ARTS BACKBONE Volume 5 Issue 3: September 2005

Gunbittiji Dancers from Milingimbi Arts & Craft Centre at the Telstra National Aboriginal & Torres Strait Islander Arts Awards Presentation © Milingimbi Arts & Craft Centre

INSIDE • Warlayirti Artists • NT Expo 2005 • Launch of Tiwi Art Network Website • 22nd Telstra National Aboriginal & Torres Strait Islander Art Awards • Garma Festival • Larrakia Nation Public Art Project • ‘Yakumirri’ • Artist Gary Mura Lee • Back Page - “Aboriginal art – Tourist Art and Fine Art” • Events & Exhibitions Calendar www.aboriginalart.org Message from the ANKAAA Manager Stephanie Hawkins Over the past two years, the NT throughout April and June 2005. Government has been working The preliminary trip occurred GPO BOX 2152 DARWIN closely with ANKAAA on the over 10 days and one of the NORTHERN TERRITORY development of a usable and outcomes was a “German Client AUSTRALIA 0801 sustainable Indigenous export Trip” which took place in the strategy model.This has been Top End and Central Desert in Frog Hollow Centre for the Arts done in collaboration with July, coinciding with NT Expo & 56 McMinn Street Darwin DBIRD, ArtsNT, Austrade and some Art Centre staff, artists & DESART and is part of the NT Artsworkers vsiting Darwin. Northern Territory Australia Government’s Indigenous Arts ANKAAA has had the opportunity Strategy Building Strong Arts Phone +61 (0) 8 8981 6134 to identify the needs and visions Business launched in 2003. of the German clients to inform Fax +61 (0) 8 8981 6048 A few months ago Austrade the Art Centres about the email [email protected] Darwin hosted a visit by German market. The Art Centres Silke Hachmeyer, Business will then able to establish their www.ankaaa.org.au Development Offi cer for own exhibitions, sales and Austrade in Germany, who networks with the German www.aboriginalart.org is interested in promoting market after their visit to NT. emerging artists in the German Another result of the trip has market. This progressed through All text & images are copyight the been the translation of the new artists & Art Centres or ANKAAA (as to the development of an action ANKAAA Consumer Awareness indicated) unless otherwise stated. plan and this pilot export model Brochure into German. ANKAAA Arts Backbone is © ANKAAA 2005 identifi ed that a key to success is the forging of relationships The main aim was to seek ANKAAA is a non-profit with overseas buyers, dealers potential export opportunities incorporated Aboriginal Association and galleries and that means through dealers and galleries getting them to Australia. that have been sourced and ANKAAA is proudly supported by: Part of this involved pre-trip identifi ed by Austrade Frankfurt education relating to the role of and the Australian Embassy in Art Centres, Indigenous artists Paris. ANKAAA is now looking and cultural links with country to involve French participation and the uniqueness of each art in future projects based on the work. pilot with the German market. DBIRD and Arts NT have A second trip, as part of this supported the ‘export model’ same strategy, will occur in and ANKAAA was recently September 2005. invited to attend meetings with Image below - Napuwarri Marawili, Austrade in Frankfurt and the Stephanie Hawkins, Wayne Fan DBIRD Australian Embassy in Paris Darwin, Djambawa Marawili, Silke where Djambawa Marawili, was Hachmeyer – Austrade Frankfurt with invited to open Reconciliation visitors Thomas Koch Silvia Weiss Werner Week and to close the Austrade Liebchen Manuel Dittmers Eva Mossbrugger Indigenous Art Exhibition that Susanne Stadler at Buku Larrnggay Mulka, had been held at the Embassy Yirrkala Warlayirti Artists Wirrimanu Community, Balgo Hills Western Australia

Story by Stephen Williamson & Samantha Togni

their exhibition opening, Alcaston Gallery, Gallery, Alcaston opening, exhibition their

