Abstract:
The Boomali Aboriginal Artist's Cooperative was established in 1987 and it has launched the career
of artists such as Fiona Foley, Bronwyn Bancroft, Destiny Deacon, Michael Riley, Gordon Hookey,
Harry Wedge, Hettie Perkins and Brenda Croft. These artists, though diverse in style, all embody an
urban Indigenous sensitivity. Today, it has over 70 artists as members.
Bancroft's work is an example of the use of symbols and storytelling mixed with contemporary
issues such as identity, removal of children and the danger of HIV / AIDS. Her work is vibrant
in colour, using moving away from the ochre colours that still predominate what is perceived as
'traditional art'. Croft's photography captures slices of urban Aboriginal families, highlighting kinship
ties, family bonds and social interconnectedness. Gordon Hookey makes highly political art with word
plays such as 'terror nullius' and images of judges with pigs faces and John Howard with a snout, all
with their necks glowing red. 'Boomalli' means to strike or to make a mark in the languages of the
Bundjalung, Gamilaroi and Wiradjeri - three nations within the borders of New South Wales and
the artists within the co-operative state that they are committed to ensuring that the wider Australian
community sees Aboriginal culture as 'a living, breathing, evolving culture.'
Over the last year, Federal government funding for Boomali has been cut from $254 000 from
federal government in 2003-4 to $100 000 in 2004-5. This decrease in funding was a result of a new
funding formula that was devised by Aboriginal and Torres Strait Islander Services (ATSIS) that
favoured art organisation in remote communities. With a 60 percent decrease, the co-operative has
struggled to find ways to remain viable. The challenges facing of Boomali is a snapshot of the impact
of the increasing focus on remote communities in the implementation of policy.
