http://www.aboriginalartnews.com.au/ en-us Copyright 2010 Thu, 18 Mar 2010 12:53:49 +0930 http://www.sixapart.com/movabletype/ http://blogs.law.harvard.edu/tech/rss Hunting Ground' (illus) - tackle such disruption wittily, paying tribute to the American artist Cindy Sherman. An image of himself as Andy Warhol, for instance, "forms a key to Thompson's desire for himself and other Aboriginal artists to be part of global discourse in art making", according to Marianne Riphagen in the NGA's 'Culture Warriors' catalogue - for which Thompson was selected in 2007. He himself has entered the global discourse through residencies in Bangkok, Singapore and Arizona, and he's currently studying for his second Masters degree in The Netherlands - a Masters in Theatre at the Amsterdam School of Fine Arts. As an academic, he's also taught art at RMIT. The 2 three year Oxford scholarships are the consequence of dreams and fund-raising by the Charlie Perkins Trust - chaired by Hetti Perkins, NSW Art Gallery's Senior Curator of Indigenous Art. Father Charlie was playing professional soccer in the UK against Oxford University in the 60s when he convinced himself that he should get a degree too. He returned to become the first indigenous graduate form Sydney University. The second of these inaugural awards has gone to the Wiradjuri psychologist, Paul Gray. Both the Australian and British governments have contributed to the scholarship fund, as have Rio Tinto and Qantas. But the Trust wants to set up an $11m. fund from which future Aboriginal scholars can have all their fees, travel and accommodation paid. The Trust argues that the more indigenous academics and mentors there are in Australian universities, the more indigenous students will feel comfortable in studying at them. ]]> http://www.aboriginalartnews.com.au/2010/03/aboriginal-artist-goes-to-oxford.php http://www.aboriginalartnews.com.au/2010/03/aboriginal-artist-goes-to-oxford.php News Aboriginal art Charlie Perkins Trust Christian Thompson Oxford University Thu, 18 Mar 2010 12:53:49 +0930 It's been a bad time for Aboriginal art – far too many deaths of the Old People have occurred, the artists who often saw no white people until their maturity and are painting the deserts and their stories first hand. Many, significantly are enjoying their last hurrah at the important Tjukurpa Pulkatjara exhibition at the SA Museum in Adelaide... Wingu Tingima has just died, earlier we lost Mr Giles and Kuntjil Cooper. Last year Utopia's Nancy Petyarre passed on. Now comes news that George Ward Tjungurrayi, the Pintupui elder and artist has suffered a stroke in Alice Springs. It makes the major exhibition now on at the Trevor Victor Harvey Gallery in Sydney all the more significant. For even if Ward recovers to put acrylic to linen again in his own special way, the chances are that he'll never accumulate enough works of quality for the sort of solo show now on. Ironically, Ward's first solo exhibition may also be his last. But you can see here how commandingly he'd have won the 2004 Wynne Prize for landscape. For this half-brother of Yala Yala Gibbs – who waited for the elder's death in 1998 before really hitting his own straps – has developed a way of seeing both the Desert and the Tingari cycles of mythology through irregularly repeated concentric circles or squares, squeezing them together intensely on canvases as big as 3 metres wide, and invariably using an austere palate of darker shades that make a viewer feel s/he's suspended somewhere between the land at Kaakuratintja (Lake Macdonald) and the night sky. It's an incredible output for a man who was suffering from the early stages of Parkinson's disease. But then Ward has enjoyed the care and attention in recent years of the Yanda studio, on a property outside Alice Springs. No day starts there without a check that the artists' medicines have been taken. Tragically, this means that purists will resist buying Ward's art – for they demand a Papunya Tula Artists' certificate to go with the canvases from a man who seems to have voted with his feet to look for representation elsewhere. The purists may lose out. For Chris Simon of Yanda and galleryist Trevor Harvey have united to reduce their joint commission on the canvases by about half in order to make sure George Ward gets his money while he can still enjoy