Tjungurrayi and Carmel Yukenbarri at at Yukenbarri Carmel and Tjungurrayi L-R Christine Yukenbarri, Helicopter Helicopter Yukenbarri, Christine L-R Warlayirti Artists has long importance of the development of The exhibition was a great been recognised as a leading the younger artists for the future success and generated Indigenous art centre, of Warlayirti Artists. The already enormous interest in the full implementing best business strong exhibition program has spectrum of paintings being practice. Since July 2002, been broadened to include shows produced through Warlayirti Warlayirti Artists has self-funded consisting of works by senior, Artists, in addition to being the operations of the Art Centre young and mid career artists. an inspiration for the artists. and over the last three years the This strategy enables the full organisation has strengthened its spectrum of Balgo art to viewed The success of Balgo 4-04 has position by adopting a community in specifi cally curated exhibitions. continued through the many development framework. This approach could not be successful exhibitions held possible without the guidance featuring senior and young artists A program of governance and support of the Warlayirti or solely young artists. During training delivered by Little Fish Artists Committee and senior July this year an exhibition has been implemented enabling artists and has been enhanced featuring Helicopter Tjungurrayi the Warlayirti Artists Committee, through the implementation and his two youngest daughters made up of senior and mid of community development Christine and Carmel Yukenbarri, career artists, to develop further principles into the day-to-day opened at Alcaston Gallery in their capacity to manage the operations of the Art Centre. Melbourne. This was the fi rst organisation and increase their These principles include adopting exhibition for the Christine and understanding of its operations. transparent and inclusive Carmel and painting toward the This increased capacity and processes, valuing the knowledge exhibition over almost 12 months understanding has resulted in of all participants and providing generated great enthusiasm and a signifi cant increase in the genuine opportunities for people creativity for all three artists. Committee’s active participation to participate and develop. All three artists attended the in planning and decision making. opening in Melbourne and were The most notable example of able to engage with art collectors The Committee has developed this approach is Balgo 4-04 and proudly talk about their its vision for Warlayirti Artists, an exhibition held on site at work. Following on from this which incorporates both the Warlayirti Artists during Easter exhibition, a work by Christine Art and Culture Centres, with 2004. This landmark exhibition, Yukenbarri was selected for the the completion of the Warlayirti curated over a 2-year period, 22nd National Aboriginal and Artists Business Plan 2005-2008. featured artists ranging in age Torres Strait Islander Art Award. The vision that will guide the from mid 20s to mid 80s and implementation of the Business generated enormous energy and Although working in a Plan over the next three years excitement among the artists community based art centre is is underpinned by three guiding and their families. While the constantly demanding and at principles developed by the staging of a major exhibition times extremely challenging, Committee: kinti kinti – artists, in a remote community like the rewards are many including Committee and staff working side Balgo was extremely diffi cult, experiencing the creative energy by side; purrka purrka – working the positive outcomes far of the artists, the array of exciting slowly and carefully; and marrka outweighed the challenges. paintings produced on a daily wangka – strong and clear talk. Balgo 4-04 enabled all artists basis and the regular interactions to experience and participate in with artists. By adopting a A key part of the vision the exhibition process, including community development articulated by the Committee is painting for the exhibition, framework Warlayirti Artists has the development of the careers installation, the exhibition increased the level of Indigenous of the young and mid career opening and the interaction with participation in the organisation artists who up until recent years art enthusiasts – something which is the key to the stability have been over-shadowed by that previously had only been and sustainability of Warlayirti the senior recognised artists. experienced by the senior artists. Artists. The Committee recognises the ANKAAA Stall at the NT Expo Funded by Arts NT

