Arts Backbone

Volume 4 Issue 2: July 2004 EMPOWERING INDIGENOUS ART CENTRES Hello every body; to all those art centres in Arnhemland, Kimberley, Northern Territory and the Islands and to all the people in those southern areas. I will give you the background about ANKAAA. ANKAAA has recently got stronger and has sure things are done the right way. They become an industry for all art centres. To should work together and look after each me it is really important. To me it is a big other and spend the money the right way. one, not just a dream. It was really a plan for those people who are putting their input, In Yolngu way we used to make lettersticks not only on their art but also for those old to pass on information to other tribes so the people. They are the ones we are looking other tribes knew that Dreaming stories at and bringing their wishes and dreams were passing through, and sharing names to become a reality for young artists; to and culture to other tribes. Now we are teach them about leadership in their area, doing the same thing, using voice instead following the footsteps of their grandfathers, of letterstick, our voice now, sending it fathers, brothers, sisters, aunties and all interstate so everyone is learning from us. those people. Those people who never went to college, that is really important for those This is a message to those ANKAAA art people who cannot read English. centres. We need to get together with white and black and work together. Let us We have our own manuscript in our own work together, it is really important to me country and in our own land. That message because I need to see all those art centres is coming from our own image and our own in your region surviving and looking good. country. We can survive with our own arts 2004 ANKAAA © We are governing ourselves under the name and with our own patterns and stories given Djambawa Marawali, ANKAAA Chairperson of ANKAAA. ANKAAA is a name that the to us from our ancestors. Those ancestors ‘We have our own manuscript in our government needs to listen to. ANKAAA were travelling through the country. That is own country and in our own land. is the voice of the artists in the art centre the message. Today we imagine a treaty for That message is coming from our coming up and showing the needs of their our own country and for our own lifestyle, own image and our own country. ‘ own art centres. This is really important to putting our energy into our work. Work is me. So let’s work together, live together a very Western way of living, turning up at We are looking through an economic way of and stand strong. Thank you. the right time on the right day, but our time building these arts, it is really important, we is different, every day we go hunting, fi shing are not just doing it for money but we are Djambawa Marawili and collecting food. That was our day, doing it to let people know that this country ANKAAA Chairperson teaching the kids, maybe resting and then has its stories and songs and names. Today going on to do other things and going to other we are using Yolngu (Aboriginal) names as In this issue areas. Those patterns, designs and stories are well as English names, it is really important still there. We had those stories and we have to me. ANKAAA makes me feel really • Nyumi at Sydney Biennale still got those stories and our people never strong because I can see I am doing it for forgot that country, our sacred country, areas all Aboriginal people and I am sharing my • Milky Way - where we caught lots of food. knowledge and how I see. I am an artist; Buku Larnggay Mulka I know the stories from my father and my Today in this world in 2004 and fi ve and grandfather. • Telstra Art Awards, August 2004 six we are sharing a lot with our own So let’s get together, white and black, let’s community, to our own colour and to the • Feature Artists: Lofty Bardayal OA work together, let’s live together, let’s learn white residents of Australia. We are sharing & Don Nakadilinj a lot because I think it is really important together, making those arts good so that those arts will lead us somewhere else so making our art in an economic way of • Feature Art Centre: sharing. It is really important to me. We we can become independent. We have got Bula’bula Arts, Ramingining, NT would like to see our art centres built up to keep strong and speak for our own art for our young people who are coming up, centres, (where we come from), speak for so they can become artists. It is really our own rights. It is our art and we represent • Upcoming Exhibitions important we are bringing our young all those art centres and we need to do it for July - September 2004 people up into a state that we know they our own community, because ANKAAA can survive with our own art and our own is representing us to government and the • Balgo 4-04 stories from our forefathers and our fathers. government is looking to ANKAAA to make Page 2 Volume 4 Issue 2 MILKY WAY NEWS & REVIEWS NAMINAPU MAYMURU-WHITE WARLAYIRTI ARTISTS AT SYDNEY BIENNALE Framed Art Gallery Darwin

