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Art Almanac April 2018 $6
Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega, -
ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ................... -
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. -
Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30
Art Aborigène, Australie Samedi 10 décembre 2016 à 16h30 Expositions publiques Vendredi 9 décembre 2016 de 10h30 à 18h30 Samedi 10 décembre 2016 de 10h30 à 15h00 Expert Marc Yvonnou Tel : + 33 (0)6 50 99 30 31 Responsable de la vente Nathalie Mangeot, Commissaire-Priseur [email protected] Tel : +33 (0)1 48 00 94 24 / Port : +33 (0)6 34 05 27 59 En partenariat avec Collection Anne de Wall* et à divers collectionneurs australiens, belges, et français La peinture aborigène n’est pas une peinture de chevalet. Les toiles sont peintes à même le sol. L’orientation des peintures est le plus souvent un choix arbitraire : c’est à l’acquéreur de choisir le sens de la peinture. Des biographies se trouvent en fin de catalogue. Des certificats d’authenticité seront remis à l’acquéreur sur demande. * co-fondatrice du AAMU (Utrecht, Hollande) 2 3 - - Jacky Giles Tjapaltjarri (c. 1940 - 2010) Eileen Napaltjarri (c. 1956 - ) Sans titre, 1998 Sans titre, 1999 Acrylique sur toile - 45 x 40 cm Acrylique sur toile - 60 x 30 cm Groupe Ngaanyatjarra - Patjarr - Désert Occidental Groupe Pintupi - Désert Occidental - Kintore 400 / 500 € 1 300 / 400 € - Anonyme Peintre de la communauté d'Utopia Acrylique sur toile - 73 x 50,5 cm Groupe Anmatyerre - Utopia - Désert Central 300/400 € 4 5 6 - - - Billy Ward Tjupurrula (1955 - 2001) Toby Jangala (c. 1945 - ) Katie Kemarre (c. 1943 - ) Sans titre, 1998 Yank-Irri, 1996 Awelye; Ceremonial Body Paint Design Acrylique sur toile - 60 x 30 cm Acrylique sur toile - 87 x 57 cm Acrylique sur toile Groupe Pintupi - Désert Occidental Groupe Warlpiri - Communauté de Lajamanu - Territoire du Nord 45 x 60 cm Cette toile se réfère au Rêve d’Emeu. -
Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners
Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners Bond University would like to thank Dr Patrick Corrigan AM and the following companies for their generous contributions. Scholarship Partners Corporate Partners Supporting Partners Event Partners Gold Coast Professor Elizabeth Roberts Jingeri Thank you for you interest in supporting the valuable Indigenous scholarship program offered by Bond University. The University has a strong commitment to providing educational opportunities and a culturally safe environment for Indigenous students. Over the past several years the scholarship program has matured and our Indigenous student cohort and graduates have flourished. We are so proud of the students who have benefited from their scholarship and embarked upon successful careers in many different fields of work. The scholarship program is an integral factor behind these success stories. Our graduates are important role models in their communities and now we are seeing the next generation of young people coming through, following in the footsteps of the students before them. It is my honour and privilege to witness our young people receiving the gift of education, and I thank you for partnering with us to create change. Aunty Joyce Summers Bond University Fellow 3 Indigenous Gala Patron Dr Patrick Corrigan AM Dr Patrick Corrigan AM is one of Australia’s most prodigious art collectors and patrons. Since 2007, he has personally donated or provided on loan the outstanding ‘Corrigan’ collection on campus, which is Australia’s largest private collection of Indigenous art on public display. Dr Corrigan has been acknowledged with a Member of the Order of Australia (2000), Queensland Great medal (2014) and City of Gold Coast Keys to the City award (2015) for his outstanding contributions to the arts and philanthropy. -
Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases. -
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. -
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 -
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) -
ART ABORIGÈNE, AUSTRALIE Samedi 4 Juin 2016 Paris Paris Juin 2016 4 Samedi AUSTRALIE ART ABORIGÈNE, ART ABORIGÈNE, AUSTRALIE
Paris 2016 Samedi 4 juin ART ABORIGÈNE, ART ABORIGÈNE, AUSTRALIE ABORIGÈNE, ART AUSTRALIE Samedi 4 juin 2016 Paris ART ABORIGÈNE, AUSTRALIE Hôtel Drouot, Salle 11 Samedi 4 juin 2016 15h Expositions publiques Vendredi 3 juin de 11h à 18h Samedi 4 juin de 11h à 13h30 En partenariat avec Intégralité des lots sur millon.com MILLON 1 Art Aborigène, Australie Index Catalogue . p 4 Biographies . p 58 Conditions de ventes . p 63 Ordres d’achats . p 64 Liste des artistes AN GUNGUNA Jimmy n° 53 NAWILIL Jack n° 58 BAKER Maringka n° 87 NELSON Annie n° 52 BROWN Nyuju Stumpy n° 80, 81 NGALAKURN Jimmy n° 55 COOK Ian n° 57 NGALE Angelina (Pwerle) n° 65 DIXON Harry n° 56 NUNGALA Julie Robinson n° 99 DORRUNG Micky n° 34, 35 NUNGURRAYI Elizabeth Nyumi n° 10 JAGAMARRA Michael Nelson n° 100, 102 PETYARRE Anna Price n° 30 JAPANGARDI Michael Tommy n° 25 PETYARRE Gloria n° 1, 2, 3, 31, 40, 101 Marc Yvonnou Nathalie Mangeot JUGADAI Daisy n° 14 PETYARRE Kathleen n° 4, 37, 41, 42, 43 KEMARRE Abie Loy n° 7, 93 PETYARRE Violet n° 6 KNGWARREYE Emily Kame n° 64 PWERLE Minnie n° 62, 63 LUDJARRA Phillip Morris n° 36 RILEY Alison Munti n° 24 MARAMBARA Jack n° 60, 61 STEVENS Anyupa n° 13 NAKAMARRA Bessie Sims n° 97, 98 THOMAS Madigan n° 49 NAMPINJIMPA Maureen Hudson n° 23 TIMMS Freddy (Freddie) n° 46, 47, 48 NAMPITJINPA Tjawina Porter n° 28 TJAMPITJINPA Ronnie n° 32, 38, 45, 84 NANGALA Julie Robertson n° 5, 22 TJAPALTJARRI « Dr » George Takata n° 29 NANGALA Yinarupa n° 20 TJAPALTJARRI Mick Namarari n° 21 NAPALTJARRI Linda Syddick n° 11, 17, 74 TJAPALTJARRI Paddy Sims n° -
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”. -
Minnie Pwerle Cv
MINNIE PWERLE CV The extraordinarily powerful and prolific artist, Minnie Pwerle, was born in 1910 in Utopia; in bush country located about 350 kilometers North East of Alice Springs in the Northern Territory of Australia. She was to become, along with her contemporary, Emily Kame Kngwarreye, one of Australia's greatest female Aboriginal artists and upon her death in 2006, to be mourned by Aboriginal Art lovers all over the world. Minnie's Pwerle's paintings are now held in museums and exhibited in galleries worldwide, and they form an essential part of any serious Aboriginal Art collection. Born: Utopia SELECTED EXHIBITIONS: 2017 Sharing Country, Olsen Gruin Gallery, New York 2010 Minnie Pwerle and Emily Kame Kngwarreye, Kate Owen Gallery, Rozelle, NSW 2010 The Australian Indigenous Art Market Top 100 Exhibition, Coo-ee Aboriginal Art Gallery, Bondi, NSW 2010 Body Lines, Fireworks Gallery, Brisbane, QLD 2008 Emily and Her Legacy, Hillside Gallery in Tokyo, with Coo-ee Art Sydney in conjunction with the landmark retrospective exhibition 'Utopia - the Genius of Emily Kngwarreye' at the National Art Centre, Tokyo, Japan 2008 Atnwengerrp: Land of Dreaming, Minnie Pwerle carpet launch, Designer Rugs Showroom, Edgecliffe, NSW 2008 Colours of Utopia, Gallery Savah, Sydney NSW 2008 Utopia Revisited, NG Art Gallery, Chippendale, NSW 2007 New Works from Utopia, Space Gallery, Pittsburgh, PA, USA 2007 Group exhibition, APS Bendi Lango Art Exhibition with Rio Tinto, Fireworks Gallery, Brisbane, QLD 2007 Treasures of the Spirit, Tandanya Cultural Institute, Adelaide, SA 2007 Desert Diversity, group exhibition, Flinders Lane Gallery, Melbourne, VIC 2007 Group Exhibition, Australian Embassy, Washington, USA 2007 Utopia in New York, Robert Steele Gallery, New York.