DOCSLIB.ORG

Download Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Catalogue Acknowledgements The Director, SASA Gallery, would like to acknowledge the contribution to the development of the 2015 exhibition program by the SASA Gallery Programming The curators Mary Knights and Claire Wildish warmly thank Committee; Professor Mads Gaardboe, Head, AAD; the artists Roma Butler, Ivy Laidlaw, Jennifer Mitchell, Professor Susannah Radstone, Dean, Research & Research Tjawina Roberts and Mrs Woods; the minyma tjuta involved Education, DIVEASS, and Professor Denise Meredyth, in the Minyma Kutjara Arts Project; and Nici Cumpston Pro-Vice Chancellor, DIVEASS, UniSA. Kapi Ungkupayi is and the Tarnanthi Festival team at the Art Gallery of South supported by TARNANTHI | Festival of Contemporary Australia. Aboriginal and Torres Strait Islander Art, presented by the Art Gallery of South Australia in partnership with BHP This exhibition was supported by many people. We would Billiton and supported by the Government of South like to thank everyone who contributed particularly Belle Australia. Davidson, Linda Eddy, Edward (EJ) Jones, Rene Nelson, Yvonne Lewis, Naomi Davidson, Inyika O’Toole, Delissa Curators: Dr Mary Knights, Director SASA Gallery and Claire Ryder, and the Irrunytju tjitji. Also we thank: Robyn Finlay, Wildish, Manager, Minyma Kutjara Arts Project. Suzanne Bryce, Ingrid Levi, Tara Russell, Danni Sturevski; Artists: Roma Butler, Ivy Laidlaw, Jennifer Mitchell, Tjawina Jane Avery & Papulankutja Artists; Claire Freer, Michelle Roberts and Mrs Woods. Young & the Tjanpi Desert Weavers; the Ng Media team; Editor and writer: Mary Knights Roz Lipscombe, WA Dept of Culture & the Arts; Luke and Catalogue design: Keith Giles Neil at the Irrunytju Store; the Mai Wirru transport team; Project management: Robyn Finlay, Keith Giles, Mary and the never ending support of the Irrunytju Council and Knights, Claire Wildish Community. SASA Gallery staff: On behalf on the artists, Nici Cumpston and myself I warmly Mary Knights, Director, SASA Gallery, AAD, UniSA thank and congratulate Claire Wildish who has worked at Keith Giles, Curatorial Manager, SASA Gallery, AAD, UniSA Irrunytju for the last four years as Manager of the Minyma Julian Tremayne, Installation Consultant Kutjara Arts Project and worked closely with minyma tjuta SASA Gallery Research/Education team: Lauren Albineri, to develop Kapi Ungkupayi. Jordon Gower, Ursula Halpin, Derek Sargent and Saskia Scott. The SASA Gallery supports a program of exhibitions focusing on innovative, experimental and performative Images: contemporary art and design. With the support of the Front: The Toyota, Roma Butler, Ivy Laidlaw, Tjawina Division of Education, Art and Social Sciences, the SASA Roberts, Jennifer Mitchell, 2015 Gallery has been developed as a leading contemporary art Back: Kapi Ungkupayi, Roma Butler, 2013 space and as an active site of teaching and learning. The Insert: Self-portrait, Roma Butler, 2015 SASA Gallery showcases South Australian artists, designers, architects, writers and curators associated with the School Published by the SASA Gallery, UniSA of Art, Architecture and Design, UniSA in a national and GPO Box 2471, Adelaide SA 5001 international context. September 2015 ISBN: 978-0-9873951-8-4 Printed by Finsbury Press © curators, artists & SASA Gallery Kapi Ungkupayi/He gave us water 22 September - 23 October 2015 SASA GALLERY Kapi Ungkupayi indicate that well before the current funding cuts remote Mary Knights Indigenous communities had been scored and ranked, without consultation, against very narrow criteria. That People are here for a reason, living out here on the lands, document listed 192 communities including Tjuntjuntjara, they have to look after their country. They’re not asking for Patjarr and Kiwirrkurra – well-known centres of artistic lots, they just want to live out here, teach their kids. Why do excellence – in ‘Category C’ as unviable; and Irrunytju they want to close the communities? They should close the (Wingellina) was listed as marginally more worthy of gap, not the communities... If they are talking about closing support in ‘Category B’.3 the communities and moving us away from here, they are going to destroy our culture, and the land, they are going Irrunytju is a small community with a population that to push people away, and all of the companies are going to fluctuates between 80 and 120 people. It grew at the site come here, take over and just start mining. They just of an abandoned mining camp and was incorporated in thinking about money… 1976 with the support of government funds as a part of …You wouldn’t like it if we tell you to move. It is not a life- the Homeland Movement. It is located at the edge of the style choice. We’re here for a reason. The people are here Gibson Desert near the tri-state border, within the for a reason – to look after their land and their culture and Ngaanyatjarra Lands. Comprising of an area of they want to keep that strong.1 approximately 188,000 sq. km., most