‘Winja Ulupna’: Public Health Posters as Visual Culture

Ainslee Meredith

Winja Ulupna is an Aboriginal women’s residential drug and alcohol recovery house based in St Kilda. Established in 1976 through Australian Government investment in residential rehabilitation programs controlled by Aboriginal communities, as distinct from State rehabilitation units (Brady 2002), Winja Ulupna, or ‘women’s haven’, was also the first rehabilitation house in Australia specifically for Aboriginal women. As an early example of an Aboriginal women’s run program providing culturally sensitive alcohol and drug services, the poster highlights the importance of community-controlled residential programs in the broader context of a continued denial of the right of self-determination for Indigenous Australians by governments at that time. Designed by Health Productions in 1991 (the art department of the Health Promotion Unit, for the Government of Victoria), the poster is also significant in terms of the history of government-sponsored poster design to disseminate public health messages.  Continue reading “‘Winja Ulupna’: Public Health Posters as Visual Culture” →

‘Picturing Black Australia’

Jimmy Yan 

The 1988 Australian bicentenary was marked by its contradictory history and dual claims for national attention. There was the assertion of settler-colonial nationalism and, in response, a vigorous revival of the movement for Aboriginal land rights and self-determination. In the wake of the indigenous boycott of the celebrations, the Australian Film Institute (AFI) compiled a package of 23 independently-produced films examining various aspects of Aboriginal history, culture and memory. The collection, entitled Picturing Black Australia, the program predominantly comprised Aboriginal-produced films and spanned a breadth of genres ranging from animated short films to feature-length documentaries. Eschewing kitsch derivations of Aboriginality, the films also centred upon realistic portrayals of Aboriginal survival and resistance.[1] Continue reading “‘Picturing Black Australia’” →

‘I saw it on the television’: An early call for diversity in the media

Victoria Perin

‘Capital A Art as it is conventionally understood is at best only a minor contributor to the development of cultural values, about as important as fashion and interior design, in other words not very important at all. The real generator of cultural values in Australia has been the trade union movement and, since the Second World War, increasingly the media…

‘I have always felt that if you were going to get into a dogfight it may as well be with the pit bulls of the union movement rather than the poodles and chihuahuas of the art world.’ Ian Millis, co-founder of the Art and Working Life Program [1]

Looking at a pile of Australian political posters from this Victorian Trades Hall collection, one poster stands out for its freshness, its immediacy, and its obvious sophistication. Tugging it out of the heap, I look at the corner to see the text I am already half-expecting: ‘…ART AND WORKING LIFE PROGRAM’. Continue reading “‘I saw it on the television’: An early call for diversity in the media” →

‘White Australia has a Black History’ NAIDOC week poster, 1987

Eliza O’Donnell

Mandandanji descendant and Queensland based multidisciplinary artist, Laurie Nilsen (1953) designed the poster ‘White Australia has a Black History’ for the National Aboriginal and Islander Day Observance Committee (NAIDOC) week poster competition in 1987. The coloured ink and paper based two-dimensional object (44.5 cm x 63cm) functions as the primary tool for promoting NAIDOC Week activities around Australia in 1987. The design features a rolled paper scroll against a black background, with a large snake forming a silhouette of Australia and an assemblage of indigenous people and motifs spread throughout the composition, with red and blue printed text below. Nilsen has used a palette of warm and natural earthy tones of ochre, red and black to represent Indigenous figures and iconography including a stockman riding a horse in front of Uluru; a man wearing a dhari (traditional dancer’s headdress); rock paintings; a mother and son watching a tall ship; a soldier in a trench and a portrait of rugby player Mark Ella, recipient of Young Australian of the Year in 1982. The text ‘White Australia has a Black History’ is a slogan that alludes to Australia’s long-standing reluctance to meaningfully acknowledge Aboriginal people and perspective in the telling of a national history and was the theme when Perth hosted NAIDOC week in 1987 (Pearson 2016). Continue reading “‘White Australia has a Black History’ NAIDOC week poster, 1987” →

‘Koorie Boogaja’ 1971

Beth Marsden

‘This is our land and we are proud of it. After all, you white fellows weren’t the first to discover Australia—we were here first.’ Charlie Carter[1]

This poster shows a map of Australia produced by the Aborigines Advancement League in 1971. Entitled ‘Koorie Boogaja’, this eloquent graphic illustration shows Aboriginal tribal boundaries traced across the Australian continent, with a key provided to locate each tribe. Measuring 60 x 70 cm, the sub-heading ‘School Project’ shows the aim of this poster was to encourage students to develop and build an awareness of the history and complexity of Aboriginal Australia and the creator of the map—the Aborigines Advancement League— is written at the base. Continue reading “‘Koorie Boogaja’ 1971” →