Why John Mawurndjul’s barks are so contemporary Print Email Email to a friend Your email Your name Friend's email Friend's name Verification Please prove your humanity Go on prove it :) Close Related Articles Mitzevich finds the answers to lead the NGA in its DNA (locked) No new building, more digital content, a Mitzevich collection rehang and a year of blockbusters; all part of the vision to turn the National Gallery around for 21st century engagement. ICYMI: this week’s arts news round up (locked) From a new art market platform to a commission to mark the national apology to Child Sexual Abuse, ArtsHub recaps the week's arts news. Peer mentorship offers rewards beyond the silo of geography (locked) A new program led by the British Council pairs Australian and British arts colleagues from minority and First Nations backgrounds to affect future decision making. The Sydney Opera House is not a billboard – sector speaks out (locked) Anger across the sector as NSW Premier orders the Sydney Opera House to be used for horse racing advertisement – protested last night as lights turned on. (Premium content) Premium content Gina Fairley Wednesday 11 July, 2018 A major survey exhibition tracks a 40 year career, and looks at how an artist has changed the perception of bark painting nationally and internationally. This content is only available to members of ArtsHub Join Now for instant access! A subscription to ArtsHub will enable you to: Access the most comprehensive jobs board for the arts sector, with hundreds of positions posted weekly Keep up to date with the latest industry news Access thousands of members-only features, articles and guides Be in the know with upcoming events and exhibitions added daily ... and much, much more. Join Now and join the British arts community today Installation view of lorrkkon (log coffins) in the exhibition John Mawurndjul: I am the old and the new (2018) at Museum of Contemporary Art Australia. Photo: ArtsHub. Member login Email address Password Forgot password? About the author Gina Fairley is ArtsHub's National Visual Arts Editor. For a decade she worked as a freelance writer and curator across Southeast Asia and was previously the Regional Contributing Editor for Hong Kong based magazines Asian Art News and World Sculpture News. Prior to writing she worked as an arts manager in America and Australia for 14 years. She is based in Mittagong, regional NSW, and you can follow her on Twitter @ginafairley and Instagram at fairleygina.