"Jefa Greenaway explores how expressions of identity can be facilitated through architecture and design. Lilly Brown is interested in knowledge production and dissemination, while Kimberley Moulton says curating helps her peel back the concrete foundations we walk on – revealing histories and inspiring new cultural visions. Hosted by Benson Saulo – an impassioned youth advocate whose work encourages empowered choice and a trust in inherited knowledge."
Devana Senanayake has published an article on the presence and importance of POC-centred spaces as an act of self-determination and resistance...
"I feel that unlike in university, where I had no control over the syllabus (which actually ignored experiences and stories like mine), the personalised element of studying literature is reinstated in book clubs, reading groups and reading rooms. These places become spaces to build communities from."DEVANA SENANYAKE
This recent article by Kurnai/Gunai, Gunditjmara, Wiradjuri and Yorta Yorta woman, Nayuka Gorrie draws on Beyoncé and Jay Z's new album to question the art of 'making it', for black bodies in white spaces. It's brilliant:
"What does it mean to make it? Is it wealth? Is it, as the film clip suggests, occupying white institutions with black work and black bodies? Do you build your own institutions or infiltrate existing ones?" - NAYUKA GORRIE
Read the full article here: National Association for the Visual Arts
"The Free Black Women's Library, is an interactive Black Feminist mobile trading library and interactive biblio installation that features a collection of 1000 books written by Black women. The library is committed to centering and celebrating the voices of Black Women in literature. This mobile library pops up monthly in unique and radical spaces throughout Brooklyn, NYC and has also been to Detroit, Chicago, Philadelphia and Baltimore."
"Sixteen-year-old Channah took part in a HLF-supported youth heritage project at Camden Arts Centre in London and discovered the confidence to make her own artwork, lead a talk and present an exhibition."
"A Study Day with Lubaina Himid organised by BAM in collaboration with Iniva. Invited participants included Dorothy Price, Christine Eyene, Jane Beckett, Evan Ifekoya. Stuart Hall Library, Iniva, 20 June 2016."
"The Library at ETCA is a center of learning, activity and fun for children and adults in El Transito. It is a happy place - open to all, for reading, after-school activities, games and community support.
The need for additional Spanish books is constant as the residents of El Tránsito have very limited resources for studies and research. An ongoing effort remains to locate additional Spanish books and games, children’s art supplies, and study and research materials and textbooks and references."
"2016 ABOG Fellow Joseph Cuillier created The Black School, an experimental art school that uses socially engaged art and Black history to educate Black/PoC students and allies in becoming radical agents of social change by combining art making workshops, radical Black political theory, group discussions, and public projects that address community needs.
The focus of the Journal of Public Pedagogies is to publish articles that engage in discussion about learning and teaching outside formal educational institutions. These areas include arts, community engagement, social pedagogy, public history, work in and research on public institutions like museums, libraries, neighborhood houses, community centers, practice, research and evaluation in public pedagogies. At our 2015 conference we collected responses to the question what is public pedagogy? This exploration takes us into other questions such as what is learning and what is the relationship of learning to the term pedagogy.
We need to understand the racial politics that inform knowledge production as this goes right to the heart of both what the university is and what racism is.” To decolonise is to imagine that another university is possible.
Read Akwugo Emejulu's full article here: Another University is Possible...
"I opened the doors to this living and working space to allow people interested in culture, the curious, or those who simply wander in to participate in the Wakh’Art universe over a cup of coffee. True to its name, La Boîte à idées has hosted numerous encounters and exchanges, which have given birth to an abundance of projects in this creative space. The house also functions as an exhibition venue, housing different works by artists with whom I have collaborated or who have simply given me pieces." - SY Ken Aicha, La Boîte à Idée
Two of my favourite people in conversation! A long video, but worth the watch. Enjoy :)
This interview was originally published on the Colour Box Studio website in 2013.
"Torika Bolatagici talks to Colour Box Studio about becoming an artist and her Community Reading Room installation which is open to the public 1-22 June.
Tell us a little bit about yourself and what you do?
I’m a Melbourne-based artist and educator. I’m a full-time lecturer in photographic theory and practice at Deakin University. I’m also a doctoral candidate at the College of Fine Arts (UNSW).
Describe your art.
My interdisciplinary practice investigates the relationships between visual culture, human ecology and contemporary Pacific identities. I work across a range of media, including photography, video and mixed-media installation. My work has been exhibited in the United States, Mexico, Aotearoa and Australia. Most recently my series Export Quality (2009/12) was included in the 7th Asia Pacific Triennial, 20-Year Archive project.
Where did you grow up and has it influenced what you create?
I was born in Hobart, Tasmania and spent the first few years of my life living between Hobart, Sydney and my Dad’s village in Fiji – Suvavou. My parents separated when I was in primary school, and Dad passed away when I was in college. Art has always been a part of my life. Mum and I lived a pretty bohemian lifestyle of music festivals and I remember going to ANZART exhibitions and performances with Mum in the 80s. We always made an effort travel across (by ferry in those days) to major music events and exhibitions in Melbourne and Sydney. So visual arts, music and performance have always been a part of my life. It’s all I’ve known.
I went to this Catholic highschool in Hobart called Mt Carmel College. We had a fantastic teacher called Mrs Beck who transformed one of the convents into a darkroom. She was instrumental in teaching me the basics of exposure and photographic printing. I fell in love with photography instantly. I purchased my first camera and dark room equipment in my last year of highschool. It was a Pentax P30. I transformed our tiny housing commission bathroom in Sandy Bay into a darkroom where I experimented with processing my own film, printing and toning. I still have that original enlarger. I just can’t part with it. Maybe my children will want to use it one day…
In matric (years 11 and 12) I continued to study photography, graphic design, life drawing and art theory (under the tutelage of the wonderful Dr Wayne Brookes). When I was 17, at the end of matric I took a year out, played bass guitar in some rock and roll bands and moved to Melbourne for a little while. When I moved back to Hobart, I enrolled in an Arts degree at the University of Tasmania. I was taking some subjects at the art school and some subjects in humanities (sociology, political science, Aboriginal studies). I really struggled in my first year at University. I was the first person in my family to go to Uni, and so I felt really lost. There was no one to guide me through the protocols of academia and I was quite overwhelmed. I remember my Aboriginal Studies teacher rolling his eyes at me, because I would fly into his office at 5pm on a due date with my handwritten essays. I didn’t even realise there was a computer lab on campus where I could actually word-process and print my essays.
I don’t know what happened, but one day in sociology class, something just clicked, and I wrote an essay called “No Justice, No Peace” about the LA Riots. I had been barely passing my other subjects, and when I saw a big “D-“ on my paper, I was devastated and about to quit. Then I found out that a D was a Distinction, and since then I haven’t looked back. I discovered that when I was writing about something I was passionate about, it was easy. I was getting into the writing of bell hooks, Patricia Hill Collins, Angela Davis, Bobbi Sykes and going to feminist conferences with mum where I would attend lectures by writers, poets and activists like Jackie Huggins, Marcia Langton and Lisa Bellear. So I suppose it’s not surprising that my writing and research is focused on gender, race and visual culture."