Aboriginal Art the Thomas Vroom Collection
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ................... -
Sorry Day Is a Day Where We Remember the Stolen Generations
Aboriginal Heritage Office Yarnuping Education Series Ku-ring-gai, Lane Cove, North Sydney, Northern Beaches, Strathfield and Willoughby Councils © Copyright Aboriginal Heritage Office www.aboriginalheritage.org Yarnuping 5 Sorry Day 26th May 2020 Karen Smith Education Officer Sorry Day is a day where we remember the Stolen Generations. Protection & Assimilation Policies Have communities survived the removal of children? The systematic removal and cultural genocide of children has an intergenerational, devastating effect on families and communities. Even Aboriginal people put into the Reserves and Missions under the Protectionist Policies would hide their children in swamps or logs. Families and communities would colour their faces to make them darker. Not that long after the First Fleet arrived in 1788, a large community of mixed ancestry children could be found in Sydney. They were named ‘Friday’, ‘Johnny’, ‘Betty’, and denied by their white fathers. Below is a writing by David Collins who witnessed this occurring: “The venereal disease also has got among them, but I fear our people have to answer for that, for though I believe none of our women had connection with them, yet there is no doubt that several of the Black women had not scrupled to connect themselves with the white men. Of the certainty of this extraordinary instance occurred. A native woman had a child by one of our people. On its coming into the world she perceived a difference in its colour, for which not knowing how to account, she endeavoured to supply by art what she found deficient in nature, and actually held the poor babe, repeatedly over the smoke of her fire, and rubbed its little body with ashes and dirt, to restore it to the hue with which her other children has been born. -
Indigenous Australian Art in Intercultural Contact Zones
Coolabah, Vol.3, 2009, ISSN 1988-5946 Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona Indigenous Australian art in intercultural contact zones Eleonore Wildburger Copyright ©2009 Eleanore Wildburger. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged Abstract: This article comments on Indigenous Australian art from an intercultural perspective. The painting Bush Tomato Dreaming (1998), by the Anmatyerre artist Lucy Ngwarai Kunoth serves as model case for my argument that art expresses existential social knowledge. In consequence, I will argue that social theory and art theory together provide tools for intercultural understanding and competence. Keywords: Indigenous Australian art and social theory. Introduction Indigenous Australian artworks sell well on national and international art markets. Artists like Emily Kngwarreye, Clifford Possum Tjapaltjarri, Kathleen Petyarre are renowned representatives of what has become an exquisite art movement with international appreciation. Indigenous art is currently the strongest sector of Australia's art industry, with around 6,000 artists producing art and craft works with an estimated value of more than A$300 million a year. (Senate Committee, 2007: 9-10) At a major Indigenous art auction held in Melbourne in 2000, Johnny Warangkula Tjupurrula's famous painting Water Dreaming at Kalipinypa was sold for a record price of A$ 486,500. Three years before, it was auctioned for A$ 206,000. What did Johnny W. Tjupurrula receive? – just A$ 150 when he sold that painting in 1972. (The Courier Mail, 29 July 2000) The Süddeutsche Zeitung (06 September 2005) reports that Clifford Possum Tjapaltjarri received A$ 100 for his painting Emu Corroboree Man in 1972. -
Aboriginal Art - Resistance and Dialogue
