The Essential Introduction to Aboriginal Art (25 Facts)
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Just Not Australian Cultural Mediation Training Pack
JUST NOT AUSTRALIAN Just Not Australian brings CULTURAL MEDIATION TRAINING PACK together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood. The show engages with the moral and ethical undertones of the loaded rejoinder ‘un- Australian’ – a pejorative now embedded in our national vocabulary that continues to be used to further political agendas and to spread nationalistic ideals of what it means to be Australian. This training pack outlines how the practice of Cultural Mediation can be engaged to translate the broad themes and manage the difficult conversations that this exhibition may ignite, as well as provide a vocabulary and further reading to encourage an inclusive and culturally safe space. Liam Benson, Black Flag, 2016, sequins, seed beads, cotton thread, cotton poplin, 30 x 59 cm. Courtesy the artist and Artereal Gallery, Sydney. Photos: Zan Wimberley Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW. UQ ART MUSEUM Museums & Galleries of NSW (M&G NSW) has been ABOUT ANESHKA MORA ABOUT THIS researching and providing training on the practices of Cultural Mediation with the aim to equip gallery and museum staff with the tools to implement this Aneshka Mora is queer, scholar of colour living on TRAINING PACK engagement strategy across the sector. Cultural Cameraygal Country in the Eora Nation, who is broadly Mediation is about deepening the engagement of interested in contemporary art strategies of decoloniality audiences at a peer-to-peer level through personal within the limits of institutions and settler-colonialism. -
2018 Adelaide Biennial of Australian Art
DIVIDED ART GALLERY OF SOUTH AUSTRALIA WORLDS 2018 ADELAIDE BIENNIAL OF AUSTRALIAN ART The cat sits under the dark sky in the night, watching the mysterious trees. There are spirits afoot. She watches, alert to the breeze and soft movements of leaves. And although she doesn’t think of spirits, she does feel them. In fact, she is at one with them: possessed. She is a wild thing after all – a hunter, a killer, a ferocious lover. Our ancestors lived under that same sky, but they surely dreamed different dreams from us. Who knows what they dreamed? A curator’s dream DIVIDED WORLDS ART 2018 GALLERY ADELAIDE OF BIENNIAL SOUTH OF AUSTRALIA AUSTRALIAN ERICA GREEN ART ARTISTS LISA ADAMS JULIE GOUGH VERNON AH KEE LOUISE HEARMAN ROY ANANDA TIMOTHY HORN DANIEL BOYD KEN SISTERS KRISTIAN BURFORD LINDY LEE MARIA FERNANDA CARDOSO KHAI LIEW BARBARA CLEVELAND ANGELICA MESITI KIRSTEN COELHO PATRICIA PICCININI SEAN CORDEIRO + CLAIRE HEALY PIP + POP TAMARA DEAN PATRICK POUND TIM EDWARDS KHALED SABSABI EMILY FLOYD NIKE SAVVAS HAYDEN FOWLER CHRISTIAN THOMPSON AMOS GEBHARDT JOHN R WALKER GHOSTPATROL DAVID BOOTH DOUGLAS WATKIN pp. 2–3, still: Angelica Mesiti, born Kristian Burford, born 1974, Waikerie, 1976, Sydney Mother Tongue, 2017, South Australia, Audition, Scene 1: two-channel HD colour video, surround In Love, 2013, fibreglass reinforced sound, 17 minutes; Courtesy the artist polyurethane resin, polyurethane and Anna Schwartz Gallery Melbourne foam, oil paint, Mirrorpane glass, Commissioned by Aarhus European Steelcase cubicles, aluminium, steel, Capital of Culture 2017 in association carpet, 261 x 193 x 252 cm; with the 2018 Adelaide Biennial Courtesy the artist photo: Bonnie Elliott photo: Eric Minh Swenson DIRECTOR'S 7 FOREWORD Contemporary art offers a barometer of the nation’s Tim Edwards (SA), Emily Floyd (Vic.), Hayden Fowler (NSW), interests, anxieties and preoccupations. -
Ready Lajamanu Emerged of Families Going Without Food and Some It’S Hurting
