DOCSLIB.ORG

Kathleen Petyarre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. She was a key claimant in a claim for Anmatyerr Freehold Title over the Utopia Pastoral Lease. The claim proved successful and in 1980 the land around Utopia was formally returned to its traditional owners. Like many other Indigenous Australians, Kathleen Petyarre has consistently emphasised the strong connection between her land and her art. Each of her batiks and canvases is an assertion of land rights, an expression of her inalienable connection with Atnangker country and its associated Dreaming, Arnkerrth. Petyarre’s restarted acrylics on canvas in 1986. She resigned from her teaching post at Utopia School to devote herself to painting full time. Her career as a fulltime artist is now acclaimed as an internationally important painter. In 1996 she was the winner of the 13th Telstra National Aboriginal and Torres Strait Islander Art Award. In Kathleen’s art, Arnkerrth is not represented figuratively, but conceptualized spatially. In common with many other contemporary artists, Petyarre evinces a high level of discipline with regard to her work. It sometimes gives the impression that the earth has been sliced open, so that we feel that we are looking at the earth’s surface dissected, from above. Petyarre’s restrained palette, mostly restricted to “earth” colours, compounds this impression. Underneath the screen of very fine dotting Kathleen’s Dreaming exists as a barely tangible, shadowy palimpsest, overlaid by the luminous surface colours which gradually change tone. Nodes of colour shift seamlessly through the work. As a result, Petyarre’s works provide the viewer with a fleeting, subliminal, awareness or suggestion of her Dreaming Ancestor’s travels or journeying. A common theme of Kathleen's paintings refer to Arnkerrthe, Mountain or Thorny Devil Lizard, (Moloch horridus) a small lizard which has spikes on its back and lives in the desert, crossing vast terrain and changing colour according to its environment like a true chameleon. The enormity of his journeys can be felt in the landscape of Kathleen's works. This important clan country serves not only as a creation site, but a sacred place in which to reconnect with the Dreaming through ceremony, and in particular, initiation rites. Kathleen continues to demonstrate her detailed, accurate knowledge and respect of country through her remarkable paintings that in turn give the viewer an insight into an ancient other world of endless beauty. This ability to operate on a number of levels simultaneously has led to contemporary art critics unselfconsciously discussing Petyarre’s work in relation to Kant’s concept of the sublime, or to compare it with New York based Ross Bleckner’s hypnotic conceptual studies of the molecular world of DNA and cell structure. Her considerable reputation as one of the most original Aboriginal artists has since been confirmed nationally and internationally by her regular inclusion in exhibitions at the most reputed museums and galleries. A book about her art, ''Genius of Place'' , was published in 2001 in conjunction with a solo exhibition of her works at the Museum of Contemporary Art in Sydney, and her paintings can be found in public and private collections all over the world. Her work has been selected, along with just a handful of Aboriginal artists, for inclusion in the permanent collection of the new Musée du quai Branly in Paris. Kathleen Petyarre is one of the most sought-after living Aboriginal artists. She has been repeatedly nominated by the influential journal Australian Art Collector as being among “the 50 most collectable artists in Australia” . She has several sisters who are also well-known artists, among them: Ada Bird Petyarre, Gloria Petyarre, Nancy Kunoth Petyarre, Violet Petyarre, Myrtle Petyarre, Jeannie Petyarre. However it is Kathleen's works that consistently show the highest degree of innovation and are in the greatest demand, and they tend to fetch the highest prices at auctions. Awards: 1996 - Joint Second Prize, Open Award Category - The 3rd National Aboriginal & Torres Strait Islander Heritage Commission Art Award, Canberra, Australia. - Overall Winner of the Telstra 13th National Aboriginal & Torres Strait Islander Art Award, Darwin, Australia. 1997 - Overall Winner of the Visy Board Art Prize, the Barossa Vintage Festival Art Show, Nurioopta, Australia. 1998 - Finalist, % 1998 Seppelts Contemporary Art Award - Visual Art Museum of Contemporary Art, Sydney, Australia. - Winner, People's Choice Award, 1998 Seppelts Contemporary Art Award, Museum of Contemporary Art, Sydney, Australia. Artist-in-Residence 1997 - Art Gallery of South Australia, Desert Artists-in-Residence, Adelaide, Australia, January - Museum Puri Lukisan, Ubud, Bali, Indonesia, June Solo Exhibitions 1982 Sydney Craft Expo, Sydney, Australia, presented by Ilkeston Gallery, Melbourne, Australia 1991 Royal Hibernian Academy, Dublin, Ireland 1995 Ludwig Forum für Internationale Kunst, Aachen, Germany 1996 "Kathleen Petyarre - Storm in Aknangkerre Country" Alcaston House Gallery, Melbourne, Australia Australian Contemporary Art Fair 5, Melbourne, presented by Alcaston Gallery, Melbourne, Australia 1998 Australian Contemporary Art Fair 6. Melbourne, Australia “Arnkerrthe - My Dreaming”, Alcaston Gallery, Melbourne, Australia. 