In early June, as we were all set to depart An important bark painting exhibition Balgo for the much anticipated trip to the from Buku Larnggay Mulka, was held at Biennale of Sydney in which Elizabeth Framed Art Gallery in Darwin in June. The Nyumi had been selected to exhibit, a exhibition featured senior artist Naminapu report on the Tanami Track south to Alice Maymaru - White. Naminapu’s fathers Springs revealed the road to be impassable Narritjin and Nanyin were the greats of the due to unseasonable heavy rains in the days dawning era and of all those artists from leading up to our departure! Yirrkala who have won prizes, Naminapu is the only one to have won two major A major re-scheduling of fl ights was needed awards including NATSIAA. in order to get to Sydney via Broome and Perth. Accompanying Nyumi on Elizabeth Nyumi with her work at the Biennale of What is unique about this exhibition is that this journey was Eubena Nampitjin and Sydney. Image courtesy Warlayirti Artists © 2004 the designs transmitted by her father and Wumali Joan Nagomara the Vice-Chair of his brother on bark, which she refi ned and After a much needed rest back at the Warlayirti Artists as well as both art centre distilled to realise in print form are now apartment that day, we returned to the MCA coordinators. While the weather was cold returning to their original media. In the for the offi cial opening of the Biennale of and wet in Balgo, the sun was shining in course of that journey something seems to the Sydney. Nyumi as well as Eubena and Sydney on our arrival. have happened so that the designs are more Wumali were the face of Warlayirti Artists concentrated and graphic than they were and enjoyed the role of representing the art There were a number of offi cial events to but just as strongly based on their timeless centre and interacting with the local and attend during our stay in Sydney; the fi rst origins. So we have something new and international crowd as they converged on was the media preview at the Museum of fresh but incredibly well provenanced in the display of Nyumi’s paintings. Contemporary Art (MCA) where Isabel cultural and art historical terms that not Carlos, the curator of the Biennale greeted only shimmers with surface beauty but has us. She guided Nyumi and entourage to The inclusion of Nyumi in the Biennale of Sydney this year is a signifi cant achievement an elegant structure within that allows no the gallery space on the third fl oor where compromise. Nyumi’s paintings glistened in the natural and recognizes her work as contemporary light beaming through the window. The art that can hang alongside international Will Stubbs Art Co-ordinator works selected for the Biennale provided contemporary artists. Nyumi is the fi rst Buku Larnggay Mulka a mini-retrospective of her work over the artist from Warlayirti Artists to be selected previous fi ve years, highlighting a major for the Biennale and one of only a handful shift in Nyumi’s style and the ever-present of Indigenous Australian artists to have been development of her painting over this period. included in the Biennale of Sydney. Nyumi has been a dedicated artist over the last 15 Nyumi, a naturally passionate and charismatic years and in the last 5 years has attracted woman, comfortably engaged with the media the attention of international collectors and and photographers as she talked confi dently curators. Nyumi is celebrating her fourth about her work and what the paintings depict. solo exhibition in August this year at Raft She enjoyed revisiting her paintings and was Artspace in Darwin where her most recent instantly able to identify who the art centre paintings can be viewed. coordinator was at Warlayirti Artists when Stephen Williamson she had painted each work. Manager Warlayirti Artists

