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Nici Cumpston
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Beyond the Black Stump
Historians have had little to say about the lands that stretch 'beyond the black stump'. These essays from around the country build inland Australia into our national history, crisscrossing both the nineteenth and twentieth centuries. Contributors are Lorina Barker, Amanda Barry, Badger Bates, Peter Bishop, Nici Cumpston, Jean Duruz, Charles Fahey, Lionel Frost, Heather Goodall, Jenny Gregory, Patricia Grimshaw, Rodney Harrison, Rick Hosking, Darrell Lewis, Alan Mayne, Chrissiejoy Marshall, Margaret Somerville and Richard Waterhouse.
First Knowledges Plants
What do you need to know to prosper as a people for at least 65,000 years? The First Knowledges series provides a deeper understanding of the expertise and ingenuity of Indigenous Australians. Plants are the foundation of life on Earth. Aboriginal and Torres Strait Islander peoples have always known this to be true. For millennia, reciprocal relationships with plants have provided both sustenance to Indigenous communities and many of the materials needed to produce a complex array of technologies. Managed through fire and selective harvesting and replanting, the longevity and intricacy of these partnerships are testament to the ingenuity and depth of Indigenous first knowledges. Plants: Past, Present and Future celebrates the deep cultural significance of plants and shows how engaging with this heritage could be the key to a healthier, more sustainable future. 'Plants: Past, Present and Future calls for new ways of understanding and engaging with Country, and reveals the power and possibility of Indigenous ecological expertise.' - BILLY GRIFFITHS 'An enlightening read on the power of plants and the management practices of Indigenous people.' - TERRI JANKE
The Hydrocene
This book challenges conventional notions of the Anthropocene and champions the Hydrocene: the Age of Water. It presents the Hydrocene as a disruptive, conceptual epoch and curatorial theory, emphasising water's pivotal role in the climate crisis and contemporary art. The Hydrocene is a wet ontological shift in eco-aesthetics which redefines our approach to water, transcending anthropocentric, neo-colonial and environmentally destructive ways of relating to water. As the most fundamental of elements, water has become increasingly politicised, threatened and challenged by the climate crisis. In response, The Hydrocene articulates and embodies the distinctive ways contemporary artists relate a...
Heart of the Arts
Heart of the Arts: The Adelaide Festival Centre at 40 explains how the Adelaide Festival Centre has moved from making magnificent musicals to capturing the imaginations of all ages on and off the stage in the 21st century. Often this progress has been made against the odds.
Double Desire
Double Desire challenges the tendency by critics to perpetuate an aesthetic apartheid between Indigenous and Western art. The double desire explored in this book is that of the divided but also amplified attractions that occur between cultural traditions in places where both indigenous and colonial legacies are strong. The result, it is argued, produces imaginative transcultural practices that resist the assimilation or acculturation of Indigenous perspectives into the dominant Western mod...
Connecting to the Living History of Radiation Exposure
This book highlights the multiple ways of telling stories of radiation exposure; they include stories about Japan, Australia, the United States, the Canadian Arctic, and more, and they probe the framing of major incidents such as Three Mile Island, Chernobyl, and Fukushima. All the chapters in this book are written by authors who participated in our work at Oregon State University and have benefited from hearing not only from scientists but also from those whose lives were directly affected by the history of radiation exposure. The question ‘What is at stake when researching and narrating the histories of radiation exposure?’ is discussed, but the book does not reinforce existing frameworks, such as legal decisions or government policies, but rather highlights what narrative framings accomplish and commit by scrutinizing them with rigorous research, varied approaches, and, above all, listening to those whose lives were most affected by exposure. Previously published in Journal of the History of Biology Volume 54, issue 1, April 2021
When Modern Became Contemporary Art
This book is a portrait of the period when modern art became contemporary art. It explores how and why writers and artists in Australia argued over the idea of a distinctively Australian modern and then postmodern art from 1962, the date of publication of a foundational book, Australian Painting 1788–1960, up to 1988, the year of the Australian Bicentennial. Across nine chapters about art, exhibitions, curators and critics, this book describes the shift from modern art to contemporary art through the successive attempts to define a place in the world for Australian art. But by 1988, Australian art looked less and less like a viable tradition inside which to interpret ‘our’ art. Instead...
Desert Country
Desert Country showcases the finest examples of Aboriginal art from the Art Gallery of South Australia's collection. It features the Gallery's superb holdings of Western Desert painting, including pivotal works by the leading artists of the movement from 1971 to the present; as well as documenting the remarkable recent development in Aboriginal art in the Anangu Pitjantjatjara Yankyuntjatjara Lands of far northwest South Australia. The works are all rich in story and arresting for their innovation, freshness and sumptuous colour.
My Side of the Bridge
Veronica Brodie is an Aboriginal woman of Ngarrindjeri-Kaurna descent. and grew up at Ruakkan near Victor Harbor. Veronica was involved in the Hindmarsh Island Bridge affair, on the side of the Ngarrindjeri women who knew of the secret women's business and sought to stop the construction of the bridge.