it and share it with his family. “We know the market is soft”, explained Harvey at the exhibition's opening, “but we want to sell out for George”. That 'softness' in the market may also be observed in some very generous estimates for Aboriginal art in the current Deutscher & Hackett auction catalogue – the sale is on 24 March in Melbourne. A substantial George Ward Tjungarrayi from 2002, for instance, would be a steal at under $10,000. http://www.aboriginalartnews.com.au/2010/03/george-ward-tjungarrayi.php http://www.aboriginalartnews.com.au/2010/03/george-ward-tjungarrayi.php Australia Deutscher & Hackett George Ward Tjungarrayi Papunya Tula Artists Trevor Victor Harvey Gallery Yanda Gallery Thu, 18 Mar 2010 09:49:22 +0930 We Are One' by the prospect of Damien Hirst – the English artist infamous for his crazy concepts like a floating shark or a diamond encrusted skull – sharing his views on Aboriginal art! Unlike his art, though, his words actually make sense: “Aboriginal artists say that it is difficult to find any Aboriginal art that is devoid of spiritual meaning. Art is their culture, their work, their worship, their history. A painting is a chronicle of their country, a map of myths, a memoir of the great spirit ancestors of the Dreamtime. And their paintings are inextricably woven with their love of the land; they are 'dancing, singing and painting for the land'.” And that, says Jo Eade of Survival International, which produced the book, puts Australian Aborigines on a par with the 370 million indigenous people around the world – especially the 150 million defined as 'tribal' who are separate, remote and in danger of losing everything that gives their life meaning; all connected together by the centrality of land to their lives and by persecution from the dominant majority. 'We Are One' – compiled from some of the world's most poignant and beautiful photographs and moving texts by a mix of indigenous thinkers and Western observers – is the product of an organisation that's not well-known in Australia, Survival International. That came into being in 1969 in fear of a total wipeout of Brazilian Indian tribes in the Amazon forests. And it retains the priority of publicising and campaigning against threats to South and North American and Asian indigines, such as, currently, the plans by Vedanta Resources to dig up a mountain of bauxite in India that's sacred to the Dongria Kondh people. It strikes me that it's a lot easier to take on such a clear-cut cause as that than it is to tackle the Northern Territory Intervention, even though it's making many of the same mistakes as those identified by Englishman Alan Campbell, in talking about Brazilian Indians: “The notion of 'integration' is such a lie. Indians are being invited to to give up their material, social, cultural, imaginative and emotional independence and join in the margins of a vast society, capitalist and consumerist, that sees no alternative to the immiseration of millions of its people in urban and rural poverty. Take away the Indians' land, their settlement patterns, their hunting areas, their gardens, their kinship network, their dances, their myths, and offer them....television and football, and a miserable shack on the side of the road. What a lie”. That appears in the chapter on Exile – which actually opens with the root cause of so many Australian problems, the concept of 'Terra Nullius'. But Ms Eade is a lot more positive when dealing with such matters as Land, Wisdom, Celebration and Shamans – emphasising, amongst other things, that we're talking about peoples who still see their laws as coming from the gods rather than Man; and revealing the Colombian Indian belief that their creator, Kaku Serankua created four kinds of people – the white, yellow, red and black; also the colours of the four mantles of the earth. No surprise really that those are also the four basic ochres in Aboriginal ceremony and art. There's a fine text from Arnhemland's Wandjuk Marika about the importance of painting. But, sadly, only a single, odd contemporary Pintupi motif on a desert rock to illuminate the subject. It's a particular pity because it strikes me that the importance of art to the cultural survival of Aborigines in remote Australia may be their unique contribution to this international survey. By comparison with the