Indigenous Art, Culture & Design - Week 12

As this course draws to a close, I feel so priviledged to have been able to learn and discover more about Indigenous art, culture and design in Australia. I knew very little about Indigenous culture prior to commencing this course and have learnt that it is a very vibrant and rich culture. As I progress in my studies I  look forward to continuing this journey of learning and understanding,

Queen's Visit to Aboriginal School

Just a tid-bit of info!

The Queen's stay in Australia has been highly publicised for the past week and a half, and today was no exception.This evenings news brought to light the Queen's recent visit to an Aboriginal school in Western Australia. I found the feature to be quite comical in some instances, however it highlighted the fact that very little is known about Aboriginal culture at an international level.

Below is a link to an article about the visit.
http://news.ninemsn.com.au/article.aspx?id=8366254

Artworks

I LOVE THIS!!!


Mina Mina Dreaming by Judy Watson Napangardi

 AND THIS!!!


Dreamtime Sisters by Colleen Wallace Nungari


SOURCES:
Mina Mina Dreaming Image: http://www.aboriginalartstore.com.au/aboriginal-art/judy-watson-napangardi/mina-mina-dreaming-9/index.php
Dreamtime Sisters Image: http://www.aboriginalartstore.com.au/aboriginal-art/colleen-wallace-nungari/dreamtime-sisters-199/

Indigenous Art, Culture & Design - Week 11



Torres Strait Islander Art



Dennis Nona | Kala Lagaw Ya people | Thabara 1992


This week in our lecture we learnt about Torres Strait Islander work. Whilst searching the internet, I came across an episode of Art Nation which offers  a great overview of Torres Strait Islander art and culture. The video takes us on a journey through the 'Land, Sea and Sky' exhibition currently on display at the Quensland Gallery of Modern Art. I particularly enjoy the vibrancy of Torres Strait Islander art  and culture, and amazed at how the art movement is continually evolving.

Please take a look at the video, some of the artwork is absolutely gorgeous!!

LINK
http://www.abc.net.au/indigenous/video/default.htm#flashtop

Below is also a link to the exhibition website. It offers a variety of resources about the exhibition and Torres Strait Islander art, including pwerpoints, images, education resources, and several other links to videos of the exhibition on their YouTube Channel.

LINK
http://qag.qld.gov.au/exhibitions/past/2011/land,_sea_and_sky_contemporary_art_of_the_torres_strait_islands

SOURCES:
Dennis Nona Image: http://qag.qld.gov.au/exhibitions/past/2011/land,_sea_and_sky_contemporary_art_of_the_torres_strait_islands

Australian Aboriginal Cultures Gallery

Last week I went to visit the newly re-opened Australian Aboriginal Cultures Gallery at the South Australian Museum. New to the exhibit was the famous Yuendumu Doors. Whilst making my way through the exhibit several objects were of particular interest to me.

Door #17 – Ngatijirrikirli (Budgerigar) by Paddy Japaljarri Stewart

The Yuendumu School Doors
In 1993 senior Warlipiri men grasped an historic opportunity to paint their sacred dreaming designs on the doors of the YuendumuSchool, 250km north west of Alice Springs. It was a key moment in the history of Australian art, and symbolised the Warlipi's decision to explain the Tjukurrpa (Dreamin) to the world beyond their desert home. The 30 doors are unique documents of history and culture. They reveal ancient stories and beliefs but also scars and graffiti of exposure to the elements and the school yard.

The Door Etchings
The Door Etchings co-existed alongside the Yuendumu Doors. In the year 2000, the remaining Warlipiri elders produced a series of etchings based on the original school doors.

Hunting/Gathering Exhibit
Hunting and gathering was the main method of sourcing food and drink for the Aboriginal Australias, with gathering being the role of women. In the exhibit was a watercolour painting produced by GF Angus in 1844. The painting depicts a women and child with bulbrush roots and manungkeri, an important source of food in much of south eastern Australia. The painting speaks more to me of the anthropological findings at the time rather than traditional indigenous art form, however I just loved the simplicity of the painting.

Albert Namatjira
I've mentioned in a previous post how much I like the work of Albert Nmatjira, so it was thrilling to see one in the flesh. The Australian Aboriginal Cultures Gallery  is home to a Namatjira watercolour. The painting produced in 1941 shows Namatjira's own sacred lanscape of the James Ranges, part of the Western MacDonnells. The painting was one of the first to be bought by a major museum.

