After Boomalli: Art, Activism, and Feminism - Fiona Foley in Dialogue with Paola Balla

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Notes

1 Global Feminisms, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York, 23 March – 1 July 2007, https://www.brooklynmuseum.org/exhibitions/global_feminisms.

2 Marina Tyquiengco, ‘Black Velvet: Aboriginal Womanhood in the Art of Fiona Foley’, Feminist Studies 45, nos 2–3 (2019): 467–500, https://doi.org/10.15767/feministstudies.45.2-3.0467.

3 Jacqueline Millner, Catriona Moore, and Georgina Cole, ‘Art and Feminism: Twenty-First Century Perspectives’, Australian and New Zealand Journal of Art 15, no. 2 (2015): 143–49, DOI: 10.1080/14434318.2015.1089816.

4 Fiona Foley, Badtjala Woman Series, 1994, see https://www.mca.com.au/artists-works/works/1995.101C.

5 Marina Tyquiengco, ‘Source to Subject: Fiona Foley’s Evolving Use of Archives’, Genealogy 4, no. 3 (2020): 76, https://doi.org/10.3390/genealogy4030076.

6 Fiona Foley, Biting the Clouds: A Badtjala Perspective on The Aboriginals Protection and Restriction of the Sale of Opium Act, 1897 (St Lucia, Qld: University of Queensland Press, 2020); and Fiona Foley, The Bogimbah Creek Mission: The First Aboriginal Experiment ([Booral, Qld]: Pirri Productions, 2021). See also, https://www.slq.qld.gov.au/blog/bogimbah-creek-mission-first-aboriginal-experiment-new-publication-dr-fiona-foley.

7 Chelsea Watego, Another Day in the Colony (St Lucia, Qld: University of Queensland Press, 2021), pp. 153–83.

8 Ibid., p. 83.

9 Ibid., p. 171.

10 Aileen Moreton-Robinson, ‘Towards an Australian Indigenous Women’s Standpoint Theory’, Australian Feminist Studies 28, no. 78 (2013): 331–47, DOI: 10.1080/08164649.2013.876664.

11 Blak to the Future, Roslyn Smorgon Gallery, Footscray Community Arts Centre, 14 May – 9 June 2018. Artists: Rosie Kalina, Hannah Morphy-Walsh, Savanna Kruger, Yasmin Harradine, Katen Balla, Charlotte Allingham, Pierra Van Sparkes and Warriors of the Aboriginal Resistance (WAR).

12 Paola Balla, ‘Writing Blak to the Future: Situating the Ways Aboriginal Matriarchs Protect and Resist with Art and Story’, in Writing + Concepts 2017, ed. Jan Van Schaik (Melbourne, Art + Australia Publishing, 2019), pp. 150–56. This text is about how Aboriginal women resist through story and storytelling.

13 Gina Fairly, ‘What’s in a Name? NGV Accused of Disrespect and Plagiarism’, ArtsHub, 3 November 2018, https://www.artshub.com.au/news/opinions-analysis/whats-in-a-name-ngv-accused-of-disrespect-and-plagiarism-256762-2361299.

14 Boomalli au go go : Boomalli Aboriginal Artists Ko-operative, Boomalli Aboriginal Artists Cooperative, Chippendale, Sydney, 25 November – 9 December 1987. Artists: Tracey Moffatt, Jeffrey Samuels, Fern Martins, Arone Raymond Meeks, Bronwyn Bancroft, Bronwyn, Fiona Foley, Brenda L. Croft, Michael Riley, Euphemia Bostock, Avril Quaill.

15 Ibid.

16 Tyerabarrbowaryaou II: I Shall Never Become a White Man, fifth Havana Biennial, Cuba, and Museum of Contemporary Art, Sydney. Artists: Ian Abdulla, Gordon Bennett, Destiny Deacon, Kevin Gilbert, Tommy McRae (Yackaduna), Marrnyula Munungurr, Ginger Riley Munduwalawala, Paddy Fordham Wainburranga, Jimmy Wululu; and Utopia artists Audrey Kngwarreye, Lilly Kngwarreye, Lucky Kngwarreye, Hazel Kngwarreye, Katie Kngwarreye, Michelle Kngwarreye, https://www.mca.com.au/artists-works/exhibitions/tyerabarrbowaryaou-ii.

17 Gary Foley, Charles (Chicka) Dixon, Lin Onus, and Bernhard Lüthi, Aratjara: Art of the First Australians: Traditional and Contemporary Works by Aboriginal and Torres Strait Islander Artists, Kunstsammlung Nordrhein-Westfalen (Dusseldorf), Hayward Gallery (London), and the Louisiana Museum (Denmark), 1993–94. See also, https://www.artlink.com.au/articles/3952/ich-bin-ein-aratjara-20-years-later and https://acca.melbourne/program/defining-moments-aratjara-art-of-the-first-australians-and-fluent.

18 Lisa Bellear Photographic Archive, Koorie Heritage Trust, Melbourne, https://koorieheritagetrust.com.au/visit-us/collections/photography.

19 Australian Centre for the Moving Image (ACMI), Gary Foley and Di Smith on the Set of A Country Practice in Sydney, https://acmi.net.au/works/100812–gary-foley-and-di-smith-on-the-set-of-a-country-practice-in-sydney-1989. See also, Aboriginal History Archive (AHA), Victoria University, https://www.vu.edu.au/about-vu/university-profile/moondani-balluk-indigenous-academic-unit/aboriginal-research-researchers/aboriginal-history-archive-aha.