Arts Backbone
Volume 5 Issue 1: March 2005
NEW FACE OF ANKAAA 2005 ANKAAA EXECUTIVE
The new ANKAAA Executive Committee (2005 – 2007) was elected at the ANKAAA AGM in December 2004. In February 2005 the Executive came together for their fi rst meeting at Frog Hollow in Darwin. New offi ce bearers elected at the meeting are as follows:
Chairperson Djambawa Marawili Buku Larrnggay, Arnhem Land Vice Chairperson John Martin Tipungwuti Jilamara Arts and Craft, Tiwi Island
© ANKAAA 2005 ANKAAA © Secretary ANKAAA Executive (2005 – 2007) meeting at Frog Hollow in Darwin on 14 February 2005. Peggy Griffi th From the left John Mawurndjul, Regis Pangiraminni, Richard Birrinbirrin, Alice Snape, John Waringarri Arts, Kununurra Martin Tipungwuti, Freddie Timms, Alan Kerinauia, BJ Timaepatua, Peggy Griffi th, Marita Sambono and Jeannie Herbert. Absent, Djambawa Marawili, Tommy May and Gary Lee. Treasurer Alice Snape ANKAAA has started 2005 by moving into a new era with a new Coomalie Cultural Centre, Batchelor Executive committee and the recruitment of three new staff. Other Executive members are: ANKAAA is expanding with more on the Position which will specifi cally service Gary Lee, Freddie Timms, Tommy May, ground service delivery in the regions with the Darwin, Arnhem Land and Tiwi Island Richard Birrinbirrin, John Mawurndjul, the recruitment of two newly developed regions while resourcing the Katherine and Jeannie Herbert, Marita Sambono and Industry Development Positions in the Kimberley positions. ANKAAA would like Regis Pangiraminni Katherine and the Kimberley regions. These to thank Angus for his work with us over Congratulations to all ANKAAA positions are a new initiative for ANKAAA the last 18 months and wish him all the best Executive on their appointments. and have been developed over the last with his next venture. couple of years. ANKAAA members and staff welcome Charmaine Wharton Wall as ANKAAA looks forward to 2005 with In this issue the new Katherine Industry Development increased services to the ANKAAA members Offi cer and Susie Blake as the new with the aim to broker additional strategic • ANKAAA 2005 Kimberley Industry Development Offi cer. partnerships with other organisations in the Top End to ensure increased support • Consumer guide to purchasing 2005 also sees Angus Cameron, Industry and development to Indigenous artists and Aboriginal art Development Offi cer leaving ANKAAA community - based Art Centres. We look in March, with Michelle Culpitt taking on forward to working with you in 2005! • ANKAAA Collaborative Painting the Darwin - based Industry Development Keeping the Message Strong • Feature Artist - Paddy Carlton Waringarri Arts Stephanie Hawkins, ANKAAA Manager • Feature Art Centre - Tiwi Art Network
• Maningrida Borer Story
• Exhibitions
• Who’s Who What’s New © ANKAAA 2005 ANKAAA ©
ANKAAA staff 2005, Susie Blake, Michelle Culpitt, Erica Luchich, Charmaine Wharton Wall, • Obituary from Mangkaja Arts Stephen Hutchinson and Stephanie Hawkins at the ANKAAA offi ce in Darwin. Page 2 Volume 5 Issue 1 NEWS & REVIEWS Twined Together: CONSUMER GUIDE TO PURCHASING Kunmadj Njalehnjaleken AUSTRALIAN book launch INDIGENOUS ART A major publication on fi bre art in western Arnhem Land will be launched on 12 A primary function of the ANKAAA May to coincide with the opening of the charter is to protect the rights of artists exhibition, Twined Together Kunmadj and promote ethical business practice Njalehnjaleken at Museum Victoria. in the Indigenous art industry. The The publication will feature documented Consumer Guide is a joint initiative images of 130 fi bre items, information on between ANKAAA & the Arts NT 100 artists from the region and feature Indigenous Arts Development Unit with chapters from several distinguished writers other key stake holders including Desart, and researchers. ArtsMARK, Arts Law and Copyright Council of Australia. Twined Together has been a signifi cant undertaking and easily the largest art project The brochure is aimed at informing in the rich history of western Arnhem consumers about the ethical purchase Land artistic endeavour. It has been three of Indigenous art and will be distributed years in the making and includes a touring through art centres, art galleries, tourist exhibition and a documentary fi lm project. centres, back packers, hotels and art Anyone interested in purchasing a copy organisations. should ring Injalak Arts on 08 8979 0190 Anthony Murphy, Manager, Injalak Arts & Crafts The publication is a result of wide- ranging consultation with artists, art centres, galleries, consumer affairs, legal
. and industry representatives.
