A Lightness of Spirit is the Measure of Happiness

Education Kit

1 2 Exhibition Introduction

A Lightness of Spirit is the Measure of Happiness Image highlights the significance of family, community and Vicki Couzens, humour in contemporary Aboriginal life. The exhibition, Djawannacuppatea 2018. composed of significant new commissions from Installation view, Australian thirteen Indigenous artists, brings together voices Centre for Contemporary Art. from across the country in an exploration of everyday Photograph: Andrew Curtis experiences. Referencing pop culture and country music icons, queer identity and community leadership, as well as the legacy of ancestors, the exhibition aims to acknowledge the importance of coming together to strengthen identity and connection.

A Lightness of Spirit is the Measure of Happiness is the inaugural exhibition of Yalingwa, a Victorian Government initiative, developed as a partnership between Creative Victoria, ACCA and TarraWarra Museum of Art, designed to support the development of outstanding contemporary Indigenous art and curatorial practice.

3 4 How to use this kit Artists & Floorplan

This Education Kit has been developed 1. Peter Waples-Crowe for use alongside visiting the exhibition 2. Lisa Waup A Lightness of Spirit is the Measure of 3. Vicki Couzens Hapiness at the Australian Centre for 4. Yhonnie Scarce Contemporary Art. 5. Vincent Namatjira 6. Alec Baker, Peter Mungkuri and Mr Kunmanara Pompey Teachers can select and adapt the 7. Tiger Yaltangki questions and activities provided within the resource for learning experiences in 8. Mr Kunmanara Pompey the gallery or classroom. 9. Kaylene Whiskey 10. Robert Fielding 11. Benita Clements 7 Contents 12. Jonathan Jones

Exhibition Introduction 6 Artists & Floorplan 8 Artists & Artworks

Benita Clements Vicki Couzens 10 5 Robert Fielding Jonathan Jones 12 9 Vincent Namatjira Yhonnie Scarce Peter Waples-Crowe Lisa Waup 11 Tiger Yaltangki Kaylene Whiskey 4 Alec Baker, Peter Mungkuri 1 and Mr Kunmanara Pompey Mr Kunmanara Pompey 3 List of Works 2 Key Ideas & Vocabulary

5 6 Benita Clements

Benita Clements is the daughter of artist Gwenda Inquiry Question Namatjira and the great granddaughter of Albert Clements harnesses skills Namatjira – one of Australia’s best known and most passed on to her from celebrated artists. Clements continues the family family members when tradition of Ntaria/Hermannsburg watercolour, making her watercolour her Country in the vibrant colours that are reflected in artworks. Reflecting the landscape. In her new series, My life with Albert – on your own skills and My family 2018, Clements celebrates and pays homage abilities, can you trace the to her family and depicts everyday life in talents that you have back and Ntaria. Her watercolour works document trips to a member, or members, out bush for hunting and fishing and include scenes of your family? of the younger Namatjira generations learning the watercolour tradition. Clements’ deftly blends the past and the present, portraying Albert working and painting Images alongside his living descendants. P. 6: Benita Clements, Painting near Glen Helen As the artist notes: ‘I like to look at photos of Albert and seeing a UFO! 2018. and old-time photos of Ntaria/Hermannsburg to inspire Photograph: Andrew my . I like to think about how they lived in the Curtis old times, in the mission, and on our Country – and P. 7: Benita Clements, what my family did. I paint stories of the old-times that Gloria, Betty and me my family have told me about painting with Albert in painting together at Palm Palm Valley and around the West MacDonnell Ranges, Valley 2018. Photograph: and Alice Springs. I also like to make up stories about Andrew Curtis what my family might have been doing, and how my family and our country inspires me. I like to paint fun paintings!’

7 8 Vicki Couzens

Vicki Couzens is a member of the Keerray Woorrong and Inquiry Question Gunditjmara clans of the Western Districts of Victoria. The kitchen table is a Country, language, identity and culture are at the very heart central motif in Couzens’ of Couzens art practice and she has been instrumental in Djwannacuppatea installation. the recent reclamation and revitalisation of possum skin What kinds of conversations cloak making in South Eastern Australia. The artist places are held and what sorts of great importance on the notion of reciprocal knowledge – activities happen around the sharing with and learning from others. A brand new artwork, kitchen table at your house? Djwannacuppatea 2018, takes the impressive form of teapot that stands over four metres high. Inside the teapot is a table and chairs, cups, saucers, photographs and mementos that Images belong to the artist and a sound track of chatter, laughter, P. 8 & 9: Vicki Couzens, clicking china and a kettle boiling. The installation makes a Djawannacuppatea 2018. direct connection through history: from the old days – a way Installation view, Australian of life that sustained her ancestors since the beginning of time Centre for Contemporary Art. – through the hard days of mission life and into the artist’s life Photograph: Andrew Curtis and connections today.1 The idea of spending time with family and friends, catching up and sharing stories in kitchens or around the campfire is central to this artwork. Having a ‘cuppa’ tea is a common Aboriginal way of catching up and sharing among family and community. When we meet up with mob, whether it’s visiting each other’s home or out in community, we greet each other, we check in, we ask how is the family?, and so on, then its cuppa tea time. ‘Hey Sis/Bruz, Aunt/Unc/ Mum/Dad/Nan/Pop/Cuz … how ya goin?’ djwanna cuppa tea? I’ll put the kettle on...’

