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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 ................... -
Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30
Art Aborigène, Australie Samedi 10 décembre 2016 à 16h30 Expositions publiques Vendredi 9 décembre 2016 de 10h30 à 18h30 Samedi 10 décembre 2016 de 10h30 à 15h00 Expert Marc Yvonnou Tel : + 33 (0)6 50 99 30 31 Responsable de la vente Nathalie Mangeot, Commissaire-Priseur [email protected] Tel : +33 (0)1 48 00 94 24 / Port : +33 (0)6 34 05 27 59 En partenariat avec Collection Anne de Wall* et à divers collectionneurs australiens, belges, et français La peinture aborigène n’est pas une peinture de chevalet. Les toiles sont peintes à même le sol. L’orientation des peintures est le plus souvent un choix arbitraire : c’est à l’acquéreur de choisir le sens de la peinture. Des biographies se trouvent en fin de catalogue. Des certificats d’authenticité seront remis à l’acquéreur sur demande. * co-fondatrice du AAMU (Utrecht, Hollande) 2 3 - - Jacky Giles Tjapaltjarri (c. 1940 - 2010) Eileen Napaltjarri (c. 1956 - ) Sans titre, 1998 Sans titre, 1999 Acrylique sur toile - 45 x 40 cm Acrylique sur toile - 60 x 30 cm Groupe Ngaanyatjarra - Patjarr - Désert Occidental Groupe Pintupi - Désert Occidental - Kintore 400 / 500 € 1 300 / 400 € - Anonyme Peintre de la communauté d'Utopia Acrylique sur toile - 73 x 50,5 cm Groupe Anmatyerre - Utopia - Désert Central 300/400 € 4 5 6 - - - Billy Ward Tjupurrula (1955 - 2001) Toby Jangala (c. 1945 - ) Katie Kemarre (c. 1943 - ) Sans titre, 1998 Yank-Irri, 1996 Awelye; Ceremonial Body Paint Design Acrylique sur toile - 60 x 30 cm Acrylique sur toile - 87 x 57 cm Acrylique sur toile Groupe Pintupi - Désert Occidental Groupe Warlpiri - Communauté de Lajamanu - Territoire du Nord 45 x 60 cm Cette toile se réfère au Rêve d’Emeu. -
Aboriginal Art Galleries
ABORIGINAL ART GALLERIES MITJILI NAPURRULA Mitjili Napurrula was born in Ikuntji (Haasts Bluff) after her mother Tjunkayi Napaltjarri, came in from the desert with her mother, a Pintupi/Luritja woman from Yumari. Dispossession and drought were only two of the factors that led to a series of migrations from the desert to mission or government settlements in the mid-twentieth century. Following the outstation movement of the late 1970s and early 1980s, Aboriginal communities sprang up throughout the region, each home to a distinctive art movement. Despite being the first ration depot in the region, Ikuntji was one of the last communities from which this widespread renaissance of cultural affirmation emerged. Like many of her generation, Napurrula witnessed the genesis of the Papunya Tula art movement and the artistic contribution made by members of her immediate family. Tjunkayi Napaltjarri and her sister Wintjiya made small craft items for Papunya Tula Artists. Napurrula’s brother, Turkey Tolson Tjupurrula, was one of the founding members of the Papunya Tula Artists cooperative. Napurrula and Tjupurrula had the same father, Tupa Tjakamarra, from whom they inherited the right to paint works related to Ilyingaungau in the Gibson Desert. This site, south of Walungurru (Kintore), some 520 kilometres west of Mparntwe (Alice Springs), is where the artist’s Mutikatjirri ancestors assembled their kulata (spears) for a conflict with the Tjukula men. Allusive works that refer to the straightening of kulata by Tjupurrula are among the landmark paintings of the movement’s 30-year history. The bold use of colour demonstrates the artist’s confidence in her individual artistic vision within a family of superlative artists – and the cultural heritage that continues to inform the myriad expressions of Western Desert artists. -
Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her. -
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) -
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”. -
