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Fiona Jean Nicoll Fiona Jean Nicoll i(A4408 works by) (a.k.a. Fiona Nicoll)
Gender: Female
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1 1 y separately published work icon Courting Blakness Fiona Jean Nicoll , 2015 9126885 2015 website

'Courting Blakness: Recalibrating Knowledge in the Sandstone University was a groundbreaking exhibition curated by UQ Adjunct Professor, Fiona Foley. Located in the University of Queensland’s Great Court between September 5-28 in 2014, the project brought together works in different media by Ryan Presley, Archie Moore, Rea, Natalie Harkin, Karla Dickens, Christian Thompson, Megan Cope and Michael Cook.' (Source: About webpage)

The content of the website was transferred to AustLit in 2017 and can be explored here.
1 Indigenous Knowledge and the Art of Thinking Fiona Jean Nicoll , 2015 single work criticism
— Appears in: Courting Blakness : Recalibrating Knowledge in the Sandstone University 2015; (p. 186-195) 'In 2014, the University of Queensland's Great Court became a unique staging platform for discussions about the relationship between Indigenous people and the university as a global knowledge institution...'
1 Recalibrating Knowledge in the Sandstone University Fiona Jean Nicoll , 2015 single work criticism
— Appears in: Courting Blakness : Recalibrating Knowledge in the Sandstone University 2015; (p. 2-13) 'Courting Blakness: Recalibrating Knowledge in the Sandstone University was a platform of cultural and political experimentation that culminated in a unique progran of original art, research, teaching and staff training at the University of Queensland from 5 to 28 September in 2014...'
1 2 y separately published work icon Courting Blakness : Recalibrating Knowledge in the Sandstone University Fiona Foley (editor), Louise Martin-Chew (editor), Fiona Jean Nicoll (editor), St Lucia : University of Queensland Press , 2015 8903175 2015 selected work criticism

'In a bold and unprecedented project, acclaimed international artist Fiona Foley curated a cutting edge installation in the University of Queensland's sandstone Great Court. Universities have traditionally been elite institutions, overlooking and undervaluing the knowledge contributions of Indigenous thinkers, activists and artists. This history is etched into the walls of the Great Court, with anachronistic concepts of humanity and racial difference revealed in many of friezes and sculptural reliefs. Fiona Foley and her team of eight Aboriginal artists aimed to challenge these concepts...'
1 Stuart Cunningham : In the Vernacular : A Generation of Australian Culture and Controversy Fiona Jean Nicoll , 2009 single work review
— Appears in: JASAL , no. 9 2009;
— Review of In the Vernacular : A Generation of Australian Culture and Controversy Stuart Cunningham , 2008 selected work essay
1 Untitled Fiona Jean Nicoll , 2009 single work review
— Appears in: Journal of Australian Studies , June vol. 33 no. 2 2009; (p. 245-247)
— Review of Convincing Ground : Learning to Fall in Love with Your Country Bruce Pascoe , 2007 single work prose
1 Reconciliation in and out of Perspective: White Knowing, Seeing, Curating and Being at Home in and against Indigenous Sovereignty Fiona Jean Nicoll , 2004 single work criticism
— Appears in: Whitening Race : Essays in Social and Cultural Criticism 2004; (p. 17-31)
1 1 y separately published work icon Aunty Nance Fiona Jean Nicoll (editor), Ricardo Peach (editor), Casula : Liverpool Regional Museum , 2002 Z1521710 2002 single work biography
1 4 y separately published work icon From Diggers to Drag Queens : Configurations of Australian National Identity Fiona Jean Nicoll , Sydney London : Pluto Press King Street Press , 2001 Z921160 2001 single work criticism
1 Pseudo-Hyphens and Barbaric/Binaries : Anglo-Celticity and the Cultural Politics of Tolerance Fiona Jean Nicoll , 1999 single work criticism
— Appears in: Unmasking Whiteness : Race Relations and Reconciliation 1999; (p. 124-133) Queensland Review , May vol. 6 no. 1 1999; (p. 77-84) '[T]he point being made is not that the discourse of enrichment places Anglo-Celtic culture in a more important position than other migrant cultures. If this was the case, it would simply be reflecting reality. More importantly, this discourse assigns to migrant cultures a different mode of existence to Anglo-Celtic culture. While Anglo-Celtic culture merely and unquestionably exists, migrant cultures exist for the latter. (Ghassan Hage)' (Extract)
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