BALNHDHURR - A LASTING IMPRESSION PRINT SPACE

BALNHDHURR - A LASTING IMPRESSION

a lasting impression

WARNING Aboriginal and Torres Strait Islander people are respectfully advised that this publication contains the names and images of deceased persons

2 3 4 5 Contents

Foreword 8 Introduction 10 Early Linocuts 14 Early Colour Reduction Linocuts 16 Early Collagraphs 18 Early Screenprints 22 Japanese Woodblocks 26 Etchings 30 Berndt Crayon Etchings 32 String Figure Prints 34 Ngarra – Young Ones Portraits 38 Gunybi Ganambarr Portraits 40 Seven Sisters 42 Djalkiri – We are Standing on Their Names 48 Mother / Daughter 50 Midawarr Suite 52 The Yuta Project 56 Gapan Gallery 60 Afterword 62 List of Works 66 Acknowledgements 68

6 7 The Song of the Press

I arrived at Buku-Larrnggay Mulka Centre in May 1995 just as Andrew and Dianne Blake were bringing into fruition Steve Fox’s vision for a dedicated Print Space. The new studio was built onto the existing 1960’s handbuilt cypress pine ex- mission hospital building which had been the art centre since 1975.

Since then I have been an interested observer. A nosy neighbor listening to the music coming over the fence. From within an art centre, which is a vehicle for serious lawmen and women to represent their law in natural media as a political and artistic act of resistance to the dominant settler culture, comes a completely different tune.

A lilting, gentle, persistent, sweet melody of (mostly) women humbly working together to make beautiful things. It has been the sound of laughter and considerateness. The sound of compassion and empathy and respect and dignity. But above all the sound of friendship.

I will go to my grave frustrated that I can’t seem to explain to people the difference between a print artist and a printmaker. But I guess I will try once more here. That unrecognised artisan, who takes the incised lino or the several sheets of painted acetate and produces the final limited edition work on paper for the artist to sign, seems to be invisible to most.

As much as this exhibition celebrates the 137 different artists who have made prints through the Yirrkala Print Space in twenty years I would also like it to be an acknowledgement of the inspiring effort of a group of and Balanda (again mostly) women to turn up day after day over twenty years to assist those artists to realise their vision.

To make a print is hard physical labour. It wears the elbow, the back, the feet. It is tricky, pernickity technical work. Something is always going wrong for unexplained reasons. There are fewer and fewer printmakers being produced by Australian art schools. It is unpopular, unfashionable damn hard work.

But in a remote corner of this ancient guild craft has not only survived but prospered through the good will and loving energy of a group of people who put a greater goal before their own comfort. They have produced beautiful music whilst they also made 804 separate print editions.

This is my thanks to Dianne Blake, Annie Studd, Marrnyula Mununggurr, Dundiwuy Mununggurr-Wunungmurra, Araluen Naminapu 2 Maymuru, Sasha Earle, Ruby Djikarra Alderton, Munuy’ngu Marika, Godut Ganambarr, Bawu Gurruwiwi, Paula Gumana, Burrthi Marika, Dhalmula Burarrwanga, Dindirrk Mununggurr, Mawang Gumana, Amos Wurramarrba, Multhara #2 Mununggurritj, Ganybu Mununggurr, Lirrina Mununggurr, Aleisha Isaacs, Barrata Marika, Dhapanbal Yunupingu, Bulmirri Yunupingu, Gandhurrminy Yunupingu, Gunariny Wanambi, Whaiora Tukaki, Barayuwa Mununggurr, Mamburra 2 Raymond, Gurmarrwuy Yunupingu, Nuwaniny Burarrwanga and all the others that I have forgotten to add.

Will Stubbs Coordinator, Buku-Larrnggay Mulka.

8 9 BALNHDHURR “a mark made as a sign for people to follow.”

Buku-Larrnggay Mulka is the art centre for the Yolngu people of Yirrkala and the adjacent remote region of North East For many of the artists the new processes provided exploration into new palettes, genres, styles and media. When Arnhem Land. Yirrkala is perched on the coastal peninsular where the Arafura Sea meets the Gulf of Carpentaria. Since sanctioning the production of art by mechanical reproduction the elders were concerned to prevent copyright infringement the 1950s the artists and their artwork have gained international and national acclaim and are represented in major of sacred design (which is much more serious in Yolngu culture than in mainstream law). They decreed that ‘to paint the public and private collections. land you must use the land’. This limits miny’tji (sacred design) to original works in natural media and therefore bars it from being reproduced multiple times by mechanical printing techniques. This has been observed in all prints made by

In 1975 Buku-Larrnggay began as an act of self-determination in the post Mission era. It has always dedicated itself to Yirrkala Print Space. the maintenance and preservation of Yolngu law and culture. The Yirrkala Print Space began in 1995 when a purpose built area was designed to host a printing press and ‘seize the means of production’ into Yolngu hands. It was Basil Basil Hall is not the only one to have visited the Print Space. Inspiration and guidance has come from other printmakers Hall who assisted in this first installation and training and he has made annual visits until the present day. Since the working for him such as Simon White, Jacqueline Gribbin and Merran Sierakowski, and independently such as Paul inaugural print the studio has produced over 800 editions by 135 artists and is now an integral component of the art Machnik, John Wolseley, Alicia Scobie, Heather Burness, Adrian Kellett and Sean Smith, each with their own contribution centre and community. to the Print Space. Important bodies of works such as Djalkiri (2010), Seven Sisters (2012) and Midawarr Suite (2013) are the direct result of these collaborations.

