The Tarnanthi 2019 catalogue captures the flavour, colour and diversity of one of Australia's foremost Aboriginal and Torres Strait Islander cultural events.This richly illustrated 250-page book contains exquisite imagery and insightful essays from artists, curators and art experts, examining the outstanding works of art featured in Tarnanthi 2019 and the artists who created them.The Tarnanthi 2019 catalogue makes a superb memento of your visit to Tarnanthi or an ideal gift for friends and family.

This publication encourages educators to prioritise artists and their stories, make connections to the lives of students at all levels and expose them to the diversity of art made by Aboriginal and Torres Strait Islander artists. Peppered with suggested activities for students during special times of the year (such as Reconciliation Week, Anzac Day, Science Week, Book Week and International Women's Day) and combining examples of best teaching practice, this book guides you through meaningful ways to integrate Aboriginal and Torres Strait Islander histories and cultures into the daily life of any teaching and learning environment.Produced by the AGSA Education team and Tarnanthi.

Adelaide-born Mortimer Menpes was an important Australian expatriate artist who worked in Britain in the late 19th and early 20th centuries. He is most renowned as a close associate of Whistler from 1880 until 1888, a time when he was influenced by Whistler's Japanese-inspired aestheticism and acknowledged Whistler as his 'master'. However, Menpes's most prolific and successful period as an artist, post-dates his Whistlerian years. From the late 1880s and throughout the 1890s Menpes's paintings and etchings, inspired by his first-hand experience of visiting Japan (and other 'exotic' locations) were enthusiastically received by a London audience eagerly embracing Japonisme. Menpes also achieved acclaim as a portraitist, with leading actors, artists, politicians and society figures flocking to his famous Japanese-inspired house to have their portraits painted or etched. This publication is the first to consider Menpes' whole oeuvre and contribution to British art. It presents new scholarship from leading Menpes' scholars from around the world and illustrates key works from public and private collections in Britain, the United States and Australia together for the first time.

Two sisters are brutally separated by war in tragic circumstances. Ania is imprisoned and forced to endure the atrocities of a Nazi concentration camp. Danuta’s search for her sister leads her into the dangers of the Polish Underground. Each will do what they must to survive long enough to find each other. Their dream of being reunited is crushed in shocking circumstances.In an astonishing twist of fate, the opportunity for revenge presents itself 60 years later. But faced with the ultimate decision what will be the outcome ... seek justice or revenge? Spanning decades, Hitler’s Brothel is a tragic and gripping tale of deception, courage and survival.

The incredible story of the resilience and recovery of Australia's First Nations languages Australia's language diversity is truly breathtaking. This continent lays claim to the world's longest continuous collection of cultures, including over 440 unique languages and many more dialects. Sadly, European invasion has had severe consequences for the vitality of these languages. Amid devastating loss, there has also been the birth of new languages such as Kriol and Yumplatok, both English-based Creoles. Aboriginal English dialects are spoken widely, and recently there has been an inspiring renaissance of First Nations languages, as communities reclaim and renew them. Bina: First Nations Languages Old and New tells this story, from the earliest exchange of words between colonists and First Nations people to today's reclamations. It is a creative and exciting introduction to a vital and dynamic world of language. 'Years in the making, Bina offers a multidimensional reflection on how many diverse languages across this continent continue to vibrate in rich and profound ways. The emergence of Indigenous linguists Gari Tudor-Smith and Paul Williams as authors of this survey alongside Felicity Meakins signals an important and welcome shift in the Australian linguistics landscape.' —Professor Clint Bracknell, University of Western Australia, Nyungar musicologist and musician

This stunning companion to the National Museum of Australia's blockbuster Indigenous-led exhibition, Songlines: Tracking the Seven Sisters, explores the history and meaning of songlines, the Dreaming or creation tracks that crisscross the Australian continent, of which the Seven Sisters songline is one of the most extensive. Through stunning artworks (many created especially for the exhibition), story, and in-depth analysis, the book will provide the definitive resource for those interested in finding out more about these complex pathways of spiritual, ecological, economic, cultural, and ontological knowledge - the stories `written in the land'.

