Kate Vassallo draws the line
Kate Vassallo’s Ripple marks the conclusion of Artereal Gallery’s exhibition program, as the Sydney gallery is closing its doors after nearly two decades.
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Miriam Charlie, Garrwa/Yanyuwa born 1965, My Country No Home: Nancy Kidd, Garrwa One Camp, 2015 c-type print
60.0 x 100.0 cm, © Miriam Charlie.
Queenie McKenzie, Gija c. 1915–98, Limestone hills near Texas Downs, 1991, earth pigments and natural binder on canvas, 95.0 x 89.8 cm, National Gallery of Victoria, Melbourne. Purchased through The Art Foundation of Victoria with the assistance of Alcoa Foundation, Governor, 1991 (O.146-1991) © The Estate of Queenie McKenzie.
Julie Dowling, Badimaya born 1969, Goodbye white fella religion, 1992, synthetic polymer paint, earth pigments and blood on canvas 174.5 x 164.5 cm. National Gallery of Victoria, Melbourne. Purchased, NGV Foundation, 2007 (2007.456)
© Julie Dowling/Licensed by VISCOPY, Australia.
Emily Kam Kngwarray, Anmatyerr c. 1910‒96, Body paint: Awely, 1993, synthetic polymer paint on paper, 77.0 x 56.3 cm,
National Gallery of Victoria, Melbourne. Purchased through The Art Foundation of Victoria with the assistance of Alcoa of Australia Limited, Governor, 1994 (O.53-1994) © Emily Kam Kngwarray/Licensed by VISCOPY, Australia.
Emily Kam Kngwarray, Anmatyerr c. 1910‒96, Anwerlarr Anganenty (Big yam Dreaming), 1995, synthetic polymer paint on canvas, 291.1 x 801.8 cm. National Gallery of Victoria, Melbourne. Presented through The Art Foundation of Victoria by Donald and Janet Holt and family, Governors, 1995 (1995.709) © Emily Kam Kngwarray/Licensed by VISCOPY, Australia.
Kuruwarriyingathi Bijarrb Paula Paul, Kaiadilt born 1937, My country, 2009, synthetic polymer paint on canvas, 198.1 x 305.2 cm, National Gallery of Victoria, Melbourne. Purchased, NGV Supporters of Indigenous Art, 2009 (2009.578) © Paula Paul/Licensed by VISCOPY, Australia.
Asked to describe the 118 indigenous women artists represented in Who’s Afraid of Colour? NGV Senior Curator of Indigenous Art, Judith Ryan only takes a moment to respond, “Daringly innovative senior artists who are at the forefront of indigenous art practice”.
Both prominent and emerging Indigenous artists have been gathered in this celebration of diversity which underscores contemporary indigenous art, from weaving and bark painting, to installations, new media and photography. Iconic images accompany new acquisitions, while digital works appear amongst more traditional pieces. Assistant curator, Serena Bentley explains that this “depth and diversity” provides an insight into the NGV’s Indigenous collection “on a scale that hasn’t been seen before.”
In the 1970s female Indigenous artists weren’t recognised in collections, notes Bentley, but “this show is the antithesis of that; celebrating the strong and resilient voices of indigenous artists who are women.” Ryan explains that the exhibition’s focus is not on gender but rather on these “great innovators” and “transformers of tradition and precedent”.
Works by Yhonnie Scarce, Julie Gough, Emily Kam Kngwarreye, Queenie McKenzie, Judy Watson, Destiny Deacon and Bindi Cole Chocka combine in a potent mix of the traditional and contemporary. Bark paintings, for instance, break free of pre-ordained minytji (sacred design), formerly the work of men only, and give way to what Ryan describes as “intuitive drawing” and “gestural freedom”.
While the works do not “conform to stereotypical expectations,” states Ryan, they reveal a traditional culture that is cherished and consciously perpetuated.
The show’s 200 plus work see the ancient art systems of Indigenous Australians unite with contemporary needs and practices to create expressions of dispossession, identity and connection to Country, pertinent to Indigenous communities yet reaching the core of any audience.
Who’s Afraid of Colour?
National Gallery of Victoria – The Ian Potter Centre: NGV Australia
Until 17 April
Kate Vassallo’s Ripple marks the conclusion of Artereal Gallery’s exhibition program, as the Sydney gallery is closing its doors after nearly two decades.
A new exhibition at Bendigo Art Gallery takes us deeper into the life of the often-mythologised artist Frida Kahlo, through her personal photographs, clothing and objects, borrowed from Casa Azul, Kahlo’s house museum in Mexico.
Using a hand coil pinch technique, the pots created by the Hermannsburg Potters of Western Arrarnta in Central Australia illustrate the lived histories of the artists and their surrounding Country. Their latest creations are now showing at Bett Gallery in Hobart.
Since 2009, the William Robinson Gallery has held regular exhibitions showcasing the prolific Queensland artist’s oeuvre. The latest is Numinous, focusing on landscape painting and showing the natural world through Robinson’s careful eye.
In an interview with Louise Martin-Chew, Darrell Sibosado discusses his striking installation Ilgarr (Blood), currently on show as part of the 11th Asia Pacific Triennial, his major commission at the 24th Biennale of Sydney, and Illume, an upcoming collaboration with the renowned Bangarra Theatre.
To coincide with the presentation of the 3rd Bankstown Biennale: Same Same/Different, Gillian Kayrooz spoke to Karina Dias Pires about how food can express the complexities of culture and difference—and spark unlikely connections across time and place.
