Understand more about Rock Art

Dineley, J 2012, Rock art: the story of us, Cosmos, 3 April, viewed 24 October 2012

http://www.cosmosmagazine.com/features/online/5475/rock-art-story-us?page=0%2C2

Comparative essay

Write a comparative analysis of two or three Indigenous artists, performers or designers. Consider the time and place in which they were/are working, their gender, media, training and life experiences. Address the critical and popular reception to their artistic practice.

I will choose Tracey Moffatt and Christian Thompson for my comparative analysis essay. While researching about these two artists, I found out that Tracey Moffatt not only influence but also is inspiration of Christian Thompson. Thompson even created a series mimic images about Tracey Moffatt which has the title "In Search Of The International Look". I will focus on analysis the art-work “Up in the sky” of Tracey Moffatt and the art work “I need you, you need me” of Christian Thompson in order to find the common and the different. In addition, I think I will also compare about the identity and the biography of Tracey Moffatt and Christian Thompson 

Mixture idea between Indigenous art and Fashion

I just read the article “Aboriginal artists and Indian designer create latest ancient appeal” of Georgina Safe which post the website Smh on 28 April 2012. This article talks about the unique cross-cultural collection which was show at the Mercedes-Benz Fashion Week Australia. An Indian designer collaborates with nine other Aboriginal artists such as Udy Martin, Jimmy Pike, Ben Jangala and Lorna Fencer, etc to bring the beauty of Indigenous art into fashion. The collection includes flowing kaftans, loose dresses and tops in earthy prints with flashes of burnt orange, cobalt and green. These things was totally made from silk handmade in India by professional local hand beaded belts and trims artisans. In my opinion, the combination between Indigenous art and fashion is a quite interesting idea. This is the new way to bring the Indigenous Art to the world and let people in other countries aware about the aesthetic of this oldest traditional art.

Sources:
Safe, G 2012, ‘Aboriginal artists and Indian designer create latest ancient appeal’, Smh, 28 April, viewed 30 September 2012,< http://www.smh.com.au/lifestyle/fashion/aboriginal-artists-and-indian-designer-create-latest-ancient-appeal-20120427-1xq8l.html>

Image sources:
http://www.smh.com.au/lifestyle/fashion/aboriginal-artists-and-indian-designer-create-latest-ancient-appeal-20120427-1xq8l.html

Australian indigenous architecture

Depend on the availability and supply of materials, Aboriginal people in each region will construct the suitable house. Each type of construction has different dome frameworks material (cane, stone, and timber) as well as the structures (arc-shaped, triangular, egg-shaped). House are designed for using in many years by a same family group.
• In cold regions of south eastern Australia: stone house
• In the Western Desert: Spinifex shelters
• In the Lake Eyre region: waterproof dome shelters

Dome-shaped shelters: this type of construction is extend across Australia and used for temporary even permanent structures.

• Well-constructed, grass-clad dome structures: permanent camps at Crawley on the Swan River, Western Australia
• Mud with grass are used to waterproof the dome shelters, circular stone-walled houses: the Lake Eyre region, South Australia

Spinifex shelters: Windbreaks architecture of spinifex or hummock grass as cladding over domed frames dominated. 

• Piled-up of Acacia or Cassia species with gaps filled in with grass, circular arc, a crescent or linear form with the wall always to windward, semi-open: the Western Desert region.
• Dome-shaped semi-enclosed wiltjas, upright mulga boughs inserted into holes, the brushy ends upwards, outer covering of tussock grass,the maximum internal height: 1.7 metres: the Warburton Ranges

Stone house: a part of a range of Indigenous stone engineering structures including stone-walled fish traps in the sea and rivers, weirs, canals, ovens and ceremonial stone layouts on the ground.

• Flat slab slate-type stone houses, heavy limbs with heavy clay to fill the gaps: the Australian Alps, the north-east of South Australia
• An elongated egg shape, clay infill, a hole in the roof, lined with fern, grasses and paperbark inside: the Warringah area, north of Port Jackson, Sydney.