One of the few printing studios based in a remote Indigenous community, its philosophy is to provide an environment to educate, engage and strengthen the vision of Yolngu through artistic skills development and exploration of The platform provided for artists to expand their artistic endeavours has produced works included in prestigious national new techniques. awards and in exhibitions worldwide. Young participants in recent projects - Young Ones (2010) and Yuta (2012) - have begun to establish themselves as the next generation of Yolngu artists, and the Print Space offers them an empowering

It acts as a training area for emerging artists and is staffed by Indigenous printmakers. and valuable practice as a foundation on which to develop.

So for twenty years, without interruption, the Yirrkala Print Space has achieved what no other has - an Indigenous owned This celebratory retrospective exhibition gives all who have been involved in Yirrkala Print Space over 20 years - who have worked hard to ensure its success and who have never waivered in their belief that such an entity can exist and be and run remote print studio. This exhibition celebrates and attempts to promote appreciation of that achievement. successful - the chance to contemplate and reflect on their efforts. For those who contributed so significantly but are no longer around it provides an opportunity to honour and respect their involvement. And for those still working hard, it is In this time the Yolngu printmakers of the studio have produced prints using a variety of different techniques – woodblocks, the chance to share their achievements with a new audience and inspire others to believe in themselves and show that linocuts, etchings, screenprints, collagraphy and lithography. Over this period the skills learnt from Basil Hall and print creative self-empowerment is possible no matter who or where you are. coordinators Dianne Blake, Araluen Maymuru and Annie Studd have been handed down amongst the generations of Yolngu printmakers who have passed through the Yirrkala Print Space. Annie Studd, Dindirrk Mununggurr, Mawang Gumana, Yulula Marika Printmakers, Yirrkala Print Space, 2015

10 11 12 13 Early Linocuts

In 1995 when the Yirrkala Print Space began, the initial medium chosen was black and white linocut prints. The process of carving with a razor into a block of lino (similar to that used on floors) was familiar to the artists from wood carving traditions. Once covered with ink and rolled though a printing press the image appears. It was amazing that the first attempts at printmaking emerged as fully resolved fine art. An early decision was made not to chase artists but to let them enter the space at their own volition. This happened quickly and gained momentum into 1996. Another early decision was to make small editions, thus requiring the artists to return and engage with the new process more frequently.

In order to catalogue the prints, each artist TOP TO BOTTOM / 2A Dhuwarrwarr Marika Daymirri / 8B Gaymala Yunupingu Baru was given an ascending number starting at LEFT / 4A Gunbirrirr number 2. For each new print by that artist an ascending letter was assigned starting at A. As the years went by some artists produced so much work they finished the alphabet and so it moved to AA and so forth. Nyapanyapa Yunupingu’s first print 4A was a linocut in 1995, her most recent in 2015 is reference 4ZZ.

14 15 Early Colour Reduction Linocuts

The complexity of reduction linocut, introduced in 1997, enhanced and developed the artist’s printmaking understanding. The process of reduction linocut involves a series of progressive cuttings, inkings, and printings; the image slowly emerging as the original lino is destroyed. There is no going back! This was the beginning of colour in the Print Space.

‘Nyapilingu Wapitja’ the triptych by Naminapu Maymuru-White, originally editioned in black and white became a linocut reduction in 1996 under the guidance of Basil Hall. The work went on to win the Work on Paper Award at the 1998 13th Telstra National Aboriginal and Torres Strait Islander Art Awards.

LEFT / 11I Naminapu Maymuru-White Nyapilingu Wapitja RIGHT / C3 Marrnyula Mununggurr Dhanggi TOP / C4 Gaymala Yunupingu Gangalkmirri / C5 Dhuwarrwarr Marika Nyungala

16 17 Early Collagraphs

A collagraph refers to a collage of materials glued onto a ‘printing plate’ (generally a square of board). Once dry it is varnished so that it can be painted with ink and printed onto paper. Often these prints are considered mono as each one varies due to the hand-inking. By 1999 the print space had increased production and more artists had involved themselves in the new studio. It was a period when the artists were creating, inking and printing all of their own work; learning and developing while sharing new ideas, knowledge and styles in the studio.