Couzens has invited her family to contribute to the work by creating their own ‘cuppa tea stories’. Over the course of the exhibition, the table and the centre of the installation will change and develop in collaboration with Aunty Fay Muir, Lisa Couzens and Gina Bundle, to explore memories of Country, family, genealogy and the continuation of cultural traditions. 1 Other contributors include Bronwyn Razem, Jarrah Bundle, Presley, Hannah. 2018. A Lightness of Spirit is the Yaraan Bundle, Marlee Bundle, Niyoka Bundle, Kirrae Bundle Measure of Happiness catalogue and nieces Kelsey Love and Tarryn Love. essay. p.11

9 10 Robert Fielding

Robert Fielding is a Western Aranda and Yankunytjatjara Inquiry Question artist from Mimili community on the Anangu For Objects of origin Pitjatjantjara Yankunytjatjara (APY) Lands. Fielding’s Fielding has collected a artistic practice revolves around the collision of cultures number of objects from and he interprets the space in between by drawing on around . All his family and community as inspiration. For Fielding, it of these objects have is important to share the sense of unity and connection been used by different he feels for his Country and community. Fielding works members of the artists across various mediums including photography and has community at different more recently embraced film to produce works that points in time. Find an evoke life lived within his community. object that has been discarded near to where For A Lightness of Spirit, Fielding has created Objects you live. What might of origin 2018, encompassing photography, film, sound the traces you find on and sculpture. In the creation of this work, Fielding this object tell you about has re-contextualised everyday objects such as flour how this object has been buckets, strollers, bikes and mattress innersprings, treated or used since it bringing them back to life and acknowledging the was manufactured? different interactions people have had with them over time. Images P. 10: Robert Fielding, Stacked in the corner of the gallery are a number of Objects of origin 1–4 rusty flour buckets collected from around Indulkana, 2018. Installation view, fitted with flickering orange lights, making them Australian Centre for Contemporary Art. appear as if they are full of flames. These objects refer Photograph: Andrew to the rations of flour, tea, sugar and tobacco that Curtis past generations of his family existed on. As Fielding P. 11: Robert Fielding, explains: ‘The flour bucket is a reminder of past days Untitled 2018. Installation when these items were first introduced as rations to view, Australian Centre my ancestors. Since then, they have become part of the for Contemporary Art. Pitjantjatjara/Yankunytjatjara language and Anangu way Photograph: Andrew of life’. Curtis

11 12 Jonathan Jones

Jonathan Jones celebrates generational learning in his new Inquiry Question work untitled (gidyirriga) 2018 by inviting primary school Jones’ artwork includes the students from Parkes – who are learning Wiradjuri – to sound of students learning contribute their voices to the works’ soundscape. This chorus the Wiradjuri word for ‘bird’. of voices repeatedly chirp gidyirriga, the Wiradjuri word for Research other Australian ‘bird’ that, like many other Aboriginal language words, has English words that originate been corrupted and Anglicised to become ‘budgerigar’. from an Aboriginal language Jones’ work celebrates this small native parrot, commonly word. Did you find any words referred to as the ‘budgie’, and subtly acknowledges a much that you commonly use? longer history of connection to Country and the spirit of place, language and intellectual property. Images Although over five million years old, budgies have only P. 12 & 13: Jonathan recently become domesticated. Since the 1950s they have Jones, untitled (gidyirriga) been intensively bred in captivity and exported around the 2018 (detail). Installation world. This breeding has seen a variety of mutations, in colour view, Australian Centre and size of the birds. Budgerigars are not only a popular for Contemporary Art. pet but also the subject of a decorative ceramic figurine Photograph: Andrew Curtis movement from which Jones has amassed a collection over many years. His collection of figurines create an expansive installation, inspired by his great grandmother. Jones comments: ‘Growing up with my great-grandmother I remember objects like this. Cast animal figurines like these budgerigars were part of her world. I remember playing with them and the sound of high-fired porcelain clinking. I quickly learnt how to be gentle’.2

