tag:www.aboriginalartnews.com.au,2008://7 2008-10-10T12:31:20Z Movable Type 3.36 tag:www.aboriginalartnews.com.au,2008://7.15549 2008-10-09T13:30:00Z 2008-10-10T12:31:20Z

Central Art believes there is an exciting future for emerging artist Marie Napurrulla and is proudly supporting her first exhibition. Marie's fine craft work and beautiful handcrafted baskets shows her artistic eye and dedication, when Marie presented her first painting...

Central Art Aboriginal Art Store http://www.aboriginalartstore.com.au/ Marie's fine craft work and beautiful handcrafted baskets shows her artistic eye and dedication, when Marie presented her first painting I was amazed. The mix of colours captured my attention as she incorporated Aboriginal iconography very naturally into her contemporary designs. What moved me the most was that in producing these works Marie expressed her own satisfaction at being able to reach her Grandmother's spirit. The seven works in the series 'My Grandmother's Journey' depicts the physical and spiritual journey artist Marie Napurrulla took to search for her Aboriginal Grandmother. Her Grandmother had been a cameleer travelling between Tempe Downs Station and the mission settlement at Hermannsburg in Central Australia. At that time, Aboriginal women often accompanied the men assisting with local knowledge, the transportation of goods and as cooks. These journeys' were long and difficult and required a special resilience to cope with the harsh conditions in the desert without any modern conveniences. In her paintings, Marie imagined the tracks and stopping points her Grandmother must have made as she crossed the hot and arid landscape time after time between the cattle station and the Lutheran mission. Marie Napurrulla's striking paintings are a fusion of contemporary and traditional elements. She predominantly uses the traditional black, white, ochre and red paint and incorporates the iconic Aboriginal symbols in black and white to show meeting places and tracks. Yet she is able to capture the landscape in a contemporary style with her free flowing abstract forms juxtaposed between the black and white lines. The results are a series of works that are bold and unique and which have captured the ever-changing desert landscape in a way known only to those who have intimately travelled within it.

• View Marie Napurrulla Artist Feature
• View Marie Napurrulla Artist Feature Catalogue
• View Marie Napurrulla Artist Feature Slideshow

]]> tag:www.aboriginalartnews.com.au,2008://7.15548 2008-10-09T07:45:48Z 2008-10-09T07:48:01Z

The Penrith Regional Gallery will create an educational kit to accompany an exhibition, uncovering the story of an Aboriginal mission farm in western Sydney. The gallery will develop the kit to increase awareness of Aboriginal people living on a local...

Aboriginal Art Directory http://www.aboriginalartdirectory.com The Penrith Regional Gallery will create an educational kit to accompany an exhibition, uncovering the story of an Aboriginal mission farm in western Sydney. The gallery will develop the kit to increase awareness of Aboriginal people living on a local mission, with the help of a $7000 BlueScope Steel Gallery Focused Grant for Gallery Education. The Marella Aboriginal Mission Farm operated until the 1980s. The gallery's exhibition, Marella: The Hidden Mission, hopes to uncover secrets of the significant site. The Marella: The Hidden Mission education kit will accompany the exhibition and provide teachers with a resource to promote reconciliation. tag:www.aboriginalartnews.com.au,2008://7.15547 2008-10-09T04:12:39Z 2008-10-09T04:48:05Z

CAMPBELLTOWN Arts Centre kicked off its latest exhibition with a talk about the concerns facing Aboriginal artists in NSW. Ngadhu, Ngulili, Ngeaninyagu was launched last month by activist, actor and writer Gary Foley. He spoke at the first Black2Blak2 conference...

Aboriginal Art Directory http://www.aboriginalartdirectory.com CAMPBELLTOWN Arts Centre kicked off its latest exhibition with a talk about the concerns facing Aboriginal artists in NSW. Ngadhu, Ngulili, Ngeaninyagu was launched last month by activist, actor and writer Gary Foley. He spoke at the first Black2Blak2 conference about the importance for indigenous Australians to know their history. ``The message I have for young artists, is it's important for all of us as black fellas to be very conscious of the history which we came from,'' he said. ``Indigenous people [should] have a more critical analysis of what's going on.'' Mr Foley, who helped set up the Aboriginal Tent Embassy in Canberra in the 1970s and has served on the Aboriginal Arts Board, said today's indigenous youth needed to speak out. ``People of my generation were not acting in isolation,'' he said. ``It's important you know your history. Too often those who reckon they know their history are taught from books written by white fellas. [We need] to be making our own stories.'' The challenge, he said, was for the new generation to do some thinking instead of drinking. Arts centre indigenous curator Djon Mundine said the exhibition was ``about artists who can come together and talk in a relaxed manner and in plain English''. Ngadhu, Ngulili, Ngeaninyagu is at the Campbelltown Arts Centre. It includes a selection of artworks, a film program and workshops tag:www.aboriginalartnews.com.au,2008://7.15455 2008-10-07T13:30:00Z 2008-10-10T12:32:46Z

