In all Aboriginal cultures they have their set of laws based on a code of conduct (if you will) in relation to the Dreamtime (Toohey 1999). However, not much is publicly known about the exact structure of the rules or which are more offensive; this is information privy to that particular group (Toohey 1999). However, some knowledge is provided. For example, intent plays little part when the Eldars consider the punishment; A man fell from the back of a moving car that an Aboriginal man was driving. That man died. It was not the driver's fault but it did happen on his watch. So punishment is due. (Toohey 1999). It is complicated to say the least.
In year 11 Legal Studies we were informed that when a traditional Aboriginal person is due to appear in the court, his/her sentence may be lighter than the norm because he/she because they still need to face traditional punishment. From what I have heard it can involve anything from getting speared in the leg or magical ailments (I had a great Uncle (Leo) and his now late wife, Aunty Shirley, swears that these other Aboriginals they were quarrelling with had cursed Uncle Leo. He was sick for quite some time before he passed), banishment (for the most severe offences) and general public embarassment (Toohey 1999).
Frankly, I think it is quite interesting.
Toohey, J, 1999, Western Australia Government, accessed 27/10/2011, (http://www.lrc.justice.wa.gov.au/2publications/reports/ACL/DP/Part_05B.pdf)
Thursday, 27 October 2011
Monday, 24 October 2011
Adnyamathanthana
as I mentioned earlier my Dad is Adnyamathanthana, as I am I. I decided to add some more information about this. For example our tribal anmes translates as "Rock people". We are not as well known as other groups but we have a few groups helping with the advancement of that; the Aboriginal choir that my Gran and a few of my Aunts are involved with.
As for the sights, there is Wilpena Pound which is important to us then and still is now; "Aboriginal people have lived in the Flinders Ranges for tens of thousands of years. For many groups, most notably the Adnyamathanha, the Ranges are still of enormous significance today" (wilpena pound website).
WIlpena Pound is closely connected a Dreamtime story that we re enacted as a class for tourists who visited out local Visitor's Information Centre. They also seemed pleased with it. Probably because it is one of the more pleasant of our stories. We have our own version of the Boogeyman (if you will) who is called the Kardachi Man. As with most religious stoires,there are those who believe and those who do not; my Father does not but one of his cousins do. His fear is so real that he will always leave an outside light on. Once, I turned off said light and he would not go outside until morning, I did not know he was that scared. I felt pretty bad.
There are some songs that make light of the Kardachi Man (I may have spellt that wrong) but they were released around Port Augusta on tape over a decade ago and are quite hard to find.
Anyway for a more personalised account you would be better advised to ask some one older than I who has more knowledge on the subject. However, if you wish to peruse a less personal, more academic/textbook account than the following websites are quite useful.
Indigenous Australiania, 2011, Oracle THinkQuest, accessed 24/10/2011, (http://library.thinkquest.org/C0115620/)
Wilpena Pound resort, 2011, Hawker, accessed 24/10/2011 (http://www.wilpenapound.com.au/location/).
As for the sights, there is Wilpena Pound which is important to us then and still is now; "Aboriginal people have lived in the Flinders Ranges for tens of thousands of years. For many groups, most notably the Adnyamathanha, the Ranges are still of enormous significance today" (wilpena pound website).
WIlpena Pound is closely connected a Dreamtime story that we re enacted as a class for tourists who visited out local Visitor's Information Centre. They also seemed pleased with it. Probably because it is one of the more pleasant of our stories. We have our own version of the Boogeyman (if you will) who is called the Kardachi Man. As with most religious stoires,there are those who believe and those who do not; my Father does not but one of his cousins do. His fear is so real that he will always leave an outside light on. Once, I turned off said light and he would not go outside until morning, I did not know he was that scared. I felt pretty bad.
There are some songs that make light of the Kardachi Man (I may have spellt that wrong) but they were released around Port Augusta on tape over a decade ago and are quite hard to find.
