DOCSLIB.ORG

A STUDY GUIDE by Marguerite O'hara

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A STUDY GUIDE by Marguerite O'hara A STUDY GUIDE BY MArguerite o’hARA http://www.metromagazine.com.au ISBN-13-978-1-74295-005-1 http://www.theeducationshop.com.au Note: this study guide relates to the full-length version of Emily In Japan (81 min) as well as the extras on the DVD available from Ronin Films. Emily in Japan takes us behind the scenes of the blockbuster exhibition of paintings by the Indigenous artist Emily Kame Kngwarreye which toured Japan in 2008, attracting record crowds. As we follow the preparations for this exhibition we learn about Emily and how she expressed her connection to Country through her paintings. At the same time we follow Indigenous 1: Emily Kame Kngwarreye. Photo art curator Margo Neale as by Mayumi Uchida. 2: Paintings in she negotiates complex sets storage for shipping to Japan for the Respecting cultural protocols of relationships to bring the touring Emily exhibition 1 As this film contains images and Japanese project to fruition. voices of people who have passed away, including Emily Kame Curriculum Guidelines of an extraordinary Australian Aboriginal Kngwarreye, a warning text appears artist. Margo Neale, who co-curated at the start of the program to ensure that people are aware of what and Emily in Japan would be of great inter- this exhibition with Akira Tatehata, and who they may see and hear. You est to students at middle and second- the filmmakers who filmed this complex may already be familiar with these ary school levels working in Visual project, bring this story of Emily Kame warnings which precede programs Arts areas, as well as tertiary students Kngwarreye to life. Their enthusiasm where the images and voices of studying Art History and Indigenous and passion for the painter and this deceased people appear: Studies. Students undertaking post- project is infectious. This film includes images and names of graduate diplomas in Museum and deceased people that may cause sadness Curatorial Studies will also find much Phase 2 of the new Australian National and distress to Aboriginal and Torres to interest and inspire them in this Curriculum guidelines will outline Strait Islander People. documentary. It may also have value in an Arts curriculum which is likely Japanese language and culture studies. to include a strong emphasis At the same time, this is a documentary on the value and importance that incorporates many elements of the of understanding the range filmmakers’ art. It would be an excellent and history of Aboriginal and 2 film to show to students of Media and Torres Strait Islander art. In Film Studies, particularly those studying developing an appreciation of documentary-making. the complexity, strength and beauty of Indigenous artwork The film is a rare behind-the-scenes such as that of Emily Kngwar- SCREEN EDUCATION exploration of the staging of a major reye, students may well be internationally touring ‘Blockbuster’ art inspired to look at how their exhibition, and provides a fascinating in- own artistic practices can sight into the curator’s role in mounting be enriched and developed. such an exhibition. The film also serves Part of this study should as an introduction to the life and work include developing an 2 2 1 1: Unpacking Big Yam Dreaming during the was about 78 years old. In the eight installation of the Emily exhibition in Japan years before her death in 1996, she appreciation and understanding of the (L) John Payne, National Gallery of Victoria. produced a staggering output of some ways in which Indigenous artists’ work 2: BYD, unrolling 3: Paintings in storage for 3,000 canvasses, some of which are is in its heart and soul an expression of shipping to Japan now valued more highly (in monetary country and spirituality, of memory and terms) than the work of any other the honouring of tradition and continu- female Indigenous Australian artist. ity. As curator Margo Neale wrote in her 1998 catalogue essay that accompa- The exhibition of Emily Kame Kng- nied an earlier exhibition of Emily’s work warreye’s paintings which toured to – ‘her own visual theory is firmly rooted Osaka and Tokyo, Japan, in 2008 in total “connectedness”, to her land, is arguably the biggest, most com- her spirituality and her being’. prehensive single artist exhibition to 3 travel internationally from Australia. Every State and Territory Gallery has a dedicated Indigenous art collection, It may also be the last comprehensive often representing the work of local ence, whether this is local, national exhibition of Emily’s work anywhere artists. Indigenous artworks can also be or international in the world, due to the large scale of found in museums and in regional and • Developing an awareness of the key works, their increasing fragility, commercial galleries. Seeing an artist’s cultural, social and historical