Sources:
Australia government 2010, Australian indigenous architecture, viewed 30 September 2012,< http://australia.gov.au/about-australia/australian-story/austn-indigenous-architecture>

Image sources:
http://australia.gov.au/about-australia/australian-story/austn-indigenous-architecture
http://iav.org.au/2012/09/stone-houses/

Artist:Trevor Nickolls

Trevor Nickolls(1949) is known as one of famous “urban” Aboriginal artist who has been working in the art for a very long time, since the 1970’s. The inspiration for his art works is from many different artists. According to Ai Arts (2010), “Trevor Nickolls' work is innovative and unique”. His work is the combination of many complex iconography as well as meanings. The main themes that Nickolls want to demonstrate in  his works is “Dreamtime to Machinetime” which “articulates the cultural transition which many Aboriginal people have undertaken in their journey from their traditional cultural heritage of living in the Dreamtime, into the world of mechanisation and technology”(Ai Arts 2010). Nickolls uses subjects such as the spirituality of the Aboriginal people, their interrelationship to land or other elements which are merged together rather than separate to present his idea about the interaction between two different worlds (the world of Aboriginal- image of wild nature as well as the spiritual- and the modern world-image of high buildings as well as the technology) and the dilemma of living within both (Ai Arts 2010). "Dreamtime is his Aboriginal roots and philosophy, and the Machinetime is the present age people live in. He uses his art to work out the balance between the two"( The Age 2008). 

Trevor Nickolls ,1993, Urban Scream , Synthetic polymer paint on canvas, 75.2 x 59.5 cm

Sources:


Ai Art 2010, Trevor Nickolls biography, viewed 30 September 2012,< http://www.aiarts.com.au/trevor-nickolls-biography.html>

The Age 2008, The stuff of dreams, viewed 30 September 2012,< http://www.theage.com.au/news/entertainment/arts/the-stuff-of-dreams/2009/05/21/1242498866671.html>


Image sources:
http://www.theage.com.au/news/entertainment/arts/the-stuff-of-dreams/2009/05/21/1242498866671.html
http://www.aboriginalartcoop.com.au/aboriginal-art/trevor-nickolls/urban-scream.php

Artist:Darryl Pfitzner Milika

Darryl Pfitzner Milika (1950) is a famous Indigenous artist who has been involve in many significant exhibition as well as art program such as Look At Us Now Tandanya Inaugural Exhibition (1989), 3SPACE: – 21st C. Indigenous Explorers National touring Exhibition (2000-2002) or Art and Heart: The art of Darryl Pfitzner Milika - A retrospective: 30 years on(2009). In addition, he also hold the position of Chairperson at Tandanya National Aboriginal Cultural Institute in 2002. As working with Indigenous art in over 25 years, Milika has many experience in using different mediums as well as technique skills. “He has been the creator, the designer and principal artist or "special guest" contributing artist for 3 of Adelaide's most outstanding public sculptural works”(Aboriginal Art Director News 2012). According to Art Logic (2011), he “explored those demarcation zones that are alive with human sensitivities, potentials and possibilities” in every his art works. Moreover, throughout all of his work, he also want to demonstrates that there are absolutely nothing that can “assimilated or appropriated, allocated or intimidated” his physical as well as his spiritual being as an Aboriginality. 

Darryl Pfitzner Milika, Under the Duco, Beneath the Veneer, 1998, 500w x 300h, Carved timber and found objects - Courtesy of National Motor Museum

Sources:
Art logic 2011, Darryl Pfitzner Milika, viewed 24 August 2012,<http://www.artlogic.com.au/artist/darryl-pfitzner-milika?bio=show>
Aboriginal Art Director News 2012, Art & Heart: the art of Darryl Pfitzner Milika – a retrospective: 30 years on, viewed 24 August 2012,<http://news.aboriginalartdirectory.com/2009/06/art-heart-the-art-of-darryl-pfitzner-milika-a-retrospective-30-years-on.php>

Image sources:
http://news.aboriginalartdirectory.com/2009/06/art-heart-the-art-of-darryl-pfitzner-milika-a-retrospective-30-years-on.php

Museum of South Australia

In the tutorial of this week, we visited the Museum of South Australia which is on the North Terrace. I think this tutorial is indeed quite interesting because I have a chance to see many different Aboriginal handicraft stuffs that I have not seen before. By looking at Aboriginal daily objects, I can somehow imagine their daily life -how they eat, what they wear. With the detail explanation next to objects, I understand more about the Aboriginal people as well as their culture.

