Wednesday 21 September 2011

Message Stick


Wenitongs_1
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

Tuesday 20 September 2011

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.

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
 
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.


View Image
Wik Elder, Joe, 2000

View Image
Wik Elder, Gladys, 2000



View Image
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:

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:

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 medium, 80 x 80 x 11
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:

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 by David Mowaljarlai
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.