FREE November 2016 VOLUME 6. NUMBER 3. PG. ## MARLENE’S FUTURE P.22 IS IN HER HANDS ROYAL COMMISSION WATARRKA POKIES? BREAK OUT YEAR FOR WORRIES WIYA! PRISONER TEAM P. 4 PG. # P. 5 PG. # P. 26 ISSN 1839-5279ISSN NEWS EDITORIAL Want our trust? This time, keep your promises. Land Rights News Central Australia is published by the Central Land Council three We’ll hold you to these election promises: times a year. Aboriginal Hand control to local organisations, develop The Central Land Council workforce training plans and leadership courses with 27 Stuart Hwy organisations them and provide “outposted” public servants to help. Alice Springs Housing $1.1 billion over 10 years for 6500 “additional NT 0870 living spaces”, locally controlled tenancy management and repairs and maintenance, tel: 89516211 capacity development support for local housing www.clc.org.au organisations. email [email protected] Outstations Increase Homelands Extra funding and work with outstation organisations to provide jointly funded Contributions are welcome new houses. As opposition leader, Michael Gunner pleaded with CLC delegates to give Labor a chance to regain their trust. Education Create community led schools with local boards, plan education outcomes for each school region SUBSCRIPTIONS THE MOST extensive return recognises the critically with communities, back community decisions about bilingual education, expand Families as Land Rights News Central of local decision making to important role that control Aboriginal communities since over life circumstances plays First Teachers program, $8 million for nurse Australia subscriptions are self-government, overseen by in improving indigenous home visits of pre-schoolers, support parent $22 per year. -
Sylvia Kanytjupai Ken, Tjungkara Ken & the Ken Sisters Collaborative
Sylvia Kanytjupai Ken, Tjungkara Ken & the Ken Sisters Collaborative Seven Sisters: Kungkarangkalpa 24 August – 18 September 2021 The exhibition ‘Seven Sisters’ showcases the distinct artistic styles and visions of Sylvia Ken and Tjungkara Ken, two award-winning female indigenous artists, both at the forefront of contemporary painting in Australia. Alongside the work of Sylvia Ken and Tjungkara Ken, the exhibition also features large scale paintings by the renowned Ken Sisters Collaborative (Freda Brady, Sandra Ken, Tjungkara Ken, Maringka Tunkin and Yaritji Young). Based in the Amata community in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands of South Australia and painting at Tjala Arts, Sylvia and Tjungkara’s evocative paintings are a celebration of Anangu culture and connection to country alongside their individual expression of 'Tjukurpa'(ancestral knowledge and law). Sylvia and Tjungkara paint, in different but related ways, the Seven Sisters creation story, an ancestral narrative of the Pleiades constellations (the sisters) and a sinister man (Orion) who followed them across earth and sky. Both Sylvia and Tjungkara’s family are traditional owners of significant sites where the Seven Sisters story takes place with each painting referencing this story and the important sites within the vast landscape. These stories are the artists’ birthright and come with a responsibility to continue the passing of culture and knowledge to the next generation. “I listen to the old people’s stories and I think about these stories, and then ideas come for my paintings. I listen to my mother and father, to my grandmother and grandfather. I listen when they are talking about ‘Tjukurpa’ and telling creation stories and when they say to me ‘No, you should paint this way, the Seven Sisters’’. -
Presentation Tile
Authentic and engaging artist-led Education Programs with Thomas Readett Ngarrindjeri, Arrernte peoples 1 Acknowledgement 2 Warm up: Round Robin 3 4 See image caption from slide 2. installation view: TARNANTHI featuring Mumu by Pepai Jangala Carroll, 2015, Art Gallery of South Australia, Adelaide; photo: Saul Steed. 5 What is TARNANTHI? TARNANTHI is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through contemporary art. TARNANTHI is a national event held annually by the Art Gallery of South Australia. Although TARNANTHI at AGSA is annual, biannually TARNANTHI turns into a city-wide festival and hosts hundreds of artists across multiple venues across Adelaide. On the year that the festival isn’t on, TARNANTHI focuses on only one feature artist or artist collective at AGSA. Jimmy Donegan, born 1940, Roma Young, born 1952, Ngaanyatjarra people, Western Australia/Pitjantjatjara people, South Australia; Kunmanara (Ray) Ken, 1940–2018, Brenton Ken, born 1944, Witjiti George, born 1938, Sammy Dodd, born 1946, Pitjantjatjara/Yankunytjatjara people, South Australia; Freddy Ken, born 1951, Naomi Kantjuriny, born 1944, Nyurpaya Kaika Burton, born 1940, Willy Kaika Burton, born 1941, Rupert Jack, born 1951, Adrian Intjalki, born 1943, Kunmanara (Gordon) Ingkatji, c.1930–2016, Arnie Frank, born 1960, Stanley Douglas, born 1944, Maureen Douglas, born 1966, Willy Muntjantji Martin, born 1950, Taylor Wanyima Cooper, born 1940, Noel Burton, born 1994, Kunmanara (Hector) Burton, 1937–2017, -
