Contemporary botanical artists’ response to the legacy of Banks, Solander and Parkinson

Front cover: Anne Hayes, , old man banksia, gabiirr (Guugu Yimithirr), 2017, watercolour on paper, 63 x 45 cm Pages 2–3: Penny Watson, Goodenia rotundifolia, round leaved goodenia, 2018, watercolour on paper, 26 x 43 cm Pages 5 and 9: Ann Schinkel, Bauera capitata, dog rose, (details), 2019, watercolour on paper, 26 x 15 cm Page 7: Florence Joly, Melaleuca viminalis, weeping bottlebrush, garra (group name, Yuggara), (detail), 2019, graphite, colour pencil on paper, 33 x 66 cm Pages 10–11: Minjung Oh, Pleiogynium timorense, Burdekin plum, (detail), 2018, watercolour on paper, 59 x 46 cm

© The artists and authors

For information on the exhibition tour, go to the M&G QLD website http://www.magsq.com.au/cms/page.asp?ID=10568 BASQ website www.botanicalartqld.com.au

Artistic Endeavour is an initiative of the Botanical Artists’ Society of Queensland in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program; the Queensland Government through the Visual Arts and Craft Strategy, an initiative of the Australian, state and territory governments; and the Regional Arts Development Fund, a partnership between the Queensland Government and Moreton Bay Regional Council to support local arts and culture in regional Queensland. Proudly supported by Moreton Bay Regional Council and sponsored by IAS Fine Art Logistics and Winsor & Newton. Artists Artistic Endeavour

Gillian Alfredson Artistic Endeavour: Contemporary botanical artists’ response Catherin Bull to the legacy of Banks, Solander and Parkinson marks the 250th Edwin Butler anniversary of the HMB Endeavour voyage along the east coast of Australia. Scientists and , together Robyn Douglas with illustrator Sydney Parkinson, collected and recorded many Naomi Florence ‘curious plants [they] met with on shore’. Sandra Ford This exhibition showcases contemporary works by members of Jennifer Foster-Hamilton the Botanical Artists’ Society of Queensland in recognition of this Maria del Carmen (K-le) Gomez Cabrera historical event. Our artists from far north Queensland, south to Julia Hancock Newcastle and west to Roma, have contributed to this exhibition Anne Hayes which has proved to be the most complex project ever conducted by the Society. Cassandra Hodgins Tanya Hoolihan The Banks, Solander and Parkinson Committee was established by the Society in May 2017 to guide the exhibition to fruition. Beverley J Irwin Being a juried exhibition, selection criteria were established for Florence Joly the artworks. Encouragement was offered to members by fellow Dianne Lois Kelly members through workshops and peer review. Botanical artists Nita C Lester Dr Gillian Scott and Margaret Saul offered additional guidance Dorothee Nijgh de Sampayo Garrido upon request, while Dr Megan Thomas, Dr Paul Forster and Minjung Oh Dr Nita C Lester offered support from the botanical perspective. Ann Phillips The very generous support given by Museums & Galleries Colin Price Queensland, especially Rebekah Butler and Debra Beattie, and funding through Arts Queensland and the Australian Government’s Pauline Putland Visions of Australia program, has enabled the Society to realise this Eva Richards exhibition, Artistic Endeavour. Beryl Robertson We know our exhibition will inspire you to examine plants in detail Inger Rowe and to enjoy their colours, textures and shapes. You might even Louise Saunders create your own plant portraits. Ann Schinkel

Liz Showniruk Dr Nita C Lester Marcelle Stirling President, Botanical Artists’ Society of Queensland Kay Sullivan Co-curator, Artistic Endeavour Ellen Terrell Penny Watson Lindsay Watts Gwenda White