Central Art is honoured to present this collection by the Pintupi artist Makinti Napanangka in recognition of her exceptional body of work and to celebrate the public recognition of her as one of the all time great artists in Australia...

Central Art Aboriginal Art Store http://www.aboriginalartstore.com.au/ I met Makinti ten years ago. I was overwhelmed by the complexity and subtlety of her paintings and through an interpreter she told me the story of the Hair String ceremony, says Sabine Haider, Director of Aboriginal Art Store. 'I find her body of work intensely feminine'. The linear design in the painting represents nyimparra, which are hand crafted hair-string belts or skirts, worn by the Pintupi Aboriginal Women during ceremonies, at the rock hole site of Lupul, south of Kintore.

• View featured artist Makinti Napanangka introduction
• View featured artist Makinti Napanangka catalogue
• View featured artist Makinti Napanangka slideshow

]]> tag:www.aboriginalartnews.com.au,2008://7.15543 2008-10-06T08:10:33Z 2008-10-06T08:20:06Z

Reuters reports: Australian Aboriginal artists whose paintings sell for millions of dollars internationally but who often struggle for money will get a lifeline through a royalty charge imposed on Friday on their resold works. In a pointer to the problem,...

Aboriginal Art Directory http://www.aboriginalartdirectory.com Australian Aboriginal artists whose paintings sell for millions of dollars internationally but who often struggle for money will get a lifeline through a royalty charge imposed on Friday on their resold works. In a pointer to the problem, a distinctive work by late indigenous artist Clifford Possum Tjapaltjarri was last year sold to the National Gallery of Australia for A$2.4 million ($1.8mln) after being originally purchased by a dealer for just A$2,500. Many outback painters receive only meager payments for works later sold on by galleries or middlemen for thousands of dollars, often to collectors overseas or in Australia's major cities, the center-left government said. "By enshrining in law the right of artists and their heirs to receive a benefit from the secondary sale of their work, we are building an environment where the talent and creativity of visual artists receives greater reward," Arts Minister Peter Garrett said. Garrett, a former rock star, said a mandatory 5 percent royalty would apply to artworks sold for $1,000 or more. The resale royalty would apply to works by living artists and for a period of 70 years after an artist's death.]]> tag:www.aboriginalartnews.com.au,2008://7.15532 2008-10-05T13:30:00Z 2008-10-05T15:26:01Z

Central Art Aboriginal Art Store is offering all our existing Central Art Mailing List subscribers as well as any new members that join the Central Art Mailing List the chance to win a beautiful new painting by popular artist Colleen...

Central Art Aboriginal Art Store http://www.aboriginalartstore.com.au/ Enter the competition.]]> tag:www.aboriginalartnews.com.au,2008://7.15542 2008-10-03T13:40:24Z 2008-10-03T13:43:04Z

Aboriginal Art Directory tag:www.aboriginalartnews.com.au,2008://7.15541 2008-10-03T13:36:20Z 2008-10-03T13:39:22Z

Aboriginal Art Directory tag:www.aboriginalartnews.com.au,2008://7.15540 2008-10-03T13:20:59Z 2008-10-03T13:25:36Z

Last opportunity to experience 'Papunya Painting: Out of the Desert', the rarely seen art of the Western Desert Aboriginal culture concludes its stay at the Australian Museum on 2 November 2008. This extraordinary exhibition brings together, for the first time...

Aboriginal Art Directory View Papunya Painting - Out of the Desert exhibition View Papunya Painting - Out of the Desert exhibition slideshow]]> tag:www.aboriginalartnews.com.au,2008://7.15539 2008-10-03T02:16:20Z 2008-10-03T02:20:48Z

Ashleigh Wilson for The Australian, reports: THE Australia Council will develop a voluntary code of conduct for indigenous art after a lobby group was stripped of responsibility because of "regrettable" delays and inadequate consultation. At the Cultural Ministers Council meeting...

