ANKAAA ASSOCIATION OF THE NORTHERN, KIMBERLEY AND ARNHEM ABORIGINAL ARTISTS

VOLUME 2, ISSUE 3 The Arts Backbone AUGUST 2002

INSIDE THIS ISSUE:

Art centres working to 2 THE DEFUNDING OF ART CENTRES ... bring out the best in Samantha Togni, Director of Warlayirti Artists discusses the artists impact of defunding art centres on the artists Sotheby’s and 3 Aboriginal Art at Warlayirti Artists’ submission to ATSIC for rising significantly. The success of the organi- Auction operational funding for the 2002/03 was unsuc- sation is the main reason given by ATSIC for Feature Artists: 4 cessful, resulting in no operational grant fund- the cessation of operational funds. However, ing for the Warlayirti Art or Culture Centres in as any organisation grows so does its operating Namiyal Bopirri this current financial year. In the previous costs and to compete in the current art industry financial year (2001/02), the ATSIC funding Warlayirti Artists has to maintain a profes- Feature Art Centre: 5 was cut by more than half compared to the sional approach. While the organisation has Warmun Art Centre previous year. These funding cuts have had a taken more of a commercial management fo- Kiripuranji—Tiwi Art 6 significant impact on Warlayirti Artists and cus, the fact remains that Warlayirti Artists is Network’s First initially caused the closure of the Culture Cen- not a commercial enterprise but a non-profit Touring Exhibition tre, only a few months after it had opened in community organisation. And it is a strong July last year. community organisation whose core focus is Upcoming Exhibition 7 cultural maintenance and sustainability. Schedule August— In response to the loss of ATSIC funding, a December decision was made by the Warlayirti Artists This current financial year will require careful The Arts Backbone 9 Council to increase the commission on art- and close management of the organisation and available online works that is taken by the Art Centre. This possibly a reduction in the promotional and means that the artists are receiving less money educational activities undertaken by the or- SPECIAL POINTS OF for their artwork now than they have done in ganisation compared to those completed in the INTEREST: the past, but the artists are committed to the previous years. This will have a direct effect organisation and took this decision to ensure on the artists, on Warlayirti as an organisation • Gunbalanya (Oenpelli) the continued operation of the Art and Culture and the broader community. A number of Open day 7th September Centres. This increased commission has al- Warlayirti’s established artists are well into 2002. lowed the Culture Centre to reopen. their 60s and older and when some of these people stop painting the impact on Warlayirti • 19th Telstra National Abo- However, the artists are disappointed in AT- Artists will be immediate and dramatic. There riginal & Torres Strait SIC’s decision and made this clear to the AT- are a number of younger artists who are devel- Islander Art Award 10th SIC Regional Council recently when they met oping strong careers and showing great poten- August—27th October 2002. with the Warlayirti Artists Council in Balgo. tial for the future but it will be some years The artists are acutely aware of the benefits before they are regarded as recognised artists. • ANKAAA AGM @ NTU

(not merely financial) that the Art Centre has 3-5th December 2002 brought to the community and the people of the For these reasons we believe it is short-sighted Kutjungka region and are frustrated that AT- on ATSIC’s behalf to cease operational fund- SIC has decided not to continue its support of ing…but there WILL be life beyond ATSIC the organisation. The new Culture Centre has for Warlayirti Artists. evolved from the Art Centre and people are very excited by the work it has been able to do Warlayirti Artists so far and by its potential in the future. E: [email protected] Web: www.balgoart.org.au Exhibition Development ANKAAA The Arts Backbone welcomes Over the last few years Warlayirti Artists has Fund expanded as an organisation with a new pur- any responses to the above article for print in the December edition of the newsletter. Applications are invited from pose-built facility and the demand for Balgo art curators, artists and community groups for developing touring University generously sponsors the exhibitions of NT contemporary visual art and craft. ANKAAA AGM 2002 Projects are generally funded for up to $4000. ANKAAA would like to thank the office of the Vice Chancellor at NTU for generously For information and guidelines supporting the ANKAAA AGM. contact - Nicole Sarfati Ph 08 8924 4192 Fax 08 8924 4181 The NTU has supported ANKAAA by agreeing to waive the hire fees for a lecture theatre and Email : [email protected] accommodation for ANKAAA members. The NTU previously offered this support last year to ANKAAA to host the 2001 AGM with up to 40 members attending from across the Top End. The dates for the ANKAAA AGM are 3rd,4th,and 5th December 2002. More information will be available in the next edition of this newsletter. P AGE 2 V OLUME 2, ISSUE 3