University of New South Wales College of Fine Arts School of Art Theory ABORIGINAL ART - RESISTANCE AND DIALOGUE The Political Nature and Agency of Aboriginal Art A thesis submitted by Lee-Anne Hall in fulfilment of the requirements for the degree of Master of Art Theory CFATH709.94/HAL/l Ill' THE lJNIVERSllY OF NEW SOUTH WALES COLLEGE OF FINE ARTS Thesis/Project Report Sheet Surnune or Funily .nune· .. HALL .......................................................................................................................................................-....... -............ · · .... U · · MA (TH' rn ....................................... AbbFinlname: . ·......... ' ....d ........... LEE:::ANNE ......................lend.............. ................. Oher name/1: ..... .DEBaaAH. ....................................- ........................ -....................... .. ,CVlalJOn, or C<ltal &1YCOIn '"" NVCfllt)'ca It:.... ..................... ( ............................................ School:. .. ART-����I��· ...THEORY ....... ...............................··N:t�;;�?A�c·���JlacjTn·ar··................................... Faculty: ... COLLEGE ... OF. ...·Xr"t F.J:blll:...................... .AR'J: ..................... .........................-........................ n,1e:........ .................... •••••••••••••••••••••••••••••••••• .. •••••• .. •••••••••••••••••••••••••• .. •• • .. ••••• .. ••••••••••• ..••••••• .................... H ................................................................ -000000000000••o00000000 -
Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30
Art Aborigène, Australie Samedi 10 décembre 2016 à 16h30 Expositions publiques Vendredi 9 décembre 2016 de 10h30 à 18h30 Samedi 10 décembre 2016 de 10h30 à 15h00 Expert Marc Yvonnou Tel : + 33 (0)6 50 99 30 31 Responsable de la vente Nathalie Mangeot, Commissaire-Priseur [email protected] Tel : +33 (0)1 48 00 94 24 / Port : +33 (0)6 34 05 27 59 En partenariat avec Collection Anne de Wall* et à divers collectionneurs australiens, belges, et français La peinture aborigène n’est pas une peinture de chevalet. Les toiles sont peintes à même le sol. L’orientation des peintures est le plus souvent un choix arbitraire : c’est à l’acquéreur de choisir le sens de la peinture. Des biographies se trouvent en fin de catalogue. Des certificats d’authenticité seront remis à l’acquéreur sur demande. * co-fondatrice du AAMU (Utrecht, Hollande) 2 3 - - Jacky Giles Tjapaltjarri (c. 1940 - 2010) Eileen Napaltjarri (c. 1956 - ) Sans titre, 1998 Sans titre, 1999 Acrylique sur toile - 45 x 40 cm Acrylique sur toile - 60 x 30 cm Groupe Ngaanyatjarra - Patjarr - Désert Occidental Groupe Pintupi - Désert Occidental - Kintore 400 / 500 € 1 300 / 400 € - Anonyme Peintre de la communauté d'Utopia Acrylique sur toile - 73 x 50,5 cm Groupe Anmatyerre - Utopia - Désert Central 300/400 € 4 5 6 - - - Billy Ward Tjupurrula (1955 - 2001) Toby Jangala (c. 1945 - ) Katie Kemarre (c. 1943 - ) Sans titre, 1998 Yank-Irri, 1996 Awelye; Ceremonial Body Paint Design Acrylique sur toile - 60 x 30 cm Acrylique sur toile - 87 x 57 cm Acrylique sur toile Groupe Pintupi - Désert Occidental Groupe Warlpiri - Communauté de Lajamanu - Territoire du Nord 45 x 60 cm Cette toile se réfère au Rêve d’Emeu. -
Indigenous Women's Preferences for Climate Change Adaptation And
Indigenous women’s preferences for climate change adaptation and aquaculture development to build capacity in the Northern Territory Final Report Lisa Petheram, Ann Fleming, Natasha Stacey, and Anne Perry Indigenous women’s preferences for climate change adaptation and aquaculture development to build capacity in the Northern Territory Charles Darwin University Northern Territory Government Australian National University LISA PETHERAM, ANN FLEMING, NATASHA STACEY AND ANNE PERRY Published by the National Climate Change Adaptation Research Facility ISBN: 978-1-925039-55-9 NCCARF Publication 84/13 © 2013 Charles Darwin University This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the copyright holder. Please cite this report as: Petheram, L, Fleming, A, Stacey, N and Perry, A 2013 Indigenous women’s preferences for climate change adaptation and aquaculture development to build capacity in the Northern Territory, National Climate Change Adaptation Research Facility, Gold Coast, pp. 44. Acknowledgement This work was carried out with financial support from the Australian Government (Department of Climate Change and Energy Efficiency) and the National Climate Change Adaptation Research Facility. The views expressed herein are not necessarily the views of the Commonwealth or NCCARF, and neither the Commonwealth nor NCCARF accept responsibility for information or advice contained herein. The role of NCCARF is to lead the research community in a national interdisciplinary effort to generate the information needed by decision-makers in government, business and in vulnerable sectors and communities to manage the risk of climate change impacts. The authors would like to express their gratitude to the Warruwi community for their participation and support in this project. -
