2Fwrehu *$ $Uw 0Dunhw 5Hsruw 1Hzv
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 ................... -
Betty Quelhurst (1919–2008): Artist and Benefactor
Betty Quelhurst Self portrait 1948 Oil on composition board Gift of the artitst under the Cultural Gifts Program, 1998 Introduction Betty Quelhurst (1919–2008): Artist and benefactor This exhibition acknowledges the generous philanthropy of Betty Quelhurst’s long life was sustained by her commitment to Queensland artist and QUT alumnus Betty Quelhurst (1919– art. Her career as an artist spanned seven decades, and much 2008), and the work of selected contemporary Australian of this time was spent painting and teaching in Queensland. women artists. Focusing on the human figure – illustrated through her portraits and beachscapes – she established an important profile as a The Betty Quelhurst Fund was established in the art painter in Brisbane in the mid twentieth century. acquisitions program in 2005. In recent years, this has enabled the University to purchase significant works by a number of Quelhurst was born in 1919 at Laidley near Brisbane and in contemporary Australian female artists. Inspiration for the gift the early 1930s attended Brisbane Girls Grammar School. came largely from Quelhurst’s own experiences as a promising From 1935 to 1938 Betty Quelhurst studied art at the Brisbane painter in the 1940s and early 1950s in Brisbane – when Central Technical College, an early forerunner of QUT’s professional opportunities for women artists were rare. Gardens Point Campus. In the late 1940s she continued her art studies at the National Gallery School in Melbourne under Between 2006 and 2009 some forty-one works by twenty the guidance of William Dargie who then headed the School. artists were purchased through the Fund. These acquisitions cover a diverse range of styles, approaches and media From the mid 1950s Quelhurst established a successful thirty- including painting, drawing, photography, collage, assemblage, year career as an artist and teacher in Queensland. -
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 Auction - Melbourne: Brighton Town Hall 09/02/2020 1:00 PM AEDT
Auction - Aboriginal Art Auction - Melbourne: Brighton Town Hall 09/02/2020 1:00 PM AEDT Lot Title/Description Lot Title/Description 1 JEANNIE MILLS PWERLE “Bush Yam” Acrylic on linen. Painted in 12 FELICITY ROBERTSON NAMPITJINPA "Puyurru - Water Dreaming" 2019. Comes with Certificate of Authenticity. Artwork is stretched and Acrylic on linen. Painted in 2019. Comes with Certificate of Authenticity. ready to hang. 70cm x 40cm Artwork is stretched and ready to hang. 49cm x 62cm JEANNIE MILLS PWERLE“Bush Yam”Acrylic on linen.Painted in FELICITY ROBERTSON NAMPITJINPA"Puyurru - Water 2019.Comes with Certificate of Authenticity.Artwork is stretched and Dreaming"Acrylic on linen.Painted in 2019.Comes with Certificate of ready to hang.70cm x 40cm Authenticity.Artwork is stretched and ready to hang.49cm x 62cm Est. 300 - 800 Est. 1,000 - 2,000 2 FREDA PRICE PITJARA “My Mother's Country ” Acrylic on linen. 13 HELEN RUBUNTJA "My Country" Acrylic on linen. Painted in 2019. Painted in 2019. Comes with Certificate of Authenticity. Artwork is Comes with Certificate of Authenticity. Artwork is stretched and ready to stretched and ready to hang. 50cm x 70cm hang. 95cm x 95cm FREDA PRICE PITJARA“My Mother's Country ”Acrylic on linen.Painted HELEN RUBUNTJA"My Country"Acrylic on linen.Painted in in 2019.Comes with Certificate of Authenticity.Artwork is stretched and 2019.Comes with Certificate of Authenticity.Artwork is stretched and ready to hang.50cm x 70cm ready to hang.95cm x 95cm Est. 600 - 900 Est. 1,000 - 1,800 3 GLORIA PETYARRE "Bush Medicine Leaves" Acrylic on linen. -
Art Gallery of South Australia Major Achievements 2003
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance. -
Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners
Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners Bond University would like to thank Dr Patrick Corrigan AM and the following companies for their generous contributions. Scholarship Partners Corporate Partners Supporting Partners Event Partners Gold Coast Professor Elizabeth Roberts Jingeri Thank you for you interest in supporting the valuable Indigenous scholarship program offered by Bond University. The University has a strong commitment to providing educational opportunities and a culturally safe environment for Indigenous students. Over the past several years the scholarship program has matured and our Indigenous student cohort and graduates have flourished. We are so proud of the students who have benefited from their scholarship and embarked upon successful careers in many different fields of work. The scholarship program is an integral factor behind these success stories. Our graduates are important role models in their communities and now we are seeing the next generation of young people coming through, following in the footsteps of the students before them. It is my honour and privilege to witness our young people receiving the gift of education, and I thank you for partnering with us to create change. Aunty Joyce Summers Bond University Fellow 3 Indigenous Gala Patron Dr Patrick Corrigan AM Dr Patrick Corrigan AM is one of Australia’s most prodigious art collectors and patrons. Since 2007, he has personally donated or provided on loan the outstanding ‘Corrigan’ collection on campus, which is Australia’s largest private collection of Indigenous art on public display. Dr Corrigan has been acknowledged with a Member of the Order of Australia (2000), Queensland Great medal (2014) and City of Gold Coast Keys to the City award (2015) for his outstanding contributions to the arts and philanthropy. -
Breasts, Bodies, Art Central Desert Women's Paintings And
csr 12.1-02 (16-31) 3/8/06 5:36 PM Page 16 Central Desert Women’s Paintings and the breasts, bodies, art Politics of the Aesthetic Encounter JENNIFER L BIDDLE This paper is concerned with a culturally distinctive relationship between breasts and contemporary art from Central Desert Aboriginal women, specifically, recent works by Emily Kame Kngwarreye, Kathleen Petyarre and Dorothy Napangardi.1 Contra to the dominant interpretation of these paintings as representations of ‘country’—cartographic ‘maps’ of the landscape, narratives of Dreaming Ancestors, flora, fauna, species—my argument is that these works bespeak a particular breasted experience and expression, a cultural way of doing and being in the world; what I want to call a breasted ontology. I want to suggest that this breasted ontology is literally manifest in the ways in which these paintings are produced and, in turn, are experienced by the viewer. That is, these works arguably engender a bodily relation between viewer and image which is not about spectatorship. This viewing relation is not a matter of a viewing subject who, kept at a distance, comprehends an object of ocular focus and vision; rather, this relation instead is one in which the viewer relinquishes her sense of separateness from the canvas, where a certain coming- into-being in relation to the painting occurs. One does not so much know these works cognitively as lose oneself in them. Through viewing these works, as it were, one becomes vulnerable to their sensibilities in so far as they incite an enmeshment, an enfolding, and encapturing even in their materiality. -
Kathleen Petyarre
