Glenelg Art Gallery

I visited the Glenelg Art Gallery today and unfortunately found that it was shut, even though I came during the opening hours stated on the website. The gallery is located upstairs inside Dymocks book store. I had a look at the only artworks I could see at the entrance and they were all colourful and quite detailed. They seemed to have a contemporary abstract style yet they were all very different from each other. I investigated the website and found that most of the work is produced by local artists.

'Emu Walk' - by Susan Betts

This piece of work stood apart from the rest for me as I was attracted to the interesting linework and use of bright colours contrasting against a dark background. The use of rounded forms and arrows creates movement and a sense of direction. Also the emu's stance suggests energy and the bold colours compliment that.

Message Stick: The Power of Rarrk

I borrowed a recorded DVD at the Uni library of an old message stick episode. It featured artists from the community of Maningrida in north west Arnhem Land. I was pariculary interested in John Mawurndjul as he is one of the artists I am researching for my major essay. He was taught Rarrk, a traditional painting technique that uses fine cross-hatching and infill. It was originally from body painting; and the ceremonial origins of Rarrk is what gives the paintings their power.

John Mawurndjul using the Rarrk technique.

"I create paintings connected to this country I have absolute love for this country Today I want the stories and images of the paintings to be seen" - John Mawurndjul.

I thought what he said about his work was really inspiring. He wants to share his art and show others the stories of the land. It was amazing to watch the precise accuracy of his brush strokes and the fascinating way he burned the bark to flatten it. The emotional and spiritual connection to the land can be seen through his use of bark and other natural materials.

Ricardo Idagi – ‘Upi mop le – Tail end man’

Below is an image of a Torres Strait mask made from a turtle shell. This piece titled Upi mop le – Tail end man was made by Ricardo Idagi and won the New Media Category in the 28th Telstra National Aboriginal & Torres Strait Islander Art Award in 2011.

Richard Idagi, 2011, 'Upi mop le – Tail end man'

Mixed media, 130 x 90 x 130cm.

When I first saw this piece shown in the lecture, I was surprised. It’s a very impressive and imaginative piece. The detail is outstanding and so are the other deaddresses with sharks and other animals on them. I was even more surprised to learn that there was a projector inside, showing a film of Idagi performing traditional dance.

Initially I thought this mask was some kind of really modern wacky abstract art; but when we discussed it in tutorial I found it was actually a traditional headdress. We also talked about whether the viewer needed to know if it was traditional or not and decided it didn't matter; people can just appreciate it for the interesting art it is. I think the mask creates an unusual and effective combination of traditional and modern culture.

Yuendumu Doors at the SA Museum

The Museum of South Australia exhibited traditional Indigenous art and artefacts including decorated totems, weaving, boomerangs, bark paintings, shields, photographs and more. It was amazing to see the wealth of knowledge preserved in the displays. I had not been to the Museum since I was very young and I found it fascinating to look around and see everything with a new perspective. By viewing items up close, I am able to appreciate the fine detail and texture that can't always be seen in photos.

The paintings on the Yuendumu Doors represent significant ceremonial sites and are one of earliest examples of Aboriginal artists successfully transferring their ancient ground paintings to a large-scale contemporary medium. The description that accompanied the Doors summed up the meaning of them well saying, "The paintings meanings and stories remain complex and hidden, a cryptic reference to their dreaming - an epic drama which explains how the land, the people and their social instructions came to be as they are."

My photo of the 9 Yuendumu Doors displayed at The SA Museum.

My first impression of these works were that they looked very weathered. I could see remains of graffiti as well as scratches and chipped off paint. I liked the earthy colours used; predominatly white, red, yellow and black; as it created a sense of understanding and belonging to the land. I think this notion of the deep connection to the land that Indigenous people share is really interesting. As the doors are a larger medium, the artists seemed to use larger dots and symbols. The door in the centre was wider and used a lot of blue to contrast against the other doors and create an emphasis.

