Kathleen Petyarre
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Indigenous Australian Art in Intercultural Contact Zones
Coolabah, Vol.3, 2009, ISSN 1988-5946 Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona Indigenous Australian art in intercultural contact zones Eleonore Wildburger Copyright ©2009 Eleanore Wildburger. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged Abstract: This article comments on Indigenous Australian art from an intercultural perspective. The painting Bush Tomato Dreaming (1998), by the Anmatyerre artist Lucy Ngwarai Kunoth serves as model case for my argument that art expresses existential social knowledge. In consequence, I will argue that social theory and art theory together provide tools for intercultural understanding and competence. Keywords: Indigenous Australian art and social theory. Introduction Indigenous Australian artworks sell well on national and international art markets. Artists like Emily Kngwarreye, Clifford Possum Tjapaltjarri, Kathleen Petyarre are renowned representatives of what has become an exquisite art movement with international appreciation. Indigenous art is currently the strongest sector of Australia's art industry, with around 6,000 artists producing art and craft works with an estimated value of more than A$300 million a year. (Senate Committee, 2007: 9-10) At a major Indigenous art auction held in Melbourne in 2000, Johnny Warangkula Tjupurrula's famous painting Water Dreaming at Kalipinypa was sold for a record price of A$ 486,500. Three years before, it was auctioned for A$ 206,000. What did Johnny W. Tjupurrula receive? – just A$ 150 when he sold that painting in 1972. (The Courier Mail, 29 July 2000) The Süddeutsche Zeitung (06 September 2005) reports that Clifford Possum Tjapaltjarri received A$ 100 for his painting Emu Corroboree Man in 1972. -
Breasts, Bodies, Art Central Desert Women's Paintings And
csr 12.1-02 (16-31) 3/8/06 5:36 PM Page 16 Central Desert Women’s Paintings and the breasts, bodies, art Politics of the Aesthetic Encounter JENNIFER L BIDDLE This paper is concerned with a culturally distinctive relationship between breasts and contemporary art from Central Desert Aboriginal women, specifically, recent works by Emily Kame Kngwarreye, Kathleen Petyarre and Dorothy Napangardi.1 Contra to the dominant interpretation of these paintings as representations of ‘country’—cartographic ‘maps’ of the landscape, narratives of Dreaming Ancestors, flora, fauna, species—my argument is that these works bespeak a particular breasted experience and expression, a cultural way of doing and being in the world; what I want to call a breasted ontology. I want to suggest that this breasted ontology is literally manifest in the ways in which these paintings are produced and, in turn, are experienced by the viewer. That is, these works arguably engender a bodily relation between viewer and image which is not about spectatorship. This viewing relation is not a matter of a viewing subject who, kept at a distance, comprehends an object of ocular focus and vision; rather, this relation instead is one in which the viewer relinquishes her sense of separateness from the canvas, where a certain coming- into-being in relation to the painting occurs. One does not so much know these works cognitively as lose oneself in them. Through viewing these works, as it were, one becomes vulnerable to their sensibilities in so far as they incite an enmeshment, an enfolding, and encapturing even in their materiality. -
Art Aborigène
