Tristen Harwood Tristen Harwood i(15296518 works by)
Gender: Male
Heritage: Aboriginal ; Aboriginal Mara / Marra people
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Works By

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1 Along the Road, Sadlands Tristen Harwood , 2023 single work essay
— Appears in: Meanjin Online 2023; Meanjin , September vol. 82 no. 3 2023; (p. 46-51)

'We are always on Country, no matter if it is called city or desert, school or bush, road, rock, mountain, beach—even in the prison it is all Indigenous land. This is the settlers’ unpayable debt. I run down by the river on Wurundjeri Country, in morning or night, whether it is lighted by mist or the silver wattle blooms, it’s all the ancestors and the stories of this land, which I can never fully know. It is through art and writing, I think, that we have already begun to reciprocate these stories, to account for and somehow resist malign presences, which, as Charmaine Papertalk Green tells us in ‘More than Balga Grass trees and kangaroos’ (2022) have tried to ‘eras[e] our stories out’. So here:' (Introduction)

1 Mad Max Tristen Harwood , 2022 single work essay
— Appears in: Melbourne on Film : Cinema That Defines Our City 2022;
1 Jackie Huggins Sister Girl : Reflections on Tiddaism, Identity and Reconciliation Tristen Harwood , 2022 single work review
— Appears in: The Saturday Paper , 22-28 January 2022;

— Review of Sister Girl : The Writings of Aboriginal Activist and Historian Jackie Huggins Jackie Huggins , 1998 selected work prose interview essay biography

'“I was fed on a diet of lies and invisibility about the true history of this country from a very young age,” recalls Jackie Huggins. In the new edition of her prescient 1998 book Sister Girl: Reflections on Tiddaism, Identity and Reconciliation, Dr Huggins writes history through kinship, storying Aboriginal women’s survival, agony and strength. This healing, Blak feminist book sounds the collective truth and strength of Aboriginal women’s voices into the chambers of a violent history that has tried to silence them.' (Introduction)

1 Louise Martin-Chew Fiona Foley Provocateur : An Art Life Tristen Harwood , 2021 single work review
— Appears in: The Saturday Paper , 13-19 November 2021;

— Review of Fiona Foley Provocateur : An Art Life Louise Martin-Chew , 2021 single work biography
1 You Can Go Now Tristen Harwood , 2021 single work column
— Appears in: The Saturday Paper , 26 June - 2 July 2021;
'Richard Bell’s prescient work and unapologetic polemics have paved the way for an entire generation of contemporary Indigenous artists.' 
1 Flock : First Nations Stories Then and Now, Ellen Van Neerven (ed.)" Tristen Harwood , 2021 single work review
— Appears in: The Saturday Paper , 29 May - 4 June 2021;

— Review of Flock : First Nations Stories Then and Now 2021 anthology single work prose short story

'Flock is a brief glimpse at the past 25 years of First Nations writing. As Ellen van Neerven, the collection’s editor, writes, “many collections have come before this one”. There have been a lot of stories, shared between kin, across Country and generations, some of them that evade the written word. Here are 20 previously published short stories that together tell of resurgent ecological communities, of loss, shadow-lives and family.' (Introduction)

1 Adam Thompson, Born Into This Tristen Harwood , 2021 single work review
— Appears in: The Saturday Paper , 13-19 February 2021;

— Review of Born Into This Adam Thompson , 2021 selected work short story
1 Badtjala Visual Artist Fiona Foley Tristen Harwood , 2020 single work column
— Appears in: The Saturday Paper , 31 October - 6 November 2020;

'Fiona Foley’s groundbreaking new book Biting the Clouds traces a hidden colonial history of addiction and slavery. “None of the information in this book was ever taught to me in a classroom setting … We have no critical race studies in the curriculum in this country.” By Tristen Harwood.' (Introduction)

1 An Essay on the Works of Western Desert Women Artists and Aboriginal Culture Tristen Harwood , 2015 single work essay
— Appears in: NEW : Emerging Scholars in Australian Indigenous Studies , vol. 1 no. 1 2015;

'The works of Western Desert women artists, such as Kathleen Petyarre, confront the viewer with the embodied reality of Aboriginal culture. These works are intercultural expressions of Aboriginal ways of being, imprinted within the frame of the canvas. This essay explores the implications of Kathleen Petyarre’s paintings for Settler Australians, and the potential for such works to create a greater appreciation of Country. I suggest that the acrylic paintings performed by Western Desert women artists can be understood as both expressions of the Dreaming and as evocations of sensibilities to be experienced and felt by Settler viewers. With reference to Jennifer Biddle’s Breasts, Bodies, Canvas: Central Desert Art as Experience (2007), I maintain that the work of Western Desert women artists departs from the dominant modes of representing Country, Dreaming narratives and Ancestors – instead articulating bodily experiences and expressions particular to Aboriginal women’s ways of being in and knowing the world.' (Introduction)

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