TIWI ART NETWORK INCORPORATED In 2004 the Tiwi Art Network has become an Aboriginal Corporation and recently elected its own board consisting of four representatives from each of the three art centres. Congratulations to inaugural Chairman Pius Tipungwuti from Jilamara Arts & Crafts, Secretary Regis Pangiraminni from Munupi Arts & Crafts, Public Offi cer Reppie Orsto from Munupi Arts & Crafts, and Treasurer Vincent Tipiloura from Tiwi Participants at the inaugural Tiwi Art Network “I have brought these paintings to your place Design. The move has come after three meeting. Image courtesy Tiwi Art Network ©2004 because I want to show and share with people years of planning by the Tiwi Art Centres of different backgrounds and all of our young and overseas. The Tiwi Art Network people. This is not my hobby but my identity which formed the Tiwi Art Network also runs art tours to the Tiwi Islands for and my foundation.” © Naminapu Maymuru- in 2001. The Tiwi Art Network has a art enthusiasts and collectors and is an White, Buku Larnggay Mulka 2004 Marketing Offi cer and offi ce in Darwin and accredited tour operator. operates as a registered business to promote the three Tiwi art centres locally, interstate Rose Cameron Marketing Offi cer Tiwi Art Network Volume 4 Issue 2 Page 3 NEWS & REVIEWS TELSTRA NATIONAL ABORIGINAL AND TORRES STRAIT ISLAND ART AWARDS of particular note in this year’s exhibition fanatics there are also some beautiful classic Thanks again to the many entrants who include Broome painters Weaver Jack, Bertha pieces, as well as a number of innovative submitted works to the Telstra National Linty, Alma Webou and Donald Meko, Perth works, such as Kantjupayi Benson’s life Aboriginal & Torres Strait Islander Art artist Primus Ugle and Panngurr painters size fi gures: one of the twenty three, three- Award. This is the Award’s 21st birthday Nyarrie Taylor and Muuki Taylor. Desert dimensional works for this year’s Award. The which will be celebrated by another knock painters have a strong showing along with daunting task of judging will be undertaken out exhibition. Out of 340 submitted entries Top End practitioners. Tiwi artists (including by Edmond Capon, Director of the Art the preselection panel consisting of Professor Pedro Wonaeamirri, Thomas Munkanome) Gallery of New South Wales and Dr Julie Sylvia Kleinert, Gary Lee, Hetti Perkins, are represented by works in various media Gough, Curator of Indigenous Art at the Daena Murray and Margie West, selected 103 while the number of bark paintings from National Gallery of Victoria. The exhibition works for fi nal exhibition. Representation Arnhem Land has increased from last year, opens to the public on the 14th August 2004. from the remote communities was again with strong works from well known artists, extremely strong with some new entrants including ANKAAA’s Chairman Djambawa Margie West participating alongside established artists. Marawili and emerging painters Irenie Curator - Aboriginal Art Emerging artists from Western Australia Ngalinba and Kay Lindjuwanga. For fi bre Museum and Art Gallery of the NT VISUAL ART & CRAFT STRATEGY - TRAINING INITIATIVE In 2004, ANKAAA has been funded through the Federal Government and the Northern Territory Government Visual Art and Crafts Strategy to deliver skills development, training, business development and other initiatives to art centres in the Top End and the Kimberley region of Western Australia. Training programs include exhibition development workshops for Injalak in the Twined Together project, Money Story workshops, print making workshops, canvas stretching, Meet & Greet marketing workshops and video training. CANVAS STRETCHING YIRRKALA PRINT MEET & GREET WORKSHOP WORKSHOP WORKSHOP The ANKAAA Canvas Stretching Meet & Greet marketing workshops were Workshops have been developed and held at six art centres across the Kimberley facilitated by Don Whyte from Don Whyte Region from 20 – 30 May by Sonny Kent Framing in Darwin. The workshops are and Angus Cameron. Both artists and art designed to provide a system for artists to centre staff participated in the workshops paint directly onto stretched canvas. This resulting in increased confi dence and better gives the art centre the capacity to produce understanding of how to market art to clients. high quality products at archival standard and also provides additional employment ‘The sessions helped artists understand the opportunities to Aboriginal artists. The value of their contribution to marketing system enables art centres to select artworks to art centre visitors and assisted uniform canvas sizes, eliminating waste staff with skills in addressing the needs and streamlining cataloguing and pricing Printmaker Basil Hall conducting an etching of tourists in a busy art centre gallery.’ systems. The workshop has established workshop at Buku-Larnggay Mulka with Cathy Cummins Waringarri Arts Araluen Maymuru, Nongirrnga Marawili, a standard of best practice within the art Nyapanyapa Yunupingu, Gaymala Yunupingu, ‘There was a high level of participation in centres for the care and presentation of Gulumbu Yunupingu, Boliny Wanambi (and the role-play activities both by the senior works on canvas and linen. Workshop child), Marrnyula Mununggurr and Basil Hall participants develop the knowledge and in the courtyard at Buku. The workshop was artists, who are well practiced in talking skills to maintain this professional practice. auspiced by ARTS NT and is attempting to with visitors, but also among the younger Don Whyte has delivered workshops to give artists the skills to make simple inhouse artists who are generally more reluctant to seven ANKAAA art centres this year. etchings at Yirrkala with printmakers Araluen speak with visitors in the art centre. This and Marrnyula. Image © Buku-Larnggay was encouraging to see and a very positive Mulka 2004 outcome from the workshop.’ Samantha Togni Warlayirti Artists MONEY STORY The Meet & Greet Workshops were supported by Arts WA

KAAA 2004 KAAA

ANKAAA 2004 ANKAAA

Money Story workshop at Tiwi Design with AN

ANKAAA 2004 ANKAAA Hugh Lovesy from Little Fish and John Patrick Waringarri Meet & Greet workshop with Alan Joshua Junior during the Canvas Kelantamuma, John Bennett Pilakui, Mark participants Paddy Carlton, Cathy Cummins, Judy Stretching Workshop at Ngukurr Arts Puautjimi and BJ Timaepatua from Tiwi Design Mengil, Peter Newry and Mignonette Jamin Page 4 Volume 4 Issue 2