Anyway for a more personalised account you would be better advised to ask some one older than I who has more knowledge on the subject. However, if you wish to peruse a less personal, more academic/textbook account than the following websites are quite useful.
Indigenous Australiania, 2011, Oracle THinkQuest, accessed 24/10/2011, (http://library.thinkquest.org/C0115620/)
Wilpena Pound resort, 2011, Hawker, accessed 24/10/2011 (http://www.wilpenapound.com.au/location/).
Sunday, 23 October 2011
appropriation of Aboriginal work
Last year I wrote an essay about people who appropriated other people's work and others who blatantly stole Aboriginal artist's work. I was really passionate about the topic and researched it extensively. Here's the parts of my essay that are relevant to Indigenous art. Plus the intro.
The term appropriation has several different meanings according to the subject. In the case of at it is defined as; “to appropriate something involves taking possession of it. In the visual arts, the term appropriation often refers to borrowed elements in the creation of new work. The borrowed elements may include images, forms or styles from popular culture or materials and techniques from non-art contexts. Since the 1980’s the term has also referred more specifically to quoting the work of art of another artist to create a new work[1]. “ The general definition of it succinctly states: “the act of setting apart or taking for one’s own use[2]”. After comparing it to the definition of plagiarism, it was quite evident that the two were similar. Plagiarism was defined thus; “the wrongful appropriation, close imitation or purloining publication of another author’s language, thoughts, ideas or expressions and the representation of them as one’s own original work[3]”The dictionary definition even uses the word appropriate. This raises the question; are plagiarism and appropriation the same? Does the concept of appropriation give artists license to plagiarize?
In Levine’s case although she appropriated she did not plagiarize. Based on a technicality she was able to copyright her works. Ultimately, there were no major ramifications for her appropriated works; not legally.
The same cannot be said for several aboriginal artists. In 1966 an Aboriginal artist by the name of David Malangi had his painting appropriated by the Reserve Bank. His design was used on their one dollar bill. Malangi sold the painting to a Hungarian art collector who, in turn, showed it to the bank who went on to use his design without his permission. The Governor of the Reserve bank claimed that they simply wished to “boost[1]” the reputation of Aboriginal art. Malangi received $1000 compensation. An undesirable situation in which plagiarism occurred raised awareness of the fact that aboriginal artwork needed copyright[2].
However, this was not the only case of Aboriginal art being plagiarised. In 1983 Peter Stripes Fabric used an Indigenous bark painting entitled “Long necked fresh water tortoises by the fish trap at Gaanan” on one of their products. The painting was the work of Yanagarriny Wunugmurra. Wunugmurrra won the case against peter Stripes Fabric and the designs were discontinued. Wunugmurra received $500 compensation[3]. Still, more occurrences similar t this took place with one particular artist, Johnny Bulan Bulan winning $15,000 when a screen printing company used his painting “Magpie Geese and Waterlilies at the Waterhole” on their t shirts.[4]. Bulan was later asked if he would have let them use his designs if they paid him. Bulan refused; “the images are titles to my land and only certain members of his society were allowed to paint them and they are too important in a religious sense to be mass produced[5]”.
It became evident in these cases that it is the principle, not the money that matters. Clearly they are being plagiarised (they did not ask permission to use their works) and the long term damages are adding up. Their culture is important to them; private. Mass production or exploitation of their work pollutes the significance of their artwork[6]. Kate Jones, who wrote the thesis Aboriginal Imagery and Appropriation: Intellectual property legislation and its relationship to Indigenous Australian Culture, explains: “Aboriginal people have also developed complex laws designed to protect their intellectual property and cultural property. The so called ‘traditional’ Aboriginal designs are visual expressions of stories handed down by the ancestors of the Aboriginal people who are now ‘custodians of these designs. They receive their title as a birth right and the title is such that the designs cannot be transferred to the ownership of another, as property”[7].