'The Doors Etchings' (shown above) were displayed next to the doors and were accompanied with an explanation saying "In 2000, twenty years after the doors were painted, the surviving artists collaborated with Northern editors to produce a series of etchings based on the original doors." I found these etchings quite intriguing as their bold colours created a strong contrast yet they all seem to connect and belong as a group.

Jason Wing - The Other, Other Exhibition

Jason Wing is a young Aboriginal artist from Sydney. His father is Chinese (Cantonese) and his mother is an Aboriginal woman from the Biripi people in the Upper Hunter region of New South Wales. He is a versatile artist who explores issues of bi-cultural and Indigenous political identity, environmental awareness and spirituality. He appears to have a distinctive style with a 'street-wise' flair shown through his strong use of stencil printing.

I thought this exhibition was very unusual and not at all what I was expecting. The majority of his work were all either three dimensional or large scale posters; there were no paintings. When I was looking around I found there were no artist descriptions on the plaques next to each work. I think this means that he wanted viewers to interpret his work in their own way. It seemed to me that he wanted to be confronting and evoke a sense of shock to viewers. I think his work was very relevant to todays issues of alcohol abuse, drugs and graffiti.

'Self portrait'  2010  

cement, acrylic paint

'Rainbow Dreaming'  2009
syringes, food colouring 

'Waiting to exhale' 2009
aluminum spray can

'Blacktown Dreaming'  2010  

Beds made of spray cans, syringes and beer bottles.

These beds were very creative and were one of the works that first grabbed my attention. The repetition of the different mediums were striking and created a dynamic effect. I stood up close and got to appreciate the preciseness of the placement of each item. 

His website can be found here: www.jasonwing.net

Week 10 - Musee du quai Branly

Today's lecture focused on the Musee du quai Branly which is a famous museum in Paris that has an exhibit on Indigenous artwork. The article by Brenda Croft and Hetti Perkins said that "it embraces the strength of tradition and the spirit of modernity". This is a great description of the cross-cultural collaboration that is involved. I was really impressed with the unique design of the building and the way in which the artwork was displayed. Giant large scale versions of artists work were recreated on smaller pieces that could be tiled together to cover the entire ceiling of each floor. I think this idea was really effective as it allows viewers to get fully immersed in the artwork. It was really cleaver how the small tiles were designed to be easily transportable and fit together perfectly. I really like how the polished surface creates a reflection and adds to the intriguing modern external view of the building. I think the authors in the article sum the connection up well when they say it "generates a synergy between the work of the artists and the architect".

Different views of the exterior. Some of the artwork can be seen from the street below.

The reflective surface works with surrounding features.

Gloria Petyarre Paintings

I have been looking on Aboriginal Art News lately and the striking artwork by Gloria Petyarre grabbed my attention. Her paintings seem to have a really alluring quality to them as well as a distinctive style that doesn't involve the traditional dot methods. Her techniques of layering and producing fine detail, creates visual depth and movement. I particularly liked the series on bush medicine dreaming. It depicts particular leaves from plant species, which contain medicinal properties and tells of their celebration in ceremonies.

'Bush Medicine Leaves' by Gloria Petyarre

 The use of bold colour creates visual intensity.

 'Bush Medicine Dreaming' by Gloria Petyarre

This work creates a strong sense of movement.

'Mountain Devil Lizard Dreaming' by Gloria Petyarre

The many complex layers in this work make repetition interesting and give depth.

Balarinji Designs Studio / The Jumbana Group

I am studying graphic design and was wanting to find something that related to my area of study. I was recently told about an Australian Indigenous Strategy and Design Company based in Sydney named Balarinji Designs Studio that is part of the Jumbana Group. It produces designs for a wide range of mediums and has been involved in commissioning and creating designs for Qantas jumbo jets and other commercial material. They were established in 1983 by John Moriarty and Ros Moriarty,  and it says on their website that they deliver 'groundbreaking commercial and non-profit outcomes in relation to Aboriginal Australia'.

