DOCSLIB.ORG

Arts Backbone

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arts Backbone 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.
Load more

Recommended publications
  • Art Gallery of New South Wales Annual Report 2012 – 13
    ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2012 – 13 1 CONTENTS 4 Vision and strategic direction 2010 – 15 5 President’s foreword 9 Director’s statement 13 At a glance 15 Access 15 Exhibitions and audience programs 19 Future exhibitions 21 Publishing 23 Engaging 23 Digital engagement 23 Community 30 Education 35 Outreach Regional NSW 40 Stewarding 40 Building and environmental management 42 Corporate Governance 58 Collecting 58 Major collection acquisitions 67 Other collection activity 70 Appendices 123 General Access Information 131 Financial statements 2 ART GALLERY OF NSW ANNUAL REPORT 12-13 The Hon George Souris MP Minister for Tourism, Major Events, Hospitality and Racing, and Minister for the Arts Parliament House Macquarie Street SYDNEY NSW 2000 Dear Minister It is our pleasure to forward to you for presentation to the NSW Parliament the annual report for the Art Gallery of NSW for the year ended 30 June 2013. This report has been prepared in accordance with the provisions of the Annual Report (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2010. Yours sincerely Steven Lowy Michael Brand President Director Art Gallery of NSW Trust 21 October 2013 3 VISION AND STRATEGIC DIRECTION 2010 – 2015 Vision The Gallery is dedicated to serving the widest possible audience, both nationally and internationally, as a centre of excellence for the collection, preservation, documentation, . interpretation and display of Australian and international art. The Gallery is also dedicated to providing a forum for scholarship, art education and the exchange of ideas. Strategic Directions Access To continue to improve access to our collection, resources and expertise through exhibitions, publishing, programs, new technologies and partnerships.
    [Show full text]
  • Imagining Mumeka: Bureaucratic and Kuninjku Perspectives Jon Altman1
    14 Imagining Mumeka: Bureaucratic and Kuninjku perspectives Jon Altman1 Mumeka is the name of a place; it was once the location of a seasonal camp. Since the late 1960s it has been called an outstation or homeland. The name first appears in the archive in the late 1960s, but the immediate precursor to its establishment was the blazing of a vehicular track from Oenpelli to Maningrida in the Northern Territory in 1963 that crossed the Mann River adjacent to this wet season camp (see Figure 14.1). That place was inhabited by members of a community that speak what we now refer to as the Kuninjku dialect of the pan-dialectical Bining Gunwok language (Evans 2003). In this chapter, I want to say something about the lives of Kuninjku people over the 50 years since 1963 through the locational lens of Mumeka and their engagements with the Australian state and capitalism, including during a policy period termed self-determination. I then want to say something about current Kuninjku circumstances and the indeterminacy of their future, even as the future of Mumeka, the place, seems reasonably assured. 1 I would like to thank John Mawurndjul and the Kuninjku community for productive collaborations over many years; Melinda Hinkson, Chris Haynes and Dan Gillespie for helpful comments on an earlier draft; Ben Heaslip when at the National Archives of Australia; and anonymous referees for their constructive comments. 279 ExPERIMENTS IN SELF-Determination Map 14.1 Mumeka and outstations in the Maningrida region. Source: Karina Pelling, CartogIS, ANu College of Asia and the Pacific Opening vignette In 1979 and 1980, I lived with John Mawurndjul at Mumeka.
    [Show full text]
  • The Making of Indigenous Australian Contemporary Art
    The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................
    [Show full text]
  • Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
    Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her.