The attitudes of other coupled with the concept of appropriation is what causes Aboriginal work to be exploited; “Appropriation is a key word in post modernism. Many contemporary postmodernist artists consider the images of other artists from diverse cultures to be ‘fair game’ for their own work[8]” This attitude was expressed often enough that there were entire exhibitions dedicated to plagiarised Aboriginal artworks. In 1996 an exhibition entitled Copyrights, Aboriginal Art in the Age of Mechanical Reproductive technologies was held at the Tandanya centre. It showcased infringements of Aboriginal artworks in the 1980’s. The aim was to “communicate the offensiveness of these appropriations to the artists and their culture[9]”.
The issue is the privacy: certain dreamtime stories are kept within the certain groups, passed down through the generations. To have an outsider use their sacred stories, methods and appropriate their work is both disrespectful and dishonourable. Especially is it was done without permission. Therefore the consequences of appropriation (in regards to Aboriginal artwork) are disrespectful and dispiriting to whole communities[10].
Imants Tiller was guilty of appropriating an artwork from the Papunya artists. His work Prism (1986) is basically Timmy Tjapangardi’s Kangaroo and the Shield People dreaming at Lake Mackay with an additional part added by Tillers. It was impolite and morally wrong of him to do so. The original has a spiritual meaning to the author and their people but none at all to Tiller’s. he besmirches their culture and identity by blatantly using their works. [11] Tillers admitted that the cultural meaning was not of nay significance to him; “I was attracted to using the Timmy Tjanpangardi work in prism for purely visual reasons- rather than at the level of meaning[12]”. He admits that the history and depth of the image means little to him; he just liked the look of it. Cultural significance was just an obstacle that he did not even stop to consider.
Cultural significance that has been established decades ago and include traditional stories and processes reflected in their artwork. Their artwork is connecter to their heritage. The Indigenous people have a tie to the land; a tie that should be respected and not appropriated by other artists. By appropriating they diminish the meaning of artworks that are considered as “religious artefacts[13]”.
While appropriating is somehow allowed, it does not compare to the actions of Elizabeth Durack. Durack posed as an Indigenous artist, named Eddie Burrup, so that she could paint her adaptations of dreamtime stories. Non Indigenous people are not meant to paint these stories without permission from the particular group from which the story originated from. Her artworks depict the Wandijina members of the Kimberly area[14]. These members were sacred which adds to the scandal. However, not everyone believed her works to be as controversial as others. Two of her artworks were chosen to appear in Telstra’s 13th National Aboriginal and Torres Strait Island Art Awards held at Darwin in 1996. This resulted in Durack receiving criticism from the Indigenous community, artists, Indigenous curators, organisations, sponsors and their support from the non Indigenous population[15].
The Land in the West, 1956 by Eddie Burrup AKA Elizabeth Durack.
Adding further insult to injury she wrote her artist statement under the Eddie persona in what she believed was how aboriginal people spoke; “well, t’at one where I mak’m for olden’play…where… ‘e sit down quiet fella ‘la high place- top ‘la pentcost Range… on’y now ‘e all aday singing out; wassa matter? No one come forgive’m bresh eye- close up blind bugger[16]”. Obviously, she lacked respect for their preference to keep their artwork to themselves and insulted their intelligence by insinuating in her artist statement that Indigenous people could not speak English well or even coherently.
While undoubtedly offensive and controversial it appears that she did not plagiarize but appropriate without permission. She did not claim anyone else’s specific artwork, just their stories . The consequences in this case were minimal; she won acclaim for her work and at most received criticism which she did not take heed to. Nor did she get sued. Nonetheless, she did inflict damage on the Kimberley people; their stories should be theirs to tell. She disregarded this as well as insulting their intelligence and English speaking ability when writing her artist statement.