BARDAYAL LOFTY NADJAMERREK OA & FEATURE ARTIST DON NAKADILINJ NAMUNDJA

these lines. Bardayal alternates wet on wet, lines graduating from red to yellow then back to red and on. Nakadilinj’s rarrk is more delicate but just as deliberate using the same palette, but one colour at a time. Neither has a particularly steady hand, (in contrast to many traditional line makers of the Top End) but Nakadilinj achieves both a delicacy and a fi nesse that is characterised by its solid continuity. But fi rstly and like Nakadilinj, Bardayal’s initial marks of the Don Nakadilinj Namundja at Kabulwarnamyo cartoon are modeled rather than drawn, pushing out the shape from within its edges. Bardayal Lofty Nadjamerrek in Sydney for his exhibition at Annandale Galleries Elements of ease are lacking in the art If the line needs to be brought back in, a industry, its bureaucracy, marketing and painter’s fi nger in a confi dent and incidental for many the making of the art. In contrast swipe or rub will correct the form. Marrawuddi curated Bardayal’s fi rst solo Don Nakadilinj Namundja is a painter who Both paint the ordinary, the everyday stuff exhibition last year. At Annandale Galleries has been able to imbue a real sense of ease we provided Bardayal a glimpse of the fi ne into his work. His paintings are honest in art market. He saw his paintings in this alien the sense that these works have been made environment and experienced the hoo-hah without prejudice to preconceived ideas of a big billing opening night at a modern of what may be expected of this market. art gallery. Here he hijacked the formal proceedings and engrossed his delighted audience with endearing explanations of It was made evident to me soon after his country and songs of the moon, and his request for materials to paint, that his glimpse of Sydney town… “Oh Sydney Nakadilinj’s art was something fresh, as if – this is Proper Sydney”. these fi rst works heralded liberation from scepticism and the mundane. These fi rst He is incredibly generous with his time and paintings were made during the wet season Nakarindhilba, Bardayal Lofty Nadjamerrek, patience. Bardayal’s traditional knowledge ochre on paper, 2003 of 2002/03 at Kabulwarnamyo, Bardayal’s and his philosophical views about his art place on the upper reaches of the Mann and country is all wondrous. With the NLC River, stone country of west Arnhem and the support of other public bodies, Land. Nakadilinj celebrated the opening individuals and family he ably explains of his fi rst exhibition at Raft Art Space in how systems of local knowledge on country Darwin in February this year. The forty odd works and how it has been managed. These paintings that made up the show (apart from things are recorded, re-implemented and a work selected for the 2003 Telstra Art practiced to this day. It all goes to a provide Dikkala - Bush Radish, Don Nakadilinj Awards) were the entire output produced by Namundja, ochre on paper, 2003 broader understanding and towards realizing Nakadilinj for Marrawuddi in the previous the value and worth of the tried and true. In twelve months. this he embraces the cultures (and science) of a bygone era, animals, food and plant of both the Indigenous and Western world. At Kabulwarnamyo, Nakadilinj’s camp was life, gathering and hunting equipment and His stature in all this has recently been next to Bardayal. Bardayal was painting people. The same sort of imagery is found formally recognised with his appointment then for his fi rst exhibition, booked for in the rock shelters of these homelands. as an Offi cer to the Order of Australia. Sydney. When Bardayal paints he embraces Also amongst these galleries unusual the act travelling with his kit; brushes, images are found, images that are evidence It is said also of Don Nakadilinj Namundja palette glue etc. He grinds pigment from of a more non-secular nature. Bardayal will that he holds a knowledge of traditional his red and yellow stones, his white pigment occasionally paint from this stock, the best law and the focal site of his clan’s land, from crushing the round gravel of huntite, a of these are confronting in their attractive Mankorlod, (more specifi cally the site rare mineral collected by helicopter travel. power. His secular work is enticing because of his name-sake (Na)kadilinj). The It was his fi re to paint that encouraged of its shear joy de vive exploring realms artist paints his subjects with authority Nakadilinj to do also. of yesterday, today and on. Bardayal’s rather than by rote. His paintings contain Nakadilinj’s family style of painting imagery, clever with animation can be spiritual knowledge in stead of expounding belongs to the same school as Bardayal’s; gestural and end up anywhere on the page, it. The viewers delight in his imagery the Namarnyilk and Nadjordi people who animals may be in some courtship display, is appreciation enough and suggests his include the late and great Nabarlambarl, in a burrow, grazing or comatose ready to be purpose to paint is right and focused. butchered. Nakadilinj’s work is more basic, Nguleingulei, men who use the family name Andrew Blake of Namundja and men of the Kardbam clan. his painting of icons focus on basic shapes, roundels of stone, bulbs and corm, holes, Manager Marrawuddi Gallery The style is reminiscent of the region’s All images in this article courtesy rock art with