3 Curatorial threads Beth Jackson

The practice of botanical art has today matured a botanical, taxonomic text. Typically, the artist into a recognised and reputable field involving works under the direction of a botanist to depict all Artistic Endeavour – specialist research, observation, techniques and relevant aspects of the plant, including the life cycle, then and now methodologies. and even relevant dissections, to enable accurate identification of the species. Over 90% of botanical Artistic Endeavour traces the extraordinary legacy Unlike Sydney Parkinson, the artists featured in illustrations are monochrome, drawn in graphite or in of plant collections made along the east coast Artistic Endeavour have had much more time to pen and ink. Botanical artworks, on the other hand, of Australia in 1770 during Captain ’s observe, research and know these plants. They have are always scientifically and botanically correct but voyage on HMB Endeavour (1768–1771). The joint all liaised closely with Dr Nita C Lester, botanist, not necessarily complete. More emphasis is placed efforts of scientists Sir Joseph Banks and Dr artist and Society President, who ensured the on aesthetic value and the artist’s interpretation of Daniel Solander, and botanical artist Sydney acceptable accuracy of the artworks for scientific the plant. Artworks are frequently in colour, on a Parkinson, were the first attempt to collect value and purpose. In these intricate renditions, the plain background. and document the flora along this coastline. works also speak to us as art, opening up affective This exhibition of botanical artworks by members emotional and intellectual responses of wonder and Botanical illustration and art require an of the Botanical Artists’ Society of Queensland curiosity at Nature’s astonishing designs. understanding of plant morphology. What is even more foundational is the ability to observe and portrays a selection of those same plants During their 70 days along the east coast of Australia, collected and identified in 1770. accurately record the living plant. Botanical artists Banks and Solander collected over 1,000 species will research their plant in written texts and also The Endeavour expedition took place in the ‘Age of of plants and animals. Much of what was found observe the plant growing over time, potentially even Reason’, a time of innovation and scientific discovery was completely new to them and to the Western in different locations and throughout seasonal cycles, in Europe. While the journey’s primary purpose was world, and many species of Eucalyptus, Grevillea, making notes and field sketches and photographic to gain geo-political and commercial advantage for Callistemon, Dillenia and Mimosa were all eventually documentation. The artist is then able to take good the British Empire1, it was as much or perhaps even formally classified on the basis of the specimens specimens – ones that are typical of that species 4 more for its secondary purpose, ‘to study and make collected on this trip. or particularly inspiring. This can involve obtaining collections of all natural materials, beasts, fish and This exhibition includes portraits of some of collection permits and permissions. Artists will work minerals’ and the passionate work of the naturalists Australia’s most iconic plants. Anne Hayes has with both live and dried specimens, often dissecting on board, that the expedition achieved great fame the plant, observing it under a microscope, and depicted a single cone of Banksia serrata at heroic and significance. scale with great impact. Catherin Bull’s commanding taking accurate measurements. Artists will liaise with botanists at various stages in their process to seek work captures the smooth white bark of Eucalyptus This was a crucial period when modern science advice and support, particularly in regard to which platyphylla with intense details of the distinctive started to become established and gain widespread features of the plant should be emphasised. Some 2 broad leaves. Julia Hancock’s lively and sensitive social prominence. The young and independently botanical artists are also scientists and produce wealthy Joseph Banks successfully lobbied London’s portrait of Melaleuca citrinus is flush with new growth and the much-loved, familiar flowers. botanical art as an integral part of their practice Royal Society and through them, the British and research. Admiralty, to be included on the Endeavour voyage, self-funding a team of eight staff and extensive Often, the finished illustration or artwork is a library and equipment stores for collecting, studying Art and science – composite of many smaller drawings, some showing and preserving natural history specimens. Following a dialogue key plant parts such as seeds, flowers, or fruit in the voyage, Banks became President of the Royal section or whole. The scale of specimen depiction Society, establishing an influential, international Botanical illustrators and artists have a diverse is usually 1:1 or, if magnified or reduced, a scale scientific network, which he presided over for more range of backgrounds and training. They may enter will be indicated. These detailed observations and than forty years. This succeeded in convincing the field from fine art, graphic design, horticulture, depictions can, in some cases, call attention to the British government that investing in scientific landscape design, botany, or general biology. Some details of the plant’s structure that the scientist research was in the nation’s and Empire’s are graduates of one of a small number of tertiary has missed. For botanists, botanical illustration and best interests. programs in botanical art and scientific illustration, art are an essential aid to plant identification, and whereas others are self-taught. Many botanical regarded as an important scientific tool – one which Botanical art is an art practice in the service of has not been replaced by photography. science. Sydney Parkinson was the first European artists learn from their peers, taking workshops artist to draw and paint plants collected from places and masterclasses with leading botanical artists Many of the artworks in Artistic Endeavour reveal on the exploratory voyages, greatly influencing the that are often hosted by botanical artists’ groups the lifecycles of native Australian plants in intricate role and rise of botanical art.3 Parkinson’s sketches and societies. The field is keenly cooperative and detail. Hardenbergia violacea by Cassandra Hodgins finally made up 21 large bound volumes. These were collaborative, sharing knowledge about both botany lyrically expresses this popular plant’s vigorous supported by often rapidly made notes by Banks and and artmaking, with online networks enabling climbing habit, while depicting leaf, flower and seed Solander and subsequent fair copies written out by international exchange. formation. Minjung Oh depicts the glorious opening Banks’ secretary and Finnish botanist, Dr Herman Some botanical artists are also botanical illustrators. of the Grevillea pteridifolia flower, revealing the Spöring Jr. The records all remain an area of active A botanical illustration is governed by stricter development of a single flower stalk in acute detail. research today and of great scientific importance. conventions and is usually produced to illustrate