In the fi rst week of July Art Centre providing Marcus, Jonathan, staff began to arrive in Darwin Whaiora & Barayuwa with an to participate in NT Expo 2005 & opportunity to talk with people associated events. interested in their Art Centres & the Artwork of their regions, Milingimbi Arts & Crafts Rachelle meet with the Chief Minister & Burke, Manager, Joey Djalaka, other high profi le visitors & to Assistant Manager & Jonathan Roy, be interviewed & fi lmed for the Artist & Artsworker ABC News. Art Centre Managers Maningrida Arts & Culture had the opportunity to meet with Marcus Didjerama Pascoe, Government Agencies, Galleries, Artsworker Collectors & organisations such as Buku-Larrnggay Mulka, Yirrkala Viscopy & Desart. Marcus Didjerama Pascoe, Maningrida Arts & Culture, Joey Djalaka, Milingimbi Art & Whaiora Tukaki & Barayuwa It was a great success in terms of Craft, Chief Minister Clare Martin & Jonathan Mununggurr, Artsworkers Roy, Milingimbi Art & Craft with the Best NT improved skills in public relations, Region Exhibit Award. Mimi Arts & Crafts, Katherine customer service, visual display & Barbara Ambjerg Pedersen, enhanced Artsworkers confi dence Manager & Artists Sarah in talking about their Art Centres. Daniels, Jeannie Daniels, Marilyn We were rewarded for our efforts Nakamarra with the Best NT Regional Stall. Richard Haigh lent his set design skills & provided training to “I like to tell you about the NT Artsworkers on dressing the stall & EXPO - I am so happy that I was visual display. working hard at the ANKAAA stall, On Wednesday 6th July we all we displayed mimih spirits and attended the Chief Minster’s NT fi bre works from Maningrida Arts & Expo reception at Parliament Culture, Yirrkala and Tiwi Islands. House. On Thursday 7th July we The stall was looking beautiful and Whaiora Tukaki, Barayuwa Munungurr & Kaya attended the opening of the annual lots of visitors came to see it. My from Buku Larrnggay Mulka, Yirrkala Tiwi Art Network Exhibition at the job was to install the display with Darwin Entertainment Centre (see Richard Haigh, Michelle Culpitt, next page) Barayuwa, Whaiora, Rachelle Thursday 7th & Friday 9th we Burke & Jonathan Roy. During the collected artworks from Tiwi NT Expo, I had to talk to visitors Art Network, Maningrida Arts & about Art Centres and artworks. Culture, Darwin Store & along with Clare Martin (NT Chief Minister) artwork & promotional materials came to see us at the stall. The from Tiwi, Kimberley, Katherine, ANKAAA Stall won best stall. The Darwin & Arnhem Land, we set NT EXPO was really good for me about dressing the stall under because we won the NT EXPO best Richard’s guidance. The weekend stall.” Barbara Ambjerg Pedersen from Mimi Arts & was spent manning the stall & Marcus Didjerama Pascoe, Crafts with a visitor Eva Moosbrugger to the talking with 1000’s of visitors; stall Sarah Daniels, Jeannie Daniels, Marilyn Maningrida Arts & Culture Nakamarra from Mimi Arts & Crafts. Joey Djalaka, Rachelle Burke & Jonathan Roy from Milingimbi Art & Craft. Richard Haigh, Stall Designer. Marcus Didjerama Pascoe from Maningrida Arts & Culture & Michelle Culpitt from ANKAAA. Tiwi Art Network Annual Exhibition & Website Launch Kellie Austin

In July the Tiwi Art Network held a Wanji Wanji, Pedro Wonaeamirri. To that end the Tiwi Art Network show at the Darwin Entertainment Types of work sold ranged from decided to translate much of Centre Gallery representing 3 Art ochre paintings on canvas and the existing website into Tiwi Centres from the Tiwi Islands; paper, paintings in acrylic, as well as take the opportunity Jilamara Arts & Crafts, Milikapiti, small carvings, limited edition to give the site fresh look Melville Island, Munupi Arts & Crafts, prints, printed fabrics and the and improve download time. Pirlangimpi, Melville Island & Tiwi Tiwi Art silver jewellery range. Design, Nguiu, Bathurst Island. Tiwi Art Network would like The highlight of the event was to thank the following people Traditionally Munupi and Tiwi Design the opening of the show and for their support for the have held successful Christmas the launch of the new Tiwi Art Tiwi Art Show and website: shows at the Entertainment website on Thursday night. Tiwi TAN Executive Committee Regis Centre venue, so this year we Art Network Chairman, Regis Pangiriminni, Brian Farmer, John decided to hold a combined show Pangiraminni opened the show Bennette Pilakui (Manblue), Declan in the school holiday period. and launched the website. Apuatimi for their commitment, The show ran from July 7th to The new Tiwi Art website was effort and support for the show. the 9th and featured the work funded by the Department of Jilamara, Munupi and Tiwi Design of many successful Tiwi Artists Communications, Information Art Centres. Marius Puruntatameri including: Lydia Burak, Theresa Technology and Arts under the and Pauline (Jedda) Puruntatameri Burak, Jean Baptiste Apuatimi, Indigenous Communities Online for translation. ANKAAA staff & Timothy Cook, Brian Farmer, Program. The aim of the program members. Dymphna Kerninauia, Janice is to encourage community Murray, Nina Puruntatameri, Susan members to access the internet.