ART CENTRES WORKING TO BRING OUT THE BEST IN ARTISTS

This year’s winner of the 19th Telstra The strength of the art centres lies in the National Aboriginal and Torres Strait commitment of the artists and the central Telstra First prize $40, 000 Islander Art Award was Gawirrin Gu- role they play in the maintenance of Gawirrin Gumana, NT mana from Buku Larrnggay Mulka, in cultural heritage and the provision of “Birrkuda Ringgitj, Hollow Log” 2002 Yirrkala. The high standard set by Gu- additional income and training opportu- mana’s work is reflective of the overall nities. $4000 Telstra General Painting Award quality of work being produced by art- Christopher Pease, Dianella WA ists through art centres today. Four of The Chief Minister, Clare Martin’s ad- “Wadatji Country, Belief and Disbe- the five overall winners and two of the dress at the opening highlighted the role lief” , Oil on canvas 2002 highly commended awards were also art centres have played in the setting up artists associated with art centres. of the art award and gave credit to the $4000 Telstra Award hardworking artists and art workers who John Mawurndjul, Milmilngkan, NT In the current climate of cutbacks to art form the foundation of the industry. “Buluwana” natural pigment on bark centre funding and misdirected criticism 2002 from some less well informed commen- Such public recognition has come only tators on the indigenous arts industry, rarely and we hope to hear more of it in $4000 Telstra Work on Paper Award art centres have continued to surprise the future. Kitty Kantilla , Milikapiti, Melville the market with new styles, media and Island NT “Pumpuni Jilamara” pig- designs. Despite limited funding, huge Story by Susan Congreve, Manager ment on paper 2002 expectations from the community and ANKAAA. the difficulties associated with operating The Winning artists are as follows: $4000 Wandjuk Marika 3-D Memorial in remote regions, art centres have been Award the driving force behind the growth of The 19th Telstra National Aboriginal and Carol Panangka Rontji, Hermannsburg the industry and the international recog- Torres Strait Islander Art Award is on show NT, “Eeranda Pmara Nukanala, Black nition of Aboriginal culture and Austra- until the 27th October 2002 at Museum and Cockatoos in My Country” terracotta lia. Art Gallery of the Northern Territory. with underglaze and glazes 2002

YARLIYIL ART CENTRE—NEW LOCATION ! Yarliyil Art Centre Aboriginal Corpo- It was felt that the Art Centre was miss- great financial benefit to the artists, but ration will have shifted to its new loca- ing out on the benefits of the tourist should also make the art centre more tion on Great Northern Highway season by being so far removed from the self sufficient and less reliant on fund- (Halls Creek WA). main street of town. ing." The Art Centre will now be situated in " Unless visitors to town were specifi- Late August should see the big move the shop between the Poincianna cally looking for us, then more often take place . Some maintenance work Roadhouse and the Post Office than not they would just pass straight on the new building has begun and as and will be much easier to find . through ", said Yarliyil Manager Sean soon as it is completed the Art Centre The search for a new place to conduct Lee. will take possession . All contact de- the Art Centre 's business started last " We now hope to have a lot more peo- tails should remain the same. year after informal discussions with ple view the artwork which will hope- Watch out for the grand opening !! the committee revealed dissatisfaction fully translate into increased sales ", with the current building continued Lee , "this will not only be of Story by Sean Lee, Manager, Yarliyil Arts Centre. [email protected]

ANKAAA BROCHURE NOW AVAILABLE The brochure includes a map that shows the location of 26 art centres, many of which are based in remote aboriginal communities in the Top End of the Northern Territory and the Kimberley region. The map is the first of its kind for the Top End, depicting locations for the art centres. The brochure includes examples of work produced and background information on the Aboriginal owned art centres. Available from ANKAAA and ANKAAA Art centres

Who’s WHO AND WHAT’S NEW … Who’s WHO AND WHAT’S NEW ...

Brenda and Steve Westley are leaving Izabela Sulek is leaving the position of Lucy Stewart left the position of Direc- after 10 years at Elcho Island Arts and Tiwi Art Network Marketing Officer tor at Maningrida Arts & Culture at Craft, Brenda and Steve are expecting to have a baby and move back South to the end of July. The staff and artists of their first addition to their family and we Melbourne. Recruitment is in progress MAC wish her all the best with her wish them all the best – recruitment is in and will be announced shortly. future plans and thank her for the effort progress she put in during her six months at the Djapirri Mununggirritji resigned from Art Centre. Andrew Blake has taken on the role of Nambara Arts to focus on her art- Manager at Marrawuddi Gallery located work. Helen Cook has taken on the Cathy Cummins has taken on the role of at Bowali Visitors Centre, Kakadu Na- position of Manager. Manager at Waringarri Arts located in tional Park. Kununurra WA. THE ARTS BACKBONE P AGE 3