At this time Gaymala Yunupingu began a suite of prints that talked about the effects the local mining company, Nabalco, was having on her country (‘Nabalco Suite’ 1999). These works drew on parallels between sacred animals, trees, birds and rocks to the huge mining tools as a visual metaphor. Sadly she died in 2005 but remains the most prolific print artist and the true guiding spirit of the Yirrkala Print Space.

LEFT / F Gaymala Yunupingu Hunting Baru / 48 Barrupu Yunupingu Larrakitj RIGHT / Gaymala Yunupingu Nabalco Suite 16

18 19 20 21 Early screeNPRINTS

The first screenprint made on-site at the Print Space was created in 2000. It was by Gaymala Yunupingu and editioned by Dundiwuy Mununggurr-Wunungmurra, Marrnyula Mununggurr and Dianne Blake, the printmakers at that time. This heralded a new era of printmaking in Yirrkala.

The artists painted directly onto large sheets of acetate in bright acrylic paints that were exposed onto silkscreens. For each colour a different acetate and screen were made, that was then printed one at a time onto the paper. Lining up each layer to fit perfectly required good skills of registration. The step into a world of bright colours, not traditionally used in the area, allowed the artists to explore a whole new genre of artistic storytelling. Traditional motifs printed in fluorescent pink, crocodiles that were purple, trees that were orange, it was a joyous explosion of colour and expression. It also allowed the full expression of the brush stroke to appear. Spontaneous loose vivacious

brushwork for some and for others the precise marks of the marwat – a crosshatching brush made from human hair, used in . The artist paints line by line away from their body. This system of painting is particular to Yolngu.

ABOVE / 8MM Gaymala Yunupingu Baru Right / 48Q Barrupu Yunupingu Larrakitj ga Wan’kurra 22 23 TOP LEFT / 12C Djambawa Djet / 6J Dundiwuy Wunungmurra Dhanbul wu Yolngu Marryun BOTTOM LEFT / 3Y Marrnyula Munungurr Love Me Safely / 35D Naminapu#2 Maymuru Bathi Malany ABOVE / 80 Gaymala Yunupingu Djirikitj

24 25 Japanese Woodblocks 2007

In 2007 printmaker Jacqueline Gribbin held a workshop on Japanese Woodblock prints. Designs are carved in to the woodblock and, once inked, printed onto a delicate rice paper, the back of which is burnished using a barren – a specialised tool that rubs the surface of the paper and transfers the ink. Using two or more blocks enables the use of several colours and creates works of multiple colours. The process so exacting and dynamic it is almost like a dance with a required and definite rhythm.

CLOCKWISE TOP LEFT / 11F Naminapu#1 Maymuru-White Yoku / 35I Naminuapu#2 Maymuru Rangga / 4AA Nyapanyapa Yunupingu Miyapunu / 48U Barrupu Yunupingu Djirikitj

26 27 28 29 Etchings

An etching is a print made by using either a soft or hard ground to resist acid in order to make recessed lines on a printing plate in which the coloured ink collects. The process allows for different tonal qualities across a single matrix. Colour can be applied in specific areas and the intensity of the acid etch affects the intensity of colour. Sugar lift etching refers to the ground used - a mix of paint, sugar and water which lifts away from under a hard ground and creates a soft tonal value to the printed work.

Etchings are made with a damp printmaking paper on a printing press with strong pressure. The plate used almost exclusively at Yirrkala is one made of zinc.

LEFT / 23I Boliny Wanambi Wakun / 16C Yalmakany Marawili Gurrtjpi

30 31 Berndt Crayon Etchings 2008

In 1947, on a field trip to Yirrkala, anthropologist R.M.Berndt collected 365 crayon drawings done by the men on butcher’s paper. These extraordinary drawings were the inspiration for a print project. The original crayons went on to be exhibited nationally and internationally as the Yirrkala Drawings.

The use of pencils on soft ground etching plates (coated with wax which is displaced by the pencil) recaptured the feel of the works from sixty years ago. Gathering together the direct descendants of the original drawings all artists were reconnected to their forbearers and the images and law the drawings held. Basil Hall was instrumental in introducing this technique to the Yirrkala printmakers. The collection of prints are astonishing in their colour and texture.

RIGHT / 69A Nyangungu Marawili Gapu Mungurru / 77A Marrirra Marawili Limbarrki TOP TO BOTTOM LEFT / 32C Gawirrin Gumana Garrapara / 3DD Marrnyula Mununggurr Djapu Design TOP TO BOTTOM / 71A Mawindi / 49M Mangatharra Miny’tji TOP TO BOTTOM RIGHT / 24M Nongirrnga Marawili Baniyala Story / 2V Dhuwarrwarr Marika Dhambaliya / 48W Barrupu Yunupingu 32 33 String Figure Prints

As part of the 1948 American-Australian Scientific Expedition to Arnhem Land anthropologist Frederick McCarthy concentrated on collecting and recording string figures. Working with Ngarrawu Mununggurr as his principal guide and collaborator, he made a collection of string figures, constituting one fifth of all ‘known’ string figures in the world at the time, which remains the largest of its kind – that is collected at a single time and place, from a single community, 193 in total. Made by slipping the finished figure off the maker’s hands and affixing it onto a cardboard support the ephemeral nature of string figure making as a performance process was thus turned into a fixed and stable two-dimensional form. These mounted figures, both strange and beautiful, the product of a cross-cultural encounter between Yolngu and western anthropology, inspired a further exchange in a series of String Figure prints.

