Secwepemc(Shuswap)nation

“ClaxtondescribesRattle(�003)asbeing‘avisualprayerattemptingtocreateinfinity...[m]uchlikeapalindrome’.herintentis‘tobringspiritintothegalleryspace’.Thevisualandauralquadraphonicsequenceoftraditionalhorsehairandbeadedrattles,endlesslyshakeninrealtimeandstreamedinslowmotion,ismesmerising,meldingancientceremonyandcontemporarytechnologyina��stcenturyprayerorsongcycle.Framedbyprojectionsofcustomarybeadwork,theendlessresonanceofsoundandsightenticestheviewertoenterintoatrance-likemeditation.”

BrendaLCroft,statementaboutRattlefromtheexhibitioncatalogueessay

Framing questions and research n Considermakingaworkbasedontheideaofisolatingandfeaturinganaspectofritualbehaviour

youhaveobserved.

n Thisworkhasbeendescribedasa“mediatedvisualprayer”.(http://w.bos�7.com/biennial/artist��)WhatdoyouthinkthisdescriptionmightmeanandhowdoesitapplytoRattle?

n Usingthesamesetofphotographicimagesexperimentwithdifferentwaysofcombiningthemwithinasinglework.

n Basedontheexperimentsabove,considerprojectingmovingimagesontostillimagesandassesstheresult.

n Seeifyoucanfindexamplesofartfromdifferentcultureswhicharedesignedtoimmerseortakethevieweronasensoryjourney.

n Canyouthinkofotherwaystheideasinthisworkmighthavebeencommunicatedorexpressed?

n Considermakingaworkwhichisdesignedtotransformaspaceinsuchawaythatavisitororviewerbecomesimmersedwithinit.

Dana Claxton

2 Exploringtheworks

�� Stop(the)Gap: International Indigenous art in motionEducationResource

DanaCLAXTon,Rattle,�003,fourchanneldigitalvideoinstallation,sound,��:�5minutes,courtesytheartist

n TogetanoverviewofthehistoryoftheLakotapeoplesearchforinformationaboutthehistoryoftheUSandCanadiancolonialbordersandthemigrationofSittingBullandhispeopletoCanadainthelater�9thcentury.

n “InLakotaculturethereareskyteachings,andforDanatheplains’skyisaninfluenceinherwork.Inaninterviewwiththeartist,shetalksaboutLakotateaching:‘IhavebeentaughtthroughLakotateachingsandspiritualteachingsthatit’sallaboutthesky.It’sallabouthowtheskywilltellyoueverythingthatyouneedtoknow.It’saboutwatchingandpondering,andabouthowtheskywillshowyouthings.’…Inhersurrealapproach,Dana’sworksactlikethecloudsinthesky,shiftingtoshowusnewthings,newlayersandimages–endlessly.”

TaniaWillard,Curator,Secwepemc(Shuswap)nation,‘Startingfromhome’,http://www.danaclaxton.com/

ConsiderthisinterpretationwhilelookingatandanalysingRattle.


Alan Michelson

2 Exploringtheworks

AlanMIChELSon,TwoRow II,�005,fourchanneldigitalvideoinstallation,sound,�3:05minutes,courtesytheartist

AlanMichelsonisanewYorkCity-basedMohawkmemberofSixnationsoftheGrandRiver(haudenosauneeorIroquois).hisworksaddressplace,memory,andthenorthAmericanlandscapeinprofound,poetic,multimediainstallations.Michelsonhasarticulatedhisfascinationwithriversasnaturalborders,reflectingontheongoingcolonialimpactuponlocallandscapesandwaterwaysaswellastheecosystemsandcommunitiestheysupport.

Artistwebsite:http://alanmichelson.com/

Work TwoRow II,�005,fourchanneldigitalvideoinstallation,sound,�3:05minutesnationalGalleryofCanada,ottawa.Purchased�006

“FourhundredyearsagoEuropeansarrivedinourlands,theFrenchfromthenorthandDutchfromtheSouth,totradewithus.observingthemanydifferencesbetweenus,ourancestorsmadeadiplomaticagreementwiththem,embodiedinabeltofsmallclamshellbeads(wampum)calledtheTwoRowWampumafteritspatternoftwoparallelrowsofpurplebeadsdividedbythreerowsofwhitebeads.Itstoodfortheflowingriveroflife,whichbothpeoplesweretotravelin,separatebutparallelcourses,representedbythepurplerows–“weinourcanoe,andourwhitebrotherinhisboat”–inpeace,equalityandfriendshipforever.

Toustheagreementremainsineffect,butonceEuropeansoutnumberedustheyseldomhonoredit.Theywantedourlands–nowuppernewYorkState–andwhenwedefendedthemthroughalliancewiththeBritishduringtheAmericanRevolutionwelosttheminstead.IntheirplacetheCrowngranteduslandinCanada–sixmilesoneithersideoftheGrandRiverfrommouthtosource–amillionacres.Weholdonlyafractionofthatnow,largelyatSixnationsReserve.IshotTwoRow IIthereontheGrandfromadinnercruiseboataboardwhichIrecordedthreeofthefoursoundtracks.TheotherconsistsofstoriesoftheriverIrecordedbySixnationselders,whichdivergefromthenon-nativecruisecaptain’snarration.Thetoprowofvideoisthenon-nativeriverbankandthebottomtheSixnations’side.”

AlanMichelson,artiststatement


“Michelson’smonumentalfour-channelwork,TwoRow II(�005),wendsitswaythroughSouthernontario,Canada.FollowingtheGrandRiver,ittakesthevieweronapanoramicexpeditionofthecontrastbetweentheSixnationsReserveandnon-nativetownshipssituatedonoppositesidesoftheriver.ThetitleandpaletterefertothepurpleandwhiteTwoRowWampum,atraditionalbeltwovenofwampum(clamshellbeads),createdin�6�3todocumentatreatybetweenthehaudenosauneeandDutchcolonistsinhaudenosauneeterritory(nowupstatenewYork).Itsdesignconsistsoftworowsofpurplebeadsrepresentingtheparallel,peacefulcoursesoftwodistinctvessels–haudenosauneecanoeandEuropeansailingship–alternatingwiththreerowsofwhitebeadssignifyingharmonyandalliance.”

BrendaLCroft,statementaboutTwoRow IIfromtheexhibitioncatalogueessay

Framing questions and research n Doyouthinkthattheartist’smethodofcounter-posingtwoimageswithinasingleworkiseffective

intermsofwhattheworkisabout?

n Wampumbeltsofthekindfeaturedinthisworkincorporatedsymbolismassociatedwithimportanteventssuchastreatiesandothereventsofsignificance.Canyourresearchtellyouifthisapproachtoencodingandrecordingisfoundintheartanddesignofothertraditionalcultures?

n AfterlisteningtothetwoparallelaccountswithinTwoRow II,thecruiseboatcaptain’scommentaryandstoriesoftherivertoldbySixnationselders,noteandcomparevariationsinthetwoaccounts.

n ThebeltreferencedinTwoRow II isthehistoricTwoRowWampum,commemoratinga�6�3treatyoffriendshipandco-existencebetweenthehaudenosauneeandthenewlyarrivedDutchontheMohawkRiver.Researchthishistoricaleventtobetterunderstandthecontextandsignificanceofthewampumastreaty.

n WampumbeltsmadefromshellbeadshaveplayedasignificantroleintheceremonialandpoliticallifeofnativeAmericancultures.Findoutmoreaboutthem.

n AfeatureofMichelson’spracticeishisfascinationwithriversasnaturalborders,reflectinganongoingcolonialimpactuponlocallandscapesandwaterwaysaswellasecosystemsandthecommunitiestheysupport.howisthisevidentinTwoRow II?

n SomeAboriginalcommunitieswithinAustraliahaveusedartworkstosupportlandclaims.FindsomeexamplesandcompareexampleswithMichelson’sTwoRow II.


novaPaulisafilmmakerofTeUriRoRoiandTeParawhau/ng Puhidescent.Paul’sfilmmakingpracticeutilisestheopticalprintingprocessofthree-colourseparation,anearlycinematictechnique.herfirstfilmtopioneerthiswasPink and White Terraces(�006).ItpremieredattheTelecomnewZealandInternationalFilmFestival,Auckland,newZealand,�006.

