Two artists, two completely different approaches, but one abiding passion - to celebrate the natural bounty to be found in the floodplains, swamps, savannas and woodlands of northern Australia. Mulkun Wirrpanda and John Wolseley, her adopted wawa (brother), have created a powerful body of works depicting many of the edible plants of north-east Arnhem Land.

This book shows how interpretation of visual images in international environmental law can inform judgements of the environment's aesthetic value.

This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.

Feather and Brush traces the history of bird art in Australia – from the simple engravings illustrating accounts of the earliest European voyages of discovery to the diversity of artwork available today. It explores the early European approach, in which naval draughtsmen, officers, convicts, settlers, naturalists, artists and scientists alike contributed both to the art and the science of ornithology, through to a wealth of contemporary artists who feature birds in their works. This book contains more than 400 images, representing the work of 158 artists; some well-known, others published for the first time. The illustrations have been selected for their interest, whether ornithological, historical or artistic. They range from classical to quirky, decorative to functional, monumental to intimate. Together they demonstrate the rich history of Australian bird art, as it evolved in Europe and Australia, and continues today, along with the trends and technologies of the times. This second edition includes new and revised chapters, and features about 200 new artworks, including some by Indigenous artists. Cultural sensitivity Readers are warned that there may be words, descriptions and terms used or referenced in this book that are culturally sensitive. Aboriginal and Torres Strait Islander people should be aware that this book contains images and names of deceased persons.

In this engaging narrative, Wright follows the story of petitions on bark created by the Yirrkala community in Arnhem Land in 1963, protesting bauxite mining on traditional lands

Following a relational, Indigenous-led approach grounded in 25 years of collaborative work, this book looks to weather and climate, tracing the embodied, emplaced and affective ways weather co-constitutes people, place and time/s raising critical questions of ethics, politics and becoming. Becoming weather leads the reader through a reflexive engagement with weather, seeking to shed light on pressing issues around climate change and its entanglements: from the body where contours of weather are intimately felt and known, to the ways that agencies of weather are implicated in the construction of nations, to global topologies of climate (in)justice. Reflecting on deep and ongoing collaborative work undertaken with Indigenous-led research collectives in Australia and the Philippines, the book traces contours of response-ability, learning from weathery relationships to speak back to constructions of climate that see it as aer nullius, belonging to no-one, and that deny ongoing responsibilities, becomings and belongings. The book aims to support more-than-human and relational understandings of weather that situate us all within an ethics of differential cobecoming and that demand attention to the connections that bind and co-constitute. The book is intended for those interested in thinking differently about weather and climate, particularly those who feel an urgent dissatisfaction with mainstream responses and understandings. It will be beneficial for those who would learn from weather, from and with place, in ways led by Indigenous scholars and their allies though an engaged, reflexive, more-than-human and ethnographic account. It does not shy away from critical engagement, nor the changes desperately needed to learn and unlearn, to attend to positionalities and responsibilities, and to engage with what it means to weather on unceded Indigenous land.

Hit by shotguns, burnt by dry season fires, rusted by monsoonal rain, discarded signs litter Territory roadsides. The power of the rules and warnings they once shouted have faded like their glossy reflective paint. A group of seven Yol?u artists from Yirrkala have come to rescue, recycle and rework these battered warriors in new ways which have never been seen before. Murr?iny is the Yol?u word for steel. It is also the name by which this nation was known by its neighbours and the first Europeans who encountered them. This name references the shovel nosed spears made here since pre-Cook times. Old signs are new again. A partnership between Buku-Larr?gay Mulka Centre, Salon Art Projects and the Northern Centre for Contemporary Art.