I conferred with my Grandmother, Margaret Brown, who is an Adnymathanha elder to see if the offense was just a localized case. I asked her if a person of non-Aboriginal descent is allowed to share the stories of a particular Indigenous group. She replied yes but then clarified; “ They can tell the stories if they know them but they’re not allowed to use them to make money”. I enquired further because I believed that she would be able to shed some light on how the Wandijina people would have felt about their work being appropriated. She informed me that if you are not part of the particular group, you have no right to use their stories and artwork to make money. Each Aboriginal group has respect for each other; “I could tell you our stories because they’re mine to tell and you are part Aboriginal too. However, I wouldn’t tell you about the Dreamtime stories from the Kimberly ranges because they’re not mine to tell”. The inter group respect stretches further; certain Aboriginal groups are allowed certain artistic practices. Adnymathanha people are not meant to do any dot paintings because they belong to the groups in the Northern Territory. Adnymathanha people deal more with stripes and lines. Considering all this, it is astounding that Durack was still allowed to be awarded for her efforts; she pretended to be someone she was not in order to plagiarize their culture for her own benefit. However, it appears that cultural consideration is not covered in the Copyright acts to protect Aboriginal artworks. Once again, a technicality meant that no legal consequences were brought forth.
Bibliography & reference list
Reference List
Books
Websites
>Toohey, J, 1999, Western Australia Government, accessed 27/10/2011, (http://www.lrc.justice.wa.gov.au/2publications/reports/ACL/DP/Part_05B.pdf)
>Indigenous Australiania, 2011, Oracle THinkQuest, accessed 24/10/2011, (
http://library.thinkquest.org/C0115620/)
>Wilpena Pound resort, 2011, Hawker, accessed 24/10/2011 (http:/www.wilpenapound.com.au/location/).
>Leigh Creek Area School, 2011, SA.Gov.Au, accessed 24/08/2011, (http://www.leighcreekas.sa.edu.au/pages/community/adnyamathanha-culture.php)
>Yura Language Consultative group Inc., 2011, CommunityGuide.com.au, accessed 24/08/2011, (http://www.adnyamai.websyte.com.au/site.cfm?/adnyamai/1/).
>Adnyamathantha Women's Choir, 2009, anchorweb.com.au, accessed 24/08/2011, (http://www.anchorweb.com.au/awchoir/experience.html) .
>Dacou Aboriginal Art, 2011, Dacou Australia, accessed 4/09/2011, (http://www.dacou.com.au/index.php?act=viewCat&catId=8).
>National Gallery of Australia, 2011, Australian Governement Agency, Canberra, accessed 4/09/2011, (http://nga.gov.au/namatjira/large/transformations.htm).
> Andre Danis, 2011, Andre Danis Photos, accessed 24/08/2011, (http://andredanisphoto.com/aboriginal-paintings-pictures).
Bibliography
Books
>Berndt,C.H, Berndt,R.M & Stanton, J.E, Aboriginal Australian Art. A prespective. (Mehewn Australia, Sydney, 1982).
>Coleman, E.B, Aboriginal Art, Identity and Appropriation, (Ashgate Publishing Ltd, England, 2005).
Readings
>Bell, R, Richard Bell: Positivity, (Institute of Modern Art, Victoria, 2007).
>Croft, B.L, Colonialist Photography.Imag (in)ing Race and Place, (Routledge, London, 2002).
>Croft, L, Culture Warriors: NAtional Indigenous Art Triennial (National Gallery of Australia, Canberra, 2007).
>Croft, B & Perkins, H, Australian Indigenous Art Commision= commande publique d'art ablorigine Musee du quai Branly (Art & Australia, NSW, 2006).
>French, B & Palmer, D, Twelve Australian Photo Artists, (Piper Press, NSW, 2009).
>Leslie, D, Lin Onus: Picturing Histories Speaking Politics, (Artlink magazine, Jan 30 2010).
>McColluch, S, Contemporary Aboriginal Art. A guide to the rebirth of an ancient culture, (Allen & Unwin, NSW, 1999).
>Mosby, T, Torres Strait Islander Art and Artists, (Cairns Regional GAllery, Qld, 1998).