Below is a link to a behind the scenes video of the Australian Aboriginal Cultures Gallery at the SA Museum. It is very interesting and offers some background information on the Yuendumu School Doors.
http://www.samuseum.sa.gov.au/whatson/whattosee/permanent/aacg

SOURCES:
Yuendumu Door: http://www.samuseum.sa.gov.au/whatson/whattosee/permanent/aacg

Indigenous Art. Culture & Design - Week 10

Public Art

 In our lecture this week we explored the notion of Aboriginal art, architecture and design in the public arena, and how the public arena embraces Aboriginal aesthetics, motifs,art, and design principals. Several examples of this were given including the mosaic at the forecourt of Parliament House in Canberra and the new designs featured on a fleet of Qantas Boeing 747-400 Jets.  

       

Mosaic Forecourt Parliament House



 The mosaic at the forecourt of Parliament House  was designed by Papunya artist Michael Nelson Jagamara. The mosaic based on the Possum and Wallaby Dreaming is very appropriate as it is representational of a large group of people coming together at one meeting place to fulfill ceremonial obligations.

Also pictured below is the Boeing 747-400 Jets commissioned by Qantas. The fleet of three depict the Wunala Dreaming, the Nalanji Dreaming, and the Yananyi Dreaming. The decision made by Qantas to incorporate Aboriginal art in the design of their aircraft could be seen as being emblematic of how we use and embrace Aboriginal art to define who we are.  



Wunala Dreaming



Nalanji Dreaming



Yananyi Dreaming



On a more local note, for the past two years, an Adelaide tram has been adorned in aboriginal motifs to help celebrate Reconciliation Week.



Adelaide Tram

SOURCES:
Mosaic Image: http://www.karrinyarra-artists.com/artists/23.html
All Qantas Images: http://www.creativespirits.info/aboriginalculture/arts/aboriginal-art-in-unusual-places.html
Adelaide Tram Image: http://www.google.com.au/

Indigenous Art, Culture & Design - Week 9

 

In our lecture this week we had a guest presenter by the name of Nici Cumpston. Nici is a curator at the Art Gallery of South Australia and was responsible for curating the 'Desert Country' exhibition. The exhibition, which ran from October 2010 to January 2011 showcased works, drawn entirely from the extensive holdings of Aboriginal art from the Art Gallery of South Australia's pioneering collection. The exhibition was the first to chart the evolution of the Australian desert painting movement. A total of 95 artists were represented in the exhibition with 100 artworks being showcased.

Throughout my time viewing Indigenous art, I have found that I am drawn to artworks that display bold shapes and bright colours. Below are some of my favourite artworks that were displayed in the exhibition.
 

  Rover Thomas (Kukatja/Wangkatjunga people), 'Paruku, Lake Gregory', 1991

 

 Ginger Wikilyiri (Pitjantjatjara people), 'Kunumata' 2009

 Lilly Kelly Napangardi (Luritja/Walpiri people), 'Sandhills' 2005

Below is the link to a booklet produced by the gallery which showcases some of the artists that were represented in the exhibition.

http://www.artgallery.sa.gov.au/agsa/home/Learning/docs/DesertCountryResource.pdf

SOURCES:

All images sourced from: http://www.smh.com.au/photogallery/national/desert-country-20110818-1j0ba.html

Hans Hysen & Albert Namatjira

During the mid-semester break I went on a tour of the 'Cedars'. The 'Cedars' is the name given to the premisis on which the studio and home of the late South Australian artist, Hans Hysen reside. I have always found Hysen's works to be purely exquisite, however what I didn't know is that Hysen's series of paintings which feature the various landscapes of the Flinders Ranges were actually a form of inspiration to Albert Namatjira and his own representations of the Flinders Ranges. I am always entranced by the beautiful atmosphere Namatjira has been able to capture in his watercolours, and after visiting the 'Cedars' I can see a great similarity between the work of Hans Heysen and Albert Namatjira.

I thought it would be nice to include and image from both artists.