others, Aborigines seem to come up short on ceremony, shamans and wonderful soul-bites like Sitting Bull's: “I am a red man. If the Great Spirit had wanted me to be a white man, he would have made me so in the first place. It is not necessary for eagles to be crows”. And, as his fellow Sioux, Luther Standing Bear so wisely observes: “Only to the white man was Nature a 'wilderness', and only to him was it 'infested' with 'wild' animals and 'savage' people” - both of whom he needed to tame!" Since this text is accompanied by a stunning image (copyright donated by photographer David Edwards) of the Grand Canyon in a swirl of misty pink clouds that could coexist in a Rammey Ramsey painting, one can clearly see that the tribal links across the Continents are all there. The book - 'We Are One' is distributed in Australia by Hardie Brant Books of Melbourne at $75. ]]> http://www.aboriginalartnews.com.au/2010/03/a-tribal-world-on-view.php http://www.aboriginalartnews.com.au/2010/03/a-tribal-world-on-view.php Book Damien Hirst Survival International Vedanta Resources Sat, 13 Mar 2010 16:46:31 +0930 On March 26th & 27th our gallery will be a part of the 13th Annual West Hollywood Art & Design Walk event. This year, the event will be held in conjunction with Westweek at the Pacific Design Center. A must-see event for every style conscious Angeleno, the Art & Design Walk features special receptions, new product launches, gallery shows, shopping discounts and food and entertainment hosted by individual showrooms located on Melrose Avenue & Beverly & Robertson Boulevards. We will be having didgeridoo performances all day as well as speeches on the history of Aboriginal Art & the 'dreamings' of all the paintings in our gallery. We will hold a cocktail reception both nights from 5-8pm. On Saturday, during the day, we will have children's Aboriginal art activities and a raffle for a didgeridoo. During this 2-day event, all purchases will benefit ICAF (International Children's Art Foundation) for their Haiti Healing Arts program. See attached flyer for our programming. More event & programming information is available on The Avenues website: http://avenueswh.com/index.php?option=com_content&view=article&id=81&Itemid=105 http://www.aboriginalartnews.com.au/2010/03/13th-annual-west-hollywood-art-design-walk.php http://www.aboriginalartnews.com.au/2010/03/13th-annual-west-hollywood-art-design-walk.php Reception Thu, 11 Mar 2010 17:30:10 +0930 Signatory positions Cecilia Alfonso, Manager, Warlukurlangu Artists Aboriginal Corporation Beverley Knight, Director, Alcaston Gallery Martin Wardrop, Director, Aboriginal Art Online Ian Plunkett, Director, Japingka Gallery Appointed Positions Indigenous Artists Julie Gough Terry Murray Alick Tipoti Artists Resource Organisations John Oster, CEO, DESART Elizabeth Tregenza, general manager, Ananguku Arts Non-arts independent expertise Ron Merkel, QC (Committee Chair) Richard England, Director, Healthscope Limited. (Committee Deputy Chair) “The Government strongly supports the Code and is providing $600,000 over three years to assist with implementation,” Mr Garrett said. Garrett's Department will also provide limited Secretariat services. Implementation of a Code of Conduct was a key recommendation of a 2007 Senate Inquiry report into the Indigenous visual arts and craft sector, and was part of the Rudd Government’s election platform. The Code was developed in consultation with the sector and has received its widespread support. The key area left out of the Code is the collecting institutions – public galleries and museums – across Australia. A Charter has been worked out to cover their dealings in indigenous art. The Charter aims to affirm the minimum ethical standards and best practice principles that Australia's public collecting institutions follow when acquiring, displaying and deaccessioning Indigenous works of art. The affirmation of these high ethical standards by the public collecting institutions that adopt the Charter will help to spread best practice across the collections and Indigenous visual arts sectors. ]]> http://www.aboriginalartnews.com.au/2010/03/code-of-conduct-now-in-force.php http://www.aboriginalartnews.com.au/2010/03/code-of-conduct-now-in-force.php News Aboriginal art Code Administration Committee Code of Conduct Peter Garrett Thu, 11 Mar 2010 