Tjunkiya Napaltjarri
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Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
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 ................... -
Becoming Art: Some Relationships Between Pacific Art and Western Culture Susan Cochrane University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 Becoming art: some relationships between Pacific art and Western culture Susan Cochrane University of Wollongong Recommended Citation Cochrane, Susan, Becoming art: some relationships between Pacific ra t and Western culture, Doctor of Philosophy thesis, , University of Wollongong, 1995. http://ro.uow.edu.au/theses/2088 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. BECOMING ART: SOME RELATIONSHIPS BETWEEN PACIFIC ART AND WESTERN CULTURE by Susan Cochrane, B.A. [Macquarie], M.A.(Hons.) [Wollongong] 203 CHAPTER 4: 'REGIMES OF VALUE'1 Bokken ngarribimbun dorlobbo: ngarrikarrme gunwok kunmurrngrayek ngadberre ngarribimbun dja mak kunwarrde kne ngarribimbun. (There are two reasons why we do our art: the first is to maintain our culture, the second is to earn money). Injalak Arts and Crafts Corporate Plan INTRODUCTION In the last chapter, the example of bark paintings was used to test Western categories for indigenous art. Reference was also made to Aboriginal systems of classification, in particular the ways Yolngu people classify painting, including bark painting. Morphy's concept, that Aboriginal art exists in two 'frames', was briefly introduced, and his view was cited that Yolngu artists increasingly operate within both 'frames', the Aboriginal frame and the European frame (Morphy 1991:26). This chapter develops the theme of how indigenous art objects are valued, both within the creator society and when they enter the Western art-culture system. When aesthetic objects move between cultures the values attached to them may change. -
Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
2012-06-04-L-CASTOR-HARA.Pdf
1 Figurine anthropomorphe associée à des rites de fertilité et de fécondité de la femme et de la déesse Terre Mère. Elle est modelée d'une jeune femme au ventre généreux, portant de belles parures sur les oreilles et le torse. Sa coiffe à longue chevelure se terminant sur le bas du torse. Terre cuite beige avec restes de polychromie. Région du Michoacan, Mexique, époque préclassique finale, 300 - 100 avant JC. 13,6x6,2cm 300/500 2 Statuette anthropomorphe présentant un personnage assis aux traits d'enfant, les mains posées sur les cuisses dans un geste symbolique. Terre cuite beige avec traces de polychromie en surface. Cou cassé, collé. Olmèque, époque préclassique moyenne, Mexique, 900 - 600 avant JC. 11,5x8x8cm 500/800 3 Statuette anthropomorphe présentant un personnage féminin assis, aux belles formes généreuses associées à la fécondité de la Terre et de la femme. Son corps et son visage sont ornés de peintures cérémonielles. Terre cuite polychrome. Chinesco, époque proto-classique, Mexique, 100 avant - 250 après JC. 17x10x9cm 700/1000 4 Statuette anthropomorphe présentant un personnage assis, les bras et mains levés dans un geste symbolique. Il porte une ceinture autour de la taille, un large collier et des ornements d'oreilles et de tête. Il s'agit ici probablement d'un prêtre sous l'effet d'une substance hallucinogène ingérée au cours des cérémonies religieuses. Terre cuite beige orangée, tête cassée, collée. Région du Veracruz, époque classique, Mexique, 300 - 600 après JC. 16,3x14,4x7,5cm 500/700 5 Statuette anthropomorphe présentant un prêtre debout, le torse couvert d'un poncho et la taille ceinte d'un pagne à pan rectangulaire. -
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. -
Wintjiya Napaltjarri
WINTJIYA NAPALTJARRI - PINTUPI Represented by Utopia Art Sydney 72 Henderson Road, Alexandria NSW 2015 Tel: 61 2 9699 2900 utopiaartsydney.com.au [email protected] c. 1933 - 2014 Wintjiya Napalatjarri’s paintings have an emphasis on stark design elements and a restricted palette. She paints in the direct sunlight, as evidenced by the thickness of the paint and the sheen of its surface. Wintjiya Napaltjarri first began painting when she participated in the Kintore/Haasts Bluff joint project in the mid 1990s. Until 2004, Wintjiya painted with her sister Tjunkiya Napaltjarri at the Papunya Tula Artists shed in Kintore but since then she has painted from her home: the widow’s camp outside her ‘son’ Turkey Tolson’s former residence. Wintjiya has been in many group exhibitions and a number of solo exhibitions, as well as having work in major collections including the Art Gallery of New South Wales, the National Gallery of Victoria and the Aboriginal Art Museum in The Netherlands. Selected Solo Exhibitions 2010 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2008 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2006 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2005 Woolloongabba Art Gallery, Brisbane, QLD Selected Group Exhibitions 2016-18 ‘Marking the Infinite’, Frost Art Museum, Miami; Nevada Museum of Art, Reno; Newcomb Art Museum, New Orleans; The Phillips Collection, Washington DC; and Museum of Anthropology ,Vancouver. 2017 ‘Who’s Afraid of Colour’, NGV, Melbourne 2013 ‘The Salon’, -
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. -
Ngv Annual Report 2019 / 20
ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV INTERNATIONAL 180 St Kilda Road THE IAN POTTER CENTRE: NGV AUSTRALIA Federation Square National Gallery of Victoria PO Box 7259 Melbourne VIC 3004 Australia +61 3 8620 2222 www.ngv.vic.gov.au ISSN: 2206-4982 RESPONSIBLE BODY’S DECLARATION In accordance with the Financial Management Act 1994, I am pleased to present the Council of Trustees of the National Gallery of Victoria’s Annual Report for the year ending 30 June 2020. Janet Whiting AM President, Council of Trustees 27 August 2020 (cover) KAWS American 1974– GONE 2019 (installation view) patinated and painted bronze 700.0 x 710.5 x 294.0 cm Commissioned by the National Gallery of Victoria, 2020 (2020.177) © KAWS CONTENTS OVERVIEW SUPPORT About the National Gallery of Victoria 5 Affiliated groups 137 President’s foreword 6 2019/20 Donors 140 Director’s review 8 NGV Foundation Members 146 Strategic framework 10 Felton Society Members 154 Report against output targets 11 NGV Life Members 156 Emeritus Trustees and Foundation Board members 157 2019/20 PERFORMANCE REPORT The Felton Bequest 157 Bringing art and design to life 13 Partners 158 Connecting audiences 20 Realising our potential 24 GOVERNANCE Building for the future 26 Council of Trustees 167 Sharing our vision 28 Council Committees and working groups 169 Exhibitions Listing 32 Workforce data 170 Acquisition Listing 36 Organisational structure 173 Publications Listing 64 Other corporate reports 174 Disclosure index 184 2019/20 FINANCIAL REPORT Five-year financial summary 71 Independent audit report 74 Financial statements 76 Notes to the financial statements 82 OVERVIEW ABOUT THE NATIONAL GALLERY OF VICTORIA ORIGINS STATE COLLECTION Founded in 1861, the National Gallery of Victoria (NGV) is The State Collection comprises approximately 73,000 works Australia’s oldest public art gallery. -
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”.