For copies of the brochure or additional information contact the ANKAAA offi ce on 08 8981 6134 or www.ankaaa.org.au Publication of the Consumer Guide was
© Injalak Arts & Crafts 2005 © Injalak generously supported by the Northern Yingana – Creation Mother, featuring dilly bags Territory Government through Arts NT. around head. Rock art image on Injalak Hill, Gunbalanya. Image courtesy Injalak Arts. © ANKAAA 2005 ANKAAA ©
Green Turtle Dreaming, Western Australian Museum, Perth, 5 February –16 March 2005 The turtle and its 3,000 kilometre journey the neighbouring islands of the Indonesian from birth to adulthood is a vehicle to archipelago, this exhibition uses images and explore traditional relationships and sounds drawn from contemporary life to mythology of Indigenous communities of explore the ancient roots and belief systems Australia and neighbouring islands in the of these diverse communities. The exhibition Indonesian archipelago. Munupi Arts & explores many of the links between these Crafts artists and Tiwi elders participated islands; the shared icon of the turtle is a in the project. vehicle for the stories that offer precious Arts & Crafts 2005 © Munupi insight into traditional and contemporary Susan Wanji Wanji, Hunting Turtle, etching ‘Documenting the complex traditional practices within each community’. on paper, 2001. One of the Munupi artists’ relationships and mythology of the turtle Courtesy Western Australian Museum, prints featured in Green Turtle Dreaming. in Indigenous communities of Australia and Perth, http://www.museum.wa.gov.au Image courtesy Munupi Arts & Crafts. MANGKAJA ARTISTS RECEIVE SPECIAL AWARDS Daisy Andrews and Butcher Cherel have Butcher Cherel was selected as one of been recognised in separate ceremonies Western Australia’s State Living Treasures in Perth. Daisy received awards in three in recognition of his work as an artist. A categories in the Bankwest Senior of the panel made up of a range of individuals Year Awards. The fi rst was Senior of the selected ten recipients. The last awards Year for the Kimberley Region and two were made in the year 2000. The award was statewide awards, one for Arts and Culture presented at a ceremony at Government and overall Senior of the Year. She travelled House in Perth, the same week that Butcher
© Mangkaja Arts 2005 © Mangkaja to Perth for the presentation ceremony only was told he was to be cited in Australian Art Daisy Andrews with her granddaughter Shanita weeks after returning from heart bypass Collector magazine as one of the country’s and Butcher Cherel at Fitzroy Crossing, March surgery. She has made a strong recovery fi fty most collectible artists. 2005. Image courtesy Mangkaja Arts. and is now painting again. Karen Dayman, Manager, Mangkaja Arts Volume 5 Issue 1 Page 3
ANKAAA COLLABORATIVE PAINTING NEWS & REVIEWS KEEPING THE MESSAGE STRONG On 3 December 2004 approximately 50 ANKAAA members gathered in the grounds of Frog Hollow Centre for the Arts in Darwin to produce a collaborative art work which was supported by the Northern Territory Community Benefi t Fund. The painting represents the unity and diversity of the ANKAAA members many of whom live and work in isolated communities. The mixed media painting is made on six panels which link together to form a single collaborative image. A river is the central motif for the work carrying the ANKAAA message to a common meeting place, symbolising the strength and purpose of ANKAAA. © ANKAAA 2005 ANKAAA ©
At the completion of the painting artists explained the stories and symbology of their work:
Freddie Timms, Jirrawun Arts, Kununurra, WA Alice Brown, Mangkaja Arts, Fitzroy Crossing, Duwun Lee, Larrakia, Darwin, NT – Panel fi ve – Panel one (top section) WA – Panel two (top middle section) (top secton) In the middle of the black soil there is a big hole I draw a tree with kangaroo tracks and a man travelling. The story is about that barramundi that came in where the water goes down and right underneath the Dreamtime round here (Darwin area). He got (the ground) and into the lake. April Jones, Mangkaja Arts, Fitzroy Crossing, caught in the low tide and while he was trying to WA – Panel two (middle bottom section) get out he jumped up and weed (urinated) which Peggy Griffi th, Waringarri Arts, Kununurra, This one here bush yam, bush tucker, snake turtle, made the spring at One Mile Dam (behind Darwin WA – Panel one (middle section with butterfl ies) fi sh and bush tucker and bush fl owers. City) and that is where all the water runs to from The butterfl ies are carrying the message from my this place. country to the ANKAAA meeting. Eva Nargoodah, Mangkaja Arts, Fitzroy Crossing, WA – Panel two (bottom section) Denis Wukun, Buku Larrnggay Mulka, Louise Mengil, for her mother Judy Mengil, Fitzroy River is in the middle of the painting, next Yirrkala, NT – Panel fi ve (bottom section) Waringarri Arts, Kununurra, WA – Panel one to the river is Mangkaja Art Centre with all the All this mob here (fi sh) represents all of us here (bottom section) other communities around. When all the artists together, all the artists from different ANKAAA There are three billabongs from Binjin – our main come together we have our meeting at Mangkaja regions, all the artists come together (like today). place – (they never dry up, they stay there) these we talk about our problems and the voice of Like fi sh, we look out for each other, young people billabongs run throughout the year, like ANKAAA. Mangkaja takes it across to ANKAAA. are learning to work in the art centre and we are teaching them to be artists to be together like one Stan Brumby Yarliyil Art Centre, Halls Creek, Jeannie Herbert, Mimi Arts, Katherine, NT family. WA – Panel two (top section) – panel four (top left section) Morning Star, he been fall down my country. I sing Regis Pangiraminni, Munupi Arts & Crafts, that morning star, come down from the sky. He Kathleen Korda, Christina Yambeing, Marita Melville Island, NT, Tiwi artists – Panel six hit this Country, my Country. Morning star come Sambono, Merrepen Arts, Daly River, NT The sea in the painting represents a serpent which down; damage the place in my country. We been – Panel three (top and bottom sections) divides the two islands, (Tiwi Island and Melville using that star when we were droving, we can’t Island). We call it Muragula, (blind old lady) she see him again after all that, coming down, hit the Marita Sambono – Panel three (middle section) made the land, the creeks and the lake. She had ground. I draw that, coming down, hit the ground, This is part of Ngukurr, Katherine and Daly River. three children. When Muragula divided the Islands made a big hole. A lot of tourists are going there. The river is coming through Ngukurr and down it gave us the bush tucker that we hunt on land That place is called Wolf Crater. You can see that to Katherine, down stream is the Daly River area. and sea. Here we hunt dugong, shark, magpie star coming down, hit the ground, can’t see him Here we have got all the bush tucker and all the geese, barramundi, turtle and stingray and that any more, that big morning star. turtles, coming down to where the salt water area is. is our totem, our Dreaming and our dance. We dance buffalo, turtle, crocodile, horse, pig, jungle Tiny McCale, Yarliyil Art Centre, Halls Creek, Alan Joshua Jnr, Ngukurr Art Centre, NT fowl and boat. We pass this on to our younger WA – Panel two (upper section) – Panel three (bottom section) generation and that’s what we hunt on both islands This is my Country. Dry Country. The painting Katherine River and Daly River coming together. and that is what we paint on the canvas. shows green grass, and rocks – white one, and dry grass. Water runs through the country. Congratulations to all participants. Alan Joshua Jnr, Ngukurr Arts; Jeannie Herbert & Peggy Rockman, Mimi Arts & Crafts; Marita Sambono, Christina Yambeing & Patricia Marrfurra, Merrepen Arts; Dennis Wukun Wanambi, Buku Larrnggay Mulka; Judy Mengil & Peggy Griffith, Waringarri Arts & Crafts; Eva Nargoodah, Alice Brown & April Jones, Mangkaja Arts; Tiny McCale & Stan Brumby, Yarliyil Art Centre; Freddie Timms, Jirrawun Artists; Leah Umbagai, Mowanjum Artists; BJ Timaepatua, Alan & John Kerinaiua, Tiwi Design; John Martin, Tipungwuti, & Keith Kerinauia, Jilamara Arts & Crafts; Lilly Carpenter & Regis Pangiraminni, Munupi Arts & Crafts; Tony Lee, Karen Mills & Cathy Arbon from Darwin. Page 4 Volume 5 Issue 1 FEATURE ARTIST PADDY CARLTON WARINGARRI ARTS ‘With a quiet composure the artist processes the Dreaming trails, the land marks of hills, rivers and waterholes, and traditional knowledge into compositions of purity and balance.’ Image courtesy Peter Eve © Waringarri Artists 2005 Image courtesy Peter Eve © Waringarri
A founding member of Waringarri In recent years the art style of Paddy held later this year celebrating Bullo River Aboriginal Arts in Kununurra, Paddy Carlton has evolved from his earlier iconic Country, a Country that others refer to as Carlton is one of the few surviving fi rst imagery and heavily dotted works to “proper paradise Country - that place”. His generation artists of the renowned East current minimal compositions that capture love of painting is evident in the reverence Kimberley art style. He is the unspoken Country with a statement of elegance and with which he approaches the canvas, his leader of the Waringarri Art Centre and as grace. His work is characterised by a spare singing of Country - just audible and the a mentor leads by example to maintain a traditional palette of ochre pigments often poignant care with which he makes those strong artistic tradition. painted on a black ground dense as night. fi rst marks. Ochre colours are used economically. His Initially more iconic in his imagery