In Yirrkala in 2010, five string figure designs were transferred by the artists from their hands to a cardboard support, and then pressed and secured. In Canberra, with printmaker Heather Burness, they were placed on etching plates treated with a soft-ground medium, and run through the press, leaving an imprint capturing the fine textured detail of the bush string. The acid biting into the metal plate then made these marks permanent and replicable. In the lines of the figures can be read the controlled manipulation of the string to form a pattern, against which play the random energies of chance.

In 2013, after a request by the MCA for their exhibition ‘String Theory’, another seven string figures were captured onto a soft ground plate and sent to Basil Hall Editions for editioning.

LEFT / 130A Dhunhdhunga Mununggurr Dapal (caterpillar) TOP TO BOTTOM / 15G Mulkun Wirrpanda Biyay (goanna) / 22D Gundimulk Wanambi Lipa Lipa (canoe) 34 35 36 37 Ngarra - Young Ones Portraits 2010

In 2010 a workshop aimed at disengaged youth, facilitated by Alicia Scobie and the local school, produced Ngarra – Young Ones Portraits a set of self-portraits made by the youth of Yirrkala. Nothing like them had ever been produced at Yirrkala before. They owed nothing to the established Yirrkala art styles or authority nor relied on any sacred knowledge or previous art production experience but instead employed digital photography; photocopying and chine-colle linocut printing that produced a contemporary ‘Facebook’ feel.

An expanding group continued to attend the Print Space one day a week to edition their self-portrait prints. This phase went from early September 2009 until the end of 2010. The pool of involved young people swelled weekly. In the end 35 artists created 38 images.

The Print Space is an area for young emerging artists to develop and hone their skills and ideas and this project gave an opportunity for these young people to portray themselves in a contemporary manner in order to gain the confidence to tackle issues concerning their remote community and life.

ABOVE LEFT TO RIGHT / 87B Munuy’ngu Marika Ngarra / 114A Burrthi Marika Ngarra / 101B Bulmirri Yunupingu Ngarra RIGHT / 107B Djuwakan#2 DJ Marika Ngarra 38 39 LEFT / 80E Gunybi Ganambarr Dhuwa Man / RIGHT / 80D Gunybi Ganambarr Yirritja Women

Gunybi Portraits 2013

A visit by renowned Canadian printmaker Paul Machnik in 2013 pioneered a new etching technique other an idealised Dhuwa Ngaymil man. Gunybi is from the Ngaymil clan implying that this is a for the print space. Gunybi Ganambarr is renowned for his innovative and groundbreaking approach self-portrait to match that of his wife, a Mardarrpa clan woman. On her face the miny’tji (sacred design) to the traditional realms of Yolngu art. Using a sharp needle tool he scratched into the surface of is glowing: the intensity of the beauty/fire causes men to shield their eyes. And if they are drawn in aluminium plates these two extraordinary portraits. One, an idealised Yirritja Madarrpa woman; the too close they will be consumed by it. His Dhuwa man reflects the strengths of the Barracuda.

40 41 Seven Sisters 2012

A constellation of seven sisters in the sky inspired a body of prints created by seven Gumatj clan sisters in 2012. Each sister created her own large print as well as a single star that was arranged in a constellation to form ‘The Seven Sisters Collaboration’.

The Yunupingu sisters were all great artists and three in particular, Gulumbu Yunupingu, Barrupu Yunupingu and Nyapanyapa Yunupingu, involved themselves heavily in the Print Space and created bodies of work that show their exceptional artistic expertise.

Each artist, with their distinctive individual styles, earned titles relating directly to their personal imagery – the Star Lady, the Fire Lady and Lady Garkgark. Two of these celebrated artists have tragically passed but their prints and artistic legend are commemorated in this collection of their work from 20 years.

42 43 CLOCKWISE LEFT / 49D Gulumbu Yunupingu Garak / 4GG Nyapanyapa Yunupingu Bukmak Mulmu / 4YY Nyapanyapa Yunupingu Seven Sisters / 48A Barrupu Yunupingu Gurtha CLOCKWISE ABOVE / 49R Gulumbu Yunupingu Ganyu / 48BB Barrupu Yunupingu Gurtha / 4T Nyapanyapa Yunupingu Guny’tjulu / 48BB Barrupu Yunupingu Gurtha / 49W Gulumbu Yunupingu Ganyu

44 45 46 47 Djalkiri – We are Standing on their Names 2010

This was one of the earliest collaborative projects that the Print Space was involved in. Initiated by Nomad Art in Darwin (long term representatives of the Print Space) it brought ethnobotanists, anthropologists and ceremonial leaders together with Yolngu and Balanda artists. Fiona Hall, John Wolseley and Jorg Schmeisser worked with Judy Watson, Djambawa Marawili, Mulkun Wirrpanda, Marrnyula Mununggurr and others at the remote homeland of Yilpara to produce a superlative suite of prints reflective of the place from so many different perspectives.