The ceramic budgies are installed on a wall featuring a hand-printed design. This design was made using a stamp 2 Jonathan Jones, artist notes fashioned from domestic sponges. The design speaks to both sent to curator, 5 April 2018 murruwaygu – South East cultural markings often found on in Presley, Hannah. 2018. A Lightness of Spirit is the shields – and patterns seen on crocheted doilies, with each Measure of Happiness catalogue individual diamond shape evoking a gum-leaf. Overall, this essay. p.14 3 work recognises that cultural knowledge can be duplicated, Presley, Hannah. 2018. A Lightness of Spirit is the mutilated and disrespected, or, it can be used gently and with Measure of Happiness catalogue respect to its provenance and importance.3 essay. p.14

13 14 Vincent Namatjira

Vincent Namatjira is a Western Arrernte artist and Inquiry Question the great grandson of . It was his Vincent Namatjira’s work familial connection with the master watercolourist that questions the positions of encouraged Vincent to take up painting. He creates power that world leaders bold, expressive works that often incorporate self- and politicians hold. Are portraiture and clever combinations of historical and there other contemporary current day politics. Namatjira draws on humour and the artworks that feature unexpected to tell his stories, often placing his subjects high-power figures? What in unusual and quirky environments that add personality messages do the artists to the scenes. who have made these artworks attempt to relay Welcome to Indulkana 2018 brings together all the in their treatment of these elements that make Namatjira’s work so relevant in our subjects? contemporary moment. Namatjira has painted two of the most influential and controversial political figures Images in the world visiting his remote desert community of P. 14: Vincent Namajira, Indulkana, and in doing so he has shifted their power Welcome to Indulkana in an unexpected way. With a cheeky nod to his great 2018. Installation view, grandfather, he has positioned himself in Albert’s Australian Centre for famous green ute and placed himself centrally in the Contemporary Art. painting, ensuring all four of the men are now on the Photograph: Andrew same level. Namatjira’s work shows an awareness of Curtis the disconnection that exists in the everyday lives of P. 15: Vincent Namatjira in Aboriginal communities and the high-level decisions the studio at Iwantja Arts, made on their behalf. Holding the Aboriginal flag aloft, Indulkana Community, he places his community and culture at the centre APY Lands. of the world, as tensions between Trump and Putin play out in the wings, subtly subverting authority in a retelling of history with a mischievous twist.

15 16 Yhonnie Scarce

Yhonnie Scarce explores the political nature and Inquiry Question aesthetic qualities of glass in her practice, referencing Scarce is one of the first the history of nuclear testing on her family’s homelands, contemporary women and illuminating the ongoing effects of colonisation on Aboriginal artists to Aboriginal people. Scarce is one of only a small number explore the political of women Aboriginal artists working with glass. Family and aesthetic power of history is central to Scarce’s work and she draws on glass. What are some of the strength of her ancestors, offering herself as a the meanings that we conduit, when sharing their significant stories from the associate with glass as a past. Scarce often recreates bush tucker in the form of material? Research the yams, bush bananas and plums that are prevalent on practices of two other her Country from lustrous glass, the delicate shapes Australian artists who metaphorically representing her family and her abiding work with glass. What connection to the land. are the similarities and differences in the way Scarce’s new commission, Remember Royalty 2018 that Scarce and these honours generations of her ancestors in a work two other artists use reminiscent of a shrine or monument. Large scale this material to convey banners are suspended in space like religious pennants, meaning? adorned with historical photographs, drawn from family archives, that have been meticulously transferred onto fabrics relating to each family member. Underneath Images each portrait are intricate handcrafted gifts created in P. 16: Yhonnie Scarce, glass by Scarce, presented like offerings at a shrine or Remember Royalty temple. Scarce says of her new work: ‘As far as I am 2018. Installation view, concerned my grandparents, great grandparents and Australian Centre for those people who walked my Country before me, are Contemporary Art. Australia’s royalty’. Photograph: Andrew Curtis P.17: Yhonnie Scarce, Fanny – Andamooka opal fields, 2018 (detail). Photograph: Andrew Curtis.