NAIDOC Week SA 2019 7 JULY - 14 JULY Voice
NAIDOC Week SA 2019 7 JULY - 14 JULY Voice . Treaty . Truth Let’s work together for a shared future WHEN EVENT RSVP DETAILS WHERE ONGOING Until Mon 15 Aboriginal Building Public event Aboriginal graphic design is covering the Ground floor July 2019 Wrap glass windows of 77 Grenfell Street. For more 77 Grenfell Street Free information, contact Khatija at 8343 2449 or email Adelaide SA 5000 Sponsored by Department [email protected] of Planning, Transport and Infrastructure Until Sat 20 The Kardi Munaintya Public transport This specially designed tram is operational Tram Route July 2019 Tram throughout the year and is showcased during Adelaide SA 5000 Reconciliation and NAIDOC weeks. For more Sponsored by Department information, contact Khatija at 8343 2449 or email of Planning, Transport and [email protected] Infrastructure Until Sun 21 Ngarrindjeri Exhibitions Public event Two exhibitions - Ngarrindjeri Ruwe by 27 Sixth Street July 2019 Cedric Varcoe maps Ngarrindjeri lands and Murray Bridge Presented by Murray Free waters, sharing ancestor stories fundamental SA 5253 Gallery open Bridge Regional Gallery to Ngarrindjeri culture. Connected features Tue - Sat contemporary weaving practices by Ngarrindjeri 10:00am – artists from Murray Bridge to Meningie, Victor 4:00pm Harbour to Raukkan including Ellen Trevorrow, Sun 11:00am Phyllis Williams, Robert Wuldi, Cedric Varcoe, Deb – 4:00pm Rankine, Elly Wilson, Alice Abdulla, Joe Trevorrow, Hank Trevorrow, and Ngarrindjeri Weavers Collaborators. For more information, contact the Gallery at 8539 1420 or email [email protected] Until Thu 25 Vietnam – One In, All In Public event Country Arts SA presents a new exhibition The Walter Nichols July 2019 honouring the untold stories of South Australian Memorial Gallery Hosted by Country Arts SA Free Aboriginal veterans of the Vietnam War, before, Nautilus Art Centre For Port Lincoln during and after. -
Critically Acclaimed Festival Tarnanthi Breaks Records
MEDIA RELEASE Tuesday 28th January 2020 Critically acclaimed festival Tarnanthi breaks records "Tarnanthi maps diverse Indigenous art practice across the continent and blurs the lines between urban and remote, traditional and contemporary." ABC Radio National Adelaide, Australia: Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art closed on Monday 27 January following months of widely celebrated exhibitions as well as events and activities across the state and at the Art Gallery of South Australia. The 2019 festival, which launched on 17 October and ran for more than 100 days, attracted a record-breaking 561,927 people across the state to exhibitions as part of the festival – a 40% increase in attendances from the 2017 festival. Internationally acclaimed and recognised as the largest festival of its kind in the world, this year’s Tarnanthi festival featured more than 1,200 artists, with works on display at AGSA and 38 partner venues, showcasing the diversity and ingenuity of contemporary Aboriginal and Torres Strait Islander artistic practice. Tarnanthi Artistic Director Nici Cumpston says, ‘It is an honour to present Tarnanthi, providing an opportunity for artists from across the country to develop bold new work. Tarnanthi is a genuine and authentic chance to exchange, share and learn from one another.’ Tarnanthi also encompassed its annual Tarnanthi Art Fair, artist talks, performances and events. The Tarnanthi Art Fair showcased artists from 45 art centres from across the country and attracted more than 6,500 art enthusiasts. Breaking all previous records, the Art Fair had a 108% increase in attendances since 2017 and generated more than $1.2 million in art sales, all of which go directly to the artists and art centres. -
AGSA Announces Tarnanthi 2020 Exhibition 'Open Hands'