Every 23 Days
CONTENTS 11 Foreword 13 Introduction 15 Essay: Every 23 days... 17-21 Asialink Visual Arts Touring Exhibitions 1990-2010 23-86 Venue List 89-91 Index 92-93 Acknowledgements 94 FOREWORD 13 Asialink celebrates twenty years as a leader in Australia-Asia engagement through business, government, philanthropic and cultural partnerships. Part of the celebration is the publication of this booklet to commemorate the Touring Visual Arts Exhibitions Program which has been a central focus of Asialink’s work over this whole period. Artistic practice encourages dialogue between different cultures, with visual arts particularly able to transcend language barriers and create immediate and exciting rapport. Asialink has presented some of the best art of our time to large audiences in eighteen countries across Asia through exhibition and special projects, celebrating the strength and creativity on offer in Australia and throughout the region. The Australian Government, through the Visual Arts Board of the Australia Council and the Department of Foreign Affairs and Trade, is pleased to provide support to Asialink as it continues to present the talents of artists of today to an ever increasing international audience. The Hon Stephen Smith MP Minister for Foreign Affairs INTRODUCTION 15 Every 23 Days: 20 Years Touring Asia documents the journey of nearly 80 Australian-based contemporary exhibitions’ history that have toured primarily through Asia as a part of the Asialink Touring Exhibition Program. This publication provides a chronological and in-depth overview of these exhibitions including special country focused projects and an introductory essay reflecting on the Program’s history. Since its inception in 1990, Asialink has toured contemporary architecture, ceramics, glass, installation, jewellery, painting, photography, textiles, video, works on paper to over 200 venues in Asia. -
A Study Guide by Atom, Jonathan Jones and Amanda Peacock
A personal journey into the world of Aboriginal art A STUDY GUIDE BY ATOM, JONATHAN JONES AND AMANDA PEACOCK http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins FRONT COVER: (TOP) DETAIL FROM GINGER RILEY MUNDUWALAWALA, NGAK NGAK AND THE RUINED CITY, 1998, SYNTHETIC POLYER PAINT ON CANVAS, 193 X 249.3CM, ART GALLERY OF NEW SOUTH WALES. © GINGER RILEY MUNDUWALAWALA, COURTESY ALCASTON GALLERY; (BOTTOM) KINTORE RANGE, 2009, WARWICK THORNTON; (INSET) HETTI PERKINS, 2010, SUSIE HAGON THIS PAGE: (TOP) DETAIL FROM NAATA NUNGURRAYI, UNTITLED, 1999, SYNTHETIC POLYMER PAINT ON CANVAS, 2 122 X 151 CM, MOLLIE GOWING ACQUISITION FUND FOR CONTEMPORARY ABORIGINAL ART 2000, ART GALLERY OF NEW SOUTH WALES. © NAATA NUNGURRAYI, ABORIGINAL ARTISTS AGENCY LTD; (CENTRE) NGUTJUL, 2009, HIBISCUS FILMS; (BOTTOM) IVY PAREROULTJA, RRUTJUMPA (MT SONDER), 2009, HIBISCUS FILMS 5Z`^[PaO`U[Z GULUMBU YUNUPINGU, YIRRKALA, 2009, HIBISCUS FILMS DVD AND WEBSITE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series. -
Annual Report 2016–17
CENTRAL LAND COUNCIL ANNUAL REPORT 2016–17 CENTRAL LAND COUNCIL Creative Commons licence With the exception of the Commonwealth Coat of Arms and where otherwise noted, all material presented in this report is provided under a http://creativecommons.org/licences/byl3.0/licence. The details of the relevant licence conditions are available on the Creative Commons website at: http://creativecommons.org/licences/byl3.0/legalcode. The document must be attributed as the Central Land Council Annual Report 2016–17. Third party copyright for publications This organisation has made all reasonable effort to: • clearly label material where the copyright is owned by a third party • ensure that the copyright owner has consented to this material being presented in this publication. ISSN 1034-3652 All photos Central Land Council, unless otherwise credited. 