1999 Recent Paintings by Kathleen Petyarre, Coo-ee Gallery, Mary Place, Sydney, Australia. Art Chicago 2000, Navy Pier, Chicago, USA. SF3 San Francisco International Art Exposition 3. Fort Mason Centre, San Francisco, USA. 2000 “Landscape: Truth and Beauty”, Alcaston Gallery, Kathleen Petyarre, Retrospective Exhibition, Museum of Contemporary Art, Sydney. New Directions in Contemporary Aboriginal Painting, Songlines Gallery, San Francisco, USA Australian Contemporary Art Fair 7. 2001 Genius of Place. The work of Kathleen Petyarre. Museum of Contemporary Art, Sydney, Australia. SF4 San Francisco International Art Exposition 3, Fort Mason Centre, San Francisco, USA. Across, An exhibition of Indigenous Art & Culture, Flinders University City Gallery, Adelaide, Australia 2002 Gallerie Commines, Paris, France Australian National Tour Exhibition, Autralia Arco 2002, International Contemporary Art Fair, Madrid, Spain. Australian Contemporary Art Fair 8, Melbourne. 2003 “Ilyenty – Mosquito Bore”, Alcaston Gallery, Melbourne, Australia Miami Contemporary Art Fair 2003, Miami, USA. Arco 2003, International Contemporary Art Fai, Madrid, Spain, 2006 Hood Museum of Art, Dartmouth College, New Hampshire, USA National Museum of Women in the Arts, Washington DC, USA Prism - Contemporary Australian Art at the Bridgestone Museum of Art, Tokyo, Japan 2007 Galerie Rigassi, Bern, Switzerland Gallery Anthony Curtis, Boston, USA Group Exhibitions 1980 Utopia Batik, Mona Byrne’s Artworks Gallery, Diorama Village, Alice Springs, Australia “Floating Forests of Silk: Utopia Batik from the Desert”, Adelaide Festival Centre, Adelaide, Australia 1989 “Utopia Women’s Paintings: The First Works on Canvas”, A Summer Project, S.H. Ervin Gallery, Sydney, Australia. Utopia Women’s Paintings: The First Works on Canvas, A Summer Project, Orange Regional Gallery, Orange, Australia. Utopia Women, Coventry Gallery, Paddington, Sydney, Australia. “Utopia - A Picture Story”, 88 Silk Batiks from the Robert Holmes a Court Collection, Tandanya Aboriginal Cultural lnstitute, Adelaide, Australia. 1990 CAMMA/Utopia Artists in Residence Project, The Perth Institute of Contemporary Art, Perth, Australia Utopia - A Picture Story. 88 Silk Batiks from the Robert Holmes a Court Collection The Royal Hibernian Academy, Dublin, Ireland. The Crawford Municipal Art Gallery, Cork, Ireland, Limerick City, Gallery of Art, Ireland. Contemporary Aboriginal Art from The Robert Holmes a Court Collection, Carpenter Centre for the Visual Arts Harvard University, Boston, USA. Contemporary Aboriginal Art from The Robert Homles a Court
Load more

Recommended publications
  • Betty Quelhurst (1919–2008): Artist and Benefactor
    Betty Quelhurst Self portrait 1948 Oil on composition board Gift of the artitst under the Cultural Gifts Program, 1998 Introduction Betty Quelhurst (1919–2008): Artist and benefactor This exhibition acknowledges the generous philanthropy of Betty Quelhurst’s long life was sustained by her commitment to Queensland artist and QUT alumnus Betty Quelhurst (1919– art. Her career as an artist spanned seven decades, and much 2008), and the work of selected contemporary Australian of this time was spent painting and teaching in Queensland. women artists. Focusing on the human figure – illustrated through her portraits and beachscapes – she established an important profile as a The Betty Quelhurst Fund was established in the art painter in Brisbane in the mid twentieth century. acquisitions program in 2005. In recent years, this has enabled the University to purchase significant works by a number of Quelhurst was born in 1919 at Laidley near Brisbane and in contemporary Australian female artists. Inspiration for the gift the early 1930s attended Brisbane Girls Grammar School. came largely from Quelhurst’s own experiences as a promising From 1935 to 1938 Betty Quelhurst studied art at the Brisbane painter in the 1940s and early 1950s in Brisbane – when Central Technical College, an early forerunner of QUT’s professional opportunities for women artists were rare. Gardens Point Campus. In the late 1940s she continued her art studies at the National Gallery School in Melbourne under Between 2006 and 2009 some forty-one works by twenty the guidance of William Dargie who then headed the School. artists were purchased through the Fund. These acquisitions cover a diverse range of styles, approaches and media From the mid 1950s Quelhurst established a successful thirty- including painting, drawing, photography, collage, assemblage, year career as an artist and teacher in Queensland.