SOTHEBY’S AND ABORIGINAL ART AT AUCTION On 24 June 2002, Sotheby’s held its grade their collections), from individuals were Americans and Europeans who were annual auction of Aboriginal art. One of who just wish to own a modestly-priced collecting as far back as the 1950s - al- the world’s largest auction houses, piece of Aboriginal art for their home, to though the number of overseas collectors Sotheby’s has been operating in Austra- people who collect other types of art and has grown rapidly in the last ten years. lia since 1982. From 1983 it began to want to include Aboriginal art in their include Aboriginal art in the auctions of collection, to specialist collectors who Auction houses, and Sotheby’s in particu- Australian art and Tribal art, and from wish to collect Aboriginal art in some lar, are acutely aware of the issues of 1994 in auctions of Contemporary & quantity. Collectors tend to specialise. selling Aboriginal art overseas, especially Aboriginal Art. In 1997 a separate de- They may prefer art from a particular in relation to the laws regarding moveable partment of Aboriginal art was estab- period in history, or from a particular cultural heritage. This means that works lished within the company, headed by country or area; for example there are a of art which are deemed to be of great Tim Klingender. At first, two auctions number of collectors who prefer to buy cultural significance are not allowed to of Aboriginal art were held every year, painted boards from Papunya made in the leave the country. Nonetheless, this does but since 1999 there has only been one first years of the movement there. They not prevent artistically important works major auction a year, and this usually may only be interested in one or several from being exported. The advantage of takes place in Melbourne in June. particular artists, or they prefer works exporting high quality works is that a from specific communities, or for exam- larger audience for Aboriginal art is de- Selling art at auction has been a tradi- ple, they may be only interested in types veloped overseas which in turn creates tion in the art world since the 18th cen- of objects like bark paintings, sculptures, more interest in the art from Aboriginal tury; in fact Sotheby’s was established or desert canvases. Collectors are inter- communities and provides greater possi- in London in 1744, more than two dec- ested in particular artists because of the bilities for artists to sell their work and ades before Europeans first landed on quality of their work. Among the most have it seen more widely. Every year Australia. Auctions, however, are only sought after names at present are artists Sotheby’s will take a small selection of one section of the world art market: such as Rover Thomas, Emily Kame works in the auction to be previewed in people who own art may sell through Kngwarreye and (who are all New York and usually one other interna- private commercial galleries; or through deceased), and Kitty Kantilla and Ginger tional city, to raise interest in the auction. independent agents; and more so these Riley Munduwalawala. The reasons for an Collectors are particularly interested in days, over the internet (although one of artist’s popularity are many and varied, buying works with a good provenance (or the major drawbacks of this system is but often relate to the amount of exposure history of creation and ownership); col- that the buyer rarely gets a chance to see they receive in public, especially through lectors want to make sure the works are the actual work before buying). The the state and national galleries, through authentic and certified, preferably by the reason for selling at auction is that the exhibitions and reviews in art journals. In art centres in communities, and properly owner of the work may realise a better the normal course of events, if a work by documented. Provenance is especially price than through the other methods by an artist sells for a large sum at auction, it important when a collector wishes to sell having a number of interested buyers means that new works by that artist in- a work and Sotheby’s always lists the competing for a particular work (in crease in value (again, depending on the provenance of a work in its auction cata- commercial galleries the price is usually quality of the work). In addition, interest logues. fixed and works are sold on a ‘first in one artist usually means more people come first served’ basis). become interested in the work from that At the most recent Sotheby’s auction, artist’s community. The popularity of the over 400 works were offered for sale of Sotheby’s operates in what is called the early boards from Papunya, for example, which approximately 77% sold on the ‘secondary market’: in other words the has also engendered greater interest in night realising a record gross turnover of work of art has already been sold contemporary work being made by artists about $5 million dollars. Of this the auc- through the art centre to a commercial from this area. tion house only retains the percentage it gallery or to a private collector. So it is charges sellers and buyers for handling the owner of the work who then sells it The larger public institutions such as the the work which also covers costs such as through the auction house. In this way, National Gallery of Australia, the state insurance, freight, photography, the cata- Sotheby’s does not interfere with the galleries and museums, as well as the logue etc. relationships art centres and communi- smaller regional galleries, are funded by ties have established with private and various governments and survive mostly There is strong interest in Aboriginal art commercial galleries across the country. on taxpayers’ money. As a rule, public today, and collectors of all sorts seem to Sotheby’s will accept work direct from galleries and museums rarely if ever sell be broadening their knowledge and under- a community in exceptional circum- off any of their collections. However standing of Aboriginal art usually through stances. In the June auction for example, public institutions can and do occasion- reading books, attending talks and lec- a work by Kumantjayi Napanangka who ally buy works at auction. tures etc., but most importantly from see- died in 2001 was placed with Sotheby’s ing exhibitions. It is fundamental that to raise money for the artist’s family. In Since Aboriginal art has become increas- those involved in Aboriginal art promote 2000 Sotheby’s also organised a special ingly popular since the 1980s, it is only greater public knowledge and understand- auction of paintings mostly from Kin- natural that the market for Aboriginal art ing of the art to ensure the interest contin- tore and Kiwirrkurra where all the pro- should grow as well. Interestingly, more ues to flourish. ceeds went towards the establishment of and more collectors from outside Austra- dialysis facilities for these communities. lia have become seriously interested in Wally Caruana, Aboriginal art. This is not a new phe- Senior Consultant Aboriginal Art There are many types of collectors who nomenon - among the first collectors to Sotheby’s Australia want to sell their work (usually to up- take a serious interest in Aboriginal art Web: www.sothebys.com P AGE 4 V OLUME 2, ISSUE 3