17 18 Peter Waples-Crowe

Peter Waples-Crowe is a Ngarigo visual and performance- Inquiry Question based artist living in Melbourne. His intersecting Traditional possum skin experiences as an Aboriginal queer man and his work cloaks were very important with community health and arts organisations give him personal and cultural objects a unique perspective as an artist and community cultural – they were emblazoned development worker. Waples-Crowe creates bold colourful with stories of the owner’s work that explores the representation of Aboriginal people family and land – but they in popular culture, often referencing the dingo as a totemic also had a practical use, to figure and an analogy for Indigenous peoples. keep the wearer warm in cold. Cloaks made today are a Ngarigo Queen – Cloak of queer visibility 2018 is a hybrid of ancient tradition and culturally-specific statement about identity and standing up contemporary knowledge. for yourself and your Mob in the face of cultural erasure. Using Waples-Crowe’s cloak Waples-Crowe explores his emerging role as a queer as a contemporary example, Elder in the Aboriginal community with this work. Bringing research the materials and queer activism to the forefront, Waples-Crowe has created methods used to make a lasting cultural artefact in the form of a possum skin traditional and contemporary cloak. The fur side of the cloak is adorned with a crucifix, possum skin cloaks. What speaking to the erasure of queer histories in Aboriginal factors have impacted the culture due to the strict religious heterosexual gaze of way that contemporary colonisation. Creating his own cloak, Waples-Crowe cloaks are made? honours the artists of South East Australia who bought this practice of coak-making back into our everyday lives. Images P.18: Peter Waples-Crowe As the artist explains: ‘The underside of the cloak is wearing Ngarigo Queen kept close to my body; it is the symbol of the Queer – Cloak of queer visibility Community, the rainbow flag. The flag is etched with shield 2018, on the occasion of the designs from the South-East and speaks of Aboriginal opening, Australian Centre inclusion in the broader rainbow community; it speaks to for Contemporary Art, 6 July Aboriginal and Torres Strait Islander LGBTIQ+ Mob to stay 2018. Photograph: Jacqui strong and deadly. Our past might have been erased but Shelton our future is here and now and very visible, and we belong P. 19: Peter Waples-Crowe, in the culture’. Ngarigo Queen – Cloak of queer visibility 2018 Installation view, Australian Centre for Contemporary Art. Photograph:Andrew Curtis

19 20 Lisa Waup

Lisa Waup combines traditional art forms and methods Inquiry Question with a contemporary modes of making to create Waup’s artworks are a distinctively original weavings, sculptural objects and visual meditation on the works on paper. Waup uses lots of different materials to notion of family, with construct her work, incorporating found objects such as each figure representing feathers, seeds and grasses from her local environment a member of the artists and places she travels. own family. If you were to make an artwork about A collection of whimsical figures that represent family your own immediate and ancestors form Waup’s work for A Lightness family, what kinds of of Spirit. A figure titled One 2018, which is able to materials and forms would be rotated with a hand crank, talks about the duality you choose to represent required of Aboriginal people in Australian society. each family member? Give The work reminds us of the difficulty of constantly reasons for your choices. having your identity questioned and having to endure ignorance regarding cultural connections. In this work, the two faces of the rotating doll are smiling, both Images figures are expressions of light and happiness – joyful P.20: Lisa Waup, no matter what position they rest in – conjuring the Ancestors 2018; Family idea of the need to be strong and happy, whatever the 2018 (detail). Installation circumstance. The accompanying group of Ancestors view, Australian Centre 2018 stand tall and grounded. They are dressed in for Contemporary Art. paper cloaks etched with protective shield designs and Photograph: Andrew documentation of Waup’s family history, connecting the Curtis artist to the story of her ancestry, as figures of strength P. 21: Lisa Waup, Family and resilience. 2018, in progress. Courtesy the artist. The five figures in Family 2018 represent the complex network of Waup’s extended family: ‘Family is everything to me, it has always been the epitome of happiness. The connectivity, love and strength it brings has shaped me into who I am today; the bonds that hold us in place during times of turbulence to ground and secure us flow with us when we search for something more – with a place in our family we become whole.’

21 22 Kaylene Whiskey

Kaylene Whiskey paints colourful and joyful portraits Inquiry Question of famous music and film stars she admires, telling Whiskey’s artworks often stories of her family, friends and Country. Her work is feature representations a celebration of strong women in pop-culture and the of strong women from lines happily blur between her own life and theirs. her life and from popular culture. Are the women Seven Sistas 2018 illustrates the story of represented in Seven Kungkarangkulpa, the Seven Sisters or The Pleiades Sistas real or imagined? star cluster. Aboriginal nations across Australia have What are they each variations on this creation story, which talks of the renowned for? Who would bad Wati Nyiru (man) that chases seven sisters with you select to represent the aim of making them his wives. The sisters keep the seven sisters in this running and escape - ending up in the sky - creating the story? Why? well-known constellation. For Kaylene, this is a familiar story that she has reimagined for us with each sister Images represented as one of her favourite pop culture icons, P. 22 & 23: Kaylene including Wonder Woman walking her dog, Dolly Parton Whiskey, Seven Sistas celebrating Christmas and Cher sharing the mingkulpa 2018 (details). Installation (tobacco plant). view, Australian Centre for Contemporary Art. Photograph: Andrew Curtis