of Ngaanyatjarra − Chris Reid, Chair, Irrunytju Council, Wingellina Protest Lands were handed back to the original owners on 29 Speech, 29 April 2015 June 2005. It was the largest successful native title claim in Australian history.4 The Indigenous peoples in this part of Senior Pitjantjatjara artists Roma Butler, Ivy Laidlaw, Jennifer the Australia have continuously occupied of their land for Mitchell, Tjawina Roberts and Mrs Woods have presented thousands of years and are the custodians of the world’s this exhibition in order to tell a new tjukurpa and as a oldest surviving cultures. On 29 April 2015, less than five protest against funding cuts that threaten the existence of years after that historic native title hand-back, the whole remote Indigenous communities in Western Australia. community of Irrunytju and people from nearby communities and outstations, came together to stage a In response to the Federal Government’s decision in 2014 protest march against the cuts and threatened closures that to withdraw funding and devolve responsibility for essential could force them off their own land.5 services to the states, WA Premier Colin Barnett declared that his government would not pick up the on-going costs, The contribution that Irrunytju has made to Australian art, accepted a final one-off payment of $90 million, and culture and our national identity is phenomenal. Irrunyjtu warned of the immanent closure of between 100 and 150 artwork is held in almost every major private and public art of the 254 remote Indigenous communities in his state. collection in Australia. It has gained considerable Approximately 12,000 people live in these communities.2 international interest, including the high-profile 2006 Without essential services – water, power, sewerage and commission at the Musée du Quai Branly in Paris and, as is basic infrastructure – the capacity for anangu to live on well-documented, was celebrated and savaged during the their own country, self-determine priorities and future boom and bust of the global art market almost a decade directions, maintain traditional languages and keep the ago. This exhibition, which has been developed by the spiritual, cultural and economic connections with their relatively new Minyma Kutjara Arts Project managed by ancestral homelands strong, will be undermined. Claire Wildish, reveals the resilience and commitment of the artists in this small remote community. There is great uncertainty across the desert about who will be affected. Details of a leaked Federal Government Kapi Ungkupayi is a contemporary tjukurpa. It recounts a document titled ‘Priority Investment Communities - WA’ true story about a journey made in January 2013 by the five drafted in 2010 and published by the ABC in March 2015 senior Pitjantjatjara artists from Irrunytju and nearby Papulangkutja. On a Friday morning at the height of a willy-willy that blew the youngest girl far away. They were Summer, Roma, Ivy, Jennifer, Tjawina and Mrs Woods drove reunited when the elder sister was sent by her family on out-bush to collect punu to carve artefacts. They drove an epic quest journey to find her little sister and bring her along familiar tracks out past Karratha Creek towards home. As the two girls walked through the desert and learnt Urunturu. The sky was clear azure blue and it was about their culture, social skills and how to survive they blisteringly hot. made many landmarks that are still visible today. The rock- hole at Irrunytju was created when the sisters were sitting The flat sandy country around Irrunytju is sparsely covered indiscreetly opposite each other on two hills making hair- with spinifex and encircled by the low, worn-down string skirts in preparation for women’s business. When Wingellina Hills and the Tomkinson Ranges. Driving through a stranger walked past and started laughing at them they this country you are likely to pass a couple of camels flung their wana at her, hitting the ground so hard that the sauntering along the track, a meandering dry creek bed surface of the earth broke. edged with old river gums, a burnt out car, a lone eagle rising on hot thermals, and perhaps an emu or dingo. While the women were on familiar country inscribed by tjukurpa and shaped by tjuritja, they were acutely aware After a while, Ivy’s old Toyota overheated. They refilled of their vulnerability. Using survival skills they set-up camp, the radiator using most of their water and as the engine rested in the shade of the tree beside the car during the spluttered they drove along slowly until it shuddered and hottest part of the day, and in the cool evenings made stopped near a lone corkwood tree. They left the car to cool smooth depressions in the sand and lay under the stars, down and carrying axes and crowbars walked to the dry sharing blankets and keeping their dogs close to keep warm. creek to dig up the punu. In the late afternoon they piled They started a huge grass fire in a vain attempt to alert back into the car to go home, but it would not start.