14:47:49 +0930 A recent Australia Council survey of 3000 Australians – over the age of 15 and selected on the basis of geographical, age and gender quotas – shows a growing enthusiasm for the indigenous arts. 17% of the total sample have a strong interest – but once they have engaged, that number doubles to 34%. A further 50% of those who've engaged say their interest is growing. And even those who've never really encountered indigenous art say that 46% of them have a growing interest. In all, 60% of the people with no direct experience of the indigenous arts really want to know more. But, at the moment, only 17% of the chosen 3000 have actually attended Aboriginal or Torres Strait Islander art shows or performances. So the potential for building audiences is very high. Meanwhile, 37% with no experience say they're unlikely to be convinced! And a tiny 3% say their interest is actually declining. The visual arts are the most popular artform attended at 9%, followed by music and dance, with only 4% of the sample attending indigenous theatre. The final piece of good news is that the greatest enthusiasm and participation in the arts generally is concentrated amongst the young – 15 to 24 years of age. A wacking 60% of this group engage with the arts – compared to just 44% for the next largest age group – 25 to 34 year olds. So much for the commonly held view that the arts are only for an aged elite! And one would suspect that this youngest group also has the greatest exposure to (and enthusiasm for) the indigenous arts. http://www.aboriginalartnews.com.au/2010/03/60-of-aussies-have-an-interest-in-indigenous-art.php http://www.aboriginalartnews.com.au/2010/03/60-of-aussies-have-an-interest-in-indigenous-art.php News aboriginal art australia council indigenous arts Thu, 11 Mar 2010 12:14:43 +0930 27th Telstra Art Award - News Update Entries for the 27th Telstra National Aboriginal and Torres Strait Islander Art Award opened to Indigenous artists nationally on Friday, 19 February and close Friday, 2 April 2010. The Telstra Art Award is the longest running art award dedicated to the work of Aboriginal and Torres Strait Islander artists and is considered the premier national event in the Australian Indigenous arts calendar. The Telstra Art Award comprises the $40,000 Telstra Award and category Awards including; the Telstra General Painting Award ($4,000), the Telstra Bark Painting Award ($4,000), the Telstra Work on Paper Award ($4,000) and the Wandjuk Marika Memorial 3D Award (also sponsored by Telstra). In 2010 the Museum and Art Gallery of the Northern Territory (MAGNT) and Principal Sponsor have announced the Inaugural Telstra New Media Award ($3,000) with the theme of ‘Connections’. New media works can range from conceptual to virtual art and could be in the form of installation or mixed media presentation, as long as the work involves a new media component in the creation and presentation of the piece. In order to provide new media artists with the best possible opportunity to enter this category in 2010 the entry period has been extended with the closing date for the Telstra New Media Award now set to close on Friday, 30 April 2010. The closing date for all entries is Friday 2 April except for new media entries which close on Friday, 30 April. The Telstra Art Award is now on Twitter. Artists, art centres, art enthusiasts and all interested people can now access the latest Award news and updates by following us on Twitter. To follow us go to www.twitter.com/natsiaa The Award presentation and exhibition opening will be held Friday 13 August 2010. For more information contact the Award Coordinator at MAGNT: T: 08 8999 8203 E: natsiaa@nt.gov.au W: www.magnt.nt.gov.au/natsiaa http://www.aboriginalartnews.com.au/2010/03/27th-telstra-art-award.php http://www.aboriginalartnews.com.au/2010/03/27th-telstra-art-award.php Media 2009 Telstra Award 2010 Telstra Award Wed, 10 Mar 2010 13:49:21 +0930 Zareth. VISA has generously sponsored the exhibition and will provide the winning prize money of $25 000. The winning work is featured in an exhibition of forty-three portraits bythe finalists in the Prize which will be on display at the National Portrait Gallery until 2 May 2010. The exhibition will then tour nationally. Scott Bycroft (born 1972) is a white High School art teacher at the Clontarf