4 5 in silverpoint on clayboard and Castanospermum method to apply each colour separately to the plate. australe in watercolour and gouache on vellum by A limited edition of 100 sets, under the title of Banks’ Botanical artmaking – Eva Richards are superb examples of artworks in Florilegium, was published between 1984 and 1987. media and methods these mediums. In the progression from initial drawing to completed During the early stages of the Endeavour voyage, Contemporary botanical artists employ a diverse painting to published engraving, there is a visual artist Sydney Parkinson was able to keep pace range of other media including graphite, pen and journey, building the plant portrait in completed with Joseph Banks and Daniel Solander’s plant ink, gouache, colour pencil, and scraperboard. detail and aesthetic composition. Artistic Endeavour collecting, completing his sketches in colour. Artists are also producing works, in whole or in part, includes reproductions of several historical works However later, and particularly while in Australia, through various digital software programs and Lotus including initial drawings by Parkinson, finished he was inundated by the number of new specimens australis by Penny Watson is a delightful example paintings by Miller or Nodder, and final engravings. and could only sketch, partially colour and make of this innovative approach. While the choice of The sequence of Xylomelum pyriforme is particularly notations for significant portions of each plant media is intrinsically important to the resulting rich and revealing. Dorothee Nijgh de Sampayo portrait. In addition, his workload increased when artwork’s aesthetic impact, it is their service to Garrido’s contemporary portrait of Xylomelum topographical draughtsman and landscape artist, communicating the realism, detail and clarity of the pyriforme provides a visual companion with a deeply Alexander Buchan, died in . plant subject that distinguishes botanical art. attractive lustrous aura.

Parkinson lived and worked on board ship in a Botanical artworks are carefully considered small cabin surrounded by hundreds of specimens From the parts arrangements of the plant’s key characteristics, often – conditions were cramped and without a level comprised of component elements that have been working surface. In Tahiti he was plagued by swarms to the whole observed and depicted over seasonal time. Where, of flies that ate the paint as he worked! Parkinson for example, a botanical artwork depicts flowers and worked on paper using watercolour, wash, pen and Botanical art may form part of a project and fruit appearing on a specimen at the same time, this pencil. Colour pigments were ground up on board contribute to a flora or florilegium – records made must be an accurate representation of the plant’s ship. Banks and Solander decided which specimens of plants in a geographical location or garden. behaviour. Otherwise, flowers may appear on the specimen with the fruit depicted separately or vice should be drawn on the basis of their being Sir Joseph Banks intended to publish the natural noteworthy or new to science. versa. The same applies to leaf growth and seed history records made during the Endeavour voyage formation. Dianne Lois Kelly’s Callicarpa pedunculata Watercolour is a medium often favoured by as a Florilegium. From 1773 to 1784, he employed depicts clustering formations of flowers on one botanical artists both for its portability and five watercolourists to complete 595 new artworks branch and fruit on another in a rhythmic and convenience and also for the ability to capture fine based on Parkinson’s unfinished work, and 18 sensitive reflection. detail. It is therefore adaptable for both working engravers to produce a total of 738 copper printing quickly in the field and for producing prolonged plates. Botanist Daniel Solander provided ongoing By developing a thorough understanding of each detailed studies in the studio. Although an accessible support until his sudden death in 1782. However, species, and often through discussion with a and versatile medium, watercolour requires the scientific publication never happened and only botanist, the artist determines its key features, extraordinary skill and precision in its application to select proofs were made from the copper plates in which can involve the depiction of roots and bulbs, achieve its best effects. The finely ground pigments, Banks’ lifetime. barks and seed pods, or even key colour changes over time. Sometimes, the artist will focus on only bound by gum arabic or other binding medium and Banks made the collection records available to other afloat in water, resist absorption, coating the paper select aspects of the plant, and a finished artwork scientists for their research. Of the estimated 3,607 may contain a single seedpod. Often times, botanical surface with a jewel-like brilliance and achieving a plant species collected over the entire Endeavour transparent quality which can be built up in layers. artists will portray the same species many times over, voyage (represented by over 30,000 collected exploring new ways to express the special character specimens), about 1,400 species and 110 genera of the plant that they have come to know and Vellum (or calf skin) was used as an alternative were new to science. medium to papyrus or paper for painting and appreciate in such intricate detail. printing since Roman times, and was often a Between 1900 and 1905, the British Museum (Natural preferred surface for botanical artists for its innate History) issued lithographic prints of just 315 of translucency and smoothness. Vellum is newly the plant engravings, under the title Illustrations of popular amongst contemporary botanical artists and Australian Plants, which included three newly made is particularly favoured by those who are painting lithographic images not represented by the copper in a very precise way – typically working with ‘dry’ plate engravings. Much later in 1973, a selection of watercolour using a stippling technique or very small 30 of the copper plate engravings was printed in strokes. Silverpoint, another medium used by the black only and published in a bound volume entitled old masters, is also enjoying a revival by artists today. Captain Cook’s Florilegium. It was not until the 1980s Styluses containing a sharpened silver wire produce that the Museum, in association with the publisher delicate pale lines that tarnish over time to golden Editions Alecto, decided to restore the copper browns. Drawings have a lovely glow due to thin printing plates and print the complete set of images layers of silver reflecting light.Ipomoea macrantha for the first time in colour, using theà la poupée

