Contemporary Indigenous Australian art
Contemporary Indigenous Australian art (also known as contemporary Aboriginal Australian art) is the modern art work produced by
Contemporary Indigenous artists have won many of Australia's most prominent art prizes. The
Indigenous artists, including
The figurative "dot painting" produced by Western Desert artists is among the most well-known styles of contemporary Aboriginal art.
Origins and evolution
Early initiatives
In the 1930s, artists Rex Battarbee and John Gardner introduced watercolour painting to Albert Namatjira, an Indigenous man at Hermannsberg Mission, south-west of Alice Springs. His landscape paintings, first created in 1936[4] and exhibited in Australian cities in 1938, were immediately successful,[5] and he became the first Indigenous Australian watercolourist as well as the first to successfully exhibit and sell his works to the non-Indigenous community.[6] Namatjira's style of work was adopted by other Indigenous artists in the region beginning with his close male relatives, and they became known as the Hermannsburg School[7] or as the Arrernte Watercolourists.[8]
Namatjira died in 1959, and by then a second initiative had also begun. At Ernabella, now Pukatja, South Australia, the use of bright acrylic paints to produce designs for posters and postcards was introduced. This led later to fabric design and batik work, which is still produced at Australia's oldest Indigenous art centre.[5][9]
Origin
While the initiatives at Hermannsburg and Ernabella were important antecedents, most sources trace the origins of contemporary Indigenous art, particularly acrylic painting, to Papunya, Northern Territory, in 1971.[10][11][12] An Australian school teacher, Geoffrey Bardon arrived at Papunya and started an art program with children at the school and then with the men of the community. The men began with painting a mural on the school walls, and moved on to painting on boards and canvas. At the same time, Kaapa Tjampitjinpa, a member of the community who worked with Bardon, won a regional art award at Alice Springs with his painting Gulgardi. Soon over 20 men at Papunya were painting, and they established their own company, Papunya Tula Artists Limited, to support the creation and marketing of works.[10] Although painting took hold quickly at Papunya, it remained a "small-scale regional phenomenon" throughout the 1970s,[13] and for a decade none of the state galleries or the national gallery collected the works,[14] with the notable exception of the Museum and Art Gallery of the Northern Territory, that acquired 220 of the early Papunya boards.[citation needed]
Evolution
After being largely confined to Papunya in the 1970s, the painting movement developed rapidly in the 1980s,
In 2010, the peak body representing
The Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAAA; now
The
Styles and themes
Indigenous art frequently reflects the spiritual traditions, cultural practices and socio-political circumstances of Indigenous people,[28] and these have varied across the country. The works of art accordingly differ greatly from place to place. Major reference works on Australian Indigenous art often discuss works by geographical region.[29] The usual groupings are of art from the Central Australian desert; the Kimberley in Western Australia; the northern regions of the Northern Territory, particularly Arnhem Land, often referred to as the Top End; and northern Queensland, including the Torres Strait Islands. Urban art is also generally treated as a distinct style of Indigenous art, though it is not clearly geographically defined.
Desert art
Indigenous artists from remote central Australia, particularly the
There are some figurative approaches in the art of those of central Australia, such as among some of the painters from Balgo, Western Australia.[citation needed] Some central Australian artists whose people were displaced from their lands in the mid-twentieth century by nuclear weapon tests have painted works that use traditional painting techniques but also portray the effects of the blasts on their country.[citation needed]
APY lands
The APY Art Centre Collective is as of 2020[update] a group of ten Indigenous-owned and -governed enterprises which supports artists from across the Lands and helps to market their work.
The Collective has galleries in
The Top End
In Arnhem Land in the Northern Territory, men have painted their traditional clan designs.[37] The iconography however is quite separate and distinct from that of central Australia.[38] In north Queensland and the Torres Strait many communities continue to practice cultural artistic traditions along with voicing strong political and social messages in their work.
Urban art
In Indigenous communities across northern Australia most artists have no formal training, their work being based instead on traditional knowledge and skills. In southeast Australia other Indigenous artists, often living in the cities, have trained in art schools and universities.
Media
Anthropologist Nicholas Thomas observed that contemporary Indigenous art practice was perhaps unique in how "wholly new media were adapted so rapidly to produce work of such palpable strength".