Hans Heysen: Aroona,1939

 
 Albert Namatjira: Towards the James Range, 1954

SOURCES:

Hans Hysen Image: http://www.newcastle.nsw.gov.au/nag/exhibitions/past/2010/artist/hans_heyson_aroona_1939
Albert Namatjira Image: http://landscapes.indigenousknowledge.org/exhibit-3/4

Indigenous Art, Culture & Design -Week 8

During this weeks lecture/ tute we discussed the concept of  urban Aboriginal atists. Richard Bell, a prominent Indigenous artist, explores the notion of urban Aboriginal artists and their lack of recognition in comparison to traditional Aboriginal artists and the exploitation of art from romote communities.  Bell himself, along with Vernon AhKee is a member of the ProppaNOW Collective, a group of seven urban artists at the forefront of contemporary art in Australia.

Perhaps the whole 'urban Aboriginal artist vs traditional Aboriginal artist' debate could also be interpreted as 'an Aboriginal who paints art vs an Aboriginal artists'.

Below is a link to 'Bell's Theorem'. Have a read and see what you think!
http://www.kooriweb.org/foley/great/art/bell.html

ALSO

Below is a link to the transcript of an episode of 'Message Stick' detailing the ProppaNOW Collective.
http://www.abc.net.au/tv/messagestick/stories/s3264665.htm

AND

A link to an article in the 'Blak on blak Vol 30 no 1, 2010' issue of 'Artlink', which discusses the ProppaNOW Collective and 'Bell's Theorem'.
http://www.artlink.com.au/articles/3359/learning-to-be-proppa-aboriginal-artists-collecti/

Spirit in the Land Exhibition

I recently went to visit the 'Spirit in the Land' exhibition held at the Flinders University City Gallery. The exhibition explores the connection between eleven Australian artists, of historical and contemporary context and of Indigenous and non-Indigenous decent. The exhibition highlights their special appreciation for and their engagement with the spiritual ethos and power of the land, and how it contributes to forming a sense of identity.

The exhibition was founded on the premisis that artists who have an affinity with the land provide us with understanding of its meaning and truth. I feel that this statement only leads us back to the argument that Indigenous art can only be  fully appreciated when provided with the meaning of the artwork. I personally believe that whilst the meaning  and background of an artwork further enhances our understanting of it, it is not citical in appreciating an artwork purely for its aesthetic values.

Also of particular interest to me was the decision to exhibit the works of Indigenous artists alongside the works of non-Indigenous artists. Perhaps why this was of great interest to me was that I recalled discussing  in one of our tutes the way in which Tasmanian gallery, Mona, was challenging the way in which art should be displayed and what art ought to look like. I personally believe that this juxta-position between the artworks and its creators cause the auidence to think  about things more thoroughly.

Overall I thoroughly enjoyed the exhibition. Below are examples of some of the works I found to be most appealing.

Emily Kame Kngwarreye: Kame colour II ,1995

Lin Onus: Ginger and my third wife approach the roundabout, 1994 

Dorothy Napangardi: Sandhills of Mina Mina, 2000

Below is a link to the 'Spirit in the Land' exhibition website.

http://netsvictoria.org.au/spirit-in-the-land/

SOURCES:

Emily Kame Kngwarreye: Kame colour II ,1995 Image: http://netsvictoria.org.au/kame-colour-ii/

Lin Onus: Ginger and my third wife approach the roundabout, 1994 Image: http://netsvictoria.org.au/ginger-and-my-third-wife-approach-the-roundabout/

Dorothy Napangardi: Sandhills of Mina Mina, 2000 Image: http://netsvictoria.org.au/sandhills-of-mina-mina/



Indigenous Art, Culture & Design - Week 5, 6, 7

Regional Styles

Over the past couple of weeks we have been learning about the different types of regional styles that exist in Aboriginal art. Each region has a very unique and distinctive style, therefore it is very easy to distinguish one regional style from another.

The Kimberley Region

Distinctive characteristics of style: large blocks of colour, shapes outlined with white dots, restricted palette, consiting of rich ochre tones, natural pigments.

* This style is most commonly associated with artists from North West Australia such as Paddy Bedford and Rover Thomas from Warmun (Turkey Creek).

Below is an example of the 'Kimberlety Region' style of painting.

Rover Thomas: Nilah Marudji (Rover’s Country), 1996

The Desert Region

Distinctive characteristics of style:  wide palette, images comprised of dots and circles, acrylic on canvas.

* This style propelled Indigenous art in Australia by making famous the 'Dot Art' movement, and is most commonly associated with artists from Utopia, the Central Desert and the Western Desert including the Papunya Tula artists.

Below is an example of  the 'Desert Region' style of painting.