These plans indeed look quite interesting. I wonder about the feature and the taste of them. 

These things can be called as jewelry. They are used by both man and woman in order to not only decorate for their appearance but also have their own meaning. For example, on one hand the headband can be used to tight up the hair and make the owner look more beautiful. On the other hand, it also can show the owner status(single, married or still looking for partner). 

This list show me the original names of different regions in Adelaide as well as their meaning. I think this one is really helpful.

The Yuendumu School doors:

These doors tell stories about the Warlpiri people.It show people the precious landscape of regions where Warlpiri people used to lives. In my opinion, the artists placed their paintings on the doors because not only for decorating purpose but also with the meaning that  is welcoming the viewers to open the doors (Warlpiri people hold the key) and enter the landscapes.

Interesting places in Adelaide

I just collect some of name of places in Adelaide that contain public art which are designed by Aboriginal people and/or respond to notions of indigence.

Adelaide Festival Centre Mural

Adelaide Festival Centre, Adelaide

Located at the Adelaide Festival Centre, Trevor Nickolls' untitled mural painting uses Aboriginal art techniques of cross hatching and dot painting, blended with contemporary western technique.

Adelaide Festival Centre Foundation Aboriginal Art Collection

Adelaide Festival Centre, Adelaide

The vision for the Adelaide Festival Centre Foundation Aboriginal Art Collection is to create a unique collection of contemporary Australian Aboriginal art, post 1970 (since the construction of the Adelaide Festival Centre), which acknowledges, celebrates and honours South Australian and national Australian Aboriginal cultures, stories and people. The Adelaide City Council provided funding over a five-year period to enable teh Adelaide Festival Centre Trust to build a substantial Aboriginal art collection.

Crossing-River Torrens

Southern Embankment of River Torrens, Adelaide

The site of the first bridge (1839) across the Torrens that physically linked the two banks of the river was also the point of separation of the European community to the south and the Aboriginal community (Kaurna) to the north bank – the beginning of cultural separation, marginalising and dominance. Crossing – Torrens River is a metaphor for re-establishing a bridge between two cultures– a kind of healing.

Tandanya

253 Grenfell Street, Adelaide
8224 3200 tandanya.com.au

Want to learn more about Australian indigenous culture? Tandanya National Cultural Institute is a great place to start. Staffed by Aboriginal and Torres Straight Islanders, the Institute has a rich collection of art and cultural objects that reveal a great deal about Australia's original inhabitants.

The word 'Tandanya' is from the language of the Kaurna people (pronounced Garna), the original inhabitants of the Adelaide plains, and means "place of the Red Kangaroo".

The oldest Aboriginal-owned and managed multi-arts centre in Australia, this acclaimed venue is free to enter, and houses a gallery, shop and a 147-seat theatre. A free cultural tour is available Thursdays at 11am, exploring the history and culture of Aboriginal and Torres Straight Islander peoples. Live cultural presentations of yidaki (didgeridoo) playing or dancing can be seen at 12 noon, Tuesday to Sunday (charges apply). Tandanya's shop offers art, craft, books, clothing, fabric and music. Also available are yidakis (didgeridoos).

The Three Rivers

Victoria Square, Adelaide

Sweeping statues, cut marble and the angular basin are the work of famed designer John Dowie, honouring the three main rivers that provide much of Adelaide's water.

