A Critical Look at the Tate’s Upcoming Exhibition

This year marks a significant moment for Aboriginal art on the international stage as the Tate Modern in London prepares to host a landmark exhibition dedicated to Emily Kame Kngwarreye (c.1914-1996). The Tate is framing the exhibition as “the first time European audiences will experience a comprehensive showcase of one of Australia’s most celebrated artists”. But as we anticipate this major event, we also feel the need to ask important questions about the way her work is being presented.

At Kate Owen Gallery, we are deeply invested in the recognition and appreciation of Aboriginal art, and we welcome the Tate’s efforts to bring Emily’s work to a global audience. However, with the exhibition drawing heavily from the National Gallery of Australia’s (NGA) 2023 retrospective, we wonder: what stories will this exhibition tell, and what stories will be left untold?

In this series, Emily’s European Summer, we explore the broader context of Emily Kame Kngwarreye’s exhibition history - from her previous appearances in Europe, to the pioneering 2008 National Museum of Australia’s (NMA) exhibition and tour to Japan, and the 2023 retrospective that forms the foundation for the Tate show. We will examine curatorial choices, discussing which works have been included, which have been omitted, and what impact these decisions have on the narrative presented to an international audience.

One significant concern is the selective consultation and representation of Emily's family, reason being Family is everything in Indigenous culture. While some family members have been featured prominently in the 2023 NGA and Tate exhibitions, others - including individuals who were instrumental in the success of the 2008 NMA show and whom we have proudly represented at Kate Owen Gallery - appear to have been omitted.

This raises broader questions about how institutions determine whose voices are heard, and how those choices affect the telling of Emily’s story. Another point of discussion is the change in the spelling of her name in the 2023 NGA and Tate exhibitions, raising questions about how institutions shape an artist's legacy.

This blog series will also take a critical look at the exhibition itself when we visit in a few weeks. How does the Tate position Emily within the art world? Does it fully honour the complexity of her artistic evolution and deep cultural connections? How does it address issues of provenance and consultation with her family and community? These are questions we believe must be asked whenever Aboriginal art is presented on the world stage.

Our greatest hope is to see Aboriginal art appreciated, celebrated, and understood globally. We believe that exhibitions like this have the power to shape the way the world sees Indigenous art and culture. But with that power comes responsibility - to ensure that representation is not shaped by bias, that the finest works are chosen based on artistic merit rather than curatorial preferences, and that diverse Indigenous voices are heard and respected throughout the process.

As we embark on this critical journey, we invite you to join us in questioning, celebrating, and analysing what Emily’s European Summer truly means for the future of Aboriginal art. If you have any questions or points you’d like us to discuss in the next blog, please reach out to us at hello@kateowengallery.com.

26 April – 25 May 2025
On Display in our Third Level Collectors Gallery

We’re thrilled to announce our upcoming exhibition The Pintupi Nine: Tradition and Legacy — a powerful celebration of one of the most extraordinary stories in Australian art.

View Exhibition Catalogue 

Emerging from the remote Gibson Desert in 1984, the Pintupi Nine captured the world’s imagination. Having lived a traditional, nomadic life until their dramatic encounter with the modern world, these artists - including the renowned Tjapaltjarri brothers (Warlimpirrnga, Walala, and the late Thomas) and their sister Yukultji Napangati - went on to create some of the most iconic works in the story of contemporary Aboriginal art.

Their paintings are deeply rooted in culture, place, and ancestral knowledge. Every canvas is a map of memory and country - rich with sacred stories, shimmering desert landscapes, and extraordinary visual language passed down for millennia.

To coincide with the exhibition, we’ve created a new article exploring the incredible story of the Pintupi Nine in more detail.

Learn More

Why These Artists Belong in Every Serious Collection

Unparalleled Cultural and Historical Significance

The Pintupi Nine represent one of the last unbroken links to a pre-contact way of life. Their paintings are not just artworks—they are living documents of an ancient culture, making them invaluable to collectors who recognize the importance of preserving Indigenous heritage.

International Recognition and Market Demand

From the National Gallery of Victoria to exhibitions in New York, their artworks are consistently featured in major institutions. This level of global recognition ensures the enduring value of their pieces, making them both a cultural treasure and a sound investment.

Aesthetic Excellence and Unique Artistic Vision

Each artist brings a distinct yet complementary style, creating mesmerizing visual narratives of Dreaming stories. Their work is characterized by intricate patterns, rich textures, and deep symbolism, making them a striking addition to any collection.

Investment Value and Legacy

Aboriginal art is one of the fastest-growing segments in the global art market, with works by the Pintupi Nine consistently increasing in value. As these artists age, and with the recent passing of Thomas Tjapaltjarri, their paintings become even more significant, heightening their desirability among serious collectors.

Own a Piece of History

The Pintupi Nine’s journey from isolation to international acclaim is one of the most extraordinary stories in contemporary art. Their works offer more than just visual beauty—they carry the weight of history, culture, and an ancient artistic tradition. For collectors, acquiring a piece by the Pintupi Nine is not just about owning exceptional art; it’s about preserving and celebrating one of the world’s oldest living cultures.

 

Kate Owen Gallery is honored to present these extraordinary works. Explore our exhibition and invest in a legacy that transcends time.