LEFT / 12I Djambawa Marawili Garrangali ABOVE / 3GG Marrnyula Mununggurr Bawu

48 49 Mother / Daughter

Banduk Marika is the best known print artist from Yirrkala and one of the most famous Indigenous print artists in the country. She began to work in lino as early as 1980, decades before the Yirrkala Print Space existed. She has frequently produced prints through Yirrkala Print Space since her return to the community. Maybe it is not surprising, that Banduk’s daughter, Ruby Djikarra Alderton, became one of the youngest and best printmakers and artists to work in the studio. Her leadership was crucial in the success of the Yuta Project and drawing young people into work at the studio. Her involvement signalled a generational change in the art centre.

RIGHT / 14M Banduk Marika Miny’tjinharra LEFT / 115Q Ruby Djikarra Alderton Yathiny / 115O Ruby Djikarra Alderton Yalangbara

50 51 Midawarr Suite 2013

The Midawarr Suite is a collection of woodblocks as a result of collaboration between Mulkun Wirrpanda and John Wolseley. Mulkun Wirrpanda is a senior female artist for the Dhudi-Djapu clan from Dhuruputjpi. John Wolseley is a contemporary Australian artist whose work is represented in all major Australian public art galleries.

In 2009 the two artists were part of Djalkiri a collaborative print-based art project at Yilpara. Later Mulkun adopted John as her wawa or brother, and gave him the name Langgurrk. In each of the following years they have spent a week or two together in the Miwatj region every Midawarr, or harvest season, when many of the little known root foods are ripe. The two have hunted rare plants, eaten the unique tropical yams and tubers and painted them. Since 2009 John Wolseley has also been making drawings, woodcuts and large works on paper about the same plants and landscape. Innovation occurred when John sent Mulkun some slabs of ancient Huon pine. She began to carve the rare plants into the wood - the nature of which with its textural grains and nuances lent itself to her topic.

Two of these woodblocks were printed onto original and unique Handmade Stringybark Paper made by Winsome Jobling in Darwin. This paper is made from the volume of excess bark trimmed from Buku-Larrnggay Mulka’s regular Wet Season bark harvest.

RIGHT / 15S Mulkun Wirrpanda Rakay #4 52 53 54 55 The young participants were given cameras and sent into their community to photograph images of local

The Yuta Project 2012 scenes, places or people, capturing the elements relevant and important to their daily lives. With

In early 2012 Sean Smith from The Ownership Photoshop manipulated images and hand drawn Project alongside permanent printmakers Annie illustrations printed together, the Yuta prints are Studd and Ruby Djikarra Alderton facilitated a complex and resolved works of art that have been workshop which saw a body of unique digital appreciated by audiences both nationally and globally. screenprints created by the youth of Yirrkala. In 2014 the UNESCO online journal published an The aim of this workshop was to empower article examining the Yuta Project and its positive youth by providing a safe space where they effect on the young artists and community. could involve themselves artistically without boundaries or judgment. The project directly targeted youth who were not engaged with mainstream schooling and were at risk from substance abuse, suicide, teenage pregnancy and violence, lack of motivation and low

RIGHT / 125A Ishmael Marika Sunset Tower / 126E Mikey Gurruwiwi Petrol Sniffer / self-confidence. 117D Dhalmula Burarrwanga Milkarri (tear) TOP TO BOTTOM / 107C Djuwakan#2 Marika Mari / 115P Ruby Djikarra Alderton The Hunter / 92G Gurmarrwuy Yunupingu Matpana

56 57 58 59 Gapan Gallery

The main event each year since 2003 is the Gapan Gallery held out at the Garma Festival in August. In a dell of stringy bark trees on the edge of the escarpment an outdoor gallery is created each year by clearing the forest floor, covering it with white sand, painting the trees in gapan - the local white clay – and hanging the framed prints in the trees. This annual exhibition is the primary focus for the printmakers and artists. At this special event the work of that year premieres. The studio is making and editioning work on a daily basis. A theme naturally develops between the festivals and focuses the print space; a visiting printmaker might come and influence the work; an exchange, collaboration, a workshop, or an artistic push to develop an idea; all of these things shape and mould the direction the prints take in a year.

Drawing from the well of knowledge and expertise gained over the years or from reaching out to learn more, the prints from recent years are a diverse assortment of twenty years acquired learning.

ABOVE / 24T Nongirrnga Marawili Lightning and The Rock (detail) RIGHT / 134A Garawan Wanambi Marrangu

60 61 Afterword

Yirrkala Print Space is always a hub of activity. It always has been.