Johnny Yungut Tjupurrula: Tingari men at Malparingya, 2009

Arnhem Land

Distinctive characteristics of style: restridted palette, natural pigments on bark, cross-hatching or rark.

* This style is often derived from the meanings associated with the chest paintings used in sacred ceremonies. The paint used by artists often originates from sacred sites.

Below is an example of  of the 'Arnhem Land' style of painting.

 John Mawurndjul: Yawk Yawk (Young girl's spirit), 1985

SOURCES:

Rover Thomas Image : http://www.aboriginalartcoop.com.au/aboriginal-art/rover-julama-thomas/nilah-marudji-rovers-country.php

Johnny Yungut Tjupurrula Image: http://www.papunyatula.com.au/image/355/

John Mawurndjul Image: http://www.artgallery.nsw.gov.au/work/216.1985.1/

Message Stick



Naomi & Joel Wenitong

A couple of weeks ago I happened to be watching an episode of the ABC series 'Message Stick'. This particular episode, 'In the Frame: The Wenitongs', featured The Last Kinection, one of Australia's top Indigenous hip-hop groups. Consisting of brother and sister duo Naomi and Joel Wenitong, it demonstrated their determination to make the world a better place through music. Showing pride in their culture, the documentary went on to demonstrate their attempts at breaking in to the mainstream Australian hip-hop scene, where Non-Indigenous artists have dominated the music charts. Despite hardship and struggle Naomi and Joel Wenitong are a prime example of  what hard work and dedication can do in changing the lives of Indigenous Australians for the better.

Perhaps what bothered me most when watching the documentary was indeed the lack of Indigenous artists achieving recognition in the mainstream scene, which poses the question:

Do you think Indigenous artists are adequetely represented in the the mainstream arena?

Take a look and see what you think!
http://www.abc.net.au/tv/messagestick/video/2011/August2011.htm?pres=s3289004&story=1

Make sure to also check out the Message Stick website.
Message Stick : http://www.abc.net.au/tv/messagestick/


SOURCES:
Naomi & Joel Wenitong Image: http://www.abc.net.au/tv/messagestick/stories/s3289004.htm

Indigenous Art, Culture & Design Week 4

Art+Soul

Hetti Perkins

Episode 2 'Dreams and Nightmares"

In this week's episode we learnt about the work of Rover Thomas. We learnt about the weavings of Yvonne Koolmatrie, who manages to weave the past into her sculptural forms in a completely contemporary context, and perhaps one of my favourt Indigenous artists Emily Kamngwarray, whose landscapes of her 'country', Utopia indicated her deep connection to culture and attracted unprecedented fame.

There was so much insightful and interesting information presented to us in this episode that I encourage everyone to go and view clips of the episode  online at the Art+Soul website.

Episode 2 Art+Soul: http://www.abc.net.au/arts/artandsoul/video/extra2.htm?type=extra

Indigenous Art, Culture & Design Week 3

This week in our lecture we watched the continuation of Episode 1 of Art+Soul. In this week's episode we meet artists Destiny Deacon and Ricky Maynard.

Destiny Deacon
 

Meloncholy, 2000, polaroid



Destiny deacon is of Torres Strait Islander decent, and briefly remembers being homeless as a child after her family relocated to Melbourne. Deacon's work is often a social commentary on the urban experience and often features her 'home' as the stage for her constructed photos, utilising whatever is at hand that could possibly assist her in representing certain issues, including her endless collection of black dolls.  Deacon's images present both a celebration and critical eye on domestic life.

Whilst Deacon's work is quite conceptual in nature, it raises the question on wether or not it is necessary for the viewer to be provided with a history/background of the artwork in order to truly understand its context.

Ricky Maynard





Ricky Maynard is a  Flinders Island based photographer who's portraits of his community create an intimate dialogue between photographer and subject. His photographs explore the notion of what it is like to be black in an urban landscape and are autobiographical in nature. Maynard explains that he is haunted  by his past as much as he is proud, and views his photography as a healing process. Intrinsic to his work is the importance of returning home and is intent on capturing the history of excile in Tasmania.





Wik Elder, Joe, 2000



Wik Elder, Gladys, 2000





Wik Elder, Arthur, 2000

A notable series of Manyard's entitled 'Returning to Places that Name Us' depict the last of the first Tasmanians (Wik Elders) and the hardships that they have endured. These images are beautiful in their representation and can almost be viewed as a metaphor for 'country'.