Victoria Square / Tarndanyangga

King William Street, Adelaide

Victoria Square / Tarndanyangga features the permanently flown Aboriginal and Australian flags along with audio interpretive information about each of the flags

Yerrakartarta

Lower forecourt, Hyatt Regency Hotel North Tce, Adelaide

The word ‘Yerrakartarta’ is a Kaurna word meaning 'at random' or 'without design'. This work reflects the seemingly random order of the natural world and consists of various sculptural elements set within the pavement and surrounding walls. The work incorporates fossil-like animal forms, representing the history of the land and includes a large ceramic mural about the Tjillbruke Dreaming story.

Sources:

http://www.cityofadelaide.com.au/sights/

Artist: Jimmy Pike

The Aboriginal artists Jimmy Pike(1940-2002) is one of descendants of Walmajarri people. He is the person in the last group that leave the desert and move to Kimberley during 1950s. In this Great Sandy Desert of north Western Australia, he paints, produces, carve and sells his art works for not only making living income but also satisfying his passion with Indigenous art. The inspiration in art- works of Jimmy Pike is from the ancient culture and symbols of tribes who live in this arid country.
In paintings of Jimmy Pike, people can see the beauty of landscape of desert, the visual character of the changing seasons and even the particularities of its Aboriginal spirituality in a very special way. He “transformed this extremely isolated area of the northern part of Australia into a tangible experience and a rare encounter with its beauty and sacredness” (Aboriginal art prints network 1996-2012). His art-works are exhibit at many major Australian public galleries and museums.

Jilji and Jumu 1988, Screenprint.

For this painting, he used many different continuous lines for creating the appearance of sand hills which places surrounding the waterhole. The contrast between black and white colour make the painting become abstracted. 

Partiri (Flowers) 1987, Screenprint

In this painting, I can feel the sense of sappy. This feeling is from the images of coloured flowers and grasses which are growing. This picture is showing me the different view about the life in this arid area, sappy and more coloured.  

Sources:

Aboriginal art print 1996-2012, Jimmy Pike, viewed on 6 September 2012, <http://www.aboriginalartprints.com.au/indigenous_artists_details.php?artist_id=109>

Image Sources:


http://hflentje.wordpress.com/
http://napdf001.wordpress.com/2012/09/14/partiri-flowers-1987-screenprint/
http://vrroom.naa.gov.au/print/?ID=19508

Regional styles

I feel really interested with the lecture of this week. These are idea about regional styles that I figure out from this week.

This map shows places where Aboriginal artists work actively. There are various tradition styles that are used by artists to create their art-works in different regions in Australia.These styles include "bark paintings and wooden sculptures with intricate cross-hatched designs, delicate engravings on pearl shell in the West Kimberley, symbol-based sand and body designs of the Central and Western Desert, engraved rock in Tasmania and rock art in Cape York and central Queensland"(Aboriginal Art Online 2004). Through the map, we can see that there are a large number of Aboriginal artists works at different urban centers then spread to other regions across the country.

The Desert:


Central and Western Deserts are the most important areas of the Australia Indigenous Art. The typical Indigenous style of aboriginal artists as well as craftspeople who live in this area is the acrylic paintings which is based on the body painting designs."Circles may indicate waterholes, a campsite or fire; lines may denote lightning, watercourses or ancestral paths; a U-shape usually indicates a sitting place or breasts; arcs may be boomerangs; short lines may be digging sticks or spears. Realistic animal tracks and footprints are also often included,the dots which in various forms have become the most characteristic element of desert art, represent many things – stars, sparks, burnt ground, clouds"( Bouddi Gallery 2007)

Western Desert, Acrylic on canvas, wide pallet, dots & circles

The Kimberley:


The typical Indigenous art styles of contemporary artists in this region are using of flat areas of thick ochre, silhouette forms and marking of outlines with white or pale ochre dots.There are still some artists who maintain the Kimberley traditional painting style which is known as painting images on bark and other materials.