It’s not unusual for an artist to arrive with a fully formed idea in mind, demanding the means to realise it. At other times the print staff might grab a visiting homeland artist and get them working on a plate. It could be a lithograph from an exchange with Native American artists; an embossed print created from a collaboration with Basil Hall; a linocut from an award-winning bark artist; a small subtle etching or a large bright screenprint, usually made to the tune of loud R&B and the squeak of the roller. These are the daily layers and levels of the Yirrkala Print Space.

Somehow in one of ’s remotest areas a space has been created where high standards of excellence in printmaking and creativity have flourished and been persistently maintained in a humble and thoughtful way. It is only now in looking back that we can really appreciate how special this journey has been and share it with a wider audience.

The Yolngu word Balnhdhurr describes the situation where one group goes on ahead but wants to leave a message for those following behind. An impression is scratched into the ground with a sign directing the future viewer to follow the right path. And so it is here.

62 63 64 65 LIST O F W RKS Early Linocuts Manunu Wunungmurra Barrupu Yunupingu Gulumbu Yunupingu Marrnyula Mununggurr Nyangungu Marawili Gunybi Portraits 2013 Naminapu#1 Maymu- Yuta Project 2012 2011-2015 Manda Larrakitj ga Wan’kurra Ganyu Djapu Design Dhamula (sea eagle) ru-White Dhuwarrwarr Marika collagraph 1999 screenprint 2006 etching 2011 etching 2008 soft ground etching 2013 Gunybi Ganambarr Yoku Mikey Gurruwiwi Malaluba Gumana Daymirri image size 50 x 30 cm image size 66 x 46.5 cm image size 18.5 x 13.5 cm image size 50 x 25 cm image size 49 x 39 cm Yirritja Women japanese woodblock 2007 Petrol Sniffer Garrimala linocut 1996 M monoprint 48Q edition 30 49W edition 100 3DD edition 30 69C edition 20 etching 2013 image size 30 x 15 cm photographic screenprint linocut 2011 image size 37 x 26 cm image size 40 x 40 cm 11F edition 10 2012 image size 54.5 x 41.5 cm 2A edition 50 Dundiwuy Wunungmurra Djambawa Marawili Nyapanyapa Yunupingu Nongirrnga Marawili Dhunhdhunga Mununggurr 80D edition 30 image size 30 x 21 cm 76C edition 50 Madi Djet Bukmak Mulmu Baniyala Story Dapal (caterpillar) Barrupu Yunupingu 126E edition 10 Marrnyula Mununggurr collagraph 1999 screenprint 1997 etching 2009 etching 2008 soft ground etching 2013 Gunybi Ganambarr Djirikitj Djalinda Yunupingu Ganngal ga Djarrwit image size 50 x 30 cm image size 67 x 49 cm image size 25 x 50 cm image size 25 x 50 cm image size 59 x 25 cm Dhuwa Man japanese woodblock 2007 Ishmael Marika Yathiny linocut 1996 AA monoprint 12C edition 45 4GG edition 20 24M edition 30 130A edition 20 etching 2013 image size 15 x 30 cm Sunset Tower etching 2015 image size 30 x 30 cm image size 40 x 40 cm 48U edition 10 photographic screenprint image size 40 x 40 cm 3A edition 50 Gaymala Yunupingu Marrnyula Mununggurr Nyapanyapa Yunupingu Barrupu Yunupingu 80E edition 30 2012 66H edition 30 Hunting Baru Michael Long Bayini Yothu Yindi Ngarra - Young Ones Nyapanyapa Yunupingu image size 30 x 21 cm Nyapanyapa Yunupingu collagraph 1999 screenprint 2002 etching 2012 etching 2008 Portraits 2010 Miyapunu 125A edition 5 Nongirrnga Marawili Gunbirrirr image size 50 x 30 cm image size 47 x 33 cm image size 25 x 20 cm image size 25 x 50 cm Mother / Daughter japanese woodblock 2007 Lightning and The Rock linocut 1996 F monoprint 3R edition 50 4OO edition 30 48W edition 30 Munuy’ngu Marika image size 15 x 30 cm Mikey Gurruwiwi screenprint 2014 image size 26 x 38 cm Ngarra Banduk Marika 4AA edition 10 Ngarra image size 59 x 25 cm 4A edition 50 Barrupu Yunupingu Marrnyula Mununggurr Nyapanyapa Yunupingu Marrirra Marawili photographic linocut 2010 Miny’tjinharra photographic screenprint 24T edition 50 Larrakitj Garma (Gapan Gallery) Guny’tjulu Limbarrki image size 30 x 21 cm screenprint 2006 2009-2010 2012 Gaymala Yunupingu collagraph 1999 screenprint 2004 etching 2004 etching 2008 87B edition 5 image size 68.5 x 46 cm image size 30 x 21 cm Nongirrnga Marawili Baru image size 50 x 30 cm image size 59 x 49 cm image size 31 x 23 cm image size 50 x 25 cm 14M edition 80 Mulkun Wirrpanda 126D edition 6 Teacup linocut 1996 48 monoprint 3U edition 30 4T edition 40 77A edition 30 Burrthi Marika Darranggi etching 2013 image size 26 x 37 cm Ngarra Ruby Djikarra Alderton collagraph 2010 Djuwakan#2 Marika image size 40 x 40 cm 8B edition 50 Marrnyula Mununggurr Nyapanyapa Yunupingu Nyangungu Marawili photographic linocut 2010 Yalangbara image size 30 x 50 cm Mari 24R edition 30 Nabalco Suite Love Me Safely Seven Sisters Gapu Mungurru image size 30 x 21 cm etching 2012 15E edition 15 photographic screenprint screenprint 2005 etching 2014 etching 2008 114A edition 3 image size 25 x 20 cm 2012 Wukun Wanambi Early Colour Reduction Gaymala Yunupingu image size 64.5 x 51 cm image size 32 x 30 cm image size 50 x 25 cm 115O edition 30 Laklak#2 Ganambarr image size 21 x 30 cm Wawurritjpal Linocuts Nabalco Suite 16 3Y edition 30 4YY edition 30 69A edition 30 Milika Marika Maccassan Boat 107C edition 8 etching 2011 collagraph 1999 Ngarra Ruby Djikarra Alderton collagraph 2010 image size 48.5 x 48.5 cm Naminapu#2 Maymuru Dhuwarrwarr Marika image size 30 x 30 cm Barrupu Yunupingu Gawirrin Gumana photographic linocut 2010 Yathiny image size 25 x 50 cm Dhalmula Burarrwanga 57L edition 10 Bathi Malany Nyungala monoprint Gurtha Garrapara image size 30 x 21 cm etching 2012 73A edition 30 Milkarri (tear) screenprint 2001 reduction linocut 1997 etching 2011 etching 2008 112A edition 5 image size 15 x 34 cm photographic screenprint Garawan Wanambi image size 39 x 47 cm image size 26 x 37 cm image size 18.5 x 13.5 cm image size 50 x 25 cm 115Q edition 30 Boliny Wanambi 2012 Marrangu 35D edition 35 C5 edition 10 Early Screenprints 48BB edition 100 32C edition 30 Djakala Wurramarrba Wakun image size 30 x 21 cm etching 2015 Ngarra sugar lift etching 2009 117D edition 8 image size 40 x 40 cm Gaymala Yunupingu Marrnyula Mununggurr Dundiwuy Wunungmurra Barrupu Yunupingu Dhuwarrwarr Marika photographic linocut 2010 Midawarr Suite 2013 image size 50 x 25 cm 134A edition 30 Djirikitj Gandhurrminy Yunupingu Dhanggi Dhanbul wu Yolngu Marryun Gurtha Dhambaliya image size 21 x 30 cm 23I edition 20 screenprint 1998 Djamarrkuli II Burrthi Marika reduction linocut 1997 screenprint 2001 Screenprint 2001 etching 2008 105A edition 4 Mulkun Wirrpanda image size 40 x 40 cm Rakay #4 Nawurapu Wunungmurra photographic screenprint Ngarrpiya image size 37 x 25 cm image size 48 x 40 cm image size 40 x 30 cm image size 25 x 50 cm 8O edition 22 Muluyulk#2 Marika woodblock 2013 Garrapara 2012 linocut 2014 C3 edition 10 6J edition 20 48A edition 10 2V edition 30 Ngarra image size 102 x 38 cm sugar lift etching 2009 image size 30 x 21 cm image size 27 x 29 cm