compositions revolve around the simple A new painting is often considered over a than his contemporaries Rover Thomas, shapes of waterholes, hills and river number of days as he sifts the memories of Queenie McKenzie, Hector Jandanay and systems occasionally heightened by areas all the knowledge learnt throughout his life. others, Paddy Carlton developed a style of intense white “dotting” to indicate an With a quiet composure the artist processes reminiscent of the rich tradition of rock area of bullgrass, a stand of paperbarks or the Dreaming trails, the land marks of art techniques he fi rst learnt as a young spinifex. hills, rivers and waterholes, and traditional man during initiation. His earlier works tell knowledge into compositions of purity and the stories of the Dreaming, Jimilwrirring Paddy Carlton has entered his senior years balance. (Lightning Men), Walajabi (the snake), painting images of Country that reveal a Dingo, Crocodile, Flying Fox and the great depth of knowledge and resonate with Paddy Carlton’s extensive knowledge Mother Snake of the Dreaming. These quiet confi dence and power. Goorbadjim, informs Waringarri artists and his paintings reference the rich stories of the the Country of his beloved Bullo River community about traditional lore and Dreamtime, dotted and daubed with marks, is the key imagery of his repertoire. A cultural business, the landmarks and not unlike body painting with sprayed hand senior lore custodian for Miriwoong and delineations of country. He also provides prints and layers of colour. Gadgeriwoong traditional lands Paddy ongoing assistance to negotiations between Carlton also paints extended areas of peoples of the east Kimberley and the As with all great artists, Paddy’s style has country informed by an acute knowledge of Federal and High courts with regard to evolved over the years encompassing new the whole region. Native Title issues. It is this knowledge that ways of representation gained through artistic breathes through his art. experimentation, diligent involvement and Currently Paddy Carlton is preparing a an obvious love of painting Country. suite of paintings for an exhibition to be Cathy Cummins, Manager Waringarri Arts Volume 5 Issue 1 Page 5 FEATURE ART CENTRE TIWI ART NETWORK Tiwi Football Grand Final and Art Sale
The Tiwi Grand Final and Art Sale was held at Tiwi Design, Nguiu, Bathurst Island this year on Sunday 20 March. Tiwi Islands Art Sale coincides each year with the Tiwi Islands Grand Final and provides a rare chance for people to easily visit Bathurst Island. The event promotes the Tiwi Islands and people on their lands and involves the Tiwi artists and players in promoting and presenting their art and culture to a broad audience. This event only occurs once a year with no permit to the Island required.
The Tiwi Art Sale incorporates arts and crafts from the three Tiwi art centres. Artists and managers from Jilamara Arts and Crafts and Munupi Arts and Crafts on Melville Island congregate at Tiwi Design to promote their
Tiwi Art Network 2005 Tiwi artists to the thousands of visitors who come © to purchase art and witness the Tiwi Grand Mary Magdalene weaving a pandanus mat at Jilamara Arts and Crafts. Image courtesy Jilamara Arts & Crafts. Final. This provides a unique opportunity to view the large range of art from across the The Tiwi Islands are located 100km north of Tiwi Design – carving, woodblock and islands, meet artists and learn about Tiwi Darwin and consist of two islands, Melville screen-printing fabric and most recently fi ne culture. Each art centre sets up independent and Bathurst. There are three communities art canvas and ceramic and bronze sculpture. displays inside the Tiwi Design studios for and approximately 2,500 Tiwi people the weekend. living on the Island. Each community has a Munupi Arts and Crafts – pottery, textiles, community art centre. carving, brightly coloured gouache and acrylic painting, ochre painting on canvas The Tiwi Art Network (TAN) was and a range of limited edition prints. established primarily as a marketing organisation representing the three Tiwi Jilamara Arts and Crafts – screen printed Island art centres, Jilamara Arts and Crafts, fabrics, carving and highly collectable Munupi Arts and Crafts and Tiwi Design. ochres on canvas. Jilamara artists continue The objectives of the ‘Network’ are to a strong, traditional but contemporary focus strengthen the communities’ capacity for in design and uses only traditional ochres. economic sustainability, self-determination © Tiwi Art Network 2005 © Tiwi and maintenance of cultural integrity through How to get there Tiwi Art Sale at Tiwi Design. Image by Tim raising the profi le and awareness of Tiwi art. Access to the Tiwi Islands is by light aircraft, Acker, courtesy Tiwi Art Network. just a 20 minute journey from the mainland. The Tiwi Art Network art centres and Spectacular views