The jet design was inspired by the dramatic colors of sunset at Uluru and represents one of the many dreamtime stories. I like the bold use of colour and strong line work; as well as how the design blends ancient patterns and symbols with modern technology. It is interesting that both Aboriginal and non-Aboriginal artists transferred the design from computer to the airplane's exterior.

The studio was also commissioned by The International Cricket Council (ICC) to create the ICC Cricket World Cup 2015 logo (shown above). The design combines both Australian and New Zealand cultural motifs so as to reflect the two indigenous countries' cultural identities. I think this is an attractive and dynamic logo which captures the cultural influences of the two countries in a harmonious way and also has a feeling of celebration with the bright colours used.

Opal Field Gems Mine and Museum

In my travels I spotted a sign outside a city opal store featuring an Aboriginal art gallery. There were a wide range of original paintings, artefacts and lots of didgeridoos all belonging to the Aboriginals of South Australia. As I wondered around, I could hear the kind of haunting sound of the didgeridoo playing in the background. It was interesting to learn that traditionally only men played that instrument. I was impressed by the variety of the intricate designs and bold colours that embellished each didgeridoo. Each was a unique uneven shape and created a natural yet dynamic arrangement as you can see in the photo below.

Some of the didgeridoos on display in the gallery.

Spirit in the Land Exhibition

This is a free exhibition showing at the Flinders University City Gallery at the State Library. It focuses on Australia’s unique relationship with the land and notions of an Australian identity. Eleven different Australian artists exhibited select works, with historical, contemporary, indigenous and non-indigenous significance. It features some of Australia’s most prominent artists, such as Lorraine Connelly-Northey, John Davis, Russell Drysdale, Rosalie Gascoigne, Emily Kame Kngwarreye, Dorothy Napangardi, Sidney Nolan, John Olsen, Lin Onus, Rover Thomas and Fred Williams. Below, I have discussed a couple of artists that really stood out to me.

Lin Onus

Lin Onus’ painting ‘Ginger and my third wife approached the roundabout’ was a really interesting and intriguing piece of artwork. I thought the title was really strange, yet related to the painting well. The work combined Aboriginal Rrark patterning with a more contemporary western-realist style. The overall effect resulted in a somewhat abstract feel, yet all of the elements seemed to fit well together. The background appeared realistic and the shadows under the rays help create depth.

‘Ginger and my third wife approached the roundabout’ Lin Onus

Rosalie Gascoigne

The artworks by Gascoigne grabbed my attention quickly as I found they were different and quite unique. The installation displayed on the floor called ‘Inland Sea’ was made up of a number of corrugated iron pieces she had collected. They were cut into squares and raised up by circular wire stands to create a kind of loose grid arrangement. The pale greys and whites of some of the sheets imply clouds, while the green and red sheets suggest the landscapes hilly plains. By lifting the pieces up at differing heights they reflect the rise and fall of the landscape and the wind rippling the water like gentle waves.

Rosalie Gascoigne ‘Inland sea’

Weathered painted corrugated iron, wire

Emily Kame Kngwarreye

I was immediately attracted to Emily’s work as her paintings use rich vibrant colours that grab your attention. She worked in many different styles but her energetic gestures always reflected an aspect of her Dreamings and home country. The bold and expressive lines (yam tracks) that interconnect and overlay in her piece Kame Colour II reflect the endless landscape of Australia. When I stood infront of this large painting, I got a feeling of great complexity and the warm colours used reminded me of the hot climate in central Australia.

Emily Kame Kngwarreye - Kame Colour II

'Eleven' by Christopher Crebbin Exhibition

This was another exhibition at Tandanya that I saw. Christopher Crebbin is a local artist and painter also known by his Aboriginal name, Burthumarr meaning Brolga. This is his 11th exhibition in his 11th year as a professional artist and held in 2011, so I think 'Eleven' is a very fitting name.