ART ABORIGÈNE LUNDI 1ER JUIN 2009 AUSTRALIE Vente à l’Atelier Richelieu - Paris ART ABORIGÈNE Atelier Richelieu - 60, rue de Richelieu - 75002 Paris Vente le lundi 1er juin 2009 à 14h00 Commissaire-Priseur : Nathalie Mangeot GAÏA S.A.S. Maison de ventes aux enchères publiques 43, rue de Trévise - 75009 Paris Tél : 33 (0)1 44 83 85 00 - Fax : 33 (0)1 44 83 85 01 E-mail : [email protected] - www.gaiaauction.com Exposition publique à l’Atelier Richelieu le samedi 30 mai de 14 h à 19 h le dimanche 31 mai de 10 h à 19 h et le lundi 1er juin de 10 h à 12 h 60, rue de Richelieu - 75002 Paris Maison de ventes aux enchères Tous les lots sont visibles sur le site www.gaiaauction.com Expert : Marc Yvonnou 06 50 99 30 31 I GAÏAI 1er juin 2009 - 14hI 1 INDEX ABRÉVIATIONS utilisées pour les principaux musées australiens, océaniens, européens et américains : ANONYME 1, 2, 3 - AA&CC : Araluen Art & Cultural Centre (Alice Springs) BRITTEN, JACK 40 - AAM : Aboriginal Art Museum, (Utrecht, Pays Bas) CANN, CHURCHILL 39 - ACG : Auckland City art Gallery (Nouvelle Zélande) JAWALYI, HENRY WAMBINI 37, 41, 42 - AIATSIS : Australian Institute for Aboriginal and Torres JOOLAMA, PADDY CARLTON 46 Strait Islander Studies (Canberra) JOONGOORRA, HECTOR JANDANY 38 - AGNSW : Art Gallery of New South Wales (Sydney) JOONGOORRA, BILLY THOMAS 67 - AGSA : Art Gallery of South Australia (Canberra) KAREDADA, LILY 43 - AGWA : Art Gallery of Western Australia (Perth) KEMARRE, ABIE LOY 15 - BM : British Museum (Londres) LYNCH, J. 4 - CCG : Campbelltown City art Gallery, (Adelaïde) -
THE DEALER IS the DEVIL at News Aboriginal Art Directory. View Information About the DEALER IS the DEVIL
2014 » 02 » THE DEALER IS THE DEVIL Follow 4,786 followers The eye-catching cover for Adrian Newstead's book - the young dealer with Abie Jangala in Lajamanu Posted by Jeremy Eccles | 13.02.14 Author: Jeremy Eccles News source: Review Adrian Newstead is probably uniquely qualified to write a history of that contentious business, the market for Australian Aboriginal art. He may once have planned to be an agricultural scientist, but then he mutated into a craft shop owner, Aboriginal art and craft dealer, art auctioneer, writer, marketer, promoter and finally Indigenous art politician – his views sought frequently by the media. He's been around the scene since 1981 and says he held his first Tiwi craft exhibition at the gloriously named Coo-ee Emporium in 1982. He's met and argued with most of the players since then, having particularly strong relations with the Tiwi Islands, Lajamanu and one of the few inspiring Southern Aboriginal leaders, Guboo Ted Thomas from the Yuin lands south of Sydney. His heart is in the right place. And now he's found time over the past 7 years to write a 500 page tome with an alluring cover that introduces the writer as a young Indiana Jones blasting his way through deserts and forests to reach the Holy Grail of Indigenous culture as Warlpiri master Abie Jangala illuminates a canvas/story with his eloquent finger – just as the increasingly mythical Geoffrey Bardon (much to my surprise) is quoted as revealing, “Aboriginal art is derived more from touch than sight”, he's quoted as saying, “coming as it does from fingers making marks in the sand”. -
AUSTRALIA : CONTEMPORARY INDIGENOUS ART from the CENTRAL DESERT Kathleen PETYARRE, “My Country - Bush Seeds” Acrylic on Canvas, 137 X 137 Cm, 2010
AUSTRALIA : CONTEMPORARY INDIGENOUS ART FROM THE CENTRAL DESERT Kathleen PETYARRE, “My Country - Bush Seeds” acrylic on canvas, 137 x 137 cm, 2010 The paintings of Australian Indigenous artist Kathleen Petyarre have been compared internationally to those of the minimalist modern artists Mark Rothko and Agnes Martin, not so much for their formal structure: but for what underlies beneath, partially hidden from the observers view. In actuality, Kathelen Petyarre’s paintings are mental territorial maps which portray her country and the narrative associated with her inherited Dreaming stories. Her celebrated work, “My Country - Bush Seeds”, presents a seasonal snapshot within: a close-up of a geographical location spiritually important to the artist. The prominent parallel lines represent a group of red sand-hills – a sacred site - that rise majestically from the desert floor. Abie Loy KEMARRE, “Bush Hen Dreaming” acrylic on canvas, 91 x 152 cm, 