Aboriginal Art Directory http://www.aboriginalartdirectory.com THE Australia Council will develop a voluntary code of conduct for indigenous art after a lobby group was stripped of responsibility because of "regrettable" delays and inadequate consultation. At the Cultural Ministers Council meeting in Alice Springs yesterday, arts ministers agreed to speed up work on guidelines the federal Government hopes will help reduce exploitation of Aboriginal artists. The Australia Council had not been directly involved with the code. The National Association for the Visual Arts had been developing the code for several months, and had planned to complete it by yesterday's meeting. Executive director Tamara Winikoff did not respond to a request for comment yesterday. State, territory and federal arts ministers were scathing of NAVA yesterday, saying in the final communique that the delays had been "regrettable" and the level of consultation was "inadequate". Federal Arts Minister Peter Garrett said the development of the code had been a long, complicated process that needed to be finished. "We're always trying to strike that right balance between providing people with sufficient information to make reasonable decisions in the marketplace and ensuring that we don't have excessive and continuing exploitation in indigenous art," he said. An Australia Council spokesman said the process would be "taken up a notch". He said the council would work with NAVA to finalise the code this year. Moves to develop voluntary measures followed last year's Senate inquiry into Aboriginal art, which recommended a code of conduct be established if problems remained after two years. The Howard government announced the inquiry after The Australian highlighted concerns about the exploitation of indigenous artists. The ministers also supported indigenous musicians with a $78,000 program to improve access to recording facilities. "There's always been quite a high level of music-making activity in rural and regional Australia," Mr Garrett said. "Particularly in indigenous communities, it seems to be a feature that there's a great deal of music about, but there are a great deal of issues around getting that music out to a wider audience." ]]> tag:www.aboriginalartnews.com.au,2008://7.15538 2008-10-03T02:16:13Z 2008-10-03T02:18:59Z

Oct. 3 (Bloomberg) -- Gene and Brian Sherman shone a light on Australian contemporary art for 21 years at Gene's Sydney gallery. Now, 600 fluorescent tubes are illuminating their new non-profit foundation. Indigenous artist Jonathan Jones's installation ``untitled (the tyranny...

Aboriginal Art Directory http://www.aboriginalartdirectory.com Gene and Brian Sherman shone a light on Australian contemporary art for 21 years at Gene's Sydney gallery. Now, 600 fluorescent tubes are illuminating their new non-profit foundation. Indigenous artist Jonathan Jones's installation ``untitled (the tyranny of distance),'' wraps the tubes inside 500-square feet of aluminum frames, covered with blue tarpaulin. The display was commissioned by the Sherman Contemporary Art Foundation (SCAF). ``Art foundations seem to be a worldwide trend,'' said Gene Sherman. ``Rather than give to an institution, people are often establishing their own foundations through which they can showcase their own collection.'' Enigmatic and beautiful from a distance, close inspection reveals the plastic tarpaulin cover -- a cheap illusion with a message. In Aboriginal communities, ``you see tarpaulin everywhere -- from people covering their houses after storms to other people using it for seasonal outstations in the country'' said Jones in an interview for the show's catalog. The project, on show until Oct. 11, was partly inspired by government efforts to restrict the movement of Aborigines in the Northern Territory, he said, ``about confining and controlling movement and freedom.'' ]]> tag:www.aboriginalartnews.com.au,2008://7.15531 2008-10-02T10:57:15Z 2008-10-02T11:02:54Z

The Western Australian reports: More than 150 Aboriginal artists have been cut down to just 16 to contest Australia’s richest indigenous art prize at the Art Gallery of WA next month. WA artists make up at least a quarter of...

Aboriginal Art Directory http://www.aboriginalartdirectory.com More than 150 Aboriginal artists have been cut down to just 16 to contest Australia’s richest indigenous art prize at the Art Gallery of WA next month. WA artists make up at least a quarter of the finalists in the new $50,000 WA Indigenous Art Award, with a number of others dividing their time between desert communities across the State border. The West reports: The announcement of the finalists yesterday erases the fingerprints of former premier Alan Carpenter, who had labelled the prize the WA Premier’s Indigenous Art Award when he launched it in June. Among the 16 contenders are Perth-based Shane Pickett, Jean Baptiste Apuatimi from the Tiwi Islands, Sydneysider Gordon Hookey, Turkey Creek elder Patrick Mung Mung, Brisbane artist and academic Fiona Foley and Balgo painter Patrick Tjungurrayi. They represent a diverse range of styles, from Apuatimi’s dots-and-line ochres to Pickett’s dreamy acrylic renditions of the six Nyoongar seasons and Hookey’s fired-up urban sloganeering. ]]> tag:www.aboriginalartnews.com.au,2008://7.15516 2008-10-02T01:53:50Z 2008-10-02T01:56:31Z

Industry representatives and Aboriginal artists will come together in Alice Springs today to talk about issues pertinent to Indigenous art in Australia. Charles Darwin University (CDU) is hosting the one-day symposium, which will be an opportunity for participants to debate...