Artistwebsite:http://novapaul.net/

Work This Is Not Dying,�0�0,�6mmfilm(digitaltransfer),sound,�0:00minutescourtesytheartist

“This Is Not Dying(�0:00minutes,�6mm)isanexperimentalfilmthatexploresthepoeticsofplaceanddailylifearoundthefilmmaker’smarae(tribalmeetingplace).UsingaprintingprocesssimilartoearlyTechnicolor,thefilmcapturesephemeralqualitiesofpeople,dustandlightinherancestrallandscapecreatingprismaticshardsofcolour.Likewaterthatfollowswellwornpathsalongariver,channelsofred,greenandbluetracearoundsignificantplacestothefilmmaker’sfamily.Ang PuhilovesongsungonthemaraeisimprovisedonsteelandslideguitarbyfamedM orishowbandfigureBenTawhitiindirectresponsetothefilmfootage.hereasenseofself-determinacyandvitalityintheeverydaylivesofindividualsandcommunityatMaungarongomaraeiscreated.”

novaPaul,artist’sstatement�0��

“This Is Not Dying(�0�0)emanatesfromdailylifearoundtheartist’smarae(communalorsacredplace),Maungarongo,nearWhangarei,thenorthern-mostcityonthenorthIslandofAotearoa.Everydaygestures–suchassunbathing,fixingmotorbikes,orsettingtablesforameal–andfamiliarspacesandplacestoherfamilyandcommunitybecome‘other’placesandspacesofliminalityandluminosity,filteredbyetherealimmersioninred,greenandbluefilters.”

BrendaLCroft,statementaboutThis Is Not Dyingfromtheexhibitioncatalogueessay

Framing questions and research n “Enamouredwithcolourandthesignificanceofsmallactstosaywhoweareandhowwedetermine

ourselves,Paul'slyricalworksresistmeasuredtime.Themovingimagesarelikewovenvignettesoftextiles,layersofgauze,screenandscreening.”howdoesCroft’sinterpretationofthisworkfitwithyourreadingandresponsetoThis Is Not Dying?

n Theartisthascommentedthatinherworkcolourtracesaroundplacesofsignificancetoherfamily,likewaterfollowing“well-wornpathsalongariver”.Isthisausefulmetaphortoapplytoareadingofthiswork?

n Thetechniqueofoverlaidseparatecolourfilminghasbeenusedtocreateasenseofindeterminacy,asifthisisarealplacebutatthesametime,asiffromadream.Whydoyouthinkthatartisthaschosenthiskindofeffect?

n ConsiderifPaul’sapproachtomakingthefamiliarseemspecial,suggestsoptionsforyourownartwork.

n WhydoyouthinktheartistchosethetitleThis Is Not Dying?

Nova Paul

2 Exploringtheworks


novaPAUL,This Is Not Dying,�0�0,�6mmfilm(digitaltransfer),sound,�0:00minutes,courtesytheartist


LisaReihanaisof ngofng Puhi:ng tihineandng iTudescent.herpracticeiswide-rangingandincludesinstallation,movingimageandtime-basedmedia,sculpture,photography,performance,costume,bodyadornmentandtext-basedworks.her work comments on gender politics, cultural agency and museologicalherworkcommentsongenderpolitics,culturalagencyandmuseologicalinterventions.ReihanacompletedamajorcommissionMai i te aroha, ko te arohaforTePapaTongarewa,Wellingtonin�008.AdevelopmentofthisworkisincludedinTe Po �� Matarikie Po �� Matariki(�0�0) where WhirimakowhereWhirimakoBlackperformsakaranga,the first sound heard on thethefirstsoundheardonthemaraeinformaloccasionsandthecall-and-responsebyseniorM oriwomenaspartofM oriwelcomingceremoniesknownaspowhiri.

Work Groundswell,�00�,eightchanneldigitalvideoinstallation,sound,30:00minutescourtesytheartistandARTPRoJECTS,newZealand

“Iconsiderthisinstallationwithinatraditionoflandscapepainting.It’san‘upclose’investigationofngawhaSpringsinTaiTokerau,northIsland,asitenearmyfatherstriballands.Theprivatelyownedfarmfromwheretheimagesaredrawn,wasabouttobesold.ThemyriadearthypalettesreferencenewZealand’shousingaestheticwherelargebuildingstrytoblendintotheirsurroundingsutilisingcolours‘drawnfromnature’.”

“ThehealingmineralspringsofngawhaSpringsareanimportanttaonga[treasure],andaplaceI’vevisitedmanytimes.InrecentyearsaprisonhasbeenbuiltnearbyincarceratingamainlyM oripopulation.historicallyitwasasiteformineralmining–thecinnabarandnativemercurydepositswereworkedinthe�890sandfrom�9�7–34and�94�–45.Thetailingsaddamelancholicandpost-apocalypticair.”

LisaReihana,artiststatementaboutGroundswell.

“Groundswell(�005)isanintimateseriesoflandscapevignettesoftheliving,breathing,corporealterrafirmaofngawhaSpringsinTaiTokerau,northIsland–Reihana’sfather’straditionallands.Bubblingmineralspringsappeartoinvokethespiritsoftheancestors,unhappywiththedeleteriousimpactofminingwhichbeganinthelate�9thcenturyandhassincegeneratedadamagedmoonscape.“

BrendaLCroft,statementaboutGroundswellfromtheexhibitioncatalogueessay.

Work Te Po �� Matariki,�0�0,video,�3:30minutescourtesytheartistandARTPRoJECTS,newZealand

“InthespiritofmemorialTe Po �� Matarikidrawstogetheretherealimagerytohonourthegods.TheM orisongstressWhirimakoBlackperformsakarangatothosewhohavelosttheirlivesinbattle.hersilentsongcallsforthanapparition,theTuiorParsonbird,aharbingerofsouls.Thefourwindgoddessesappearagainstanatmosphericsky,forminganovalcomposition–bothacuetoanewandcontemporaryrepresentationofM oriwomenandtocompassesfoundonearlymaps.ThepopaestheticincludesdigitalrepresentationsofM oritukutukuorwovenpanels.”