Manyard's photos are extremely emotive and successful in depicting the histories of his people and I truly admire and appreciate his work.

Check out the continuation of  Episode 1 of Art+Soul: http://www.abc.net.au/arts/artandsoul/video/extra1.htm?type=extra

SOURCES:

 Ricky Manyard Images: http://www.stillsgallery.com.au/artists/maynard/index.php?obj_id=series_02&nav=2

Destiny Deacon Image: http://www.roslynoxley9.com.au/artists/58/The_First_20_Years/70/33396/

Indigenous Art, Culture & Desogn Week 2



Hetti Perkins, Art+Soul



Art+Soul

Hetti Perkins

Throughout this course we will be viewing episodes of the ABC series Art+Soul, presented by senior curator of Aboriginal and Torrss Strait Islander art at the Art Gallery of New South Wales, Hetti perkins. Throughout the series, Hetti takes us on a journey across the land meeting artists in remote, rural and urban areas, encouraging them to share the stories behind their artworks. Hetti's journey enhances our understanding and appreciation of Aboriginal art, and encourages us to view the wold from an Aboriginal perspective.

In today's lecture we began viewing the first installment of Art+Soul. In episode 1 entitled 'Home and Away', Hetti drove from Alice Springs to Walungurru in the Kintore region, which is home to the the headquarters of the Papanya Tula Artists Co-operative. It is here that we learn about the Western Desert painting movement in the 1070's which was borne from a longing for a 'country' by a community force to resettle away from their homelands. A particular moment that I found to be very moving was when artists Naata Nungurrayi was shown singing her 'country' song whilst painting.

In this episode we also met artist Judy Watson who incorporates drawings of objects that were once apart of the lives of her ancestors in to her paintings. I find Judy's paintings to have a real simplicity and elegance to them, which I admire very much.

I f you havent's seen Art+Soul before, I highly recommend that you do. The Art+Soul website contains clips  from all episodes as well as other valuable information.

Episode 1 of Art+Soul: http://www.abc.net.au/arts/artandsoul/video/extra1.htm?type=extra

SOURCES:

Art+Soul Image: http://www.abc.net.au/arts/artandsoul/about/s2990660.htm

Tandanya National Aboriginal Cultural Institute

Recently I paid a visit to Tandanya National Aboriginal Cultural Institute. At the time it was host to several exhibitions.

 'Believe' by Peter Sharrock



The Mark, 2011,  mixed media



The exhbition consisting of several ceramic installations is a personal response to the Australian landscape. The works explore not only the land itself but also its inhabitants. The works which have a unique 'Honeycomb Style' are hand carved from ochre pigment, and posses a certain rawness and fragility. The body of work captures the moments in life in which you have to stand up for what you believe in and celebrates the freedom of choice and the ability to be resilient .

Imbued with positivity the exhibition combines ideas about contemporary urban life with issues of personal identity and cultural heritage.

Accompanying his installations, Sharrock has authored several poems. A particular poem I found to be highly inspirational was 'In Turn'.

In Turn

In turn we have  a thought

In turn we make a choice

In turn we make a plan

In turn we take action

In turn we move forward

In turn we find our own step

In turn we make our way

In turn we change what we used to be

Peter Sharrock 2011

The exhibition which is highly personal in its subject matter, yet completely universal at the same time is successful in presenting a body of unique contemporary art pieces which are thought provoking and demonstrate new concepts and ideas.

'We are the Young Women of this Land' by Sophie Abbottt

Captured by photographer Sophie Abbott, the exhibition promotes images of strong, powerful, and inspirational young Aboriginal women, who are considered to be exceptional role models for all young women and Aboriginal communities across South Australia. The images consist of members of the South Australian Aboriginal Young Women’s Committee, an initiative of Women’s  Health Statewide; Women’s and Children’s Health Network, SA Health.



Untitled, 2011, photograph



The studio and landscape portraits capture the strength, beauty and spirit of these young women.

The exhibition provides the general public with a glimpse into what they rarely see and inspires young Aboriginal women from communities from across South Australia to achieve their dreams, ingrained in the belief that if young women are able to feel proud of themselves, they will then be able to pass their pride on to their own children, who will then pass it on to their children for generations to come. Furthermore the exhibition depicts the constant connection between ones heritage and contemporary life.