In the early days we did painting. Cultural way. For ourselves. Then on the mission Sister Alice was working with the young men and women, like Gracie Green and Matthew Gill. We did a lot of landscapes at the start. Then after that people did a lot of paintings for the church. Then we decided we gotta do our own painting now. About ngurra and tjukurrpa. Ngurra are the places we came from, our Country. We came to the mission from Kiwirrkurra, from Canning Stock Route, from Mulan lake Country. All the different families. All now to this Country we call Balgo. And we have always enjoyed our culture. We never stopped. Always dancing and singing, teaching our kids and keeping our culture strong. Here in Balgo. We keep our ceremonies, we visit our Country. That's why we still live here. That's why we paint. That story from our Tjamu and Tjatja (grandfather and grandmother). Our rockholes and waters where we used to live. We paint that. Our bush tucker and lovely bush potatoes! We paint that. Balgo is Country for all of us now. We were all born here, these generations here today. We are Wirrimanu kids. We belong to Balgo. That's what we paint. That's why we paint. This is our story. -- Eva Nagomarra, Warlayirti Artists This beautiful monograph features countless images of full colour artworks from communities including Birrundudu, Papunya, Yuendumu and Balgo and language groups including Kukatja, Djaru, Warlpiri, Nyining, Ngarti, Wangkajunga and Manjilyjarra. It is deeply grounded in country has been put together in conjunction with the Warlayirti Arts Centre.

Desert River Sea: Portraits of the Kimberley is the highly anticipated culmination of the Art Gallery of WA's six-year Kimberley visual arts project, Desert River Sea: Kimberley Art Then and Now. This landmark exhibition showcasing the vibrant and contemporary creative talent of Kimberley artists opens with a cultural celebration on 9 February 2019. New works from six Kimberley art centres and three independent artists will be presented alongside a selection of legacy works from art centre collections. Together with works from AGWA's collection, the exhibition offers a rare experience of the land, artists and art of the Kimberley. To accompany the exhibition, UWA Publishing has produced a breathtaking book outlining and tracking the development of the project and using extraordinary artworks to close the circle of the six years of Kimberley work.

An ancient ocean roars under the red dirt. Hush. Be still for just a moment. Hear its thunder-ing waves crashing on unseen shores. Spanning four generations, with a focus on the 1960s and 70s, an era of rapid social change and burgeoning Aboriginal rights, Where the Fruit Falls is a re-imagining of the epic Australian novel. Brigid Devlin, a young Aboriginal woman, and her twin daughters navigate a troubled nation of First Peoples, settlers and refugees — all determined to shape a future on stolen land. Leaving the sanctuary of her family's apple orchard, Brigid sets off with no destination and a willy wagtail for company. As she moves through an everchanging landscape, Brigid unravels family secrets to recover what she'd lost — by facing the past, she finally accepts herself. Her twin daughters continue her journey with their own search for self-acceptance, truth and justice. 'In poetic and evocative storytelling, this writing celebrates the agency of Indigenous women to traverse ever-present landscapes of colonisation and intergenerational trauma. Country has an omniscient presence in their story lines, guiding the women across vivid desert and coastal landscapes. Where the Fruit Falls recognises both the open wounds of living histo-ries of colonisation and the healing power of belonging to Country.' — 2020 Dorothy Hewett Award judges 'This evocative family saga celebrates the strength and resilience of First Nation women, while touching on deeply traumatic aspects of Australian history. Threads of magic realism shimmer throughout the story, offering a deeper understanding of reality and challenging the reader to imagine a kinder, more just, more humane world.' — Sally Morgan

Joint winner of the 2020 Prime Minister's Award for Non-Fiction. Shortlisted for the 2020 Victorian Premier's Award for Non-Fiction. 'We want you to come with us on our journey, our journey of songspirals. Songspirals are the essence of people in this land, the essence of every clan. We belong to the land and it belongs to us. We sing to the land, sing about the land. We are that land. It sings to us.' Aboriginal Australian cultures are the oldest living cultures on earth and at the heart of Aboriginal cultures is song. These ancient narratives of landscape have often been described as a means of navigating across vast distances without a map, but they are much, much more than this. Songspirals are sung by Aboriginal people to awaken Country, to make and remake the life-giving connections between people and place. Songspirals are radically different ways of understanding the relationship people can have with the landscape. For Yolngu people from North East Arnhem Land, women and men play different roles in bringing songlines to life, yet the vast majority of what has been published is about men's place in songlines. Songspirals is a rare opportunity for outsiders to experience Aboriginal women's role in crying the songlines in a very authentic and direct form. 'Songspirals are Life. These are cultural words from wise women. As an Aboriginal woman this is profound to learn. As a human being Songspirals is an absolute privilege to read.' - Ali Cobby Eckermann, Yankunytjatjara poet 'To read Songspirals is to change the way you see, think and feel this country.' - Clare Wright, award-winning historian and author 'A rare and intimate window into traditional women's cultural life and their visceral connection to Country. A generous invitation for the rest of us.' - Kerry O'Brien, Walkley Award-winning journalist