List of Works List of Works Glasshouse Regional Gallery | 24 June - 7 August 2011

Vernon Ah Kee The Giver of Life, 1991 Fernanda Martins Joseph Sam Born 1967 in Innisfail, QLD. Kuku Yalandji, Waanji, Yindndji and acrylic on canvas Born 1955, Sydney, NSW. Meriam people. Lives and works Born 1941. . Guda Maluilgal people. Lives and Gugu Yimithirr people. Lives and works Brisbane, QLD Courtesy of the Campbell Family Collection Newcastle, NSW. works Saibai Island, . QLD

George Draham (Uncle George) from Fantasies of the Robert Campbell Jnr (Ngaku), Karen E Smith, Untitled (Too many captain cooks),1988 Wakemab, 2008 good, 2004 Mary K Durouse, David Fernando, R. P. Button, photo-lithographic print, 66 x 47cm carved wood, plant fibres, 13 x 29 x 32cm charcoal on paper, 102 x 67cm Milton Budge (Ngaku) Museum of Contemporary Art, purchased with funds donated by Museum of Contemporary Art, purchased with funds provided Museum of Contemporary Art, purchased with funds provided Mr Gary Pressey, 1990 by the Coe and Mordant families, 2008 People of the First Sunrise by the Coe and Mordant families, 2006 Tribal Totums, 1988 screenprint, 59.9 x 47.6cm, edition 17/110 Arone Raymond Meeks Esme Timbery (with daughter Marilyn Russell) Mick Miller (Pop) from Fantasies of the good, 2004 Port Macquarie-Hastings Council Collection, purchased with Born 1957, Laura, QLD. Kuku Midigi people. Lives and works Born 1931, Port Kembla, NSW. Bidjigal people. Lives and works charcoal on paper, 102 x 67cm assistance from the Campbell family, 2003 Cairns, QLD. La Perouse, Sydney, NSW Museum of Contemporary Art, purchased with funds provided Indigenous Art from Eastern by the Coe and Mordant families, 2006 Lorraine Connelly-Northey Untitled (Flying fish), 1988 Shellworked slippers, 2008 Born 1962, Swan Hill VIC. Waradgerie (Wiradjuri) people. Lives photo-lithographic print, 66 x 47cm cardboard, synthetic textiles, shells, glitter, pva glue Eddie Ah Kee (Grandad) from Fantasies of the good, 2004 and works Culcairn, NSW Museum of Contemporary Art, purchased with funds donated by variable (200 pairs), 5 x 9.5 x 6cm each charcoal on paper, 102 x 67cm Mr Gary Pressey, 1990 Museum of Contemporary Art, purchased with funds provided Museum of Contemporary Art, purchased with funds provided Narrbong, 2008 by the Coe and Mordant families, 2008 by the Coe and Mordant families, 2006 rusted barbed wire and steel cable, 91 x 64 x 43cm Franklin Mye Museum of Contemporary Art, purchased with funds provided Born 1980, , Torres Strait, QLD. Meriam people. Alick Tipoti Eddie Ah Kee from Fantasies of the good, 2004 by the Coe and Mordant families, 2008 Lives and works Darnley Island, QLD. Born 1975, Thursday Island, Torres Strait, QLD. Maluilgal charcoal on paper, 102 x 67cm people. Lives and works Cairns, QLD. Museum of Contemporary Art, purchased with funds provided Destiny Deacon Warup, 2007 by the Coe and Mordant families, 2006 Born 1957, Maryborough, QLD. Kuku, Erub and Mer people. lino print on paper, 587 x 436mm Zugubal, 2006 Lives and works Melbourne, VIC. Museum of Contemporary Art, purchased with funds provided linocut, 101 x 220cm Dennis Ah Kee from Fantasies of the good, 2004 by the Coe and Mordant families, 2008 Museum of Contemporary Art, purchased with funds provided charcoal on paper, 102 x 67cm Forced into images, 2001 by the Coe and Mordant families, 2008 Museum of Contemporary Art, purchased with funds provided super 8 transferred to digital video (1 x Super 8; 3 x discs) Dennis Nona by the Coe and Mordant families, 2006 9 min 9s Born 1973, , Torres Strait, QLD. Maluilgal people. Ezra Waigana Museum of Contemporary Art, purchased 2005 Lives and works Brisbane, QLD. 1946 – 2009. Lived and worked Saibai Island, Whitefellanormal/blackfellame, 2004 Torres Strait, QLD. DVD, 30 seconds Adoption, 1993-2000 Sessere, 2004 Keramu Waigana Museum of Contemporary Art, purchased with funds provided light jet print from Polaroid, framed, 120 x 120cm hand coloured linocut, 