FEATURE ARTIST: MARRNYULA MUNUNGGURR , BUKU LARRNGGAY MULKA, YIRRKALA NT. STORY BY MARRNYULA MUNUNGGURR

I am a Djapu clan family members. Buku and working with Nyalung woman of the I used to sit with two of my fathers, Mununggurr and Araluen Maymuru as Dhuwa moiety. I Dhakiyarr#2 and Dhunggi who were also a printmaker making linocuts, col- was born at Yir- sons of Wonggu. They have passed away lagraphs and screenprints. My prints rkala but in the now. They used to show me how to have been exhibited all over Australia bush, not at the paint the sacred designs of the freshwater and overseas. Last month I was asked Hospital. My of Wandawuy- the Djapu identity of my to make a screenprint for Michael father is Djutjad- home. I used to help them and then they Long's testimonial art exhibition. jutja Munung- let me do my own small barks of Shark I have three children who I have gurr. He passed or Thunderman at Wandawuy. brought up whose father is my deceased away three years I wanted to be a teacher and I enrolled in brother and they are Birrkidjingu a ago. His father Batchelor and taught at Wandawuy but in fifteen-year-old girl, Yiliarr, a fourteen- was a famous the end I was tired of all the flying year-old boy and Djuwarrpuma a leader around so I looked for a different job. I twelve-year-old boy. My mother, sis- called Wonggu. began working with Steve Fox as an ters and brothers and all of the children Marrnyula Mununggurr Wonggu and © 2002 Buku Larrnggay artworker at Buku-Larrnggay sometime and grandchildren still live between Mulka Donald Thomson about 1989-90. He took a set of small Yirrkala and Wandawuy and hunt, ended the war bark paintings I made, just showing my make art and attend ceremony as our between Ngapaki (Non-Aboriginal) and family going hunting, to an exhibition in family has always done. Yolngu (Aboriginal from East Arnhem Darwin. The National Gallery of Austra- I was pleased when Dallas Gold came land). They also formed the Northern lia bought them. Other people asked me to our print show at NTU last Art Territory Special Reconnaissance Unit to do things like a poster about feral pigs awards and asked me to do a solo show during World War Two. and one about AIDS in that same 'story' for him at RAFT Artspace. He came to My mother is . style. Yirrkala and we all went hunting and Her father was another famous warrior When Andrew Blake and Diane and their talked about the show. I work with Mundukul who also had many wives and son Will (Wupularri) came to Buku in three different styles and will be in the worked with Wonggu to lead the Yol- 1993 they became my adopted family. exhibition, they are; the miny'tji (or ngu. Ever since I was a baby my mother Andrew is my brother and our two fam- sacred design); the story paintings on and father have been making art for sale ily's went hunting together almost every bark and the linocuts. The barks that I and I have helped them since I was a weekend. My father showed Andrew have made for this exhibition are differ- teenager. how to cut bark and he cut a very big one ent. They are just miny'tji-no Shark or I grew up living at Bayapula near Gar- and gave it to my father to paint. The Thunderman in them. This is a kind of thalala homeland before there were any whole family helped and soon I was painting that my father was the first to metal houses there. We lived in a nor- painting on big bark myself. In 1994 I show to outside people in 1997. I have mal Yolngu shelter of stringy bark and won a prize at the Barunga festival for followed him so that people can see paperbark. Then we moved to Yirrkala one of my bark paintings. In 1997 a big who we are and where we come from. and then we made the road back to our (three metre) painting by my father won homeland at Wandawuy where we lived the Best Bark Prize. under tarp and tents and in a bark shelter In 1995 we started making linocuts at Marrnyula Mununggurr Solo until the first iron house was built there. Buku. My sister Rerrkirrwanga and I Exhibition, I went to the Wandawuy school and was made the first lino prints. Since that time RAFT Artspace Darwin NT taught by Buwakuthi and Djarpirr, my I have been the Print Shop Manager at 6th – 28th September 2002

FEATURE ARTIST: NAMIYAL BOPIRRI BULA’BULA ARTS, RAMINGINING NT "I was born at Djilingirrimirr near Yathala- ruwana which is associated with the Wagilag Sis- marra. A lot of yolngu camped there; the ters story. Mission (Milingimbi) was only small. My Bark paintings and weavings will be on display at father Alex Gingadam and mother used to the Karen Brown Gallery in September, to coincide camp there. My father died in Milingimbi with the NATSIAA Award. This will be Namiyal's after the Second World War" third solo show. In her late sixties, Namiyal began to paint in the early 90s after her second husband had a Story by Belinda Scott, Assistant Manager, stroke and needed a hand with his paintings. Bula’bula Arts From this initial introduction Namiyal paints E: [email protected] in a similar loose and free flowing style to Djikululu (dec.). There is much evidence of her "hand" in the lively artworks she pro- Namiyal Bopirri Solo Exhibition, Namiyal Bopirri, Guya & duces. Karen Brown Gallery, Bidyay, pigments on bark, Namiyal usually paints her homeland of Gu- 1991. 600 x 240 mm Darwin NT 6th—13th September 2002. © 1991 Bula’bula Arts THE ARTS BACKBONE P AGE 5