www.tiwiart.com

Pedro Wonaemirri Jilamara Arts & Craft Association, Milikapiti, Melville Island

Tiwi artist Pedro Wonaemirri, culminating in large vibrant president of Jilamara Arts & paintings. His meticulous Craft Association on Melville technique utilises the Island has been selected to Kayimwagakimi comb used to exhibit at this year’s prestigious make Pwoja or body design Museum of Contemporary motifs. Along with a solo Art Primavera Exhibition with exhibition at Alcaston in Sydney eight other artists from around in November and inclusion in Australia under 35. This years NATSIAA, this year is proving theme title is ‘The Lie of the to be full of highlights for this Land’. Pedro has been painting young veteran of the art scene! since 1991 exploring the possibilities of inherited family Pedro Wonaemirri Pwoja Pukamani Body Paint designs on canvas using ochres Design 2004 (detail, natural ochres on linen) © Jilamara Arts & Crafts Australia’s richest Indigenous art Two winners! Yirrkala’s Australian newspaper critic prize, the 22nd Telstra National artists have again been Nicholas Rothwell described Aboriginal & Torres Strait Islander very successful in Australia’s her winning work as “ precise Art Award, was presented to premier annual showcase of and self contained, full of the Blackstone Tjanpi Weavers. indigenous art, the Telstra sheen and compressed light”. Award. Winners in two of the Naminapu Maymuru-White The coveted $40,000 TELSTRA fi ve categories announced on is also a long established FIRST PRIZE was announced Friday evening at the Museum artist with a history as by Mr Lawrie Mortimer, General in Darwin were from Buku- a printmaker who has Manager, National Indigenous Larrnggay Mulka Centre at previously won the 1996 Best Directorate, Telstra Country Yirrkala. Banduk Marika (Best Work on Paper in Telstra and Wide, at the Museum and Bark Painting) and Naminapu also been runner up in the Art Gallery of the Northern Maymuru-White (Wandjuk National Indigenous Heritage Territory (MAGNT) in Darwin for Marika Memorial Award for Art Award. In Monday’s NT Three Dimensional art) were News the Sotheby’s director the work Tjanpi Grass Toyota. both in Darwin to receive Tim Klingenden singled The Award exhibition was their prizes. The ceremony Naminapu’s memorial pole offi cially opened by Northern included two groups of Yolngu out for mention and said Territory The Hon Chief dancers, a Macassan dance that ‘the quality of work out Minister Clare Martin MLA. troupe, Chief Minister Clare of Yirrkala and Maningrida In addition to the Telstra First Martin and the Saltwater is fantastic.’” It is great to Prize winner, prizes were Band. It was attended see two people who have by many art collectors worked so hard for so long awarded in four other categories: and curators from all over get such a richly deserved The $4,000 Telstra General Australia. Banduk Marika is reward. Anyone who knows Painting Award, was awarded to a senior Rirratjingu clan elder them knows they are not artist Evelyn Pultara from Utopia who has been an established just great artists but great NT for her work Yam Dreaming artist for over 20 years. She is people who tirelessly support The $4,000 Telstra Bark Painting a pioneer of both indigenous many others. We are Award was awarded to artist printmaking and land care. grateful that the excellence In 2000 she was awarded of Yolngu artists is being Banduk Marika from Yirrkala the annual Red Ochre Award recognised at this level.” said NT for her work Yalangbara. for a lifetime of achievement art co-ordinator Will Stubbs. The $4,000 Telstra Works on as an artist. In Monday’s Paper, was awarded to artist Gayle Telstra Bark Painting Award Maddigan from Mandurang Victoria Banduk Marika assisted by Boliny Wanambi and Ralwurrandji Wanambi Yalangbara 2005 for her work Remembered Ritual. Natural pigments on bark © Buku-Larrnggay Mulka & The Artist The $4,000 Wandjuk Marika Three-Dimensional Memorial Award, sponsored by Telstra was awarded to artist Naminapu Maymuru-White from Yirrkala NT for her work Milngiyawuy. The Award judges were Mr Doug Hall, Director, Queensland Art Gallery and Ms Destiny Deacon, an artist from Melbourne. Both judges commented on the diversity and high quality of the works entered this year. “The aim of the Museum and Art Gallery of the Northern Territory was to establish an Award, that recognised the important contribution made by Indigenous artists nationally, and to promote a better appreciation and understanding of contemporary Indigenous art” said MAGNT 222nd2 n d TTelstrae l s t r a N a t i o n a l A b o r i g i n a l & Director Anna Malgorzewicz. The 22nd Telstra National Aboriginal & Torres Strait Islander Art Award will be on display at TTorreso r r e s SStraitt r a i t I s l a n d e r A r t A w a r d s the Museum and Art Gallery of the Northern Territory in Darwin from Saturday 13 August until Sunday 23 October 2005. MMuseumu s e u m & AArtr t GGallea l l e r y o f t h e N o r t h e r n Te r r i t o r y “Retracing Tracks Arubunna Some areas have small patches of Country” - Kathy Arbon fl owers as well polished gibber pebbles.