KATHLEEN PETYARRE Dates : c.1930 - 2018 Lieu de résidence : Atnangker, près d’Alice Springs en Australie Langues : Anmatyerre Support : batik sur soie, peinture acrylique sur toile Thèmes : Arnkerrth (Mountain Devil Lizard Dreaming), Green Pea Dreaming, Women Hunting Ankerr (emu), Arengk (Dingo Dreaming) EXPOSITIONS INDIVIDUELLES 2008 • Kathleen Petyarre - 2008, Metro 5 Gallery, Melbourne 2004 • Old Woman Lizard, Coo-ee Aboriginal Art, Sydney 2003 • Ilyenty - Mosquito Bore, Recent Paintings, Alcaston Gallery, Melbourne, Australie 2001 • Genius of Place: The work of Kathleen Petyarre, Museum of Contemporary Art, Sydney, Australie • New Paintings by Kathleen Petyarre, Gallerie Australis & Coo-ee Gallery, at Mary Place Gallery, Paddington, Australie 2000 • Landscape: Truth and Beauty, Recent Paintings by Kathleen Petyarre, Alcaston Gallery 1999 • Recent Paintings by Kathleen Petyarre, Coo-ee Gallery, Mary Place, Sydney, Australie Biographie Kathleen Petyarre 19/12/18 1 / 10 ARTS D’AUSTRALIE • STEPHANE JACOB, PARIS 1998 • Arnkerrthe - My Dreaming, Alcaston Gallery, Melbourne, Australie 1996 • Kathleen Petyarre - Storm in Aknangkerre Country, Alcaston House Gallery, Melbourne, Australie EXPOSITIONS COLLECTIVES (SELECTION) 2015 • Parcours des Mondes, Arts d’Australie • Stéphane Jacob, Paris • Au cœur de l’art aborigène australien, Société Générale Private Banking/ Arts d’Australie • Stéphane Jacob, Monaco • Art Paris Art Fair, Arts d’Australie • Stéphane Jacob, Paris • VIBRATIONS : au cœur de l’art aborigène, Arts d’Australie • Stéphane Jacob -
Art Aborigène
ART ABORIGÈNE LUNDI 1ER JUIN 2009 AUSTRALIE Vente à l’Atelier Richelieu - Paris ART ABORIGÈNE Atelier Richelieu - 60, rue de Richelieu - 75002 Paris Vente le lundi 1er juin 2009 à 14h00 Commissaire-Priseur : Nathalie Mangeot GAÏA S.A.S. Maison de ventes aux enchères publiques 43, rue de Trévise - 75009 Paris Tél : 33 (0)1 44 83 85 00 - Fax : 33 (0)1 44 83 85 01 E-mail : [email protected] - www.gaiaauction.com Exposition publique à l’Atelier Richelieu le samedi 30 mai de 14 h à 19 h le dimanche 31 mai de 10 h à 19 h et le lundi 1er juin de 10 h à 12 h 60, rue de Richelieu - 75002 Paris Maison de ventes aux enchères Tous les lots sont visibles sur le site www.gaiaauction.com Expert : Marc Yvonnou 06 50 99 30 31 I GAÏAI 1er juin 2009 - 14hI 1 INDEX ABRÉVIATIONS utilisées pour les principaux musées australiens, océaniens, européens et américains : ANONYME 1, 2, 3 - AA&CC : Araluen Art & Cultural Centre (Alice Springs) BRITTEN, JACK 40 - AAM : Aboriginal Art Museum, (Utrecht, Pays Bas) CANN, CHURCHILL 39 - ACG : Auckland City art Gallery (Nouvelle Zélande) JAWALYI, HENRY WAMBINI 37, 41, 42 - AIATSIS : Australian Institute for Aboriginal and Torres JOOLAMA, PADDY CARLTON 46 Strait Islander Studies (Canberra) JOONGOORRA, HECTOR JANDANY 38 - AGNSW : Art Gallery of New South Wales (Sydney) JOONGOORRA, BILLY THOMAS 67 - AGSA : Art Gallery of South Australia (Canberra) KAREDADA, LILY 43 - AGWA : Art Gallery of Western Australia (Perth) KEMARRE, ABIE LOY 15 - BM : British Museum (Londres) LYNCH, J. 4 - CCG : Campbelltown City art Gallery, (Adelaïde) -
THE DEALER IS the DEVIL at News Aboriginal Art Directory. View Information About the DEALER IS the DEVIL
2014 » 02 » THE DEALER IS THE DEVIL Follow 4,786 followers The eye-catching cover for Adrian Newstead's book - the young dealer with Abie Jangala in Lajamanu Posted by Jeremy Eccles | 13.02.14 Author: Jeremy Eccles News source: Review Adrian Newstead is probably uniquely qualified to write a history of that contentious business, the market for Australian Aboriginal art. He may once have planned to be an agricultural scientist, but then he mutated into a craft shop owner, Aboriginal art and craft dealer, art auctioneer, writer, marketer, promoter and finally Indigenous art politician – his views sought frequently by the media. He's been around the scene since 1981 and says he held his first Tiwi craft exhibition at the gloriously named Coo-ee Emporium in 1982. He's met and argued with most of the players since then, having particularly strong relations with the Tiwi Islands, Lajamanu and one of the few inspiring Southern Aboriginal leaders, Guboo Ted Thomas from the Yuin lands south of Sydney. His heart is in the right place. And now he's found time over the past 7 years to write a 500 page tome with an alluring cover that introduces the writer as a young Indiana Jones blasting his way through deserts and forests to reach the Holy Grail of Indigenous culture as Warlpiri master Abie Jangala illuminates a canvas/story with his eloquent finger – just as the increasingly mythical Geoffrey Bardon (much to my surprise) is quoted as revealing, “Aboriginal art is derived more from touch than sight”, he's quoted as saying, “coming as it does from fingers making marks in the sand”. -