Aboriginal Art Directory http://www.aboriginalartdirectory.com Industry representatives and Aboriginal artists will come together in Alice Springs today to talk about issues pertinent to Indigenous art in Australia. Charles Darwin University (CDU) is hosting the one-day symposium, which will be an opportunity for participants to debate topics like ethical dealing and a new industry code of conduct. Slyvia Kleinert, an Associate Professor of Australian and Indigenous art at CDU, put the event together. "The title of the symposium is Mwarre Anthurre - that's a Nurabunda meaning right or proper art works, communities thrive," she said. "I think it promises to be a very exciting event. "It brings together a diverse range of speakers, Indigenous representatives and government agencies." tag:www.aboriginalartnews.com.au,2008://7.15454 2008-10-01T13:30:00Z 2008-10-03T13:40:28Z

Central Art is honoured to present this collection by the Pintupi artist Makinti Napanangka in recognition of her exceptional body of work and to celebrate the public recognition of her as one of the all time great artists in Australia...

Central Art Aboriginal Art Store http://www.aboriginalartstore.com.au/ I met Makinti ten years ago. I was overwhelmed by the complexity and subtlety of her paintings and through an interpreter she told me the story of the Hair String ceremony, says Sabine Haider, Director of Aboriginal Art Store. 'I find her body of work intensely feminine'. This painting is associated with the rock hole site (red) of Lupulnga, a Peewee Dreaming place, south of Kintore. The linear design represents body paint and spun hair-string, which is used for making hair-belts worn during the Womens ceremonies.

• View featured artist Makinti Napanangka introduction
• View featured artist Makinti Napanangka catalogue
• View featured artist Makinti Napanangka slideshow

]]> tag:www.aboriginalartnews.com.au,2008://7.15490 2008-10-01T10:02:04Z 2008-10-01T10:33:43Z

The Museum and Art Gallery on the NT (MGNT) declared itself well pleased by the positive attitudes after the first of three proposed forums it's holding on the future of the National Aboriginal & Torres Strait Islander Art Awards -...

Jeremy Eccles http://www.aboriginalartdirectory.com The Museum and Art Gallery on the NT (MGNT) declared itself well pleased by the positive attitudes after the first of three proposed forums it's holding on the future of the National Aboriginal & Torres Strait Islander Art Awards - the NATSIAAs or Telstras. The first event was in Alice Springs during the big Desert Mob weekend; later forums will be in Darwin on 17th Oct and via a southern teleconference at a yet-unnanounced date. MGNT Director, Apolline Kohen was, perhaps a little surprised that after all the concern in July when a number of desert art centres announced a boycott of this year's 25th anniversary NATSIAAs, there was little offered by way of practical suggestions as to how MGNT should discriminate against certain types of entries in the future. But she concluded that the forum's opening presentations about the complexities that already exist to get pre-selection of entries and the final judging as good as possible may have cut the ground from under some of the more aggrieved attenders' feet. Another factor may have been the presence of the man against whom the boycott was organised - John Ioannou, Business Adviser to the Irrunytju Art Centre. He was there with senior Pitjanjatjara artist Tommy Watson - pointing out that no other indigenous artist had actually bothered to attend. Kohen concluded with some pleasure that there was a clear acceptance in the hall that the Award continued to have a serious impact on both artists' careers and the indigenous art market. But one area of contention that may be developed at future forums is the issue of a public gallery operating a commercial event. For a variety of historical reasons, MGNT does issue a price list of all works on show in the Award - though the actual selling of the prize artworks is done by artists or their agents. If this was ended, would this drive dealers away from entering their artists' works; would it put artists off, for no sale could take place until 5 months after an entry; or could it even encourage ethical entries from dealers or art centres that would pay their artists on entry, confident that an association with the NATSIAAs would enhance the likelihood of sale later???