MEDIA RELEASE Monday 24 August 2020 AGSA announces the Tarnanthi 2020 program The Art Gallery of South Australia today announces the exhibition Open Hands for this year’s Tarnanthi, AGSA’s annual celebration of contemporary Aboriginal and Torres Strait Islander art. Open Hands will be held from 16 October until 31 January 2021 at the Art Gallery of South Australia. AGSA also announces that in 2020, the Tarnanthi Art Fair will be held from 4 - 6 December. Open Hands highlights how the creativity of First Nations women artists forms a vital cultural link in sharing knowledge across generations. Through the act of making, artists channel deep connections to Country and culture. Tarnanthi’s creative vision is led by Barkandji artist and curator Nici Cumpston, who has recently been recognised with an OAM for her leadership in presenting Aboriginal art. Cumpston OAM says, ‘Open Hands, celebrates the ongoing and often unseen work that women in communities do to maintain culture. Keeping these stories alive and sharing knowledge is deeply embedded within everyday life across Australia.’ For this year’s Tarnanthi, artists have expressed themselves in a variety of media, including painting, works on paper, photography, moving image, sound installation, weaving, ceramics and sculpture. The thread that binds these works together from across the continent is the role of art. The stories they share are as rich and diverse as their practices. MEDIA RELEASE Monday 24 August 2020 The next wave of work from artists in the Anangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia focuses on bold new ways forward with drawing – an important art form that is embedded in teaching culture. -
Country Cabinet
COUNTRY CABINET Anangu Pitjantjatjara Yankunytjatjara Lands 30 April to 2 May 2017 | State Government Response COUNTRY CABINET APY Lands Index Premier’s Foreword 3 Foreword by the Minister for Aboriginal Affairs and Reconciliation 4 Introduction 5 Country Cabinet 5 What we heard 6 Jobs and Training 9 Health and Wellbeing 11 Community Services 13 Education and Youth 15 Roads 17 Emergency Services 18 Governance and Land Rights 20 Technology and Communications 21 Environment and Water 22 Cattle Business 23 WARNING: Aboriginal and Torres Strait Islander readers are warned this publication may contain images of deceased persons. Cover image credit: Mr Burton, Australia, c.1939 – 2017, Pitjantjatjara people, South Australia, Anumara Tjukurpa, 2008, Amata, South Australia, synthetic polymer paint on linen, 120.0 x 101.5 cm; Lillemor Andersen Bequest Fund 2008, Art Gallery of South Australia, Adelaide. © Hector Burton, Courtesy of Tjala Arts 2 Premier’s Foreword The Anangu Pitjantjatjara Yankunytjatjara (APY) Lands is a spectacular part of South Australia. It was a privilege for State Cabinet to visit the region and be welcomed to experience Anangu culture, visit amazing communities and be immersed in the stunning ancient landscape. During the three day Country Cabinet visit from 30 April to 2 May 2017, my Cabinet Ministers and I visited communities across the vast APY Lands. We spoke to hundreds of people, met with community leaders and heard from service providers about the key issues facing Anangu. We gained valuable insights into the matters of importance for the whole APY Lands and also those issues impacting individual communities. Anangu told us they want better roads, upgraded community infrastructure and services that are easier to access. -
– Media Release – Collaborative Exhibition Opens at the South Australian Museum As Part of Tarnanthi
– Media Release – Collaborative exhibition opens at the South Australian Museum as part of Tarnanthi Still in my mind: Gurindji location, experience and visuality presented by Artback NT opens this Friday, 18 October at the South Australian Museum, as part of Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art. The exhibition reflects on the enduring impacts of dispossession and displacement, including those of a pivotal land rights event, the 1966–75 Gurindji ‘walk-off’. Gurindji/Malngin Leader Vincent Lingiari led over 200 countrymen, women and children off Wave Hill Station to protest slave labour conditions and human rights abuse. “Although other protest and strike actions had taken place preceding the 1966 Gurindji Walk-Off, it was arguably the birth of the national land rights movement in Australia. The events of this time and place have significance for me as a Gurindji/Malngin/Mudburra woman, through my direct family connection to the area, and through my