rarrk adding shimmering dilly bags and eggs, lumpy elongated forms Marrawuddi Gallery © 2004 fi elds of singularly parallel lines, red and of yams, palm trunks and stone tips. More yellow, on the underlying cartoon of white. formal subjects such as hollow logs seem to Artists associated with this style add an have been painted slightly more rigidly as if individual nuance to the laying down of to create weight. Volume 4 Issue 2 Page 5 FEATURE ART CENTRE BULA’BULA ARTS Ramingining community, in Central Arnhem Land, has had an art centre since the remote settlement was fi rst established in c1978. Bula’bula Arts Aboriginal Corporation (BAAC – pronounced “bark”) was established in 1990 after a meeting of senior artists decided that they needed an independent organisation to represent their interests. The name Bula’bula was chosen as it refers to the ancestral kangaroo, Garrtjambal, who travelled from Roper River in the south-east to Milingimbi in the north, linking all the clans along his peripatetic journey. Bula’bula translates as the ‘tongue’, ‘voice’ or ‘message’ of the kangaroo. Ramingining is built on Djadawitjibi country, whose principal creator being Interior of Bula’bula Arts Aboriginal Corporation building is Garrtjambal. These are exciting times for Bula’bula projects. Richard Birrinbirrin is principal Bula’bula Arts is a multi-arts organisation, Arts which is re-situating itself both in the consultant for Twelve Canoes, while Gladys supporting performance as well as the visual market place and in the eyes of its artist Womati and Bobby Bununggurr are artistic arts. Notable performance artist members members and Executive Committee. and music consultants respectively. David are dancer and actor, David Gulpilil OAM Gulpilil is co-writer and co-director, with de and musicians Bobby Bununggurr, Jimmy Chairman, Richard Birrinbirrin (son of Heer on Ten Canoes and many artists will Djamanba and Michael Dawu of Waak Dr David Malangi) is a strong leader, act in the fi lm. Waak Jungi. The Adelaide Arts Festival a translator and an ambassador for the 2004 saw Waak Waak Jungi providing a art centre. Exciting new projects are Types of Art Produced and How to Buy it: concert, while Gulpilil, a one-man-show being developed which include a video Art production provides a major income featuring David Gulpilil, played to a full- training workshop and a revamp of the source for the peoples of Ramingining and house with standing ovations each night screen printing area, as well as a more Bula’bula Arts undertakes many commercial at the Don Dunstan Theatre. Gulpilil is comprehensive exhibition programme. exhibitions and projects each year. We also co-written by Reg Cribb and David Gulpilil There is a strong element of cohesion at wholesale to retail outlets. The main art and directed by Neil Armfi eld. Bula’bula Arts. The offi ce has an ‘open works made are paintings on bark, canvas door’ policy where artists at any time can and paper, all executed in earth pigments. come and sell their work, ask questions We also stock a range of limited edition about what the managers are doing, how prints and works in fi bre such as baskets, sales are going, what the latest money story mats, dilly-bags and fi sh-traps. Hollow logs is, get help with Centrelink or Legal Aid, or and woven mats are among our specialities. just a cup of tea. Our new website, www.bulabula-arts.com, is coming soon to a computer near you! It Many, Many Canoes: will provide a history of the organisation, Vertigo Productions (Rolf de Heer) is artists’ biographies and an on-line-gallery/ working in consultation with Bula’bula shop. For direct sales and any other Arts and the Ramingining community to enquiries, or to secure an exhibition, contact produce many interrelated projects. The [email protected] Robyn Djunginy demonstrating weaving to a fi lm Ten Canoes, essentially about goose- documentary crew who came to Ramingining egg hunters, is due to commence production Further reading about Ramingining: in March 2004 Caruana, Wally and Lendon, Nigel (eds), in April 2005. Eleven Canoes involves 1997, The Painters of the Wagilag Sisters Story the school, where students will produce 1937-1997, National Gallery of Canberra a series of mini-documentaries about Morphy, Howard and Smith Boles, Margo processes of making art. Twelve Canoes (eds), 1999, Art From the Land: Dialogues is an interactive multi-media site that will with the Kluge-Ruhe Collection of Australian focus on art from the Arafura Swamp. Aboriginal Art, University of Virginia, USA Objects and paintings will come to life and Mundine, Djon, Murphy Bernice, and Rudder, fuse with the environment to bring further John, 1999, The Native Born: Objects and Representations from Ramingining, Arnhem understanding to the outside world about Land, Museum of Contemporary Art in many aspects of yolngu culture. Thirteen association with Bula’bula Arts Canoes, the exhibition, to be held at the Flinders University City Art Gallery, is Belinda Scott planned to open concurrently at the 2006 Assistant Manager Adelaide Festival where Ten Canoes will Bula’bula Arts Richard Birrinbirrin and Rolf de Heer on have its world premiere. Bula’bula Arts location for Many Canoes projects All images in this article is heavily involved with all the Canoe courtesy Bula’bula Arts © 2004 Page 6 Volume 4 Issue 2 ART WORKER PROFILES