FEATURE ART CENTRE: WARMUN ART CENTRE, TURKEY CREEK WA

Warmun Art Centre is located in the channeled through the Centre. Art Centre to paint during the week. The Warmun (Turkey Creek) Community, social and relaxed environment has also half way between Halls Creek and drawn many younger people to learn Kununurra in the East Kimberley region about the traditional stories associated of northern West Australia. The with many of the paintings. The number traditional language is Gija, with most of younger artists painting at the Art people now speaking English and Kriol. Centre has steadily grown, with the Art Gija language is actively taught at the Centre now supporting half of its artists local school. who are under the age of 35 years. This next generation of painters ensures the The Warmun Community was set up in continuum of the Warmun style, story 1969 to address the growing number of Warmun Art Centre © 2001 Image cour- and tradition. Gija station workers and their families tesy of Warmun Art Centre who were displaced when equal wages Warmun caters for a large number of for aboriginal station workers was In addition to the administrative support direct visitors during the busy ‘dry’ introduced in late 1960’s. The provided by the Centre, one of the season. Apart from visits by gallery community has steadily grown and now primary roles is to provide a studio owners, dealers and collectors a large services over 400 individuals. space where artists can freely come to proportion of visitors are travelers Painting on board and canvas has been work and to focus on their painting in a interested in indigenous issues, and an active part of Warmun cultural life peaceful, reflective and supportive many find the information and open since the mid 1970’s. During the late environment. atmosphere a great opportunity to learn 1970’s and early 1980’s a blossoming of about this unique painting style as well artwork, artifacts and carvings occurred Many younger artists have been as having the opportunity to talk to by Gija elders as teaching tools for the instructed by senior artists in the aboriginal people about their lives and newly established Ngalangangpum technique (how to mix and apply ochre) issues pertaining to contemporary life in School in Warmun. This, in addition to and the content of the Warmun style. a community. a series of corroboree boards called the There are many strong references that ‘Goorirr Goorirr’ boards, (which were link the paintings of today to the early Of late, Warmun Art Centre has initiated directed by Rover Thomas and painted paintings of such great artists as Paddy a Volunteers Program, two visual artists by Paddy Jampinji), provided further Jampinji, Rover Thomas, George Mung have volunteered their services to the focus on the Warmun group of artists. Mung, Queenie McKenzie and the old Centre for a three month period. Full man boss for Frog Hollow. training, accommodation and assistance So the genesis for painting was not for to get to Warmun have been provided to commercial purposes but for ceremonial This form of mentoring has seen a the volunteers. The volunteers have been and for educational purposes. continuum of style with subtle variations helping with such tasks such as and experimentations by younger and cataloguing and photographing The growth and interest in the “Warmun emerging artists. Warmun artists pride completed works, recording stories for style”, which is characterized by the use themselves in using ochre as their sole paintings, assisting artists preparation, of natural ochre, with significant areas medium, as Mabel Juli, senior female attending exhibitions with artists, of the canvas left open and with borders artist, said, “we bin the only ones left to stretching canvases, packing and and edges outlined in white ochre, has paint with bush paint, we don’t bin use distributing sold works. steadily grown since these early days. In that gadiya (white fella) paint, this 1998, the Warmun Art Centre was makes our paintings strong, like my The Art Centre aims to continue this established by senior members of the country’’. program through the year. Individuals Warmun art community, Queenie interested in receiving an information McKenzie and Madigan Thomas. This simple fact of using the actual pack about the Volunteer Program can country- ochres and pigments sourced contact Carolynne on 08 9168 7496. The The Art Centre was initially set up with locally- to paint a representation of the three month placement may suit income provided by the community and country, is something that is a great linguists, artists or individuals interested primarily to ensure that Warmun artists’ source of pride for many artists. in learning more about the Warmun interests were being protected. From the style, its artists and life in an Aboriginal outset, the Art Centre has very much All artists generally paint one of three community. been owned and managed by the things: Warmun Community. -a straight interpretation of the country Written by: -an event that has occurred in the artist’s Carolynne Hamdorf, Manager, The Art Centre keeps updated CVs for life or post white settlement, i.e. stories Warmun Art Centre each artist as well as maintains a regular of station life, massacre stories, Cyclone PMB Turkey Creek exhibition program with selected Tracey etc. Kununurra WA 6743 galleries nationally and internationally. -or a traditional Ngarrangkarni P: 08 9168 7496 The Art Centre also provides (Dreaming) story that has been orally F: 08 9168 7444 opportunities for artists to show work in passed down through the artists’ family E: [email protected] solo contexts, it collectively markets the relating to that artist’s country. W: www.warmunart.com Warmun brand and documents and receipts the movement of all works Many of the senior artists come to the P AGE 6 V OLUME 2, ISSUE 3