The painting is about a place of great The “Bubbler” as it is called, has signiﬁ cance in Arabunna Country, where a story to it, and I will tell a short my great Grandmother roamed and lived. version about how a giant Rainbow Serpent was killed and the body was In September 2004, I went back to thrown into the main springs and this country with my mother and saw the head thrown a short distance the places where she, her mother away thus forming another spring. and Grandmother had come from. I visited my great great grandmothers’ The “Bubbler” randomly gives burial place at Finniss Springs, as off a huge bubble, which looks well as other places of signiﬁ cance. almost like a monster’s head. This formation represents the body, which “Curdi Murka” (the Bubbler) is in an has been thrown in the springs, area where there are many Mound after a few seconds, the form/bubble, Springs, some of which I have depicted subsides a little, and then seems to in the painting. The springs have warm writhe and swirl around the pool at water, which bubbles to the surface and a great speed, with smaller bubbles others are only mounds which have coming from it. It is quite frightening closed over, or run dry over time. The to watch. The swirling movement areas between the mounds are the leaves rings of several colours on the patterns of the coloured sands and clays bottom of the springs once it settles. which have spilled over many years. “Retracing Tracks Arubunna Country” (detail) Kathy Arbon © Kathy Arbon

First Prize Blackstone Tjanpi Weavers Kantjupayi Benson, Nuniwa Donegan (dec’d), Angaliya Mitchell, Margaret Donegan, Melissa Donegan, Mary Smith, Freda Lane, Diedre Lane, Elaine Lane, Wendy Lane, Janet Lane, Janet Forbes, Shirley Bennet, Gail, Angela Lyon, Sarkaway Lyon, Ruby Forbes, Jean Lane Ngaanyatjarra language Blackstone WA Tjanpi Grass Toyota 2005 Rafﬁ a, grass, jute string, chicken wire, steel © The Artists & Tjanpi Weavers