125 x 210cm Born 1939, Saibai Island, Torres Strait, QLD. Guda Maluilgal by the Coe and Mordant families, 2008 Museum of Contemporary Art, purchased 2005 Museum of Contemporary Art, purchased with funds provided people. Lives and works Saibai Island, QLD. by the Coe and Mordant families, 2006 Gilbert Waigana Badger Bates Fiona Foley Born 1939, Saibai Island, Torres Strait, QLD. Guda Maluilgal Born 1947, Darling River, Wilcannia, NSW. Paakantji (Barkindji) Born 1964, Maryborough QLD. Badtjala people. Lives and Kwod, 2005 people. Lives and works Cairns, QLD. people. Lives and works Wilcannia, NSW. works Brisbane QLD. etching, edition 10/45, 106 x 78.5cm Port Macquarie-Hastings Council Collection, purchased 2006 Traditional Dugong Iron Pole Bend, Wilcannia, 2007 Badtjala Woman (two sets of beads), 1994 (Aypulumay Rugal/Hunting Gear), 2008 linocut print, 48 x 30cm black & white photograph, 45 x 35cm Mamoose, 2005 carved wood, plant fibres, nylon, feathers, 250 x 570cm Museum of Contemporary Art, purchased with funds provided Museum of Contemporary Art, purchased 1995 etching, tusche technique, edition 31/45, 106 x 64.6cm Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2009 Port Macquarie-Hastings Council Collection, purchased 2006 by the Coe and Mordant families, 2008 Badtjala Woman (crossed string), 1994 Mission Mob and Bend Mob 1950s, 2009 black and white photograph, 45 x 35cm Bia, 2003 Charles Warusam linocut print, 73 x 43cm Museum of Contemporary Art, purchased 1995 hand coloured linocut, edition 33/85, 105 x 75cm 1946 - 2008. Lived and worked Saibai Island, Museum of Contemporary Art, purchased with funds provided Port Macquarie-Hastings Council Collection, purchased 2006 Torres Strait, QLD. by the Coe and Mordant families, 2009 Badtjala Woman (with collecting bag), 1994 black and white photograph, 45 x 35cm Anthony Pilot Island Drum - Burubur (Warup), 2008 Richard Bell Museum of Contemporary Art, purchased 1995 Born 1976, Cairns, QLD. Meriam, Maluilgal people. Lives and carved wood, hide, 22 x 65 x 10cm Born 1953, Charleville. Kamilaroi, Kooma, Jiman and Gurang works Thursday Island. Torres Strait, QLD. Museum of Contemporary Art, purchased with funds provided Gurang people. Lives and works Brisbane, QLD Fiona Foley, Troy Melville by the Coe and Mordant families, 2008 Waru Danalaig, 2008 Uz vs Them, 2006 Bliss, 2006 lino print on paper, 25 x 57 cm DVD, 2:48 minutes dvd, sound, 11:20 minutes Museum of Contemporary Art, purchased with funds provided Museum of Contemporary Art, purchased with funds provided Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2008 by the Coe and Mordant families, 2008 by the Coe and Mordant families, 2009

Daniel Boyd Born 1982, Cairns, QLD. Kudjla, Gangalu people. Lives and works Sydney, NSW. Cover Image: Lorraine Connelly-Northey, Narrbong (string bag) 2008, rusted barbed wire and steel cable, 91 x 64 x 43 cm, Museum Glasshouse Regional Gallery of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2008.Image courtesy and © the artist. Director: Sharni Lloyd We Call Them Pirates Out Here, 2006 Gallery Curator: Niomi Sands oil on canvas, 226.5 x 275cm Glasshouse Regional Gallery | 24 June - 7 August 2011 Public Programs and Audience Museum of Contemporary Art, purchased with funds provided Curated by Keith Munro, Curator, Aboriginal & Torres Strait Islander Programs, MCA & Sharni Lloyd Director, Development Office: Skye Frost by the Coe and Mordant families, 2006 Glasshouse Regional Gallery Technical Team: Mark Millet, David Jenkins, Simon Leigh, Lee Wood, Juan Cosgayon, Sean O’Brien, Soozie Milton Budge Catalogue Designer: Niomi Sands & Elizabeth Brennon | Printer: Upton Print Coumbes, Jason Jones, Ryan Taplin and Jim Roselius. Born 1941, Burnt Bridge Misson, Kempsey, Ngaku people. Exhibition Coordination: Niomi Sands | Education Kit and Resources: Skye Frost Lives and works Mid North Coast NSW. Text Copyright: Glasshouse Regional Gallery, the authors and artist | Image Copyright: Artists Glasshouse Arts, Conference ISBN: 978-0-9871534-0-1 | © Glasshouse Regional Gallery 2011 and Entertainment Centre Making of the Mangrove Sheild, 2004 Corner of Clarence and Hay Streets acrylic on canvas, 57 x 119cm This publication is copyright. Apart from fair dealing for the purposes of research, study or as otherwise permitted under the Copyright Port Macquarie NSW 2444 Port Macquarie-Hastings Council Collection, purchased 2004 Act, no part may be reproduced by any process without permission. Inquiries should be made to Glasshouse Regional Gallery. Dennis Nona, Mamoose, 2005, etching, tusche technique, edition 31/45, 106 x 64.6cm Ph 02 65818888 Fax 02 6581 8107

Port Macquarie-Hastings Council Collection, purchased 2006. Image courtesy and © the artist. Email: [email protected] Robert Campbell Jnr The Glasshouse Regional Gallery would like to sincerely thank Keith Munro, Judith Blackall and the MCA Curatorial, Registration Website: www.glasshouse.org.au 1944 - 1993, Ngaku people. Lived and worked Kempsey, NSW. and Technical staff for their support in realising this project and for providing the opportunity to exhibit MCA collection works in the Glasshouse. We would like to especially thank Jacky Beckhurst and the students from the TAFE for their wonderful input and Rainforest, 1991 participation in the project. Special thanks to the Glasshouse Technical Team and Volunteers for all their hard work on installing The Glasshouse is supported by the acrylic on canvas this exhibition. NSW Government through Arts NSW Courtesy of the Campbell Family Collection This exhibition was made possible through the assistance of funding from the Ministry of the Arts. Untitled (Self portrait), 1991 pastel on paper Courtesy of the Campbell Family Collection GLASSHOUSE regional gallery Destiny Deacon’s wicked sense of humour is potently brought into focus in Adoption, 1993-2000 with the use of black dollies Foreward and the narrative encapsulated in her light jet prints based on an original polaroid image. Deacon extends the aspect by drafting her niece and nephew into lead roles in her moving image work Forced into images, 2001. Welcome to People of the First Sunrise: Indigenous Art from Eastern Australia. It is exciting to see the completion of this important project and such a successful exhibition outcome. It was developed in collaboration with the Museum of Created from found materials, Lorraine Connelly-Northey’s Narrbong (string bag), 2008 is the successful marriage of her Contemporary Art, Sydney, North Coast TAFE and the Glasshouse Regional Gallery Port Macquarie and continues a mother’s Waradgerie (Wiradjuri) and father’s Scottish heritage. Utilising agricultural industry cast-offs, Connelly-Northey bends, previously established partnership, methodology and approach to involving a rural Aboriginal community in the fundamental twists, shapes and weaves forms that reference cultural objects – forms that have become increasingly sculptural. process of developing an exhibition. Fiona Foley’s photographic series Badtjala Woman, 1994 is partly inspired by the fact that female members of her people had The aim was to have local students studying Aboriginal Cultural Arts at TAFE select works from the MCA’s Indigenous once been the ‘exotic’ subjects of colonial photographers and ethnographers. These ironic works turn the gaze back onto that Collections. This provided the students with an opportunity for professional development & skill building, gaining an practice and, in turn, question notions of representation. Her filmBliss , 2006 (with Troy Melville) is another documentary-based understanding of the exhibition development process and insight into Gallery operations, arts-related employment pathways & work, uncovering the history of opium in 19th century Queensland, associated state acts of parliament, and the effect of opium providing on-going partnership benefits for the community, Gallery and the MCA. on Aboriginal people.