>Nicholls, C, From Appreciation to Appropriation: Indigenous Influences and Images in Australian Visual Art, (Flinders University Art Museum, South Autralia, 2000).
>Perkins, H & West, M.K.C, One Sun One Moon. Aboriginal Art in Australia, (Art Gallery of NSW, Sydney, 2007).
Websites
>Indigenous Australiania, 2011, Oracle THinkQuest, accessed 24/10/2011, (
http://library.thinkquest.org/C0115620/)
>Wilpena Pound resort, 2011, Hawker, accessed 24/10/2011 (http://www.wilpenapound.com.au/location/).
>Bell, R, Kooriweb.org, November 2002, Kooriweb.org, accessed 15th September 2011, (http://www.kooriweb.org/foley/great/art/bell.html)
>Dacou Aboriginal Art, 2011, Dacou Australia, accessed 4/09/2011, (http://www.dacou.com.au/index.php?act=viewCat&catId=8).
>National Gallery of Australia, 2011, Australian Governement Agency, Canberra, accessed 4/09/2011, (http://nga.gov.au/namatjira/large/transformations.htm).
> Andre Danis, 2011, Andre Danis Photos, accessed 24/08/2011, (http://andredanisphoto.com/aboriginal-paintings-pictures).
> Leigh Creek Area School, 2011, SA.Gov.Au, accessed 24/08/2011, (http://www.leighcreekas.sa.edu.au/pages/community/adnyamathanha-culture.php)
>Yura Language Consultative group Inc., 2011, CommunityGuide.com.au, accessed 24/08/2011, (http://www.adnyamai.websyte.com.au/site.cfm?/adnyamai/1/).
>Adnyamathantha Women's Choir, 2009, anchorweb.com.au, accessed 24/08/2011, (http://www.anchorweb.com.au/awchoir/experience.html) .
Books
>Brody, A.M, Stories: Eleven Aboriginal Artists, (Craftsman House, Sydney, 1997).
>Pring, A, Aboriginal Artists in South Australia, (Hyde Park Press pty Ltd, South Australia, 1998).
>Toohey, J, 1999, Western Australia Government, accessed 27/10/2011, (http://www.lrc.justice.wa.gov.au/2publications/reports/ACL/DP/Part_05B.pdf)
>Indigenous Australiania, 2011, Oracle THinkQuest, accessed 24/10/2011, (
http://library.thinkquest.org/C0115620/)
>Wilpena Pound resort, 2011, Hawker, accessed 24/10/2011 (http:/www.wilpenapound.com.au/location/).
>Leigh Creek Area School, 2011, SA.Gov.Au, accessed 24/08/2011, (http://www.leighcreekas.sa.edu.au/pages/community/adnyamathanha-culture.php)
>Yura Language Consultative group Inc., 2011, CommunityGuide.com.au, accessed 24/08/2011, (http://www.adnyamai.websyte.com.au/site.cfm?/adnyamai/1/).
>Adnyamathantha Women's Choir, 2009, anchorweb.com.au, accessed 24/08/2011, (http://www.anchorweb.com.au/awchoir/experience.html) .
>Dacou Aboriginal Art, 2011, Dacou Australia, accessed 4/09/2011, (http://www.dacou.com.au/index.php?act=viewCat&catId=8).
>National Gallery of Australia, 2011, Australian Governement Agency, Canberra, accessed 4/09/2011, (http://nga.gov.au/namatjira/large/transformations.htm).
> Andre Danis, 2011, Andre Danis Photos, accessed 24/08/2011, (http://andredanisphoto.com/aboriginal-paintings-pictures).
Bibliography
Books
>Berndt,C.H, Berndt,R.M & Stanton, J.E, Aboriginal Australian Art. A prespective. (Mehewn Australia, Sydney, 1982).
>Brody, A.M, Stories: Eleven Aboriginal Artists, (Craftsman House, Sydney, 1997).
>Croft, L and Gooding, J, South West Central. Indigenous Art from South Western Australia 1833-2002, (Art Gallery of Western Australia, Perth, 2003).