Aboriginal College in Perth, WA, and Zareth Long was one of his pupils. He has been experimenting with photography since 2007 and is self taught. On winning the National Photographic Portrait Prize 2010, Scott Bycroft said: “I would like to sincerely thank the National Portrait Gallery for hosting the exhibition and promoting photography in Australia. I would like to thank also, the judges for their support and recognition of this image, and lastly, VISA, for their support and promotion of this event, which has no doubt raises its profile, and helped attract a healthy number of entrants. I regret that I cannot be there to accept the award in person”. Members of the judging panel were: Dr Christopher Chapman, Curator, National Portrait Gallery; Joanna Gilmour, Assistant Curator, National Portrait Gallery and invited guest judge Ms Kim Machan, Director, Multimedia Art Asia Pacific. Dr Chapman commented:“Bycroft’s work was selected for its immediacy and power, its distinctiveness as a portrait, and for its direct presence. The subject, Zareth Long, projects an uncompromising gaze, drawing us physically closer, to then explore the razor-sharp photographic depiction. Every detail is so clear and finely realised, creating an unquestionably compelling portrait that is a strong and positive representation of youth”, After the National Portrait Gallery, the exhibition will tour to: Mornington Peninsula Regional Gallery 12 May - 27 June 2010; Bathurst Regional Gallery 27 August - 10 October 2010; Wagga Regional Gallery 5 November 2010 - 16 January 2011; Mosman Art Gallery 5 February - 20 March 2011]]> http://www.aboriginalartnews.com.au/2010/03/indigenous-image-wins-national-portrait-prize.php http://www.aboriginalartnews.com.au/2010/03/indigenous-image-wins-national-portrait-prize.php Australia Other Event Andrew Sayers National Photographic Portrait Prize National Portrait Gallery VISA Fri, 05 Mar 2010 10:10:50 +0930 The hoodie jacket, sometimes associated with youth alienation and crime, will be celebrated as a symbol of cultural pride and strength in an arts project aimed at giving positive direction to a group of 15 at risk Koorie youths. “Kooriez in da Hood” project, organised by the Koorie Heritage Trust,was directed by three leading Indigenous artists, Brook Andrew, Bindi Cole and Nikki Ashby, mentoring the at risk Koorie youth. The project has involved three months of weekly workshops to develop artistic concepts and stencil techniques, selecting the designs for hoodies, and a 2-day screen printing workshop at SpaceCraft at the North Melbourne Meat Market. The hoodies created by the young Koorie artists are being exhibited and were presented in a “hip hop fashion parade” at the Koorie Heritage Trust on 18 February 2010, and will be displayed with Bindi Cole’s photographs of the project there until April 5, where the community will also have the opportunity to purchase a very limited edition “Koorie hoodie”. Grant Balcombe the group’s spokesperson and Tjapukia/Western Yallangi man living in Melbourne says “Our forefathers wore kangaroo and possum skin cloaks to represent their origins and tribal affiliations… The Kooriez in da Hood project gets us back in touch culturally to create hoodies that represent us and our culture through our eyes.” Koorie Heritage Trust Chief Executive Officer, Jason Eades, says the “Kooriez in da Hood” project is a cultural approach to involving Koorie youth in a program that is relevant to their daily experiences and can also impart some positive life skills. “We’re reclaiming hoodies as a source of pride, rather than something to hide your shame and guilt in. “Along the way, the participants will be learning artistic and technical skills, right through to creating their own street fashion item. “We’re hoping that some of the designs may even end up in commercial production as an independent fashion label. This is street wear that everyone can relate to, but with a distinctly Koorie flair. “That would be a great result for young Koorie youths who are seeking a sense of purpose and direction”, Mr Eades said. The long term vision for the project includes a second stage where participants undertake a product development and marketing workshop, with a view to marketing their artwork and/or setting up their own small arts business enterprise. Kooriez in da hood