Friday 28 October 2011
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,
Thursday 27 October 2011
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
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!!!
AND THIS!!!
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/
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| Mina Mina Dreaming by Judy Watson Napangardi |
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| 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/
Wednesday 26 October 2011
Indigenous Art, Culture & Design - Week 11
Torres Strait Islander Art
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
Torres Strait Islander Art
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| 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.
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
 |
Door #17 – Ngatijirrikirli (Budgerigar) by Paddy Japaljarri Stewart |
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.
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| Mosaic Forecourt Parliament House |
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.
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.
SOURCES:
All images sourced from: http://www.smh.com.au/photogallery/national/desert-country-20110818-1j0ba.html
Tuesday 25 October 2011
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
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/
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.
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.
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/
Monday 24 October 2011
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.
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.
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/
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