23 24 Tiger Yaltangki

Tiger Yaltangki’s paintings are a bold and bright blending Inquiry Question of the Mamu, a naughty supernatural spirit, depictions Tiger Yaltangki draws of Malpa Wiru (good friends) and a collection of film and inspiration from particular music icons from pop-culture. There is a playfulness movies, television shows in Yaltangki’s paintings that is suggestive of a carefree and music to produce his imagination and his characters have a sense of lightness dynamic painted artworks. and happiness with a rock ‘n’ roll edge. If you were to produce a large scale artwork TIGERLAND 2018 is a lively assemblage of cheeky and inspired by your prefered wonderfully vivid faces, figures and guitars suspended movies, television shows in front of an elaborately illustrated, black and white, and music what imagery mural-scale canvas. This impressive installation offers may appear in your us real insight into Yaltangki’s everyday life, the things artwork and how might that inspire him and his particular take on the world. His you use colour? inspiration is drawn from a love of sci-fi movies and TV series such as The Mighty Boosh and Dr Who, layered with his favourite musical references. The energetic Images background composition of faces and figures set within P. 24: Tiger Yaltangki, an abstract landscape reflects a dynamic sense of TIGERLAND 2018. familial, communal and spiritual connectedness within Installation view, the Indulkana community. Australian Centre for Contemporary Art. Photograph: Andrew Curtis P. 25: Tiger Yaltangki in the studio at Iwantja Arts, Indulkana Community, APY Lands. Photograph: Heath Aarons

25 26 Alec Baker, Peter Mungkuri and Mr Kunmanara Pompey

Peter Mungkuri, Alec Baker and Mr Kunmanara Pompey Inquiry Question are senior artists and respected leaders from the APY How has humour been Lands community of Indulkana. In the 1940s through to used in Never stop riding? the 1960s, these young men were renowned stockmen, working on the land and living the stockman’s life. This significant time in their lives was spent working with Images horses and mustering cattle. Though this was a hard P. 26: Alec Baker, Peter time in their lives, they look back on it fondly and with Mungkuri, Mr Kunmanara much pride. Pompey, Never Stop Riding 2017 (film still). In 2017, the group led a men’s camp at nearby cattle L-R: Patuway Mungkuri, station Welbourn Hill, funded by the Australia Council. Johnny Doolan, Peter At the camp, the men came together to talk about Mungkuri, Vincent everyday life and to tell stories around the fire to a Namatjira, Michael Drover, soundtrack of Country and Western music. Meanwhile, and Kunmanara Andy. guided by Peter, Alec and Mr Kunmanara Pompey, the Courtesy the artists and young men from Indulkana created the special short Iwantja Arts. Photograph: film Never stop riding. Jackson Lee P. 27: Alec Baker, Peter Never stop riding is an Indulkana Spaghetti Western Mungkuri, Mr Kunmanara shot at Welbourn Hill station, at Indulkana and the Pompey, Never Stop surrounding homelands. The film is a celebration of Riding 2017 (film still). affinity with country music and the cowboy lifestyle. Photograph: Jackson Lee The artists have created the film as a reminder to Indigenous men and boys across Australia, that whatever their passion in life is, whatever struggles they may be facing, that above all else, they should Never stop riding!

Peter Mungkuri and Alec Baker would like to dedicate this film to the memory of their late friend and colleague, Mr Kunmanara Pompey.

27 28 Mr Kunmanara Pompey

Mr Kunmanara Pompey was a senior Yankunytjatjara Inquiry Question man from Indulkana whose paintings represent joyful, Mr Kunmanara Pompey painterly depictions of his life and memories of youth was inspired by memories spent as a hard-working stockman, and later as a of his life spent working travelling country musician with his wife. His final two and travelling with his works titled Cowboy story 2018 are a reminder of the wife. How do you think good old days and a beautiful homage to his late wife. the artist was feeling when he created these Of these final works, Mr Kunmanara Pompey said: artworks? What about the ‘Me and my brother Buddy grew up riding horses, we artworks gives you this were stockmen for a long time. I taught myself how to impression? play the country music and gospel music; I like playing just like Slim Dusty and Hank Williams. When I’m painting, I think about when I was playing that country Images music when I was a cowboy a long time ago. I was P. 28: Mr Kunmanara teaching myself these things, and now I have all of Pompey, Cowboy story the memories, the paintings are how I remember the 2018. Courtesy the artist’s country’. estate and Iwantja Arts, Indulkana P. 29: Mr Kunmanara Pompey, Cowboy story 2018. Installation view, Australian Centre for Contemporary Art. Photograph: Andrew Curtis