LisaReihana,artiststatement

Framing questions and research n Reihana’scommentsaboutGroundswellcommunicateaspecial,personalconnectionwithaspecific

place.howisthissenseofconnectioncommunicatedinthiswork?

n Whydoyouthinktheartisthasincludedinhercommentsthatforher“Thetailingsaddamelancholicandpost-apocalypticair.”?

n TheformatforGroundswellappearstoimitatea�9thcenturyEuropeansalontraditionofarrangingpaintingsonagallerywall.Doyouthinkthisreferenceorresemblanceshapesthemeaningofthisworkinanyway?

n Thinkabout,recordandlatercomparewithothersyourfirstimpressionofthiswork;whatitmightbeaboutorsaying?

n ResearchthesignificanceofMatarikiwithinM oriculture.

Lisa Reihana

2 Exploringtheworks


n Thekaranga(asperformedinTe Po �� Matariki)traditionallyhappensduringthetimeavisitinggroupmovesontothemarae(meetingarea).ResearchthisinthecontextofreflectingonReihana’svideo.

n ofReihanaithasbeensaidthat“herworkscommunicatecomplexideasaboutindigenousidentityandbi-culturalliving,andaredrawnfromeclecticsources,includingM orimythologyandcontemporaryculture.Reihanareinterpretsimportantoralhistoriesandcustomarylore,makingthemavailabletoacollectiveAotearoa/newZealandconsciousnessthroughtheircontemporarypresentation.”www.qag.qld.gov.au/collection/pacific_art/lisa_reihana

n UsetheabovestatementasabasisforwebresearchontheworkofthisartisttobetterunderstandhowthetwoGapworksrelatetoheroverallpractice.

n AfeatureofReihana’spracticeistheartist’suseofmovingimagetechnologiestomakearttraditionallyinvolvingwoodcarving.Anexampleistheartist’s�008installation,Mai i te aroha, ko te aroha,(‘Fromlove,comeslove’),fortheMuseumofnewZealand,TePapaTongarewa.Theworkcomprisessevencomponentsincludingmovingimage,digitalphotographyandtextiledesign.

n Anonlinemagazine(Fascineshion)interviewgivesvaluableinsights(alsosomevideos)intotheartist’sideasandformativeinfluences,http://www.fascineshion.com/en/arty/lisa-reihana/�85/

n SeealsoinformationabouttheartistintheAsia-Pacific Triennial of Contemporary Art 2002EducationResourceKit:http://www.visualarts.qld.gov.au/apt�00�/pdf/APT_Lisa_Reihana_new.pdf

LisaREIhAnA,Te Po �� Matariki,�0�0,video,�3:30minutes,courtesytheartistandARTPRoJECTS,newZealand


WarwickThorntonisaKaytejmanfromcentralAustralia,whosecustomarylandsaretothenorthofAliceSpringswherehehaslivedthemajorityofhislife.Afilmmakerofsingularlydistinctivevision,hisfirstfeaturefilmSamson and Delilah(�009)tookthenationalandinternationalfilmworldbystorm,winningnumerousawardsincludingtheCamérad’oratthe�009CannesFilmFestival.hisworkcontinuestochallenge,confrontandseduceIndigenousandnon-Indigenousaudienceswithitsvisceraldepictionofdamagedyoungromanceintrulydysfunctionalsettingsoftimeandplace.

‘When I grow up I want to be just like Jesus.’

WarwickThornton,aged6

“AsIndigenouspeopleweneedmoredoctors,andmorelawyersandmoreteachers,andmoresurgeons,andmoretruckdriversandmorelibrariansandmorepoliticians.Allofthat,butweneedmorestorytellers.”

WarwickThornton,talkstoFilm In Japan:http://filminjapan.blogspot.com/�0�0/09/samson-and-delilah-interview-and.html

Work Stranded,�0��,3Ddigitalvideo,sound,��:06minutescourtesytheartist,producedbyScarlettPictureswiththekindsupportofAFTRS,PanavisionAustraliaandDefinitionFilms,commissionedbyAdelaideFilmFestivalInvestmentFund�0��

“Thornton’sfigurerevolvesinspaceaboveamirroredwaterholeinthebrilliantharshnessofthebrokenheartland,heightenedbytheunnervingsoundsofwideopenspaces–thechirrupingofnativebirds,theubiquitousblowflybuzz,thewhoomp-ingsensationofwindmill...orwindturbine?Dream(ing)ornightmare,orboth?”

BrendaLCroft,statementaboutStrandedfromtheexhibitioncatalogueessay

Framing questions and research n The‘BlackJesus’isatraditionwithintheChristianchurchindifferentpartsoftheworld.

ResearchthisandanalyseStrandedfromthisperspective.

n Whenaskedtogiveastatementaccompanyingthisworktheartistprovided,“WhenIgrowupIwanttobejustlikeJesus.WarwickThornton,aged6.”Doesthisstatementinfluenceyourresponsetotheworkinanyway?

n ConsiderThornton’sappropriationofChristianiconography(crucifiedChrist)toexploreorexposetheconsequencesofreligiouscolonisation.

n WhydoyouthinkThorntonhasplacedhimself(andnotChrist)onthecross?

n oneinterpretationsuggeststhattheartist(asChrist)istiredofbeingonthecrossandwantstogetdown.Whatdoyoumakeofthisidea?

n DoyouthinktheartistwantsustothinkthatheisbeingChrist?ordoyouthinkthatheisaskingustothinkaboutthesymbolismofChristbeingonthecrossandhowthismightapplytotheartistorthecommunityatlarge?

n Whoistheaudienceforthiswork?

n InChristianbeliefthecrosssignifiessacrifice.Doesthisinfluenceyourinterpretationofthiswork(i.e.whatitmightbe‘saying’)inanyway?

n CinematicversionsofthelifeanddeathofJesushaveoftendividedaudiencesintermsofthestyleofdepiction(toorealisticortooidealised).AsamemberoftheaudienceforStranded,whatareyourfeelingsonthis?

n SettingtheactionwithinacentralAustralian(MacDonnellRanges)locationmaybeadeliberatestrategytoreferencetheartandlifeofanotherprominentAboriginalartist,Albertnamatjira.ResearchsomebackgroundonnamatjiraandreconsiderStrandedfromthisperspective.

Warwick Thornton

2 Exploringtheworks


n Albertnamatjirawasthesubjectofalino-cutbytheAustralianartistnoelCounihan(Albert Namatjira,�959).Theworkdepictednamatjira,crucifiedandsetaboveaChristianchurch.Researchtheoriginsandcontextofthiswork(thenationalGalleryofVictoriasitehasanimageandcommentary)andconsiderifitrelatesinanywaytoStranded.

n Doesthevisualsetting(inlandvalleyandrockyescarpments)influencethewayyou‘read’thiswork?Whydidn’ttheartist(forexample)useanindoorsorchurchsetting?

n DoyouthinkthetitleStrandedofferssomecluetotheartist’sintentions?

n ThetitleforStrandedwastakenfromthemusictrack‘(I’m) Stranded’byAustralianpunkbandTheSaints.Thelyrics(availableonline)includethewords,‘Livin’inaworldinsane/theycutoutsomeheart&somebrain/’beenfillingitupwithdirt/doyouknowhowmuchithurts’.

WarwickThoRnTon,Stranded,�0��filmstill,commissionedbyAdelaideFilmFestivalInvestmentFund�0��,©theartist


3 Exploring the exhibition: Themes

Exploringtheexhibitionextendsbeyondlookingatindividualartist’sworktoidentifyingandconsideringrelationshipsbetweenvariousworksintheexhibition.AneffectivewaytodothisistoseeStop(the)Gapasanexhibitionconsistingofgroupsofworksthathavethingsincommonor,intentionallyorotherwise,havethingstosaytoeachother.Thiskindofdialogueisconventionallydescribedasthemes.

