Journal

Archive
A growing collection of Indigenous-led art writing, criticism, and creative thought.
Welcome to Volume 02
Welcome to Volume 02 we move through time / time moves through us
Curtis Taylor and his Marlpa
Curtis Taylor and his Marlpa A response to 'Untitled 2', an exhibition by Curtis Taylor at Ellenbrook Arts
Time Shallows
Time Shallows Temporalities on Noongar Country
Words: Cass Lynch
Portals, Spirals and Stars: Site Resonance and Time
Portals, Spirals and Stars: Site Resonance and Time Entering the speculative past incognito is safer than being seen…
Ngoorp malak/Blood shadow
Ngoorp malak/Blood shadow Come with me to a star beyond
a line – a circle – a spiral – a tunnel
a line – a circle – a spiral – a tunnel Creation time is not separate from this moment; it exists with us, inside the breath, inside Country, inside memory, inside the work.
ŋari / gambira
ŋari / gambira Our stories connected to the sky are more than mythology, they are teachings and oral maps written in the language of deep time.
The Museum is a Time Machine that Doesn’t Work for Us
The Museum is a Time Machine that Doesn’t Work for Us {MESSAGE TO FUTURE ANCESTORS—we felt the wind in the sky guided by our Elders and we tried our best}
Collective Wayfinding
Collective Wayfinding Country and community embodied through the FUTURE COUNTRY: NGV x Country Road First Nations Commissions.
Taking Our Time
Taking Our Time We had to do away with colonial time. To heal our country and culture properly we had to destroy all the symbols that sanctioned our harm.
Haerenga
Haerenga Our ancestors give us the horizon
You Can Ask That!
You Can Ask That! Arts industry mob give insight on some of the big questions
D Harding: Places
D Harding: Places Dissolving borders at Murray Art Museum Albury
Mapping Country
Mapping Country Charles Jangala Inkamala at Vivien Anderson Gallery
Bilas in the White Cube
Bilas in the White Cube The National Gallery of Australia’s ‘Bilong Papua New Guinea’
Murrangurrang (Always)
Murrangurrang (Always) Weaving ancestral links back and forth, forever
Limuk (Inheritance)
Limuk (Inheritance) Finding kin in the mountains
Words: Alice Skye
Virgin Planning Clinic
Virgin Planning Clinic Everyone remembers their first
D Harding Places 2025
D Harding Places 2025 Behind the scenes of the MAMA Albury commission
Words: d harding
The Indigenous Turn
The Indigenous Turn From the periphery to the global stage
Seeing Ourselves
Seeing Ourselves The power of critical Blak arts writing
Welcome to Volume 01
Welcome to Volume 01 A new era of Indigenous-led arts criticism

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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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