6 7 been discussed as not easily fitting the accepted success of the butterflies. This butterfly lives and Castanospermum australe is a tropical rainforest tree definition ofCallistemon . Some state herbaria, feeds on Acacia plants, so populations are localised that originates in Cape York but has been found as far Observation and including Queensland, have transferred all species to areas with preferred species of both host plants south as northern New South Wales. Contemporary (in)accuracy of Callistemon into Melaleuca, while others have and ants.7 research mapping the tree’s DNA provides strong retained them as separate genera. evidence that Indigenous peoples carried, shared, In 1770, Banks, Solander and Parkinson were only All botanical artworks seek to capture and express and traded the seeds as a valuable food as they able to observe plants in their natural habitats Botanical art plays a vital role in accurately depicting the plant as a living subject. While a plant portrait travelled along the Great Dividing Range.13 Edwin very briefly and the collected specimens could the plant species as it really is, transcending may reveal millennia of evolutionary adaptation Butler’s brilliant portrait of this tree only be kept fresh for short periods before being changing classifications and evolving taxonomies. and connect us to deeper cycles of time, it will also is a celebration of fertility. pressed between paper pages into drying books.5 The much-loved flowers of theMelaleuca species capture a sense of the momentary and the fleeting An excerpt from the BBC and History Channel present a serious artistic challenge. Several of these – flushes of new leaf, budding flowers, swelling Indigenous shields, made from the soft-wood of co-production, The Ship, shows contemporary contemporary artworks have portrayed the plant at fruit, germinating seed or shedding bark. Such vivid Erythrina vespertilio in tropical northern Australia, botanical artist Lucy T Smith taking the place of magnified scales. immediacy connects us to our own living presence were traded as far south as Lake Eyre in South 14 Sydney Parkinson in this historical re-enactment and perhaps even a sense of our own mortality. Australia. The tree’s inner bark and leaves have medicinal uses, the tree roots are eaten raw, and the of the Endeavour voyage. Lucy demonstrates Many botanical artists include depictions of decay and describes some of the challenging on-board Life cycles and relationships bright red seeds are used as decorations in weaving within their plant portraits, evoking the cycles of and body designs. Robyn Douglas’s portrait dances conditions. death as well as life. Liz Showniruk’s Homalanthus The morphology of a plant tells the story of its with life in rhythmic flows of curving lines and gentle novoguineensis focuses on one mature red and It is understandable then that some of Parkinson’s unique evolution, adaptation and survival. While tonal variations. decaying leaf, finding beautiful detail in this single botanical illustrations have inaccuracies that are many plants can be dispersed, grow and survive feature and capturing the real and poetic essence Plants are foundational to every aspect of traditional only appreciated through greater contemporary across different regions, many others can only of the plant’s common name, bleeding heart. life for Indigenous peoples, providing food and knowledge of the plants. One example of this can be found in one isolated location, occupying a vital materials for shelter and clothing, tools, toys be seen in the historical depictions of Melaleuca highly specific environmental niche. Only a small and instruments, medicines and ceremony. Plants, quinquenervia and Melaleuca viminalis which fail to portion of Australia’s 20,000-odd species of through their flowering, fruiting and other seasonal accurately depict the growing tip and habit of the vascular plants (ferns, conifers and flowering plants) Indigenous peoples variations, provide a guide for living on country, branches. The historical drawing, painting and print are in cultivation. To really know and appreciate and plants indicating, for example, when and where to hunt, depict the branch upright with a terminal flower. our natural heritage, we need to go beyond our to camp or to travel. Many Australian plants have However, as shown in the contemporary artworks, gardens, even our Botanic Gardens, and encounter In addition to illustrating the collected plant evolved dependencies on Indigenous peoples, the branches of this species are weeping and the plants in their native