Welcoming Warlukurlangu

I had a great trip to the Warlukurlangu Aboriginal Community Art Centre at Yuendumu this week to gather some superb new artworks for the gallery.  Along the 300km drive, north west of Alice Springs, the country was completely different from its usual red and brown self - a wonderful combination of greens almost completely obscured the red earth (it was almost like the Melbourne botanical gardens out there!).  And the wildflowers, with all the repeated rains, are blooming profusely in seas of yellow, white and lilac.   Cecilia Alfonso, highly dedicated Manager of the Warlukurlangu, kindly put me up at her house and I got to feel part of the busy buzz that drives this centre along.  Artists came, stopped for chats, discussed and worked on artworks and wandered off to follow other pursuits while the centre staff and volunteers contributed to make the place a hive of activity.
Also met many of the artists who work at the centre:  Highlights were the serene Ormay Nangala Gallagher who will be a new artist for our gallery, and Liddy Walker Napanangka who was busily astride a huge canvas for most of my visit.  I'm happy to say that this canvas plus many more of the brightly coloured works from this centre will be arriving in the gallery soon.... so watch this space!

Ormay Nangala Gallagher in front of her latest inspired work....

Liddy Walker Napanangka nearing completion of a masterful painting.... soon to be available in our gallery!  Just look at the texture!

Patrick Tjungurrayi - The Canning Stock Route

The Canning Stock Route is one of the toughest and most remote tracks in the world. It runs to Halls Creek from Wiluna, both in Western Australia. With a total distance of 1781 km (1113 miles) it is also the longest historic stock route in the world. For the first few hundred kilometres it runs concurrent with the Tanami Track. In 2007 Patrick Tjungurrayi returned to the Canning Stock Route to retrace the journey he had made out of the desert 50 years earlier with a group of other well known artists who recreated the journey out of the desert through their dreamings. The Canning Stock Route story revolves around water. To colonists, desert water was a commercial resource necessary for a successful stock route. To the people of the desert, these waters were the social, spiritual and economic bases of their existence.

The National Museum of Australia is currently holding an exhibition to show a collection of works based the Canning Stock Route. You can find more information of both the exhibition & the route here!

Kate Owen Gallery | Jeremy Eccles on Emily and Minnie exhibition

Essay By Jeremy Eccles for Emily Kngwarreye & Minnie Pwerle Show September 2010

Jeremy Eccles sets the scene

I first encountered Utopia when I met the amazing Rodney Gooch in Alice Springs in 1987. He'd just become de facto arts adviser to the artists on this white-named, but now Black-run cattle station NE of Alice up the Sandover Highway. Officially, his job was to record Aboriginal bands like Coloured Stone for the Central Australian Aboriginal Media Association (CAAMA). But he soon found that Aboriginal art sold well in his CAAMA shop, though it was then really only being produced by the Pintupi and Luritja men of the Western Desert. At Utopia, the mainly female artists were limited to tackling batik.

Gooch told me that he'd soon be showing this work in Sydney – 88 glorious silks, all destined for the Holmes a Court Collection. Just a year later, Gooch was back with 80 equally exciting works on canvas – the so-called “Summer Project, 1988-89”; he'd had no hesitation in giving the catalogue cover to the stand-out work, 'Emu Woman' by Emily Kngwarreye. It was the first time she hadn't had to share her art-making materials, explained Gooch; “And this is the painting that will turn her into a star”, he predicted.

And it did.

Later Gooch would say: “Emily had an approach that no other artist had. All she ever wanted to create was something that was pretty, that blended together to look appealing. She often looked at works and tilted her head, then she'd go over it in a light, bright colour to give it that final lift. She wanted to get it right because she always wanted to develop”.

And no one could doubt Emily's capacity as a universal artist to change her style radically when she'd finished with the previous one. What few acknowledge is Emily's astounding capacity to envisage each work finished even as she sat in front of the blank canvas – however large it was.