PROMINENT EAST KIMBERLEY ABORIGINAL ARTIST DIES

One of the founders of the Warmun 84, initiating what has become known as The Old Man had many friends, he was (Turkey Creek) group of Aboriginal the 'Warmun School' of Aboriginal astute, determined and fiercely inde- artists, the “Old man, boss for Frog painting. pendent. In his later years he spent Hollow” (Jack Britten), died sud- The Old Man’s painting style was very much time with his close friends Hector denly Monday 22 July 2002. distinct, with detailed references to the Jandany and Henry Wambini. He had a country surrounding Purnululu ( The sharp sense of humour and will be The Old Man was Chairman of the Bungle Bungles), including Frog Hol- greatly missed by his friends and fellow Frog Hollow Community and a nation- low, Han Spring, Tickelara and Alice artists at the Warmun Art Centre. ally renowned artist, and would be Downs. This old man was held in the highest grieved over by many more than those His style was characterised by lines of regard, not only as one of Australia’s closest to him. dark hills decorated with traditional foremost indigenous artists, but for his Affectionately know as 'the Frog Hol- body designs in white ochre. The paint- vision and community leadership, his low boss' in his later years, he painted ings were often a personal interpretation friendship and sense of fun. We were alongside compatriots Paddy Jaminji, of the landscape characterised by nu- privileged to have spent time with him. Rover Thomas, George Mung Mung, merous small round hills and large Hector Jandany during the period 1981- rocky boulders rising above creek lines. Information supplied by Warmun Art Centre

KIRIPURANJI (CLEVER WITH OUR HANDS) TIWI ART NETWORK FIRST TOURING EXHIBITION ...

Tiwi Art Network (T.A.N) is proud to be compact exhibition showcased works culture to be seen, but the voices of the selected for the first touring exhibition of chosen from three of the Tiwi Art Tiwi Islander people to be heard across its kind, where Indigenous Australian art Centres (Jilamara Arts and Crafts, the world. is taken to the world by the Department Munupi Arts and Crafts, Tiwi Design) of Foreign Affairs and Trade. Australian including works on paper and canvas, T.A.N also would like to take this embassies around the world will host the spears, tungas and a range of fabrics. opportunity to congratulate and exhibition over the next 3 years, which Thecla Puruntatameri (Munupi Arts) and farewell our Marketing Officer Izabela presents a fantastic opportunity to market Jean Baptiste Apuatimi (Tiwi Design) Sulek for her tremendous efforts over Tiwi art to the many countries on the and myself travelled to launch the show. the past year in founding an official itinerary. It was 8 months in the Both artists spoke and welcomed an alignment between the three planning, yet the process was made audience of 100 people, proudly smiling community art centres. Izabela’s enjoyable by Artbank’s Jackie Dunn, who for the many cameras. The touring efforts are greatly appreciated by all put in a tremendous effort curating the program for 2002-2005 includes the Tiwi artists and their families not to exhibition. Jackie travelled to the islands South Pacific, North & South America, mention the coordinators! to finalise the works being purchased, the Middle East, Asia and Europe. This which become part of Artbank’s year ‘Kiripuranji’ is touring embassies in On behalf of the Tiwi, we wish to collection. Pohnpei, Suva, Lautoka, Noumea, Port acknowledge your powerhouse Moresby, Wellington and that’s just the achievements in taking Tiwi art to the On a chilly, blue skyed morning in beginning! world “Nurukuruwani – Nimpangi ‘Kiripuranji: Contemporary Art Mantanga” (thankyou and goodbye from the Tiwi Islands’ was launched at T.A.N, would like to sincerely thank friend). Department of Foreign Affairs and Trade. Artbank and the Department of Foreign This heralded not only the beginning of Affairs & Trade for establishing this Story by Carly Davenport, Manager NAIDOC Week but the first leg of an fantastic initiative, which allows not only Munupi Arts & Crafts exhibition on a global journey. The the visual images of a rich and diverse E: [email protected] Web: www.tiwiart.com

5 SECOND SNAP SHOTS … 5 SECOND SNAP SHOTS … 5 SECOND SNAP SHOTS … 5 SECOND SNAP SHOTS

“Fibre Form” featuring contemporary Congratulations to Maningrida Art Richard Birrinbirrin and Neville weaving from art centres throughout and Culture artist, Bob Burrawal, Gulaygulay, from Bula’bula Arts are . This exhibition is a whose installation, Wurum Wulgar, heading off to New York in September collaboration between ANKAAA and won the Site Specific category for for the opening of The Native Born: RAFT Artspace. Opening 15th Sculpture in the Park held in Darwin, Objects and Representations from November—2nd December 2002. August 15-18. Thanks to Brown’s Mart Ramingining, to be held at The Asia Trustees and 24 HR ART. Society Gallery, New York USA.