 

Full Moon, 2011

acrylic on canvas

 Ochre Turtles, 2010

acrylic, ochre, mica

Yellow Serpent, 2010

acrylic on canvas

Serpent Rising, 2009

(This one wasn't actually in the exhibition but I thought it illustrated the beautiful detail and bold colour he often uses) 

The first paintings I saw as I walked in this exhibition were a series focused on serpents. These couple of paintings set the atmosphere with their vibrancy and bold colour. The artist seemed to set a mood through his paintings and they all share a common theme of the natural Australian environment. I noticed that he used acrylic paint in all of the displayed works, but he also used other materials such as ochre, mica and metal base on others. I think by using these materials he adds earthly textures to his paintings. I also like the clean, clear colour in each artwork and the attention to detail.

There were four paintings in the collection called the ‘Tree Protest Series’ that reflected the beauty of Australian wildlife, as well as the destruction caused by bushfires. They were also about trees being chopped down and animals losing their homes, followed by regrowth. Trees are, in fact, a focus throughout the exhibition as a way of resembling life and healing. The ocean is also strongly represented throughout his works, and the vibrancy of the blues which he uses to depict the water is very striking. I really enjoyed this whole exhibition.

Symbols

After attending Tandanya and looking at those artworks up close, I was able to appreciate the fine detail and textures used in the artists work. I found that a lot of the paintings used symbols and marks that had different meanings behind them. Upon further research, I found this chart that clearly and very simply explains the definition of some of the symbols.

Mangkaja Arts - 'We came from the desert' Exhibition

This was another exhibition at Tandanya which displayed a large collection of paintings and artefacts from Mangkaja Arts, Fitzroy Crossing in the West Kimberley region of Western Australia. All the bright colours used in the art works initially surprised me. I had expected lots of traditional ‘dot paintings’. These works were very interesting as they showed a variety of different styles and a combination of representational and more abstract approaches. All of these works seemed to surround the meaning of the rain season and are about spring when the grass, plants and trees grow.

Graham Lands, Biriwiri, 2011, 120x120cm, Canvas

This painting by Lands was my favourite of this exhibition. Initially when I saw this work I thought it was about the rain and the wet season. However when I read the description I found it was actually about the ‘gum that grows on the bendy trees in the creeks and river beds.’ The artist also described the gum as ‘clear, sweet and sticky’. After taking in these words, I looked at the painting again and found that I could get that feeling of sticky and sweet as the golden yellow of the drops reminded me of honey. Overall I like how this particular piece evoked a strong connection to the land through its meaning and earthy colours.

Tandanya Visit

Today I visited Tandanya an arts centre located on Grenfell Street. There were a variety of works on display and I attended the free cultural tour that helped me gain an insight into Aboriginal art and culture. The tour guide explained that the paintings of the Central Dessert region depict aerial views or maps of the land. These were often painted on boomerangs and other objects that were passed down to generations so that they had that knowledge of where water holes and other important features were. He also explained what some of the symbols in the paintings meant, for example the ‘u’ shapes represent a person or people sitting. I thought this was really interesting, as I had no idea what any of their symbols signify.  

The tour guide then proceeded to tell us about the different mediums the artists use today including acrylic paint on canvas, fabric, ceramic, photographs and multimedia. I found this experimenting with new material interesting, as traditionally Aboriginal and Torres Strait Islander art was carved into wood or rock or painted on rock, wood or on the body. What I found surprising was when the tour guide told us that the use of bright vibrant colours was to sell the paintings, as people wanted them to match with their décor.

The Distinctive Painting Styles of Three Regions

This weeks lecture focused on the distinct styles of artwork that different Indigenous regions produce. The style and content varies between the communities as their surrounding unique landscapes and the associated Dreaming stories influences the artists.  I found the distinguishable features between the styles fascinating; as before I just thought they were all the same kind of style; I suppose I had a stereotypical view of ‘dot painting’. Now that I am aware of these styles and methods, I can distinguish one regional style from another.