2009 Australian Indigenous artist Abie Loy Kemarre began painting in 1994 under the formidable guidance of her famous grandmother, Kathleen Petyarre, who imparted the methodology for creating the depth-of-field of tiny shimmering dots in her highly delicate Bush Hen Dreaming painting that represents her Ancestral country. The Bush Hen travels through this country looking for bush seeds which are scattered over the land, represented by the fine dotting. The centre of this painting shows body designs used in traditionel women’s sacred ceremonies. These ceremonies are performed with songs and dance cycles telling stories of the Bush Hen Dreaming. Ngoia Pollard NAPALTJARRI, “Swamp around Nyruppi” acrylic on canvas, 180 x 180 cm, 2006 Western Desert artist Ngoia Pollard frequently paints particular Dreamings, or stories, for which she has personal responsibility or rights. -
Kathleen Petyarre
Kathleen Petyarre Kathleen Petyarre was born c. 1940, at the remote location of Atnangkere, an important water soakage for Aboriginal people on the western boundary of Utopia, 150 miles north-east of Alice Springs in the Northern Territory of Australia. Kathleen belongs to the Alyawarre / Eastern Anmatyerre clan and speaks Eastern Anmatyerre, with English as her second language. Kathleen, with her daughter Margaret and her sister's, settled at Mosquito Bore, on Utopia near her birthplace. Kathleen now spends part of the year at her residence in Adelaide. Kathleen's mother and seven sisters have managed to hold onto their land near Utopia as a group, establishing a camp at Atneftyeye Boundary Bore. Kathleen Petyarre married her “promised” husband, a much older man. From her late teens to her late twenties, Petyarre lived conform to what it meant to be a “traditional” Anmatyerr wife and mother. Separating from her husband, Petyarre was seeking another dimension to her life. For twenty years she worked as an assistant teacher at the Utopia School. This was the most significant and formative experience of her life, in terms of developing finely tuned intercultural negotiation and mediation skills. It was during this time, in the late 1970s, that Kathleen Petyarre became involved in Utopia batik. The context for his involvement was an astonishing renaissance of Indigenous artistic production. Collectively, the Utopia women began to make a name for themselves as batik artists, the most famous of whom is Kathleen’s late aunt, Emily Kame Kngwarreye. While she was involved in batik, Kathleen Petyarre became involved in a Land Claim of immense significance to the Anmatyerr. -
Emplacement and Displacement
This article was downloaded by: [New York University] On: 16 June 2015, At: 13:02 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Ethnos: Journal of Anthropology Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/retn20 Emplacement and Displacement: Perceiving the Landscape Through Aboriginal Australian Acrylic Painting Fred Myersa a Department of Anthropology, New York University Published online: 14 Nov 2012. To cite this article: Fred Myers (2013) Emplacement and Displacement: Perceiving the Landscape Through Aboriginal Australian Acrylic Painting, Ethnos: Journal of Anthropology, 78:4, 435-463, DOI: 10.1080/00141844.2012.726635 To link to this article: http://dx.doi.org/10.1080/00141844.2012.726635 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
Museum of Australian Indigenous Art (MAIA)
