Emily's European Summer - Part 2

Emily Kame Kngwarreye’s Exhibition Legacy: What Came Before the Tate Show?

As the Tate Modern prepares to present its major survey of Emily Kame Kngwarreye’s work, it’s essential to look back at the exhibitions that have shaped how her legacy has been understood - and how that legacy continues to evolve. In particular, we take a close look at the 2023 National Gallery of Australia (NGA) retrospective, which forms the foundation of the upcoming Tate show.

One of the most important exhibitions in Emily’s legacy to date was the 2008 exhibition Utopia: The Genius of Emily Kame Kngwarreye, developed by the National Museum of Australia and presented at major galleries in Japan before returning to Canberra.

Showcasing 120 works drawn from over 60 public, private, and corporate collections, it was the most comprehensive exhibition of Emily’s work ever assembled to that point. It charted the full arc of her brief but explosive career, from her first canvas in 1988 to her final works in 1996, revealing a deep visual and conceptual continuity from beginning to end.

This exhibition was not just about the paintings themselves. It was grounded in community, supported by an Indigenous reference group, and shaped by extensive consultation. A key figure in that process was Barbara Weir, Emily’s niece and a respected artist.

Fluent in language and protocol, Barbara played a critical role in connecting the curatorial team to the right people, places, and stories - even during a politically fraught time in the Northern Territory. She introduced curator Margo Ngawa Neale and the Ronin Films team to senior custodians and close relatives, helped secure invaluable cultural content, and smoothed the path for respectful engagement.


Barbara passed away in January 2023, just before the NGA exhibition opened. While she was no longer with us to participate in this latest project, the consultative process had already been underway for some time. Her absence is deeply felt - not only because of her pivotal role in past exhibitions, but because she was an extraordinary woman, artist, and cultural bridge.

Her son, Fred Torres, a trailblazing Indigenous art dealer, also contributed significantly to the 2008 project. Both Barbara and Fred travelled to Japan for the opening alongside artist Gloria Petyarre, representing Utopia with strength and pride. Gloria performed songs and dances connected to Emily’s Country, giving many Japanese visitors their first experience of Aboriginal culture. Their presence was more than symbolic -it was an embodiment of the community connection that underpins Emily’s work.

It is striking, then, to note the absence of these same figures from the NGA’s 2023 retrospective and the forthcoming Tate exhibition. Despite Fred’s pioneering role and the fact that his collection formed part of the 2008 show, he is not acknowledged in the 2023 catalogue. Nor is Margo Neale, who curated both the 1998 and 2008 retrospectives. What does it say when those who helped shape and protect Emily’s legacy are no longer part of the conversation?


Some photos of the 2023 NGA Exhibition

Curatorial choices shape public perception. One of the most glaring aspects of the 2023 NGA retrospective was the omission of three major milestones in Emily’s career: Earth’s Creation (1994), her remarkable Final Series of 24 small paintings completed in just three days, and the absence of Emily's Wall (1994–95), a monumental project conceived and commissioned by prominent art dealer and collector Hank Ebes.

Emily's Wall was painted over the course of a year and depicts a seasonal cycle in Kngwarreye’s Country. Each work was completed in a single week, resulting in an expansive, immersive body of fifty panels that flank a monumental centrepiece, with additional long, narrow works representing the wet and dry seasons. Before work commenced, the consent of Traditional Owner Greeny Purvis Petyarre was sought and granted - a significant act of cultural authority and respect. The project was carefully documented, including Emily’s process of mapping out the sequence of the wall. The scale and ambition of this work is extraordinary, and Tate Modern - one of the few galleries with walls large enough to accommodate it - would have been an ideal venue to showcase such a masterpiece.

The NGA’s own multi-panel work, The Alhalker Suite (1993), is justifiably admired and forms a key part of their display. Yet one cannot help but wonder what it might have meant to include both of these major wall installations in the Tate show. What an extraordinary opportunity it could have been for audiences to experience the breadth of Emily’s vision through these two monumental projects, each underpinned by meaningful consultation and storytelling.

Earth’s Creation is arguably Emily’s most famous and monumental painting - acclaimed for its power, scale, and expressive energy. Its absence from the exhibition is perplexing, particularly given that there appears to be no issues surrounding authenticity or access. The work is currently held by respected collectors Nicola and Andrew Forrest and has been widely exhibited. If provenance is the concern - as some have suggested - it raises uncomfortable questions about curatorial gatekeeping and whether artworks are being assessed by their market path rather than their merit.

Equally troubling is the omission of Emily’s Final Series. These 24 paintings, completed shortly before her passing, offer an emotionally resonant conclusion to her career. One of these works was prominent enough to grace the cover of the 2008 Japanese catalogue, yet the entire series is absent from both the 2023 NGA show and the upcoming Tate exhibition. The result is a narrative that ends abruptly, severing a vital chapter of Emily’s creative journey.