The Desert Region

Basic style description: acrylic on canvas, wide palette, dots and circles (joined by lines), grout paintings in sand.

The below painting by Johnny Yungut Tjupprrula, demonstrates this style.

'Tingari men at Malparingya' - Johnny Yungut Tjupurrula

The Kimberley Region

Basic style description: primarily uses rich, earthy tones, blocks of colour, restricted palette mainly using natural pigments, shapes outlined with white dots. 

Below is one of Rover Thomas’s many works depicting this style of painting.

 'Sugar Bag Hill ' - Rover Thomas

The Arnhem Land Region 

Basic style description: crosshatching (Rarrk), natural pigments generally on bark, restricted palette.

Below is a bark painting by England Banggala

 'Jin-gubardabiya - Pandanus Mat Dreaming' - England Banggala

 

Lin Onus - Fruit Bats

In this weeks lecture one particular piece of artwork really stood out to me. It was by Lin Onus  and titled Fruit Bats (1991). In my opinion this piece strikes me as playful and having a sense of fun. The sculpture features a group of bats hanging off the lines of a Hills Hoist. Each bat is detailed with Rarrk (crosshatching) and at the base of the Hills Hoist there are painted dots representing the bats’ droppings.

This piece combines traditional Indigenous culture and imagery with the suburban Australian lifestyle. I think this is a powerful installation piece as it merges sacred imagery and values with the mundane. It seems to paint the picture of a somewhat ‘suburban dreaming’.

Week 3

Our tutorial was cancelled this week so I have included my response to the questions here in my journal. The questions this week were focussed on the artists Destiny Deacon and Ricky Maynard.

1. Destiny Deacon’s work has been described as interpreting contemporary society through a political framework. Is it necessary for the viewer to be familiar with the political ideas she is referencing in order to appreciate the work?

I don’t think that you need to know the political ideas behind the images in order to appreciate them on an aesthetic basis. Many of the images seem to be accompanied by a title, which offers enough information for the viewer to work out some kind of story. Although, I do think that to truly understand the message the artist is trying communicate, it would help if the viewers did know the story behind it. That way the audience would be less likely to misinterpret the artworks meaning.

2. The image in Art and Soul of Ricky Maynard with his back to the camera, standing in the water looking out to sea, is presented in the context of the Tasmanian genocide which adds a powerful emotional context to the photograph. Is the photo still powerful if the viewer doesn’t know the context?

Personally I think that yes, the image is still powerful even if the viewer doesn’t know the context. Through the use of black and white photography a powerful method by itself; a feeling of loss and sadness is evoked. Just by looking at this photograph without any prior knowledge of its meaning, you feel a sense of longing and being all alone due to the man having his back turned to the camera and positioned in a large body of still water looking out over the vast sea.

 'Broken Heart' by Ricky Maynard, 1953

Stop(the)Gap: International Indigenous art in motion Exhibition

Earlier in the year I went to the Samstag Museum to see the Stop(the)Gap Exhibition on Indigenous moving image. Many of the artists are multi- disciplinary in their practice, but the emphasis was on moving image work as opposed to still imagery or mainstream film.

Brenda Croft was the curator that brought together all seven works by six indigenous artists from around the globe showing that despite physical distances, Indigenous communities everywhere are linked through their shared colonial histories, and the issues of inequality and misrepresentation. 

 Warwick Thornton's 'Stranded'

Warwick Thornton is an Indigenous filmaker from Kaytej north of Alice Springs. I remember 'Stranded' was the most interesting piece as it was viewed in a small dark theatre room with 3D glasses. In the film Thornton seems to be imitating Christ by being nailed to a white cube cross that rotates above various landscapes of strong colour and emotion. The nature of this work reflects his own quote when he was six years old that “I want to be like Jesus Christ when I grow up”. I think this work was very powerful and confronting as it gave me a sense of sadness.