habitats. specimens, Sydney Parkinson was also the first such as those plants that are propagated by fire, a flowers occur along the branch with a growing tip of European artist to undertake illustrations of new leaf appearing beyond, even before the flowers Botanical artworks may include a record of the plant dependency created by Indigenous peoples’ regular the Indigenous people of Australia from direct burning of the landscape.15 Certain plants have growing in its natural habitat. Dischidia nummularia 8 are finished. observation. While the ship was under repair by Colin Price shows the plant growing on its host great cultural and spiritual significance, particularly on the Endeavour River in Far North Queensland, In 1735 in Sweden, Carl Linnaeus published Systema tree and with Dendrobium canaliculatum – the rich trees. Major trees could become place-markers for the crew were able to make contact with the Naturae, a binomial classification system for the dark details of the bark contrasting with the delicacy ceremonial gathering, burial or birthing, and were Indigenous people of this area – the Guugu natural world which he continued to develop, of this unusual succulent. Ellen Terrell’s portrait of often planted in groves and carved. Plants, especially Yimithirr. Cook, Banks and Parkinson recorded expand and republish widely over the following Cynometra iripa includes a profile of the various trees, feature in the creation stories, song-lines and some of their language – including the word decades. Daniel Solander studied with Linnaeus and mangrove species that live in the Daintree River’s artworks of Indigenous peoples. employed the binomial system in identifying the ‘Kangooroo: the leaping quadruped’ noted and lower reaches. This shows their adaptive relationship 9 plants, both known and new, collected during the depicted by Parkinson. Guugu Yimithirr remains Potential benefits in bringing together traditional to variations in water salinity, extending from the 10 an active spoken language today and, where Indigenous plant knowledge with contemporary Endeavour voyage. Thus, the fame and success of low-growing exposed coastal species to the much possible, plant names in Guugu Yimithirr have scientific research include the development of the Endeavour expedition helped to consolidate the taller and more protected inland forms. The shaded been included in the artwork labels of this new foods, medicines and materials, as well as international adoption of this classification system, portion of the tree profile indicates the region 6 exhibition. Names in Yuggara, the Brisbane improved land management practices. Botanical art which is still in use today. where Cynometra iripa thrives. region Aboriginal language, have also been can provide a basis for understanding, sharing and Melaleuca and Callistemon are two of the best- Botanical artworks may also include other special, included, where available, to represent those protecting our unique natural heritage, and provide 11 known Australian members of the Myrtaceae dependent and inter-dependent relationships such plants found in south eastern Queensland. artists and audiences alike with a means family. All of the callistemons and many of the for connecting to and caring for country. as pollinating insects. Acacia holosericea by artist Of course, while the collected plants were new melaleucas have flowers arranged in ‘bottlebrush’ and botanist Dr Nita C Lester is a portrait in two fashion, clustered together in cylindrically shaped to European eyes, they were deeply familiar to parts, with one part depicting a special butterfly Indigenous peoples. What may have appeared to spikes. But only callistemons are commonly called and ant relationship. Jalmenus evagoras is a small, bottlebrushes; melaleucas are usually called Cook and Banks as a wild landscape supporting a metallic blue butterfly notable for its unique nomadic people that hunted and foraged, can now paperbarks or tea trees. Over the years there have mutualism with ants of the genus Iridomyrmex. The been suggestions that the differences between be better appreciated as an intensively managed ants provide protection for the caterpillars and cues and extensively settled landscape by peoples with species of the two genera are not sufficient for adult mating behaviour. They are compensated to warrant them being kept distinct. The well- deeply established and multi-faceted connections with food secreted from the butterfly larvae. The to country. 12 known Callistemon viminalis is one that has often ants greatly enhance the survival and reproductive