Melbourne Art Fair 2002 will be held from 2-6 October, 2002. The Melbourne Art Fair is the premier trade fair for the exposition of contemporary visual art in the Asia Pacific region. Established by the Australian Commercial Galleries Association (ACGA) in 1988, the Melbourne Art Fair is held biennially at the Royal Exhibition Building, Carlton Gardens, Melbourne, Australia. For more information and a complete Gallery listings E: [email protected] Web: www.artfair.com.au P AGE 7 V OLUME 2, ISSUE 3

UPCOMING EXHIBITION SCHEDULE AUGUST —DECEMBER 2002

AUGUST SEPTEMBER All About Art, Alcaston Gallery, Susie Bootja Bootja & Nora Wompi, Melbourne, October – November 2002 Warlayirti Artists, Raft Artspace, Dar- Desert Mob Exhibition, Araluen Art Cen- win, 10th August – 31st August 2002 tre, Alice Springs, 1st September – 6th Oc- tober 2002 Lena Yarinkura and Bob Burruwal – Jimmy Nerrimah Exhibition, Mangkaja Sculptures, Maningrida Arts and Culture, Redback Gallery, Brisbane Arts Resource Agency, Coo-ee Gallery, Timothy Cook, Jilamara Arts, Aboriginal th th Sydney, 5th – 20th August 2002 and Pacific Arts, Sydney 12th September – QLD 4 – 26 October 2002 th 4 October 2002 Dirula recent paintings and sculpture by Indigenous Art featuring Injalak Art and Larrakia artists, 24 HR ART, Darwin Marrnyula Mununggurr, Buku Larrnggay Craft, Art-rium Gallery, Graz Austria 5th th st th th NT, 10 – 31 August 2002 Mulka, RAFT Artspace, Darwin 6 – 28 – 31st October 2002 September 2002 A Collectable Aboriginal Art Event, NOVEMBER Raintree Aboriginal Fine Art Gallery, Jean Baptiste Apuatimi works on paper th th Darwin, NT 8 – 25 August 2002 and sculptures by her daughter Carmelina Willy Billabong Solo Exhibition, Yarliyil Puantulura sculptures, Tiwi Design, Red- Art Centre, Artplace, Perth 14th – 30th th th Betty Carrington Solo Show, Warmun back Art Gallery, Brisbane QLD 6 – 28 November 2002 Art Centre, Alison Kelly Gallery, Mel- September 2002. th bourne, 8 August – mid September Djambawa Marawili Solo Show, Gallery 2002 Wild Nature in contemporary Australian Gabrielle Pizzi, Melbourne, 26th No- Art and Craft, group show including Man- vember – 20th December 2002 Tayikuwapi An exhibition by Ngaru- ingrida Arts & Culture, Jam Factory, Ade- st th wanajirri Artists, Bathurst Island, laide SA, 21 September – 10 November Kitty Kantilla annual solo exhibition, Coomalie Cultural Centre, Batchelor, NT 2002 Jilamara Arts and Crafts, Aboriginal and nd th 22 August – 28 September 2002 Pacific Art Gallery, Sydney, 28th No- Magic Makers, International group show vember – 21st December 2002. Mona Chuguna and Ngarta Jinny Bent featuring Crusoe Kurddal from Manin- Exhibition, Mangkaja Arts, Alcaston grida Arts and Culture, Des Moines Art Fibre Form – Contemporary weaving rd th Gallery, Melbourne 23 August – 13 Centre, USA, September 2002 from Arnhem Land, ANKAAA Arnhem September 2002 Land Art Centres, RAFT Artspace, Dar- Short St Gallery Survey Show, Short St win 15th – 2nd December 2002 Boundless – Contemporary Art from Gallery, Broome WA, September – Octo- rd Country WA, AGWA, Perth 3 August – ber 2002 Owen Yalandja – Sculptures, Manin- rd 3 November 2002 grida Arts and Culture, Redback Gal- Yikwani – Fire, Munupi Arts and Crafts, lery, Brisbane QLD, 1st – 23rd November th th 19 Telstra National Aboriginal & Tor- Indigenart Gallery, Perth WA, 19 Sep- 2002 th res Strait Islander Art Award, MAGNT, tember – 19 October 2002 th th Darwin NT, 10 August – 27 October Gone Fishing, Injalak Arts and Crafts, 2002 OCTOBER Artmob, Hobart, TAS, November 2002