Events and Exhibitions

To get started on my cultural exploration, I thought I would begin to compile a list of various Indigenous cultural events and exhibitions that I may be able to attend around Adelaide. This way I have the opportunity to experience Indigenous art, culture and design face to face. I have included websites and galleries in Adelaide that either specialise in Indigenous art or display traveling Indigenous art exhibitions.

Exhibitions

• Australian Aboriginal Cultures Gallery - This is the permanent collection in the SA Museum.
• Mutti-Mutti Dreams (Glenelg Art Gallery) - 5-28 August 2011.
• Tandanya Exhibitions - This page shows the latest exhibitions and events being displayed at the centre.

Galleries

• Art Gallery of South Australia (North Terrace, City)
• SA Museum (North Terrace, City)
• Flinders University City Gallery - (North Terrace, City)
• Tandanya - National Aboriginal Cultural Institute Inc. (Grenfell Street, City)
• Experimental Art Foundation (Lion Arts Centre, City)
• Adele Boag Gallery (Unley)
• Greenaway Art Gallery (Kent Town)
• Glenelg Art Gallery (Glenelg)
• Contemporary Art Centre of SA (Parkside)
• AP Bond Aboriginal and Contemporary Art Gallery (Stepney)
• New Land Gallery - Country Arts SA (Port Adelaide)

Websites

• Australian Museum - The Indigenous Australia section has lots of information on topics such as Family, Spirituality and Flags.
• Adelaide Aboriginal Art - An online Art Gallery specializing in Indigenous Australian art.
• Aboriginal Art Coop - This site has a number of slideshows displaying Indigenous artists work and galleries.
• Australian Indigenous Cultural Heritage - This is a government site that has detailed information on a variety of topics and includes useful links at the bottom.

Events

• Tandanya Cultural Tours and Presentations - There is a cultural performance at 12 noon on Tues and Sun ($5) and a free tour at 11am on Thurs. I hope to go along to one or both of these soon.
• Stepping Stone Event to Camp Coorong - Through my church, I heard about a camp being run by Uniting Church Australia. This seems like a great way to engage with the Indigenous community and learn new skills.

Week 1

When starting this course, I found that I had very little prior knowledge on this subject. I had been exposed to the very basics in school by looking at topics like ‘dot paintings’ and ‘dreamtime stories’, as well as examining the Aboriginal flag. These were very brief and because that happened many years ago, I haven’t retained much of that information. As a white Australian growing up in the Eastern suburbs, I have not had the experience of interacting or being able to connect with any Indigenous people.

Because of my unfamiliarity with this topic, I am looking forward to learning and deepening my understanding of Indigenous art, design and culture. I hope to broaden my knowledge through experience and looking at various exhibitions, films and other media. Through this emersion, I look forward to gaining valuable information that will help me understand a different and unique culture.

Introduction

Welcome to my new blog. This is an online journal that is a requirement for the Indigenous Art, Culture and Design (VSAR 3017) course I am currently undertaking at Uni SA as a part of my Bachelor of Graphic Design (Visual Communications) degree.

Course Details

"Indigenous Art, Culture and Design, intends to provide you with an engaging introduction into the incredible artistic diversity and ongoing creativity of the world's oldest continuous culture. I really hope that you find this introductory course inspiring and informative."
Anthony Collins 

Course Co-ordinator

Assessment 2
Keep a record of the various Indigenous cultural events that you have attended, read about, listened to or participated in, e.g. exhibitions, films, books, plays, performances, radio or television programs and websites through invitations, catalogues, press releases, reviews, articles and interviews. This information is to be collated in the form of a digital visual diary/journal as an online blog, eportfolio or wiki and can include lecture notes, but must also include your personal responses to, analysis of events you have participated in as stated above.