exhibition from Friday 19 February to Monday 5 April 2010 Opening Hours: 10 am to 4 pm daily (closed Good Friday) Proudly supported by the City of Melbourne Indigenous Arts Grants Program 2010. Catch a look at the fashion parade on www.abc.net.au/arts/stories/s2833270.htm http://www.aboriginalartnews.com.au/2010/03/hoodies-in-melbourne.php http://www.aboriginalartnews.com.au/2010/03/hoodies-in-melbourne.php Australia Bindi Cole hoodies Koorie Heritage Trust Kooriez Fri, 05 Mar 2010 09:29:59 +0930 1957 #20 by Mark Rothko at the National Gallery of Australia, Rover Thomas, the star of the original group of East Kimberley painters, asked: ‘Who’s that bugger who paints like me?’. Rothko himself was not averse to disturbing the chronology of artistic synchronicity. When he saw an exhibition of Turner’s painting in New York in 1966, Rothko posed a similar question: ‘This man Turner, he learnt a lot from me!’ One symbolically reflected on the upheavals of the industrial revolution, the other on the catastrophes of the holocaust. Similarly, the art of Rover Thomas and his contemporaries is as much a response to the deadly consequences that followed the coming of Europeans and their cattle to The Kimberley as it is about land and ancestral law. The revelation of the Kurirr Kurirr ceremony to Rover Thomas, in the wake of both the decline in ceremonial practices that followed the exclusion of stockmen from their traditional lands and the destruction of Darwin by the Rainbow Serpent (their interpretation of Cyclone Tracy) in 1974, was part of a great cultural revival. It also marked the genesis of one of the great movements in contemporary Aboriginal art – the East Kimberley school of painting based at Warmun. For performers in the Kurirr Kurirr ritual needed to carry painted boards to illustrate their chant and dance. Through a kin relationship to Rover, Paddy Jaminji was invited to paint the Kurirr Kurirr boards; his collaborators included George Mung Mung. Mung Mung's son-in-law, Freddie Timms had worked with Rover as a stockman on Bow River and Texas Downs stations. He too was among the first group of artists who painted boards in the late 1970s. Now, with Rusty Peters, he's at the forefront of the second wave of painters from the East Kimberley. Following Rover’s lead, the style of painting in the region is based on land as a mnemonic of ancestral and historical events: the land bears the scars of history, both ancient and recent. Freddie’s imagery draws upon the trails of a stockman across the land, informed by ancestral beliefs. Much of the country he worked on Lissadell Station is now the subject of his paintings, though it now lies under the waters of Lake Argyle that was formed with the damming of the Ord River in the 1960s. Rusty Peters was schooled in traditional law by his father and grandfather, and after the chaos of the dislocation of Aboriginal cattle-station workers in the 1970s, he eventually settled at Warmun where he was instrumental in establishing a school and in maintaining the Gija language. A ritual songman and teacher, Rusty’s art is the visual expression of tradition and the law. Rusty was an old friend of Rover Thomas and a close companion in the latter years of Rover’s life. The uniting feature of the art of these cattlemen-now-painters is, to borrow from the title of Simon Schama’s influential book, Landscape and Memory; it also links Rothko to Turner. But how did these stockmen become artists of such substance? Above all, they are men of the law, and intent on preserving the law in modern times through a distinctive visual language that transcends time and place; yet it's deeply rooted in both. The selling exhibition - mainly of works by Timms and Peters from the Jirrawun Studio - forms part of Art Month Sydney - founded by Michael Reid to stimulate the art business in parlous times. ]]> http://www.aboriginalartnews.com.au/2010/03/east-kimberley-in-sydney.php http://www.aboriginalartnews.com.au/2010/03/east-kimberley-in-sydney.php Australia Aboriginal art Art Month Sydney East Kimberley Mark Rothko Michael Reid Rover Thomas Wally Caruana Thu, 04 Mar 2010 09:53:22 +0930 THE ARTISTRY OF JAWUN: Neriba Gallasch, Abe Muriata, Erima Gallasch and Sarenah Gallasch at the opening of Bi-cornual Artistry at the Tineriba Gallery in Hahndorf, South Australia. Photo Girringun