Load more

Recommended publications
  • Presentation Tile
    Authentic and engaging artist-led Education Programs with Thomas Readett Ngarrindjeri, Arrernte peoples 1 Acknowledgement 2 Warm up: Round Robin 3 4 See image caption from slide 2. installation view: TARNANTHI featuring Mumu by Pepai Jangala Carroll, 2015, Art Gallery of South Australia, Adelaide; photo: Saul Steed. 5 What is TARNANTHI? TARNANTHI is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through contemporary art. TARNANTHI is a national event held annually by the Art Gallery of South Australia. Although TARNANTHI at AGSA is annual, biannually TARNANTHI turns into a city-wide festival and hosts hundreds of artists across multiple venues across Adelaide. On the year that the festival isn’t on, TARNANTHI focuses on only one feature artist or artist collective at AGSA. Jimmy Donegan, born 1940, Roma Young, born 1952, Ngaanyatjarra people, Western Australia/Pitjantjatjara people, South Australia; Kunmanara (Ray) Ken, 1940–2018, Brenton Ken, born 1944, Witjiti George, born 1938, Sammy Dodd, born 1946, Pitjantjatjara/Yankunytjatjara people, South Australia; Freddy Ken, born 1951, Naomi Kantjuriny, born 1944, Nyurpaya Kaika Burton, born 1940, Willy Kaika Burton, born 1941, Rupert Jack, born 1951, Adrian Intjalki, born 1943, Kunmanara (Gordon) Ingkatji, c.1930–2016, Arnie Frank, born 1960, Stanley Douglas, born 1944, Maureen Douglas, born 1966, Willy Muntjantji Martin, born 1950, Taylor Wanyima Cooper, born 1940, Noel Burton, born 1994, Kunmanara (Hector) Burton, 1937–2017,
    [Show full text]
  • NAIDOC Week SA 2019 7 JULY - 14 JULY Voice
    NAIDOC Week SA 2019 7 JULY - 14 JULY Voice . Treaty . Truth Let’s work together for a shared future WHEN EVENT RSVP DETAILS WHERE ONGOING Until Mon 15 Aboriginal Building Public event Aboriginal graphic design is covering the Ground floor July 2019 Wrap glass windows of 77 Grenfell Street. For more 77 Grenfell Street Free information, contact Khatija at 8343 2449 or email Adelaide SA 5000 Sponsored by Department [email protected] of Planning, Transport and Infrastructure Until Sat 20 The Kardi Munaintya Public transport This specially designed tram is operational Tram Route July 2019 Tram throughout the year and is showcased during Adelaide SA 5000 Reconciliation and NAIDOC weeks. For more Sponsored by Department information, contact Khatija at 8343 2449 or email of Planning, Transport and [email protected] Infrastructure Until Sun 21 Ngarrindjeri Exhibitions Public event Two exhibitions - Ngarrindjeri Ruwe by 27 Sixth Street July 2019 Cedric Varcoe maps Ngarrindjeri lands and Murray Bridge Presented by Murray Free waters, sharing ancestor stories fundamental SA 5253 Gallery open Bridge Regional Gallery to Ngarrindjeri culture. Connected features Tue - Sat contemporary weaving practices by Ngarrindjeri 10:00am – artists from Murray Bridge to Meningie, Victor 4:00pm Harbour to Raukkan including Ellen Trevorrow, Sun 11:00am Phyllis Williams, Robert Wuldi, Cedric Varcoe, Deb – 4:00pm Rankine, Elly Wilson, Alice Abdulla, Joe Trevorrow, Hank Trevorrow, and Ngarrindjeri Weavers Collaborators. For more information, contact the Gallery at 8539 1420 or email [email protected] Until Thu 25 Vietnam – One In, All In Public event Country Arts SA presents a new exhibition The Walter Nichols July 2019 honouring the untold stories of South Australian Memorial Gallery Hosted by Country Arts SA Free Aboriginal veterans of the Vietnam War, before, Nautilus Art Centre For Port Lincoln during and after.