    [Show full text]
  • Mca Presents a Major Survey by Bark Painter John Mawurndjul John Mawurndjul: I Am the Old and the New
    MCA PRESENTS A MAJOR SURVEY BY BARK PAINTER JOHN MAWURNDJUL JOHN MAWURNDJUL: I AM THE OLD AND THE NEW [Sydney, 22 June 2018] The Museum of Contemporary Art Australia (MCA) is delighted to present Image: John the first major survey of works by one of Australia’s leading contemporary artists – master bark Mawurndjul, Ngalyod (Female rainbow painter John Mawurndjul from Friday 6 July until Sunday 23 September. Developed and co- serpent) (detail), presented by the MCA and Art Gallery of South Australia (AGSA), in association with Maningrida 1988, earth pigments Arts & Culture, this landmark exhibition includes over 160 works, spanning forty years of the artist’s on Stringybark practice. (Eucalyptus tetrodonta), Museum John Mawurndjul AM is celebrated for his mastery of rarrk (cross-hatching) and his depiction of djang of Contemporary Art, (sacred sites), a tradition shared by generations of Kuninjku artists. Bark paintings and sculptures purchased with funds drawn from private and public collections across the world tell the stories of Kuninjku culture and the donated by Mr and Mr significant locations surrounding the artist’s home in central north Arnhem Land. Click here to view the Jim Bain, 1989, © John Mawurndjul, licensed microsite. by Copyright Agency 2018, photograph: Born in 1952, Mawurndjul lives and works in Milmilngkan in western Arnhem Land and Maningrida in Jessica Maurer. central north Arnhem Land. Since his first exhibition in 1980, he has become one of Australia’s most widely recognised artists. In 1989 his work was included in the ground-breaking exhibition Magiciens de la Terre at the Centre Georges Pompidou and Grande Halle de la Villette in Paris, and his works have been included in numerous solo and group exhibitions in Australia, America, Germany and Japan.
    [Show full text]
  • 'Old' and 'New' in Western Arnhem Land Bark Painting
    6. Categories of ‘Old’ and ‘New’ in Western Arnhem Land Bark Painting Luke Taylor Introduction This chapter compares two instances of development in the market for bark painting in western Arnhem Land at the towns of Oenpelli (Kunbarlanya) and Maningrida, east of Kakadu National Park in the Northern Territory. The intention is to compare the impacts of the agency of art collectors with that of the artists on the developing market for bark paintings, including a consideration of the entanglements of art creation and its respective intellectual frames in intercultural circumstances. In particular, I examine the effects of western categories used to define the bark paintings and how this in turn shapes the translation of their meaning in different periods. In addition, western curatorial perspectives of the art have influenced the expectations of the market and thus the trajectory of market development in each locale. Theoretical conversations of the western art world often play out with little regard for the non-western artist’s perspective. Western concepts of ‘fine art’ obscure the fact that non-western artists have a strong understanding of the historical circumstances of their art production, of what the works mean in the context of their ever-increasing engagements with the market, while possessing local theories of aesthetic value. Art history and anthropology as western disciplines of thought are now required to be reflective of their own categories, and to acknowledge the existence of a multiplicity of alternate histories of arts in the world context. Spencer at Oenpelli Baldwin Spencer travelled to Oenpelli in 1912 and his collection of bark paintings, made with the help of Paddy Cahill, brought this art to world prominence.1 Spencer worked with Kakadu-speaking artists and with a group called the Kulunglutji from further east, who are most likely to have been 1 Spencer 1914, 1928.
    [Show full text]
  • View Article
    Rover Thomas leats 29, 301 and Paddy JaminJi (cat.28) initiated a renewal of painting in the Eastern Kimberley by lifting the lid on the secret histories of Australia with paintings of country drenched with the blood of Aboriginal victims of massacres; in 1990, with Trevor Nickolls, Rover Thomas was the first Aboriginal artist to appear at the Venice Biennale. Djambawa Marawili leat.81 and John Mawurndjul leats 3, 6, 71. two of the most renowned contemporary Australian artists with a string of international contemporary art appearances to their names, have revolutionised bark painting to make us feel the hum of ancestral powers in the earth itself. And that is not even to mention Albert Namatjira, who beguiled a generation but whose life ended in tragedy. The strong photographic and video component in the last part of the selection reflects the burgeoning of these media around the globe. Tracey Moffatt, one of the most internationally acclaimed contemporary Australian artists, came to prominence in the 1990s with her vibrant, quasi-narrative series of photographs [fig.71, and her film and video compilations looking at gender, popular culture, racial politics and stereotypes leat.1911. Simryn Gill, representing Australia at the 55th Venice Biennale in 2013, considers questions of place and history in her work leat. 1881. The displacement of objects in her photographs echoes our modern-day journeys and migrations. The Australian population, now 23 million, has more than quadrupled in size since 1918, much of that increase from immigration. Since 1945 more than Fig. 8 CHRISTIAN THOMPSON, Black 7million people have settled in the country as new Gum 1, from the series Australian immigrants, including more than 800,000 refugees.
