What at first may appear to be an undecipherable jumble of dots, lines and glyphs

actually depict wonderful tales of spirits, totemic animals, ceremonies and mystical

landscapes. Contemporary Australian Aboriginal art has come a long way over the

past 40 years and is now experiencing exponential international growth.

114 robb report singapore Painting Dreams by y-jean mun-delsalle

Over a decade ago, Australian Aboriginal art was not taken seriously, whereas today it is considered one of the world’s lead- ing art movements. In its modern incarnation, it perpetuates the legacy of an ancient tradition through its contemporary interpretations of humankind’s Ooldest living art. Composed of designs of humans, plants and animals, as well as complex patterns of concentric circles, horseshoe shapes and stripes that have the impact of modern abstractions, much is related to stories of the Dreamtime. This is the creation period in Aboriginal belief, when ancestral beings formed the land and all its creatures, teaching people their laws and ceremonies. As it spans centuries of history, the art ensures continuity with the past and the transmission of spiritual knowledge from one generation to the next, telling of the artist’s memories, family history and relation- ‘Mount House’ ship with his or her culture and environment. Each painting reveals a song, dance, sacred ancestral site, native cultural legend or the way to live harmoniously with nature. So it is far more than just a collection of pretty symbols—a representation of sacred traditions and repository of spiritual power, holding deep meaning for its artist. So as not to divulge too many closely-guarded family secrets of spiritual significance, wall texts and catalogue descriptions are often

robb report singapore 115 Painting Dreams

“Artists have become more experimental in their styles.”

obscure and incomplete. Caroline Jones, Head of Art () of leading Australian auction house, Menzies Art Brands, notes, “The secret knowledge and Dreamtime stories were often forbid- den to the sight of the uninitiated, which caused much outrage when they were depicted in paintings and sold through the galler- ies. As a result, the designs and stories that were used in the paintings were modified and artists began to paint using more simplified iconography.” Although huge differences in the usage of materials, colours, patterns and painting techniques reflect the variety of Aboriginal art across differ- ent communities, the artworks address the same mythology, thus the meanings conveyed are largely homo- geneous and resemble the work of a single collective consciousness. The first artworks were paintings on rock faces using natural pigments, portraying animals, figures and dreaming stories in fine lines. Then bark surfaces were used, as well as wooden clubs, shields and woomeras. With the contemporary art move- ment came the use of modern mate- rials like acrylic paints, canvases and brushes, allowing Aboriginal artists more options style-wise, as less prepa- ration was required to prepare sur- faces and pigments. Jones comments, “Artists have become more experi- mental in their styles. However, tradi- tional iconography still underpins the patterning of their dreaming stories. Color is now also a feature of the

Charlie Numbulmoore, ‘Wanjina’

116 robb report singapore Painting Dreams

contemporary style of painting and distinguishes particular nography and graphic vocabulary related to their aesthetic artists and their ‘country’, or sacred land.” and spiritual traditions, which until then had been painted Though the earliest examples of Aboriginal art were dis- on traditional mediums of bark and wood. He encouraged covered many millennia ago, the art form only gained rec- the senior men to recreate their stories on board, and sub- ognition in the 20th century. The contemporary Aboriginal sequently canvas for larger paintings, using acrylic paints, art movement began during a period that marked a turning which would leave a long-lasting legacy—a world away point in white Australian and Aboriginal relations, appear- from the impermanent nature of ceremonial sand paintings ing at the end of the assimilation era when many Aborigines, and body art to which they had been accustomed. due to oppressive governmental policies, were forcibly As Aboriginal people have no written language, they rely removed from their ancestral lands and repatriated to settle- on visual and aural traditions where their personal histories ments set up according to geography instead of culture. are told through paintings, songs and dances, which have This resulted in tribes living with Aborigines not of their led to localised styles of art among the numerous Aboriginal own group and in the territories of others, far from their communities. Bardon thus succeeded in revolutionising traditional lands, which were the source of their physical Aboriginal art, transforming it from a neglected art form to and spiritual sustenance. It was during this climate of dis- one that is now accepted in the mainstream and used to possession and despair, where efforts were made to suppress promote to the world. their language, art and culture, that the contemporary art Western collectors, museums and galleries quickly movement was born. The Aboriginal people decided to accepted this non-representational art form as they had turn to art—which became symbolic of their inner become familiar with a variety of abstract expression over strength—as a triumph of the human spirit in response to the course of the 20th century and, within a year, the adversity. Tula Artist’s Cooperative was founded to market In 1971, when school teacher, , and sell the community’s artworks. This in turn spurred was posted to the isolated Aboriginal settle- neighbouring Aboriginal communities to embark on art ment northwest of Alice Springs in the , production, and a few small galleries in Alice Springs he realised that the Aboriginal people possessed a rich ico- popped up to sell their art.

