Ricky Maynard's guest appearances

Ricky Maynard

National Gallery of Australia | Audio Tour | National Indigenous Art Triennial 07

Art Guide Australia Podcast

Kylie Banyard

David Wojnarowicz

Anna Davis

Catherine Bell

Tai Snaith

Yvette Coppersmith

Prudence Flint

Ross Coulter

Cyrus Tang

Wendy Stavrianos

Janelle Low

Mervyn Bishop

Vivienne Binns

Bonita Ely

John Wolseley

OwlTail

Ricky Maynard isn’t solely interested in creating great pieces of art; he aims for what he calls “great pieces of evidence.” Since the 1980s the photographer’s practice has focused on the history, trauma and struggle of Indigenous people, capturing significant historical sites, landscapes and community figures. Maynard’s practice is marked by the ongoing intent to tell the story of Aboriginal people beyond a colonial gaze. He discusses how this underpins his work, beginning with how he became interested in documentary photography, while also considering his photos as a catalyst for future racial justice. See more at Art Guide Australia online: https://artguide.com.au/ricky-maynard-art-as-evidence

Ricky Maynard isn’t solely interested in creating great pieces of art; he aims for what he calls “great pieces of evidence.” Since the 1980s the photographer’s practice has focused on the history, trauma and struggle of Indigenous people, capturing significant historical sites, landscapes and community figures. Maynard’s practice is marked by the ongoing intent to tell the story of Aboriginal people beyond a colonial gaze. He discusses how this underpins his work, beginning with how he became interested in documentary photography, while also considering his photos as a catalyst for future racial justice. See more at Art Guide Australia online: <a href="https://artguide.com.au/ricky-maynard-art-as-evidence" rel="nofollow" target="_blank">https://artguide.com.au/ricky-maynard-art-as-evidence</a>

Interview: Ricky Maynard and art as evidence

Ricky Maynard isn’t solely interested in creating great pieces of art; he aims for what he calls “great pieces of evidence.” Since the 1980s the photographer’s practice has focused on the history, trauma and struggle of Indigenous people, capturing significant historical sites, landscapes and community figures. Maynard’s practice is marked by the ongoing intent to tell the story of Aboriginal people beyond a colonial gaze. He discusses how this underpins his work, beginning with how he became interested in documentary photography, while also considering his photos as a catalyst for future racial justice.See more at Art Guide Australia online: https://artguide.com.au/ricky-maynard-art-as-evidence

Ricky Maynard isn’t solely interested in creating great pieces of art; he aims for what he calls “great pieces of evidence.” Since the 1980s the photographer’s practice has focused on the history, trauma and struggle of Indigenous people, capturing significant historical sites, landscapes and community figures. Maynard’s practice is marked by the ongoing intent to tell the story of Aboriginal people beyond a colonial gaze. He discusses how this underpins his work, beginning with how he became interested in documentary photography, while also considering his photos as a catalyst for future racial justice. See more at Art Guide Australia online: <a href="https://artguide.com.au/ricky-maynard-art-as-evidence" rel="nofollow" target="_blank">https://artguide.com.au/ricky-maynard-art-as-evidence</a>

I can remember coming here as a boy in old wooden boats to be taught by my grandparents and my parents. I’ll be 57 this year and I have missed only one year when my daughter Leanne was born. Mutton birding is my life. To me it’s a gathering of our fellas where we sit and yarn, we remember and we honour all of those birders who have gone before us. Sometimes I just stand and look out across these beautiful islands remembering my people and I know I’m home. It makes me proud to be a strong Tasmanian black man. This is something that they can never take away from me.Murray Mansell, Big Dog Island, Bass Strait, 2005

I can remember coming here as a boy in old wooden boats to be taught by my grandparents and my parents. I’ll be 57 this year and I have missed only one year when my daughter Leanne was born. Mutton birding is my life. To me it’s a gathering of our fellas where we sit and yarn, we remember and we honour all of those birders who have gone before us. Sometimes I just stand and look out across these beautiful islands remembering my people and I know I’m home. It makes me proud to be a strong Tasmanian black man. This is something that they can never take away from me. Murray Mansell, Big Dog Island, Bass Strait, 2005