photographic linocut 2010 15S edition 30 image size 50 x 25 cm 108C edition 5 114C edition 30 Gaymala Yunupingu Dundiwuy Wunungmurra Barrupu Yunupingu Seven Sisters 2012 image size 21 x 30 cm 75B edition 20 Gangalkmirri Yolngu Cultural Way of Life Gurtha String Figure Prints 119A edition 5 Mulkun Wirrpanda Barrata Marika Ruby Djikarra Alderton reduction linocut 1997 screenprint 2002 reduction linocut 2011 Gulumbu Yunupingu, Nyapa- Rakay #3 Yalmakany Marawili Sky and Earth Rulyapa image size 26 x 37 cm image size 46 x 62 cm image size 30 x 30 cm Mulkun Wirrpanda nyapa Yunupingu, Barrupu Djuwakan#2 DJ Marika woodblock on handmade Gurrtjpi photographic screenprint etching 2013 C4 edition 9 6K edition 20 48AA edition 30 Biyay (goanna) Yunupingu, Dhopiya Yunupin- Ngarra stringy bark paper 2013 sugar lift etching 2009 2012 image size 25 x 20 cm gu, Djerrkngu Yunupingu, soft ground etching 2010 photographic linocut 2010 image size 54.5 x 28.5 cm image size 50 x 25 cm image size 30 x 21 cm 115U edition 30 Nongirrnga Marawili Djakanngu Yunupingu, image size 21 x 47 cm image size 30 x 21 cm 15W edition 30 16C edition 20 99H edition 8 Triptych Dhambilingu ga Bonba Ranydjupi Yunupingu Berndt Crayon Etchings 15G edition 15 107B edition 5 Nyapanyapa Yunupingu screenprint 2003 Seven Sisters Collaboration 2008 Mulkun Wirrpanda Ruby Djikarra Alderton Mowdarri Naminapu Maymuru-White image size 52 x 64 cm etching 2012 Gundimulk Wanambi Bulmirri Yunupingu Rakay #2 Djalkiri - We are The Hunter etching 2015 Nyapilingu Wapitja 24I edition 34 image size 50 x 100 cm Galarrwuy Yunupingu Lipa Lipa (canoe) Ngarra woodblock on handmade Standing on Their photographic screenprint image size 40 x 40 cm reduction linocut 1996 129A edition 20 Mawindi soft ground etching 2010 photographic linocut 2010 stringy bark paper 2013 Names 2010 2012 4ZZ edition 30 image size 138 x 21 cm Nyapanyapa Yunupingu etching 2008 image size 21 x 39 cm image size 30 x 21 cm image size 54.5 x 28.5 cm image size 21 x 30 cm 11I edition 50 Hunting Dhawu Gulumbu Yunupingu image size 50 x 25 cm 22D edition 15 101B edition 4 15P edition 30 Djambawa Marawili 115P edition 8 Djirrirra Wunungmurra screenprint 2001 Garak 71A edition 30 Garrangali Yukuwa image size 47 x 39 cm screenprint 2002 Djerrkngu Marika etching 2010 Gurmarrwuy Yunupingu lithograph 2013 Early Collagraphs 4G edition 21 image size 48 x 33 cm Gulumbu Yunupingu Waterhole Japanese Woodblocks image size 50 x 62 cm Matpana image size 30 x 35 cm 49D edition 20 Mangatharra Miny’tji soft ground etching 2013 2007 12I edition 40 photographic screenprint 123D edition 15 Nyapanyapa Yunupingu Gaymala Yunupingu etching 2008 image size 59 x 24 cm 2012 Detj Baru Gulumbu Yunupingu image size 50 x 25 cm 85C edition 20 Naminuapu#2 Maymuru Marrnyula Mununggurr image size 21 x 30 cm collagraph 1999 screenprint 2004 Ganyu 49M edition 30 Rangga Bawu 92D edition 4 image size 50 x 30 cm image size 62 x 45.5 cm reduction linocut 2011 japanese woodblock 2007 etching 2010 4 monoprint 8MM edition 30 image size 50 x 43 cm image size 30 x 15 cm image size 38 x 50 cm 49R edition 100 35I edition 10 3GG edition 40