This methodology builds on the strengths of a similar collaboration formed in 2005 with the development of the exhibition; Vernon Ah Kee’s impressive, large-scale charcoal drawing series, fantasies of the good, 2004, focuses specifically on the history Coorah / Canugan / Badu: Aboriginal works from the MCA Collection. In both exhibitions a group from the local Aboriginal of male members of his family. This is complimented by his venture into film:Whitefellanormal/blackfellame , 2004 , a clever mix community travelled to Sydney to work with the curators from the MCA and select works for the exhibitions. of image and punchy text. Richard Bell’s Uz vs Them, 2006 pulls no punches either. Presented as a training regime in readiness of the history lesson he hopes to give in the ring, Bell’s film is a satirical play on sterotypes. Keith Munro, Curator Aboriginal and Torres Straight Island Programs has been the major link between the MCA and our region. Keith’s mentoring skills and knowledge of the MCA Collection fostered a strong bond and assurance with the local The linocut prints of Badger Bates also explore aspects of discrimination and misunderstanding. Iron Pole Bend, Wilcannia, Aboriginal community and students. Keith visited our region, and led a workshop on the theme, styles and content of the 2007 for instance, illustrates and maps important Barkindji (Paakindji) cultural sites situated along the banks of the Paaka or MCA collection with the students, TAFE teacher, Jacky Beckhurst and Glasshouse Gallery staff. Darling River as it is more commonly known, while the mission history of his youth is the focus of Mission Mob and Bend Mob 1950s, 2009. The process involved the students spending three days in Sydney at the MCA and the MCA stores viewing the collection, making selections and discussing the content. Classes back at Port Macquarie TAFE developed text and signage using local Robert Campbell Jnr’s Untitled (Self Portrait),1991, The Giver of Life, 1991, and Rainforest, 1991 have been generously loaned language, Gathang, while also refining a series of public programs and educational activities to be held during the exhibition. to the exhibition by members of the Campbell family. This selection of acrylic paintings on canvas offers a unique insight into the A series of telephone link-ups provided the continuity necessary to sustain the project. artist’s life and country, framed by his close connection to saltwater country and the mountainous surrounds of the nearby Great Dividing Range. These works are complimented by Tribal Totums, 1988 a collaborative piece undertaken by the artist with Karen Port Macquarie and the surrounding regions have a large Aboriginal community serviced by three Land Councils. The Birpai E Smith, Mary K Durouse, David Fernando, R. P. Button and Milton Budge. people are the traditional owners of the land with the Dunghutti their northern neighbours. The communities are very active Daniel Boyd, We Call them Pirates Out Here, 2006, oil on canvas, 226.5 x 275cm with a strong involvement in the production of contemporary Aboriginal Art. North Coast TAFE has provided arts education to Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2006. Image courtesy and © the artist Once a student of Campbell Jnr, Milton Budge is now a senior practising artist. Making of the Mangrove Sheild, 2004, outlines the Aboriginal community over many years. this important Dhunghutti tradition from harvesting the wood through to the types of cultural objects needed for this undertaking.

Inclusion of works by Robert Campbell Junior and Milton Budge ensured local representation within the exhibition. Visits to Founding members of Sydney’s Boomalli Aboriginal Artist Cooperative, Arone Raymond Meeks (Flying fish)and Fernanda the Burnt Bridge community in neighbouring Kempsey for meetings with the well-known Campbell family allowed us to view Martins (Too many captain cooks), are represented in the exhibition by photo-lithographic prints that are part of a larger series works not usually available to the public. People of the First Sunrise: Indigenous Art from Eastern Australia of 12 commissioned by Redback Graphix in 1988 – one for every month of the calendar year. The series was prompted by Australia’s Bicentenary festivities and are responses to this celebration by 12 Aboriginal and Torres Strait Islander artists from The contemporary nature of the works included in this exhibition, often with a traditional reference, indicate pathways for around the country. People of the First Sunrise celebrates the contemporary art and ideas that have been developed by artists from Eastern Australia over further visual investigation and exploration by the students and community. The subjects provide frameworks for generating the last two decades – from the unique artistic traditions of the situated between Cape York, the north eastern dialogue on issues of land ownership, , cultural heritage, social justice and family ties. Charles Warusam’s carved Island Drum - Burubur (Warup), 2008 and Franklin Mye’s lino print Warup, 2007, both detail, through