Tommy Lowry Tjapaltjarri, ‘Two Men Dreaming at Kuluntjarranya’

robb report singapore 117 Painting Dreams

Alice Springs remains at the core of the contemporary deliver primed canvases and then collect them upon com- Aboriginal art movement and, following its example, pletion. The art cooperatives nurture creative expression, Aboriginal communities throughout Australia now have and catalogue and authenticate pieces and their related artists creating works for commercial trade. Jones says, “The materials and documentation. philosophy behind the commercial Aboriginal art move- Artists are paid according to rates established by the ment in Australia originated as a means for artists to express cooperative for every work sold, which in turn ensures the their sacred body and dance designs on a new medium, and perpetuation of a diverse cultural and social heritage. This has evolved into a multimillion-dollar sector of the funding also generates the largest, if not only, regular source Australian economy.” of income supporting entire family infrastructures that Although only men produced artworks on contempo- would otherwise be forced to resort to subsistence living. rary materials at the beginning, mainly because the anthro- Consequently, art has contributed to better living condi- pologists and art coordinators were primarily male, today tions and the very existence of many Aboriginal communi- women are the principal art producers. In most cases, artists ties. “Without it many communities would by now have will paint at government-funded art-producing centres become obsolete, and with it thousands of years of history managed by a salaried art coordinator and overseen by an and tradition,” elaborates Giorgio Pilla, Aboriginal art col- Aboriginal board of governance. Otherwise, field officers lector and founder of ReDot Gallery, Singapore’s first and

118 robb report singapore , ‘Earth’s Creation’ only Aboriginal art gallery. Jones remarks, “The commercial success of Aboriginal art He explains the evolution of Aboriginal painting styles fundamentally caused the artwork to change both in con- over the past four decades. “The works have become much tent and style. The advent of ‘dot’ painting also emerged in more stylised. Early works were a reaction to thousands of response to the need to modify designs. Artists are increas- years of history being poured onto board, masonite, canvas, ingly moving away from using natural materials such as whatever was available. They were an incredibly important bark, ochres and earth pigments for the convenience of expression of history, of being, almost a writing of a reli- canvas and acrylic paints. Despite some artists still prefer- gious document detailing the rules and direction Aboriginal ring more traditional mediums, the breadth of colors avail- people took to survive on their lands and co-exist with able with acrylic paint is not available from natural ochres.” each other: how to hunt for food, where to find water, etc. Having assisted in firmly establishing a stable and credible Whilst current works still hold strong Dreamtime elements, international secondary market for Aboriginal art, Tim they are much more contemporary and tailored to the aes- Klingender, Sotheby’s Head of Aboriginal Art, divulges, thetic requirements of a growing international and domes- “Indigenous is a dynamic, constantly evolving tic market for the work.” art that varies dramatically from region to region. The des- Contemporary works often use vivid colours and repre- ert paintings have developed from small, jewel-like paint- sent a freer interpretation of traditional dreaming stories. ings on scrap pieces of board being painted at one com-

robb report singapore 119 d n a t s i t r a e h t f o y s e t r u o C c a t r a e n i f d i e r & a n a u r

Danie Mellor, ‘From Rite to Ritual’

120 robb report singapore Painting Dreams

munity in the early 1970’s to now, where large-scale Sales have climbed accordingly, with buyers learning where canvases are produced by hundreds of artists in dozens of to source high-quality works with solid provenance. communities. They have become more abstracted, though Formerly traded among collectors of ethnographic art charged with expressive qualities.” and objects as commodities before its international expo- The rapid rise of this extraordinary art movement over sure, Aboriginal art is today sought out by buyers from the last 40 years has steadily made its presence felt on the vastly different demographic backgrounds because of its international art scene, firstly because of the vast growth in affordability and availability. A huge selection of artworks Aboriginal art production, as more artists become passionate are now available from across Australia, with a major collec- about communicating to wide-ranging audiences. Secondly, tor following for high-quality pieces worldwide. Klingender it has been due to the spotlight placed on the art, which discloses, “Some collect alongside other fields of art such as until recently was seldom exhibited abroad plus the active international modern or contemporary art; others along- interest taken by auction houses. Awareness of Aboriginal art side other ethnographic art, some specific areas within the has increased thanks to more shows worldwide, travelling field such as old bark paintings or sculptures, so one cannot exhibitions and the inclusion of Aboriginal art in major really generalise.” international art fairs. As a result it has captured the attention International buyers are mainly European, with sales grow- of a global audience eager to understand an ancient culture. ing in North America and Asia. The 2008 exhibition Utopia:

Clifford Possum Tjapaltjarri, ‘Men’s Initiation, Spider Dreaming’

robb report singapore 121 Theresa Nowee, ‘Tjurnu’

The Genius of Emily Kame Kngwarreye, which travelled from tence on the planet in a modern contemporary means to to Osaka, was the largest collection of works by an tell these stories. It is produced by people with little if no Australian artist presented outside Australia, and introduced artistic training; the work is raw, untarnished, naïve, yet i t r i ay l r Wa © Aboriginal art to the Asian market with great success. complex and structured,” notes Pilla. Jones adds, Thanks to this increased exposure and growing buyer “Contemporary Aboriginal art appeals to first-time art A r

interest in Asia, Aboriginal art galleries have opened in buyers, well-heeled collectors and investors due to the t s i t

Hong Kong and Singapore. Jones divulges, “The art appeals breadth of affordability, aesthetics and cultural aspect of the A b to the international audience as it has its own particular art. The diverse styles produced ensure that the art appeals f o y s e t r u o C ; n o i at r o p r o C l a n i g i r o contemporaneity, as well as having a fundamental connec- to a wide-ranging audience, making it a serious competitor tion to the culture and history of indigenous Australia. for non-indigenous art.” Aboriginal art is now widely accessible to buyers, both in There are an estimated 7,000 active Aboriginal artists today Australia and internationally. There are many specialist who generate about A$400 million to A$500 million in sales Aboriginal art galleries in most states and territories within every year. Some of the most famous include Clifford Possum Australia selling high-quality Aboriginal art, in addition to Tjapaltjarri, Bill Whiskey Tjapaltjarri, ,

Aboriginal art being represented in galleries in major cities Rover Thomas, , Queenie McKenzie, R e D o

across the world.” Emily Kame Kngwarreye and . Central and t F i Aboriginal art is the fastest-growing category of Western Desert artists, as well as those from the Kimberley e n A r

Australian art today, outstripping sales of non-indigenous area, are well-liked by collectors for their distinctive style. Pilla t G a art because “it is cheap, has historical significance, is pure, is reveals, “From a collector’s perspective, the more senior/ y r e l l aesthetically pleasing and merges thousands of years of exis- elderly artists are sought after given their strong connection to

122 robb report singapore Painting Dreams

historical Dreamtime and the ‘purity’ of their work.” Due to Aboriginal art being acknowledged as the last great art movement of the 20th century on par with the masterpieces of the contemporary art world, prices have skyrocketed since the foundation of the modern art move- ment. From selling for a few hundred Australian dollars in the 1970’s (if one was lucky enough to find a buyer) art- works now fetch millions at auction. Clifford Possum Tjapaltjarri’s , which was originally bought for A$1,200 in the mid-‘70s, set an auction record in 2007 when it was sold by Sotheby’s for A$2.4 million, and main- tains the world record to this day. Success at auction and the opening of the Musée du Quai Branly in Paris in 2006, devoted to the arts and civili- sations of Africa, Asia, Oceania and the Americas, which reconciled fine art and ethnology, are proof of Aboriginal

“Prices of indigenous art are at huge multiples of where they were 10 to 20 years ago, yet still on the whole at very modest levels when compared with Western contemporary art.”

art’s growing popularity. Pilla remarks that Papunya Tula is probably the most famous art centre as it is the home of the modern Aboriginal art movement. Prices generally range from a few hundred l l e r y a dollars for smaller works by lesser-known artists to hun- G t

r Boxer Milner, ‘Purkitji’

A dreds of thousands of dollars for pieces by the established n e i

F masters. However, many of the works sell within the A$10- t o

D 40,000 bracket. Paintings by leading artists like Paddy where they were 10 to 20 years ago, yet still on the whole e R Bedford, John Mawurndjul, Dannie Mellor, Vernon Ah Kee at very modest levels when compared with Western con- and sell for between A$10,000 temporary art. When comparing the 10 top indigenous liv- and A$250,000. Jones discloses, “Over the last 10 years, ing artists’ prices with equivalent European/American prices have risen considerably. This is due to the fact that counterparts, the pricing difference is extreme. Most ‘top- many of the most sought-after artists have passed away, quality’ indigenous art does not exceed A$100,000; there therefore making their art a scarce commodity. The rising are numerous examples of this in Western contemporary popularity of indigenous art also has caused prices to rise in art, but into the millions.” response to the increased demand. For established The global financial crisis has led to price corrections on original Corporation; Courtesy of b A Aboriginal artists, prices have been rising approximately the secondary market over the last two years, and put a t i s t r five to 10 percent over the last decade.” damper on buying as customers become more cautious. As A However, while it is now one of the most vibrant areas of Pilla says, “Collectors in the last 18 months have become modern art, it is still new enough to be affordable. Pilla much more careful about their purchases, looking for better