For, famously, Emily would despatch each work on its way to a $20,0+ sale in a city gallery with the simple judgement, “That's pretty”. Did she say the same of the 8 metre long 'Big Yam Dreaming', commissioned by the National Gallery of Victoria in 1995 as a massive skein of white roots on black? Or the even larger, hectically coloured 'Earth's Creation' 1994 (a retrospective title) which sold for a million dollars two years ago to make it the most expensive work ever by an Australian woman artist?

I personally find the wild excess of this 'Colourist' period – as named by Margo Neale, curator of the big retrospective Kngwarreye enjoyed in 2007 in Japan – less to my taste than  Emily's early dotting, her stripes and yam roots, and the late, late washes which the Japanese would talk about in the same breath as Malevich.

Look at the big 1994 'My Country' in this show and note how similar Emily's choice of desert tones is to Nolan's in his Wimmera period. And don't overlook the tiny canvas evoking for me a bush fireside at night – its densely interwoven red strokes relieved by some with a yellow afterglow speaking of flames sparkling in the cold desert air. And relish my favourite of the three yam works – the 1996 'Yam Dreaming' – where the start of each brush-stroke reveals pink tinges that animate this work like the heads of a bucket-full of eels!

Three Yam Dreamings; three different pictures. Does Emily's cousin (tribal sister) Minnie Pwerle have the same capacity for infinite variety? Probably not. But she does offer a match for Emily's boldness of stroke and colour. And has any artist anywhere come up with as many variations on her own breasts? For body paint is where Minnie came into art – from her own body in ceremony to the brilliance and joy she offers to so many on canvas.

Pwerle spent an eternity watching Kngwarreye and the Petyarre sisters painting without ever revealing an interest. It took a late rapprochement with her daughter, the artist Barbara Weir – who'd been taken away as a child and returned to find her mother unwilling to have her maternity revived, then dashed, once again. For Minnie had been imprisoned for her 'mistake', and then spent 3 months walking back to Utopia with baby Barbara – only to lose her to the assimilation police.

It was not until 1999, when Minnie was almost 80, that she shyly plucked up the courage to ask Barbara's art dealer son, Fred Torres, for paint and canvas. But the family recognised her talent and market potential immediately, building to a solo show during the Sydney Olympics. And soon there wasn't an Aboriginal art gallery in the country without a Minnie Pwerle coruscating in the window.

Sadly she, like Emily, began painting too late to manage a sustained career – dying in 2006. Neither artist hit the mark in every work. But look at Minnie's striped 'Body Paint' (2005) and appreciate how she's capable of making your eyes believe that the dominant tones of red, purple, blue and pink can live harmoniously with a single stripe of acid green!

It is also worth mentioning that both Emily and Minnie showed a discipline to paint through thick and thin – rain and shine, dust and dogs, family pressures and some dubious dealers. And despite their vigorous production, prices have risen and their market is strong. What’s more, if you’re buying one of these works for its beauty, it’s vigour, for what it says to you and for what it represents in terms of both the country from which the women sprang and the strength of purpose with which Aboriginal women work to hold family and tribe together – then you should not be disappointed.

Charity Art Auction at Bond University, Queensland

Bond University is holding an Inaugural Art Auction and has invited Kate Owen Gallery to participate! The event should see approximately forty works up for grabs - alongside holiday packages, travel products, accomodation & flights - of which Kate Owen Gallery will have twelve works present at the auction.

Australian universities are increasingly playing a leadership role in the nation's recognition of and support for Indigenous Australian people and cultures. Bond University offers one Indigenous scholarship in the Faculty of Law and three scholarships in the School of Hotel, Resort & Tourism Management (HRTM). In January of this year Bond students established the Bond Indigenous Awareness Society, with the aim of promoting Indigenous Australia culture to the University and its wider community. It is with this great effort in mind that Kate Owen Gallery is very pleased to have been asked to participate in such a great cause.

The auction is set to commence at 6:30pm on Saturday, 9th October.

Wangi by Helen McCarthy Tyalmuty - one of the works Kate Owen Gallery will be taking to Bond University