    [Show full text]
  • Kuninjku Modernism: New Perspectives on Western Arnhem Land Art
    University of Wollongong Research Online Faculty of Creative Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 2005 Kuninjku modernism: new perspectives on Western Arnhem Land art Ian McLean University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/creartspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation McLean, Ian: Kuninjku modernism: new perspectives on Western Arnhem Land art 2005, 48-51. https://ro.uow.edu.au/creartspapers/369 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] (Ian Mclean) kuninjku modernism new perspectives on western arnhem land art Many of Australia's most interesting artists are not based in the few large metropolitan centres in which other countries focus their cultural effort. The wellspring of the Indigenous art movement is the numerous small communities and outstations in remote Australia. Further, the tiny fraction of Australians who live in these settlements outperform other Australian artists, no matter what measure is used. In this respect Australia lives up to its Antipodean legend; here everything is back to front: the centre is the periphery and the periphery the centre. However there is another way of looking at it. Australia might be a single continent but it is several Countries or nations: a large 'civic' nation dominating the continent from its municipal hubs, and some thinly populated 'ethnic' Countries in the remote regions. Incredibly,despite the much bigger size and resources of the civic nation, its provincial, self-important culture pales beside the art of the few remote settlements and outstations The Kuninjku number over 1000 people, of which about 100 in Australia's Indigenous Countries.
    [Show full text]
  • John Mawurndjul MR
    CHARLES DARWIN UNIVERSITY ART GALLERY PRESENTS JOHN MAWURNDJUL: I AM THE OLD AND THE NEW 13 March 2021 - 29 May 2021 ‘Mawurndjul is not simply Australia’s premier bark painter, he is John Mawurndjul, Ngalyod (Female Rainbow Serpent) (detail), 1988, one of our greatest artists of all time’ earth pigments on Stringybark (Eucalyptus tetrodonta), Museum of – John McDonald, Sydney Morning Herald’s art critic. Contemporary Art, purchased with funds donated by Mr and Mrs Jim Bain, ‘John Mawurndjul is the most celebrated bark painter living 1989, © John Mawurndjul, licensed by Copyright Agency 2021, photograph: today… an artistic innovator on the world stage’ Jessica Maurer. – Julie Ewington, The Monthly CDU Art Gallery is delighted to present a survey of works by one of Australia’s leading contemporary artists – master bark painter John Mawurndjul from Saturday 13 March 2021 until Saturday 29 May 2021. Developed and co- presented by the MCA and Art Gallery of South Australia (AGSA), in association with Maningrida Arts & Culture, this landmark touring exhibition includes over 50 works, spanning forty years of the artist’s practice. Following its critically aclaimed presentation at the MCA (6 July – 23 September 2018) and AGSA (26 October 2018 – 28 January 2019), John Mawurndjul: I am the old and the new will tour the country showing at eight regional galleries in 2019 and 2020 including Murray Art Museum Albury (NSW), Glasshouse Port Macquarie (NSW), Caboolture Regional Art Gallery (QLD), Blue Mountains Cultural Centre (NSW), Cairns Regional Gallery (QLD), Charles Darwin University Art Collection and Art Gallery (NT), Tweed Regional Gallery (NSW) and Bunjil Place Gallery (VIC).
