316:(1992) depict Foley’s experience during her time visiting the remote communities of Maningrida and Ramingining in the Northern Territory. They demonstrate the minimalism, flatness and "symbolic abstraction" that is characteristic of Foley’s pastels and paintings. Typically making use of an aerial perspective, these works privilege meditative spatiality over didactic naturalistic representations. Significantly, this counters historical ethnographic and spectatorial depictions of Indigenous culture by settlers. Contrarily, Foley’s work impresses a sense of myth, memory and dream - both personal and collective. Politically, this practice is an affirmative reclamation of symbols, narratives, cultures and histories that have previously been appropriated or erased.
191:. Following this, she was involved in the foundation of several artist co-operatives and initiatives. These include the Boomalli Aboriginal Artists Co-operative and artist exchanges and collaborative workshops between Badtjala people and artists from Maningrida & Ramingining. More recently Foley’s involvement in the arts community has extended to curatorial roles. In 1994 she co-curated
304:, a book written and illustrated in the 1960s by Foley’s aunt and uncle, relates numerous Badtjala creation stories that describe the animals, vegetation and weather patterns of the island. This text, her mother and her stints in Arnhem Land are considered major reference points for Foley’s 2D practice.
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and culture, culminating in the publication of a
Badtjala/English dictionary. Her mother's cultural pride and high regard for education have influenced Foley throughout her career. Her father was Barry Foley (1938-2017) who was born in Sydney, one of nine children in a Catholic family. His father
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as well as the impacts of the
British colonial opium trade on both Chinese and Indigenous communities. By exhibiting these works within the context of Western cultural institutions, Foley aims to evidence and embed oppressive Australian histories where they have previously been excluded.
214:- the first major public artwork by both an Indigenous and a non-Indigenous Australian artist. In 1995 it was awarded the Lloyd Rees Award for Urban Design. The work utilises both Western and Indigenous iconographies to evidence historical conflict - both on its site (the
154:. Foley and her mother visited Maningrida in 1992, facilitating a cultural exchange between locals and Badtjala people. Before this, Foley lived and worked in Ramingining for several months. These trips greatly informed her practice, provided further insights into
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in a culturally insensitive manner) serve to critique these claims to the representation of
Indigenous people. Positioning herself as both subject and author, Foley rectifies power imbalances and reconstructs an oppressive history. Works such as 1994’s
327:. In the interview Foley talks to writer, Louise Martin-Chew about her life as an artist and the influences on her practice including her sense of justice, desire to tell the hidden histories, her family memories and her love for Aboriginal culture.
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demonstrate an aim to undermine and challenge the historical and "scientific" sanctity of such images, whilst highlighting the West’s idealisation, sexualisation and exploitation of
Indigenous culture as an exotic aesthetic.
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Connection to place features heavily throughout Foley’s practice. Themes of nature - sand and sea - pervade pictorial works and foreground the significance of Foley’s ancestral ties to
Thoorgine (Fraser Island).
253:, listing 94 such sites. The corpses on these sites were hidden either by burning or submerging in bodies of water. Foley engaged in some chicanery to ensure the work’s installation, telling its commissioners (
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Political issues are central to Foley’s practice. Her works in public art and installation aim to examine and redress previously disregarded histories of colonisation in
Australia. One such example is
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Community engagement is pertinent to Foley's art practice. She contributed to the emergence of urban
Australian Indigenous Art through her participation in the seminal Koori '84 group exhibition at
222:) and across Australia. Pukumani or tutini (funerary) poles contrast Sydney’s urban landscape and memorialise the violence that shaped early interactions with settlers on the city’s shore.
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134:, sometimes formerly known as Thoorgine. In 1988, Shirley Foley established the Thoorgine Educational and Culture Centre on the island. She spent twenty years researching and recording
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Her practice encompasses many media including painting, drawing, sculpture, photography, textiles and installation, and her work addresses contemporary political issues facing
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175:. A number of her artworks have referenced this act and its effect on the Badtjala people. Her thesis was subsequently published by University of Queensland Press as
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with her siblings, and then attained a
Certificate of Arts from East Sydney Technical College in 1983. She was one of the first Indigenous students to attend the
733:. Neale, Margo., Kleinert, Sylvia., Bancroft, Robyne. Melbourne: Oxford University Press. 2000. pp. 301, 188, 267, 271–274, 485, 488, 486, 469.