>Edwards, R, Australian Aboriginal Art in Australia, (Ure Smith, Sydney, 1978).
>Jose, N, Macquarie Anthology of Australian Literature, (Allen & Unwin, NSW, 2009).
>Mornwood, M.J, Visions from the Past. The Archaelogy of Australian Aboriginal, (Allen & Unwin, NSW, 2009).
>Pring, A, Aboriginal Artists in South Australia, (Hyde Park Press pty Ltd, South Australia, 1998).
>Sayers,A, Aboriginal Artists of the Nineteenth Century, (Oxford University press, Australia, 1994).
Readings
>Bell, R, Richard Bell: Positivity, (Institute of Modern Art, Victoria, 2007).
>Croft, B.L, Colonialist Photography.Imag (in)ing Race and Place, (Routledge, London, 2002).
>Croft, L, Culture Warriors: NAtional Indigenous Art Triennial (National Gallery of Australia, Canberra, 2007).
>Croft, B & Perkins, H, Australian Indigenous Art Commision= commande publique d'art ablorigine Musee du quai Branly (Art & Australia, NSW, 2006).
>French, B & Palmer, D, Twelve Australian Photo Artists, (Piper Press, NSW, 2009).
>Leslie, D, Lin Onus: Picturing Histories Speaking Politics, (Artlink magazine, Jan 30 2010).
>McColluch, S, Contemporary Aboriginal Art. A guide to the rebirth of an ancient culture, (Allen & Unwin, NSW, 1999).
>Mosby, T, Torres Strait Islander Art and Artists, (Cairns Regional GAllery, Qld, 1998).
>Nicholls, C, From Appreciation to Appropriation: Indigenous Influences and Images in Australian Visual Art, (Flinders University Art Museum, South Autralia, 2000).
>Perkins, H & West, M.K.C, One Sun One Moon. Aboriginal Art in Australia, (Art Gallery of NSW, Sydney, 2007).
Websites
>Indigenous Australiania, 2011, Oracle THinkQuest, accessed 24/10/2011, (
http://library.thinkquest.org/C0115620/)
>Wilpena Pound resort, 2011, Hawker, accessed 24/10/2011 (http://www.wilpenapound.com.au/location/).
>Bell, R, Kooriweb.org, November 2002, Kooriweb.org, accessed 15th September 2011, (http://www.kooriweb.org/foley/great/art/bell.html)
>Dacou Aboriginal Art, 2011, Dacou Australia, accessed 4/09/2011, (http://www.dacou.com.au/index.php?act=viewCat&catId=8).
>National Gallery of Australia, 2011, Australian Governement Agency, Canberra, accessed 4/09/2011, (http://nga.gov.au/namatjira/large/transformations.htm).
> Andre Danis, 2011, Andre Danis Photos, accessed 24/08/2011, (http://andredanisphoto.com/aboriginal-paintings-pictures).
> Leigh Creek Area School, 2011, SA.Gov.Au, accessed 24/08/2011, (http://www.leighcreekas.sa.edu.au/pages/community/adnyamathanha-culture.php)
>Yura Language Consultative group Inc., 2011, CommunityGuide.com.au, accessed 24/08/2011, (http://www.adnyamai.websyte.com.au/site.cfm?/adnyamai/1/).
>Adnyamathantha Women's Choir, 2009, anchorweb.com.au, accessed 24/08/2011, (http://www.anchorweb.com.au/awchoir/experience.html) .
SA Aboriginal Artists
IT seems that the majority of the artwork we see in this subject is from the more famous Kimberly Region (which undoubtedly produces excellent work). I am not debating the quality of the work. Not at all. My point is, how often do you see artwork from South Australia? Being a South Australian myself, I decided to persue some SA Aboriginal work. There happened to be an incredibly helpful volume in the library (see bibliography).
Roly Mintuma.