Warmun Art Centre had own family members in the ﬁ ve artists represented in prestigious setting of the Darwin the 2005 NATSIA Art Awards. Gallery. It was a long bus trip Pictured with their paintings at (12 hours) for the 19 people who the Awards opening night are attended the art awards. After Charlene Carrington, Patrick three days lounging by the pool: Mung Mung and Betty two trips to the Gallery to see the Carrington and children, Warmun paintings and Shirley grandchildren and great Purdie’s beautiful owl carving (as grandchildren. The Art Awards well as the very popular grass are viewed by the Art Centre Toyota); a trip to the movies and as an important opportunity for lots of exploring Darwin in our the future artists of Warmun own chartered bus, the long

to see the artwork of their trip home didn’t seem too bad. © Warmun Art Centre Art Warmun © 2 2 n d T e l s t r a N ationala t i o n a l AAboriginalb o r i g i n a l & T o r r e s S t r a i t I slanders l a n d e r ArtA r t AwardsA w a r d s M u s e u m & A r t G a l l e ryr y ooff ttheh e NorthernN o r t h e r n Territorye r r i t o r y

ANKAAA AT GARMA FESTIVAL 2005

In early August ANKAAA organised a large group of artists to travel to East Arnhem Land and participate in the Garma Festival 2005 including artists from Bula’Bula Arts, Darwin, Injalak Arts & Crafts, Jilamara Arts, Marawuddi Gallery, Mimi Arts & Crafts, Ngukurr Arts, Tiwi Art Network and Warlayirti Artists.

Un-seasonal rain showers during the ﬁ rst couple of days made camping at Patrick Freddy Puruntatameri Eva Nagomara, Marie Mudgedell & Gulkula a bit more challenging but from Jilamara Arts & Crafts Patrick Smith from Warlayirti Artists presenting at the Visual Arts Forum everyone enjoyed the cloudy cooler weather while making the most of the unique Garma experience.

The theme for this year’s festival was Indigenous Cultural Livelihoods, which involved looking at ways to increase employment and business opportunities for Indigenous people. The Visual Arts workshop program presented a series of panel sessions over three days in which many Peter Garrett, Stephanie Hawkins & Djambawa Marawili different aspects of Indigenous art and culture were discussed including stories and experiences from Indigenous artists and arts organisations about how they are marketing and creating income from art production and cultural tourism, ideas for development of a proposed National Indigenous Art School, education and training, then ending with a strong discourse on the infrastructure and resources needed to provide for the future sustainability of the Indigenous arts sector.

A highlight of the festival was the presence of a group of Macassan Reg visitors as special honoured Patr guests of the Yolgnu people to re- emphasise the centuries old trade and cultural exchange relationships that took place between the G a r m a F e s t i v a l 2 0 0 5 Indigenous peoples of northern Australia and the Macassans from the islands to the north. TThehe YYothuothu YYindiindi FFououndation’s Garma Festival of Traditional

Karen Mills CCultureulture GGulkula,ulkula, via Nhulunbuy, Arnhem Land, Australia 5th - 9th August 2005 Roy Harrington & Duncan Bero from Mimi Arts & Crafts

Kathy Arbon presenting in the Visual Arts Forum Karen Mills, Erica Luchich & Gary Lee

gis Pangiraminni, Aden Ridgeway, Patrick Smith & Marie Mudgedell in the Northern Editions Printmaking studio Regis Pangiraminni presenting in the rick Freddy & Pedro Wonaemirri Toursim Forum GGarmaa r m a FestivalF e s t i v a l 220050 0 5 The Yothu Yindi Founddation’sation’s GGarmaarma FFestivalestival ooff TTraditionalraditional Culture Gulkula, viiaa NNhulunbuy,hulunbuy, AArnhemrnhem LLand,and, AAustraliaustralia 55thth - 99thth AAugustugust 22005005 Larrakia Nation, Karawa Park, Darwin NT Yvonne Odegaard, Coordinator

Larrakia Nation’s six Larrakia artists and eight “Youth At Risk”, from Knuckey’s Lagoon have just ﬁ nished a mammoth Art Project at the water tank at East Arm, Darwin.

The six Larrakia artists worked with John Moriarty from Balarinji Designs, to design their own art works for the water tank at East Arm. The Art work on the water tank tells a Larrakia story.

The art project took six weeks to complete with the help of Nicole, from Sign Tech and the opening ceremony was at the Vopak Water Tank at 10.00am on the 18th August 18, 2005. The eight “Youth At Risk”, gained skills and conﬁ dence by being involved with this historical project.