Online Form Submission Title: Museum of Australian Indigenous Art (MAIA) Details: Please refer to attached document. PIERMARQ* ART ADVISORY PIERMARQ We would like to express our appreciation for the How this proposal is different Next steps * opportunity to present this submission to UrbanGrowth INTRODUCTION ART ADVISORY NSW to articulate our proposed project, the Museum of As highlighted in this prospectus, it is proposed that the Funding and/or support of this proposal is required to Australian Indigenous Art (‘MAIA’) and how it could be museum will be operated on a not-for-profit basis with all further advance this project. Specifically, the next steps Call for Great Ideas implemented within the Bays Precinct for the betterment returns being reinvested into indigenous artists, for this venture include: of the area and the NSW economy. communities and charities. - The Bays Precinct ► (if funding is not provided by government) to go to We understand that the Bays Precinct is of strategic To achieve this goal we believe that this project needs to the market and seek philanthropic financial support importance to Sydney to support the projected growth in be developed with (1) no debt/ongoing cost associated necessary to support this project. population and businesses that the city will experience in with the museum accommodation, and (2) minimise the the near future. ongoing costs associated with the museum’s operations. ► Undertake a detailed design process and gain the relevant government and building approvals To support its sustainable -
A Generous Benefactor: the Gifts of Patrick Corrigan, AM
A GENEROUS BENEFACTOR: THE GIFTS OF PATRICK CORRIGAN A M :(4(5;/(30;;3,@6-;/,<8(9;4<:,<4(5+7,55@>/0;,>(@ 6--9@,930)9(9@;(32()6<;;/,:0.50-0*(5;.0-;:;/(;7(;90*2 *6990.(5(4/(:4(+,;6;/,<50=,9:0;@6-8<,,5:3(5+ succession of inspired and generous art with the public by making artworks from his Below: Gloria Tamerre KVUVYZOH]LWSH`LKHZPNUPÄJHU[YVSL substantial collection accessible in surveys like 7L[`HYYLJ Ain the development of The University The enduring glance: 20th century photography Body paint design of Queensland Art Collection. The bequest from the Pat Corrigan collection, Orange Regional 2005, synthetic polymer that John Darnell made to The University of Art Gallery (6 December 2002–19 January paint on linen, 125.4 x Queensland (UQ) in 1931 saw the establishment 2003), and Written with darkness: selected 210.4 cm, Collection of the Fine Art Library (later the John Darnell photographs from the Corrigan Collection, of The University of Art Collection), which formed the basis of the UTS Gallery, University of Technology Sydney Queensland. Gift of collection that is now housed in The University (12 October–5 November 2004). 7H[*VYYPNHU(4 to commemorate of Queensland Art Museum (UQ Art Museum). His support for, and promotion of, Indigenous [OL<UP]LYZP[`»Z Businessman and philanthropist Patrick Centenary (2010) HY[PZL_LTWSPÄLKI`[^VTHQVYW\ISPJH[PVUZ! Corrigan AM has, since 2008, contributed to through the Australian that tradition by donating a total of 113 artworks New beginnings: classic paintings from the Corrigan Collection of 21st century Aboriginal .V]LYUTLU[»Z*\S[\YHS to UQ. -
Aboriginalities
Royal Museums E N of Fine Arts of Belgium Aboriginalities #expoaboriginalities Visitor’s @FineArtsBelgium fine-arts-museum.be guide 11 9 7 5 4 8 6 10 3 12 13 2 end 1 start Note to the visitor In this short guide, each entry from page 10 onwards refers to one or more works in the exhibition. A coloured dot will enable you to locate the work/s on the map of the exhibition rooms. The “intersection bubbles” that were created with some works from our modern art collections are indicated in small insets. The small symbol t in the text indicates the locations identifiable on the map of Australia on pages 22-23. Aboriginalities immerses you into the fascinating universe of Aboriginal painting – an art form that is both ancestral and contemporary, always rooted in spirituality. Far more than simply a physical and sensory experience, As a window on the spiritual, Aboriginal art invites us to rethink Aboriginal art tells the story of our connection to the earth the creation of the world – called and the universe. “Dreamtime” – and the original link between humans and the earth. The numerous motifs (dotted lines, spirals, zigzags, crosshatching...) are passed down from generation to generation by members of the same community, concealing centuries-old secrets as well as a map of their territory. This ancestral, highly ritualized and symbolic art form was originally concealed: drawn in the sand or applied on rocks at sites forbidden to laymen. But in the early 1970s, amidst struggles for recognition of Aboriginal identity, the Papunya Tula community translated their cultural practices and symbolic knowledge through painting. -