con- and the high cost of moving them. work in a gallery or other collection is text in which the work was created a convenient way to appreciate the • Developing an ability to recognise Emily in Japan is the story of the mak- artwork, but it is through a documen- and evaluate the particular charac- ing of the exhibition: the work behind tary like this that one is able to get an teristics of an artist’s work the scenes that put it all together understanding of an artist’s work. Emily • Being able to describe the aes- and took it on the road. It’s a story of in Japan offers an extraordinary glimpse thetic and technical qualities of an cross-cultural transactions – from the into the artist’s work, guided by the artwork, i.e. the melding of content red desert of central Australia where people who curate the exhibition. and stylistic elements Emily lived, to Canberra where the • Making informed judgements exhibition was curated, and to Japan. For art students, exploring the work about the qualities of the work, of other artists is an integral part of i.e. do I like it and why? What are The driving force behind the exhibi- developing understandings of their the work’s intrinsic qualities that I tion is Margo Neale, an Indigenous art own practices. At senior secondary respond to? curator and historian, who mounted levels where students are studying • Developing a sense of how other an earlier, smaller retrospective exhibi- visual arts subjects such as Art, Studio artists’ work and practices relate tion of Emily’s work for the Queensland Arts and Art History, this documentary to their own creative processes, Art Gallery in 1998 and which toured offers opportunities for them to de- i.e. ways of seeing, conceptualis- nationally. velop their analytical, interpretive and ing and representing. creative skills. Some of the key tasks This earlier exhibition attracted the SCREEN EDUCATION in undertaking any study and appre- Synopsis attention of a visiting Japanese scholar ciation of art include: and art critic, Professor Akira Tatehata, Emily Kame Kngwarreye was an and it became his personal mission to • Understanding the relationship Aboriginal woman from a community bring such an exhibition to Japan. The between the artist, the artwork, named Utopia in central Australia who working relationship and friendship their world and that of the audi- began to paint on canvas when she between Margo Neale and Professor 3 Tatehata who share a deep passion for Emily’s work, is at the core of the film. Margo is an Indigenous woman from a background of poverty and hardship and Tatehata a ‘Bohemian’ aesthete from a privileged arts background. The film follows Margo as she visits Emily’s community in the Utopia re- 1 gion, some 270kms north-east of Alice 1: Principal curator of the touring Springs, to consult with Emily’s family Emily exhibition, Margo Neale, from members about the exhibition. It also the National Museum of Australia follows her in equally complex nego- 2: Emily Kame Kngwarreye. Photo by tiations with the Japanese sponsors of Mayumi Uchida. 3: Professor Akira the exhibition (including the media gi- Tatehata, eminent art critic and ant Yomiuri) and with the two galleries curator in Japan, who initiated the which will host the exhibition in Japan idea for the touring Emily exhibition 3 – the space-age National Museum of Art in Osaka, and the magnificent National Arts Centre in Tokyo, one of Gippsland, Victoria. Her professional the world’s major galleries. positions at the time of the Emily exhibition included: Margo, with her small team of con- 2 sultants and staff from the National - the principal advisor (Indigenous) Museum of Australia, selects the to the Director at the National 200 works for the exhibition from the Museum of Australia; 3,000 or more that Emily painted, and Key people in the - a senior curator at the National gathers them from some 60 collec- documentary Museum of Australia; tions around the world, from a myriad - senior research fellow at the of private collections, corporations Emily Kame Kngwarreye c.1910– NMA’s new centre for Historical and galleries. Given the value of the 1996 – the artist Research; and paintings, crating and freighting them - adjunct Professor in the Australian is a complex process of checking and Emily is an Aboriginal woman from Centre for Indigenous History at security – a process to which the film Utopia in central Australia, a region the Australian National University. crew is given privileged access. 270 kms north-east of Alice Springs. She was born at Alhalkere and raised Margo Neale curated the first major The exhibition in Osaka and Tokyo on the land in traditional ways. She national touring retrospective for an turns into a major media event and at- spoke Anmatyerre. Indigenous artist on the art of Emily tracts huge crowds, more so than the Kame Kngwarreye in 1998, the show sponsors and organisers hoped for.