Theme 1: Symbolism and ritual Theuseofsymbolstorepresentandcommunicateknowledge,beliefandfeelingsisevidentinmanyGapworks.

Consider n TheperformanceinBelmore’svideo(The Named and the Unnamed)incorporatesormakesreferences

toanumberofritualsusedinadiversityofculturalceremonies.

n ThesymbolismofgestureinBelmore’sperformance.

n Thehandgesturesincorporatedintothesinger’sperformanceinReihana’sTe Po �� Matariki.

n Whatcanyoufindoutabouttheuseofrattlesintraditionalceremonies(asseeninClaxton’sRattle)?

n ThehistoricIroquoiswampumbeltisusedasthebasisforMichelson’stworowsofmovingpanoramas(TwoRow II ).TherowsinthebeltsymbolisedtheparallelpathsofanIroquoiscanoeandaEuropeanship.

Theme 2: Country/Land Referencingcountryandland,itssignificanceandmeaningisintegraltoanumberofGapworks.

Consider n TheparallelhistoriesofaspecificareaoflandasreferencedinMichelson’sTwoRow II.Thefeatured

riveristheGrand,whichdividesSixnationsoftheGrandRiverReserve,ofwhichMichelsonisamember,andnon-nativetownshipsinsouthernontario.

n ThejuxtapositionofthecrucifiedfigureoftheartistandaspecificCentralianlandscapeinThornton’sStranded.ThorntonisaKaytejmanfromcentralAustralia,whosecustomarylandsaretothenorthofAliceSpringswherehehaslivedthemajorityofhislife.ThechoiceoflocationispartlydeterminedbyitsclearassociationwiththepaintingsofAlbertnamatjira.

n This Is Not Dying(�0�0)offersinsightsintodailylifearoundthenovaPaul’smarae(communalorsacredplace),Maungarongo,nearWhangarei,thenorthern-mostcityonthenorthIslandofAotearoa.

n ReihanadescribesGroundswellas“an‘upclose’investigationofngawhaSpringsinTaiTokerau,northIsland,asitenearmyfatherstriballands.“Shealsocomments,“ThehealingmineralspringsofngawhaSpringsareanimportanttaonga[treasure],andaplaceI’vevisitedmanytimes.”

Theme 3: Shared history Croftstatesthat“Indigenouscommunitiesaroundtheglobesharecolonialhistoriesrelatingtodispossession,injustice,inequityandmisrepresentation.”SuchissuesareaddressedinanumberofGapworkswithinacontextofrevealinglessonsandtruthsfromthepastaswellasexploringthepossibilityofcreatingnewhistoricalnarrativeswhichincludeIndigenousperspectives.

Consider n Reihana’sfocusonMatarikiasaunifyingsymbolforpeople,withinAotearoa/newZealand

andelsewhere.

n TheentwinedandatthesametimeseparatestoriesincorporatedwithinMichelson’sTwoRow II.

n Theimplicationsofashared/imposedChristianheritageunderlyingThornton’sStranded.


Theme 4: Parallel and divergent history historyprovidesabackdroptomuchoftheworkinStop(the)Gap.FromtheperspectiveofGapartistsandotherIndigenousartists,colonial-periodvaluesandattitudesareembeddedinthemindsetandsystemsofbroadercontemporarysocieties.Muchofthistheybelieveisbasedonaflawedunderstandingofhistory,particularlyinrelationto‘contacthistory’(recordsofinitialandsettlementperiodcontactbetweenIndigenouscommunitiesandcolonists/colonialadministration).StrategiesusedbyIndigenousartistsinaddressingsuchconcernshaveincluded;‘unpacking’historicaleventstoallowthemtobeseenfromdifferentperspectives,focussingonthelifeandexperiencesofindividualsandre-presentinghistoryasanoverlayofdifferent(andsometimesdivergent)accounts.

Consider n Michelson’srepresentationofhistoryusingtheriverasmetaphorandhistorical‘dividingline’

betweencultures.

n Belmore’s‘underbelly’narrativeoflifeforparticularwomenincontemporaryVancouvercontrastingwiththeperceivedindifferenceofauthoritiesandthepowerimbalancesina‘man’sworld’.

n Thornton’sappropriationofChristianiconography(crucifiedChrist)toexploreorexposetheconsequencesofreligiouscolonisation.

Theme 5: History of others TheunderlyingpremiseofalltheworksinStop(the)Gapisthat,invaryingdegrees,Indigenouspeoplescontinuetobeimpactedonbyprocessesandhistoricaleventsassociatedwithcolonisation.Inaddressingthissomeartistsrevisithistoryinordertocritique‘official’narrativesortoraiseawarenessoforincludeIndigenoushistoriesandperspectiveswithinthesenarratives.UnderlyingthisisthedesiretobreakdownconventionalandexclusiveviewsofthehistoryofcolonisedcountriesasessentiallyEuropean,withthehistoryof‘others’(pre-European)tackedon,oftenasanafterthought.ThehistoricalmodelsuggestedbythefocusofanumberofGapworksisanoverlayofparallel,sometimesentwinedoroverlappinghistoriesandsharedfutures.

ExploringthisthemedoesrequireacommitmenttofindoutmoreaboutthehistoryandcultureofotherIndigenousgroups.ThisexhibitionoffersopportunitiesthroughanumberofindividualartistresearchsuggestionsinthisEducationResource.

Theme 6: Voices Indigenoussocietiesacrosstheworldcontinuetodealwithissuesrelatedtoalossorsilencingofvoices.Inrealtermsthismaybethegraduallossoforaltraditionswhichtraditionallyprovidedcommunitieswithasenseofhistoryandplace.Thepre-Europeanhistoryof‘FirstPeoples’isoftenerasedfrom(ordiscountedwithin)conventionalhistoricalaccountsofcolonisationandongoingsettlement.Withincontemporarysocietiesthepresence,perspectivesandvoicesofminorityIndigenouscommunitiesareoftenhiddenorsilenced.

Considern BelmorecallingouttheactualnamesofwomeninThe Named and the Unnamedperformance.

n SixnationseldersinMichelson’sTwoRow IIsharingtheirperspectivesontheimpactofEuropeansettlement.

n ThorntondeclaringapersonalperspectiveonreligiousbeliefinStranded.

n Paulinvitingtheviewerintoherdomesticworld.


3 Exploringtheexhibition:Themes

Theme 7: Powerful art MuchartintheEuropeanmoderntraditionisconventionallyacceptedandreadasexpressionsofindividualrealisationsandfeelings.TheworksinStop(the)Gapgenerallycontradictthismodelofartbyaddressingcommunal(asopposedtoindividual)issuesandthemesandusingsymbolsandothertraditionalartsformswhichre-affirmtheroleoftheartsaspowerfulsystemsforretainingandconsigningknowledgeandbelief.Akeystrategyinvolvesmulti-artsformats,withtheviewerbeingdrawnintoandimmersedintheworkthroughthepowerofimages,soundandmovement.