View Paintings

 

When Indigenous artist Harold Thomas raised his Aboriginal Flag design in 1971 at a land rights rally in Victoria Square, Adelaide, on then-National Aborigines Day, it immediately resonated with Australia’s First Nations people. And every time over the past 50 years it has flown, it has grown in significance and meaning.

Learn More About the Aboriginal Flag

 

Artwork by Sarrita King

When copyright issues restricting its use became known to current Minister for Indigenous Australians, Ken Wyatt AM, it began a lengthy consultation process to support Mr Thomas to maintain the integrity of the flag and allow freer use.

On the 25th of January 2022, it was announced that the Aboriginal Flag copyright had been transferred to the Commonwealth. The Australian government paid $20.05 million to Mr Thomas and licence holders to extinguish most of the licences and secure copyright.

A commercial company will keep its exclusive licence to be able to manufacture Aboriginal flags for global commercial use, but the government said the company would not stop people from making their own flags for personal use.

Gadigal Artist and former Aboriginal Art Association of Australia board member Kate Constantine gave evidence at the Senate Enquiry leading to this outcome. She said “it was extremely important for me to be part of this discussion. Our flag holds so much value for the Aboriginal people, one of strength, power and love, it’s a national shame that the copyright for the flag itself wasn’t considered in 1995 when it was ratified as an official flag of the nation by the Commonwealth.

"This has caused much pain, heartache and divisiveness within our community. I am hopeful that this outcome allows our people to again be proud of our flag, and I would also like to think that this payout represents to Aboriginal artists a benchmark for the fair payment and treatment of their artworks copyright.”

So how did they come to the amount of $20.05 million? In an opinion piece Mr Wyatt explains that they had to discharge the three existing licence arrangements. This included estimating the potential revenue over the life of the contracts and reaching agreements with the licensees on appropriate compensation for them giving up their exclusive rights. The intrinsic value of the Flag also had to be considered. No small feat I’m sure!

Mr Thomas has said he hoped Australians would use the flag with respect and pride. “I am grateful that my art is appreciated by so many, and that it has come to represent something so powerful to so many.

“The Flag represents the timeless history of our land and our people’s time on it. It is an introspection and appreciation of who we are. It draws from the history of our ancestors, our land, and our identity and will honour these well into the future.”

With this news, it certainly is a symbol that can now be celebrated and shared by all Australians– growing in strength and meaning for generations to come.

 

The world seems a little less bright after learning of the passing of the incomparable Ms G.Petyarre on 8 June 2021. She was one of Australia’s most successful and significant female artists and this news is a great loss to the art world and those people who knew her personally or through her paintings.

So how did a woman raised in a remote part of the Eastern Desert and instructed in Anmatyerre law and traditions capture the hearts of art lovers around the world? Petyarre participated in the first art programs organized at Utopia in 1977.

The batik-making workshops marked the emergence of Aboriginal women artists, and from the outset Petyarre’s richly colourful works were informed by the natural shapes and patterns of local leaves, flowers, seeds and grasses. They reflected the daily interaction of desert women with their environment.

When acrylic paints and canvas were introduced in the 1980’s her talent was immediately apparent. Working alongside Emily Kame Kngwarreye and inspired by the older woman’s groundbreaking success and brave, expressive abstraction, Gloria excitedly began to experiment and freely. She tapped into her own experiences to produce a confident and distinctive style.

In 1999, Petyarre burst onto the Australian art scene in a big way when she won the prestigious Wynne Prize for Landscape. She was the first Indigenous Australian to win a major non-Indigenous art prize, cementing her name in art history.

Gloria continued to become a worldwide success with her unique subject matter and remarkable ability to depict her ancient dreaming stories in a highly contemporary and expressive manner. Her depiction of the Kurrajong bush medicine leaves—with her layered, free-flowing, swirling brushstrokes that scatter across the canvas—became her iconic motif.

An artist of great versatility, Petyarre experimented with her iconic subject matter, producing what is known as her ‘Big Leaf’ paintings, as well as her Thorny Mountain Devil Lizard, Yam and Grass Seed Dreaming.

To watch Petyarre paint was a pleasure and a priveldge. Her tangible excitement resulted in artworks that are pulsating with life. She could be heard singing the old songs; Awelye, little lizard. Her brush seemed to move to the rhythm of her songs.

Patyarre was selected as a Wynne Prize finalist four more times, and her work was featured numerous times in the “Telstra National Aboriginal and Torres Strait Art Award”.  She has travelled internationally with her work to Europe, America and Asia. She is held in major collections both nationally and internationally.

Her list of artistic achievements is immense and her gift as an artist has touched many people - but it was her personal presence that left the greatest impact. She took great pleasure in travelling with her art to many countries, participating in significant exhibitions and projects. The delight she took in meeting new people, unreservedly sharing the stories and songs of her Country are some of our most cherished memories of her.

Whilst we are feeling the loss of our dear friend, our hearts are also aching for Ms Petyarre’s large extended family (many of whom we also represent at the gallery) who are experiencing immeasurable grief..

She was a woman of immesurable generosity. Her beauty truly radiated from the inside out and manifested itself in her stunning artworks that are cherished by people around the world.

During this sad time, it does give us comfort to know that her beautiful spirit will continue to radiate through her canvases.

Travel safely home to Anmatyerre Country. You will be dearly missed.