of snaking rivers and Tiwi Jewellery and Scarves members benefi t through joint marketing mangrove swamps are a highlight of the initiatives raising the profi le of Tiwi art the fl ight. Visitors can also travel by ferry, Tiwi Art Network have developed a range and culture nationally and internationally for information contact 8941 1991. An of jewellery and scarves which were through the Tiwi Art Tours, exhibitions and Aboriginal land permit is required to enter. designed in workshops on the Tiwi Islands by artists representing each of the three art advertising. Further benefi t and strength Kellie Austin – Marketing Manager is gained through collaborative training centres. The artists drew on their existing The current Marketing Manager for Tiwi Art style of working as carvers, potters, painters opportunities available to members as a Network is Kellie Austin who commenced cohesive group. and printmakers, transferring traditional with Tiwi Art Network in October 2004. Tiwi designs and motifs to new media. All Her previous experience includes over three Each of the three Tiwi Island art centres have products have been licensed by the Tiwi Art years at Maningrida Arts & Culture. separate but connected histories, unique Network Aboriginal Corporation and artists products and similarities but consciously Contact receive direct royalties from the sales. For more information maintain differences in style and products. Shop 6, Air Raid Arcade The one uniting and most important factor 35 Cavenagh Street, Darwin contact Tiwi Art for this regional network is a common Telephone: 08 8941 3593 Network. language group and culture - Tiwi. Fax: 08 8941 1097 Mobile: 0438 519 772 Silver jewellery designed by Within the Tiwi culture each community has Email: [email protected] Columbiere Tipungwuti. chosen to develop its own artistic style. Web: www.tiwiart.com Image courtesy Peter Eve. © Tiwi Art Network 2005 © Tiwi Page 6 Volume 5 Issue 1 MANINGRIDA BORER STORY One of the major conservation issues freezing. Works are frozen at -30C for six the timber with an approved preservative at at Maningrida Arts and Culture (MAC) days, thawed for fi ve days and then frozen a timber-preservation plant, neither of which is infestation of carved works by borer. again for another six days. This method kills is an option in Maningrida due to the unique Borer or powderpost beetle belong to some of the borer but is only a temporary harvesting and production techniques the subfamily Lyctinae in the family solution, as it does not prevent reinfestation. used by artists. Until other treatments Bostrichidae, the most common species of The Art Centre building is too small to are developed MAC will continue with which is Lyctus Brunneus. isolate treated works from new works irradiation treatment. so reinfestation is quite likely. MAC is Richard Haigh – Freight and Conservation Female beetles bite susceptible timbers currently looking at vacuum sealing works Coordinator Maningrida Arts and Culture leaving a series of grooves, which expose before freezing to prevent reinfestation. the pores in the wood, into which she lays her eggs. After 14 days the eggs hatch and Previously, all works leaving MAC were For more information larvae feed on the sapwood until they are fumigated with methyl bromide before contact Richard Haigh fully grown. The development period for delivery to the customer. On the 1 January C/o Maningrida Arts larvae can take up to one year depending 2005 the use of methyl bromide was banned and Culture PMB 102 on humidity and the supply of sapwood. apart from those business’ who applied for via Winnellie NT 0822 Fully-grown larvae tunnel towards the exemption (mainly agricultural use). The [email protected] surface and after pupation emerge as mature Aboriginal art industry was not identifi ed as 08 8979 5996 beetles making a round hole 1-2mm in a user of methyl bromide so art centres were www.mangkaja.com diameter and leaving a tell tale pile of dust not notifi ed of the phase out until after the (frass) on the wood or nearby. The breeding closing date for exemption – August 2004. cycle then continues and reinfestation of the timber will occur until all the sapwood is MAC now sends all carved works via consumed, which can take up to fi ve years. irradiation treatment; this involves exposing works to gamma rays produced As infestation and reinfestaion by Lyctus by radioactive isotopes such as cobalt 60. It brunneus is such a problem some states is not a residual treatment so a reinfestation have passed laws regarding the sale of can occur if a piece is left near active lyctine susceptible timber. For example borer, for instance in a gallery or museum. in Queensland the Timber Utilisation and Irradiation allows MAC to guarantee pieces Marketing Act 1987 states “…the use of are clear of borer before they reach the lyctine susceptible timber in buildings customer. or