Andrea Bubenik co-curated The Ghosts of Lani Mulgrave Blair with Henrietta Marrie AM at NorthSite Contemporary Arts, Cairns. The exhibition explores the life and afterlife of Lani Mulgrave Blair (1883–1900), a Yidinji boy taken from Country during frontier violence and raised in colonial Melbourne. Bringing together archival materials, oral histories, contemporary artworks, film, and sound, the exhibition returns Lani’s story to Yidinji Country and foregrounds themes of memory, survival, cultural continuity, and restorative storytelling. The exhibition features works by Yidinji artists including Paul Bong and Jaymen Drahm, alongside Lani by the Demons Land Collective and Lani’s Lament by Carl Fourmile. The exhibition was launched on July 30, with a deeply moving ceremony that brought together Yidinji Elders, family and community members, artists, researchers, and supporters to honour Lani’s memory and affirm the enduring strength of Yidinji culture and connection to Country. The Ghosts of Lani Mulgrave Blair - NorthSite Contemporary Arts_
ANZJA: The Australian and New Zealand Journal of Art is now jointly based at The University of Queensland and Griffith University, further strengthening the School's position as a leading centre for art historical research in the region. Under the editorial leadership of Andrea Bubenik (UQ), Sue Best, Chari Larsson, Elizabeth Findlay (Griffith University/QCA), and with Toby Burrows (UQ casual) as Managing Editor, the journal provides a vital platform for innovative scholarship in art history, art criticism, and visual culture. Its presence at UQ fosters research collaboration, scholarly exchange, and the dissemination of internationally significant work, while enhancing the visibility and impact of the School's research community across Australia, New Zealand, and beyond.
On 19 August, Associate Professor Andrea Bubenik will deliver a QAGOMA Members Lecture exploring Tintoretto's The Risen Christ (c.1555). Drawing on new research undertaken in Venice, the lecture offers fresh perspectives on QAG's most important Renaissance painting and examines how Tintoretto used paint, light and movement to make the divine appear startlingly present.
