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Summary: This paper describes advances made to aerial surveys of macropods in New South Wales and Queensland. Regular aerial surveys of macropods across large areas of Australia's arid and semi‐arid rangelands were established as a response to concerns for the species' conservation. They became integral to the harvest management of the four macropod species – Eastern Grey Kangaroo (Macropus giganteus), Western Grey Kangaroo (M. fuliginosus), Red Kangaroo (Osphranter rufus) and Common Wallaroo (O. robustus). Harvest quotas are set as a proportion of population size, requiring absolute estimates of abundance. Counts were made in strip transects from fixed‐wing aircraft, but required correction for animals that are missed. In New South Wales and Queensland, counts are now made using line transect sampling, providing survey‐specific correction. Helicopters are used in more rugged and timbered areas and where Common Wallaroo can be more frequently found and harvested. Mark‐recapture distance sampling is used in more open country that can be surveyed using fixed‐wing aircraft and improves the accuracy of density estimates by accounting for animals missed on the transect line. Macropod populations are likely to be surveyed in the future by airborne imagery and by drones, but the technology needs further development. Spatial models could usefully provide small‐scale density estimates and address non‐random sampling. [ABSTRACT FROM AUTHOR]

This paper offers an ethnographic exploration of the assertion of a 'Barkindji style' art: why this matters and to whom it matters. Focusing particularly on the Darling River area of Wilcannia and on the period from the 1980s to the present, the increasing interest in art-making by local Aboriginal people is considered. Through a dialogue with artists, artworks, and others, the work examines the changing form, design and content of art and the rote of art in defining ideas of Barkindji Aboriginal culture and tradition. Invocations by key cultural brokers to produce work that is seen to 'belong to us' is explored in terms of the cultural, political, and personal work that this involves; particularly as this intersects with ideas of artistic freedoms versus artistic direction by cultural brokers. The paper discusses the personal considerations and tensions that come to bear in the processes connected with production of art and its making. In so doing, this paper engages with, and extends, the work of Tacon et al. (2003), Cooper (1994), Kleinert (1994) and Morphy (2001) as this pertains to art 'styles' and material culture from what is widely referred to as south-eastern Australia. [ABSTRACT FROM AUTHOR]