‘Sometimes we take kids out with the Cultural Centre, teach them dancing and singing. Some of our elders are getting too old and too tired, we need to teach the younger ones to sing and to dance, before our elders pass away. We need to keep the culture strong, pass it on to them, it is really good. It is an important job.’ Wumali Joan Nagomara

WUMALI JOAN VINCENT (TIGER) NAGOMARA TIPILOURA WARLAYIRTI ARTS WA TIWI DESIGN NT I come here to help here at Warlayirti. To I am Production Manager at Tiwi Design

help my people how we run this Warlayirti at Nguiu on Bathurst Island. I help the © ANKAAA 2004 ANKAAA © by having meetings to talk about keeping manager with packing the carvings and this place strong. I am vice chairperson paintings, sending the work to Sydney, of Warlayirti and Secretary and I also go Melbourne. I help all the artists here, we do TERRY MURRAY to meetings in Darwin with the ANKAAA painting, printing, ceramics and carving. I MANGKAJA ARTS WA Executive so I can tell the people at Balgo also make carvings. I have been working at I work at Mangkaja Arts. I deal with the how it is run and tell them about ANKAAA the art centre since 1980. translating for the artists and helping to business. Tell them about that money story. explain to people who come to buy art. I do So those old people understand where that a lot of story writing in language and Kriole. money goes and how it gets spent for the I speak four languages, my main language is art centre. I meet visitors to the cultural Walmajarri I also speak Kriol, Juwaliny and centre. I take them around and show them English. I serve people who come into the all the paintings, take them out, show them shop. I help a lot of the elderly artists with around. Tell them about Balgo and that exhibitions in Melbourne, Sydney, Perth, country, tell them about our Dreaming and Adelaide. I tell the story and try to interest stories, where waterholes and stock waters the customer and getting the word out there are around here. We got lots of bush tucker about country. I do a lot of interpreting around, we go hunting, we tell them that. at meetings also and to media and people When they come out here they see nothing who come through who want to know more here, but there is bush tucker, lots of things, about Mangkaja. I would like to do more we go hunting for turkey, kangaroo, lots of training in interpretation and talking to bush tucker. We have lots of creeks we can people. I like working at Mangkaja because go swimming. We like going out, camping you learn every day learning from the old out, we go to country. Sometimes we take people and you learn new things, how they kids out with the cultural centre, teach them relate to the land, the paintings they do, dancing and singing. Some of our elders dancing, communication like sitting around are getting too old and too tired, we need to

© ANKAAA 2004 ANKAAA © with a group of old people learning new teach the younger ones to sing and to dance, things in cultural ways. before our elders pass away. We need to INGRID NINGARMARA keep the culture strong, pass it on to them, it I also paint in my spare time. Young is really good. It is an important job. WARINGARRI ARTS WA I work with the artists at Waringarri Arts. people paint differently to the old people, I like working with the old people. I like young people paint more modern like watching them do their paintings. I get the landscaping. You can tell by looking at say story from the artist in Language and English a dot painting by a young person and the old and write it into the computer. We get a lot people. You can see the different power and of tourists at Waringarri. I do the sales in the knowledge. My painting will change as I shop and keep records of the sales. I have get more mature and older and get more been working at Waringarri Arts for a short understanding. When you start a painting time and I am learning about the business. every work is a new starting point, and And I am learning quickly for the computer. you say no that is not good, you know and I like working at Waringarri Arts. then down the track when you have been painting, painting, painting you start to get more recognised.

I would like to do a project with younger artists who are wanting to paint and want to know more about their background and families and about the places their Great Grandfather, Grand Mother or Aunties and Uncles paint. Knowing that they can do it, not just sitting around and saying that you

can’t do it, knowing that you can do it. It is © ANKAAA 2004 ANKAAA © © ANKAAA 2004 ANKAAA © all there waiting inside them. Volume 4 Issue 2 Page 7