Load more

Recommended publications
  • ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
    ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ...................
    [Show full text]
  • Art Gallery of South Australia Major Achievements 2003
    ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance.
    [Show full text]
  • Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners
    Bond University Indigenous Gala Friday 16 November, 2018 Bond University Indigenous Program Partners Bond University would like to thank Dr Patrick Corrigan AM and the following companies for their generous contributions. Scholarship Partners Corporate Partners Supporting Partners Event Partners Gold Coast Professor Elizabeth Roberts Jingeri Thank you for you interest in supporting the valuable Indigenous scholarship program offered by Bond University. The University has a strong commitment to providing educational opportunities and a culturally safe environment for Indigenous students. Over the past several years the scholarship program has matured and our Indigenous student cohort and graduates have flourished. We are so proud of the students who have benefited from their scholarship and embarked upon successful careers in many different fields of work. The scholarship program is an integral factor behind these success stories. Our graduates are important role models in their communities and now we are seeing the next generation of young people coming through, following in the footsteps of the students before them. It is my honour and privilege to witness our young people receiving the gift of education, and I thank you for partnering with us to create change. Aunty Joyce Summers Bond University Fellow 3 Indigenous Gala Patron Dr Patrick Corrigan AM Dr Patrick Corrigan AM is one of Australia’s most prodigious art collectors and patrons. Since 2007, he has personally donated or provided on loan the outstanding ‘Corrigan’ collection on campus, which is Australia’s largest private collection of Indigenous art on public display. Dr Corrigan has been acknowledged with a Member of the Order of Australia (2000), Queensland Great medal (2014) and City of Gold Coast Keys to the City award (2015) for his outstanding contributions to the arts and philanthropy.
    [Show full text]
  • Barbara Weir Barbara Weir Was Born About 1945 at Bundey River Station
    Barbara Weir Barbara Weir was born about 1945 at Bundey River Station, a cattle station in the Utopia region (called Urupunta in the local Aboriginal language) of the Northern Territory. Her parents were Minnie Pwerle, an Aboriginal woman, and JacK Weir, a married Irish man. Under the anti-miscegenation racial laws of the time, their relationship was illegal, and the two were jailed. Jack Weir died not long after his release. Minnie Pwerle named their daughter Barbara Weir. Barbara was partly raised by Pwerle’s sister-in-law Emily Kngwarreye. (After age 80, Kngwarreye tooK up art and became one of Australia’s most prominent artists.) Barbara grew up in the area of Utopia until about age nine. One of the Stolen Generations, she was forcibly removed from her Aboriginal family by officials; the family believed she was later Killed. This was done under the Aborigines Protection Amending Act 1915, government or assigned officers were authorized in the territories to take half-caste children to be raised in British institutions to assimilate them to European culture. Some, liKe Barbara, were “fostered out”, and she grew up in a series of foster homes in Alice Springs, Victoria, and Darwin. Boys were usually prepared for manual jobs and girls for domestic service. In Darwin, at age 18 and worKing as a maid, Barbara Weir married Mervyn Torres. It was Torres who in 1963 or 1968, when passing through Alice Springs, asKed someone about Weir’s mother; he discovered that Minnie Pwerle was alive and living at Utopia. Mother and daughter were reunited but, although Weir regularly visited her family at Utopia, she did not form a close bond with her mother at first.