Consider n TheintentionofClaxtoninRattle(“tobringspiritintothegalleryspace”).

n TheinsistentvisualsandaudiorhythmsinRattledesignedtoimpactontheviewer’ssenses.

n Therepeated,ritualisedgesturesinBelmore’sThe Named and the Unnamedperformance.

n ThevisualdemandsplacedontheviewerwatchingMichelson’sTwoRow II.

n ThehypnoticpatternanimationsinReihana’sTe Po �� Matariki.

n The3DintrusionintoviewerspaceandthesensoryconfrontationsinThornton’sStranded.

n Thesensory‘build’ofimageryinReihana’smulti-screenGroundswell.

Theme 8: Tradition and change AfeatureofanumberofGapworksisthewayartistsdrawonandusetraditionsbutalsoadaptthemwithinamovingimageenvironment.

Consider n ThetraditionalweavingpatternsincorporatedintoReihana’sTe Po �� Matariki.

n ThesubtlereferencingofthewampumbeltdesignsandsymbolisminMichelson’sTwoRow II.

n TheuseoflayeredandcounterposedstoriesinTwoRow IIreferencingconventionsoforaltraditions.

n ThevisualtimecodinginThornton’sStranded(settinga�000yearoldreligioussymbolagainstamillennia-oldlandscape).

n Thornton’sreferencingofthe‘BlackJesus’traditionwithintheChristianchurch.

n ThemaraeasanongoingtraditionwithincontemporaryM orisociety(seePaul’sThis Is Not DyingandReihana’sTe Po �� Matariki).

n Theuseofcontemporarymovingimagetechnologiestore-interprethistoryandcultureandcommunicatewithdifferentaudiences.


4 For teachers

Planning a successful group visit to Stop(the)Gap Ifplanningtobringaschoolgrouptothisexhibition–booknow.Bookingsarerequiredtoguaranteescheduledentrytotheexhibition.

Tobook:Tel08830�[email protected]

Allbookingswillbeconfirmedwiththesupervisingteacherbytelephoneoremail.

Year Level ThisEducationResourceisdesignedtobeusedbysecondarytoseniorsecondaryvisualartteachersandstudents.

Pre-exhibition

Background briefing n Informthestudentsabouttheoriginsandcontentoftheexhibition.

n RefertotheCuratorialFrameworkssectioninthisResource.

n DownloadtheStop(the)Gapcatalogue(andessay)fromtheSamstagArtMuseumwebsite:http://www.unisa.edu.au/samstagmuseum/exhibitions/�0��/docs/SMASTGCatalogue.PDF

n VisitselectedGapartists’websites

n Introduceanddiscussmeaning,conceptsandissuesrelatedtokeyterminologyincluding:

n Indigenous,traditional,authentic,colonial,post-colonial,globalisation.

n EncouragestudentstodosomebackgroundresearchonM oriartandcultureandnorthAmericanFirstnations/nativeAmericanartandculture.

note:WarwickThornton’sStrandeddoesincorporateacentralimageoftheartist(digitally)crucified.Theiconographyandcompelling3Drealismofthisworkmaybeconfrontingtosomestudents.Contextualisedengagementandpre/postanalysiswillbenefitfromdiscussionrelatedtosuchaspectsas:theimageofthesufferingChristinChristianart,the‘BlackJesus’traditioninpost-colonialcultures,ChristianandAboriginalbeliefsystems,whatconstitutes‘blasphemy’inmodernsecularsociety,artasshockandthelifeandworkofAlbertnamatjira.ViewingThornton’sfeaturefilmSamson and Delilahwillprovideadditionalcontext.

In the exhibition onarrivalyourgroupwillbemetandwelcomedbyamemberoftheSamstagArtMuseumstaff.Thismaybethebesttimetodistributepreparedactivitysheetsorthe‘GetStarted’researchactivitiesincludedinthisEducationResource.

Beforegroupsdisperseremindstudentsoftheusualgalleryviewingprotocols(suchasbeingawareofothersusingthespace)andtostressthenatureofviewingthiskindofexhibitionwhichwillrequirestudentstospendquality,reflectivetimewithworks,immersingthemselveswithinviewingexperiencesofupto�5minutesormore.

Thissessionwillinvolvestudentsbeinginvolvedinsomegroupandindividualanalysisandresponse.Scribingisoptionalbutwillbeusefulforon-sitereportingandpost-visitresearch.

Asuggestionisthatstudentsinthissessiontrytwothings:engagewiththeworkofanindividualartistandwithoneoftheexhibition’sthemes.

ForthistohappenitwouldbeusefulifstudentshadaccesstotheStop(the)GapEducationResourcepriortovisitingtheexhibition.Thiscouldallowstudentstomakethematicselectionsbeforearrival.

Viewing TheexhibitionoccupiesbothfloorsoftheSamstagArtMuseum.ThesixviewingareasvaryinsizeandtheroompresentingWarwickThornton’svideoisrestrictedinviewingnumberstoaround�0students.

Plantodivideaclassintodifferentviewinggroups(around5to6pergroup)


4 Forteachers

5 Get started

In-exhibition engagement activities Thefollowingtasksaredesignedtosupport/initiatestructuredviewingandengagementforstudentsintheexhibition.Theycanbeundertakeninanyorderandaresuitableforindividualandsmallgroupwork.Implicitinsometasksistheideathatstudentsorgroupswillreportfindingsanddiscussworkswithothers.

Scribingisnotnecessarytoundertaketheseactivitiesbutsomeofthesetaskscouldinvolvescribingtosupporton-goingpostvisitwork.

Think about n Whenyoufindyourselfwantingtolookatsomeworksinparticulardoyouthinkitisbecausethe

imageorsubjectisinterestingorisitbecauseoftheartist’stechniqueorwayofinterpretingthesubject?

n Isthereaparticularworkinthisexhibitionthatcontainsorissayingthingsthatyouagreewithordisagreewithstrongly?Talktosomeoneelseinyourgroupaboutyourresponse.

n Isthereaparticularworkinthisexhibitionwhichraisesmorequestionsthananyotherwork?

n Whatkindsofquestionsdoesthisworkraise?Compareanddiscussyourfindingswithothers.

First and last impressions n Whatdidyouthinkaboutwhenyoufirstcameintotheexhibitionandlookedaround?

n Wasthereanyworkinparticularyouwantedtoreturntoandlookatagain?

n Anyreasonsforthis?

n Isthereaworkinthisexhibitionthatyouthinkyouwillfindhardtoforget?Why?

n Beforeleavingcheckouttheexhibitiononemoretimetoseeifthere’sanideaortechniqueinaworkthatyoucouldtrywhenyougetbacktoschool.

n Easy?

n Whichworkdoyouthinkwastheeasiestandwhichworkwasthehardesttomake–andwhy?

Analysis and response (individual work/s) Chooseanyworkthatattractsyourattentionandapplyanyorallofthefollowingquestions:

n Arethevisualqualitiesofthisworkappealinginanyway?

n Wouldthisideahavebeenbetterexpressedinadifferentway?

Thevideoprojectionsvaryinlength.Forrunningtimesseethe‘ListofWorks’insection8ofthisResource.Mostrunforaround�5minutesorless.oneexceptionisBelmore’sThe Named and the Unnamedwhichrunsaround35minutes.Thissuggeststhatindividualgroups(ifallowingaround60minutesfortheentirevisit)mayonlyaccessthisvideoforaround�0–�5minutes.Thepositivetothisisthattheentirevideoperformancecanbeviewedontheartist’swebsite.

