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#aboriginalart
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A few highlights from the Radical Textiles exhibition in Tarntanya / Adelaide.
#protest #protestart #radicaltextiles #Aboriginalart #queer #union #queerart #feminist #feminism #fridalasvegas #Australianaet #designers #fashion #textile
#protest #protestart #radicaltextiles #Aboriginalart #queer #union #queerart #feminist #feminism #fridalasvegas #Australianaet #designers #fashion #textile
#Crustmas 
:
Tony Dhanyula (Milingimbi, Central Arnhem Land, Northern Territory, Australia, 1935-2005)
Mangrove #crabs associated with the Djang’kawu creation story, 1986
Earth pigments on Stringybark (Eucalyptus sp.), 139.7×56.5cm
National Gallery of Victoria O.35-1986
https://www.ngv.vic.gov.au/explore/collection/work/2203/
#IndigenousArt #AboriginalArt #FirstNationsArt #AustralianArt
Lin Onus (Australia, 1948-1996)
Ngakaydjil ( #Lizards ), c.1993
gouache on illustration board
49.0 x 37.0 cm
https://www.mutualart.com/Artwork/NGAKAYDJIL--LIZARDS-/3F3CB1CC1982AE3E9C55D738717DE4B6
#AustralianArt #AboriginalArt #IndigenousArt
#Art and Post Colonial #Activism : Conversation with Richard Bell
NEW YORK, November 15, 2024 — Multimedia #artist Richard Bell reflects on his journey from #activist to artist, exploring how his work and involvement in the #AboriginalArt community influence the conversation around #Indigenous and #HumanRights in Australia and beyond.
Carin Kuoni, senior director and chief curator of Vera List Center for Art and Politics at the New School, moderates the conversation. (1 hr., 25 min.)
This conversation is part of a series of programs held in conjunction with the Maḏayin: Eight Decades of Aboriginal #Australian Bark Painting from Yirrkala, on view at #AsiaSocietyMuseum through January 5, 2025.
https://asiasociety.org/video/art-and-post-colonial-activism-conversation-richard-bell
Lorraine Namarnyilk "Sugarbag Dreaming" 51cm x 71cm on
Arches Djurra 600g.
This painting depicts a sugarbag person from country east of the Mann River. The people were living in the area when Wak, the black crow, became angry that they were stealing his country so cut them in half with a stone axe. They became mankung or sugarbag, the honey of native bees that is found in hives in tree hollows. The bees do not sting and if it can be found, mankung is delicious. The wax is used for a number of purposes including sealing the mouthpieces of didjiridus.
Australian Aboriginal elder & artist Daisy Loongkoonan (c. 1910 – 2018) started painting at 94. She's pictured below exhibiting her work age 105.
https://en.wikipedia.org/wiki/Loongkoonan
#MonotremeMonday:
#Echidna #petroglyph, 90cm
from the 'Echidna and Fish' site at West Head in Ku-ring-gai Chase National Park, NSW, Australia
via Australian Museum: https://australian.museum/learn/cultures/atsi-collection/australian-archaeology/indigenous-rock-engraving-of-an-echidna/
![“Engraved on a horizontal Hawkesbury sandstone platform, [the echidna] has 12 infill lines from head to tail representing the echidna's quills. The photograph was taken in the late afternoon when the sun's slanting rays throw the grooves into relief. The pale greenish-coloured spots are lichen growing on the sandstone.” “It is difficult to date the echidna engraving using current scientific techniques, particularly as there is no soil covering it. Dating is also difficult because re-grooving sometimes occurs during later ceremonies. However the style of the drawing, known as 'simple figurative', and its state of preservation suggests it was made in the last few thousand years. The simple figurative style is confined to the region.”](https://media.historians.social/media_attachments/files/112/912/368/289/905/055/original/684887ac7be5f47d.png "“Engraved on a horizontal Hawkesbury sandstone platform, [the echidna] has 12 infill lines from head to tail representing the echidna's quills. The photograph was taken in the late afternoon when the sun's slanting rays throw the grooves into relief. The pale greenish-coloured spots are lichen growing on the sandstone.” “It is difficult to date the echidna engraving using current scientific techniques, particularly as there is no soil covering it. Dating is also difficult because re-grooving sometimes occurs during later ceremonies. However the style of the drawing, known as 'simple figurative', and its state of preservation suggests it was made in the last few thousand years. The simple figurative style is confined to the region.”")
#MonotremeMonday:
Ngarrbek, The #Echidna, 1948
Unidentified First Nations artist, Kunbarllanjnja (Oenpelli), Northern Territory, Australia
earth pigments on Stringybark (Eucalyptus sp.), 26.3 × 51.4 cm
National Gallery of Victoria O.10-1956: https://www.ngv.vic.gov.au/explore/collection/work/2107/
#FirstNationsArt #AboriginalArt #IndigenousArt
A really lovely piece of writing and a beautiful piece of art.
ABC News · Making Mun-dirra
#Woodensday:
Peter Wadaymu Ganambarr (1930-1997) - Yolngu, Ngaymil clan, Dhuwa moiety
Bark Painting showing Wititj at Garrimala, c.1968-71
Galiwin'Ku, Australia
Bark, pigments 56 x 23.8 x 0.8 cm
On display at Baltimore Museum of Art
Wititj = the sacred rainbow serpent (olive python)
#AboriginalArt #IndigenousArt #AustralianArt
I watched You Can Go Now, this hilarious, fierce and brilliant documentary by world renowned, but unknown to white Australia, artist, Richard Bell. It’s directed by the much acclaimed, in every field she turns her attention to, Prof Larissa Behrendt.
An important watch for everyone living in a country that dispossessed its First Nations people.
#Auspol #AustralianArt #TreatyNow #YouCanGoNow #UnsettledSince1788 #AustraliaHasABlackHistory #LarissaBehrendt #RichardBell #AboriginalArt #VeniceBiennale
#AboriginalArtItsAWhiteThing
Review: You Can Go Now is a scorching documentary about Indigenous artist Richard Bell
https://www.canberratimes.com.au/story/8059657/you-can-go-now-is-a-scorching-documentary-about-indigenous-artist-richard-bell/
The Canberra Times · You Can Go Now is a scorching documentary about Indigenous artist Richard BellThis multilayered film has ideas that might upset some.
My first hand exprience with Aboriginal curated bush medicine.
The leaves of a tree had been boiled creating an oily fragragrant brew with anti-inflamatory properties.
The leaves & the brew were then massaged gently onto my hands over some bruises and the treatment accelerated the recovery & their full disappearance.
The brewed substance although oily evaporated very quickly and left no stains whatsoever.
And what made it more memorable was that the masseur was a famous Australian Aboriginal artist (Dhopiya Yunupingu!)
#photography #travel #arnhemland #humor #AboriginalArt #medicine #bushmedicine
Continued thread
I just had to buy this piece (artist: Elizabeth Dixon) which features a Dromornis bone and the skull of the new species of Baru which I am so close to naming (publication just weeks away). 2/2
Today I had the pleasure of attending the opening of Engawala Art Centre. Engawala is an Aboriginal community very close to the Alcoota fossil site. We have been working together with the artists of Engawala, to sell some of their work at Megafauna Central, and bringing the artists to the fossils so that they may create Alcoota-themed works. 1/2
Continued thread
An online search for the artist Yakultji Napangati identified several artist profiles. She was born at Wilkinkarra (Lake Mackay) in the Gibson Desert of Western Australia
A very similar painting to Star Gate is Women’s Dreaming, shown here, but watch Shimmer for context of her art
Shimmer https://youtu.be/MskXClHgpP4