29 List of Works

Benita Clements Fireworks at Alice Springs Show Vicki Couzens Objects of origin 3 2018 Vincent Namatjira suitcase, black lustre blown glass, Born 1980 Hermannsburg, 2018 Born 1960 Warrnambool, Victoria C-type print on dibond Born 1983 Alice Springs, Northern vintage gloves, embroidered watercolour and gouache on paper Keerray Woorrong/Gunditjmara 110.0 x 165.0 cm Territory handkerchiefs Western Arrernte 26.5 x 74.0 cm Lives and works in Geelong, Western Arrernte sheet: 260.0 x 230.0 cm Lives and works in Alice Springs, Victoria Objects of origin 4 2018 Lives and works in Indulkana, APY suitcase with objects: 62.0 x 47.0 Northern Territory Fishing and painting with my family C-type print on dibond Lands, South Australia x 50.0 cm near Glen Helen 2018 Djawannacuppatea 2018 110.0 x 165.0 cm from the series My life with Albert watercolour on paper plywood, kitchen table and chairs, Welcome to Indulkana 2018 Granny Melba 2018 – my family 2018 31.0 x 49.0 cm lamp, woven woollen matt, woven Untitled 2018 synthetic polymer paint on linen water based ink screen printed on framed photographs, anodised found flour buckets, lights 122.0 x 304.0 cm vintage French linen, black lustre Albert and his sons painting near Ghost Gum near Mt Gillen, Alice aluminium teapot, personal dimensions variable Courtesy the artist, Iwantja Arts, blown glass Morris Soak 2018 Springs 2018 collections, sound Indulkana and This is No Fantasy + 300.0 x 191.0 cm watercolour and gouache on paper watercolour and gouache on paper 443.5 x 840.0 x 505.0 cm Courtesy the artist and Mimili Maku Dianne Tanzer Gallery, Melbourne 29.5 x 39.0 cm 24.0 x 36.0 cm sound: Robbie Bundle Arts, Mimili Community, South Papa Willy 2018 Courtesy the artist Australia water based ink screen printed on Albert gives Rex a painting 2018 Gloria, Betty and me painting Yhonnie Scarce woollen blanket, black lustre blown watercolour and gouache on paper together at Palm Valley 2018 Born 1973 Woomera, South glass, tool box, metal hand tools 21.0 x 29.5 cm watercolour and gouache on paper Robert Fielding Jonathan Jones Australia blanket: 235.0 x 202.0 cm 30.5 x 49.0 cm Born 1969 Lilla Creek, Northern Born 1978 Sydney Kokatha, Nukunu toolbox with objects: 41.0 x 50.0 Albert in his truck going to Ntaria Territory Wiradjuri, Kamilaroi Lives and works in Melbourne x 27.0 cm 2018 My family, cooking 2018 Western Arrernte, Yankunytjatjara, Lives and works in Sydney watercolour and gouache on paper watercolour and gouache on paper Pakistani from the series Remember Royalty Print production Spacecraft, 21.0 x 29.5 cm 30.5 x 49.0 cm Lives and works in Mimili, APY untitled (gidyirriga) 2018 2018 Collingwood Lands, South Australia ceramic figurines, sponge-stamped Courtesy the artist and This is No Albert sitting with Kumantjai at Ntaria with Mt Hermannsburg synthetic polymer paint, wood, Family portrait – Koonibba Mission, Fantasy + Dianne Tanzer Gallery, Glen Helen Gorge teaching her to behind 2018 Cycles 2018 stereo soundscape South Australia 2018 Melbourne paint 2018 watercolour and gouache on paper HD video loop dimensions variable water based ink screen printed on watercolour and gouache on paper 27.5 40.0 cm 7:07 mins sound design: Luke Mynott, Sonar vintage cotton sheet, vintage metal 21.0 x 29.5 cm Painting near Glen Helen and Sound; voices Karma Dechen, trunk, black lustre blown glass seeing a UFO! 2018 Objects of origin 1 2018 Renna Dechen, Beth Delan, Jenson sheet: 258.0 x 165.0 cm Alice Springs, Show day 2018 watercolour and gouache on paper C-type print on dibond Howard, Lilia Howard, Taj Lovett, trunk with objects: 33.0 x 72.0 x watercolour and gouache on paper 36.0 x 54.5 cm 110.0 x 165.0 cm Mincarlie Lovett, Phoebe Smith, 54.0 cm 25.0 x 35.0 cm Ben Woolstencroft and Mae Family with green cans near the Courtesy the artist and Iltja Ntjarra Objects of origin 2 2018 Woolstencroft from Parkes Public Fanny – Andamooka opal fields, river 2018 Many Hands Art Centre, Alice C-type print on dibond School; with thanks to Dr Uncle South Australia 2018 watercolour and gouache on paper Springs, Northern Territory 110.0 x 165.0 cm Stan Grant Snr AM, Uncle Geoff water based ink screen printed 26.5 x 36.0 cm Anderson and Lionel Lovett on vintage cotton sheet, vintage