Post visit Postexhibitionoptionsprimarilyconsistofsharingandanalysingtheinformationgatheredduringtheexhibitionvisit.Thisinformationmightbe:

n Informationgatheredon-site

n Individualopinions(shared)

n Differenttaskorthemegroupsreportingfindings


5 Getstarted

6 Further research

Curatorial frameworks ThecatalogueforStop(the)Gapcontainsanintroductoryessay,‘Sell-abrasionofournations’bytheexhibition’scuratorBrendaLCroft.InthisessayCroftintroduceseachoftheartistsandtheirworksinthecontextofissueswhichcontinuetoimpactonIndigenousartistsandpeoplewithinAustraliaandelsewhere.

Theessayfirstpaintsapictureofwhatitfeelsliketobeintheambiguouspositionofbeingan‘insider/outsider’ormarginalisedwithinone’sowncountry.TodothisthecuratorreflectsonthemeaningandritualsofAustraliaDay,�6January,whichcelebratesthecolonisationofAustraliaonthisdayin�788.

“Ritesofpassage.Drivingslowlydownthecoastalesplanade,paralleltoagloriousstretchofseasideinAdelaide’snorth-west,onaclassicalantipodeansummer’sday,Iamgrippedwithasenseofuneaseandrisingirritation.It’sthecountry’sbiggestpublicholiday:AustraliaDay,�6January,�0��.

Sayitloud,sayitproud,bunganothersnagonthebarbie,skolanotherbeer,bowlanotherballatthestumps.hoWZAT!EverywhereIturn,myeyeballsarebesetbythecoloursofanothercountry–thered,thewhite,andthetrueblue.Flagsareflyingfromeverysecondcar,cruisin’foranationalisticbruisin’,embroideredonhats,printedonbikinis,shirtsandswimmers,intemporarytattoosadorningthefacesandarmsofyoungandold,snappingbreezilyfrompublicandprivateflagpoles(sincewhendidpeoplestartplantingflagpolesintheirfrontyards?).Thefacesareoverwhelminglywhite,theirgaitrelaxedandconfident.Theexpectationisthatallofusarewillingtobeco-optedintothisannualback-slapping,colonial,self-righteousritual.”

Croft’sperspectiveonsuch“back-slapping,colonial,self-righteous”ritualsandcelebrationsisthattheypromoteaparticularkindofnationalismwhichusuallyexcludesIndigenouspeopleandAustralia’sIndigenoushistoriesandculturalidentities.ItalsoperpetuatesattitudesandculturalvalueswhichhavebeenembeddedwithinAustraliansocietysincetheinitialcolonisationofAustraliainthelate�8thcentury.FromsuchkindsofobservationsthecuratorbelievesthatmanyAustraliansare“relaxedandconfident”intheirsenseof‘Australianess’butfailtoappreciatethatsuchfeelingsaboutaspecificculturalidentityarenotsharedbyother(particularlyIndigenous)Australians.

n Canyouseeanykindofconnectionbetweenthiskindofartandothersyouknowabout?

n Whatdoyouthinkthisworkisaboutormightbesaying?

n hasthisgivenyouanideaforsomethingyoucouldmakeaspartofyourartstudies?

n Selectoneworkthatappealsinsomewayandtellsomeoneelseyourreasonsforyourselection.

Analysis and response (the exhibition) Writeareviewoftheexhibitionwhichexploresthelinksorrelationshipsbetweentheworks.

n ChooseoneofthethemessuggestedinthisEducationResourceandreviewtheexhibitionfromthisperspective.

n Arethereotherthemes(notidentifiedinthisResource)whichcouldapplytothisselectionofwork?

n Comparetwoormoreworkswhichappeartobeexploringsimilarideasindifferentways.

Indigenous perspectives Isthereaparticularwork(ornumberofworks)inthisexhibitionwhichhasprovidednewinformationoralteredyourunderstandingofhowindividual(orcommunitiesof)Indigenousartistsperceivetheworld?Discussyourselectionandopinionswithothers.


6 Furtherresearch

Stop(the)Gap Croftcommentsaboutthetitle:

“So,whythetitleofthisinternationalIndigenousexhibitionproject:Stop(the)Gap: International Indigenous art in motion?Stop(the)Gapreflectsontheroleofvernacularsuchas‘stopthegap/mindthegap/closethegap’anditsspecificreferencetocontemporaneousIndigenouscultureandpolitics;partofthegenerallexicon,thephraseiswieldedaboutaspoliticalrhetoricandcommonlymisconstrued.“

Thetitleofthisexhibitionisderivedforthisideaofakindof‘gap’existingandperpetuatedbetweenIndigenousandotherAustralians.Inthecontextofthisexhibitionthisterm‘gap’canhaveanumberofdifferentinterpretations.Itcanrefertoamisalignmentorslippageofculturalviewpoints,avoidorsomethingmissinginanhistoricalnarrative,oraperceivedinequalitywhichneedstobeaddressed.Thecuratorillustratesthislastpointbyreferringtoarecentpoliticalevent.

“on�July�009,theFederalMinisterforIndigenousAffairs,JennyMacklin,issuedapressreleaseoutliningtheFederalGovernment’srhetoricalobjectiveof’closingthegap’ofinequitythathasbeenever-wideningbetweenIndigenousandnon-IndigenouspeopleinAustraliasincethefirstimpactofcolonisationinthelate�8thcentury.Thisinitiativewasdevelopedtobuildupontheformerconservativegovernment’s�007parting‘gift’toIndigenouspeopleinremoteTopEndcommunities:theNorthern Territory Emergency Response,otherwiseknownas‘TheIntervention’.”

Suchanexampleisareminderthatthetitlefortheexhibitionhasbeenchosenquitedeliberately.Itisdouble-edgedorambiguous.‘StoptheGap’readsasaninjunctiontodosomethingtoimprovethings.But‘Stop(the)Gap’hasadifferentmeaning.If‘(the)’issilentoromitted,asimpliedby( ),‘StopGap’suggestssomethingmakeshift,perhapsatemporarymeasurewhichdoesn’tchangethebasicsituationorsolvetherealproblem.

Someofthearthighlightsorisaresponsetotheideathatthereisagapinthegeneralcommunity’sknowledgeorunderstandingofIndigenouspeople’sworldviews,perspectivesorneeds.Someworksexploretheconsequencesofmaintaininggaps.Someexpressbeliefsorcelebratethefactthatgapsareinevitable,necessaryandpositivewithinasocietywhichvaluesculturaldiversity.Anextensionofthisideaisthattraditionalculturalvaluesandworldviewsareinconflictwith(andthereforeshouldmaintaina‘gap’from)societieswhoseoriginsandenduringvaluesandworldviewsarebasedoncolonialattitudes,systemsandgenerallyunchallengedassumptionsaboutIndigenouspeople.Inthisregard,‘keepingthegap’canbeseenasanactofresistanceandastrategyforculturalsurvival.

‘Stop(the)Gap’canalsobetakenasaremindertopeoplewhoviewthisexhibitiontobepreparedtoquestiontheirownassumptionsaboutculturalidentityandbecomemoreawareofhowthingssuchaslanguageandmainstreamculturalvaluesshapetheseassumptions.

Audience RegardingtheaudienceforStop(the)GapCroftcomments:

“Fromacuratorialperspectivethisprojecthasseveralaudiences.LocalandwiderIndigenouscommunities(withinAustraliaandelsewhere)isapriority.Ialsohopethatitwill‘speak’inparticulartoyoungpeople,studentsoncampusatUniSAandtogeneralaudiences.WhatIhopepeoplewilltakeawayfromviewingthisexhibitionisasenseofintrigue,anopenmindaboutwhateachartistmayintendandaninterestinseeingmorework.”