© Warlayirti states, “Prices of indigenous art are at huge multiples of quality works, not necessarily cheaper, but certainly expect-

robb report singapore 123 Painting Dreams

ing more for their investment, as the credit crisis has have ethical or art centre provenance.” removed a lot of ‘mildly’ interested parties from the market, Art pieces may be sourced directly from art centres, auc- leaving better works to be shared amongst more ‘hardcore’ tion houses and commercial galleries in Australia, as well as followers of the movement.” in international cities like Paris, Amsterdam, London, New Jones has noticed that “buyers are looking to broaden York, Tokyo, Hong Kong and Singapore. Though most art their collections by investing in new areas and artists. For centres are located in rather isolated areas, buyers will ben- example, a collector may have had an exclusively Western efit from seeing the artists paint on-site, while major auc- Australian Kimberley-based collection of paintings and is tion houses hold several sales per year in Australia’s capital now moving towards including artists from the Lockhart cities. Generally, top-quality works sell in the top 10 to 15 River or Pepperminarti in Queensland. Savvy collectors ethically-run art galleries mainly in Australia. The majority also seek out works that have excellent provenance—paint- of commercial galleries allow international clients to buy ings that may have been part of a well-known collection or and sell online, thereby increasing accessibility of the art. included in an important exhibition.” With such an explosion in popularity, where harsh, And with cases of exploitation reported concerning unforgiving desert environments give way to striking art- Aboriginal artists forced to work under sweatshop-like producing regions, it now seems hard to believe that only a conditions, Klingender comments, “Collectors are tending few decades ago Aboriginal paintings were not even con- to be more selective, steering clear of works that do not sidered to be art.

The Art Of Balgo

Discover Australian Aboriginal art at the exhibition entitled Kinti cultural variety. kinti, Purrka purrka–The Balgo Way by Warlayirti Artists Aboriginal Annette Cock, Warlayirti Art Centre Coordinator, reveals, Corporation, held from 24 February to 23 March 2010, at ReDot “The art is inspired by tjukurrpa (dreaming), which can refer Gallery (www.redotgallery.com), which sells only ethically- to three different, though closely related, aspects of Aboriginal sourced pieces with guaranteed provenance from leading art culture. The best-known usage is linked to the idea of Dreamtime, centres. which usually refers to an archaic but eternal time of ancestral Located in Balgo, in the arid northeast of , creation, and to ancestral stories, totems, or any physical mani- between the Great Sandy and Tanami Deserts, this remote festation of these.” community was established in 1939 as a Catholic mission. In the Today, Warlayirti Artists represents more than 350 artists across

early 1980s, its population began painting on canvas board at a three communities in the Kutjungka region, including respected f o y s e t r u o C Catholic-run adult education and training centre, foreshadowing names such as Eubena Nampitjin, Elizabeth Nyumi, Boxer Milner the establishment of an arts cooperative in 1987. and Helicopter Tjungurrayi, and young talents like Christine R

Now a leading Australian indigenous art centre, Warlayirti Yukenbarri, Theresa Nowee, Imelda Gugaman and Pauline Sunfly. e D o

Artists, creates highly individual paintings in acrylic paint on It makes a considerable contribution to the social, cultural t F i Belgian linen and cotton duck, which are filled with bold- and economic wellbeing of its indigenous residents, and is the e n A r ness, color, dynamism and a diversity of styles due to the Kut- only organisation in the region that allows Aboriginal people to t G a jungka region’s seven skin groups and their great linguistic and actively participate in the market economy. y r e l l

124 robb report singapore Painting Dreams

Eubena Nampitjin, ‘Kinyu’ l l e r y a G t r A n e i F t o

D Collecting Tips e R

• Research the Aboriginal art market and a wide range of • Buy works with art centre provenance directly from the art artists to understand the reputation, standard and maturity of cooperative or from ethical galleries that guarantee the well- their work, and talk to experienced professionals from well- being of the artists they represent. established art centres and galleries. • Beware of fakes and disreputable dealers and galleries, and • Once you have selected your artist, consider the quality of the always ensure you receive a certificate of authenticity, often work with regard to the rest of his/her oeuvre, condition, age, accompanied by working photographs or a DVD of the size and provenance. creation of the artwork, which will facilitate resale. original Corporation; Courtesy of b

A • Study prices at several galleries, as well as at auction houses, • And finally, purchase artwork that strikes a chord with you

t i s t to ensure you are not overpaying. Auction prices may be without worrying about its investment value, for it will give r A considerably less than retail prices due to commission charged you pleasure each time you look at it. by galleries. © Warlayirti

robb report singapore 125