The six Larrakia artists are, Jocelyn Archer, Dorothea Fejo, Pauline Baban, Danny Raymond, Denise Quall and Yvonne Odegaard.

‘Yakumirri’ - An Exhibition from North East Arnhem Land Buku-Larnggay Mulka

The ‘Yakumirri’ exhibition between $11,500 and 18,500. Djambawa Marawili, Wukun has been bought by one of Wanambi, Naminapu Maymuru- Australia’s richest women. ’Yakumirri’ describes people White, Galuma Maymuru, Janet Holmes a Court and her who have a ‘name’. This Gulumbu Yunupingu. husband started collecting exhibition consisted of a large Aboriginal art in the 1980s. bark painting from each of the Other artists included in the She has continued to manage ﬁ fteen Buku-Larrnggay Mulka show are Gawirrin Gumana, their business empire and Centre artists who have won a Marrnyula Mununggurr, art collection since his death. major Australian art award or Wolpa Wanambi, Nawurapu had a successful solo exhibition. Wunungmurra, Wanyubi Janet Holmes a Court ﬂ ew to Marika, Mulkun Wirrpanda, Darwin to see a preview of the In the last twelve months alone Banduk Marika, Yananymul Yakumirri exhibition at Raft the following artists have had Mununggurr, Waturr Gumana artspace in Parap before it solo exhibitions in Melbourne, and Napuwarri Marawili. opened and decided to buy all 15 Sydney or Darwin which have bark paintings in the show priced been completely sold out; Gary Lee Larrakia Artist, Curator, Author

My name is Gary Mura Lee and worked as an anthropologist, most recent series from which I am a Larrakia artist whose curator, writer and designer. the “Shannon as Billiamook” art practice involves mainly (2004) image is from, involves photography. I was born and In 1993 I started my ongoing photographing contemporary live in Larrakia country - Darwin. photo series “Nice Coloured Larrakia males in homage Boys” in India and Nepal in to the Paul Foelsche colonial In the early seventies I which I have been documenting portraits of Larrakia people. travelled around overseas Indigenous and coloured male to Europe, the Middle East, beauty and body image. I I am going down to the Museum South and South East Asia was tired of seeing negative of Contemporary Art, Sydney for four years including living imagery of Aboriginal men and in September to speak about in India for two and a half of men of colour and wanted to my art practice at their new those years. I started taking photograph them in situ, as Aboriginal Art Forum series photos during those four years I met or came across them. which has as its theme this but they were all destroyed in year “Beauty.” I will be talking Cyclone Tracy. I didn’t do any Since then my photo making about the Foelsche images in photography for a long time has been focused on re- relation to my contemporary as I had other things to do. representing Indigenous Larrakia male portraits. and other men of colour in I worked at Mimi Arts and Crafts questioning assumptions for three years in the early about identity and race. This Gary Lee is also an ANKAAA eighties before going to the direction led me to take my Executive Member representing Australian National University “Self Portrait” (2003) from my Darwin based independent to study anthropology. I “Skin” series where I posed artists. graduated with honours in myself as a Hindu and Nepali

1990 and since that time I have man in everyday situations. My Self Portrait (2003) © Gary Lee Gary © (2003) Portrait Self