Selection of artists AscuratorCrofthadthechallengeofselectingworksfromabroadfieldofpossibilitiesandfromdifferentpartsoftheworld.Inthisprocessshewasmindfulofavoidingaconventionalmodel(assheobservesinoperationinmanyinternationalbiennialsandthelike)whichinvolvesthelonecuratorasaroving‘collector’ofnameor‘risingart-star’artistsgainingnoticeforbeinginmajorbiennialsandartsfestivals.AsanIndigenouscurator,inparticular,Croftdidnotwanttoactorbeseentobeactinginasimilarway,selectingartistssimplybecausethey“tickedalltherightboxes”.ForthisreasonsheadoptedacollaborativeapproachandsoughttheadviceandcontributionofanumberofIndigenouscuratorialadvisors;KathleenAsh-Milby(navajo,USA),AssociateCuratorattheSmithsoniannationalMuseumoftheAmericanIndian,newYork;DavidGarneau(Métis,Canada),AssociateProfessorofPainting,


DrawingandTheory,UniversityofRegina,Canada;andMeganTamati-Quennell(M ori:TeAtiawa,ng iTahu,ng tiMutunga,KatiMamoepeople,Aotearoa/newZealand),CuratorofContemporaryM oriandIndigenousArt,MuseumofnewZealand,TePapaTongarewa.

Selection of works Theworkswereselected,notonlyonindividualcontentandapproachtousingmovingimagetechnologiesandoptions,butalsotheircapacitytosetupadialoguewithaudiencesandwitheachother.Croftdidnotseethisnecessarilyasaseamlessaffair.Someworksmaybalanceorcomplementbutothersmaybeperceivedasprovokingandconfrontingeachother.

Context and audience Therearemanyconceptsandterminologiesassociatedwiththisprojectwhichaddressglobalissuestodowithculturalsurvival,solidarity,selfdetermination,resistance,alternativeworldviewsandsharedhistories.‘ontrial’isthecapacityofartiststoaddresssuchissuesinwayswhichcommunicatebeyondimmediatecommunitiestowidersociety.Inthisprocesscouldtherebeariskthatalocalissue,situationornarrativecanbe‘lostintranslation’?orregardedbyotheraudiences(betheyIndigenousorotherwise)as‘exoticother’?Croftacceptsthattherearechallenges,bothinestablishinganewcuratorialmodelandinpositioningtheworkofindividualIndigenousartistswithinwidercommunitycontexts.

oneofthekeycontextsinwhichsomeofthisworkisbeingmadeappearstobethatofaprocessofattempteddecolonisation.LinkedtothisiswhatJolenePickardreferstoastheway“conditionsofdispossessionarenormalizedinanageofglobalization.”ThisaddsacomplexdimensiontothepracticeofmanyIndigenousartistsandtheworkofcuratorslikeCroftwhoproduceexhibitionswhichinviteaudiencestoreflectonwhat’shappeninginthe‘realworld’.Itmaymeanforexampledealingwithartistswhoarecritiquingfromwithinwhileusingvisualsymbolsandsystemsappropriatedfroma‘continuouslycolonial’without.

Asaresultsuchworksareoftenlayered,codedandsimultaneouslyaddressIndigenousandnon-Indigenousaudiences.Croftcomments,“Weexistintheseworlds,wemustanddousethetools–language,media,etc.thatareavailabletous,whyshouldn’twe?Thesearetheweaponsathandifyoulike,themeanswithwhichtomakeourstandpoints,voiceourconcerns,speakbackandoutandtoeachotherfirstandforemostandthentothebroaderpublic,whooftendonotunderstandandmaybeneverwill.Iseeplentyofworkbynon-Indigenousartiststhathasnocontextforme,andsometimesIamintriguedandwanttoknowmore,andsometimesIdon’t.”

Moving image FromCroft’sperspectiveStop(the)GapcarriesamessageaboutIndigenousartistsusingmovingimagetechnologieswhichcontradictsstereotypicalideasaboutwhatconstitutes‘traditional,‘authentic’and‘Indigenous’art.Butsheadds,“It’snotassimplisticasthis.Iamalwaysinterestedinmovingbeyondthe‘usualsuspects’,theexpectationsofaudiences,andprovidingchallenges,fun,humourandbrevity.”

SheisconsciousofemergingnationalandinternationaltrendsintheuseofmovingimagetechnologieswithinIndigenousartpracticeandoftheneedtokeepproducingprojectslikeStop(the)Gaptokeepupwiththepaceofdevelopments.AsecondcomponentoftheprojecttitledMind(the)Gap,includingtheworkofartistsfromAustralia,Aotearoa/newZealand,CanadaandtheUnitedStatesofAmerica,willbepresentedatothervenues(inAdelaide)innovember�0��.


7 Artist biographies

Rebecca Belmore BorninUpsala,ontarioofAnishinaabe-Canadianheritage,RebeccaBelmoreisanartistcurrentlylivinginVancouver,BritishColumbia.SheattendedtheontarioCollegeofArtandDesigninTorontoandisinternationallyrecognisedforherperformanceandinstallationart.Since�987,hermulti-disciplinaryworkhasaddressedhistory,placeandidentitythroughthemediaofsculpture,installation,videoandperformance.BelmorewasCanada’sofficialrepresentativeatthe�005VeniceBiennale.herworkhasappearedinnumerousexhibitionsbothnationallyandinternationallyincludingtwosolotouringexhibitions,The Named and the Unnamed,MorrisandhelenBelkinArtGallery,Vancouver(�00�);and33 Pieces,Blackwood Gallery, University of Toronto at Mississauga (�00�). her group exhibitions include,BlackwoodGallery,UniversityofTorontoatMississauga(�00�).her group exhibitions include,hergroupexhibitionsinclude,Houseguests,ArtGalleryofontario(�00�);Longing and Belonging: From the Faraway Nearby,SITESantaFe,SantaFe,newMexico(�995);Land, Spirit, Power,nationalGalleryofCanada(�99�);andCreation or Death: We Will Win,atthehavanaBiennial,havana,Cuba(�99�).

Dana Claxton DanaClaxtonisfromthehunkpapaLakotaSiouxnation,andherfamilyreserveisWoodMountain,Canada.Claxtonisaninterdisciplinaryartistwhoseworkincludesfilmandvideo,installation,performanceandphotography.herworkisheldinpubliccollections,includingtheVancouverArtGallery,WinnipegArtGalleryandtheArtBankofCanada.herworkhasbeenscreenedinternationally,includingtheMuseumofModernArtinnewYork,theWalkerArtCentre,Minneapolisandthe�0�0BiennaleofSydney.herworkhasbeenscreenedatSundanceFestivalandMicrowaveinhongKong.

ShehastaughtattheIndigenousMediaArtsGroupandEmilyCarrInstituteofArt+DesigninVancouverandshewasthe�003GlobalTelevisionChairattheUniversityofReginaintheSchoolofJournalismwhereshetaughtTelevisionandRadiobroadcastingfromtheperspectiveofcriticalthinkingandexperimentationwithsoundandimages.DanawasawardedtheprestigiousVIVAAwardfromtheDorisandJackShadboltFoundationandin�007becameanEiteljorgFellowsponsoredbytheFordFoundation.Sheisanactivememberintheartscommunityandhasparticipatedinpaneldiscussions,juries,curatorialprojects,advisorycommittees,mentoringyouthandyoungartists.