    [Show full text]
  • The Essential Introduction to Aboriginal Art (25 Facts)
    INTRODUCTION TO ABORIGINAL ART INTRODUCTION TO THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) Authors Jilda Andrews, Fenelle Belle, Nici Cumpston and Lauren Maupin The Art Gallery of South Australia acknowledges and pays respect to the Kaurna people as the Traditional Custodians of the land on which the Gallery stands. Aboriginal and Torres Strait Islander people are respectfully advised that this publication may contain the names of people who have passed away. INTRODUCTION TO ABORIGINAL ART ABORIGINAL TO INTRODUCTION THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) artgallery.sa.gov.au/learning There’s a lot of misinformation out there about Aboriginal and Torres Strait Islander peoples and art. That’s why this guide was created, in collaboration with leading Aboriginal curators. | Learning at the Gallery | Art Gallery of South Australia Aboriginal and Torres Strait Islander art and culture is In our increasingly globalised world, this ability to the oldest continuous tradition on the planet. In recent speak across cultural borders without forsaking decades it has also emerged as one of the world’s most any of its distinctive identity makes Aboriginal and important contemporary art movements. Whether on Torres Strait Islander art some of the most innovative bark, canvas or in new media, Aboriginal and Torres and challenging contemporary art being produced Strait Islander artists have used art to express the power anywhere today. and beauty of their culture, across cultures: to show their enduring connection to, and responsibility for, ancestral lands and the continuity of their identities and beliefs. image: Daniel Boyd, Kudjla/Gangalu peoples, far north Queensland, born 1982, Cairns, Queensland, Treasure Island, 2005, Canberra, oil on canvas, 192.5 x 220.0 cm; Purchased 2006, National Gallery of Australia, Canberra, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
    [Show full text]
  • Critically Acclaimed Festival Tarnanthi Breaks Records
    MEDIA RELEASE Tuesday 28th January 2020 Critically acclaimed festival Tarnanthi breaks records "Tarnanthi maps diverse Indigenous art practice across the continent and blurs the lines between urban and remote, traditional and contemporary." ABC Radio National Adelaide, Australia: Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art closed on Monday 27 January following months of widely celebrated exhibitions as well as events and activities across the state and at the Art Gallery of South Australia. The 2019 festival, which launched on 17 October and ran for more than 100 days, attracted a record-breaking 561,927 people across the state to exhibitions as part of the festival – a 40% increase in attendances from the 2017 festival. Internationally acclaimed and recognised as the largest festival of its kind in the world, this year’s Tarnanthi festival featured more than 1,200 artists, with works on display at AGSA and 38 partner venues, showcasing the diversity and ingenuity of contemporary Aboriginal and Torres Strait Islander artistic practice. Tarnanthi Artistic Director Nici Cumpston says, ‘It is an honour to present Tarnanthi, providing an opportunity for artists from across the country to develop bold new work. Tarnanthi is a genuine and authentic chance to exchange, share and learn from one another.’ Tarnanthi also encompassed its annual Tarnanthi Art Fair, artist talks, performances and events. The Tarnanthi Art Fair showcased artists from 45 art centres from across the country and attracted more than 6,500 art enthusiasts. Breaking all previous records, the Art Fair had a 108% increase in attendances since 2017 and generated more than $1.2 million in art sales, all of which go directly to the artists and art centres.
    [Show full text]
  • AGSA Announces Tarnanthi 2020 Exhibition 'Open Hands'
    MEDIA RELEASE Monday 24 August 2020 AGSA announces the Tarnanthi 2020 program The Art Gallery of South Australia today announces the exhibition Open Hands for this year’s Tarnanthi, AGSA’s annual celebration of contemporary Aboriginal and Torres Strait Islander art. Open Hands will be held from 16 October until 31 January 2021 at the Art Gallery of South Australia. AGSA also announces that in 2020, the Tarnanthi Art Fair will be held from 4 - 6 December. Open Hands highlights how the creativity of First Nations women artists forms a vital cultural link in sharing knowledge across generations. Through the act of making, artists channel deep connections to Country and culture. Tarnanthi’s creative vision is led by Barkandji artist and curator Nici Cumpston, who has recently been recognised with an OAM for her leadership in presenting Aboriginal art. Cumpston OAM says, ‘Open Hands, celebrates the ongoing and often unseen work that women in communities do to maintain culture. Keeping these stories alive and sharing knowledge is deeply embedded within everyday life across Australia.’ For this year’s Tarnanthi, artists have expressed themselves in a variety of media, including painting, works on paper, photography, moving image, sound installation, weaving, ceramics and sculpture. The thread that binds these works together from across the continent is the role of art. The stories they share are as rich and diverse as their practices. MEDIA RELEASE Monday 24 August 2020 The next wave of work from artists in the Anangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia focuses on bold new ways forward with drawing – an important art form that is embedded in teaching culture.