A selection of 'The Final Series' hung at The Lume Exhibition, 2023 & the 2008 Exhibition Catalogue Cover 

If the goal is to present a true retrospective, these exclusions are difficult to reconcile. The public loses out - not only on seeing some of Emily’s most profound works, but also on understanding the full arc of her practice. When curators allow biases around provenance or artist representation to dictate inclusion, it is ultimately the artist’s legacy that suffers.

These are especially pressing questions when one considers the change in the spelling of Emily’s name. The 2023 NGA and Tate exhibitions have adopted the spelling "Emily Kam Kngwarray," a decision that has caused division. While curators say the change reflects linguistic standards and community consultation, others have questioned whether the artist’s own wishes have been respected.

Margo Ngawa Neale, who curated Emily’s 1998 and 2008 retrospectives and worked closely with her, has stated that Emily was adamant her name remain unchanged. She was aware that linguists might try to alter it posthumously, but insisted it stay the same - because that was the name the world knew her by. Neale considered it supremely disrespectful to override that wish.

Her gravestone, after all, reads “Emily Kame Kngwarreye” - a lasting and personal testament to how she wanted to be remembered. For her family, this isn’t just a question of orthography; it’s about legacy, love, and respect. Are we witnessing a situation where academic accuracy is being prioritised over the personal - over the wishes of the artist herself and her family, who knew and loved her? 

Charmaine Pwerle, Barbara Weir’s daughter, is another glaring omission. A highly accomplished artist and initiated woman in her own right, Charmaine grew up on Country, worked with the Urapuntja Land Council, and witnessed Emily painting firsthand. She has also worked for a leading Melbourne gallery, served as a Director and Member of the Aboriginal Cultural Council for the Aboriginal Art Association of Australia, and has long been an active advocate for artists' rights and industry standards.

Despite this deep connection to both community and the art world, Charmaine is not included in the curatorial framework of the current exhibitions. Instead, Emily’s legacy is largely presented through the lens of the newly established Utopia Art Centre, which only opened in 2020.

While the centre describes itself as providing a safe and ethical space for artists - particularly in contrast to past dealer-led models - Utopia has historically been a region defined by its independent artists and self-determination. Emily herself chose to work independently, as do many others.

To present her legacy solely through the voices of a small and recent subset of that community, while excluding influential independent artists like Charmaine, seems an unfortunate narrowing of perspective. It would have been powerful to include her voice in the dialogue - both as someone shaped by Emily’s legacy, and as someone shaping the future of Utopia art. Her omission feels less about merit, and more about method - how she chooses to work - and that, in itself, raises important questions about inclusivity and representation.

Even the claim that this is the "first time European audiences will experience a comprehensive showcase" of Emily’s work is worth questioning. In 1999, renowned collector Hank Ebes curated a major exhibition of Emily’s work at Amsterdam’s Oude Kerk. The show drew massive crowds and was a significant moment for Aboriginal art in Europe. Yet neither that exhibition nor Ebes' works are referenced in the current narrative.


The 2023 NGA retrospective catalogue includes a timeline described as a "selected overview of the events impacting and shaping Emily's life." While it doesn’t aim to list every exhibition, the omission of a major early solo European show is nonetheless surprising. Especially when compared to the inclusion of more recent developments, like the establishment of the Utopia Art Centre in 2020.

And while the 2022 exhibition Emily: Desert Painter of Australia at Gagosian Paris is included in the timeline, it raises another important question: is this Tate Modern exhibition truly the "first" of its kind in Europe - or simply the first since the global market’s interest in Emily’s work has surged? Once again, we are left wondering whether curatorial choices are subtly privileging certain forms of provenance or institutional relationships over others.

None of these observations are meant to diminish the importance of the Tate show. Our greatest hope is to see Aboriginal art appreciated, celebrated, and understood globally. We believe that exhibitions like this have the power to shape how the world sees Indigenous art and culture.

But with that power comes responsibility - to ensure that representation is inclusive, consultation is genuine, and the most significant works and voices are honoured.

We don’t raise these questions to divide or criticise for the sake of it. We raise them because we believe constructive critique is essential if we want to grow as an industry and do justice to the legacies we are privileged to present.

Members of the Kate Owen Gallery team will be visiting the Tate show, and will share their personal reflections on the exhibition in the next article in this series. If you happen to be visiting the Tate Modern and see the show for yourself, we’d love to hear your thoughts too. Feel free to reach out at hello@kateowengallery.com. 


Emily’s European Summer - Part 1

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.


Exhibition Announcement: The Pintupi Nine — Tradition and Legacy

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

 


Breaking News: Aboriginal Flag now freely available for public use

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

 

By King SarritaArtwork 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.