30 List of Works

Peter Waples-Crowe One 2018 and plywood cut-outs Council and Indigenous Visual Arts Image Born 1965 Sydney metal, ceramic, glaze, emu installation: 200.0 x 1200.0 x 240.0 Industry Support. Special thanks to P. 32: Opening night, A Lightness of Ngarigo feathers, cockatoo feathers, parrot cm Welbourn Station and Teena and Spirit is the Measure of Happiness, Lives and works in Melbourne feathers, hand dyed fabric, shells, Courtesy the artist and Iwantja George Rosewarne Australian Centre for Contemporary cotton, human hair, possum skin, Arts, Indulkana and Alcaston Art, 6 July 2018. Pictured l–r: Yhonnie Ngarigo Queen – Cloak of queer teeth, vertebrae, seeds, patina, wax Gallery, Melbourne Scarce, Robert Fielding, Destiny visibility 2018 51.0 x 26.5 x 34.5 cm Mr Kunmanara Pompey Deacon, Lisa Waup, N’arweet Carolyn possum pelts, waxed linen thread, Born 1952 Gap Well, South Briggs, Hannah Presley, Peter Waples- leather dyes Technical support: Blueprint Peter Mungkuri Australia; Died 2018 Port Augusta, Crowe, Liz Liddle, Benita Clements, 380.0 x 129.0 cm Sculpture, erinswindow Studio Born 1946 Fregon, South Australia South Australia Vincent Namatjira, Jacob Boehme, Cloak-making advisor: Maree Clarke Courtesy the artist Yankunytjatjara Yankunytjatjara Kaylene Whiskey, Jonathan Jones, Courtesy the artist Lives and works Indulkana, South Lived and worked Indulkana, South Vicki Couzens. Photo: Jacqui Shelton Australia Australia Kaylene Whiskey Lisa Waup Born 1976 Indulkana, South Alec Baker Cowboy story 2018 Born 1971 Melbourne Australia Born 1932 Shirley Well, South synthetic polymer paint on canvas Gunditjmara, Torres Strait Islands Yankunytjatjara Australia 41.5 x 71.0 cm Lives and works in Melbourne Lives and works in Indulkana, APY Pitjatjantjara, Yankunytjatjara Courtesy the artist’s estate and Lands, South Australia Lives and works Indulkana, South Iwantja Arts, Indulkana Ancestors 2018 Australia 2 cloaked figures: feathers, Seven Sistas 2018 Cowboy story 2018 ceramic, glaze, digital print on synthetic polymer paint on canvas Mr Kunmanara Pompey synthetic polymer paint on canvas cotton rag, cotton, coper wire, 8 panels: 307.0 x 124.0 cm (each) Born 1952, Gap Well, South 41.5 x 71.0cm bird’s feet and metal stands Courtesy the artist, Iwantja Arts, Australia; Died 2018 Port Augusta, Courtesy the artist’s estate and 41.0 x 28.0 x 50.0 cm (each) Indulkana, and blackartprojects, South Australia Iwantja Arts, Indulkana 2 winged figures: feathers, Melbourne Yankunytjatjara ceramic, glaze, assorted feathers, Lived and worked Indulkana, South oaten hay, fibre, bird’s wings, wool, Australia cotton Tiger Yaltangki 30.0 x 30.0 x 20.0 cm (each) Born 1973 Indulkana, South Never stop riding 2017 Australia HD video Family 2018 Yankunytjatjara 10:26 mins 5 figures: assorted feathers, Lives and works in Indulkana, APY producer: Iwantja Arts ceramic, glaze, forged recycled Lands, South Australia camera and editing: Jackson Lee, copper water heater, copper patina, Melted Creative copper wire, fibre TIGERLAND 2018 This project was made possible 20.0 x 13.0 x 13.0 cm (each) synthetic polymer paint on linen by funding from The Australia

