Beautiful stories of life in Australian Aboriginal society–where gender influences every aspect of existence–that show a new way to find happiness in our modern Western culture. Follows an Australian Aboriginal boy and girl from childhood through adolescence, adulthood, old age, and death, contrasting their experiences with those of ours at the same life stages. Presents the experience of living in a society in which every action is governed by the gender laws of nature and myth, and offers us ideas for the conduct of our lives. For thousands of years the Ngarinyin Aboriginal culture of Australia has existed with almost a total division of responsibility between genders. This division enables both men and women to respect the power, wisdom, and essentiality of the other because only when the two genders work in harmony does their culture function as it should. When Hannah Rachel Bell, a committed activist and feminist, first encountered this culture in the 1970s she resisted such blatant gender division. But over her 25-year collaboration with the well-known Aboriginal Lawman David Mowaljarlai she found her beliefs challenged and finally changed. In this book Bell presents the experience of living in a society in which every action is governed by the laws of nature and myth, rather than those of commerce and politics. She offers modern people ideas for the conduct of their lives by raising awareness of the cultural processes and institutions that affect men’s and women’s authority, sovereignty, and the fulfillment of their birthright. It is a journey that, if traveled collectively, could change the direction and experience of modern culture.

This insightful survey highlights the extraordinary and diverse works of Aboriginal and Torres Strait Islander artists. Rooted in traditions that span over 50,000 years, these artists have contributed to both sacred ceremonial realms and public spaces. The updated edition expands its scope to include the influential artists who have risen in the past decade, with a particular focus on the vibrant artistic activity in the Southern Desert region, Queensland, and the Torres Strait Islands. This evolution reflects the ongoing dynamism and vitality of Aboriginal art, a living testament to its enduring cultural significance.

Celebrating ten years of the acclaimed Tarnanthi Festival, the Tarnanthi 2025 catalogue showcases the richness and diversity of contemporary Aboriginal and Torres Strait Islander art. Spanning 328 pages with full-colour imagery, it captures the vibrancy of the 2025 festival across AGSA and partner venues throughout South Australia. This beautifully bound hardcover includes essays from leading First Nations voices reflecting on a decade of Tarnanthi, alongside commentary on new works premiering in 2025. Both a keepsake and a tribute, this landmark publication is essential for anyone passionate about First Nations art and cultural expression.

After the Rain offers an evocative insight into the creative processes behind ten powerful contemporary art projects commissioned for the National Gallery of Australia’s flagship exhibition of First Nations art, the National Indigenous Art Triennial. Now in its fifth iteration, it showcases work from leading artists and collectives across the country. Edited by artistic director Tony Albert, the richly illustrated publication features artist profiles, original portraits by Vincent Namatjira, and compelling essays by First Nations writers exploring identity, legacy and climate. It’s an invitation to honour past, present and future cultural warriors.

An important study of the basketry and other non-loom fiber art of the Aboriginal Australian Yolngu people. “The most comprehensive and consummate insight yet published into the Indigenous fibre art of northeast Arnhem Land, Containers of Power investigates the complex set of relationships between fibre works and their makers. Based on the long term engagement of anthropologist Louise Hamby with the women of Gapuwiyak (Lake Evella) in Arnhem Land, this book retrieves recognition for the relatively unknown creative practice of the Gapuwiyak community. Celebrating both the women artists of this area and the bathi that are integral to all aspects of Yolngu life, 700 images illustrate the work of Gapuwiyak women past and present, highlighting their individual styles and demonstrating their cultural identity.”