Origines•210708-88P-2 30/06/08 16:07 Page 1
Origines•210708-88p-2 30/06/08 16:07 Page 1 Origines•210708-88p-2 30/06/08 16:07 Page 2 Origines•210708-88p-2 30/06/08 16:07 Page 1 ART AFRICAIN, OCÉANIEN, L’AMÉRIQUE PRÉCOLOMBIENNE, PEINTURES ABORIGÈNES D’AUSTRALIE ET ART ANIMISTE DE L’HIMALAYA VENTE LE LUNDI 21 JUILLET 2008 À 17H00 DANS LES SALONS DE L’HÔTEL MARTINEZ 73, Boulevard de la Croisette - 06400 Cannes BESCH CANNES AUCTION Maître Jean-Pierre Besch, commissaire-priseur habilité SVV n° 2002-034 45, Boulevard de la Croisette, 06400 Cannes Tel : 33 (0) 4 93 99 33 49 – 33 (0) 4 93 99 22 60 Fax : 33 (0) 4 93 99 30 03 [email protected] www.cannesauction.com CABINET D’EXPERTISE ORIGINE Serge Reynes, Expert Assisté de Marc Yvonnou, pour l’Art aborigène. 166, Rue Etienne Marcel 93100 Montreuil Tel : 33 (0)1 48 57 91 46 Fax : 33 (0)1 48 57 68 18 www.serge-reynes.org GALERIE EBURNE Joël Bernard, Expert 30, Rue des Tournelles 75004 Paris EXPOSITION CHEZ L’EXPERT Du mardi 1er au vendredi 11 juillet 2008 (sur rendez-vous) EXPOSITION À L’HÔTEL MARTINEZ Vendredi 18 juillet de 17H à 20H Samedi 19 et dimanche 20 juillet de 10H à 19H Lundi 21 juillet de 10H à 12H30 Origines•210708-88p-2 30/06/08 16:08 Page 2 ART DES AMÉRIQUES PRÉOLOMBIENNES 2 3 4 1 VASE ÉTRIER. La panse est modelée de deux têtes de 3 VASE ÉTRIER. La panse ovoïde, à sommet discoïdal, est chevreuil. Terre cuite avec engobe brun. -
Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases. -
Breasts, Bodies, Art Central Desert Women's Paintings And
csr 12.1-02 (16-31) 3/8/06 5:36 PM Page 16 Central Desert Women’s Paintings and the breasts, bodies, art Politics of the Aesthetic Encounter JENNIFER L BIDDLE This paper is concerned with a culturally distinctive relationship between breasts and contemporary art from Central Desert Aboriginal women, specifically, recent works by Emily Kame Kngwarreye, Kathleen Petyarre and Dorothy Napangardi.1 Contra to the dominant interpretation of these paintings as representations of ‘country’—cartographic ‘maps’ of the landscape, narratives of Dreaming Ancestors, flora, fauna, species—my argument is that these works bespeak a particular breasted experience and expression, a cultural way of doing and being in the world; what I want to call a breasted ontology. I want to suggest that this breasted ontology is literally manifest in the ways in which these paintings are produced and, in turn, are experienced by the viewer. That is, these works arguably engender a bodily relation between viewer and image which is not about spectatorship. This viewing relation is not a matter of a viewing subject who, kept at a distance, comprehends an object of ocular focus and vision; rather, this relation instead is one in which the viewer relinquishes her sense of separateness from the canvas, where a certain coming- into-being in relation to the painting occurs. One does not so much know these works cognitively as lose oneself in them. Through viewing these works, as it were, one becomes vulnerable to their sensibilities in so far as they incite an enmeshment, an enfolding, and encapturing even in their materiality. -
Kathleen Petyarre
KATHLEEN PETYARRE Dates : c.1930 - 2018 Lieu de résidence : Atnangker, près d’Alice Springs en Australie Langues : Anmatyerre Support : batik sur soie, peinture acrylique sur toile Thèmes : Arnkerrth (Mountain Devil Lizard Dreaming), Green Pea Dreaming, Women Hunting Ankerr (emu), Arengk (Dingo Dreaming) EXPOSITIONS INDIVIDUELLES 2008 • Kathleen Petyarre - 2008, Metro 5 Gallery, Melbourne 2004 • Old Woman Lizard, Coo-ee Aboriginal Art, Sydney 2003 • Ilyenty - Mosquito Bore, Recent Paintings, Alcaston Gallery, Melbourne, Australie 2001 • Genius of Place: The work of Kathleen Petyarre, Museum of Contemporary Art, Sydney, Australie • New Paintings by Kathleen Petyarre, Gallerie Australis & Coo-ee Gallery, at Mary Place Gallery, Paddington, Australie 2000 • Landscape: Truth and Beauty, Recent