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Warren, Jacob G. (2 January 2017). "'Pay
Attention Mother Fuckers': Outlining a Strategy of Wordplay in Australian Indigenous Text-based Art".
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At other times Foley’s work strikes a more playful or satirical political tone. Her appropriation of ethnographic imagery and "Aboriginalia" (
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in 2006, explores themes of history, memory and politics through sculptural installations and photographs, and references the
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Smith, Terry (2001). "Public Art between
Cultures: The "Aboriginal Memorial," Aboriginality, and Nationality in Australia."
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completing a Bachelor of Visual Arts in 1986. The following year she completed a Diploma of Education at Sydney University.
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Biting the Clouds: A Badtjala perspective on The Aboriginals Protection and Restriction of the Sale of Opium Act, 1897
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Since 1985, Foley has had significant engagement with Indigenous communities in central Australia, most notably
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National Indigenous Art Triennial (2nd : 2012 : National Gallery of Australia) (2012).
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negotiations regarding a portion of Fraser Island. As of 2014, this claim has been successful.
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57:. Foley's work has toured internationally and featured in several major exhibitions, including
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and the National Gallery of Australia, 2000, featuring the work of Fiona Foley. Archived from
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Biting the Clouds: The Aboriginals Protection and Restriction of the Sale of Opium Act, 1897
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culture, and inspired her to be a cultural leader. In 1995, Foley permanently moved back to
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Bogimbah Creek Mission: The First Aboriginal Experiment. New publication by Dr Fiona Foley
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National Gallery of Australia. National Gallery of Modern Art (New Delhi, India).
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1096:(Interview) (35). Interviewed by Millner, Jacqueline. Open City Inc. – via
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In 2013 Fiona Foley was interviewed in a digital story and oral history for the
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In 2017 Foley completed a Doctorate of Philosophy. Her research focused on the
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The eye of the storm : eight contemporary indigenous Australian artists
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422:. Benezit Dictionary of Artists. Oxford University Press. 31 October 2011.
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1079:. May Joseph, et al., eds. Minneapolis: University of Minnesota Press.
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Aboriginals Protection and Restriction of the Sale of Opium Act 1897
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Aboriginals Protection and Restriction of the Sale of Opium Act 1897
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965:"Fiona Foley digital story, educational interview and oral history"
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Fiona Foley digital story, educational interview and oral history
534:. Museum of Contemporary Art, Sydney. pp. 135–137, 141, 61.
249:(2004) remembers all known massacres of Indigenous people within
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currently stands), and its basis on false premises. Similarly,
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Bogimbah Creek Mission : The first Aboriginal experiment
565:"World of Dreamings: Traditional and modern art of Australia"
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List of Indigenous Australian art movements and cooperatives
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From her research fellowship, Foley produce her publication
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emigrated to Australia from Ireland before World War one.
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World of Dreamings: Traditional and modern art of Australia
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National Aboriginal & Torres Strait Islander Art Award
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Martin-Chew, Louise (2006). "Poignancy in Somber Truths."
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652:. St Lucia, Queensland: University of Queensland Press.
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Tyerabarrbowaryaou II - I shall never become a white man
1166:, John Oxley Library Blog, State Library of Queensland.
1159:, John Oxley Library Blog, State Library of Queensland.
682:"Winners announced for 2021 Queensland Literary Awards"
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Bogimbah Creek Mission: the First Aboriginal Experiment
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Bogimbah Creek Mission: The First Aboriginal Experiment
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Queensland Government: Ministerial Media Statements
731:The Oxford Companion to Aboriginal Art and Culture
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969:State Library of Queensland OneSearch Catalgoue
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1088:"Living the red desert: Fiona Foley interview"
1075:Foley, Fiona (1999). "A Blast From the Past."