31 32 Key Ideas & Vocabulary Curriculum Links

APY: VICTORIAN CURRICULUM AUSTRALIAN CURRICULUM APY is an acronym for ‘Anangu Pitjantjatjara Visual Arts Visual Arts Yankunytjatjara’ – the names of the two main dialect groups that inhabit the northwest of South Australia. Levels 5 and 6 Years 5 and 6 Anangu Pitjantjatjara Yankunytjatjara (APY) Lands refers to 103,000 square kilometres of arid land in the Explore and Express Ideas Explore ideas and practices used by artists, including far northwest tip of South Australia. All Pitjantjatjara, Explore visual arts practices as inspiration to create artworks practices of Aboriginal and Torres Strait Islander artists, to that express different ideas and beliefs(VCAVAE029) represent different views, beliefs and opinions (ACAVAM114) Yankunytjatjara and Ngaanyatjarra people, who are traditional owners of any part of the Lands, are Respond and Interpret Explain how visual arts conventions communicate meaning members of Anangu Pitjantjatjara Yankunytjatjara. Identify and describe how ideas are expressed in artworks by by comparing artworks from different social, cultural and comparing artworks from different contemporary, historical historical contexts, including Aboriginal and Torres Strait Kunmanara: and cultural contexts, including artworks by Aboriginal and Islander artworks (ACAVAR117) Is a word used in place of the name of a person who Torres Strait Islander peoples (VCAVAR032) has recently passed away. Kunmanara is Pitjantjatjara Years 7 and 8 for ‘one who’s name cannot be mentioned’. As part of Levels 7 and 8 Identify and connect specific features and purposes of Pitjantjatjara mortuary beliefs, all people with the same visual artworks from contemporary and past times to name, or even a name that sounds similar to the one Explore and Express Ideas explore viewpoints and enrich their art-making, starting with belonging to a person who has died, take the name Explore how artists use materials, techniques, technologies Australian artworks including those of Aboriginal and Torres ‘Kunmanara’. The name Kunmanara will remain in place and processes to realise their intentions in artworks Strait Islander Peoples (ACAVAR124) (VCAVAE034) until the grieving family deems it appropriate to bring Develop planning skills for art-making by exploring techniques the name back into use. Respond and Interpret and processes used by different artists (ACAVAM120) Analyse how ideas and viewpoints are expressed in artworks Spaghetti Western: and how they are viewed by audiences(VCAVAR038) Years 9 and 10 A film made in Europe, usually by an Italian director, about life in the American Wild West. Conceptualise and develop representations of themes, Levels 9 and 10 concepts or subject matter to experiment with their developing personal style, reflecting on the styles of Explore and Express Ideas artists, including Aboriginal and Torres Strait Islander artists Explore how artists manipulate materials, techniques, (ACAVAM125) 4 ‘About Us,’ Anangu technologies and processes to develop and express their Pitjantjatjara Yankungtjatjara. intentions in art works (VCAVAE041) Analyse a range of visual artworks from contemporary and https://www.anangu.com.au/ past times to explore differing viewpoints and enrich their about-us.html Respond and Interpret visual art-making, starting with Australian artworks, including 5 ‘Glossary of words commonly Analyse, interpret and evaluate a range of visual artworks those of Aboriginal and Torres Strait Islander Peoples, and used by Ara Irititja’, Ara Irititja from different cultures, historical and contemporary contexts, consider international artworks (ACAVAR131) Project. http://www.irititja.com/ including artworks by Aboriginal and Torres Strait Islander sharing_knowledge/glossary.html 6 https://www.collinsdictionary. Peoples to explore differing viewpoints (VCAVAR046) com/dictionary/english/spaghetti- western

33 Terms of Use

This education resource has been produced by the Australian Centre for Contemporary Art to provide information and classroom support material for education visits to the exhibition A Lightness of Spirit is the Measure of Happiness. The reproduction and communication of this resource is permitted for educational purposes only.

Acknowledgements

Education resource compiled by Shannon Lyons, Educator and Program Coordinator and Andrew Atchison, Artist Educator from texts written by Hannah Presley, Curator. Edited and designed by Eliza Devlin, Education Manager. Australian Centre for Contemporary Art, July 2018.

ACCA’s education resources are supported by the Victorian Government, Department of Education and Training under the Strategic Partnerships Program and the Australian Government, Catalyst–Australian Arts and Culture Fund.

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