The National Gallery of Australia holds the largest collection of Australian Indigenous art in the world. Written by Indigenous authors and curators and other experts in the field, this new book features works of art which highlight the diversity, richness and excellence of the Gallery's collection. They range from rare 19th-century objects, historical and contemporary bark paintings, fabrics, dance masks, and headdresses to contemporary politically charged works by artist working in towns and cities in the 21st century. Frachesco Cubillo is a member of the Larrakia, Bardi, Wadaman, and Yanuwa Nations. She is senior curator Aboriginal and Torres Strait Islander art at the National Gallery of Australia. Wally Caruana is an independent curator, author, and consultant on Indigenous Australian art.

The art of Aboriginal Australia gives tangible expression to a particular way of being in the land. The Kluge-Ruhe Collection, now held by the University of Virginia in Charlottesville, is one of the largest and best-documented collections of Australian Aboriginal art outside Australia. Art from the Land focuses on the desert region and Arnhem Land, drawing on the many fine works in the collection and on the authors' detailed knowledge of the artists and their communities to illustrate the unique and complex nature of Australian Aboriginal artistic expression.

"This publication accompanies the exhibition Everywhen: The Eternal Present in Indigenous Art from Australia, Harvard Art Museums, Cambridge, Massachusetts, February 5 through September 18, 2016."

"Traditionally used in Aboriginal funeral ceremonies, memorial poles have been transformed into compelling contemporary artworks. The memorial pole is made from the trunk of the Eucalyptus tetradonta, hollowed naturally by termites. When the bones of the deceased were placed inside, it signified the moment when the spirit had finally returned home--when they had left the "outside" world, and become one with the "inside" world of the ancestral realm. Today, these works of art have become a powerful symbol of Aboriginal culture's significance around the globe. The artists featured in the book--including John Mawurndjul, Djambawa Marawili, and Nyapanyapa Yunupingu--are some of Australia's most acclaimed contemporary artists. Taking their inspiration from ancient clan insignia, the designs on these poles are transformed in new and personal ways that offer a powerful reminder of the resilience and beauty of Aboriginal culture. This book features dazzling color images and impeccable scholarship and includes essays from some of the leading scholars in the field of Aboriginal art"--

This catalogue accompanies an exhibition organized by the Herbert F. Johnson Museum of Art at Cornell University, curated by Roger Benjamin and coordinated by Andrew C. Weislogel, associate curator and master teacher at the Johnson Museum.

This volume of original essays brings together, for the first time, histories of the making and of the makers of most of the major Indigenous Australian museum collections. These collections are a principal source of information on how Aboriginal people lived in the past. Knowing the context in which any collection was created-the intellectual frameworks within which the collectors were working, their collecting practices, what they failed to collect, and what Aboriginal people withheld-is vital to understanding how any collection relates to the Aboriginal society from which it was derived. Once made, collections have had mixed fates: some have become the jewel of a museum's holdings, while others have been divided and dispersed across the world, or retained but neglected. The essays in this volume raise issues about representation, institutional policies, the periodisation of collecting, intellectual history, material culture studies, Aboriginal culture and the idea of a 'collection'.

New scholarship on a world-caliber museum collection of Aboriginal Australian art