Relationscapes: How Contemporary Aboriginal Art Moves Beyond the Map Erin Manning
Relationscapes: How Contemporary Aboriginal Art Moves Beyond the Map Erin Manning Three examples 1. Mina Mina (Dorothy Napangardi Robinson, 2005) measures almost two metres in height (198 x 122 cm). Black on white, its white emergent through the black dots, it encourages us to look-across, to move-with the fragile dotted lines that compose its labyrinths. ‘Looking at’ is too stable for this shifting landscape that moves, already, in many directions at once. This movement-across is not a symmetrical one that would obediently follow a horizontal or vertical perspective: it is a vibrating movement, a resonance that forces itself upon our vision, transforming it into a politics of touch. This is a politics of touch because what the painting compels is not a static viewing but an activity of reaching-toward that alters the relation between body and painting, creating a moving world that becomes a touching of the not-yet touchable. This touching is rhythmic. It occurs not on the lines or with the points but across the vista the painting elaborates, an experi- ential vista that is already more-than the space of the canvas can convey. These are more than traces, they are material becomings toward a worlding immanent to the experience of viewing. The becoming-world called forth by this black and white painting is a creation of an event of which I am part. It takes me not somewhere else, but right where I can become, to a force-field that is an eventness in the making, an exfoliation of experience. 458 ERIN MANNING : RELATIONSCAPES The painting envelops space, creating new spacetimes of experience, new viewing bodies. -
Aboriginal Art the Thomas Vroom Collection
ABORIGINAL ART Bonhams THE THOMAS VROOM COLLECTION 97-99 Queen Street Woollahra NSW 2025 Sunday 6 September at 2pm Australia NCJWA Hall, Sydney +61(0)284122222 +61(0)294754110fax ABORIGINAL ART THE THOMAS VROOM COLLECTION | NCJWA Hall, Sydney | Sunday 6 September 2015 23277 International Auctioneers and Valuers – bonhams.com ABORIGINAL ART THE THOMAS VROOM COLLECTION | NCJWA Hall, Sydney | Sunday 6 September 2015 23277 ABORIGINAL ART THE THOMAS VROOM COLLECTION Sunday 6 September at 2pm NCJWA Hall, Sydney SYDNEY VIEWING BIDS ENQUIRIES PHYSICAL CONDITION NCJWA Hall Online bidding will be available Francesca Cavazzini OF LOTS IN THIS AUCTION 111 Queen Street for the auction. For futher Aboriginal and International Woollahra information please visit: Art Specialist PLEASE NOTE THAT THERE Sydney NSW 2025 www.bonhams.com +61(0)416022822mob IS NO REFERENCE IN THIS [email protected] CATALOGUE TO THE PHYSICAL Thursday 3 September All bidders are advised to CONDITION OF ANY LOT. 12pm to 5pm read the important information Merryn Schriever INTENDING BIDDERS MUST Friday 4 September on the following pages relating Australian and International SATISFY THEMSELVES AS 9am to 5pm tobidding,payment,collection Art Specialist TO THE CONDITION OF ANY Saturday andstorageofanypurchases. +61(0)414846493mob LOTASSPECIFIEDINCLAUSE 10am to 5pm [email protected] 14OF THENOTICETO IMPORTANT INFORMATION BIDDERS CONTAINED AT THE SALE NUMBER TheUnitedStatesGovernment Mark Fraser END OF THIS CATALOGUE. 23277 has banned the import of ivory Chairman into the USA. Lots containing +61(0)430098802mob As a courtesy to intending CATALOGUE ivory are indicated by the symbol [email protected] bidders, Bonhams will provide a $30.00 Ф printedbesidethelotnumber written Indication of the physical inthiscatalogue.