    [Show full text]
  • Art Aborigène
    ART ABORIGÈNE LUNDI 1ER JUIN 2009 AUSTRALIE Vente à l’Atelier Richelieu - Paris ART ABORIGÈNE Atelier Richelieu - 60, rue de Richelieu - 75002 Paris Vente le lundi 1er juin 2009 à 14h00 Commissaire-Priseur : Nathalie Mangeot GAÏA S.A.S. Maison de ventes aux enchères publiques 43, rue de Trévise - 75009 Paris Tél : 33 (0)1 44 83 85 00 - Fax : 33 (0)1 44 83 85 01 E-mail : [email protected] - www.gaiaauction.com Exposition publique à l’Atelier Richelieu le samedi 30 mai de 14 h à 19 h le dimanche 31 mai de 10 h à 19 h et le lundi 1er juin de 10 h à 12 h 60, rue de Richelieu - 75002 Paris Maison de ventes aux enchères Tous les lots sont visibles sur le site www.gaiaauction.com Expert : Marc Yvonnou 06 50 99 30 31 I GAÏAI 1er juin 2009 - 14hI 1 INDEX ABRÉVIATIONS utilisées pour les principaux musées australiens, océaniens, européens et américains : ANONYME 1, 2, 3 - AA&CC : Araluen Art & Cultural Centre (Alice Springs) BRITTEN, JACK 40 - AAM : Aboriginal Art Museum, (Utrecht, Pays Bas) CANN, CHURCHILL 39 - ACG : Auckland City art Gallery (Nouvelle Zélande) JAWALYI, HENRY WAMBINI 37, 41, 42 - AIATSIS : Australian Institute for Aboriginal and Torres JOOLAMA, PADDY CARLTON 46 Strait Islander Studies (Canberra) JOONGOORRA, HECTOR JANDANY 38 - AGNSW : Art Gallery of New South Wales (Sydney) JOONGOORRA, BILLY THOMAS 67 - AGSA : Art Gallery of South Australia (Canberra) KAREDADA, LILY 43 - AGWA : Art Gallery of Western Australia (Perth) KEMARRE, ABIE LOY 15 - BM : British Museum (Londres) LYNCH, J. 4 - CCG : Campbelltown City art Gallery, (Adelaïde)
    [Show full text]
  • ART ABORIGÈNE, AUSTRALIE Samedi 4 Juin 2016 Paris Paris Juin 2016 4 Samedi AUSTRALIE ART ABORIGÈNE, ­ ART ABORIGÈNE, AUSTRALIE
    Paris 2016 Samedi 4 juin ART ABORIGÈNE, ART ABORIGÈNE, AUSTRALIE ABORIGÈNE, ART AUSTRALIE Samedi 4 juin 2016 Paris ART ABORIGÈNE, AUSTRALIE Hôtel Drouot, Salle 11 Samedi 4 juin 2016 15h Expositions publiques Vendredi 3 juin de 11h à 18h Samedi 4 juin de 11h à 13h30 En partenariat avec Intégralité des lots sur millon.com MILLON 1 Art Aborigène, Australie Index Catalogue . p 4 Biographies . p 58 Conditions de ventes . p 63 Ordres d’achats . p 64 Liste des artistes AN GUNGUNA Jimmy n° 53 NAWILIL Jack n° 58 BAKER Maringka n° 87 NELSON Annie n° 52 BROWN Nyuju Stumpy n° 80, 81 NGALAKURN Jimmy n° 55 COOK Ian n° 57 NGALE Angelina (Pwerle) n° 65 DIXON Harry n° 56 NUNGALA Julie Robinson n° 99 DORRUNG Micky n° 34, 35 NUNGURRAYI Elizabeth Nyumi n° 10 JAGAMARRA Michael Nelson n° 100, 102 PETYARRE Anna Price n° 30 JAPANGARDI Michael Tommy n° 25 PETYARRE Gloria n° 1, 2, 3, 31, 40, 101 Marc Yvonnou Nathalie Mangeot JUGADAI Daisy n° 14 PETYARRE Kathleen n° 4, 37, 41, 42, 43 KEMARRE Abie Loy n° 7, 93 PETYARRE Violet n° 6 KNGWARREYE Emily Kame n° 64 PWERLE Minnie n° 62, 63 LUDJARRA Phillip Morris n° 36 RILEY Alison Munti n° 24 MARAMBARA Jack n° 60, 61 STEVENS Anyupa n° 13 NAKAMARRA Bessie Sims n° 97, 98 THOMAS Madigan n° 49 NAMPINJIMPA Maureen Hudson n° 23 TIMMS Freddy (Freddie) n° 46, 47, 48 NAMPITJINPA Tjawina Porter n° 28 TJAMPITJINPA Ronnie n° 32, 38, 45, 84 NANGALA Julie Robertson n° 5, 22 TJAPALTJARRI « Dr » George Takata n° 29 NANGALA Yinarupa n° 20 TJAPALTJARRI Mick Namarari n° 21 NAPALTJARRI Linda Syddick n° 11, 17, 74 TJAPALTJARRI Paddy Sims n°
    [Show full text]
  • THE DEALER IS the DEVIL at News Aboriginal Art Directory. View Information About the DEALER IS the DEVIL