    [Show full text]
  • Collaborative Histories of the Willandra Lakes
    LONG HISTORY, DEEP TIME DEEPENING HISTORIES OF PLACE Aboriginal History Incorporated Aboriginal History Inc. is a part of the Australian Centre for Indigenous History, Research School of Social Sciences, The Australian National University, and gratefully acknowledges the support of the School of History and the National Centre for Indigenous Studies, The Australian National University. Aboriginal History Inc. is administered by an Editorial Board which is responsible for all unsigned material. Views and opinions expressed by the author are not necessarily shared by Board members. Contacting Aboriginal History All correspondence should be addressed to the Editors, Aboriginal History Inc., ACIH, School of History, RSSS, 9 Fellows Road (Coombs Building), Acton, ANU, 2601, or [email protected]. WARNING: Readers are notified that this publication may contain names or images of deceased persons. LONG HISTORY, DEEP TIME DEEPENING HISTORIES OF PLACE Edited by Ann McGrath and Mary Anne Jebb Published by ANU Press and Aboriginal History Inc. The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: Long history, deep time : deepening histories of place / edited by Ann McGrath, Mary Anne Jebb. ISBN: 9781925022520 (paperback) 9781925022537 (ebook) Subjects: Aboriginal Australians--History. Australia--History. Other Creators/Contributors: McGrath, Ann, editor. Jebb, Mary Anne, editor. Dewey Number: 994.0049915 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher.
    [Show full text]
  • Macassan History and Heritage Journeys, Encounters and Influences
    Macassan History and Heritage Journeys, Encounters and Influences Edited by Marshall Clark and Sally K. May Macassan History and Heritage Journeys, Encounters and Influences Edited by Marshall Clark and Sally K. May Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Clark, Marshall Alexander, author. Title: Macassan history and heritage : journeys, encounters and influences / Marshall Clark and Sally K. May. ISBN: 9781922144966 (paperback) 9781922144973 (ebook) Notes: Includes bibliographical references. Subjects: Makasar (Indonesian people)--Australia. Northern--History. Fishers--Indonesia--History Aboriginal Australians--Australia, Northern--Foreign influences. Aboriginal Australians--History. Australia--Discovery and exploration. Other Authors/Contributors: May, Sally K., author. Dewey Number: 303.482 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover images: Fishing praus and cured trepang in the Spermonde Archipelago, South Sulawesi. Source: Marshall Clark. Cover design and layout by ANU E Press Printed by Griffin Press This edition © 2013 ANU E Press Contents 1. Understanding the Macassans: A regional approach .........1 Marshall Clark and Sally K. May 2. Studying trepangers. 19 Campbell Macknight 3. Crossing the great divide: Australia and eastern Indonesia ... 41 Anthony Reid 4. Histories with traction: Macassan contact in the framework of Muslim Australian history ....................... 55 Regina Ganter 5. Interpreting the Macassans: Language exchange in historical encounters ..................................
    [Show full text]
  • Bark Paintings by Two of the Most Outstanding Indigenous Artists of Our Time Will Be Featured at Tarrawarra Museum of Art, 28 March – 8 June 2015
    19 JANUARY 2015 Bark paintings by two of the most outstanding Indigenous artists of our time will be featured at TarraWarra Museum of Art, 28 March – 8 June 2015. The works of John Mawurndjul and Gulumbu Yunupingu will feature in an exhibition curated by Hetti Perkins titled Earth and Sky. The title of the exhibition refers to the respective subjects of the two artists’ practice. The paintings of Kuninjku artist John Mawurndjul embody the earthly, the terrestrial, and the ancestral realm. His 'abstract' bark paintings represent body painting for the sacred Mardayin ceremonies and relate to the landscape and significant sites within his homeland in western Arnhem Land. The dazzling optical effects created by Mawurndjul’s distinctive use of rarrk (cross hatching) also evokes the skin of Ngalyod (the rainbow serpent) and makes reference to the actions and ongoing presence of this omnipotent creator being. Initially inspired by her traditional Gumatj stories of the Pleiades and other constellations, the late Gulumbu Yunupingu painted Garak (the universe) and its stars and galaxies, interpreting these ancestral concepts within the realms of her own imagination. Her barks are expressions of the cosmos, the celestial realm, with its infinite depths depicted in fields of intricate patterning using an artistic technique she made all her own. Yunupingu’s paintings reveal depth of Yolngu knowledge of country and suggest the intimate personal associations of this story for the artist. The breadth of her philosophy included all humanity. The curator of Earth and Sky, Hetti Perkins states: ‘In bringing the work of these two artists together, the exhibition will offer a panoptic view of ‘country’ from an Indigenous perspective.
    [Show full text]