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.