AUSTRALIA : CONTEMPORARY INDIGENOUS ART from the CENTRAL DESERT Kathleen PETYARRE, “My Country - Bush Seeds” Acrylic on Canvas, 137 X 137 Cm, 2010
AUSTRALIA : CONTEMPORARY INDIGENOUS ART FROM THE CENTRAL DESERT Kathleen PETYARRE, “My Country - Bush Seeds” acrylic on canvas, 137 x 137 cm, 2010 The paintings of Australian Indigenous artist Kathleen Petyarre have been compared internationally to those of the minimalist modern artists Mark Rothko and Agnes Martin, not so much for their formal structure: but for what underlies beneath, partially hidden from the observers view. In actuality, Kathelen Petyarre’s paintings are mental territorial maps which portray her country and the narrative associated with her inherited Dreaming stories. Her celebrated work, “My Country - Bush Seeds”, presents a seasonal snapshot within: a close-up of a geographical location spiritually important to the artist. The prominent parallel lines represent a group of red sand-hills – a sacred site - that rise majestically from the desert floor. Abie Loy KEMARRE, “Bush Hen Dreaming” acrylic on canvas, 91 x 152 cm, 2009 Australian Indigenous artist Abie Loy Kemarre began painting in 1994 under the formidable guidance of her famous grandmother, Kathleen Petyarre, who imparted the methodology for creating the depth-of-field of tiny shimmering dots in her highly delicate Bush Hen Dreaming painting that represents her Ancestral country. The Bush Hen travels through this country looking for bush seeds which are scattered over the land, represented by the fine dotting. The centre of this painting shows body designs used in traditionel women’s sacred ceremonies. These ceremonies are performed with songs and dance cycles telling stories of the Bush Hen Dreaming. Ngoia Pollard NAPALTJARRI, “Swamp around Nyruppi” acrylic on canvas, 180 x 180 cm, 2006 Western Desert artist Ngoia Pollard frequently paints particular Dreamings, or stories, for which she has personal responsibility or rights. -
Minnie Pwerle Cv
MINNIE PWERLE CV The extraordinarily powerful and prolific artist, Minnie Pwerle, was born in 1910 in Utopia; in bush country located about 350 kilometers North East of Alice Springs in the Northern Territory of Australia. She was to become, along with her contemporary, Emily Kame Kngwarreye, one of Australia's greatest female Aboriginal artists and upon her death in 2006, to be mourned by Aboriginal Art lovers all over the world. Minnie's Pwerle's paintings are now held in museums and exhibited in galleries worldwide, and they form an essential part of any serious Aboriginal Art collection. Born: Utopia SELECTED EXHIBITIONS: 2017 Sharing Country, Olsen Gruin Gallery, New York 2010 Minnie Pwerle and Emily Kame Kngwarreye, Kate Owen Gallery, Rozelle, NSW 2010 The Australian Indigenous Art Market Top 100 Exhibition, Coo-ee Aboriginal Art Gallery, Bondi, NSW 2010 Body Lines, Fireworks Gallery, Brisbane, QLD 2008 Emily and Her Legacy, Hillside Gallery in Tokyo, with Coo-ee Art Sydney in conjunction with the landmark retrospective exhibition 'Utopia - the Genius of Emily Kngwarreye' at the National Art Centre, Tokyo, Japan 2008 Atnwengerrp: Land of Dreaming, Minnie Pwerle carpet launch, Designer Rugs Showroom, Edgecliffe, NSW 2008 Colours of Utopia, Gallery Savah, Sydney NSW 2008 Utopia Revisited, NG Art Gallery, Chippendale, NSW 2007 New Works from Utopia, Space Gallery, Pittsburgh, PA, USA 2007 Group exhibition, APS Bendi Lango Art Exhibition with Rio Tinto, Fireworks Gallery, Brisbane, QLD 2007 Treasures of the Spirit, Tandanya Cultural Institute, Adelaide, SA 2007 Desert Diversity, group exhibition, Flinders Lane Gallery, Melbourne, VIC 2007 Group Exhibition, Australian Embassy, Washington, USA 2007 Utopia in New York, Robert Steele Gallery, New York.