Alan Michelson AlanMichelsonisanewYorkCity-basedMohawkmemberofSixnationsoftheGrandRiver(haudenosauneeofIroquois).hisworksaddressplace,memory,andthenorthAmericanlandscapeinprofound,poetic,multimediainstallations.hisworkhasbeenexhibitednationallyandinternationallyinavarietyofvenuesincludingtheWhitneyMuseumofAmericanArtandthenewMuseum,andwasfeaturedinasoloexhibitionattheSmithsonianInstitutionnationalMuseumoftheAmericanIndianinnewYork.MichelsonrecentlycompletedThird Bank of the River(�009),a5’9”X40’9”panoramicartglasswindowcommissionedbytheUSGeneralServicesAdministrationArtinArchitectureforthenewUSLandPortofEntryinMassena,newYork,Smith-Miller+hawkinson,Architects.hehasreceivednumerousawards,includinganationalEndowmentfortheArtsVisualArtistsFellowship,andhisworkisinthepermanentcollectionsofseveralinstitutions,includingthenationalGalleryofCanadaandtheSmithsonianInstitution.MichelsonteachesattheRhodeIslandSchoolofDesign.


Nova Paul novaPaulisanAotearoa/newZealandfilmmakerofTeUriRoRoiandTeParawhau/ng Puhidescent.herfilmmakingpracticeutilisestheopticalprintingprocessofthree-colourseparation,anearlycinematictechnique.herfirstfilmtopioneerthiswasPink and White Terraces(�006).ItpremieredattheTelecomnewZealandInternationalFilmFestival,Auckland,newZealand,�006.IthassincescreenedbothnationallyandinternationallyincludingProjectSpace,Melbourne(�008);Telecom Prospect 2007: New Art New Zealand;wasselectedbyCityGalleryWellingtonaspartoftheArtintheAuditoriumProgramme;andscreenedatWhitechapelGallery(UK),BallroomMarfa(USA),FundaciónProa(Argentina),GAMeC–Galleriad’ArteModernaeContemporanea(Italy),henie-onstadKunstsenter(norway),andTheInstitutefortheReadjustmentofClocksattheKoçFoundation(Turkey)in�009–�0�0.SoloexhibitionsincludenewZealandFilmArchive(�00�,�008),GowLangsfordGallery(�007),RampGallery,hamilton,(�00�).othergroupexhibitionsincludeMartini Shot: New Artists Show,Artspace,Auckland(�007),The Buzzing Confusion of Things,StPaulStreetGallery,Auckland(�008)andHetero Utopia: Mapping the Urban Terrain,Bandung,Indonesia,(�006).

In�0�0shecompletedThis Is Not Dying,a�6mmexperimentalfilmthatwasscreenedinthenewZealandInternationalFilmFestival,(AucklandandWellington),InternationalFilmFestivalRotterdam(�0��),andexhibitedatCityGalleryWellington(�0�0).SheiscurrentlyaSeniorLectureratAUTUniversityteachingarttheoryandmovingimageintheVisualArtsDepartment.

Lisa Reihana LisaReihana,ofng Puhi:ng tihineandng iTudescent,isoneofAotearoa/newZealand’smostrenownedcontemporaryartists.herpracticeiswide-rangingandincludesvideo,photography,sculptureandfashion.herworkcommentsongenderpolitics,culturalagencyandmuseologicalinterventionsasseeninthevideoinstallationhe tautokoinPasifikaStyles,atCambridgeMuseum,UK.ReihanacompletedamajorcommissionMai te aroha, ko te arohaforTePapaTongarewa,Wellington.AdevelopmentofthisworkisincludedinTe Po �� Matariki(�0�0)whereWhirimakoBlackperformsakaranga.GroundswellwasmadeforNew WorkattheAdamGallery,Wellington.

Reihana’sexhibitionhistoryincludestheAucklandTriennial,�004;theAsiaPacificTriennial�996and�003;Paradise Now?,AsiaSocietyMuseum,newYork,�004;thenoumeaBiennale,�00�;theSydneyBiennale,�000;Close Encounters: The next 500,WinnipegCanada,�0��.ReihanawasnominatedfortheprestigiousWaltersPrize,�008.

LisaisrepresentedbyARTPRoJECTS,newZealand

Warwick Thornton WarwickThorntonisaKaytejmanfromcentralAustralia,whosecustomarylandsaretothenorthofAliceSpringswherehehaslivedthemajorityofhislife.Afilmmakerofsingularlydistinctivevision,hisfirstfeatureSamson and Delilah(�009)tookthenationalandinternationalfilmworldbystorm,winningnumerousawardsincludingtheCamérad’oratthe�009CannesFilmFestivalandcontinuingtochallenge,confrontandseduceaudiences,Indigenousandnon-Indigenouswithitsvisceraldepictionofdamagedyoungromanceintrulydysfunctionalsettingsoftimeandplace.


Rebecca BELMORE born�960,Upsala,ontario,CanadaAnishinaabe-Canadian

The Named and the Unnamed,�00�videoinstallation,38:�5minutesCollectionoftheMorrisandhelenBelkinArtGallery,TheUniversityofBritishColumbiaPurchasedwiththefinancialsupportoftheCanadaCouncilfortheArtsAcquisitionAssistanceProgramandtheMorrisandhelenBelkinFoundation,�005

Dana CLAXTON born�959,Yorkton,Saskatchewan,Canadahunkpapa,LakotaSioux

Rattle,�003fourchanneldigitalvideoinstallation,sound,��:�5minutescourtesytheartist

Alan MICHELSON born�953,Buffalo,newYork,USASixnationsMowhawkTurtleClan

TwoRow II,�005fourchanneldigitalvideoinstallation,sound,�3:05minutesnationalGalleryofCanada,ottawa.Purchased�006

Nova PAUL born�973,Aotearoa/new ZealandAotearoa/newZealandTeUriRoRoiandTeParawhau/ng Puhitribe

This Is Not Dying,�0�0�6mmfilm(digitaltransfer),sound,�0:00minutescourtesytheartist

Lisa REIHANA born�964,Auckland,Aotearoa/newZealandng Puhi:ng tihine,ng iTu tribetribe

Groundswell,�00�eightchanneldigitalvideoinstallation,sound,30:00minutescourtesytheartistandARTPRoJECTS,newZealand

Te Po �� Matariki,�0�0video,�3:30minutescourtesytheartistandARTPRoJECTS,newZealand

Warwick THORNTON born�970,AliceSprings,AustraliaKaytejlanguagegroup

Stranded,�0��3Ddigitalvideo,sound,��:06minutesproducer:FionaPakes;editor:DavidGross;productiondesigner:SamWilde;sounddesigner:LiamEgan;digitalcolourist:TrishCahill;compositer:BenBlick-hodge;stillscompositingandgrade:JeremySaunderscourtesytheartist,producedbyScarlettPictureswiththekindsupportofAFTRS,PanavisionAustraliaandDefinitionFilmscommissionedbyAdelaideFilmFestivalInvestmentFund�0��

8 List of works

stop(the)gap: international indigenous art in motion · 5 stop(the)gap: international indigenous...

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