8 9 Acknowledgements

The exceptionally dedicated joint efforts of Banks, 1 Cafferty, S. (2011). BBC History: Endeavour’s Scientific Impact Members of the Botanical Artists’ Society of Queensland, (1768–1771). Retrieved from http://www.bbc.co.uk/history/ Solander and Parkinson that resulted in such british/empire_seapower/endeavour_voyage_01.shtml especially the artists and those contributing to the Banks, Solander and Parkinson Committee, established in May 2017 Australia’s astonishing detailed and extensive records were a seminal 2 Fara, P. (2017). Sex Botany and Empire: The Story of Carl biodiversity moment in the emergence of both botanical art Linnaeus and Joseph Banks. London, UK: Icon Books Ltd. 16. to guide the exhibition to fruition. and science. Botanical art practice continued to 3 Tyrrell, K. (2015–19). Botanical Art & Artists: About Sydney Parkinson (1745–1771). Retrieved from https://www. Museums & Galleries Queensland, our major partner Today, botanical artists continue to accompany strengthen, though largely with a Euro-centric botanicalartandartists.com/sydney-parkinson.html and touring partner. Rebekah Butler and Debra Beattie botanists on journeys of discovery, just as Parkinson focus. Iconic images of English roses and Dutch 4 Cafferty, S. (2011). provided invaluable advice at all stages of exhibition did with Banks and Solander on Cook’s Endeavour tulips continue to wield cultural influence. The same 5 Hart, A. (2019). Sydney Parkinson: Industrious illustrator, in development. in 1770. Like Parkinson, contemporary botanical can be said for the practice of horticulture and the Nature’s Explorers: Adventurers who recorded the wonders of the natural world. London: Natural History Museum and Moreton Bay Regional Council staff Leanne Kelly, Selina artists undertake vital field work, roaming through predominantly imported plantings of our domestic Hardie Grant Books. 66. Clark and their team have supported the launch venue national parks and forests, or through local gardens. While there is evidence of early colonial 6 Fara, P. (2017). 20. at Redcliffe Museum. bushland reserves, recording the plant life that they gardens incorporating Australian native plants, it has 7 Jalmenus evagoras. (n.d.) In Wikipedia. Retrieved 7 April observe and creating artworks that help inform the only been in recent decades that a more widespread 2020 from https://en.wikipedia.org/wiki/Jalmenus_evagoras Botanical artist consultants Dr Gillian Scott and Margaret 8 Tyrrell, K. (2015–19). public about nature’s diversity and fragility. and dedicated Australian sensibility has begun to Saul provided artistic advice upon request. 9 Hart, A. (2019). 66. emerge – reflecting deepening understandings Australia is home to the highest number of unique 10 PAMA Language Centre. Guugu Yimithirr. Retrieved from Queensland Herbarium botanists Dr Gordon Guymer, of our Australian ecologies and very real shifts in https://www.pamacentre.org.au/guugu-yimidhirr-2/ Dr Megan Thomas and Dr Paul Forster provided botanical plant families in the world – 92% of Australian aesthetic taste. 11 Plant names in Yuggara language were compiled from advice upon request. flowering plants are found nowhere else. Some are early historical records by expert lexicologist, Dr Sylvia plants that reach back to the beginnings of plant life. Haworth, reviewed and edited by eminent linguist, Dr , particularly Indigenous Partnerships There is a growing appreciation and curiosity for our Margaret Sharpe, in consultation with representatives of Cook Shire Council We have plants that have no living relatives in any native plants and an emerging Australian botanical the Yugara-Yugarapul Aboriginal Corporation. The language Officer Shane Gibson, andCommunity Elders of Hope other country of the world. vernacular. It is no coincidence that botanical art name Yuggara represents various other spellings and names Vale, for providing information and plant names in Guugu including Yuggarabul (Yagarabal) where ‘Yuggara’ (‘Yagara’) Yimithirr. is also experiencing new levels of interest and is the identifying word meaning ‘no’. Australia has more plants than 94 per cent of participation. We still have so much to learn about 12 