in the manufacture of articles is an offence”. Timbers such as ironwood are not MAC has discounted other methods of susceptible to attack but other hardwoods treatment, such as kiln drying – this is such as bombax and kurrajong are, and these not effective against lyctus brunneus as it are most commonly used in the Maningrida brings the moisture content of timber down region for carving. to around 15% which is unfortunately the optimum condition for development of James Iyuna - Mimihs (detail) 2004. MAC has been looking at various ways larvae. The only guaranteed methods of Cottonwood (Bombax ceiba) with ochre of dealing with this problem. The major dealing with lyctus beetle are to remove all pigment and PVC fi xative. ©The artist & control method within the Art Centre is the sapwood from the timber or to immunise Maningrida Arts & Culture 2005. WOOD CARVING WORLD CONGRESS In November 2004, Maningrida Arts and and economic importance of Indigenous in the pieces that Owen was working on, Culture artist Owen Yalandja and Jennifer woodcarving as an art form worldwide. and particularly interested in talking to him Koenig from Charles Darwin University The forum also discussed the ecological about Indigenous issues in Australia and travelled to Bangkok to participate in a implications of harvesting timber for Aboriginal art in general. woodcarving forum at the IUCN World woodcarvings. Fortunately, the situation Conservation Congress. Owen is a in Australia is very different to that faced Jennifer Koenig Key Centre for Tropical renowned Kuninjku sculpture artist from the by woodcarvers in other parts of the world, Wildlife Management Charles Darwin Maningrida region and has been working who are dealing with major problems University email: [email protected] with me on an ARC-funded research project associated with over-harvesting and on the sustainability of timber harvests by declining access to timber resources. Aboriginal woodcarvers in central Arnhem Land in collaboration with Charles Darwin At the end of the forum, all of the University, Maningrida Arts and Culture, woodcarvers demonstrated their carving and Jon Altman at the Australian National skills and spoke with conference University. participants. The woodcarvers themselves were very impressed with the works that The forum in Bangkok brought together their contemporaries were producing,
woodcarvers and woodcarving researchers which were very different in style and © Maningrida Arts & Culture 2005 Culture & Arts Maningrida © from three countries: Mexico, Indonesia subject matter from their own works. Owen Yalandja demonstrating his skills at the and Australia and outlined the cultural Audience members were very interested Congress in Bangkok. Volume 5 Issue 1 Page 7
March Senior Warmun Artists Indigenous Art Exhibition May Desert Inks Warmun Art Centre Munupi Arts, Injalak Arts & Crafts & Daisy Bitting & Minnie Lumai New Prints by Warlayirti Artists Flinders Lane Gallery Buku Larrnggay Mulka Waringarri Arts Alcaston Gallery, Fitzroy, VIC London Affordable Art Fair, UK Australian Embassy, Paris, France Alison Kelly Gallery, Prahran, VIC 11 February – 5 March 16 March - 20 March 5 April – 3 June 3 – 28 May
Green Turtle Dreaming Tiwi Art Sale & Football Final Bark paintings & Sculptures from New Glass by Warlayirti Artists Munupi Arts & Crafts Art from Tiwi Design, Munupi Arts Maningrida Warlayirti Artists Western Australian Museum Perth, WA & Crafts, Jilamara Arts & Crafts Maningrida Arts & Culture Alcaston Gallery, Fitzroy, VIC 15 January - 15 March Nguiu, Bathurst Island, NT Short Street Gallery, Broome, WA 6 May – 28 May Sunday 20 March 8am - 2pm 5 - 30 April Miyi I Kagu Nayin: Galuma Maymuru Our Animals and Our Food All My Country Fish Traps and Sails from the Djambawa Marawili Merrepen Arts Jock Mosquito Maningrida Region Buku Larrnggay Mulka Alison Kelly Gallery, Prahran, VIC Art Mob, Hobart, TAS Maningrida Arts & Culture Annandale Galleries, Sydney, NSW Opened by Patricia Marfurra 27 March - 7 April Grantpirre Gallery, Sydney, NSW 11 May -18 June McTaggart AM and Heather 5 - 30 April McTaggart, MLA, 1 March Recent Works Gika – Start of the Fire Yarliyil Art Centre Naminapu Maymuru-White Elcho Island Art & Craft New Work from Warmun Bandigan Art, Woollahra, NSW Buku-Larrnggay Mulka Centre Bandigan Art, Woollahra, NSW Warmun Artists 31 March – 24 April Alison Kelly Gallery, Prahran, VIC 6 - 29 May Gadfl y Gallery, Dalkeith, Perth, WA April 5-30 3 March - 27 March Emergence: Happening Artists Elizabeth Nyumi from Ramingining Beyond The Frontier Warlayirti Artists Tiwi Art Network Exhibition Bula’bula Arts Jirrawun Arts Aboriginal & Pacifi c Art, Sydney, NSW Gadfl y Gallery, Perth, WA William Mora Galleries, Melbourne, VIC Peggy Patrick, Rusty Peters, Opens 7 May 3 March – April To be opened 2 pm 2 April by Belinda Scott Rammey Ramsey, Freddie Timms 30 March – 23 April 6 - 30 April Twined Together: Kunmadj This is my Djäpul, my Waha Njalehnjaleken Mickey Durrng
