Art of Australia’s First Peoples

Papunya, Warmum, Warlpiri, and Urban Art Movements

Turkey Creek

Bobby West Tjupurrula et al. Sand Painting -- Pupunya Genesis and GeniusNSW 2000

Stone tjuringa – Central DesertLong Jack Phillipus Tjakamarra: Emu Dreaming1972. Acrylic on Composition board. 25x24 in.

1. PAPUNYA MOVEMENT – CENTRAL DESERT

Clifford Possum TjapaltjarriYuutjutlyungu, 1979Acrylic on linen96x144 in.

Anatjari Tjampitjinpa. Ceremonial Ground a Kukkuta. 1981.

Ronnie Tjampitjinpa. Untitled.2001. 183x244 cm.

EVOCATION OF PLACE, CONNECTIONS, AND SACRED ENERGY

Rover Thomas. Cyclone TracyNatural pigments on canvas1991 183x168 cm

2. WARMUM COMMUNITY – KIMBERLEY REGION

Rover Thomas. Ngarinjanu Country.Natural pigments on canvas100 x 140 cm.Undated, but pre-1988

3.Warlpiri (Yuendumu) Dynamic Style and Cooperative VenturesLeft-Paddy Jupurrurla Nelson, Paddy Japaljarri Sims and Larry Jungarrayi Spencer: Star Dreaming 1985 146x67cm.

Emu Dreaming 1987Darby Jampijinpa Ross Synthetic Polymer on canvas121 x 91.5 cm.

36 Warlpiri Artists. Karrku Jukurrpa. 1996. Acrylic on canvas. 280 x 680 cm. See Morphy pp.301-303 for interpretation. University of Virginia (Kluge-Ruhe AboriginalArt Collection).

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The central story concerns the mythical Ochre Man’s travels to deposit the mineral he carries and his lusty adventures with two ancestral women who follow the rain Dreaming.

Aboriginal Genocide

http://www.youtube.com/watch?v=Z7eubc-Yk3M

http://www.missliberty.com/Filmrabbit.html

The Rabbit Proof Fence –feature length film based on the story of Molly Craig, a mixed race child taken from her home in the 1930s to be forcibly acculturated, who escapes and makes her way by foot across 1500 milesto find her family.

Bark shield collectedBy Captain Cook atBotony Bay

http://www.migrationheritage.nsw.gov.au/exhibition/objectsthroughtime/barkshield/

Detail: New Caldedonian roof finial figure from Picasso’s collection and Picasso’s Portrait of Henry Kahnweiler (detail) 1910.

Pacific Arts and the West: Artists collected these works and took inspiration from them – though the art of Australian aboriginal populations did not figure prominently in this context.

Oceanic Display (detail), TrocaderoMuseum, Paris, 1895

Picasso in his studio. 1908. Note New Caledonian (Melanesia) figures behind him.

Paddy Jupurrurla Nelson et al. Ground Sculpture installed in Magiciens de la terre Exhibition 1989with Richard Long’s Mud Circle on the wall

This exhibit showed 50 contemporaryWestern artists with 50 artists from non-WesternTraditions

Major challenge to the lens of Modern Artand the ‘primitivism’ viewpoint

Various Yolnguartists. YirkallaBark Petition. 1963. Ochres on Bark and paper. 23x13 in.

Various Artists. The BarungaStatement. 1988.Ochres on composition board with collage of printed text on papers. 48 x 47 in.

Bäru at Yathikpa by Nuwandjali Marawili, Moiety: Yirritja, Clan: Madarrpa (118cmx47cm)

Painting of Bäru the ancestral crocodile in the saltwaters of Yathikpa –the ancestral being whose sacred site was defiled by commercial fishermen

L. Gawirrin GumanaMap of Family LandsWestern & Aboriginal.

Saltwater CollectionArt as Legal Document

http://livingknowledge.anu.edu.au/learningsites/seacountry/16_searights.htm

Various Artists. The Aboriginal Memorial, installation of 200 hollow log coffins. 1987-1988. Wood and ochres. H from 40 to 128 in.

Fiona Foley. The Annihilation of the Blacks. 1986. Playwoodand wood. H. 23”

Fish on Poles. 1962.H. 55 in.

African American Alison SaarStrange FruitH. 76 in

Foley addresses the history of violence againsther people.

Native AmericanNora Naranjo-MorseSugared-Up: A Waffle Garden, 1999 InstallationSugar, Dirt, Clay, Marshmallows, Cans

Traditional Zuni Garden

Fiona Foley. Land deal [Land deal] 1995 Hervey Bay / Queensland / AustraliaInstallation, flour, mixed media, found objects, textdiameter 442 cm.

Sally MORGAN: Taken away, 1987 screenprint, printed in colour, from multiple stencils , 61.4 x 41.4 cm Reference to her own autobiography and the ‘Lost Children’

Citizenship. 1987. Screenprint on paper. 23 x 14 in.

Robert Campbell Jr.Striking for Equal Pay, Wattie Creek 1990Acrylic on canvas43 x 36 in.

Google the Gurindji Stockmen’sStrike for more information

Harry Wedge.Brainwash 1994Acrylic on Canvas24 x 19 in.

Coming to terms with Aboriginal identity in the Post-colonial world

http://www.kooriweb.org/foley/great/art/rbell.html

Richard Bell

Two works from Bell’s Lichtenstein series – lookat the others.

http://www.kooriweb.org/foley/great/art/works.html

http://www.kooriweb.org/foley/great/art/bell.html

Read and Reflect on Bell’s TheoremABORIGINAL ART – It’s a white thing!

This reflection paper will be in place of the KULA RING video reflectionpaper – although some of you may want to do a reflection paper on that aswell for extra credit.