Rosalie Gascoigne (1917–1999) was a highly regarded Australian artist whose assemblages of found materials embraced landscape, still life, minimalism, arte povera and installations. She was 57 when she had her first exhibition. Behind this late coming-out lay a long and unusual preparation in looking at nature for its aesthetic qualities, collecting found objects, making flower arrangements and practising ikebana. Her art found an appreciative audience from the start.

Drawing in the Land offers an important contribution to the field of rock art research and Australian archaeology. It provides a detailed study of the previously under-examined rock art of the Hawkesbury/Nepean area of New South Wales. The study presents a detailed historiography of Australian rock art research and, through the lens of landscape archaeology, offers an innovative contribution to rock art studies in the wider Sydney Basin.

In this volume, Peter Sutton provides a survey of the articles published by linguist Dr Luise Hercus (1926–2018) in Aboriginal History, honouring the contribution she has made to the journal since its inception. The seven articles this year highlight the wealth of sources that feed into historical research of Indigenous Australia.

Indigenous efflorescence refers to the surprising economic prosperity, demographic increase and cultural renaissance currently found amongst many Indigenous communities around the world. This book moves beyond a more familiar focus on ‘revitalisation’ to situate these developments within their broader political and economic contexts. The materials in this volume also examine the everyday practices and subjectivities of Indigenous efflorescence and how these exist in tension with ongoing colonisation of Indigenous lands, and the destabilising impacts of global neoliberal capitalism.

Photography has been a key means by which Australians have sought to define their relationships with Japan. From the fascination with all things Japanese in the late nineteenth century, through the era of ‘White Australia’, the bitter enmity of the Pacific War, the path to reconciliation in the post-war period and the culturally complicated bilateralism of today, Australians have used their cameras to express a divided sense of conflict and kinship with a country that has by turns fascinated and infuriated.

For the people of Timor-Leste, independence promised a fundamental transformation from foreign occupation to self-rule, from brutality to respect for basic rights, and from poverty to prosperity. In the eyes of the country’s political leaders, revenue from the country’s oil and gas reserves is the means by which that transformation could be effected. Over the past decade, they have formulated ambitious plans for state-led development projects and rapid economic growth.