20 September 2017 Senator Nigel Scullion Minister for Indigenous Affairs Senate Parliament House Canberra ACT 2600 Dear Minister In accordance with the Aboriginal Land Rights (Northern Territory) Act 1976, the Native Title Act 1993 and the Public Governance, Performance and Accountability Act 2013, I am pleased to approve and submit the 2016-17 Annual Report on the operations of the Central Land Council. I am authorised by the Central Land Council to state that the Accountable Authority is responsible under section 46 of the PGPA Act for the preparation and content of the report. Yours faithfully Mr Francis Kelly Chair Central Land Council CLC ANNUAL REPORT 2016–17 1 OVERVIEW OF THE CLC Chair’s report -
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. -
EXPERIMENTS in SELF-DETERMINATION Histories of the Outstation Movement in Australia
EXPERIMENTS IN SELF-DETERMINATION Histories of the outstation movement in Australia EXPERIMENTS IN SELF-DETERMINATION Histories of the outstation movement in Australia Edited by Nicolas Peterson and Fred Myers MONOGRAPHS IN ANTHROPOLOGY SERIES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: Experiments in self-determination : histories of the outstation movement in Australia / editors: Nicolas Peterson, Fred Myers. ISBN: 9781925022896 (paperback) 9781925022902 (ebook) Subjects: Community life. Community organization. Aboriginal Australians--Social conditions--20th century. Aboriginal Australians--Social life and customs--20th century. Other Creators/Contributors: Peterson, Nicolas, 1941- editor. Myers, Fred R., 1948- editor. Dewey Number: 305.89915 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press This edition © 2016 ANU Press Contents List of maps . vii List of figures . ix List of tables . xi Preface and acknowledgements . xiii 1 . The origins and history of outstations as Aboriginal life projects . 1 Fred Myers and Nicolas Peterson History and memory 2 . From Coombes to Coombs: Reflections on the Pitjantjatjara outstation movement . 25 Bill Edwards 3 . Returning to country: The Docker River project . 47 Jeremy Long 4 . ‘Shifting’: The Western Arrernte’s outstation movement . 61 Diane Austin-Broos Western Desert complexities 5 . History, memory and the politics of self-determination at an early outstation . -
Annual Report 2018–19
CENTRAL LAND COUNCIL ANNUAL REPORT 2018–19 CENTRAL LAND COUNCIL Creative Commons licence With the exception of the Commonwealth Coat of Arms and where otherwise noted, all material presented in this report is provided under a Creative Commons licence. The details of the relevant licence conditions are available on the Creative Commons website at: http://creativecommons.org/licences/byl3.0/legalcode. The document must be attributed as the Central Land Council annual report 2018–19. Third party copyright for publications This organisation has made all reasonable effort to: • clearly label material where the copyright is owned by a third party • ensure that the copyright owner has consented to this material being presented in this publication. ISSN 1034-3652 All photos Central Land Council, unless otherwise credited. 19 September 2019 Minister for Indigenous Australians Hon Ken Wyatt AM, MP 19 September 2019 PO Box 6022 HouseMinister of forRepresentatives Indigenous Australians ParliamentHon Ken Wyatt House AM, MP CanberraPO Box 6022 ACT 2600 House of Representatives Parliament House Canberra ACT 2600 Dear Minister In accordanceaccordance with with the the Aboriginal Aboriginal Land Land Rights Rights (Northern (Northern Territory) Territory) Act Act1976 1976, the (Cth),Native the Title Native TitleActDear 1993 ActMinister 1993and the and Public the Public Governance Governance and Accountability and Accountability Act 2013 Act, I 2013am pleased (Cth) (the to approve PGPA Act), Iand am submit pleased the to 2018 approve-19 Annual and submit