JULY AUGUST Jimmy Ngalakurn, Ivan Namirrkki, Lena Yarinkura, and James Iyuna Maningrida Show Jirrawong Screenprints from Yirrkala Maningrida Arts & Culture Paddy Bedford, Freddy Timms & Rammy Ramsy Buku Larnggay Mulka Cooee Aboriginal Art, Sydney, NSW Jirrawun Aboriginal Art Corporation Gapan Gallery, Garma Festival, Gulkula, NT Bronze and Aluminium Sculptures Short Street Gallery 24 June – 22 July 6 - 10 August Maningrida Arts & Culture James Iyuna & Melba Gunjarrwanga New Munupi Prints Launch Gallery Gabrielle Pizzi, Melbourne, Vic Maningrida Arts Government House, Darwin 22 June -17 July Alcaston Gallery, Melbourne 18 June – 10 July 11 August 2004 Eubena Nampitjin Hollow Logs: Dupun, Djalambu, Badurru Garma Festival 6 - 10 August Warlayirti Artists Bula’bula Arts Prints from the Garma Panel & Photographs Alcaston Gallery, Melbourne, Vic Gallery Gabrielle Pizzi, Melbourne from the Garma Festival 8 September – 2 October 26 June – 17 July Opening concurrently at Lorrkon from Maningrida Garma Festival, Gulkula, NT 6 - 10 August The World of Aboriginal Art and Tingatinga Paintings Maningrida Arts & Culture and Philip Neville Gallery, Darwin 14 – 20 August Features Munupi artists in the collection: Rebecca Hossack Gallery, London , UK The Hida Earth Wisdom Centre, Gifu, Japan Wukun Wanambi 9 September - 9 October June 26 - August 29 Buku Larnggay Mulka Desert Mob Raft Artspace, Darwin, NT The Art of the Didjeridu: Past and Present Includes art from Warlayirti Artists 14 August – 4 September Buku Larnggay Mulka Araluen Galleries Alice Springs, NT Melbourne Museum 30 June - 6 July Elizabeth Nyumi 5 September - 17 October Warlayirti Artists River People Kathleen Paddoon Raft Artspace Darwin 14 August – 4 September Emerging Artists from Jilkminggan Community Warlayirti Artists (formerly Elsey Station) Telstra National Aboriginal and Torres Strait Scott Livesey Art Dealer, Melbourne, Vic Mimi Arts & Crafts, Katherine, NT 4 – 10 July Island Art Award (NATSIAA) 9 September Featuring works from ANKAAA art centres and Art in the Park Broken Promises other Australian Indigenous artists Mimi Arts & Crafts, Katherine, NT 6 – 8 July Mangkaja Arts Museum and Art Gallery of the Northern Territory, Kiripuranji Short Street Gallery, Broome, WA Darwin 14 August – 7 November Features work by 17 Tiwi artists represented by the 16 September – 7 October Screenprints from Yirrkala Artbank Collection Rome, Italy 5 – 23 July Kay Lindjuwanga Solo Show Buku Larnggay Mulka Helicopter Tjungurrayi Maningrida Arts & Culture Darwin Botanic Gardens, Darwin 15 -31 August Warlayirti Artists Aboriginal and Pacifi c Arts, Sydney, NSW ANKAAA EXHIBITION CALENDAR Alcaston Gallery @ Depot Gallery, Sydney, 6 – 17 July Survey Show 23 September -15 October Warlayirti Artists Sculptures from Maningrida Crossing Country: the alchemy of Western Short Street Gallery, Broome Maningrida Arts & Culture Arnhem Land art 19 August – 16 September Bandigan Gallery, Sydney, NSW 8 – 29 July Maningrida Arts & Culture Maningrida Group Show Bukmak – Galiwin’ku’ (Talking and Sharing) Art Gallery of New South Wales, Sydney, NSW Maningrida Arts & Culture Elcho Island Arts & Crafts 25 September -12 December William Mora Galleries, Melbourne, Vic Framed Gallery, Darwin, NT 10 July – 31 July John Mawurndjul Solo Show 19 August -10 September Mary Magdeline & Family Maningrida Arts & Culture Terra Alterius: Land of Another Jilamara Art Centre Annandale Galleries, Sydney, NSW Maningrida Arts & Culture Short Street Gallery 22 July – 19 August 27 September – 21 October Ivan Dougherty Gallery, Sydney, NSW Kuninjku Sculptures Wanyubi Marika-solo show 19 August - 25 September Buku Larnggay Mulka Maningrida Arts & Culture Big Country Annandale Galleries Opens 21 July Hogarth Galleries, Sydney, NSW Mangkaja Arts 29 September - 2 October Circle, line, column-larrakitj Stumpy Brown, Peter Skipper and Cory Surprise Jilamara Arts & Craft, Group Exhibition Buku Larnggay Mulka Gallery Gondwana, Alice Springs 20 August Annandale Galleries Opens 21 July Alcaston Gallery, Melbourne, Vic, September Mary Magdalene Family Show Jilamara Arts & Craft, Group Show Pedro Wonaeamirri Jilamara Arts & Craft Raft Artspace, Darwin, NT Jilamara Arts & Crafts Short St Gallery, Broome August Alcaston Gallery, Melbourne 14 July – 7 August 10 September – 2 October Over the Top: Cory Surprise Mangkaja Arts at Melbourne. Arts Fair, Vic Mangkaja Arts SEPTEMBER Presented by Raft Artspace, Darwin. Fremantle Arts Centre, WA 30 July 24 September Stumpy Brown & Spider Snell Ramingining Rom: Paintings & Objects from Joondalup Art Prize, Perth, WA 8 September Broken Promises: Spider Snell, Dolly Snell, Bula’bula Arts Mona Jukuna & Peter Skipper, Fibre, Barks and Canvas Fremantle Arts Centre Gallery 31 July - 29 August Mangkaja Arts Bula’bula Arts Short St, Broome, WA, 16 September No Ordinary Place: The Art of David Malangi John Colquhuon Gallery, Sydney, NSW Bula’bula Arts 9 – 30 September Daisy Andrews Solo Show National Gallery of Australia, Canberra Mangkaja Arts 31 July – November Boutwell Draper Gallery, Sydney 21 September WHO’S WHO & WHAT’S NEW Artists at Warmun Arts recently farewelled Carolynne Hamdorff and Rudy Panozzo and welcomed to the new managers Megan Buckley and Eamonn Meng Hoeschle completed an extensive period as Manager of Merrepen Scott from Melbourne. Meanwhile at Elcho Island Jeanie Haynatz has Arts in May. Meng presided over the substantial development of Merrepen resigned from the position of Manager at Elcho Island Arts & Crafts and Arts and will be missed for her considerable enthusiasm and energy. Kate will take up a three month assistant position at Warmun Art Centre. Podger is new Manager at Merrepen Arts and has now settled in after a long trip from Central Australia. The ANKAAA offi ce has relocated to 56 McMinn Street Darwin, (still at the Frog Hollow Arts Presinct). The postal address remains unchanged. Page 8 Volume 4 Issue 2 BALGO 4-04