Natural pigments, blocks of colour, restricted pallet, shapes outlined with white dots

Arnhem Land :


The specific Indigenous art style of artists in this regions is cross hatching.While this hatching is known as the rank In the west, it is called Miny'tji and Dhuland in the east.This style is used for many different functions, in particular for ceremonial body design.

Cross hatching or Rark, natural pigments on bark, restricted pallet 

Sources:


Aboriginal Art Online 2004, Regions and Communities, viewed 6 August 2012,<http://www.aboriginalartonline.com/regions/regions.php>

Bouddi Gallery 2007,Central & Western Desert, viewed 6 August 2012,<http://www.bouddigallery.com.au/art-gallery/central-western-desert/>

Image sources:


Collins, A.( 2012, 7 August).REGIONAL STYLES.(PowerPoint slide).Presented at CWE/H2-16 lecture at University of South Australia.


<http://learn.unisa.edu.au/course/view.php?id=89225>

Indigenous Language Map

Image Sources:
http://www.abc.net.au/indigenous/map/

World of Dreamings: Traditional and Contemporary Art of Aboriginal Australia

The most significant Indigenous art exhibition, of its kind, "World of Dreamings: Traditional and Contemporary Art of Aboriginal Australia” was organised at the State Hermitage Museum on 4 February 2000 by Brian Kennedy who is a director of the National Gallery of Australia (Eniar 2009).Throughout not only the works of six different artists including Nym Bandak, Fiona Foley, Emily Kam Kngwarray, John Mawurndjul, Tracey Moffatt, and Rover Thomas but also two major collaborative works ,”The Aboriginal Memorial”, and a group of ceremonial sculptures, the exhibition presents the existence of the Indigenous art in the different historical stages even in the wave of immigration(National Gallery of Australia 2012). Moreover, the exhibition also “embodies the realities of Aboriginal Australians living in the modern world: a world that has undergone great social, political and cultural upheavals since Europeans colonised the country over two centuries ago” (National Gallery of Australia 2012)

 With different way to express the main idea of exhibition, each artists emphasis their own style as well as their own focusing aspect. This is also the point that makes the exhibition become more interesting as it show various aspects in the Indigenous art. With his works, showing about the Wangkajunka people, Rover Thomas (1926-1998) focuses on illustrating the tragedies that these indigenous peoples had to suffer (Hermitage Museum 2011)

Figure 1: Rover Thomas, 1990, One bullet, natural pigments on canvas, 90 x 180 cm.

Hermitage Museum (2011) also offers information about art-works of Emily Kame Kngwarreye (1910-1996) in the exhibition,” being under the influence of Western art still vividly demonstrates national traditions”.

Figure 2: Emily Kame Kngwarreye, 1989, Ntange Dreaming 1989, synthetic polymer paint on canvas, 135 x 122 cm.

For Nym Bunduk (1904-1981), the stories and the concept about Murin-pata people are his inspiration. He creates a series of art works, mostly painting on bark, about this topic. According to information from the website National Gallery of Australia (2012),” the circumstances in which the paintings by Bandak and the Wik sculptures were made, involved the active participation of anthropologists and missionaries.”

Figure 3: Nym Bunduk, 1959, Map of Murrinhpatha countryside 1, natural pigments on composition board, 121.8 x 184.2 cm

Using the same method with Nym Bunduk but demonstrating a different idea, John Mawurndjul (1952)  creates different painting on the eucalyptus bark  which “can be definitely found in the art of ritual body painting”( Hermitage Museum 2011).

Figure 4: John Mawurndjul, 1991, Rainbow Serpent at Kurdjarnngal, natural pigments on eucalyptus bark,  243 x 80 cm.

The collision between the traditional Aboriginal culture and the culture of white colonists is another aspect that is shown in the exhibition through the works of Fiona Foley (1964). She combines both the natural material and modern synthetic paints even using metals to display her following idea( Hermitage Museum 2011).