    2014 » 02 » THE DEALER IS THE DEVIL Follow 4,786 followers The eye-catching cover for Adrian Newstead's book - the young dealer with Abie Jangala in Lajamanu Posted by Jeremy Eccles | 13.02.14 Author: Jeremy Eccles News source: Review Adrian Newstead is probably uniquely qualified to write a history of that contentious business, the market for Australian Aboriginal art. He may once have planned to be an agricultural scientist, but then he mutated into a craft shop owner, Aboriginal art and craft dealer, art auctioneer, writer, marketer, promoter and finally Indigenous art politician – his views sought frequently by the media. He's been around the scene since 1981 and says he held his first Tiwi craft exhibition at the gloriously named Coo-ee Emporium in 1982. He's met and argued with most of the players since then, having particularly strong relations with the Tiwi Islands, Lajamanu and one of the few inspiring Southern Aboriginal leaders, Guboo Ted Thomas from the Yuin lands south of Sydney. His heart is in the right place. And now he's found time over the past 7 years to write a 500 page tome with an alluring cover that introduces the writer as a young Indiana Jones blasting his way through deserts and forests to reach the Holy Grail of Indigenous culture as Warlpiri master Abie Jangala illuminates a canvas/story with his eloquent finger – just as the increasingly mythical Geoffrey Bardon (much to my surprise) is quoted as revealing, “Aboriginal art is derived more from touch than sight”, he's quoted as saying, “coming as it does from fingers making marks in the sand”.
    [Show full text]
  • Auction - Aboriginal Art Auction - Noosa Springs QLD 16/06/2019 1:00 PM AEST
    Auction - Aboriginal Art Auction - Noosa Springs QLD 16/06/2019 1:00 PM AEST Lot Title/Description Lot Title/Description 1 WALALA TJAPALTJARRI "Tingari" Acrylic on linen. Painted in 2018. 12 LUCKY MORTON KNGWARREYE "My Country Acrylic on canvas. Come with Certificate of Authenticity. Artwork is stretched and ready to Painted in 2017. Comes with Certificate of Authenticity. Artwork is hang. 56cm x 62cm stretched and ready to hang. 90cm x 91cm WALALA TJAPALTJARRI"Tingari"Acrylic on linen.Painted in LUCKY MORTON KNGWARREYE"My CountryAcrylic on 2018.Come with Certificate of Authenticity.Artwork is stretched and canvas.Painted in 2017.Comes with Certificate of Authenticity.Artwork is ready to hang.56cm x 62cm stretched and ready to hang.90cm x 91cm Est. 400 - 600 Est. 500 - 1,000 2 KATRINA BUBUNTJA "Bush Seeds & Flowers" Acrylic on canvas. 13 EDWARD BLITNER TAIITA "Mimi Spirits & Barrumundi" Acrylic on Painted in 2017. Comes with Certificate of Authenticity. Artwork is linen. Painted for Desert Art Gallery. Comes with Certificate of stretched and ready to hang. 59cm x 71cm Authenticity. Artwork is stretched and ready to hang. 58cm x 88cm KATRINA BUBUNTJA"Bush Seeds & Flowers"Acrylic on DAG-19857 canvas.Painted in 2017.Comes with Certificate of Authenticity.Artwork is EDWARD BLITNER TAIITA"Mimi Spirits & Barrumundi"Acrylic on stretched and ready to hang.59cm x 71cm linen.Painted for Desert Art Gallery.Comes with Certificate of Est. 500 - 800 Authenticity.Artwork is stretched and ready to hang.58cm x 3 LILY KELLY NAPANGARDI "Tali - Sand Hills" Acrylic on canvas. 88cmDAG-19857 Painted in 2018. Comes with Certificate of Authenticity.