Balgo was abuzz over the Easter weekend this year (9 - 10 April) as Warlayirti Artists hosted its fi rst GPO Box 2152 curated exhibition at the Warlayirti Art Centre; Balgo 4-04. Eighty visitors, Darwin NT 0801 including collectors, art dealers and Frog Hollow Centre for the Arts curators from all over Australia fl ew 56 Woods St Darwin 0800 in on charter planes to attend the event. The Art and Culture Centres Phone: 08 8981 6134 were transformed into elegant ‘Balgo’ Fax: 08 8981 6048 gallery spaces to accommodate the 149 Email: [email protected] works in the exhibition. Curated over two years, it was the largest exhibition Web: www.ankaaa.org.au of Balgo paintings since the very fi rst www.aboriginalart.org Balgo exhibition held in 1986 at the Art Gallery of Western Australia. Edited by Angus Cameron, ANKAAA Genevieve Nowee and Geradline Nowee at Industry Development Offi cer © 2004 The Warlayirti Artists Committee was the Balgo 4-04 Exhibition. Image courtesy very excited by the opportunity to host an Warlayirti Arts © 2004 ANKAAA is a non-profi t Incorporated exhibition in which the whole community Aboriginal Association and is proudly could participate. The event had a number the educational opportunities Balgo 4-04 sponsored by the following: of key objectives, including raising funds presented for visitors and artists alike. to support the ongoing operation of the self-funded Art Centre and developing An 80-page full colour catalogue detailing the capacity of the Committee. However, more than 50 works in the exhibition was equally important was the opportunity to launched at the opening and is available showcase the full spectrum of art currently for purchase through the Warlayirti Artists being produced through Warlayirti Artists; website www.balgoart.org.au . to exhibit the youngest artists alongside the most senior and recognised artists, exposing Balgo 4-04 was a one-off event which far the work of younger artists to collectors and exceeded Warlayirti Artists’ expectations on art dealers, a signifi cant step in developing many levels in terms of its success. It was their careers and ensuring the sustainability a signifi cant event to organise, requiring of Warlayirti Artists. the hard work and commitment of the Committee, artists, staff and a great team Balgo 4-04 was opened with speeches by of volunteers to achieve this success. The the Chair of Warlayirti Artists, Philomena artists and their families were so proud of Baadjo and Vice Chair, Wumali Joan their achievement and the celebratory nature Nagomara. Both speeches refl ected the of the event generated a buoyancy in the pride that the women felt in the strength of community that is not often seen. It is hoped Warlayirti Artists and the fact that so many that the successes of Balgo 4-04 will continue young people were painting and learning to benefi t Warlayirti Artists in the future. from the senior artists. Wumali also stated. ‘We are welcoming different cultures Samantha Togni, and sharing and learning’ highlighting Director Warlayirti Artists

NT EXPO 2004 Assistant Manager at Munupi Arts, Lilly Carpenter at the ANKAAA stall at the NT Expo on 26 & 27 June 2004. Many ANKAAA art centres participated in the stall including This project has been assisted by the Mimi Arts from Katherine, Injalak Arts from Commonwealth Government through the Australia Council, its arts funding Oenpelli and Merrepen Arts, Daly River. and advisory body. Thanks to artists Roque Lee and Jeanie Nungarrayi who provided a highlight of the

stall with wonderful painting demonstrations. © ANKAAA 2004 ANKAAA © ANKAAA Executive Committee Djambawa Marawili - Chairman, BJ Timaepatua - Vice Chairman, John Martin Tipungwuti - Secretary, Karen Mills - Public Offi cer, Melba Gunjarrwanga & Leon Bandicha Ali - Treasurer, Joseph Tungatalum (Cooper), Isaiah Nagurrgurrba, Joan Nagomara, Freddie Timms, Patrick Mung Mung, Alice Snape, Hermy Munnich, Rex Wilfred ANKAAA staff Stephanie Hawkins - Manager, Angus Cameron - Industry Development Offi cer, Stephen Hutchison - IT Development Offi cer, Erica Luchich - Offi ce Manager