635:(Griffith thesis thesis). Griffith University.
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1157:Dr Fiona Foley - Monica Clare Research Fellow
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390:Edge of the Trees (with Janet Laurence), 1995
122:and was a member of the Wondunna clan of the
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428:10.1093/benz/9780199773787.article.b00065635
237:now-invalidated treaty for 600,000 acres of
856:: CS1 maint: numeric names: authors list (
233:(1997) serve as evidence and a reminder of
118:Foley's mother, Shirley Foley, was born in
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1013:. Booral, Queensland: Pirri Productions.
931:Australian and New Zealand Journal of Art
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24:contemporary Indigenous Australian artist
36:Boomalli Aboriginal Artists Co-operative
1132:"Fiona Foley : woman on the dunes"
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378:Lost Badtjalas, Severed Hair, 1991
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605:"Fiona Foley: Woman on the Dunes"
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1116:Collector's Dossier: Fiona Foley
372:Annihilation of the Blacks, 1986
336:Monica Clare Research Fellowship
103:. Foley attended high school in
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570:National Gallery of Australia
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325:James C Sourris AM Collection
218:, formerly Australia’s first
95:in 1964 and raised in nearby
77:National Gallery of Australia
16:Australian artist (born 1964)
1039:National Museum of Australia
1035:"Annihilation of the Blacks"
872:"Black Opium by Fiona Foley"
470:Genocchio, Benjamin (2001).
210:, a 1995 collaboration with
183:Career and artistic practice
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1200:State Library of Queensland
987:State Library of Queensland
876:State Library of Queensland
396:Witnessing to Silence, 2004
332:State Library of Queensland
321:State Library of Queensland
266:State Library of Queensland
255:Brisbane Magistrate’s Court
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330:In 2020 Foley was awarded
302:The Legends of Moonie Jarl
109:Sydney College of the Arts
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1244:Indigenous Australian art
1113:Morrell, Timothy (2009).
629:Foley, Fiona Lee (2017).
1123:, issue 50 Oct–Dec 2009.
1121:Australian Art Collector
359:Foley is represented by
356:lecture on the subject.
91:Fiona Foley was born in
1086:(February–March 2000).
1068:Andrew Baker Art Dealer
828:. pp. 57, 65, 34.
823:Undisclosed : 2nd
375:Eliza’s rat traps, 1991
1395:People from Hervey Bay
1198:. John Oxley Library,
1064:"A Quintessential Act"
761:: CS1 maint: others (
575:State Hermitage Museum
563:Quaill, Avril (2000).
472:Fiona Foley: Solitaire
284:Indigenous Australians
43:Indigenous Australians
28:K'gari (Fraser Island)
1007:Foley, Fiona (2021).
896:Foley, Fiona (2010).
646:Foley, Fiona (2020).
530:Foley, Fiona (2009).
344:The Magna Carta Tree.
247:Witnessing to Silence
1162:Foley, Fiona (2021)
1155:Fiona, Foley (2020)
1077:Performing Hybridity
688:. 9 September 2021.
585:on 21 September 2021
573:. Exhibition at the
384:Badtjala Woman, 1994
264:commissioned by the
1186:Urban Art Projects
381:Native Blood, 1994
314:Salt Water Islands
282:objects depicting
260:Her work entitled
128:traditional owners
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399:Nulla 4 eva, 2009
361:Niagara Galleries
208:Edge of the Trees
177:Biting the Clouds
113:Sydney University
22:(born 1964) is a
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60:Global Feminisms
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1354:Harry Wedge
1349:Judy Watson
1319:Fiona Foley
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898:Black opium
696:9 September
312:(1992) and
308:(1987–89),
229:(1995) and
152:Arnhem Land
148:Ramingining
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20:Fiona Foley
1369:Categories
1044:16 October
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481:0958798494
404:References
251:Queensland
239:Wurundjeri
199:alongside
160:Hervey Bay
156:Aboriginal
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