    [Show full text]
  • – Media Release – Collaborative Exhibition Opens at the South Australian Museum As Part of Tarnanthi
    – Media Release – Collaborative exhibition opens at the South Australian Museum as part of Tarnanthi Still in my mind: Gurindji location, experience and visuality presented by Artback NT opens this Friday, 18 October at the South Australian Museum, as part of Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art. The exhibition reflects on the enduring impacts of dispossession and displacement, including those of a pivotal land rights event, the 1966–75 Gurindji ‘walk-off’. Gurindji/Malngin Leader Vincent Lingiari led over 200 countrymen, women and children off Wave Hill Station to protest slave labour conditions and human rights abuse. “Although other protest and strike actions had taken place preceding the 1966 Gurindji Walk-Off, it was arguably the birth of the national land rights movement in Australia. The events of this time and place have significance for me as a Gurindji/Malngin/Mudburra woman, through my direct family connection to the area, and through my family’s experience as members of the Stolen Generations,” said Brenda L. Croft, curator and participating artist. Croft developed the exhibition through practice-led research with her father’s community, Karungkarni Art and Culture Aboriginal Corporation, UNSW Galleries and UNSW Art & Design. As a part of this, Croft retraced the Gurindji ‘walk-off’ steps in homage to those before her, who made the 22-kilometre journey half a century ago. “I was motivated to develop this exhibition in partnership with Karungkarni artists and Gurindji community members in tribute to those whose profound communal act of courage, resilience and determination changed the course of history.” Croft said.
    [Show full text]
  • Aboriginal Art Festival, Australia: New Generation of Central Desert Artists Captivating the Art World by Kathy Marks
    Aboriginal art festival, Australia: New generation of Central Desert artists captivating the art world By Kathy Marks Traveller, 11 September 2015 http://www.traveller.com.au/aboriginal-art--a-new-generation-of-central-desert-artists-gjeapv The sun-bleached scene is straight out of an Albert Namatjira painting: a dry creek bed in an ochre landscape dotted with rocky outcrops and stately ghost gums. But we’re not at Hermannsburg, the former Lutheran mission near Alice Springs where the celebrated Aboriginal artist produced his pastel-hued watercolours, but 500 kilometres to the south, where Namatjira’s great-grandson, Vincent, has settled after a turbulent early life marked by family tragedy and cultural dislocation. The 32-year-old is among a new generation of Central Desert artists whose work will be one of the highlights of the inaugural Festival of Contemporary Aboriginal and Torres Strait Islander Art in Adelaide next month. He lives at Indulkana, one of a dozen communities sprinkled across the remote, beautiful and troubled Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia’s far north-west. It’s an area which, as a lover of Aboriginal desert art, I’ve been hankering to visit for years. Now I’m rattling along a rough gravel road with the manager of Indulkana’s art centre, Beth Conway, who whips up clouds of red dust as she expertly dodges potholes and a pack of wild horses skittering across our path. We’re travelling with Nici Cumpston, the festival’s artistic director, and Nick Mitzevich, director of the Art Gallery of South Australia.