Gammage, B. (2011). The biggest estate on earth: how The Directors of the Yugara-Yugarapul Aboriginal countries on earth, but we have the highest loss Aborigines made Australia. Crows Nest, NSW: Allen & Unwin. this incredible continent and much to express Corporation, consultant lexicologist Dr Sylvia Haworth of species (flora and fauna) of anywhere in the through this vivid artform. Jennifer Foster- 13 Rossetto M, Ens EJ, Honings T, Wilson PD, Yap J-YS, Costello and consultant linguist Dr Margaret Sharpe, for providing world. About 6 per cent of our endemic vascular O, et al. (2017). From Songlines to genomes: Prehistoric Hamilton’s stunning and stylised portraits of assisted migration of a rain forest tree by Australian information and plant names in Yuggara. plants are threatened with extinction – 1,271 have an iconic radiance. Aboriginal people. PLoS ONE 12(11): e0186663. plants are on the Environment Protection and https://doi.org/10.1371/journal.pone.0186663 Lenders to the launch exhibition at Redcliffe Museum Biodiversity Conservation Act list, on a spectrum Remembering the artistic and scientific efforts of 14 Clarke, P. (2016). Chapter 4: The use and abuse of Aboriginal ecological knowledge. In Eds Clark, I and Cahir, F. The Fryer Library, The University of Queensland, Simon from critically endangered to vulnerable. These 1770 is, above all else, an opportunity to see our Aboriginal Story of Burke And Wills. Clayton, VIC: CSIRO Farley and Belinda Spinaze, for the loan of Captain plants might be at risk from diseases such as country with that same wonder, awe and curiosity, Publishing. Cook’s Florilegium. Phytophthora, their populations degraded as the artists in this exhibition have certainly 15 Bowman, D. (2008). The impact of Aboriginal landscape burning on the Australian biota. New Phytologist. 140. Queensland Herbarium, Dr Gordon Guymer, Dr Gillian through weed infestation, erosion or salinity, demonstrated. In deepening our knowledge and 385–410. Brown and Natasha Yates, for the loan of specimens grazing, feral animals, fire and climate change, appreciation of this remarkable flora and, in turn 16 Herd, K and Ivankovic-Waters, J. (2017). Native: Art and from the Banks and Solander Collection. but their biggest threat is habitat loss through sparking our imaginations, we may better protect Design with Australian Plants. Port Melbourne, VIC: Thames and Hudson. 196. State Library of Queensland, Lisa Bryan-Brown and clearing for housing, agriculture and logging. the landscapes of the future. Rachel Spano, for the loan of prints from Banks’ Just about every region has a local plant that is Florilegium. vulnerable, and it is disturbing to consider that Arts Queensland’s Queensland Arts Showcase Program even small declines in species can significantly grant enabled the production of the exhibition, and disrupt the complex web of insect, bird and engagement of Beth Jackson, co-curator, and Sonia 16 animal life. Uranishi, communications.

Artistic Endeavour is a celebration of Australia’s Australian Government’s Visions of Australia program unique flora. The exhibition provides a small grant is enabling the exhibition to tour nationally through snapshot of the biodiversity of Australia’s eastern Museums & Galleries Queensland. coast. Artworks range from delicately portrayed tiny Supporters jewels of forest and heath such as Bauera capitata by Ann Schinkel, or Comesperma ericinum by Tanya International Art Services Fine Art Logistics, Kingsley Hoolihan, to spectacular and intriguing native Mundey for storage of the completed works, and orchids such as Dendrobium discolour and Pterostylis Winsor & Newton, Lindsay McMahon for supplying revoluta by Louise Saunders. They range from showy art materials for demonstrations and workshops. tropical trees such as Dillenia alata by Edwin Butler Curators Beth Jackson and Dr Nita C Lester to unusual herbs such as Pseuderanthemum variabile by Beverly J Irwin. Native species from well-known Exhibition Coordinator Kath Kerswell genera such as Hibiscus meraukensis by Jennifer Lucy Dougall Foster-Hamilton and Hoya australis by Lindsay Watts Designer are also featured.

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