Textile production including batik has been important in the northwestern desert regions of
Amongst urban Indigenous artists, more diverse techniques are in use such as silkscreen printing, poster making, photography, television and film.[37] One of the most important contemporary Indigenous artists of his generation, Michael Riley worked in film, video, still photography and digital media.[55] Likewise, Bronwyn Bancroft has worked in fabric, textiles, "jewellery design, painting, collage, illustration, sculpture and interior decoration".[56] Nevertheless, painting remains a medium used by many 'urban' artists, such as Gordon Bennett, Fiona Foley, Trevor Nickolls, Lin Onus, Judy Watson, and Harry Wedge.[57]
Exhibitions
The public recognition and exhibition of contemporary Indigenous art was initially very limited: for example, it was only a minor part of the collection of the
There are a number of regular exhibitions devoted to contemporary Indigenous art. Since 1984, the
The
Several individual artists have been the subject of
Internationally, Indigenous artists have represented Australia in the
In 2005, the Australian Research Council and Land & Water Australia supported an artistic and archaeological collaboration through the project Strata: Deserts Past, Present and Future, which involved Indigenous artists Daisy Jugadai Napaltjarri and Molly Jugadai Napaltjarri.[70]
In London, Tate Modern's exhibition, A Year in Art: Australia 1992,[71] which opened in June 2021,[72] was extended until September 2022 owing to its popularity. In mid-2022, the National Gallery Singapore opened a major exhibition, Ever Present: First Peoples Art of Australia, which is the most extensive show of its type to tour Asia.[73]
Collections
Contemporary Indigenous art works are collected by all of Australia's major public galleries. The National Gallery of Australia has a significant collection, and a new wing was (pictured) opened in 2010 for its permanent exhibition. Some state galleries, such as the Art Gallery of New South Wales,[74] the National Gallery of Victoria,[1] and the Museum and Art Gallery of the Northern Territory,[75] have gallery space permanently dedicated to the exhibition of contemporary Indigenous art. The National Gallery of Victoria's collection includes the country's main collection of Indigenous batik.[76] The Araluen Centre for Arts and Entertainment hosts the country's largest collection of works by Albert Namatjira.[63]
Galleries outside Australia acquiring contemporary Indigenous art include the
Prizes
Contemporary Indigenous art works have won a number of Australia's principal national art prizes, including the
As well as winning major prizes, Indigenous artists have been well represented among the finalists in these competitions. The Blake Prize has included numerous Indigenous finalists, such as Bronwyn Bancroft (2008),[82] Angelina Ngal[83] and Irene (Mbitjana) Entata (2009),[84] Genevieve Kemarr Loy, Cowboy Loy Pwerl, Dinni Kunoth Kemarre, Elizabeth Kunoth Kngwarray (2010), and Linda Syddick Napaltjarri (on three separate occasions).[85]
Australia's major Indigenous art prize is the
Benefits and costs
The flowering of Indigenous art has delivered economic, social and cultural benefits to Indigenous Australians, who are socially and economically disadvantaged compared to the Australian community as a whole.[90] The sale of art works is a significant economic activity for individual artists and for their communities. Estimates of the size of the sector vary, but placed its value in the early 2000s at A$100 to 300 million, and by 2007 at half a billion dollars and growing.[91] The sector is particularly important to many Indigenous communities because, as well being a source of cash for an economically disadvantaged group, it reinforces Indigenous identity and tradition, and has aided the maintenance of social cohesion.[92] For example, early works painted at Papunya were created by senior Aboriginal men to help educate younger generations about their culture and their cultural responsibilities.[93]
"There is currently an upsurge in interest in Aboriginal art among the Australian public and overseas visitors...The resultant pressure on artists to produce has led ultimately to a collapse or emasculation of the art form. Aboriginal art is now under incredible strain to fulfil white demands on Aboriginal culture."[94]
Indigenous Australian activist Djon Mundine, writing during Australia's bicentennial year, 1988.