    [Show full text]
  • 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.
    [Show full text]
  • Aboriginal Art Auction - Melbourne: Brighton Town Hall 09/02/2020 1:00 PM AEDT
    Auction - Aboriginal Art Auction - Melbourne: Brighton Town Hall 09/02/2020 1:00 PM AEDT Lot Title/Description Lot Title/Description 1 JEANNIE MILLS PWERLE “Bush Yam” Acrylic on linen. Painted in 12 FELICITY ROBERTSON NAMPITJINPA "Puyurru - Water Dreaming" 2019. Comes with Certificate of Authenticity. Artwork is stretched and Acrylic on linen. Painted in 2019. Comes with Certificate of Authenticity. ready to hang. 70cm x 40cm Artwork is stretched and ready to hang. 49cm x 62cm JEANNIE MILLS PWERLE“Bush Yam”Acrylic on linen.Painted in FELICITY ROBERTSON NAMPITJINPA"Puyurru - Water 2019.Comes with Certificate of Authenticity.Artwork is stretched and Dreaming"Acrylic on linen.Painted in 2019.Comes with Certificate of ready to hang.70cm x 40cm Authenticity.Artwork is stretched and ready to hang.49cm x 62cm Est. 300 - 800 Est. 1,000 - 2,000 2 FREDA PRICE PITJARA “My Mother's Country ” Acrylic on linen. 13 HELEN RUBUNTJA "My Country" Acrylic on linen. Painted in 2019. Painted in 2019. Comes with Certificate of Authenticity. Artwork is Comes with Certificate of Authenticity. Artwork is stretched and ready to stretched and ready to hang. 50cm x 70cm hang. 95cm x 95cm FREDA PRICE PITJARA“My Mother's Country ”Acrylic on linen.Painted HELEN RUBUNTJA"My Country"Acrylic on linen.Painted in in 2019.Comes with Certificate of Authenticity.Artwork is stretched and 2019.Comes with Certificate of Authenticity.Artwork is stretched and ready to hang.50cm x 70cm ready to hang.95cm x 95cm Est. 600 - 900 Est. 1,000 - 1,800 3 GLORIA PETYARRE "Bush Medicine Leaves" Acrylic on linen.
    [Show full text]
  • Art Gallery of South Australia Major Achievements 2003
    ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance.
    [Show full text]
  • 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.
    [Show full text]
  • Kathleen Petyarre
    KATHLEEN PETYARRE Dates : c.1930 - 2018 Lieu de résidence : Atnangker, près d’Alice Springs en Australie Langues : Anmatyerre Support : batik sur soie, peinture acrylique sur toile Thèmes : Arnkerrth (Mountain Devil Lizard Dreaming), Green Pea Dreaming, Women Hunting Ankerr (emu), Arengk (Dingo Dreaming) EXPOSITIONS INDIVIDUELLES 2008 • Kathleen Petyarre - 2008, Metro 5 Gallery, Melbourne 2004 • Old Woman Lizard, Coo-ee Aboriginal Art, Sydney 2003 • Ilyenty - Mosquito Bore, Recent Paintings, Alcaston Gallery, Melbourne, Australie 2001 • Genius of Place: The work of Kathleen Petyarre, Museum of Contemporary Art, Sydney, Australie • New Paintings by Kathleen Petyarre, Gallerie Australis & Coo-ee Gallery, at Mary Place Gallery, Paddington, Australie 2000 • Landscape: Truth and Beauty, Recent Paintings by Kathleen Petyarre, Alcaston Gallery 1999 • Recent Paintings by Kathleen Petyarre, Coo-ee Gallery, Mary Place, Sydney, Australie Biographie Kathleen Petyarre 19/12/18 1 / 10 ARTS D’AUSTRALIE • STEPHANE JACOB, PARIS 1998 • Arnkerrthe - My Dreaming, Alcaston Gallery, Melbourne, Australie 1996 • Kathleen Petyarre - Storm in Aknangkerre Country, Alcaston House Gallery, Melbourne, Australie EXPOSITIONS COLLECTIVES (SELECTION) 2015 • Parcours des Mondes, Arts d’Australie • Stéphane Jacob, Paris • Au cœur de l’art aborigène australien, Société Générale Private Banking/ Arts d’Australie • Stéphane Jacob, Monaco • Art Paris Art Fair, Arts d’Australie • Stéphane Jacob, Paris • VIBRATIONS : au cœur de l’art aborigène, Arts d’Australie • Stéphane Jacob
    [Show full text]
  • 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)
    [Show full text]
  • 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”.
