In Visible Ink makes visible the invisible, ephemeral, little known and erased narratives of people and communities marginalised by race and religion. We share and amplify stories, histories, art, conversations and projects that inspire people to see differently, be transformed and make change towards a more just world.
10 Things To See Differently (In Your City)
Do you have a story to tell, about a place in your local environment that has a hidden, alternative or unrecognised story or name?
We’re asking communities, locally, around Western Australia and around the world to submit the names and stories of places and landscapes that have an invisible or unknown history, or story of Indigenous or multicultural significance.
Tell us your story and we’ll publish as many as we can!
Contribute Your Story Here
Shift Your Gaze
Was there slavery in Australia? Yes. It shouldn’t even be up for debate
Thalia Anthony and Stephen Gray, The Conversation
Whose History: the role of statues and monuments in Australia
Nathan Mudyi Sentance, Australian Museum
The toppling of Edward Colston's statue is not an attack on history. It is history
David Olusoga, The Guardian
Robert Clive was a vicious asset stripper.
William Dalrymple, The Guardian
The Killing Times
Deathscapes
All We Can’t See
Uncomfortable Art Tours
In My Blood It Runs
For Sama
Palestinian Threads and Stitches
Jorng Jam
A contemporary art and history project which remembers, reclaims and reinterprets Cambodian social history from before, during and after the Khmer Rouge era.
Island of the Hungry Ghosts -
Gabrielle Brady
Watch this moving story on Docplay
When They See Us -
Ava Duvernay
Watch this revealing series on Netflix
Dark Emu -
Bruce Pascoe
That Was Home -
Denise Cook
Deaths in custody: what can museums do to effect change?
Dr Sandy O’Sullivan, Australian Museum
At Tate Modern
Cora Gilroy-Ware, London Review of Books
Addressing the British Museum’s Colonial History and Hollow Solidarity With Black Lives
Bayryam Mustafa Bayryamali, Hyperallergic
The myth of whiteness in classical greek sculpture
Margaret Talbot, The New Yorker