Fraud and exploitation are significant issues affecting contemporary Indigenous Australian art. Indigenous art works have regularly been reproduced without artists' permission, including by the Reserve Bank of Australia when it used a David Malangi painting on the one dollar note in 1966.[95] Similar appropriation of material has taken place with fabric designs, T-shirts and carpets.[96] There have been claims of artists being kidnapped, or relocated against the wishes of their families, by people keen to acquire the artists' paintings.[97][98]
Artists, particularly in the remoter parts of Australia, sometimes paint for outlets other than the Indigenous art centres or their own companies. They do this for economic reasons, however the resulting paintings can be of uneven quality, and of precarious economic value.[99] Doubts about the provenance of Indigenous paintings, and about the prices paid for them, have spawned media scrutiny,[100] an Australian parliamentary inquiry,[101] and have been a factor limiting the growth in value of works.[102] Questions regarding the authenticity of works have arisen in relation to particular artists, including Emily Kngwarreye, Rover Thomas, Kathleen Petyarre, Turkey Tolson Tjupurrula, Ginger Riley Munduwalawala, and Clifford Possum Tjapaltjarri; in 2001 an art dealer was jailed for fraud in relation to Clifford Possum's work.[103] These pressures led in 2009 to the introduction of a commercial code of conduct, intended to establish "minimum standards of practice and fair dealing in the Indigenous visual arts industry".[104] However, persistent problems in the industry in September 2012 led the chair of the code's administering body Indigenous Art Code, Ron Merkel, to call for the code to be made mandatory for art dealers.[105]
Prices fetched in the secondary market for Indigenous art works vary widely. Until 2007, the record at auction for an Indigenous art work was $778,750 paid in 2003 for a Rover Thomas painting, All That Big Rain Coming from the Top Side. In 2007, a major work by Emily Kngwarreye, Earth's Creation, sold for $1.056 million, a new record that was however eclipsed only a few months later, when Clifford Possum's epic work Warlugulong was bought for $2.4 million by the National Gallery of Australia.[106] At the same time, however, works by prominent artists but of doubtful provenance were being passed in at auctions.[107] In 2003 there were 97 Indigenous Australian artists whose works were being sold at auction in Australia for prices above $5000, with the total auction market worth around $9.5 million. In that year Sotheby's estimated that half of sales were to bidders outside Australia.[108] By 2012, the market had changed, with older works fetching higher prices than contemporary paintings.[102]
A 2011 change in Australian superannuation investment rules resulted in a sharp decline in sales of new Indigenous art. The change prohibits assets acquired for a self-managed superannuation fund from being "used" before retirement; in particular, an artwork must be kept in storage rather than displayed.[109]
Influence on non-Indigenous artists
Initially a source of ethnographic interest, and later an artistic movement with roots outside Western art traditions, Indigenous art was influenced by, and had influence upon, few European Australian artists. The early works of
Assessment
Professor of art history Ian McLean described the birth of the contemporary Indigenous art movement in 1971 as "the most fabulous moment in Australian art history", and considered that it was becoming one of Australia's founding myths, like the
The assessments have not been universally favourable. When an exhibition was held in the United Kingdom in 1993, a reviewer in The Independent described the works as "perhaps the most boring art in the world".[122] Museum curator Philip Batty, who had been involved in assisting the creation and sale of art in central Australia, expressed concern at the effect of the non-Indigenous art market on the artists – particularly Emily Kngwarreye – and their work. He wrote "there was always a danger that the European component of this cross-cultural partnership would become overly dominant. By the end of her brief career, I think that Emily had all but evacuated this intercultural domain, and her work simply became a mirror image of European desires".[123] Outstanding art works are mixed with poor ones, with the passage of time yet to filter the good from the bad.[124]
2020s resurgence
There was evidence of a resurgence of interest in contemporary Australian Indigenous art in the early 2020s, both at home and abroad. Works at the Fremantle Arts Centre's 2022 Revealed exhibition, featuring early-career artists, sold three-quarters of the works on the first night. In London, England, Tate Modern's exhibition, A Year in Art: Australia 1992, which opened in June 2021, was extended until September 2022 owing to its popularity.[73] In 2022, Sotheby's in New York moved its annual Australian Indigenous art sale from the winter off-season to the May "marquee month",[125] with the highest-selling work going for just over one million Australian dollars. In mid-2022, the National Gallery Singapore opened a major exhibition, Ever Present: First Peoples Art of Australia, which is the most extensive show of its type to tour Asia.[73]
See also
- APY Art Centre Collective
- Indigenous Australian art
- List of Indigenous Australian art movements and cooperatives
- Torres Strait Islander art
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External links
- APY Gallery Adelaide website
- Australian Art Collector magazine's Guide to Indigenous Art Centres
- Papunya Collection, National Museum of Australia Archived 7 October 2012 at the Wayback Machine
- Ernabella Arts Collection, National Museum of Australia
- Papunya Painting: Out of the Desert, National Museum of Australia online exhibition Archived 25 May 2012 at the Wayback Machine