Colours of the Kimberley Natural Ochre Recent paintings by the Warlayirti Artists DECEMBER & Fibre Red Rock Art, Cullen Bay Gal- of Balgo Hills, Gallery Gabrielle Pizzi, th th st th lery, Darwin NT, 10 – 19 August 2002 Melbourne, VIC 1 – 26 October 2002 All that Gija Country - Group educative show by all the artists from Warmun Art Tommy Carroll Solo Show, Warmun Art John Mawurndjul presents barks and Centre, Flinders University Art Mu- Centre, Vivien Anderson Gallery, Mel- sculpture from his Maningrida seum- Adelaide, 14th December – Febru- th th bourne 15 August – 7 September 2002 home. Maningrida Arts & Crafts, Gallery ary 2003 Gabrielle Pizzi, Melbourne, VIC th rd Inspiral, Maningrida Arts and Crafts, 29 October – 23 November 2002 5 x 7, Five Warmun Women showing Gallery Gondwana, Alice Springs NT, seven precious works: Colleen Carter, th st 30 August – 21 September 2001 This Season, Merrepen Arts, Coomalie Katie Cox, Madigan Thomas, Mabel Cultural Centre, Batchelor NT, Juli, Betty Carrington. Hotel Sofitel, th nd Maningrida Bark Paintings, Prints, 9 October – 22 November 2002 Melbourne December 2002 – January Spirit Carvings and Photographs by Maria Josette Orsto and Therese Ann 2003 Gerald Jenkins, Rebecca Hossack Gal- Munkara Tiwi Design, Gallery Gabrielle lery, London, UK, August – September Pizzi, Melbourne, 1st – 21st October 2002 Munupi Paintings, Onshore Gallery, 2002 Barwon Heads, VIC December 2002

Saltwater – Yirrkala Bark Paintings of Melbourne Art Fair, Royal Exhibition **Please note dates, titles and venues all Sea Country, National Maritime Building, Melbourne, 2nd – 6th October correct at time of printing . For inclusion Museum, Sydney NSW, 12th August – 2002 of your exhibition please contact 27th October 2002 [email protected] ** ANKAAA THE ARTS BACKBONE NEWSLETTER AND BACK ISSUES ANKAAA ARE NOW AVAILABLE ON-LINE FROM WWW.ANKAAA.ORG.AU

Association of the If you would prefer to receive your copy of “ANKAAA The Arts Northern, Kimberley and Backbone Newsletter” via email as a PDF file. Please email Arnhem Aboriginal Artists [email protected] with your preferred email address.

GPO Box 2152 GUNBALANYA (OENPELLI) OPEN DAY 7TH SEPTEMBER 2002 Darwin NT 0801 The eagerly awaited Gun- permit and share in fun and Factory. Of course, a visit to Frog Hollow Centre for the balanya Open Day is sched- activities with the local com- Injalak Arts and Crafts is a uled for Saturday 7 Septem- munity. Some of the fea- must where there will be Arts ber 2002. tures include a football car- painting and weaving dis- This year it will complement nival, netball, scenic flights, plays and locally produced 56 Woods St Darwin 0800 the Kakadu Arts Festival rock art tours, cultural danc- art for sale. Bush food, (formerly Jabiru Wind Festi- ing, bush fruits and foods drinks and other stalls and Phone: 08 8981 6134 val), which will hold events in and didjiridu playing dem- activities area available. the days leading up to Open onstrations. The Nabarlek To visit Gunbalanya requires Fax: 08 8981 6048 Day and on the Sunday after. band and Frank Yama will a drive across the tidal East Email: [email protected] So come to Kakadu and West- perform and there will also Alligator River. High tide is ern Arnhem Land for the an amazing fireworks show at 12.00 noon so you will be Web: www.ankaaa.org.au weekend and enjoy an amazing (to see the Arnhem Land advised to cross before cultural experience. skies lit up in this way is a 11.00am and after 1.00pm. Edited by Stephanie Hawkins, ANKAAA Open Day has been held in very surreal experience). People are able to camp the Industry Development Officer © 2002 Gunbalanya for over ten years Other activities include; night but must leave the com- now. People are able to travel Drum Drum, Wild Water, munity first thing on Sunday. into the community without a Cosmic Girl and Festive Information supplied by Injalak Arts ANKAAA is a non-profit Incorporated and Crafts Aboriginal Association and is proudly sponsored by the following - DATES TO REMEMBER ...

AUGUST 2002 ANKAAA STAFF • 19th Telstra National Aboriginal & Torres Strait Islander Art Award 10th Susan Congreve—Manager August—27th October Stephanie Hawkins -Industry • Oenpelli Open Day , Gunbalanya Development Officer. Community 7th September 2002 Ian Lee—IT Development Officer SEPTEMBER 2002 Erica Luchich—Office Manager • Arts WA Grants closing date 27th September ANKAAA EXECUTIVE • Harvest Festival, Merrepen Arts and COMMITTEE Nauiyu Community, Daly River 14th September Djambawa Marawili— • Community Cultural development Chairman Grants Australia Council Grant BJ Timaepatua Closing Dates 15th September Robert Puruntatameri Terry Ganadila OCTOBER 2002 Ivan Namirrkki Adrian Isaacs • Groundswell—Regional Arts Surging Gabriel Maralngurra Forward Conference 10th—13th Raelene Kerinauia October

• Arts NT Sponsorship Grants closing

date 13th October 2002 is an election year for the • Australian Institute of Arts ANKAAA Executive Management Biennial Conference 27 –30th October 2002 Committee. Nominations will • Quarterly BAS statement due be accepted at the 4 Regional meetings and voting will take • Melbourne Art Fair, Royal Exhibition Building 2nd—6th October 2002 place at the ANKAAA AGM This project has been assisted by the Commonwealth Government through the Australia (dates to be advised). Council, its arts funding and advisory body.