ANKAAA EXHIBITION CALENDAR Bandigan Art, Woollahra, NSW 13 May 2005 to 4 December 2005 4 - 24 March Marawili and Wanyubi Marika 8 – 30 April Buku-Larrnggay Mulka Centre Bark paintings from Maningrida Mirripaka Winga: Salt Water Launched by Mandy Thomas From Our Place to Yours Maningrida Arts & Culture Jean Baptiste Apuatimi Old Canberra House, ACT Bula’bula Arts Indigenart, Perth, WA Tiwi Design Thursday 31 March 2005 at 6:00 Hill Smith Fine Art, Adelaide, SA 27 May-18 June Raft Art Space, Darwin, NT www.anu.adu.au/culture/abstractions To be opened 6 pm 8 April by 4 – 18 March Richard Birrinbirrin and Rolf de Heer New works from Maningrida April 8 – 24 April Maningrida Arts & Culture Centre Bounce Football Artist in Residence Hogarth Galleries, Sydney, WA Artback Tour Exhibition Stewart Hoosan & Nancy McDinny, My Mother’s Country 27 May – 30 June Coomalie Cultural Centre, Batchelor, NT Borroloola Art Centre Waringarri Arts 9 March - 1 April Coomalie Cultural Centre, Batchelor, NT Indigenart, Melbourne, Vic Wukun Wanambi April/May 15 April - 7 May Buku-Larrnggay Mulka Centre Strong Women Design: Niagara Galleries Melbourne International Woman’s Day Gamanunggu Ganalbingu: New Work 30 May -26 June Jilamara Arts & Crafts & Tiwi Design Ganalbingu Painters Alan & Peggy Griffi ths Short Street Gallery, Broome, WA Bula’bula Arts Waringarri Arts Gija - Across the Board Opens 10 March Indigenart, Perth, WA Span Gallery, Melbourne, VIC Warmun Artists April 25 April – 8 May Raft Artspace, Darwin, NT Lorrkon and Spirit Figures from Opens 26 May the Stone Country Nina Puruntatameri Kenny Brown Maningrida Arts & Culture Munupi Arts & Crafts Jilamara Arts & Crafts WaterHole Aboriginal & Pacifi c Arts, Sydney, NSW RAFT Artspace, Darwin, NT Raft Artspace, Darwin, NT Warmun Artists 12 March - 2 April 1 - 23 April 1 - 21 April Short Street Gallery, Broome, WA Opens May When Waringarri Came to Town Barney and Tibby Ellaga May Rosas – Art on Glass Waringarri Arts Mimi Arts & Crafts MIMI Arts & Crafts Woolloongabba Art Gallery, Qld Raft Artspace, Darwin, NT Artspace, Katherine, NT 25 March – 29 April 1 - 21 April 29 April – 1 May
Farewell Newsletter New Appointments now open and there is a great sense of This is my last Newsletter as Industry Maningrida Arts and Culture farewelled anticipation in the Art Centre. The artists Development Offi cer at ANKAAA. Thank Michelle Culpitt in March. Michelle have been waiting a long time to have their you to all contributors over the last six has taken up the position of Industry much loved art centre open again. editions. Thank you also to designer Leonie Development Offi cer at ANKAAA in the Malloy who helped set up the new look Darwin Offi ce. Steve and Brenda Westley Bula’bula Arts Aboriginal Corporation Arts Backbone and provided invaluable have been appointed as Manager and The Canoes Projects between Bula’bula Arts advice. Assistant Manager at Mardbalk Arts & and Vertigo Productions are well underway. Crafts on Goulburn Island. ANKAAA Filming of 10 Canoes is due to commence ANKAAA is a strong organisation and Executive Gary Lee has moved from his in the fi rst week of May and local artists a wonderful community of people. The position of Assistant Curator at the Museum are already making spears, woomeras and ongoing strength of ANKAAA is testament and Art Gallery of the Northern Territory to other props. Co-Director, Rolf de Heer, to the vitality and vision of Aboriginal take up a fellowship to complete a Doctor of and Producer, Julie Ryan, spent a week artists from the Top End. Philosophy at Charles Darwin University. in Ramingining recently consulting with landowners and artists about locations and It has been a great privilege for me to work Milingimbi Art & Craft Re-opens casting. Artists are telling stories for their for an organisation with the integrity and The long awaited re-opening of Milingimbi paintings which will feature on 12 Canoes, an importance of ANKAAA. Art & Craft Centre is underway with the interactive website about art, life and culture recent appointment of Rachel Bourke in the region of the Arafura Swamp. Watch Angus Cameron as Art Centre Manager. The doors are out for them at the 2006 Adelaide Festival! WHO’S WHO WHAT’S NEW Page 8 Volume 5 Issue 1 MANGKAJA ARTS MARKS THE PASSING OF A SENIOR ARTIST Some ninety years ago, a child was born at produced the Boughshed series of cards GPO Box 2152 Kuntumarrajarra, a waterhole in the south that included images from fellow artists Darwin NT 0801 central region of the Great Sandy Desert. such as Nyuju Stumpy Brown, Janyka Ivy On Saturday 4 December, Paji Honeychild Nixon (dec), Nada Rawlins and Jukuja Frog Hollow Centre for the Arts Yankarr died having completed, over these Dolly Snell. These provided the impetus for 56 McMinn St Darwin 0800 years, one of