    [Show full text]
  • Urban Representations: Cultural Expression, Identity and Politics
    Urban Representations: Cultural expression, identity and politics Urban Representations: Cultural expression, identity and politics Edited by Sylvia Kleinert and Grace Koch Developed from papers presented in the Representation and Cultural Expression stream at the 2009 AIATSIS National Indigenous Studies Conference ‘Perspectives on Urban Life: Connections and reconnections’ First published in 2012 by AIATSIS Research Publications © Australian Institute of Aboriginal and Torres Strait Islander Studies, 2012 © in individual chapters is held by the authors, 2012 All rights reserved. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act 1968 (the Act), no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the publisher. The Act also allows a maximum of one chapter or 10 per cent of this publication, whichever is the greater, to be photocopied or distributed digitally by any educational institution for its educational purposes, provided that the educational institution (or body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act. Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) GPO Box 553, Canberra ACT 2601 Phone: (61 2) 6246 1111 Fax: (61 2) 6261 4285 Email: [email protected] Web: www.aiatsis.gov.au National Library of Australia Cataloguing-in-Publication entry: Title: Urban representations [electronic resource] : cultural expression, identity, and politics : developed from papers presented in the Representation Stream at the AIATSIS 2009 National Indigenous Studies Conference ‘Perceptions of Urban Life : Connections and Reconnections’ / edited by Sylvia Kleinert and Grace Koch.
    [Show full text]
  • 46 X 38 Cm Ethnie Pintupi – Kiwirrkurra
    Miriam Napanangka (1946 - ) Sans titre, 1999 1 200 / 300 € Acrylique sur toile - 46 x 38 cm Ethnie Pintupi – Kiwirrkurra – Désert Occidental Nancy Nungurrayi (c. 1935 - 2010) Sans titre, 1999 2 300 / 400 € Acrylique sur toile - 45 x 40 cm Groupe Pintupi - Désert Occidental - Kintore Tatali Napurrula (c. 1943 - ) Sans titre, 1999 3 200 / 300 € Acrylique sur toile - 46 x 38 cm Groupe Pintupi / Luritja –– Kintore - Désert Occidental Nancy Nungurrayi (c. 1935 - 2010) Sans titre, 1999 Acrylique sur toile - 46 x 38 cm Groupe Pintupi – Désert Central – Kintore 4 400 / 600 € Cette toile nous offre un bel aperçu de la production des femmes de cette région avec des motifs à plusieurs niveaux de lecture. A la fois elle décrit une cérémonie de femmes et dans un niveau supérieur, décrit les actions des Ancêtres du Temps du Rêve. Nanyuma Napangati (c. 1943 - ) Sans titre, 1998 5 200 / 250 € Acrylique sur toile - 60 x 30 cm Groupe Pintupi – Désert Occidental Tjunkiya Napaltjarri (c. 1928 - 2009) Sans titre, 1998 6 200 / 250 € Acrylique sur toile - 60 x 30 cm Ethnie Pintupi – Désert Central – Kintore / Kiwirrkura Tjunkiya Napaltjarri (1928 - 2009 ) Sans titre, 1999 Acrylique sur toile - 91 x 60 cm 7 Groupe Pintupi – Désert Central – Kintore / Kiwirrkura 1500 / 2000 € Cette toile de très bonne facture décrit la collecte de baies par les femmes sur le site d’Umari. Bertha Kaline "Lamanpunta", 1997 Acrylique sur toile - 91,5 x 61,5 cm 8 800 / 1000 € Communauté de Balgo - Kimberley - Australie Occidentale Le site de Lamanpunta est situé dans le Great Sandy Desert. John John Bennett Tjapangati (1937 - 2002) Sans titre, 1997 Acrylique sur toile - 92 x 61 cm 9 Groupe Pintupi - Kintore - Désert Occidental 1000 / 1500 € John John s'inspire ici des très secrets et sacrés Cycles Tingari, décrivant le voyage des Ancêtres qui portent ce nom.
