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Art of Australia's First Peoples Papunya, Warmum, Warlpiri, and Urban Art Movements

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Art of Australia's First Peoples Papunya, Warmum, Warlpiri, and Urban Art Movements Art of Australia’s First Peoples Papunya, Warmum, Warlpiri, and Urban Art Movements Turkey Creek 1. PAPUNYA MOVEMENT – CENTRAL DESERT Bobby West Tjupurrula et al. Sand Painting -- Pupunya Genesis and Genius NSW 2000 Long Jack Phillipus Tjakamarra: Emu Dreaming Stone tjuringa – Central Desert 1972. Acrylic on Composition board. 25x24 in. Clifford Possum Tjapaltjarri Yuutjutlyungu, 1979 Acrylic on linen 96x144 in. EVOCATION OF PLACE, CONNECTIONS, AND SACRED ENERGY Ronnie Tjampitjinpa. Untitled. 2001. 183x244 cm. Anatjari Tjampitjinpa. Ceremonial Ground a Kukkuta. 1981. 2. WARMUM COMMUNITY – KIMBERLEY REGION Rover Thomas. Cyclone Tracy Natural pigments on canvas 1991 183x168 cm Rover Thomas. Ngarinjanu Country. Natural pigments on canvas 100 x 140 cm. Undated, but pre-1988 3.Warlpiri (Yuendumu) Dynamic Style and Cooperative Ventures Left-Paddy Jupurrurla Nelson, Paddy Japaljarri Sims and Larry Jungarrayi Spencer: Star Dreaming 1985 146x67cm. Emu Dreaming 1987 Darby Jampijinpa Ross Synthetic Polymer on canvas 121 x 91.5 cm. 36 Warlpiri Artists. Karrku Jukurrpa. 1996. Acrylic on canvas. 280 x 680 cm. See Morphy pp.301-303 for interpretation. University of Virginia (Kluge-Ruhe Aboriginal Art Collection). N The central story concerns the mythical Ochre Man’s travels to deposit the mineral he carries and his lusty adventures with two ancestral women who follow the rain Dreaming. S Aboriginal Genocide http://www.youtube.com/watch?v=Z7eubc- Yk3M The Rabbit Proof Fence – feature length film based on the story of Molly Craig, a mixed race child taken from her home in the 1930s to be forcibly acculturated, who escapes and makes her way by foot across 1500 miles to find her family. http://www.missliberty.com/Filmrabbit.html Bark shield collected By Captain Cook at Botony Bay http://www.migrationheritage.nsw.gov.au/exhi bition/objectsthroughtime/barkshield/ Pacific Arts and the West: Artists collected these works and took inspiration from them – though the art of Australian aboriginal populations did not figure prominently in this context. Oceanic Display Picasso in his studio. 1908. Detail: New Caldedonian roof (detail), Trocadero Note New Caledonian finial figure from Picasso’s Museum, Paris, 1895 (Melanesia) figures behind collection and Picasso’s Portrait him. of Henry Kahnweiler (detail) 1910. This exhibit showed 50 contemporary Western artists with 50 artists from non-Western Traditions Major challenge to the lens of Modern Art and the ‘primitivism’ viewpoint Paddy Jupurrurla Nelson et al. Ground Sculpture installed in Magiciens de la terre Exhibition 1989 with Richard Long’s Mud Circle on the wall Various Yolngu artists. Yirkalla Bark Petition. 1963. Ochres on Bark and paper. 23x13 in. Various Artists. The Barunga Statement. 1988. Ochres on composition board with collage of printed text on papers. 48 x 47 in. Saltwater Collection Art as Legal Document http://livingknowledg e.anu.edu.au/learning sites/seacountry/16_s earights.htm L. Gawirrin Gumana Map of Family Lands Western & Aboriginal. Bäru at Yathikpa by Nuwandjali Marawili, Moiety: Yirritja, Clan: Madarrpa (118cmx47cm) Painting of Bäru the ancestral crocodile in the saltwaters of Yathikpa – the ancestral being whose sacred site was defiled by commercial fishermen Various Artists. The Aboriginal Memorial, installation of 200 hollow log coffins. 1987-1988. Wood and ochres. H from 40 to 128 in. African American Alison Saar Strange Fruit H. 76 in Fiona Foley. The Annihilation of the Blacks. 1986. Playwood and wood. H. 23” Fish on Poles. 1962. H. 55 in. Foley addresses the history of violence against her people. Native American Nora Naranjo-Morse Sugared-Up: A Waffle Garden, 1999 Installation Sugar, Dirt, Clay, Marshmallows, Cans Traditional Zuni Garden Fiona Foley. Land deal [Land deal] 1995 Hervey Bay / Queensland / Australia Installation, flour, mixed media, found objects, text diameter 442 cm. Sally MORGAN: Taken away, 1987 screenprint, printed in colour, from multiple stencils , 61.4 x 41.4 cm Reference to her own autobiography and the ‘Lost Children’ Citizenship. 1987. Screenprint on paper. 23 x 14 in. Robert Campbell Jr. Striking for Equal Pay, Wattie Creek 1990 Acrylic on canvas 43 x 36 in. Google the Gurindji Stockmen’s Strike for more information Harry Wedge. Brainwash 1994 Acrylic on Canvas 24 x 19 in. Coming to terms with Aboriginal identity in the Post-colonial world Richard Bell http://www.kooriweb.org/foley/great/art/rbell.html http://www.kooriweb.org/foley/great/art/works.html Two works from Bell’s Lichtenstein series – look at the others. Read and Reflect on Bell’s Theorem ABORIGINAL ART – It’s a white thing! http://www.kooriweb.org/foley/great/art/bell.html This reflection paper will be in place of the KULA RING video reflection paper – although some of you may want to do a reflection paper on that as well for extra credit. .
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