Aboriginal Corporation. VIEWING THE JAWUN: Artist Abe Muriata, Gallery Director Neriba Gallasch and Girringun Aboriginal Art Centre Manager, Valerie Keenan with Abe’s elegant ceremonial jawun, the feature artwork of the exhibition. Photo Girringun Aboriginal Corporation The rainforest travels to Hahndorf VALERIE KEENAN A passionate desire to show and share the unique rainforest bi-cornual baskets of Far North Queensland has been fulfilled by Tineriba Gallery Director Neriba Gallasch. An exhibition of work by masterweaver and Girramay Traditional Owner Abe Muriata of Tully opened on Wednesday night at the new Hahndorf gallery space in South Australia. Opened by Doreen Mellor, Director Development, National Library of Australia, Canberra, the exhibition features a number of very finely woven traditional Aboriginal jawun unique to the rainforest aboriginal people. “Abe creates exquisitely crafted bi-cornual baskets or jawun,” Ms Mellor said. “He is truly a master maker and has worked very hard for over a decade to achieve this level of expertise. “Abe has taken great care to study older examples of bi-cornual baskets in museums and to revisit his memories of his grandmother weaving. “When he was a child he watched her making these elegant baskets. “When Abe makes traditional fibre jawun, he says he is aiming for perfection. “Jawun held a very significant place in rainforest cultures. “There were ceremonial baskets painted with ochres as well as those used for every day. The artist Abe Muriata found the experience of visiting Hahndorf and South Australia for the launch of the exhibition very invigorating. “It has been a great privilege for me to be amongst highly experienced and knowledgeable art patrons like Neriba and her associates,” Abe said. “I have gained an insight into the complexities of building a career in the arts. “This opportunity has given me a clearer view of my future direction and some understanding of the expectations of curators, gallery operators and the viewing public. “My vision of where I am heading starts with my original idea to achieve the perfection I have always strived for when I am weaving.” Abe’s work is held in a number of major collections including the Art Gallery of South Australia and the Queensland Art Gallery. He is managed by the Girringun Aboriginal Art Centre of Cardwell in Far North Queensland. Abe Muriata’s exhibition Bi-cornual Artistry continues at The Tineriba Gallery at 77 Main Street Hahndorf until March 28 and is open daily 11am to 5pm. Enquiries can made to 08 8388 7218 or 07 4066 8300. http://www.aboriginalartnews.com.au/2010/03/the-rainforest-travels-to-hahndorf.php http://www.aboriginalartnews.com.au/2010/03/the-rainforest-travels-to-hahndorf.php Media abe muriata Tue, 02 Mar 2010 06:16:50 +0930

Prairie Hotel, Parachilna - March

St Peters Mission Guild, Adelaide, South Autralia - May

Stockman's Hall of Fame, Longreach, Queensland - August

]]> http://www.aboriginalartnews.com.au/2010/02/eastern-desert-art-exhibitions-2010.php http://www.aboriginalartnews.com.au/2010/02/eastern-desert-art-exhibitions-2010.php Posts Fri, 26 Feb 2010 00:00:00 +0930 Larrikitj poles was a significant step for that young woman artist. Last year, Anniebell Marrngamarrnga from across Arnhemland won for her invention of the 2-dimensional woven Yawkyawk figures that have become so familiar. Many shortlisted artists have gone on to find gallery representation or to present solo shows throughout Australia. Judges have included gallerists Philip Bacon and Bill Nuttall plus curators Deborah Hart, Elena Taylor and Franchesca Cubillo. The Award is the gift of the Toga Group of companies, which include Medina and Vibe hotels, but which has been heavily involved in Darwin developing the Waterfront - including its public art commissions. Felicity Green is the founding Togart Award Manager. Application forms are available at www.togart.com.au or call 08 8981 6688. Entries to the Togart Contemporary Art Award must be received by no later than close of business Monday 15 March 2010. The Togart Contemporary Art Award exhibition will be open to the public from Thursday 5 August – 29th August at Parliament House in Darwin - the first time that it's coincided with the NATSIAAs and the Darwin Art Fair. It's the only place that you'll see a bamboo construction by Tobias Richardson, political posters by Franck Gohier and Chips Mackinolty, a photo by Bronwyn Wright and a delicate watercolour by Hayley West hanging beside canvases and barks by some of the greats of remote Aboriginal art. Entry is free.]]