tip of the Australian mainland, and Papua New Guinea, to broader areas of Queensland, New South Wales, and along the Victorian two very different approaches, the importance of this musical instrument to Torres Strait Island male identity. Anthony Pilot’s small border. The selection includes artworks that are of our time: having been created since the late 1980s onwards, they illustrate the To build an exhibition through a collaboration like this involves the enthusiasm and commitment of an entire team: Thank you delicately carved lino print on paper Waru Danaliag, 2008 depicts the important birthing practices of the that occur dynamic diversity of Aboriginal and Torres Strait Islander contemporary art practice. The significance of this exhibition is that it is the to the Students and teacher Jacky Beckhurst for maintaining their energy and connection with the project; Keith Munro for throughout the pristine Islands of the Torres Straits. culmination of an ongoing collaboration between art students from the North Coast Institute of TAFE, Port Macquarie campus under his ongoing passion and drive to make the project possible; Eileen Button and the Campbell family for allowing us to view the mentorship of staff from the Museum of Contemporary Art (MCA), Sydney, and the Glasshouse Regional Gallery. It follows an and borrow the works; Glasshouse Gallery curator, Niomi Sands for her patience and attention to following through with the A small installation, Traditional Dugong Hunting (Aypulumay Rugal/Hunting Gear), 2008 by Ezra Waigana, Keramu Waigana earlier successful working partnership that began in 2005 between the MCA, Glasshouse Regional Gallery and a broader commitment curatorial details; Skye Frost, Glasshouse Public Programs and Audience Development Officer for her delivery of the public and Gilbert Waigana re-presents a traditional hunting platform – or nath as it is more commonly known – used primarily to hunt to the New South Wales mid-north coast Aboriginal communities. program; musician and dancer Steven Donovan and the Badu dancers, Alan Morris and Uncle Bill O’Brien. Dugong in the shallow waters of the Torres Strait. Dennis Nona’s hand coloured linocut Sessere, 2004 is a departure from the single image, single subject one often associates with printmaking: in this work the artist focuses on a more complex and larger Artworks by 25 artists represented in the collections of the Museum of Contemporary Art and Glasshouse Regional Gallery have been Finally I would like to thank the MCA, Judith Blackall and curatorial staff; without their involvement the exhibition would not be narrative to tell the story of Sessere, the cheeky and agile willy wag tail. augmented by a selection of key works from private collections – embracing a range of media, the loans include works on canvas, possible. moving image projections, hand-coloured prints on paper, linocuts, photography, sculpture and installation. Another large, intricately-detailed linocut is Alick Tipoti’s Zugubal, 2008 which encapsulates the sky story of these powerful The Glasshouse Regional Gallery acknowledges the NSW Ministry for the Arts for their financial assistance. super human ancestors on their celestial travels. Likewise, Joseph Sam’s carved sculpture Wakemab, 2008 draws our attention Daniel Boyd’s oil on canvas We Call Them Pirates Out Here, 2006 opens up an important space for continuing dialogue between to the story of Wakemab, an important cultural hero to the people of Saibai Island, depicted here in dance pose. Australia’s first people and the broader community. Boyd provides a visual twist, an Aboriginal perspective, to Emanuel Phillips Fox’s Sharni Lloyd famous 1902 painting The Landing of Captain Cook at Botany Bay, 1770, highlighting this historical event at Botany Bay, or Kamay as People of the First Sunrise provides important insights into the cultural landscape of artistic production across a range of media Gallery Director, Glasshouse Regional Gallery it has been known for thousands of years by traditional owners. and the contemporary context in which traditional, personal, historical and political ideas are made manifest. From the first sunrise, Aboriginal and Torres Strait Islander artists have mapped our place in this land and the many changes that have occurred Esme Timbery’s Shellworked slippers, 2008 is made up of 200 small intricately created baby slippers. Timbery makes contemporary over time. The selection focuses on the different ways contemporary artists create space for dialogue – yet, as the exhibition title forms that are derived from the older cultural practice of shell working, a matriarchal tradition passed down from grandmother to suggests, in their work each artist maintains a deep respect for the much older cultural contexts in which their stories are told. granddaughter or mother to daughter, by her people on the south coast of New South Wales. This installation is one of her largest to date and was created in part as a memorial to the and the effect on her family. Keith Munro Curator, Aboriginal & Torres Strait Islander Programs, MCA