Figure 5: Fiona Foley, 1986, Annihilation of the Blacks wood, synthetic polymer paint, feathers, hair, rope;height 210 cm

The main subject of work of Tracey Moffatt (1960), the producer and photographer, is defining the identity in a multicultural society. All of the work of Moffatt are favoured by many people( National Gallery of Australia 2012)

Figure 6: Tracey Moffatt, 1989, Something more, A series of nine direct positive colour photographs, Each 100.6 x 127 cm

The most magnificent art-work which attracts the attention of many people in the exhibition is the set of painted hollow log coffins which is known with the name “The Aboriginal Memorial”. This art-work is the contribution of 43 different artists from Ramingining.” They reconstruct the image of the Glyde River in the Arnhem Land. 200 hollow log coffins with different painted images on them are placed along the river. This is the bone- burial ceremonies of people in the Arnhem Land. According to Philp(2007, p. 1),” it represents 'a forest of souls, a war cemetery and the funeral rites for all indigenous Australians who have been denied a proper burial”. Through this art work, “The Aboriginal Memorial”, artists want to show and emphasis the existence as well as the survival of Aboriginal culture although they had to suffer 200 years of being oppressive by European in Australia(Russell &Winkworth 2010). In addition, this memorial also predict the changing in Australian society,” from an intolerant and racist past to an egalitarian and just future”( Russell &Winkworth 2010).

Figure 7: Ramingining Artists,1987-1988, The Aboriginal Memorial, Natural pigments on wood, 327.0cm.

The exhibition was received many positive responses from both organisers and public. On one hand, Brian Kennedy, director of the National Gallery of Australia, comment on the exhibition “World of Dreamings: Traditional and Contemporary Art of Aboriginal Australia” as the best exhibition of its kind that has seen in another country, not in Australia (Eniar 2009). On the other hand, Mikhail Piotrovsky, director of the Hermitage, and Aboriginal art, eloquently states in front of the large crowd of many people including journalists, photographers, local artists even members of the public, that this exhibition plays an important role in promoting to people in other countries who know or unknown about the Aboriginal art because it “represents one of the most important sections of art in the 20th century"(Eniar 2009). By opening this exhibition, artists make a valuable chance for everybody to see and to learn about the beauty of the art form that stands within most important contemporary arts. All the art-works, in particular, the art-work “The Aboriginal Memorial” attracts attention of all people at with the not only impressive but also mystery appearance. They stimulate people to find out their meaning as well as their stories which they are hiding. I feel sorry for myself because I lost the chance to see these magnificent art-works in the real life.

References:

Eniar 2009, Exhibition brings Aboriginal art to St Petersburg, Europe, viewed 15 August 2012, <http://www.eniar.org/news/Hermitage.html>

Hermitage Museum 2011, World of Dreamings. Traditional and Modern Art of Australia, viewed 15 August 2012,< http://www.hermitagemuseum.org/html_En/04/b2003/hm4_1w.html>

National Gallery of Australia 2012, The Aboriginal Memorial, viewed 15 August 2012,< http://nga.gov.au/AboriginalMemorial/home.cfm>

National Gallery of Australia 2012, World of Dreamings: Traditional and modern art of Australia, viewed 15 August 2012,< http://nga.gov.au/dreaming/Index.cfm?Refrnc=Ch1>

Russell, R & Winkworth , K 2010, A guide to assessing the significance of collections, Case studies of national significance , Australian Government, viewed 15 August 2012

Image Sources:

Figure 1: http://cs.nga.gov.au/Detail.cfm?IRN=148445

Figure 2: http://nga.gov.au/exhibitions/Kngwarreye/index.html

Figure 3: http://artsearch.nga.gov.au/Detail.cfm?IRN=98447

Figure 4: http://www.artgallery.nsw.gov.au/work/217.1985/

Figure 5: http://www.sauer-thompson.com/mt3/mt-comments-alt-2.cgi?entry_id=6622

Figure 6: http://cs.nga.gov.au/Detail.cfm?IRN=148563

Figure7:http://www.environment.gov.au/heritage/publications/significance2-0/part-7/case-studies-national.html