    [Show full text]
  • The First Nations Arts Roundtable
    Welcome to the First Nations Arts Roundtable Festivals 12 June 2020 australiacouncil.gov.au Welcome and introduction to your panellists Lee-Ann Tjunypa Buckskin Deputy Chair, Australia Council for the Arts Wesley Enoch AM Chair, First Nations Arts Strategy Panel Artistic Director, Sydney Festival 2 First Nations Arts Roundtable Key Focus • Connect • Share • Ideas • Networks • Navigate Tracks Dance Company. 2019 Milpirri Jurntu. Male dancer Tarkyn Japangardi Tasman. Credit: Peter Eve. 3 Agenda​ • Housekeeping • Key themes arising from last week’s webinar • Guests - Franchesca Cubillo - Sarah Bell - Nici Cumpston, OAM • Resources – industry, website, facebook • Next Roundtable 4 Housekeeping​ 5 Badu Gilli, Sydney Opera House. Artist: Alick Tipoti. Credit: Daniel Boud. Key issues and questions arising from last week’s webinar • Sienna Mayutu Wurmurri Stubbs spoke of the work she does with the Mulka Project, documenting historical material and footage, while also providing opportunities to create new works using current technoologies such as AR and VR. Siena spoke of the Mula Project work Watami Manikay showing at the Art Gallery of NSW as part of the Biennale of Sydney. Siena also discussed her enrolment in a Bachelor of Communication at QUT, and her passion to work with, and give back to her community in Yirrkala. • Emily Johnson spoke about her role at Carriageworks, as Program Coordinator of the Solid Ground project, which is an art education program, working with young people in schools. Solid Ground focuses on youth education, but also provides a paid platform for the teaching artists, allowing for a two-way learning process. Emily also gave an overview of her social media presence, and visual arts practice and how she explores her own lived experience through these mediums, which she described as “political activism through art”.
    [Show full text]
  • Elizabeth Dunn CV - 2021
    609 Elizabeth Street REDFERN NSW 2016 AUSTRALIA . PO Box 1126 STRAWBERRY HILLS NSW 2012 www.sabbiagallery.com [email protected] ELIZABETH DUNN Birth Date 1973 Birth Place Pukatja Community, APY Lands Language Pitjantjatjara Community Pukatja, SA Region Nyapari Community, APY Lands Mother’s Country Pipylatjara, APY Lands Father’s Country Pukatja Community, APY Lands Dreaming Piltati Elizabeth was born in Ernabella in 1973. She went to high school in Adelaide before returning home. She spent her childhood watching her elders paint and now depicts her grandmother's country, a place named Piltati near Nyapari, on canvas. She also depicts stories relating to Kampurara - Bush Tomatoes. She is also a talented tjanpi weaver and jeweller. She first began painting at Papunya Tjupi Arts in Papunya community. Elizabeth is a rising star of the Ernabella ceramics studio. In August 2016 her ceramic work was exhibited alongside six other Ernabella women in a collaborative ceramic installation as part of the Indigenous Ceramics Art Award at the Shepparton Art Museum and subsequently acquired by the National Museum of Australia. In 2017 Elizabeth had her ceramics exhibited in major exhibitions at Talapi Gallery, Sturt Gallery, Alcaston Gallery, Harvey Arts (USA) and Araluen Art Centre as part of Desert Mob. Her work also featured in Clay Stories: Contemporary Indigenous ceramics from remote Australia at JamFactory presented by Sabbia Gallery, Sydney for Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander art. Clay Stories toured to regional galleries throughout 2018 and 2019. In March 2018, Elizabeth’s work was exhibited in the APY Gallery's inaugural exhibition - MALATJA TJUTANGKU ARA IRITITJA KUNPUNKU | Old Knowledge, Young Blood.
    [Show full text]
  • Reconciliation Action Plan 2017–2021
    Reconciliation Action Plan 2017–2021 Reconciliation Action Plan 2017–2021 Contents Introduction 2 Our vision for reconciliation 4 A message from BHP CEO, Andrew Mackenzie 6 A message from Reconciliation Australia CEO, Justin Mohamed 8 Outcomes from our 2013–2015 Reconciliation Action Plan 10 Developing our 2017–2021 Reconciliation Action Plan 12 BHP Indigenous Peoples Policy Statement 13 Our commitment 14 • Governance 16 • Economic Empowerment 18 • Social and Cultural Support 20 • Public Engagement 22 Our FY2017–2021 Targets 24 Our way of working 28 Our 2013–2015 Reconciliation Action Plan performance 32 Front and inside cover: The Martumili Artists Group is an unincorporated organisation established by the Shire of East Pilbara in 2006 to provide art centre services to Martu people living in Parnpajinya (Newman), Jigalong, Parngurr, Punmu, Kunawarritji, Irrungadji (Nullagine) and Warralong Communities. Since its inception in 2006, Martumili Artists have catalogued the work of approximately 300 artists. Of these, there are approximately 75 active artists with around 35-45 of these being of high prominence and in some cases internationally regarded. BHP has proudly partnered with the Martumili Artists, via the Shire of East Pilbara, since 2007, providing over A$4 million dollars in supporting program and operational costs. Introduction We are BHP, 22,490 a leading global directly employed people in Australia resources company. 907 identify as Aboriginal and Torres Strait Islander peoples Our purpose is to create long-term We are committed to the health and safety Our operations in Australia are managed shareholder value through the discovery, of our people, the environment and the through our Minerals Australia business and acquisition, development and marketing communities in which we operate.