    [Show full text]
  • 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.
    [Show full text]
  • Every 23 Days
    CONTENTS 11 Foreword 13 Introduction 15 Essay: Every 23 days... 17-21 Asialink Visual Arts Touring Exhibitions 1990-2010 23-86 Venue List 89-91 Index 92-93 Acknowledgements 94 FOREWORD 13 Asialink celebrates twenty years as a leader in Australia-Asia engagement through business, government, philanthropic and cultural partnerships. Part of the celebration is the publication of this booklet to commemorate the Touring Visual Arts Exhibitions Program which has been a central focus of Asialink’s work over this whole period. Artistic practice encourages dialogue between different cultures, with visual arts particularly able to transcend language barriers and create immediate and exciting rapport. Asialink has presented some of the best art of our time to large audiences in eighteen countries across Asia through exhibition and special projects, celebrating the strength and creativity on offer in Australia and throughout the region. The Australian Government, through the Visual Arts Board of the Australia Council and the Department of Foreign Affairs and Trade, is pleased to provide support to Asialink as it continues to present the talents of artists of today to an ever increasing international audience. The Hon Stephen Smith MP Minister for Foreign Affairs INTRODUCTION 15 Every 23 Days: 20 Years Touring Asia documents the journey of nearly 80 Australian-based contemporary exhibitions’ history that have toured primarily through Asia as a part of the Asialink Touring Exhibition Program. This publication provides a chronological and in-depth overview of these exhibitions including special country focused projects and an introductory essay reflecting on the Program’s history. Since its inception in 1990, Asialink has toured contemporary architecture, ceramics, glass, installation, jewellery, painting, photography, textiles, video, works on paper to over 200 venues in Asia.
    [Show full text]
  • Art Aborigène Australie Samedi 14 Juin 2014 À - 16H30
    Art Aborigène Australie Samedi 14 juin 2014 à - 16h30 Responsable de la vente : Nathalie Mangeot Commissaire-Priseur Expositions publiques [email protected] Tel : + 33 (0) 1 47 27 11 69 Vendredi 13 juin 2014 de 10h30 à 20h00 Port : + 33 (0) 6 34 05 27 59 Samedi 14 juin 2013 de 10h30 à 15h00 Expert : Marc Yvonnou Conférence le vendredi 13 juin à 18h00 Tel : + 33 (0)6 50 99 30 31 en Salle VV En partenariat avec Collection de M. M., Australie Collection S.P., Belgique ; Collection C.J., Belgique Suite de la Collection Anne de WALL, co-fondatrice du AAMU (Utrecht, Hollande) Et à divers collectionneurs Australiens et Français « L’art aborigène : différentes régions, différents styles » : Conférence sur les mouvements dans l’Art Aborigène donnée par Marc YVONNOU le vendredi 13 juin 2014 à 18h00 en Salle VV 1 • 2 • 3 • Samsan Japaljarri Martin Shorty Robertson Jangala Judy Watson Napangardi Sans titre (circa 1930 - ) Sans titre, 2004 Acrylique sur toile- 123 x 46 cm Ngapa Jukurrpu, 2006 Acrylique sur toile - 122 x 30 cm Groupe Warlpiri – Yuendumu – Acrylique sur toile - 123 x 46 cm Groupe Warlpiri – Yuendumu – Désert Central Désert Central Groupe Warlpiri - Désert Central Provenance : Collection privée, Mr. M., Australie Provenance : Collection particulière S.P., Belgique Provenance : Collection privée, Mr. M., Australie 1 500 / 2 000 € 500 / 700 € 1 800 / 2 000 € 5 • Lynette Granites Nampijinpa Sans titre, 1992 Acrylique sur toile - 117 x 72 cm Warlpiri - Yuendumu – Désert Central Provenance : Collection privée, Mr M., Australie 500 / 700 € 4 • 6 • Kenny Williams Tjampitjinpa Rosie Nangala Fleming Sans titre Sans titre Acrylique sur toile – 70 x 95 cm Acrylique sur toile - 61 x 30 cm Ethnie Pintupi – Désert Occidental Groupe Warlipri – Yuendumu – Désert 1 500 / 2 000 € Central Provenance : Collection privée, Mr.
    [Show full text]
  • 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.
    [Show full text]