> http://www.aboriginalartnews.com.au/2010/02/black-white-artists-in-nt-vie-for-togart-award.php http://www.aboriginalartnews.com.au/2010/02/black-white-artists-in-nt-vie-for-togart-award.php Australia Event Exhibition Other Event Aboriginal art Northern Territory Parliament Toga Group Togart Thu, 25 Feb 2010 16:45:45 +0930 http://www.aboriginalartnews.com.au/2010/02/impact-7-international-multidisciplinary-printmaking-conference.php http://www.aboriginalartnews.com.au/2010/02/impact-7-international-multidisciplinary-printmaking-conference.php Conference Tue, 23 Feb 2010 14:52:14 +0930 MOTHER AND DAUGHTER: Lulu and Selina Teece Coinciding with International Women’s Day Lulu Teece Apetyarre and Selina Teece Pwerl two members of the same family from the remote community of Ampilatwatja (pronounced Um-blud-a-witch) north of Utopia in the eastern central desert will be in Perth for the opening of Artitja Fine Art’s first exhibition for 2010, MOTHER AND DAUGHTER: Lulu and Selina Teece being held from March 5 in South Fremantle. Mother Lulu born in 1953 began painting in the late 1980’s. Her landscapes are a mixture of naïve realism and the fine dotting technique characteristic of the Utopian artists. Born in 1977 daughter Selina’s painting is an exceptional example of the new wave of desert artists who having grown up immersed in their elders’ art pursuits are interpreting their ancestral dreamings in a fresh, vibrant and contemporary way. With its origins in the early 1970’s Australian Indigenous art today is recognised as one of the great contemporary art movement worldwide. Initially only the men painted, but today female indigenous artists have firmly established their place in the fine art world and are now influencing the next generation of artists born into the movement. Director of Artitja Fine Art Anna Kanaris sees this as very positive. “What is fantastic about the growth of the women’s involvement is that the daughters spend a lot of their childhood watching them paint so it’s just natural that they want to try painting too. Out of this are emerging some extraordinarily good artists. These young women are quite literally following in the footsteps of their mothers’ who have become accomplished artists and are well on the way to their own success. And the dates coinciding with International Woman’s Day fit the theme beautifully.” Both artists paint from an aerial perspective, though there is a significant difference in their approach. “Selina is far more abstract as can be seen in her signature Spinifex Story design in which she depicts the spinifex bush as a half orb - conjuring up 3D imagery which fascinates the audience as they perceive floating lips, kisses, lemon slices and fans.” explains Ms Kanaris. “Having the artists in attendance is always a big treat for all concerned, and in this case particularly so for Selina who for the first time will be flying out of Alice Springs and into a big city. Lulu on the other hand is a very accomplished artist who has exhibited world wide and is well accustomed to travelling”. Artitja Fine Art specialises in art from Utopia and the western and central desert regions. Directors Anna Kanaris and Arthur Clarke operate a home based gallery in South Fremantle, open by appointment daily. They also hold up to four exhibitions a year in a gallery space, ensuring that a wider Perth audience can easily access the work, and learn about the culture and art of Australia’s Indigenous people. MOTHER AND DAUGHTER: Lulu and Selina Teece is free to the public. Opens 6.30pm Friday 5th March 2010 and continues 10am to 6pm daily until March 21st at 330 South Terrace, South Fremantle. The exhibition is presented with the involvement of the Artists of Ampilatwatja Art Centre through which Lulu regularly paints. For further information, please contact Anna Kanaris on 9336 7787 or 0418 900 954 or visit www.artitja.com.au http://www.aboriginalartnews.com.au/2010/02/mother-and-daughter-lulu-and-selina-teece.php http://www.aboriginalartnews.com.au/2010/02/mother-and-daughter-lulu-and-selina-teece.php Tue, 23 Feb 2010 09:09:08 +0930