    [Show full text]
  • Page 1 Charleston’S Fine Killara Aboriginal Art Auction Sunday, August Art Auctions 28, 2016
    Charleston’s Fine Killara Aboriginal Art Auction Sunday, August Art Auctions 28, 2016 Lot No Item 1 Sacha Long Pitjara acrylic on linen, Bush Yam Dreaming 2009, size 56 x 41cm 2 Judy Greeny Kngwarreye acrylic on linen, Yam Dreaming 2009, size 56 x 41cm 3 Galya Pwerle acrylic on linen, Awelye Atnwengerrp 2008, size 70 x 55cm 4 Jeannie Pitjara acrylic on canvas, Yam Roots 2015, size 150 x 50cm 5 Sharon Hayes Peltharre acrylic on canvas 2011, size 150 x 70cm 6 Galya Pwerle acrylic on linen, Awelye Atnwengerrp 2008, size 120 x 90cm 7 Jeannie Petyarre acrylic on canvas, Bush Medicine 2015, size 148 x 90cm 8 Lisa Mills Pwerl acrylic on canvas, Bush Yam 2014, size 145 x 83cm 9 Sonia Daniels Nakamarra acrylic on canvas 2016, size 124 x 102cm 10 Mary Pitjara acrylic on canvas 2015, size 200 x 80cm 11 Nancy Nungurrayi acrylic on canvas 2008, size 122 x 91cm 12 Lily Kelly Napangardi acrylic on canvas, Tali 2016, size 150 x 90cm 13 Gloria Tamerre Petyarre acrylic on linen, Leaves 2008, size 123 x 120cm 14 Rover Thomas decorative print of the original, Two Men Dreaming 15 Colleen Wallace Nungarrayi acrylic on linen, Annamura Country 2009, size 56 x 41cm 16 Betty Mbitjana acrylic on canvas, Body Paint 2016, size 150 x 90cm 17 Marcia Turner Petyarre acrylic on linen, Body Paint 2009, size 56 x 41cm 18 Tjuruparu Watson acrylic on canvas, Kapi Piti 2007, size 167 x 128cm 19 Kenny Williams Tjampitjinpa acrylic on canvas 2005, size 122 x 91cm 20 Anna Pitjara acrylic on canvas, My Country 2016, size 200 x 120cm 21 Narpula Scobie Napurrula acrylic on linen,
    [Show full text]
  • Aboriginal Art Galleries
    ABORIGINAL ART GALLERIES BARBARA WEIR Barbara is one of Aboriginal Australia’s stolen generations. These were people who were forcibly taken from their parents as children and sent to other parts of the country to be raised in European families. This policy was pursued from the early 1900’s to the 1970’s, as part of the Australian government policy to integrate mixed race children from fringe settlements into mainstream Australian life. Barbara’s mother is Aboriginal artist Minnie Pwerle and her father, Irish-American Jack Weir, a married station owner in the Northern Territory. Barbara’s career as an artist was inspired by the dynamic community of artists at Utopia and the work of her adopted grandmother Emily Kame Kngwarreye. Emily’s work had a profound impact on her and in the early 1990’s she began seriously to explore her artistic talents. Highly experimental in her approach, she tried many mediums and in 1994 went to Indonesia with other artists to explore the art of batik. This gave her new insights into her own process and she returned full of ideas on how to develop her own style. Initially her painting was largely figurative using traditional symbols such as circles, ‘u’ shapes, wavy lines and dotting to indicate her traditional Dreamtime story. Since then it has evolved to abstraction, a much more expressive and flexible form. Bush Berry, Grass Seed, Wild Flower and My Mother’s Country are her Dreamings. These are all associated with women’s ceremony (they refer to women’s body decoration for ceremony and the activity of food gathering of local seeds, grasses, berries, potato, plum, banana, flowers and yams).
    [Show full text]