family’s experience as members of the Stolen Generations,” said Brenda L. Croft, curator and participating artist. Croft developed the exhibition through practice-led research with her father’s community, Karungkarni Art and Culture Aboriginal Corporation, UNSW Galleries and UNSW Art & Design. As a part of this, Croft retraced the Gurindji ‘walk-off’ steps in homage to those before her, who made the 22-kilometre journey half a century ago. “I was motivated to develop this exhibition in partnership with Karungkarni artists and Gurindji community members in tribute to those whose profound communal act of courage, resilience and determination changed the course of history.” Croft said. -
Vincent Namatjira Unveils His Largest Commission at the Mca
VINCENT NAMATJIRA UNVEILS HIS LARGEST COMMISSION AT THE MCA [Sydney, 25 February 2021] The Museum of Contemporary Art Australia (MCA) has revealed the Image: Vincent seventh iteration of the Circular Quay Foyer Wall Commission by renowned Western Arrernte Namatjira, P.P.F. painter Vincent Namatjira. (Past-Present- Future), 2021, Namatjira hand-painted directly onto the Museum’s 15-metre-long wall over a two-week period, synthetic polymer paint, commissioned creating the artist’s largest work to date. The work titled P.P.F. (Past-Present-Future) depicts a group by the Museum of seven Aboriginal male figures, including a self-portrait, painted on the desert landscape of the of Contemporary artist’s home community of Indulkana in the Anangu Pitjantjatjara Yankunytjatjara (APY) region in Art Australia, 2021, South Australia. supported by Veolia Environmental Each portrait has been painted in Namajtira’s signature-style caricature, and Namatjira has Services, image incorporated influential figures, some well-known and others less so, who have been important in courtesy the the artist’s life. These portraits include former AFL football player and 2014 Australian on the Year, artist; Museum of Adam Goodes; land-rights campaigner, Eddie Koiki Mabo; famous bantamweight boxer, Lionel Rose; Contemporary Art Australia, Sydney; and his great-grandfather, Albert Namatjira; the artist’s late father-in-law and musician, Kunmanara Iwantja Arts, South (Jimmy) Pompey; and an Aboriginal stockman who represents male elders from his community. Australia © the artist, photograph Daniel For the foyer wall commission, the artist has responded directly to the unique dimensions, location, Boud. and history of this site, in particular its significance in Australian colonial history as the site of first contact between Aboriginal and Torres Strait Islander and British peoples. -
Aboriginal Art Festival, Australia: New Generation of Central Desert Artists Captivating the Art World by Kathy Marks
Aboriginal art festival, Australia: New generation of Central Desert artists captivating the art world By Kathy Marks Traveller, 11 September 2015 http://www.traveller.com.au/aboriginal-art--a-new-generation-of-central-desert-artists-gjeapv The sun-bleached scene is straight out of an Albert Namatjira painting: a dry creek bed in an ochre landscape dotted with rocky outcrops and stately ghost gums. But we’re not at Hermannsburg, the former Lutheran mission near Alice Springs where the celebrated Aboriginal artist produced his pastel-hued watercolours, but 500 kilometres to the south, where Namatjira’s great-grandson, Vincent, has settled after a turbulent early life marked by family tragedy and cultural dislocation. The 32-year-old is among a new generation of Central Desert artists whose work will be one of the highlights of the inaugural Festival of Contemporary Aboriginal and Torres Strait Islander Art in Adelaide next month. He lives at Indulkana, one of a dozen communities sprinkled across the remote, beautiful and troubled Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia’s far north-west. It’s an area which, as a lover of Aboriginal desert art, I’ve been hankering to visit for years. Now I’m rattling along a rough gravel road with the manager of Indulkana’s art centre, Beth Conway, who whips up clouds of red dust as she expertly dodges potholes and a pack of wild horses skittering across our path. We’re travelling with Nici Cumpston, the festival’s artistic director, and Nick Mitzevich, director of the Art Gallery of South Australia.