Paintings by Kathleen Petyarre, Alcaston Gallery 1999 • Recent Paintings by Kathleen Petyarre, Coo-ee Gallery, Mary Place, Sydney, Australie Biographie Kathleen Petyarre 19/12/18 1 / 10 ARTS D’AUSTRALIE • STEPHANE JACOB, PARIS 1998 • Arnkerrthe - My Dreaming, Alcaston Gallery, Melbourne, Australie 1996 • Kathleen Petyarre - Storm in Aknangkerre Country, Alcaston House Gallery, Melbourne, Australie EXPOSITIONS COLLECTIVES (SELECTION) 2015 • Parcours des Mondes, Arts d’Australie • Stéphane Jacob, Paris • Au cœur de l’art aborigène australien, Société Générale Private Banking/ Arts d’Australie • Stéphane Jacob, Monaco • Art Paris Art Fair, Arts d’Australie • Stéphane Jacob, Paris • VIBRATIONS : au cœur de l’art aborigène, Arts d’Australie • Stéphane Jacob -
Topographic Representations in Classical Aboriginal Traditions
9 • Icons of Country: Topographic Representations in Classical Aboriginal Traditions PETER SUTTON INTRODUCTION tent of their classical tradition, however, even where little of it may be known to them through firsthand experi After more than two hundred years of colonial and post ence. 1 Indigenous Australian traditions are no more fixed colonial influence from a predominantly Anglo-Celtic or static than others, but they have been subject to greatly culture, Australian Aboriginal people have retained their accelerated changes in the colonial and postcolonial pe cultural identity as a group, comprising a large set of sub riod of the past two centuries. For this reason it is useful groups, across the Australian continent (fig. 9.1). At this to distinguish classical traditions from postclassical tradi time they are a small minority of between 2 and 3 percent tions within contemporary Aboriginal culture. in a nation of eighteen million people. In most regions Classical traditions are those that were practiced at the their ancient cultural traditions have been partly or heav time the first permanently dwelling non-Aborigines ar ily modified by a combination of forces, including an rived in Australia,2 and many of them have persisted early phase of scattered violent conflicts with colonizers, among certain groups. Postclassical traditions depart sig depopulation owing mainly to disease, compulsory nificantly from those of the ancient past. The most widely school education and institutionalization, and alcohol known and internationally acclaimed of the classical tra abuse. ditions is usually subsumed, in English, under the phrase In the more fertile areas of eastern and southwestern "Aboriginal art." For this category of representations Australia, many aspects of these classical cultural tradi tions have been seriously expunged. -
BULA'bula ARTS Goyurr. the Journey
BULA’BULA ARTS Goyurr. The Journey. 3 – 28 SEPTEMBER 2013 Goyurr is a word that brings a smile to people’s faces in Ramingining. Bobby Bununggurr described it to Ben Wallace, Bula’bula’s curator, as "I am ready to go", or "I am willing to go", or "where they are going". It is the ideal word, then, to convey the spirit of these amazing artists which has sustained them and their art practice over the past forty years. During the time Bula’bula Arts has been operating in Ramingining, central Arnhem Land, it has gathered a substantial history and international recognition. It also lays claim to some of the most significant artists Australia has produced, such as Philip Gudthaykudthay and Dr David Malangi. Bula’bula’s artists have become highly regarded for their superb art across various media including fibre, painting, barks, works on paper, and Dupun (hollow log coffins or poles). This exhibition of carefully selected works from the late 1990s to present draws from each of the Bula’bula’s artforms. While not exhaustive in its scope, the exhibition aims to give the viewer an impression of the diverse talent across time that inhabits Ramingining. Two of the works are from the Estates of Dr David Malangi and Judy Baypungala, both masters in their main fields of painting/printmaking and weaving, respectively. It is indicative of Bula’bula’s achievements that its artists have regularly been included in significant exhibitions, such as the ground-breaking exhibitions Aratjara and The Native Born, both of which toured internationally in the late 1990s and early 2000s.