Self-taught artist Heather Fraser uses her art as a form of creative political
expression. An Associate Professor in social work Heather submitted a collection of
small paintings to be included on this issue cover to express our human struggles.
This is made evident in the work as messages to provoke in the viewer an emotive
response, particularly in those people who have experienced recent traumatic
events like the recent black lives matter protests, the catastrophic bushfires and then
the fear and devastation caused by COVID-19. Heather ‘appreciates how art can be
a bridge into discussion about human-animal relations, including discussions that
are confronting’. ‘I want to use my artwork to recognise animal sentience and the
violence committed against animals, including violence in domestic
homes’ (Fraser 2020). For example the painting with the Koala in the arms of a
saviour conveys the magnitude of loss of Australian wildlife through these fires
and the importance of saving even one animal. These images in their simplicity
provide a self-evident message. Heather’s images portray, from left global racial
protests, the Australian bushfires, the seriousness of the pandemic and stop
Adanai protests (a contoversial coal mine) that has devastating consequences for
the environment.
Foreword
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Foreword |
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3 | Introduction: Access to Justice in an Age of Uncertainty | Christine Morley and Kerry Carrington |
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Articles |
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9 | Recruitment Fraud: Increased opportunities for exploitation in times of uncertainty? | Cassandra Cross and Deanna Grant-Smith |
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15 | Whose Responsibility is Equity and Social Justice within the Higher Education System? Reflections on the Australian university sector during the COVID-19 pandemic | Kate Saxton |
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25 | Supporting Telephone Counsellors in the Context of the COVID-19 Pandemic | Danielle Davidson |
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34 | The Basics Card: A return to the ‘Rations’ days for First Nations peoples of Australia? | Grace O’Brien |
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40 | Reframing a New Politics of Distributive Justice and Housing Equity in Australia: How lessons from postwar ......... and neoliberal eras provide opportunities for a reinvigorated political commitment to universal, socially just alternatives | Jenni Mays |
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48 | Beyond the Homelessness, Crisis Accommodation, Poverty and Child Protection Cycle: Supportive housing for families with children and young people | Shane Warren and Adam Barnes |
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56 | The Home and Heart Project: Women’s close relationships in the context of insecure housing | Kelly Moss and Heather Fraser |
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68 | Lockdown, Vulnerabilities and the Marginalised: Melbourne as a COVID-19 response study | Binoy Kampmark and Kenneth Christie |
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Short Stories |
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76 | Night driving | Gillian Hagenus |
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78 | Promise | Eileen Herbert-Goodall |
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Poetry |
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8 | Beneath Concrete | Ava Nunan |
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8 | Lavender Stems | Verity Oswin | |
14 | Porter | Derek Wrightg | |
24 | To The Tune Of “Nine Below Zero” | Kevin Hart | |
33 | Aquarium | Jane Downing | |
33 | Sirtak | Jane Downing | |
39 | Heart Goes Out | Kate Maxwell | |
39 | In Reverse | Clay Thistleton | |
75 | A Trodden Morning | Jill Jones | |
77 | Graphology Ratio 15: subjectivity | John Kinsella | |
79 | Possession | Jennifer Liston | |
80 | After years in Carthage | Tomas Venclova | |
80 | Three Haiku | Mocco Wollert | |
80 | OUR FIRST STEPS, THE SERPENT'S and REVERSABLE AGE | Lidija Šimkute | |
81 | Especially delightful is the first day when one is expecting a visitor | Jennifer Liston | |
81 | Solstice | Derek Wright | |
81 | Venus Hand Trap | Jude Aquilina | |
81 | Diagnosis | David Ades | |
82 | What It Will Be Like | David Ades | |
82 | The Rock Garden | Vivian Garner | |
82 | Provocation | Nicola Bowery | |
82 | In alleys and shadows | Peter Bakowski |