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Blue Art Journal creates space for First Nations writers, artists and critics to lead, critique, challenge, experiment and to tell stories on their own terms. Donate
Volume Two:
we move through time / time moves through us
Collective Wayfinding ŋari / gambira Ngoorp malak/Blood shadow there isn't a time before it begins a line – a circle – a spiral – a tunnel The Museum is a Time Machine that Doesn't Work for Us Enlightenment and Darkness: James Tylor in Conversation with Dominic Guerrera Curtis Taylor and his Marlpa Haerenga Time Shallows
Editor summary:

Editors Timmah Ball and Zali Morgan took the theme of ‘time’ for our next Volume, and 14 writers spiral through the past, present and future.

 Read Volume Two

Revisit our first Volume

Volume One
Bilas in the White Cube
Review
Bilas in the White Cube The National Gallery of Australia’s ‘Bilong Papua New Guinea’
Words: Jocelyn Flynn
D Harding Places 2025
Photo Essay
D Harding Places 2025 Behind the scenes of the MAMA Albury commission
Words: d harding
Seeing Ourselves
Essay
Seeing Ourselves The power of critical Blak arts writing
Words: Clothilde Bullen
MIMILI WATI, MIMILI WAY
Project Feature
MIMILI WATI, MIMILI WAY This is how we rise
Words: Robert Fielding

Blue Art Journal creates space for First Nations writers, artists and critics to lead, critique, challenge, experiment and to tell stories on their own terms.

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Blue Art Journal acknowledges the First Peoples of this land and recognises their continuous connection to culture, community and Country.

Bob Gibson, Patjantja, 2025

synthetic polymer paint on canvas, 180.0 x 150.0 cm
(c) Bob Gibson, courtesy Vivien Anderson Gallery, Narrm/Melbourne

Ita Tipungwuti, Parlini Jilamara, 2007

earth pigment on canvas, 160.0 x 200.0 cm
(c) Ita Tipungwuti, courtesy Vivien Anderson Gallery, Narrm/Melbourne

Clare Jaque Vasquez, The Haze And The Hush, 2025

acrylic and impasto on stretched canvas, 130.0 x 150.0 cm
(c) Clare Jaque Vasquez, courtesy Vivien Anderson Gallery, Narrm/Melbourne

Charles Inkamala, Glen Helen, Mission Days, 2025

 

Synthetic polymer paint on canvas, 61 x 61 cm
(c) Courtesy of Vivien Anderson Gallery

Maree Clarke, The Long Journey Home 8, 2024

digital print on photographic paper, 69.0 x 102.5 cm
(c) Maree Clarke, courtesy Vivien Anderson Gallery, Narrm/Melbourne

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