the most inspiring personal the fi rst Karrayili group show at Tandanya Phone: 08 8981 6134 journeys of any Australian. Aboriginal Cultural Institute in 1991. Honeychild was one member of the core Fax: 08 8981 6048 From birth, she lived with her family around group of artists who continued to paint and Email: [email protected] Yirtil a permanent, spring fed waterhole exhibit consistently throughout the 1990s surrounded by her beloved sandhill country. with shows nationally and internationally. Web: www.ankaaa.org.au They were living here when her mother www.aboriginalart.org announced that her husband had come. He Her immediate family includes some was much older and some time into the important artists. Jukuna called her jaja or Compiled by Angus Cameron, ANKAAA relationship, he became ill. She was charged grandmother, she was ngawiji or father’s Industry Development Offi cer © 2005 with the responsibility of accompanying mother for Peter Skipper, aunt to Jimmy ANKAAA is a non-profi t Incorporated him on his departure from the camp and Pike, sister for Jimmy Nerrimah, aunt for from their world. He died several days Wakartu Cory Surprise, ngawaji for Walka Aboriginal Association and is proudly after their self-imposed exile and she stayed Molly Rogers, sister to Llanyi Alec Rogers sponsored by the following: with his body until she was strong enough and Murungkurr Terry Murray called her to undertake the four day walk back to juku or niece. Japirnka, the main jila for her family further to the north. She worked on the two Ngurrara canvases with these and other artists including her As a young woman she became an late husband Boxer Yankarr. Her works accomplished hunter and gatherer of an are blatant records of her desert country. extremely diverse range of bush fruits, seeds The inclusion of bush foods as decorative and meat. Mona Chuguna and her husband elements in the work was omitted as she Peter Skipper remember how well she grew older. As she stated in 1994, ‘I put provided for them in the years in the desert. water in my paintings, places we were ‘When we were living in the desert, even walking around’ and this was unchanged as in weather like today, parrangka we call it, her central motif. To watch her paint, there hot weather time, she would go hunting for was a sense that she walked around in her animals and bush food. All of the kids, had to paintings, with the broad sweep of the brush, wait in camp. She was a good hunter for us. around the places that she walked as a young She collected all of the bush tucker that she woman. The waterholes gradually took over put in her paintings. She found wirlka, (sand the picture plane with the elliptical forms of goanna) and maliri (Hare wallaby) and all of the centre of the waterhole, bleeding over the seeds like kulparn, lungkurn and puturu’. the edges, reconstructing precisely the view that she would have known as she drew Cautiously she moved to the station country water from the jila. with the last wave of her countrymen in the 1960s. She worked at Old Cherrabun For Jukuna, the reason why she should be Station for a time washing clothes, watering remembered in these words was for her the garden, cutting the grass with scissors unswerving efforts to look after her and and cooking for the stock camp. In tandem her siblings as they were growing up in the with the introduction of the equal pay laws desert. It was not an easy task but she was a of the early 1970s, she moved into town, great carer, provider and she knew all of the living at the old mission near the newly bush medicines and their applications. She established town community of Junjuwa. ‘grew up’ seventeen children although none She became involved with Karrayili Adult of them were her own biological offspring. Education Centre and began painting; as She has many nieces and nephews and is Jukuna relates, Honeychild asked herself survived by one brother, Watikakarra Stalin. what she should do now that her work was fi nished, ‘I will paint my own country, the On Monday 6 December, Mangkaja was desert’; and for almost twenty years she closed, in a hopelessly inadequate tribute to has done this. Her fi rst images were the a most remarkable individual, hunter, carer product of language classes at Karrayili and artist. and these caught the eye of the publishers at Magabala Books in Broome. In 1990 they Karen Dayman, Manager, Mangkaja Arts
ANKAAA Executive ANKAAA staff Djambawa Marawili, Richard Birrinbirrin, Stephanie Hawkins - Manager John Mawurndjul, Alice Snape, Gary Lee, Michelle Culpitt - IDO, Darwin Jeannie Nungarrayi Herbert, Ngarralja Charmaine Wharton Wall - IDO, Tommy May, Peggy Griffi th, Freddie Katherine Region Timms, John Martin Tipungwuti, Regis Susie Blake - IDO, Kimberley Region Pangiraminni, BJ Timaepatua Stephen Hutchison - IT Development Offi cer Public Offi cer - Karen Mills Erica Luchich - Offi ce Manager