When It Comes to Aboriginal Art, It Can Branch Out Into the Imagination!
When It Comes to Aboriginal Art, It Can Branch Out Into the Imagination!
This artwork was hanging on the wall of our room in our B & B in Trieste. If anyone can identify the artist, I will gladly give him/her credit.
Indigenous Australian art or Australian Aboriginal art is art made by the Indigenous peoples of Australia and in collaborations between Indigenous Australians and others. It includes works in a wide range of media including painting on leaves, wood carving, rock carving, sculpting, ceremonial clothing and sand painting. This article discusses works that pre-date European colonization as well as contemporary Indigenous Australian art by Aboriginal Australians. These have been studied in recent years and have gained much international recognition.
There are several types of aboriginal art, and ways of making art, including rock painting, dot painting, rock engravings, bark painting, carvings, sculptures, and weaving and string art.
On modern artwork, dots are generally applied with bamboo satay sticks. The larger flat end of bamboo satay sticks are more commonly used for single application of dots to paintings, but the sharp pointier end is used to create fine dots. To create superimposed dotting, artists may take a bunch of satay sticks, dip the pointy ends into the paint and then transfer them onto the canvas in quick successions of dotting.
Certain symbols within the Aboriginal modern art movement retain the same meaning across regions although the meaning of the symbols may change within the context of a painting. When viewed in monochrome other symbols can look similar, such as the circles within circles, sometimes depicted on their own, sparsely, or in clustered groups. Depending upon the tribe of which the artist is a murnanember, symbols such as campfire, tree, hill, digging hole, waterhole, or spring can vary in meaning. Use of the symbol can be clarified further by the use of colour, such as water being depicted in blue or black.
Many paintings by Aboriginal artists, such as those that represent a "dreamtime story", are shown from an aerial perspective. The narrative follows the lie of the land, as created by ancestral beings in their journey or during creation. The modern day rendition is a reinterpretation of songs, ceremonies, rock art and body art that was the norm for many thousands of years.
Whatever the meaning, interpretations of the symbols should be made in context of the entire painting, the region from which the artist originates, the story behind the painting, and the style of the painting, with additional clues being the colours used in some of the more modern works, such as blue circles signifying water.(Source: Aboriginal Symbols – Indigenous Australia)
Story-telling and totem representation feature prominently in all forms of Aboriginal artwork. Additionally, the female form, particularly the female womb in X-ray style, features prominently in some famous sites in Arnhem Land.
In 1934 Australian painter Rex Batterbee taught Aboriginal artist Albert Namatjira western style watercolour landscape painting, along with other Aboriginal artists at the Hermannsburg mission in the Northern Territory. It became a popular style, known as the Hermannsburg School, and sold out when the paintings were exhibited in Melbourne, Adelaide and other Australian cities. Namatjira became the first Aboriginal Australian citizen, as a result of his fame and popularity with these watercolour paintings.
In 1966, one of David Malangi’s designs was produced on the Australian one dollar note, originally without his knowledge. The subsequent payment to him by the Reserve Bank marked the first case of Aboriginal copyright in Australian copyright law.
In 1988 the Aboriginal Memorial was unveiled at the National Gallery of Australia in Canberra made from 200 hollow log coffins, which are similar to the type used for mortuary ceremonies in Arnhem Land. It was made for the bicentenary of Australia’s colonisation, and is in remembrance of Aboriginal people who had died protecting their land during conflict with settlers. It was created by 43 artists from Ramingining and communities nearby. The path running through the middle of it represents the Glyde River.
In that same year, the new Parliament House in Canberra opened with a forecourt featuring a design by Michael Nelson Tjakamarra, laid as a mosaic.
The late Rover Thomas is another well known modern Australian Aboriginal artist. Born in Western Australia, he represented Australia in the Venice Biennale of 1991. He knew and encouraged other now well-known artists to paint, including Queenie McKenzie from the East Kimberley / Warmun region, as well as having a strong influence on the works of Paddy Bedford and Freddy Timms.
In the late 1980s and early 1990s the work of Emily Kngwarreye, from the Utopia community north east of Alice Springs, became very popular. Although she had been involved in craftwork for most of her life, it was only when she was in her 80s that she was recognised as a painter. Her works include Earth’s Creation. Her styles, which changed every year, have been seen as a mixture of traditional Aboriginal and contemporary Australian. Her rise in popularity has prefigured that of many Indigenous artists from central, northern and western Australia, such as Kngwarreye’s niece Kathleen Petyarre, Minnie Pwerle, Dorothy Napangardi, Lena Pwerle, Angelina Ngale (Pwerle) and dozens of others, all of whose works have become highly sought-after. The popularity of these often elderly artists, and the resulting pressure placed upon them and their health, has become such an issue that some art centres have stopped selling these artists’ paintings online, instead placing prospective clients on a waiting list for work.
Current artists in vogue include Jacinta Hayes, popular for her iconic representation of "Bush Medicine Leaves" and "Honey Ants", Rex Sultan (who studied with Albert Namatjira), Trephina Sultan and Reggie Sultan, Bessie Pitjara and Joyce Nakamara, amongst others.
Despite concerns about supply and demand for paintings, the remoteness of many of the artists, and the poverty and health issues experienced in the communities, there are widespread estimates of an industry worth close to half a billion Australian dollars each year, and growing rapidly.
In 1971–1972, art teacher Geoffrey Bardon encouraged Aboriginal people in Papunya, north west of Alice Springs to put their Dreamings onto canvas. These stories had previously been drawn on the desert sand, and were now given a more permanent form.
The dots were used to cover secret-sacred ceremonies. Originally, the Tula artists succeeded in forming their own company with an Aboriginal Name, Papunya Tula Artists Pty Ltd, however a time of disillusionment followed as artists were criticised by their peers for having revealed too much of their sacred heritage. Secret designs restricted to a ritual context were now in the market place, made visible to Australian Aboriginal painting. Much of the Aboriginal art on display in tourist shops traces back to this style developed at Papunya. The most famous of the artists to come from this movement was Clifford Possum Tjapaltjarri. Also from this movement is Johnny Warangkula, whose Water Dreaming at Kalipinya twice sold at a record price, the second time being 6,500 in 2000.
The Papunya Collection at the National Museum of Australia contains over 200 artifacts and paintings, including examples of 1970’s dot paintings.
For further information please visit en.wikipedia.org/wiki/Indigenous_Australian_art and www.google.co.uk/search?q=aboriginal+art&biw=1344&…