to pull something out of the grey and Marrawuddi call it one thing or another is quite likely to be the other to another. But perhaps authenticity does not come Gallery into it today as we are not debating good and bad and maybe a line can be drawn between the two – tourist art and art art but not by me and I don’t www.marrawuddi.com think its the intention either of this Chairperson Terry (Djambawa) Marawili session. But if demarcation is desired Buku-Larrnggay Mulka Arnhem Land Region it may be drawn not necessarily only Vice Chairperson John Martin Tipungwuti Aboriginal art – Tourist Art and from how the art looks or how it is Jilamara Arts & Craft Association Tiwi Fine Art seen but also of what we know of Islands Region it. Why it was made – the intent. Andrew Blake, August 2005 I try to research or fathom to gauge Secretary Peggy Griffi th Waringarri the intent to which a work of art Aboriginal Arts Kimberley Region Art for tourism is a major component is made. It is fair to say that a big and out front player in the tourism Treasurer Alice Snape Coomalie Cultural percentage of the art craft makers of Centre Katherine Region industry. Everywhere, you will see the region I’m now working within, Aboriginal paintings and designs, have reasonable concepts of the Gary Lee Darwin based artist & curator much of it made generic by both tourist market and shallow concepts Freddie Timms Jirrawun Aboriginal Art misunderstandings and industry of the fi ne art market. The art market Corporation Kimberley Region demand. There is a huge amount - it’s you white people they’ll say, and of Aboriginal art exposed to they’re right – it’s a Balanda market Tommy May Mangkaja Arts Resource the tourist – from the top shelf that tends to bias very heavily, where I Agency Aboriginal Corporation Kimberley article in our museums and many am anyway, towards the mainstream. Region commercial galleries right through And for many in the ‘industry’ to the sad, pathetic and unlawful – rather than the ‘market’ the best is Richard Birrinbirrin Bula’bula Arts in any sort of retail outlet within a distance from mainstream. So it’s Aboriginal Corporation Arnhem Land Region coo-ee of the tourist trampings. those of us in the middle, between John Mawurndjul Maningrida Arts & Oh! Dreaming – that gives it credence artist and the beholder, who choose Culture Arnhem Land Region - Barramundi Dreaming, Mimih and push what we see is best and Dreaming on plastisized fabric , the to some degree let mainstream Jeannie Herbert Mimi Arts & Crafts ‘U’ shape is a women sitting and the look after itself – which it does with Katherine Region circles’ a campfi re. Dots and circles a burgeoning success. Tourist art and lines and hatchings and colours Marita Sambono Merrepen Arts Aboriginal comes in my book under mainstream Corporation Katherine Region from both the earth and tubes and and is generally good. It is a non- pots – and all strongly identifi able as stop entrée that offers an avenue or Regis Pangiraminni Munupi Arts & Crafts Aboriginal, not just in our country but opportunity for both practitioner and Association Tiwi Islands Region overseas as well – this is where the buyer to see more, to understand tourist comes from and the wormy more and to be more discerning. debate as to where authenticity Attempts are made by us all the time fades out of grey but a debate to share the playing fi eld in which we nothing to do with art in its pure work. We set up exhibitions of art art sense. Even so you have to assume promoting what we consider good there is argument in it all including practice and invite people to look ANKAAA Staff the importance of honest intent. to see and hope it all creates some 2005 I read from the sessions prospectus excitement. There is an effort made sent by Beverly that I was to talk to have the artist/s attend openings. of tourist art and talk of art for I do have trouble conveying as to the commercial gallery and the what this evening may be to the importance of both, the difference artist before hand as it is a scenario between the two was to be discussed that is hoped will suggest that the later in the session. I’ll have a presentation of their art evokes a Stephanie Hawkins Manager convoluted stab at it now for it’s sense of pride and worth that rises Michelle Culpitt Industry Development a valid observation and one easily above the retail shop and differs, but Offi cer seen by those in the industry but a far from a negative way, differs from difference not as easily recognised I’d the known arenas of art centre and Stephen Hutchison I.T Development Offi cer say by those that ricochet off it, the country and the difference I suppose tourist and the artist who has not had between mainstream and better; all Erica Luchich Offi ce Manager & Bookkeeper the opportunity to really enter the according to a western aesthetic sure ANKAAA will be recruiting for the fold that is perceived to be higher, but I know both our cultures share following positions in the near future; through perhaps a lack of adventure many values according to quality. and desire to go there. What I don’t Business Development Offi cer want to do is wade through the old .... this is an edited and grey seeking the line where Industry Development Offi cer Kimberely version of the original as Region tourist art ceases to be the other, for presented at Garma 2005 what shade is grey and debate has Industry Development Offi cer Katherine been seen to fl ounder in this fog – the For copy of this article in full please Region authenticity thing of course – we know email [email protected] what’s authentic and what is not but Please email [email protected] for further details on these positions www.aboriginalart.org