Born in Fergon. He is both Pitjanjara and Yankunytjatara. Mintuma and others from his community are self taught; "I knew nothing. we didn't know anything. We learnt by practising, lots of us were learning. They started paying us for it" (Pring,1998).
A classic example of hard work and preseverance paying off.
Born in Fergon. He is both Pitjanjara and Yankunytjatara. Mintuma and others from his community are self taught; "I knew nothing. we didn't know anything. We learnt by practising, lots of us were learning. They started paying us for it" (Pring,1998).
A classic example of hard work and preseverance paying off.
Reg Dodd.
Bubbler
Reg is from Marree where he took this photograph (incidentally it is 60km from my hometown but I have never seen this place). This photo has connections to the Dreamtime stories of the Arbana people. He was told the story when he was a child and often repeats it to others because the site is quite the tourist attraction; "It' has a Dreaming story of how it was created. One of the hunters dug out and caught a snake and pulled it out. Its the Snake dreaming" (p64 Pring 1998).
He photographs other signifigant sites and even had an exhibition at Tandanya. However, he only mentions this briefly and does not state which year this occured; "One photo in my exhibition at Tandanya was a sunset over Marree taken from the verandah of my house. It highlights the beauty of the area and some of the sunsets we get there. It's out the front door. It's a natural beauty we're part of" (p64 Pring 1998).
While this is quite an acheivement it sadly pales in comparison to the work of Everard Prayta from Ceduna. Everard was paralysed in a car accident. As a result he learnt to paint by holding the paintbrush in his mouth.
He took up painting when he was 30 after becoming a quadraplegic. Initially he was quite disheartened and un motivated. He had given up. Admitting himself that he was a "hard case" (p40 Pring 1998). A nurse at the hospital that where he permanantly resides suggested he try painting. He eventually gave in and was impressed by his results; "It took me a while to learn. I seem to be getting better all the time. I can see I'm improving all the time. It makes me feel good" (p40 Pring 1998).
His work demonstrates a force of will that is amazing. I would never be able to find the strength to be able to take up such a hobby after becoming a quadraplegic. Although, it appears to be quite fulfilling and it gives Prayta a reason to get out of bed in the morning; "I did sleep. I was fed up with myself and just laid there. Now I look forward until i get up and get stuck into painting" (p40 Pring 1998).
Prayta was even given a scholarship from the Foot and Mouth Painters Association in Sydney.
Reference
Pring, A, Aboriginal Artists in South Australia, (Hyde Park Press pty Ltd, South Australia, 1998).
Reference
Pring, A, Aboriginal Artists in South Australia, (Hyde Park Press pty Ltd, South Australia, 1998).
Tuesday, 18 October 2011
Abie Jangala
I stumbled across this artist whilst researching my essay. Abie Jangala was born around Thompson's Rockhole approximately 350km, South of Layamanu (Brody,1997) . He has lived in the Northern territory since the 1950's and is a respected Eldar of the Walpiri community (Brody,1997).
Jangala has had a somewhat tumultuous life; in 1928 part of his clan was decimated whilst they were performing a ceremony in retaliation to the death of a white man. Historins referred to the event as the Coniston Massacre. The Walpiri call it the Killing Times. After this horrible occurance, he returned to his home to begin initiation. Then he worked in The copper mines in Granites for 18 months (Brody,1997).
Jangala has had a somewhat tumultuous life; in 1928 part of his clan was decimated whilst they were performing a ceremony in retaliation to the death of a white man. Historins referred to the event as the Coniston Massacre. The Walpiri call it the Killing Times. After this horrible occurance, he returned to his home to begin initiation. Then he worked in The copper mines in Granites for 18 months (Brody,1997).
Watiwayarnu 2005
Water Dreaming 1987
"Synthetic Polymer on Duck" (Brody 1997).