    [Show full text]
  • VINCENT NAMATJIRA Born, Alice Springs, Northern Territory Lives and Works in Indulkana, South Australia
    VINCENT NAMATJIRA Born, Alice Springs, Northern Territory Lives and works in Indulkana, South Australia SELECTED SOLO EXHIBITIONS 2017 Sydney Contemporary, THIS IS NO FANTASY + Dianne Tanzer Gallery, Sydney (Forthcoming) 2016 THIS IS NO FANTASY + Dianne Tanzer Gallery, Melbourne SELECTED GROUP EXHIBITIONS 2017 UQ Museum National Self Portrait Prize, University of Queensland, Brisbane (Forthcoming) 2016 Art16 Art Fair, London, United Kingdom TarraWarra Biennial 2016: Endless Circulation, TarraWarra Museum of Art, Victora 2015 Indigenous Australia: Enduring Civilisation, British Museum, London, United Kingdom Tarnanthi Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia, Adelaide 10th Mildura Palimpsest Biennale, Mildura, Victoria Sydney Contemporary, THIS IS NO FANTASY + Dianne Tanzer Gallery, Sydney Rising Stars, Outstation, Darwin, Northern Territory Desert Mob, Alice Springs, Northern Territory 2014 Alberts Story, Marshall Arts, Adelaide, South Australia Desert Mob, Alice Springs, Northern Territory Adelaide Airport, on behalf of Marshall Arts, Adelaide Aboriginal Art from the Eastern APY Lands, Kelch Gallery, Freiburg, Germany 2013 Desert Mob, Alice Springs, Northern Territory Outstation, Darwin Iwantja Paintings, Japingka Gallery, Perth, Western Australia APY Lands Survey Exhibition, Outstation, Darwin Northern Territory Our Mob, Anita Chan Lai Ling Gallery, Hong Kong Art Mob, Hobart, Tasmania Vincent Namatjira, Marshall Arts, Adelaide, South Australia Salon des Refuse, Outstation Gallery,
    [Show full text]
  • Reconciliation Action Plan 2019 – 2021
    Reconciliation Action Plan 2019 – 2021 Reconciliation Action Plan March 2019 – March 2021 Acknowledgement of Country The Art Gallery of South Australia respects the important role language plays in Aboriginal and Torres strengthening culture and supports the inclusion of Aboriginal and Torres Strait Islander Strait Islander peoples are respectfully languages in our exhibitions, displays and public programs. advised that this publication may The Art Gallery of South Australia Kaurna The Art Gallery of South Australia stands on contain the images or yartangka yuwanthi. Kaurna land. names of people who have passed away. AGSArlu Kaurna miyurna parna yaitya AGSA recognises Kaurna people as the mathanya Wama Tarntanyaku tampinthi. custodians of the Adelaide Plains Parnaku yailtyarna, tapa purruna kuma Their beliefs and way of life continues. Image left muinmurninthi. Welcome to Country by Jack Buckskin at AGSArlu yalura nakunthi yaiya wirrkangka, AGSA sees the perfection in art, creation TARNANTHI launch, 2018; photo: Nat Rogers. yaitya pintyangka, yaitya tapa purrunila. and culture. AGSA purtipurti. AGSA celebrates. Purrutyi wirrkalirrkalarna, pintyalintyalarna AGSA acknowledges all the artists. AGSArlu tampinthi. AGSArlu wangkanthi “Ngaityalya” yaitya AGSA says “Thank you” to all the nakupi miyurnaitya. Indigenous artists on show. AGSArlu yaitya mathanya kumarta AGSA recognises the Indigenous yartanangku Tidna Wirltunangku, custodians from other parts of Australia warrunangku kuma tampinthi. and from overseas. Over many decades we have developed deep relationships with artists from the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands and for their communities we share this Pitjantjatjara translation. Art Gallery of South Australia nyanga palunya The Art Gallery of South Australia is located panya Kaurna tjuṯaku ngurangka ngaṟanyi on Kaurna Country.
    [Show full text]