Both the artist and young women presented within this beautiful collection of photographs have captured very powerful and strong messages.  The exhibition not only draws awareness to contemporary social and political plights of young Aboriginal women, particularly women’s health.The exhibition is positive in promoting Indigenous culture and rebutes all previous stereotypes of Indigenous people,  in particular Aboriginal women.  The exhibition is not only empowering to young Aboriginal women, but to all young women, including myself.

SOURCES:

Peter Sharrock Photo: http://www.tandanya.com.au/ed94/peter-sharrock-believe/

Sophie Abbott Photo: http://events.weekendnotes.com/we-are-the-young-women-of-this-land-photography-exhibition/

Indigenous Art, Culture & Design Week 1

As a requirement for my Indigenous Art, Culture and Design course, we were asked to produce a blog which highlighted our participation in various Indigenous cultural events. It is my hope that throughout this blog I am able to gain a greater understanding of Indigenous Art, Culture and Design.

What better way to start than with a historical overview of Indigenous Art and Culture.

Cosmology is the philosphical study of nature and the universe. One culture in which the true essence of this notion is captured, is Indigenous culture. Indigenous cultlure is grounded in the connection  between its people and the land, and what they see and think of the world. For many years Indigenous art was the only representation of this until the introduction of European art.

It is quite hard to picture life in Australia prior to colonistaion, however Indigenous culture existed for many centuries beforehand.



Wandjina



In our lecture, we learnt that the first figurative paintings on the planet, known as the 'Bradshaw Paintings', found in the Kimberly region of north west Australia were produced up to 65,000-85,000 years ago. These paintings depict images of the Wandjina and the Namarrgon (Lightning Man). The Wandjina dreaming, belonging to the Mowanjum people is said to be the 'supreme spirit being' and significant globally in the history of human culture.

The Namarrgon also found in the Kimberley and Arnhem Land regions is closely related to the environment. Scientifically known as the most lightening prone area, Arnhem land is known as the place of thunder and lightning in Indigenous culture, thus giving relevance to the Namarrgon dreaming. Namarrgon ( Lightning Man) is depicted with hammers which is said to be what produces the thunder.

Many dream stories of creation much like the Wandjina and Namarrgon are as relevant today as much as they were years ago, and I feel so blessed to be able to experience art which is so rich in culture, and sacred to its creators.

Whilst it is evident that Indigenous art and culture has existed for many years it was only in the mid 1800's that it gained recognition in the public arena. Below is a brief timeline of the introduction of Indigenous art and culture in Australia and around the world.

1855- After colonisationin Australia, Aboriginal art is viewed in Europe. The 'Exposition Universelle' in Paris was the first exhibition to showcase six Aboriginal bark paintings.

1861- Tommy McRae, an Aboriginal artist began painting in a European manner. His work were depictions of colonisation from the Aboriginal perspective. It was also a period of rich storytelling.

1893- Works depicting animal iconography and food sources by artist Mickey of Ulladulla were awarded a medal at the World's Colombian Exposition in Chicago.

1899-Anthropological pioneers Spencer and Gillen produced 'The Native Tribes of Central Australia', a documentation of their field-work that occurred in 1896.

1922- A landmark time in the development of our understanding of Indigenous art. Several lectures on primitive art in Australia were given, strengthening appreciation of this surviving culture and its philosphical connections to life.

1925- Margaret Preston published the 'Indigenous Art of Australia', which advocated the use of Indigenous culture and iconography to spring one's own creativity.

1929-The Museum of Victoria mounted the first major exhibition of Aboriginal Art. The exhibition showcased bark paintings from the personal collection of Baldwin Spencer. At this stage the only work considered  was collected by anthropologists.

1932- Norman Tindale leads an expedition from Adelaide University to Luritja Country, west of Alice Springs.

1936- Albert Namatjira produces his iconic watercolour paintings.

1939- The Art Gallery of South Australia makes the first aquisition of an Aboriginal painting.

1941-45- Two major exhibitions showcasing Indigenous art were held during World War II.

1950-70- This was a period of rapid change in Aboriginal history.

1971-The Aboriginal Art Movement was turned on its head by the introduction of dot painting, made famous by the Pupunya School Mural.

1984- Aboriginal women were given permission to paint.

1987- This year saw the introduction of Urban Aboriginal art.

1994- Advocates fought to have Aboriginal art exhibited in the Cologne Art Fair.

2006- Proppa Now; continuously challenging and pushing the boundries.

SOURCES:
Wandjina Photo: http://www.aboriginalartonline.com/regions/wandjina-art.php