119 x 139.5cm
His works are in relation to Water Dreaming. His works vocalize what Brosy described as; "the creation of waterholes and springs by the Kilkilangi (The Whistling Eagle); the throwing back, to seed the clouds, of water from the permanerd spring at Kurpurlunu, the bringing in (singing) of the rain in 'hard times' and the action of the rain itself in his country" (p110 Brody 1997)
I think they're great; intriguing. Love the use of dull colours so they don't overpower the work.
Brody, A.M, Stories: Eleven Aboriginal Artists, (Craftsman House, Sydney, 1997).
Thursday, 8 September 2011
Spirit in the Land exhibition at the State Library
Yesterday a friend and I went to the state library to view the aforementioned exhibition. The exhibition showcased many indigenous artists who each had a unique style. As is the norm with most galleries, we were not allowed to take pictures of the work so bear with me.
Sidney Nolan
Unnamed Ridge
Central Australia,1949
Oil and enamel on composition boards
beautiful; the colours, the techniques. I would buy it if I had the money.
The accompanying two works (MacDonnell Ranges 1949 and Musgrave Ranges 1949) beside it are exquisite. Goegeous landscapes in reddish brown.
Russell Drysdale
The Cow Trap 1941
Honest. There's a weary dog having a nap in the shave; reminds me of home. The workers are also having a break but at the same time they're posing?
Fred Williams
Lal Lal Falls Polyptych
Not my favourite style but not un appealing to look at. Interesting use of colours. especially on the fourth work.
Lin Onus
Jimmy's Billabong
I prefer this work to his other peice displayed. The first artwork is somehow relatable and the cross hatching across the scene is interesting. I wonder why he did that?
John Davis
Collection two
This would have taken ages to construct. The same can be said with Davis's Lake Mournpool, One , 1989.
John Olsen
Salt Lake
2003
I don't really like it.
Olsen.
Nothing is as Beautiful as Spring
Gorgeous colours; blue, green, teal, flecks of yellow.
Rosalie Gascolgne
Vintage 1990
Retro reflective road signs on plywood.
I do enjoy a good collage. However, I would enjoy this artwork more if I understood it (there was no accompanying artist statement).
Dorothy Napangardi
Karntakurkangu Jukurrpa (Belonging to women).
2000
Dot painting. I admire her for having the patience to complete this.
Russell Drysdale
Golden Gully 1949
Broken mountain 1950
Innovative use of colour. depth perception is accurate. I want to go there. seems peaceful and quiet
Sidney Nolan
Unnamed Ridge
Central Australia,1949
Oil and enamel on composition boards
beautiful; the colours, the techniques. I would buy it if I had the money.
The accompanying two works (MacDonnell Ranges 1949 and Musgrave Ranges 1949) beside it are exquisite. Goegeous landscapes in reddish brown.
Russell Drysdale
The Cow Trap 1941
Honest. There's a weary dog having a nap in the shave; reminds me of home. The workers are also having a break but at the same time they're posing?
Fred Williams
Lal Lal Falls Polyptych
Not my favourite style but not un appealing to look at. Interesting use of colours. especially on the fourth work.
Lin Onus
Jimmy's Billabong
I prefer this work to his other peice displayed. The first artwork is somehow relatable and the cross hatching across the scene is interesting. I wonder why he did that?
John Davis
Collection two
This would have taken ages to construct. The same can be said with Davis's Lake Mournpool, One , 1989.
John Olsen
Salt Lake
2003
I don't really like it.
Olsen.
Nothing is as Beautiful as Spring
Gorgeous colours; blue, green, teal, flecks of yellow.
Rosalie Gascolgne
Vintage 1990
Retro reflective road signs on plywood.
I do enjoy a good collage. However, I would enjoy this artwork more if I understood it (there was no accompanying artist statement).
Dorothy Napangardi
Karntakurkangu Jukurrpa (Belonging to women).
2000
Dot painting. I admire her for having the patience to complete this.
Russell Drysdale
Golden Gully 1949
Broken mountain 1950
Innovative use of colour. depth perception is accurate. I want to go there. seems peaceful and quiet
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