'Brisbane in the 1980s provides a case study of how a small, but intensely self-conscious experimental art-scene could be created by a very few people marginalised within a conservative culture. This was a uniquely Australian phenomenon, possible only in a country of densely-populated, capital cities, isolated from each other by great distances.
Within the period specified there existed a radical network of artists and writers, performers and musicians. Working in collaboration, they produced a rapidly-changing series of art-exhibitions and performances at artist-run spaces such as One Flat, Red Comb House, the Institute of Modern Art, John Mills National, A Room, Belltower, the Observatory and THAT Space. The same participants revived the artists' union in 1984, renamed the Queensland Artworkers' Alliance, and founded the national art-magazine eyeline in 1987.' (Introduction)
'If any characteristic has distinguished the police in Australia from their original models in England or Ireland, it has been their continually changing role in the government of Aborigines.
In the 1830s and 40s, in the absence of any real law enforcement body, uncontained conflict between settlers and Aborigines in what was to become southern Queensland resulted in a spiral of violence that was at times gratuitous. Some whites killed blacks out-of-hand. For their part, Aborigines retaliated when and how they could. One settler, for example, told how in a little over two years fifteen of his shepherds had been murdered and whole herds of his animals had been butchered simply for the fat their kidneys contained.' (Extract)