66 67 ACKNOWLEDGEMENTS

Twenty years of Yirrkala Print Space would not have been possible without all of the Yolngu printmakers and artists and the help of Don Whyte, Basil Hall (and his team at Basil Hall Editions), Rose and Angus Cameron, Denise Salvestro, Neil Lanceley, Steve Fox, Andrea Kingston, Aimee Anderson, John Wolseley, Caitlyn Gibson, Cassandra Gill, Sean Smith, Jeremy Cloake, Leesi Guerin, Paul Machnik, Jacqueline Gribbin, Merran Sierakowski, Howard and Frances Morphy, Gillian Hutcherson, Simon White, Dianne Agnew, Cynthia Coyne, Alicia Scobie, Heather Burness, Adrian Kellett, Robyn McKenzie, Pep Phelan, Dianne and Andrew Blake, Will Stubbs, Kade McDonald and Annie Studd. YP

2015 first edition Balnhdhurr - A Lasting Impression © Copyright Buku-Larrnggay Mulka Centre © Copyright in all art, photography, writing and translation remains with the artists, photographers, writers and translators.

Editor: Annie Studd National Library of Australia Cataloguing-in-Publication entry Title: BALNHDHURR; A Lasting Impression Edition: First Edition ISBN: 978-0-646-94519-4 (paperback) Notes: Includes index Subjects: Yirrkala-Indigenous Art-Printmaking-Yirrkala Print Space--Buku-Larrnggay Mulka Centre Contributors: Annie Studd, Will Stubbs, Dindirrk Mununggurr, Mawang Gumana, Yulula Marika, Fiona Morrison, Peter Eve, Buku-Larrnggay Mulka Centre All photos of artwork are by Fiona Morrison Photography. All photos of people/area are courtesy of Buku-Larrnggay Mulka Inc. Page 61 Gapan Gallery. Image © Yothu Yindi Foundation, Garma 2014. Photographer Peter Eve. BALNHDHURR - A LASTING IMPRESSION YIRRKALA PRINT SPACE

BALNHDHURR - A LASTING IMPRESSION